REVIEWS

/ RaebervonStenglin
Kilian Rüthemann, One for every moment (Stack), 2014.
by

Aoife Rosenmeyer

The week before Kilian Rüthemann’s new exhibition opened at RaebervonStenglin in Zürich, a band of the great, good, wealthy, and hangers-on were in the luxurious Swiss mountain village of Gstaad for the launch of “Elevation 1049: Between Heaven and Hell,” an exhibition of works “positioned in and defined by the... continue reading
Robert Kinmont’s “Wait”

RAEBERVONSTENGLIN, Zürich

Robert Kinmont, Copper Pots (given a chance), 1972.
by

Aoife Rosenmeyer

Much discussion of performance or Land Art from the 1960s and 70s considers whether the art consists of the work itself or its documentation. Could it really be experienced secondhand? Was the art the idea … or the stuff of it? Such recondite questions had to be put in the... continue reading
Sofia Hultén's "Pressure Drop" at RaebervonStenglin, Zürich
by

Quinn Latimer

An austere, Mars-meets-Minimalism environment greets visitors to “Pressure Drop,” Sofia Hultén’s recent exhibition at RaebervonStenglin. Strewn over the gallery floor are large, glittery rocks that conjure both a meteor shower come to inexplicable rest, and the boulder-bedeviled construction sites just outside the door (the gallery is in an industrial area of Zürich undergoing seismic demolition). Among the rocks stands a tall, rusty screw press, its circular... continue reading

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Michael Kon
Anton Kern Gallery
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sp-arte
Brooklyn Rail
art-agenda
Art Monthly
Luisa Strina
Sprueth Magers
e-flux iPad
Vitamin creative space
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Afterimage