Thursday 25. October to Thursday 28. February 2019

Visionary Future

Zoé Byland & Walter Wetter

Opening Reception / Vernissage: Thursday 25. October 2018 18:00

VISIONARY FUTURE The latest exhibition at The Trace Gallery brings together Zoé Byland, a Vienna-based artist from Bern who showed previously at the gallery in late 2014, and Appenzeller-born artist Walter Wetter. For both artists historic portraiture is the starting point for investigations into aesthetic collisions across time that create stimulating frissons from unexpected contrasts.  When we look at studio portrait photography from the early 20thcentury we are struck by the artificiality of the people’s poses, by the flat, unconvincing backdrops and standard-issue props. These pictures remind us of the ignorance of previous generations. Ignorance is bliss, as the saying goes – these people did not know the stresses of our globalized, networked, social media-obsessed societies. But we are also reminded of past ignorance: of inequality, of rigidly paternalistic societies and many other injustices. Are some of the values of the past worth reviving nonetheless? A century ago, objects and machines were built to last, for example. Resources were valued. People spent more time having their picture taken and must have been more patient than we are today. These pictures also demonstrate a respectful formality in social life – could we revive these values?   Walter Wetter is by day a sound technician for the Swiss national broadcaster. For several decades he has also been making industrial art: large sculptural assemblages which frequently involve musical elements. At The Trace Gallery he is showing a less familiar facet of his artistic practice, small collages within found picture frames. Every element of these works has been sourced from a flea market in Switzerland or further afield. Wetter is drawn to the frames, but sometimes equally to the photographs he finds inside them. The frames are restored and an added graphic layer overlaid on the photographs inside – black diagrams which he has found in historic publications on subjects such as space travel, astronomy, astrology and alchemy. The relationship between diagrams and the photographs is never quite clear: it could be that the diagram explains or predicts something illustrated in the human subject; maybe it shows an unseen formulaenergy fields.  Zoé Byland’s contemporary paintings and print works are infused with the aesthetics of historic portraits. Nonetheless, each one is impossible, for they have been possessed by otherworldly forces or creatures. Birds fly past like omens or hauntings which the subjects do not seem to notice. Beams of light shine eerily out of the eyes of animal and human sitters. Or sometimes the details are simply anachronistic: a lady in Victorian dress wears band badges from the 1990s and blows a gum bubble. Another series shows wild animals with what look like tattoos in their fur. These almost religious, noble animal images – reminiscent of Aslan, the fictional lion god of Narnia – are covered in pop cultural iconography.  The works by Byland and Wetter both revive images and ideas from the past. Yet they also depict future realities, as if space travel has been more than a dream. They make us think of innocence and of aspiration. And they make us miss our lost innocence.  

Artwork Exhibition

Thursday 30. August to Thursday 27. September 2018

Extrakt Abstrakt

Alan Maag

Opening Reception / Vernissage: Thursday 30. August 2018 18:00

Alan Maag: Extract Abstract The autumn season at The Trace Gallery starts with a solo exhibition by Zurich-based photographer Alan Maag. Maag’s exhibition ‘Extract Abstract’ presents two bodies of work built up over the last six years that map our urban fabric with unexpected results.  Looking through Maag’s first group of images is a treasure hunt in search of figures and forms that spring out from unexpected backgrounds. Usual relationships of background and foreground, scale and surface are temporarily suspended, allowing creatures, shapes or gestures to emerge. The second group is, at first, more challenging. They guard their secrets tightly, and the viewer scans the surface to find the origins of these striking pictures, like the fiery orange glow around a darker circle, or waves of grey striations.  In fact, Maag’s works only gradually reveal their visual and cultural inheritance. He is a trained professional photographer who precisely knows the mechanics of his craft who is now exploring how his experimental photography operates in a fine art field. As a result these photographs owe a lot to Maag’s training and experience, both in terms of technique and in terms of observation or opportunity. They equally owe a debt to his involvement in skateboarding culture. Skaters – and Maag has been one for some two decades – continually scan their urban environment, reading its textures and planes. Their interest might be in how they could utilise it for tricks, yet this habit brings about an intimate engagement with the material of the city. What is more, the skater registers the city as a social organism: what is permitted and forbidden, what lies fallow and which areas are busy, when does it ebb and flow. Even more so in Maag’s case, as he documents fellow skaters and is continually thinking about how movement in an urban framework translates into image.  Maag’s urbanity is likely not an environment we recognise. Isn’t this the beauty of what a city can offer? Here is a concentration of people so that a multiplicity of practices, cultures, groups and activities can flourish. Look at Maag’s images closely, then look more closely at what surrounds you.

Artwork Exhibition

Thursday 14. June to Thursday 16. August 2018

Wind Wind

PA System

Opening Reception / Vernissage: Thursday 14. June 2018

Live in Action im Criterion Festival: 5. bis 8. April 2018 (

Artwork Exhibition

Thursday 17. May to Thursday 31. May 2018

When I am King

Demian 5

Opening Reception / Vernissage: Thursday 17. May 2018

Artwork Exhibition

Thursday 08. February to Thursday 15. March 2018

Chapter One

Cyrill Matter

Opening Reception / Vernissage: Thursday 08. February 2018 18:00

The Trace Gallery is proud to present a selection of photographs from Cyrill Matter’s publication ‘Chapter One’ in an exhibition to coincide with the launch of the book. This book collates some of the key works in the young photographer’s career and documents the emergence of an exciting talent, accompanied by testimonies from some of the key figures he has met so far in his career.

Cyrill Matter was born and raised in Zurich, studied commerce and got a position in an ad agency. On a whim, and out of boredom, he bought a cheap camera one day on a day trip. He started taking pictures – and was bitten. Within a year he had left his job; he spent the next 12 months intensively learning the skills of a photographer, working as a photography assistant while reading and watching everything he could get his hands on relating to the topic. After that relatively short time, he decided to strike out on his own and try to make it as a professional photographer. Not long afterwards, sitting in a New York café, he encountered a German creative director – Thomas Hayo – who agreed to view what was then a thin portfolio. The rest is history: with Hayo’s encouragement Matter moved to New York and had been signed by photography agent Marek Milewicz. within four months. Since then he has established himself as a respected photographer, particularly in the fields of portraiture and men’s fashion.

For Matter, photography ultimately belongs not on a screen but in print. He has enjoyed working for publications like GQ, Vanity Fair USA, L’Uomo Vogue or Das Magazin. This love for a haptic object is also why he decided to produce ‘Chapter One’, so that he and others could review and share his work to date while holding it in their hands – in time, and as his work evolves, chapters two, three etc. will follow.

Matter’s fashion photography is inspired by the work of icons including Richard Avedon and Helmut Newton, among many others whose work he admires. On editorial fashion shoots, Matter does not want to illustrate a fait accompli or to state the obvious; he often stages dynamic gestures of which we catch just a glimpse, or elaborate scenarios in which the viewer can guess at the narrative unfolding. Working in men’s fashion, Matter can imagine himself within these images, his work an ongoing investigation of men’s different experiences in the world.

