The Glass Mountain
29. 6. – 15. 9. 2024
Mit Arbeiten von
Trisha Donnelly
Michaela Eichwald
Peter Fischli & David Weiss
Niklas Lichti
Kuratiert von
Maximilian Geymüller
Installation view, The Glass Mountain, 2024
Trisha Donnelly, Dark Wind, 2002
Sound installation, Ed. 1/3, 45 min., loop
Courtesy the artist & Galerie Eva Presenhuber, Zurich/Vienna Installation view, The Glass Mountain, 2024
Michaela Eichwald, The Forces of Strength are Visible, 2009/10
Mixed media, 30 × 20 × 20
cm
Courtesy the artist & Will Benedict Collection Michaela Eichwald, o.T. (Der Sänger von Cross), 2008
Mixed media, ø 13 × 12 cm
Courtesy the artist Niklas Lichti, Owners of the good Life 1–11, 2024
Various textiles, Variable dimensions
Courtesy the artist & Layr, Vienna Niklas Lichti, Owners of the good Life, 2024
Ballpoint pen, touch-up pencil, fineliner and
coloured pencil on paper, artist frame, 29.7 × 21 cm
Courtesy the artist & Layr, Vienna Installation view, The Glass Mountain, 2024 Niklas Lichti, Work, don’t cry Bubbleboy, 2024
Ballpoint pen, ink, coloured pencil on paper,
artist frame, 21 × 29.7 cm
Courtesy the artist & Layr, Vienna Installation view, The Glass Mountain, 2024 Niklas Lichti, Mother Nurture, 2024
Ballpoint pen and fineliner on paper, artist frame, 29.7 ×
21 cm
Courtesy the artist & Layr, Vienna Installation view, The Glass Mountain, 2024 Niklas Lichti, Granny Smith’s Day off, 2024
Ballpoint pen, fineliner and coloured pencil on
paper, artist frame, 21 × 29.7 cm
Courtesy the artist & Layr, Vienna Installation view, The Glass Mountain, 2024 Michaela Eichwald, Maden in der Faz-Skulptur, 2010
Resin, metal, newsprint, 18.5 × 12 ×
9.8 cm
Courtesy Ringier Collection, Switzerland
Installation view, The Glass Mountain, 2024 Michaela Eichwald, Craigness, 2020
Mixed media, 32.5 × 24 × 27 cm
Courtesy Ringier Collection, Switzerland
Installation view, The Glass Mountain, 2024 Niklas Lichti, Am seichten Teich, 2024
Ballpoint pen, fineliner and coloured pencil on paper,
artist frame, 21 × 29.7 cm
Courtesy the artist & Layr, Vienna Peter Fischli / David Weiss, Untitled (Group XI), 2005
6 photographs, Ed. 1/3, each 10 × 15
cm
Courtesy the artist & Galerie Eva Presenhuber, Zurich/Vienna
Niklas Lichti, Granny Smith’s Day off, 2024
Ballpoint pen, touch-up pen, pencil and fine
liner on paper, 21 × 29.7 cm
Courtesy the artist & Layr, Vienna Niklas Lichti, Am seichten Teich, 2024
Ballpoint pen, touch-up pen, pencil and fine liner on
paper, 21 × 29.7 cm
Courtesy the artist & Layr, Vienna Niklas Lichti, Owners of the good Life, 2024
Ballpoint pen, touch-up pencil and fineliner on
paper, 21 × 29.7 cm
Courtesy the artist & Layr, Vienna
Edition available
Peter Fischli / David Weiss, Untitled (Group XI), 2005
6 Photographs, each 10 x 15 cm
(detail)
Courtesy the artist and Galerie Eva Presenhuber, Zurich / Vienna Peter Fischli / David Weiss, Untitled (Group XI), 2005
6 Photographs, each 10 x 15 cm
(detail)
Courtesy the artist and Galerie Eva Presenhuber, Zurich / Vienna Peter Fischli / David Weiss, Untitled (Group XI), 2005
6 Photographs, each 10 x 15 cm
(detail)
Courtesy the artist and Galerie Eva Presenhuber, Zurich / Vienna Michaela Eichwald, Maden in der Faz-Skulptur, 2010
Resin, metal, newsprint, 18.5 × 12 ×
9.8 cm
Courtesy Ringier Art & Immobilien AG / Sammlung Ringier, Schweiz Michaela Eichwald, Craigness, 2020
Mixed Media, 32.5 × 24 × 27 cm
Courtesy the artist
and dépendance, Brussels, Photo: Simone Gänsheimer, Lenbachhaus, München Michaela Eichwald, Craigness, 2020
Mixed Media, 32.5 × 24 × 27 cm
Courtesy the artist
and dépendance, Brussels, Photo: Simone Gänsheimer, Lenbachhaus, München
Fotos/Photos: Ulrich GhezziSound installation, Ed. 1/3, 45 min., loop
Courtesy the artist & Galerie Eva Presenhuber, Zurich/Vienna
Mixed media, 30 × 20 × 20 cm
Courtesy the artist & Will Benedict Collection
Mixed media, ø 13 × 12 cm
Courtesy the artist
Various textiles, Variable dimensions
Courtesy the artist & Layr, Vienna
Ballpoint pen, touch-up pencil, fineliner and coloured pencil on paper, artist frame, 29.7 × 21 cm
Courtesy the artist & Layr, Vienna
Ballpoint pen, ink, coloured pencil on paper, artist frame, 21 × 29.7 cm
Courtesy the artist & Layr, Vienna
Ballpoint pen and fineliner on paper, artist frame, 29.7 × 21 cm
Courtesy the artist & Layr, Vienna
Ballpoint pen, fineliner and coloured pencil on paper, artist frame, 21 × 29.7 cm
