Alicja Kwade
Installation view
It may be coincidence, but it fits neatly that an exhibition about expectations takes place under the banner of a gallery called waiting room. The Zürich-based curator Cynthia Krell has invited international artists to the gallery to examine this concept in different contexts, and in turn to query how this relates to looking at and appreciating art. More than just the expectations that arise as one waits nervously, these artists are looking at preconceived notions, suspicious objects, curious incidents and foregone conclusions.
Two dynamic works dominate the space: Alicja Kwade's video works and Sebastian Wickeroth's site specific installation. The latter installation covers most of the floor in the main gallery space, a segmented, rectangular, industrial grey object made from a complex stretcher covered in varnished foil which has the appearance of fibreglass or a high-tech nylon. It is low key, yet cannot be overlooked, it hints at previous movement or at function, but refuses to clarify its presence. Kwade's films Junge Sterne rauchen (Young stars smoking) and No Light Left - die Erschießung der 1.2.3. Dimension (The shooting of the 1.2.3. Dimension) generate much more noise, the result of astral catastrophes and exploding spirit bottles. There's a great deal of humour found through the bottom of a beer glass in her work, bubbles in amber liquid at one point portraying the starscape of the title, but these are lonely scenes unpopulated by any actors. The props and cosmos exist and spontaneously explode in solitude. Is this heroic drunkenness and epic insight, or the drama that unfolds unseen while lives are wasted down the pub?
The other works are quieter, but engaging. Alsi Sungu's work Ganz die Mutter/Ganz der Vater, the title a play on the German equivalent of 'chip off the old block', which literally translates as 'just like mother/father'. Two screens show a process of the artist being dressed according to the directions of each of her parents, a poignant illustration of parental care and of adult obedience that proves Sungu cannot be the image of either one parent. Works on paper complete the show: Patricia Bucher's images of politicians which challenge their visionary and leadership status; Florencia Colombo's photographs which also are occupied with props and the symbols that historically define meanings or character; while Benedikt Hipp's ink drawings propose forms for abstract concepts.
There is no shortage of ideas here, indeed perhaps too many, but the cluster of perspectives makes for some interesting coincidences. One of Colombo's photographs captivated me - the bourgeois street scene entitled Face of our time (Painter); the timeless image reminded me of the Vienna where a young Hitler was an aspiring artist. Looking back upon this part of history, it seems to me that what appealed to Hitler was probably the cipher of an artist, rather than a desire to create art. And then alongside this are Bucher's images of leaders such as Chavez, Berlusconi and Bush, beaming at the camera, a carefully constructed, laid-back, man-of-the-people image to instil confidence in the electorate. Do we have expectations? Yes, today we anticipate little from our politicians, for their role seems less about management of a nation's security and economy and more about management of expectations. Who would you like to have a beer with?
Aoife Rosenmeyer
Do you have expectations?
Until 17 May
Wartesaal
Perla-Mode
Zürich
Aoife Rosenmeyer is based in Zürich after several years as a curator with Artwise in London. In Switzerland she is doing all manner of work art related and contributing to publications including Art World Magazine.
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