The elaborate setups that are possible in editorial photography are often in stark contrast with Matter’s commissioned portraits. When he meets film stars, musicians, politicians, sportspeople or business leaders he may have only a few minutes to find the image that sums up that person. Often too these are guarded people who try not to reveal much to photographers and who are surrounded by attendants. Creative decisions have to be taken at lightning speed – from which direction, with what light and how close to come to that person on that day. Because, ultimately, an encounter between two people is taking place; this work requires empathy.

Chapter One is a collection of images that communicates Matter’s values as a photographer: carefully crafted shots, the chemistry of each meeting between photographer and subject, his evolving skills and to trust in simplicity, honesty and intuition. Creating an ensemble that speaks for itself.

Artwork Exhibition

Friday 01. December to Wednesday 31. January 2018

Broken Fonts II

KKADE (Schwarzmaler)

Opening Reception / Vernissage: Friday 01. December 2017

Broken Fonts II is the second solo exhibition at The Trace Gallery from Bern-based typographer and founder member of the Schwarzmaler collective Pascal Flühmann, a.k.a. KKADE. The artist had his first ever solo show at the gallery in the summer of 2013; since then he has been increasingly sought after in commercial and urban art contexts. This exhibition demonstrates the intervening evolution in KKADE’s craft as he focuses increasingly on the creative potential of complex typography.
 Broken Fonts II is made up of two complementary groups of work: a ‘sammelsorium’ of works on paper, and larger works on canvas. The smaller works, several of which relate to commissions, are made largely in fineliner pen; these can be self-contained drawings or may be digitised and enlarged into other formats. KKADE’s works combine a variety of key influences: Swiss graphic traditions such as the crests on the buildings of his city, art deco ornamentation or contemporary insignia from North America, such as those associated with the West Coast tattoo and gang culture. Many diverse companies have appreciated the skilfulness of this combination: KKADE has been asked to design tattoo parlour logos from the States to Australia and enjoys an ongoing collaboration with the Californian gallery, clothing label and art supplies store The Seventh Letter, for which he has designed clothing, exhibited and created a mural in Los Angeles. A quite different, but equally apposite, collaboration for Emmentaler AOP cheese and Leo Burnett was to create a text design revelling in the multiple languages and cultures of Switzerland: a finely woven fabric of text, painstakingly drawn by pencil into a medallion design.
 The dense lines and the architectural and organic elements in KKADE’s works build caesurae into the process of reading them. These are quieting pauses – something gloomy can be tempered with positivism. ‘Hello darkness my old friend’ quotes the opening lines of the Simon & Garfunkel song The Sound of Silence. The singers’ light and melancholy folk-rock harmony is grounded by the form and weight of the crisp letters, and the significance of the topic of sadness or depression is granted recognition. Larger works explore this balance between text, timing and tone still further, to make powerful statements such as the gold on black canvas ‘Be brave, clench fists’. The idea that control and restraint are essential to strength of character is emphasised by the mesh of hard lines that underpin the central motto.
 KKADE’s texts are inspired by music, film or simply conversation. The central work in the exhibition is ‘Midnight in a Perfect World,’ which borrows its title from a DJ Shadow track. Here rigid form is abandoned for a flowing, harmonic, flag-like curve. A perfect world is an unattainable ideal, but sometimes, in the dead of night, we can recognise and celebrate just how good life is.

Artwork Exhibition

Friday 17. November to Friday 24. November 2017

Typostammtisch - Masters Type&Media

Roland Dill

Opening Reception / Vernissage: Friday 17. November 2017 19:00

Von der klassischen Textschrift bis zum Variablefont, dessen Plakat eher programmiert als gestaltet wurde – präsentiert und diskutiert werden elf Abschlussprojekte des Masters Type&Media der KABK in Den Haag.

Type&Media ist ein 10-monatiges Vollzeitstudium in Schriftgestaltung. Roland Dill wird den Stammtisch zusammen mit Sven Fuchs, Absolvent der Type&Media 16/17 moderieren.

Vorbei kommen, mithören und wer will auch gerne: mitdiskutieren. Wir freuen uns auf Euch. Anmeldung erwünscht via eMail

Ausstellung: 17. bis 24. November

Vernissage / Typostammtisch: Freitag, 17. November ab 19:00

Eintritt: frei, Kollekte für Vernissage-Apéro

Thursday 09. November to Thursday 16. November 2017


Fridolin Blumer, Roberto Domeniconi, Heinz Geisser, Robert Morgenthaler, Peter Pfister

Opening Reception / Vernissage: Thursday 09. November 2017 17:00

Die aktuelle Werkschau ist Konzert und Ausstellung zugleich und zeigt Bilder von Peter Pfister aus der Konzertserie Ensemble 5 Wednesday 4+1, welche am Abend der Vernissage live spielt

Ensemble 5 spielt ab 20:00 zwei Konzerte:
Heinz Geisser - drums & percussion
Fridolin Blumer - double bass
Robert Morgenthaler - trombone
Reto Staub oder Roberto Domeniconi - piano

Das Ensemble besteht seit 2010. Was anfänglich durch eine Reihe von Jam-Sessions in Zürich begann, entwickelte sich mit der Zeit zu einer festen Formation. Mittlerweile hat das Ensemble 5 seine eigene Sprache im Spannungsfeld zwischen Jazz und zeitgenössischer Musik gefunden.

In der ``Wednesday 4+1 Series`` trifft das Ensemble 5 in der Werkstatt für improvisierte Musik Zürich monatlich ad hoc auf einen Gastmusiker - deshalb der Name 4+1.

Die musikalischen Begegnungen finden spontan und ohne vorherige Probe statt. Die Musik entsteht improvisiert, gewissermassen als Archetyp musikalischen Tuns aus dem Moment und der musikalischen Intuition folgend.

Peter Pfister, lebt und arbeitet in Zürich und Kilchberg. Er ist Drucker, Bauarbeiter, Taxifahrer, Kulturvermittler, Kulturschaffender, Zeichenlehrer, Grafiker, Videofilmer, Bühnenbildner und Galerist. Zudem Mitorganisator der U-Galerie Zürich und seit 1988 aktives Mitglied der Gruppe F.Q, die sich Marinemaler nennen.

Als Teil der Kunstszene Zürich hat er über die Kantonsgrenze hinweg mit seinen Ausstellungen Austrahlung erwirkt. Gegenwärtig arbeitet Pfister regelmässig und intensiv in der Druckwerkstatt Lenzburg (Héliogravures).

Seit über zwei Jahren skizziert Pfister während den Konzerten des Ensemble 5 im WIM (Werkstatt für improvisierte Musik, Zürich), so dass die entstandenen Werke durch die Improvisationen der Musiker stark beeinflusst sind: Rhythmus, Tonfolgen, Dichte, Transparenz, Linien, Muster und Arabesken. So dokumentieren seine Skizzen nicht nur die Musiker – die Musik wird sichtbar.