Courtesy the artist & Layr, Vienna
Resin, metal, newsprint, 18.5 × 12 × 9.8 cm
Courtesy Ringier Collection, Switzerland
Mixed media, 32.5 × 24 × 27 cm
Courtesy Ringier Collection, Switzerland
Ballpoint pen, fineliner and coloured pencil on paper, artist frame, 21 × 29.7 cm
Courtesy the artist & Layr, Vienna
6 photographs, Ed. 1/3, each 10 × 15 cm
Courtesy the artist & Galerie Eva Presenhuber, Zurich/Vienna
Ballpoint pen, touch-up pen, pencil and fine liner on paper, 21 × 29.7 cm
Courtesy the artist & Layr, Vienna
Ballpoint pen, touch-up pen, pencil and fine liner on paper, 21 × 29.7 cm
Courtesy the artist & Layr, Vienna
Ballpoint pen, touch-up pencil and fineliner on paper, 21 × 29.7 cm
Courtesy the artist & Layr, Vienna
Edition available
6 Photographs, each 10 x 15 cm (detail)
Courtesy the artist and Galerie Eva Presenhuber, Zurich / Vienna
6 Photographs, each 10 x 15 cm (detail)
Courtesy the artist and Galerie Eva Presenhuber, Zurich / Vienna
6 Photographs, each 10 x 15 cm (detail)
Courtesy the artist and Galerie Eva Presenhuber, Zurich / Vienna
Resin, metal, newsprint, 18.5 × 12 × 9.8 cm
Courtesy Ringier Art & Immobilien AG / Sammlung Ringier, Schweiz
Mixed Media, 32.5 × 24 × 27 cm
Courtesy the artist and dépendance, Brussels, Photo: Simone Gänsheimer, Lenbachhaus, München
Mixed Media, 32.5 × 24 × 27 cm
Courtesy the artist and dépendance, Brussels, Photo: Simone Gänsheimer, Lenbachhaus, München
(DE)
Entfernter Ausgangspunkt der Ausstellung ist „The Glass Mountain“, eine Kurzgeschichte von Donald Barthelme aus dem Erzählband „City Life“ (1970), eine Story, die selbst im Entfernt-Sein ihren Anfang hat. Barthelme verlegt ein Märchen, in dem der Held einen Berg aus Glas besteigt, in die verrohte und verdreckte Umgebung des New York der 70er Jahre. Der Berg wird zum Hochhaus und Ziel des riskanten Aufstiegs ist keine Prinzessin, sondern ein Symbol, „ein schönes, verzaubertes Symbol“, „mit all seinen Bedeutungsschichten“.
Vor diesem fernen Hintergrund des semiotischen Spleens und postmodernen Mashups mit seinen inhaltlichen Verschiebungen, Sprüngen und Brüchen situiert sich die Ausstellung. Sie lässt sich, noch einmal, auf das wilde Spiel mit den Bedeutungen ein, die Abgründe der Arbitrarität fest im Blick. Statt zu entzaubern und aufzulösen setzt sie auf eine Verdichtung der Schichten und Referenzen und bringt Arbeiten aus verschiedenen Kontexten in Zusammenhang, in dem mehrfach die Spannung gehalten wird: zwischen Realismus und Fantasy, Banalität und Opazität, Verbundenheit und Isolation – ein loses, unruhiges Gewebe an Inhalten, das sich so fest in die Gegenwart fügt.
Reviews
„Into the wild: Hike or bike your way through exhibitions in the Alps this summer“, artbasel.com, 4. 7. 2024
Edition
Niklas Lichti, Owners of the good Life, 2024
Edition von 25 + 3 APs
Mehr Informationen
(EN)
The Glass Mountain
29. 6. – 15. 9. 2024
With works by
Trisha Donnelly
Michaela Eichwald
Peter Fischli & David Weiss
Niklas Lichti
Curated by
Maximilian Geymüller
The remote starting point of the exhibition is “The Glass Mountain,” a short story by Donald Barthelme from the volume “City Life” (1970), a story that itself begins with an act of distancing. Barthelme transposes a fairy tale in which the hero climbs a mountain made of glass into the mean streets of 1970s New York. The mountain becomes a skyscraper and the goal of the perilous ascent is not a princess, but a symbol: “a beautiful, enchanted symbol”; a symbol “with its layers of meaning.”
The exhibition unfolds against the remote backdrop of that period’s obsessive recourse to semiotics and postmodern mashup techniques incorporating shifts in content, leaps and breaks. One more time, it takes up the wild game of signification, aware of the pitfalls of arbitrariness. Instead of disenchanting and dissolving, the show opts to multiply layers and references, drawing connections between work from different contexts so as to maintain various forms of tension: between realism and fantasy, banality and opacity, connectedness and isolation—a loose, restless weave of content that dovetails with the present historical moment.
Reviews
“Into the wild: Hike or bike your way through exhibitions in the Alps this summer”, artbasel.com, 4. 7. 2024
Edition
Niklas Lichti, Owners of the good Life, 2024
Edition von 25 + 3 APs
More information