 |
|
|
|
DE / EN |
 Adrian Schiess Flache Arbeiten [Flat Works] (1993, enamel paint on aluminum-composite panels, 300 x 110 x 2 cm each) and video works (1989-99, DVD) Photograph: Eva-Christina Meier, 2009, Marketinggebäude |
 I. Any collection that has elected to remained focused on painting inevitably has to address this. Medieval art, in the sense of artefacts that serve primarily to be gazed at and that are appreciated on grounds of their formal, visually manifested properties, has existed only for as long as it has been possible to separate Christian cult objects (altarpieces, crucifixes, monstrances, statues) from their liturgical context and view them in a museum or gallery context instead. And today? If “contemporary art” and installations have indeed become synonymous so that installations really are more readily accessible to us than paintings or sculpture, then the questions raised, or rather how they are answered, are bound to have implications for collecting, which in our case means the nature of our engagement with contemporary art creation. Installations favour the collective reception of works and hence are better at meeting the need for experience-based art that is accessible to people of all classes and backgrounds. Does this mean that painting has had its day as an art form? Is it not also conceivable that the vast stock of experience with intermedia art forms that artists have since gathered has in fact breathed new life into painting, even leading to a changed perception of how painting these days should look, how it can be presented and the objectives it should pursue? [...]  continue...  back... |
Art from SwitzerlandHomeNews – November 2020 – March 2020 – October 2019 – March 2018 – October 2017 – April 2017 – January 2017 – May 2016 – December 2015 – May 2015 – March 2015 – December 2014 – August 2014 – May 2014 – October 2013 – April 2013 – July 2012 – March 2012 – November 2011 – May 2011 – January 2011 |