Friday 27. October to Thursday 02. November 2017

Even in Siberia there is Happiness

By Carhartt

Opening Reception / Vernissage: Friday 27. October 2017 19:00

Thursday 06. July to Thursday 24. August 2017


Le Diamantaire

Opening Reception / Vernissage: Thursday 06. July 2017 18:00

Drei Jahre nach seiner letzten Werkschau in der Schweiz kehrt Le Diamantaire (der Diamantenschleifer) zurück in die Trace Gallery für eine Einzelausstellung mit dem Titel "Second Life". Le Diamantaires künstlerische Praxis begann in den späten 2000er als er damit begann, funkelnde Objekte aus aufgefundenen Spiegeln an den Häuserfassaden in Paris anzubringen. Zur Freude aller, die unerwartet eines davon entdeckten.
Auch heute beginnt Le Diamantaire seine Arbeit mit dem Absuchen der Pariser Strassen nach entsorgten Spiegeln - Material, welchem er ein zweites Leben, ein "Second Life" einhaucht. Die Spiegel werden als erstes in komplexe Formen geschnitten, um danach auf eine aufwendige Stahlkonstruktion anzubringen, die vorab gefertigt wurde. Manche Werke nehmen die Form eines Diamanten, andere, die eines Sternes an. Von vorne betrachtet, reflektieren sie dabei die Umgebung kontextuell, in allen Facetten und wiederspiegeln so das Leben rundherum – abhängig von Licht und Betrachter, immer wieder neu.
Die facettenreichen Werke kommen von weit her: Einer Metallwerkstatt in seiner Heimatstadt in der Normandie-Region. Hier arbeitet Le Diamantaire zusammen mit anderen Artisanen. Eine Umgebung, welche die Sinne anregt, inspiriert und nach Stahl, Staub und Maschinenöl schmeckt. Maschinen summen und heulen, Metall klirrt. Hier hat er von Grund auf mit den anspruchsvollen Maschinen umzugehen gelernt und erforscht, was mit den einfachen Materialien alles erreicht werden kann. Präzise Arbeit wird kombiniert mit teilweise hoher physikalischer Arbeit. Teils grosse, schwere Werke entstehen, die später schwerelos im Raum zu schweben scheinen.
Spuren von Le Diamantaires Arbeiten können heute in vielen internationalen Städten, inklusive Zürich gefunden werden. Eine Stadt, welche er sein zweites Paris nennt. Gut möglich, dass es Zuwachs zu den rund ein Dutzend funkelnden Werken während seines neuen Aufenthalts gibt. Die Skulpturen von Le Diamantaire werden ab Donnerstag, nach aussen und innen reflektieren, damit ein Labyrinth an Bildern generieren und Proportion von Räumen verzerren. Und sobald man davor steht, wird ihnen mit einem Hauch von Magie jedes Mal neues Leben verliehen.

Artwork Exhibition

Wednesday 07. June to Wednesday 28. June 2017


Manuela Fischer

Opening Reception / Vernissage: Wednesday 07. June 2017 18:30

Führung mit Helmut Weissert: Mittwoch, 14. Juni, 18:30 Uhr
Manuela Fischer: Druck-Experimente auf Objektmaterial. Foto: Christian Schröckel, Manuela Fischer. Objektentwicklung: Maya Spiri. Filmsequenz: Jan Eric Mack, Aurelio Buchwalder. Nach einer Idee von Helmut Weissert (Geologe).

Afrika im Herzen von der Schweiz sichtbar machen. "Grenzland" zeigt das Fremde im eigenen Land und sensibilisiert so für die grossen Zusammenhänge. Vor mehr als 50 Millionen Jahren prallten die europäische und die afrikanische Kontinentalplatte aufeinander. Da sich die afrikanische Gesteins-Decke auf die nördliche Decke Europas aufschob, ist sie nun in der Region Arosa–Hörnli–Tschirpen auch heute noch sichtbar.

33 glitzernden „Grenzmarken“ ziehen sich über rund einen Kilometer Länge und markieren das Grenzland, welches den europäischen und afrikanischen Kontinent miteinander verbindet. Es handelt sich um bewegliche Objekte, die an 3 Meter langen Stangen montiert sind. Die Objekte spiegeln das Sonnenlicht am Tage, und werden nachts vom Mondlicht reflektiert. Mit der Windkraft kommen die Objekte in Bewegung, reflektieren und strahlen, weit über die Grenzen von Grenzland hinweg. Ein genauso reales, wie poetisches Erlebnis mit einprägsamen Licht- und Leuchtzeichen entlang der Bergflanke des Tschirpen.

Das "Grenzland" entstand, weil zwischen den tektonischen Platten einst ein Ozeon lag. Durch das Aufeinanderdriften der tektonischen Platten ist heute quasi als Zeuge dieser mächtigen Verschiebung ein Gesteinsband am Fuss der Dolomitberge  sichtbar. Eine Spur, welche sich vom Hörnli bis Arosa verfolgen lässt. Auch das Weisshorn wurde als «Splitter» Afrikas bei der Kollision der Platten mit den Ozeanboden-Gesteinen vermischt.

"Grenzland", das nun dokumentarisch als Druckexperimente auf dem Objektmaterial in der Trace Gallery Einzug hält, soll zu Gesprächen über geologische Zeit, über verschwindende und versteckte Grenzen, über Landschaften, über Natur- und Kulturlandschaften anregen. Dabei setzt es gleichsam ein kraftvolles Zeichen für ein friedvolles Zusammenwirken der Menschen in Europa. Jahrmillionenalte Erdgeschichte wird sicht- und erlebbar gemacht. Schon allein die gigantischen zeitlichen und räumlichen Dimensionen tragen dazu bei, den Blick auf Grenzen, auf Eigenes und Fremdes zu relativieren.

Das Grenzland-Projekt basiert auf einer Idee von Helmut Weissert und wurde von der Grafikerin (und SAC-Hüttenwartin) Manuela Fischer, Winterthur, projektiert und realisiert. Unterstützt wurde sie dabei von der Produktdesignerin Maya Spiri, Winterthur, die die Grenzobjekte mit ihr entworfen und konstruiert hat. Durch Zusammenarbeit mit den Industriepartnern wurde das Objekt zur Serienreife entwickelt. Die Kleinserie von 33 Stück, wurde für Grenzland exklusiv in Handarbeit gefertigt.

Artwork Exhibition

Tuesday 30. May to Saturday 03. June 2017


Dominik Orth

Opening Reception / Vernissage: Tuesday 30. May 2017 20:00

Was Dominik Orth antreibt, ist die Suche nach dem perfekten Bild. Ein Bild, von welchem er annimmt, dass er es irgendwo auf der Welt aufspüren kann. Mit seiner neusten Werkschau “FRAMESCAPES” in der Trace Gallery stellt Orth eine Auswahl von acht Bildern aus, die er zwischen 2010 und 2016 aufgenommen hat. Sie zeigen sowohl die Präzision seines Vorgehens, wie auch den weiten Weg, den er geht, um ein aussergewöhnliches Bild zurück in seine Heimat zu holen.Die Hauptwand der Ausstellung zeigt zwei gegensätzliche und dennoch komplementäre Positionen: Ein Paar in Islands Blue Lagoon (2013) sowie eine Felsformation der sog. Meoto-Iwa in Japan, welche auch die Verheirateten Felsen (2016) genannt werden. Während ersteres Bild Orths Talent für Reportage und seinen scharfen Blick fürs Wesentliche verdeutlicht, zeigt das zweite Bild das Resultat des geduldigen Zuwartens, bis der Morgendunst die Felsen von ihrer Umgebung isoliert.Nebst dem Talent, dramatische Landschaften auf seinen Reisen fotografisch einzufangen, umfasst sein Werk auch Arbeiten kultureller Signifikanz. Buddhist Institute (2013) zeigt das buddhistische Lehrinstitut Larung Gar, welches in der Nähe von Serthar auf 4’000 Meter Höhe über Meer liegt. Um dorthin zu gelangen, nehmen Pilger eine kräftezehrende Reise mehrerer Tage auf sich. Die unzähligen Wohnhütten rund um das Kloster zeigen, wo die Pilger für mehrere Monate oder gar Jahre ein neues Zuhause finden. In den asketischen Lebensstil eintauchend, wurde Orth auch Zeuge von Himmelsbestattungen. Die Leichname werden unter freiem Himmel zeremoniell bestattet und danach den zuvor angelockten Geiern als Aas überlassen. Diese nützlichen, aber furchteinflössenden Vögel sind wiederum Gegenstand des zweiten ungewöhnlichen Bildes: das eines Mönchen, der von sich gerade ein Selfie aufnimmt.Die Werkschau von Orth in der Trace Gallery zeigt eine Mischung aus gedruckten und digitalen Werken. Letzteres dank der Unterstützung von Samsung Schweiz. Der Bildschirm “The Frame” wurde vom renommierten Schweizer Industriedesigner Yves Béhar für Samsung entworfen und ist ein neues Produkt: Ein Fernseher, der zur Plattform für digitale Kunst in Ultra High-Definition wird, sobald er nicht in Gebrauch ist. Dank einer mobilen App und der “Art Modus” Funktion können seine Besitzer eines von 100 Kunstwerken international ausgesuchter Künstler anzeigen lassen – oder auch ein Digitalbild aus der eigenen Sammlung. Zwei dieser Bildschirme kommen nun in der Ausstellung erstmalig und exklusiv in der Schweiz zum Einsatz, wobei das analoge und digitale Bild nahezu identisch sind. Eindrücklich wird so die Schönheit beider Medien demonstriert, zumal auf den zweiten Blick.

Wednesday 12. April to Thursday 11. May 2017


Roshan Adhihetty

Opening Reception / Vernissage: Wednesday 12. April 2017 18:00

Ich bin kein Nacktwanderer.
Die Bilder der nackten Körper des jungen Schweizer Photographen Roshan Adhihetty eröffnen mir Blicke in eine neue, mir bislang unbekannte Welt, und das ist etwas, was ich auch als Filmemacher suche, wenn ich Filme zu machen suche. Ich suche Welten und Blicke auf Welten, die ich noch nicht kenne; die mich interessieren und irritieren; die mich berühren und zum Nachdenken bringen; ich suche Bilder und Welten, denen ich mich nicht entziehen kann.
In dieser Hinsicht übt diese wirklich sehr beeindruckende Fotoserie über Nacktwandermänner und Nacktwanderfrauen in Deutschland, der Schweiz und Österreich einen Sog auf mich aus. Es sind Bilder, die über das rein Dokumentarische des Ereignisses hinausgehen, weil sie - wie mir scheint - durch ihre inszenierte Bildgestaltung nicht zuletzt auch einen Blick auf unsere menschliche Existenz werfen.
Bilder, die von uns Menschen sprechen, von unserer großen Sehnsucht, mit der Natur eins zu werden; und gleichzeitig von unserer großen Hilflosigkeit der Macht und Mächtigkeit dieser Natur gegenüber.
Dafür muss man kein Nacktwanderer sein.
Roshan Adhihetty ist es trotz seiner jahrelangen Auseinandersetzung mit diesem Thema und trotz seines jahrelangen Mitwanderns mit den nackten Wanderern auch nicht geworden. Was ihm aber mit diesen Fotos gelungen ist, ist ebenso bemerkenswert wie evident: Im ungeschönten die Schönheit finden.
Ulrich Seidl 

Artwork Exhibition

Thursday 09. February to Thursday 16. March 2017

Memory of the Future

Graham Robinson

Opening Reception / Vernissage: Thursday 09. February 2017 18:00

Canadian artist Graham Robinson’s exhibition ‘Memory of the Future’ illustrates his journey from a personal low point to a happier present, a process in which making art was an important therapy. His images present a world beyond urban civilization, an intense, wild environment which his figures explore by canoe and on foot.
Robinson was born in Ottawa in 1987 and today lives in Toronto. From a very early age he was making art; he studied art and illustration at Sheridan College and Ontario College of Art and Design. His initial working life was in other fields, though he has always drawn and painted; at a key point of his life, however, it became a means for him to envisage positive outcomes to help break out of a negative lifestyle. Then he first illustrated the fish with which he was working in crisp, graphic paintings that place the fish against white backgrounds; the results are somewhere between icons and scientific illustration. That phase of work was followed by more narrative pictures in which individuals or groups take on a landscape that is not without threat, but which encourages them to develop as individuals.
While these images of struggle and of stunning beauty were instrumental in improving Robinson’s mental health, to the uninformed viewer they are engaging tableaux of a country which offers a vast wildness that can scarcely be experienced in Europe. Canada also has a millennia-old history of art that articulates a symbiotic relationship with nature; Robinson’s images are models for a grounded interaction with our environment. He draws his subject matter from memories of weeks- and months-long canoe trips he undertook as a teenager, during which a group would have to fend for themselves. These exhilarating experiences gave him a resource to mine as an adult, and a backdrop he then populates with figures and talismans from his personal life. The motif of scissors, for example, is one he borrows from his grandfather, A.C. Robinson, who was also a painter. He never knew his grandfather, but scissors were a subject that appeared inexplicably in his works, which Graham Robinson has adopted and made his own. Scissors caught in stone, potential violence contained, is a motif that occurs in works such as Reconstruction Site, 2016.
Robinson’s colour range relies heavily on primary colours, allowing him to work as directly and expressively as possible, as does working in pastel. The resulting aesthetic is intense and charged, exemplified in scenes like that of Night Moves (Unless I’m LED) of 2016, in which a canoeist with packs and guitar moves through a narrow waterway by ghostly moonlight and head-torch, led by, or imagining, an apparition of a fish ahead of him. Another work, The Weight (Sisyphus is Happy), 2016, shows a man carrying an impossible burden of his own with another universe atop that, stomping along, paddle in hand. Here Robinson is referring to Albert Camus’ thoughts on Sisyphus’ endless labours, that he is in fact a happy figure, who has found fulfilment in his process, rather than being dispirited by its endlessness.
Graham Robinson’s paintings and drawings are intimate works steeped in his biography and his influences, from music to art and reading. The journey they illustrate is a canoe trip without a specific destination, but guided by an ideal of a mind and body united. Robinson gives us a vision for anyone to strive towards: a challenging life spent in the company of friends, with music and an open mind. 

Artwork Exhibition

Thursday 01. December to Thursday 19. January 2017


Onur Dinc

Opening Reception / Vernissage: Thursday 01. December 2016 18:00


Artwork Exhibition

Thursday 17. November to Thursday 17. November 2016

Live Painting – Launch Tribeka

Onur Dinc

Opening Reception / Vernissage: Thursday 17. November 2016 18:00 – 23:00

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Thursday 20. October to Thursday 10. November 2016

What I See

Christof Vetsch

Opening Reception / Vernissage: Thursday 20. October 2016 18:00

‘What I See’ is a show of approximately 40 recent photographs. These prints make everyday objects the subjects of intimate and delightful dramas.   Vetsch, who works with vintage design furniture, has developed an artistic practice over the past few years, though it would be wrong to suggest that he is an outsider artist. On the contrary, he has been at the cutting edge of culture throughout his life, from his studies at the Kunstgewerbeschule in Basel, where he completed a foundation year and a further year in the Grafikfachklasse, to intensive months in 1980 studying with one of the pioneers of post-modern dance and movement, Anna Halprin, at the Tamalpa Dancers’ Workshop. Until now, his role has been as a cultural mediator, as he was, for example, when he operated the record shop Halb Tanz in Zurich, which later became Vibes, and then mutated into a furniture store.   As Vetsch sorts and searches for furniture, finding noteworthy art and design objects in unexpected places, he is driven by his desire to make art; inspiring things and settings the artist encounters become momentary actors and stages. Using a variety of techniques, including assemblage, collage and image manipulation, he creates abstract, still life and narrative images. In these he finds the life inherent in objects, steering clear of hackneyed clichés by leaving scenes unresolved, allowing the viewer to interpret what they see. The work Bang Bang, for example, consists of three elements: a lavender-coloured duvet; a Styrofoam off-cut; and a child’s toy, all assembled on a background of granite paving. The arrangement is simple, and yet, spurred on by the title, the objects come alive and a cartoon shot is fired. The construction of The Wounded Fish is more deliberate, where a sharpening stone is suspended by a piece of fine lace; there is a moving contrast between the delicacy of the lace and the hard stone. Here, too, a transformation occurs, making the stone a body suspended, the lace a swing or a noose. Vetsch encountered the scene we see in Table Dance during the renovation of a hairdressing salon: on a dirty resin board stands a comical sculpture, like a rabbit or a gnome, inadvertently formed by a painter who kept his brush damp using a plastic bag and a pair of rubber gloves. Vetsch captures this accidental figure on its ‘table’, a framed collection of butterflies nearby and the black backdrop with its signs of wear, and adds another element with his title. Now a tableau emerges that speaks of human lust and aversion, the passing of time, mortality and decay.   Vetsch may be a young artist, but he is an experienced observer. He sees and acknowledges yin and yang relationships between binary positions, such as darkness and light, force and gentleness, or strength and fragility. The resulting formal studies could be likened to Hans Arps abstractions, while his atmospheric recording of everyday life find unexpected beauty and drama have much in common with Luigi Ghirri’s photographs. His works reveal both maturity and new-found joy in unfettered experimentation, the ability to embrace both humour and tragedy.

Artwork Exhibition

Thursday 25. August to Thursday 22. September 2016

Until Something Sparks

Corinne Odermatt

Opening Reception / Vernissage: Thursday 25. August 2016 18:00

"Until something sparks" ist die neuste Werkreihe von Corinne Odermatt: Explosiv, kurios und durchwoben mit populären und folkloristisch anmutenden Bildelementen. Inspirationen holt sich Odermatt dafür in Gesten und Inszenierungen, welche uns im täglichen Leben begleiten und so Teil ihrer künstlerische Auseinandersetzung werden. Scharf beobachtet wird jede Abweichung vom Normalen. Mit Odermatts wiffen Stick- und Stepptechniken auf Textil oder Pinselstrichen auf Papier werden alltägliche und kulturelle Besonderheiten eingefangen und zusammen mit ihrem Wissen als Grafikdesignerin ausgeleuchtet, adaptiert und zu einer neuen markanten Sprache zusammenführt.
Odermatt wuchs im Kanton Nidwalden auf und studierte an der Hochschule für Gestaltung und Kunst in Luzern Grafik Design. Volkstraditionen sind seit langem Gegenstand ihres Interessens – zusammen mit der Blues-Musik, welche sie in ihren drei Jahren in und um New York, USA zwischen 2010 und 2013 entdeckte. Mit dem zugesprochenen zentralschweizerischen Artist-in-Recidency, konnte Odermatt während dieser Zeit diverse Archive nach ihrem Thema durchforsten: Der reisenden Medizin-Jahrmärkte. Ein Phänomen des frühen Amerikas, welche Darbietungen mit Heilungen verknüpfte. Die neue Werkschau Odermatts beinhaltet dabei kleinere Textil-Arbeiten und solche auf Papier, die in der Zeit Odermatts in Nordamerika entstanden, zusammen mit neuen, wesentlich grösseren, gesteppten Arbeiten.
Taschentücher, sind feine, meist versteckte Gegenstände. Dabei eignen sie sich bestens, um Tränen aufzufangen, wenn Gefühle mal ausser Rand und Band sind. Für die Serie „Sea of Hearbreak“ verwendete Odermatt sechs Taschentücher, welche sie von ihrer Grossmutter erbte. Diese wurden in aufwändiger Stickarbeit mit Texten des gleichnamigen Songs verziert, welcher am bekanntesten durch Jonny Cash gecovert wurde. Zwischen der sauber ausgeführten, gepflegten Stickarbeit und den qualvollen Songtexten klafft ein dramatischer Kontrast. Ein weiteres Element ist eine wütende rote Qualle. Ein Lebewesen der Tiefsee, welches sich gedruckt und gemalt auf drei der Taschentücher befindet. Ein Link zwischen den Tränen, die diesen Songtexten entsprangen und dem Tier ist zwar absurd, aber nie so absurd, wie die Natur eines Liebeslieds.

Artwork Exhibition

Thursday 09. June to Thursday 14. July 2016

Lost Faces

Cee, Mizzo, Ata Bozaci, Zoe Byland, Michel Casarramona, Onur Dinc, Donovan Gregory, Alexa Hatanaka, Dave Kinsey, Gian Paul Lozza, Jared Muralt, Pius Portmann, Ezeevalu Samayualie, Patrick Thompson

Opening Reception / Vernissage: Thursday 09. June 2016

Finissage: Thursday 14. July 2016 18:00–20:00

Artwork Exhibition

Thursday 21. April to Thursday 19. May 2016

1 × Täglich vor dem Essen

Mich Hodler

Opening Reception / Vernissage: Thursday 21. April 2016 18:00

Thursday 11. February to Thursday 10. March 2016

AD Impressions

Patrick Chernus

Opening Reception / Vernissage: Thursday 11. February 2016 18:00

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Artwork Exhibition

Thursday 26. November to Thursday 24. December 2015


Daniel Cherbuin

Opening Reception / Vernissage: Thursday 26. November 2015 18:00

Artwork Exhibition

Thursday 22. October to Thursday 19. November 2015



Opening Reception / Vernissage: Thursday 22. October 2015 18:00

Artwork Exhibition

Thursday 27. August to Wednesday 07. October 2015

Hands, Heads & Horses


Opening Reception / Vernissage: Thursday 27. August 2015

Thursday 26. March to Saturday 11. April 2015

Wandelzeit - Eine Gletscherperformance

Manuela Fischer

Opening Reception / Vernissage: Thursday 26. March 2015 18:00


Artwork Exhibition

Saturday 28. February to Saturday 14. March 2015

Beautiful Facebook - 15 Seconds of Fame

Ata Bozaci

Opening Reception / Vernissage: Saturday 28. February 2015 16:00

Yağmur Rüzgar, Print on Cottonpaper, 70 x 100 cm

The exhibition by Swiss painter and graffiti writer Ata "Toast" Bozaci showcases a composite of his portraits of Facebook, a digital gallery of faces, or quite literally, a «face book». Bozaci will reveal his social network locational and thus in a network with SOON Gallery in Bern and Artstübli in Basel.

When Andy Warhol exclaimed in 1968 that everyone would get their "15 minutes of fame" in the future, he could not have imagined today’s fast-paced world of micro-moments. "Our attention span has shrunk so dramatically since Warhol’s time" states Bozaci "that his 15 minutes have been shortened to 15 seconds of fame". Ata Bozaci`s work took the logical step to explore the content of social media as well as their digital techniques.

Blurring the lines of high and low art, as Andy Warhol did, Ata Bozaci reverses the conventional process of digitalizing a sketch on paper, by manually reproducing large-scale versions of his digitally-designed artwork in public spaces: The portrait photographs are extracted from their original context, the world of social media, to be placed in distinctly concrete settings in print and on walls.

Ata Bozaci will be on tour! Save the dates:
Soon Galerie - Bern: 19.3.
Artstübli - Basel: 8.5.

Artwork Exhibition

Thursday 02. October to Thursday 06. November 2014



Opening Reception / Vernissage: Thursday 02. October 2014

The Trace Gallery proudly announces a second exhibition of work by Amsterdam-based duo Fotofloor. Trained photographer Floor Stoop and digital master Mike van der Giessen are partners in art and life; Floor has been working as a professional photographer since 1994, and they have been a joint force in the world of fashion and editorial photography since 2005.
Photography and post-production enable Floor and Mike to create the images they want to see, as well as to shoot high-profile campaigns for clients like G-star, Gilette, Cosmopolitan, Keune and Playboy. When they have the opportunity to create independent projects they like to collaborate with their favourite model muses, powerful personalities that help demonstrate how attitude can be a tool for empowerment, be that in fashion or one of several diverse subcultures they have investigated. These private projects emerge following intense periods of preparation and research, after which Stoop tries to shoot as intuitively as possible, generally working with a Hasselblad hand-held camera.
The Trace Gallery is showing two series: MOTO and DADA, the former being revealed for the first time ever in Zurich. MOTO is inspired by the freedom of two wheels – Floor and Mike are themselves passionate moped riders. These are pastel-coloured portraits of model Nina Aurora in which the bright over-exposure doesn’t obscure the figure’s strength and independence. MOTO celebrates the innocent heroism that can be found in documentation of historic bike culture, an image currently being rediscovered by cyclists and bikers alike. MOTO conjures a pure, free spirit living for the open road, throwing caution and convention to the wind.
Fotofloor’s heroes include photographers and artists Robert Mapplethorpe, Irving Penn, Richard Avedon, Herb Ritts, Diane Arbus, Jacques-Henri Lartigue and the young Billy Kidd. They also look to figures from the world beyond such as motorcycle racers Burt Monroe and Rollie Free, who both broke land speed records at Bonneville Salt Flats in Utah, or stuntmen Evel Knievel and Bud Ekins. As the two collections they are exhibiting this autumn at The Trace Gallery demonstrate, their work tends towards the darker and lighter ends of the spectrum. In an age where millions show off images via Instagram, Facebook and the like, Fotofloor are challenged to bring ever greater skill and attention to their work to stand out, which they do by combining new digital possibilities and pre-digital photography craft. Their signature style is the result of years of operating at the cutting edge, knowing their media, forming symbiotic relationships with their favourite models and ultimately trying to distil visual essences from complex ideas.

Artwork Exhibition

Wednesday 27. August to Thursday 18. September 2014


Andreas Gefe

Opening Reception / Vernissage: Wednesday 27. August 2014 18:00

The Trace Gallery is delighted to open the autumn season with ‘Love Machine’, a solo exhibition from Andreas Gefe, known as Gefe, in which he presents his work as a painter. The humour in the title is deliberate, as is an element of surprise – in this extensive show the artist and illustrator reveals unfamiliar facets of his practice.
Gefe studied illustration at the University of Art and Design (HSLU) in Lucerne, and has since pursued a successful career as a cartoonist and illustrator. His work has been commissioned by publications including Du, das Magazin, NZZ am Sonntag, Playboy Magazine Germany, Die Sonntagszeitung, New York Times Book Review and Rolling Stone Magazine and he was recently included in the Taschen publication ‘100 Illustrators’ edited by Steven Heller and Julius Wiedemann. From the start of his career he has also been active in the comic sphere; the Swiss Edition Moderne press has published several books created by Gefe in collaboration with authors including José-Luis Bocquet and Charles Lewinsky.

Artwork Exhibition

Thursday 12. June to Thursday 10. July 2014

Monster der Tiefe

Jared Muralt

Opening Reception / Vernissage: Thursday 12. June 2014 17:00

Original-Zeichnungen, Siebdrucke, Postkarten-Sets und sein neues Buch: Tiefseeangler

Artwork Exhibition

Wednesday 30. April to Thursday 29. May 2014


Gian Paul Lozza

Opening Reception / Vernissage: Wednesday 30. April 2014 18:00

The Trace Gallery presents ‘Homeland’, a recent project by photographer Gian Paul Lozza.
A pristine skatepark is shot at night using only ambient light. In the resulting landscape images the surrounding streetlights throw intersecting pools of light; the lines are softened by diffuse moonlight. If the forms are organic, the environment is still entirely artificial.
A number of portraits, in black and white, of young men who skateboard in the park. Each stands alone before the photographer’s neutral background.
‘Homeland’, the evocative title of this body of work, is in truth the name of the location where all these pictures were taken. It is located on the western fringes of Zurich, built after more than a decade of lobbying by local skaters. Gian Paul Lozza’s landscapes were taken before the park was completed, and the portraits after the skaters had adopted it. Nevertheless, these pictures could be in any number of different, similar sites.

A selection of images from the ‘Homeland’ series will be published in a book from Hakuin Verlag. The book launch and exhibition opening take place at The Trace Gallery on 30th April. The exhibition remains open until 29th May 2014.

Artwork Exhibition

Thursday 20. March to Thursday 17. April 2014

Larding and Barding

Alexa Hatanaka, Patrick Thompson

Opening Reception / Vernissage: Thursday 20. March 2014 18:00

New paintings, prints and objects by Alexa Hatanaka and Patrick Thompson.

Larding and barding are culinary tricks of wrapping and weaving extra fat onto meat while cooking for additional flavor and tenderness.

While making Larding and Barding, Thompson and Hatanaka are living in Nilaveli, Sri Lanka. Their neighbours are onion farmers, fishermen, stray dogs, orderly cows, cunning crows, children flying plastic bag-kites, giant leaf-like grasshoppers, and minds made distant by language barrier that hold vivid memories of war and the tsunami. They have become a staple curiosity, receiving exciting greetings and hearing mumblings interspersed with “artists,” “painters" while they walk their small street.

It is welcomed and inevitable that bits and bytes of Hatanaka’s and Thompson’s environment are sinking into their art. Simultaneously they are preoccupied by many concerns and interests: fuelled by Google news, sharing childhood stories, playing with materials, strange colour combinations, the state of their home country, thoughts of their next destination and memories surfacing from where they’ve been. It’s all connected and they are fascinated by the connections, dotting the lines consciously or not.

Hatanaka and Thompson travel a lot, work together, eat together, dream together,  pull their hair out together, and this Larding and Barding, these works are the result of three months spent in this little piece of paradise. They wrapped, they wove, they added flavor and tenderness.

Artwork Exhibition

Thursday 14. November to Tuesday 24. December 2013

La Tempesta

Riccardo Guasco, Gloria Pizzilli

Opening Reception / Vernissage: Thursday 14. November 2013 18:00

The storm is interpreted like the encounter of warm currents and cold air streams, which generates instability, cumulonimbi, downpours, lightning and thunders.

The storm, title of the exhibition, is the resultant of two different styles, that blend together generating an encounter/collision which fill the atmosphere with winds, positive and negative charges.

The moments before a squall, when the air is charged of electricity, when people start speeding up the pace, opening umbrellas and walking with the head pointed towards something enormous.

Artwork Exhibition

Thursday 03. October to Thursday 03. October 2013

New York is ...

Nadine Ottowa

Opening Reception / Vernissage: Thursday 03. October 2013 18:00

New York is ...

„New York is a dream“. Zumindest für all die Menschen, die jeden Tag in Big Apple landen – mit der Hoffnung im Gepäck, es dort zu etwas bringen zu können. Doch wie viele von ihnen schaffen das tatsächlich? Und wie fühlen sich die Menschen, die dort leben, die dort gescheitert oder aufgestiegen sind? Die Fotografin Nadine Ottawa und die Journalistin Nuria Furrer sind diesen Fragen nachgegangen. Sie haben Menschen auf den Straßen New Yorks angesprochen und gebeten, den Satz «New York is...» zu beenden. Diese Publikation präsentiert die dabei entstandenen poetischen, skurilen, witzigen, intimen und traurigen Porträts.

Thursday 26. September to Thursday 26. September 2013

`Into the Great White`

Yves Suter

Opening Reception / Vernissage: Thursday 26. September 2013 18:00

Into the great white" is a photographic documentation about snowboarding. Focussing not on the action side of snowboarding, but instead on the distinctive moments and the environment of snowboarding, especially the nature and people, as well as exploring and traveling the mountains of the world. This so-called "sport" is unique with it`s lifestyle, that consists from a huge worldwide network of people sharing the same passion. He tried, to give an inside view into this world. It is a world that is quite difficult to understand for those who have never been influenced by this lifestyle. The book showcases a selection of his most intimate and best pictures.

Wednesday 28. August to Thursday 17. October 2013

Casa Grande

Dave Kinsey

Opening Reception / Vernissage: Wednesday 28. August 2013 18:00

This August The Trace Gallery presents ‘Casa Grande’, a solo show by Los Angeles-based artist Dave Kinsey. Born in 1971 in Pittsburgh, Kinsey is an established figure of the urban art genre, as well as a renowned designer. Following in the footsteps of artists like Francesco Clemente, Louise Bourgeois and Andy Warhol, he has been commissioned by Absolut Vodka to create a bottle design, available this year as a limited edition, and he is also one of the big names to have had art reproduced on the Californian Kenwood Vineyard label. It’s no wonder that in 2012 Complex magazine named him one of the 100 most influential artists of the past decade. In addition, Kinsey co-founded the design studio BLK/MRKT in 1997 and BLK/MRKT Gallery, which would later become Kinsey/DesForges, in 2001.

‘Casa Grande’ is a selection of works made in 2012 and 2013 that create a portrait of the human condition - our coexistence with others within physical or psychological spaces of our own making. Kinsey’s exhibition will transform The Trace Gallery by presenting his works on top of a mural that suggests an alternative architectural form to that of the physical space. This other space, with walls painted in warm grey, yellow, black and red, enables a hang of Kinsey’s works, on canvas, paper and chipboard, which plays with perspective. The works hover over a diagrammatic illusion, at once confirming and challenging it.

Artwork Exhibition

Thursday 27. June to Thursday 25. July 2013

Broken Fonts

KKADE (Schwarzmaler)

Opening Reception / Vernissage: Thursday 27. June 2013 18:00

Pascal Flühmann A.K.A. KKADE is a Swiss urban artist and typographer. Born in 1985 in Murten, Freiburg, his first creative endeavours began alone on the street in 2000; since 2008 he has also belonged to the Schwarzmaler graffiti crew. The Trace Gallery is now proud to present KKADE’s first solo gallery exhibition, ‘Broken Fonts’. KKADE’s influences are wide-ranging; while he remains true to his urban roots, the visual language of Jugendstil as well as the regular patterns of baroque design inspire him equally. Leather offers him a surface that appears timeless, which is difficult to define. Using this seductive surface, KKADE combines the different elements in his graphic repertoire. It is a painstaking and time-consuming method, in contrast with the immediate impact of the end result. ‘Broken Fonts’ does not describe a problem, but the possibility of suturing different ingredients and thus creating exciting hybrids of style, of genre and most of all, of text and its expression.

Artwork Exhibition

Thursday 11. April to Thursday 02. May 2013

Lineares Boxen

Ata Bozaci

Opening Reception / Vernissage: Thursday 11. April 2013 18:00

Boxing is a sport that teaches the techniques of fighting, but above all, it teaches fighters about themselves. The risks are clear. The sport is violent, aggressive, elementary. Relief, doubt, strength and weakness are written across the visages of Bozaci’s boxers, but the internal struggle is just as plain. These are men and women faced with their own fragility, their mortality even: fighters trying to find the will to stand up and fight again.

With ‘Lineares Boxen’ (Linear Boxing) the Trace Gallery presents the first significant exhibition of a recent body of work by the artist Ata Bozaci, aka Toast. ‘Linear Boxing’ is a series of portraits that has emerged from the artist’s direct personal experience of boxing.

Artwork Exhibition

Thursday 11. October to Thursday 08. November 2012


Roger Stämpfli

Opening Reception / Vernissage: Thursday 11. October 2012 6 pm

Roger Stämpfli is an expert in Visual Communication. As Creative Director of Aroma, he deals daily with visual aesthetics. From time to time Roger Stämpfli slips into the role of a visual artist to explore the interface between applied visual aesthetics and museum art.

Artwork Exhibition

Thursday 04. October to Saturday 06. October 2012


Stephan Doitschinoff

Opening Reception / Vernissage: Thursday 04. October 2012 18:00

by Stephan Doitschunoff

Thursday 30. August to Thursday 27. September 2012

Livin Astro

Pius Portmann

Opening Reception / Vernissage: Thursday 30. August 2012 6 pm

Artwork Exhibition

Thursday 24. May to Thursday 21. June 2012


Onur Dinc

Opening Reception / Vernissage: Thursday 24. May 2012 6 pm

The Trace Gallery proudly announces the upcoming exhibition of Onur Dinc in May 2012. Onur’s artistic tool of choice is the paint roller. Using it, he is creating photo-realistic imagery, mostly in black and white. His former profession as a scenery painter displays itself in preference for large-scale works. Many of his creations capture moments of every day life, freezing the instant in time. People seem detached from their surroundings in the situations captured and display the most fundamental feelings of human existence.

Artwork Exhibition

Thursday 29. March to Thursday 03. May 2012

Mistakism – A sampling of new work

Patrick Thompson

Opening Reception / Vernissage: Thursday 29. March 2012 18:00

An 18 Year veteran of the street art movement, 33 year old Patrick Thompson’s work both indoors and out develops through a process he refers to as “mistakism”, allowing intuition in mark making by meditating on particular memories of place, feeling, storytelling, or some other bite of information to spark the beginning of a particular work. His paintings become wonderfully layered in the process taken to arrive at their final form.
His work is not served up to be digestible and does not come with the punch lines that one can “get” but rather acts as a medium which carry his fascination with exploration and intuition. His work conveys and harnesses the challenges inherent with exposing oneself without a plan on a 150-foot cement wall or scrap of paper.
Engrossed in finding, highlighting and addressing the relationships between the seemingly unrelated, Patrick Thompson has spent the last year and a half split between painting large murals in remote fly in communities in Canada’s high arctic, exploring traditional Chinese printmaking techniques and painting on the streets of Nanjing China, collaborating with Irish sculptor and painter Danny Osborne sculpting molten lava on Mt. Kiluea in Hawaii.
He has exhibited at the Centre for Contemporary Culture in Barcelona Spain, The Royal Ontario Museum in Toronto Canada, Artist House Gallery in Jerusalem, Articulate Baboon Gallery in Cairo Egypt, La Place Forte in Paris France, The Singapore Contemporary Art Museum, The Art Gallery of Ontario and Nanjing Institute of the Arts in China. In addition His work has been featured in Spectator UK Newspaper, The Globe and Mail, numerous exhibition catalogues and most recently in Walls & Frames “fine art from the streets” a 272 Page hardcover book surveying 101 emerging artists from around the world.

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Artwork Exhibition

Thursday 09. February to Thursday 15. March 2012

Quantum Mechanics and Multiverse

Donovan Gregory

Opening Reception / Vernissage: Thursday 09. February 2012 6 pm

The Trace Gallery’s third exhibition offers an insight into the imagination of Donovan Gregory. Gregory, b. 1975 in the UK, is a graphic designer whose work has significantly influenced the fields of publication, corporate identity and marketing in Zurich; he is also one of the founders of The Trace Gallery. In this show he abandons the digital tools he uses for commercial work to explore his own ideas in painting, drawing and collage.Opening Pics >  The Pictures >The intriguing title of this exhibition is ‘Quantum Mechanics & Multiverse’; the broad statement sums up a simple, albeit visionary, premise – that our world is not the only universe and another world could be possible. This alternative is neither historic, nor is it a vision of the future; it is a latent parallel. Nor is it clearly utopian or dystopian, rather it is presented for calm inspection. Gregory documents this universe with the methods of an anthropologist or an explorer, looking at the details and mechanics of its objects, reporting on its flora and its inhabitants.Several of the works in the exhibition are layered over found early 20th century photographs. Gregory’s interest in this raw material stems from the fact that it was made during a period when photography had become a widespread and accessible record of families and events, yet was still a solemn occasion for which the sitters would present themselves in their Sunday best. Photography was a medium created and finished by hand, despite the new possibilities of mechanical reproduction – skill was required both when capturing the images and when completing them in the development process and with later additions of colour. Gregory adorns the noble characters he finds in these portraits with additional paraphernalia, such as bulbous garments or mask-like facial decorations. Other images exhibit unknown objects with the clarity of a scientific illustrator or an industrial draftsman, yet despite the lucid drawing style, the subjects remain incomprehensible. We cannot tell if they have been engineered or have evolved naturally.If these figures seem initially foreign, by generating them Gregory creates a mirror in which to consider our own forms of dress, products we employ and overlooked nature around us. A pair of pince-nez on the nose of an ancestor or a traditional Alpine costume might strike us as strange but recognisable, African tribal jewellery can seem comical, but we rarely consider the logic or appearance of many of our own accoutrements. The gentleman with the yellow head covering illustrated in Trace I could be wearing the latest vulgar bling, or his garment might be at the cutting edge of printed physics or smart fabric. Maybe it denotes a senior rank in his society. Whilst not passing judgement on our world or his imaginary one, Gregory makes the codes of our own environment visible and encourages us to consider our continual shaping thereof. ‘Quantum Mechanics & Multiverse’ offers a view into another world, one that is potentially real, and at this point of intersection with our reality, the opportunity to reflect, equally, upon ourselves.

Artwork Exhibition

Thursday 13. October to Thursday 17. November 2011

Second Line


Opening Reception / Vernissage: Thursday 13. October 2011

Mit der Ausstellung «Second Line» zeigt die Galerie eine neue Serie von hoch inszenierten Schattenriss-Fotografien der fashionaffinen Ku?nstler Floor Stoop und Mike van der Giessen. Fotofloor konnten dafu?r Starmodell Sonja Wanda gewinnen. Weitere Fotoarbeiten erga?nzen die Ausstellung in Form einer Retrospektive bisheriger Werke von Fotofloor.

Haute Coupure

Die Motivation des Ku?nstlerduos Fotofloor ist die Produktion starker Bilder: Die Inszenierung, das Bu?hnenbild und die Nachbearbeitung der Bilder durch Retusche und Collage ist dabei wichtiger als das Fotografieren selbst. Die Geschichte ebenso bedeutend wie das Bild als Endprodukt. Die Konturen sind so stark herausgearbeitet, dass die Bilder an kunstvolle Scherenschnitte erinnern und das Modell in «Haute Coupure» inszeniert wird.

Ausgangspunkt der neuen Werkgruppe ist die ku?nstlerische Auseinander- setzung mit der kompositorischen Bildtradition von Schattenbildern a? la Aubrey Beardsley, Erte?, Tom Waits, Jean-Paul Goude. Fasziniert von deren formal a?sthetischen Wirkungen entstand die Fotoserie «Second Line» als moderne Interpretation traditioneller Portrait-Malerei.

Second Line

Im Zentrum der Werkausstellung steht das Wirkungsfeld von pulsierenden jazz funerals und Blaskapellenparaden. Jazz funeral ist ein in New Orleans, Louisiana entstandener musikalischer Bestattungsritus.
An einer Beerdigung formieren Jazzmusiker den Festzug in sogenannter «First Line». Hinterher, in der «Second Line», tanzen die Bestattungsteil- nehmer mit drehenden Sonnenschirmen und wedelnden, weissen Taschentu?cher mit.

Fotofloor interpretieren diese Kulturform mit ihrer neuen Serie «Second Line» und stellt sie in einer Abfolge von einzelnen Silhouette- Portraits motivisch dar. Durch Sonja Wandas dunkle Haut kommt der Schwarzweisskontrast besonders stark zur Geltung und der Bezug zur schwarzen Bevo?lkerung von New Orleans wird hergestellt. Die stenographisch inszenierten Werke wurden mit grossem grafischen Aufwand komponiert.

Artwork Exhibition