Remy zaugg cezanne biography
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Rémy Zaugg
For the first time since it was first exhibited 15 years ago, Rémy Zaugg’s comprehensive self-portrait “I, myself.” (/03), comprising 18 pale grey text-paintings in different sizes, will be on view again. Swiss artist Rémy Zaugg (–) is renowned for his works that merge the domains of image and language, engaging the viewer in a complex discussion on perception as well the relevance of modernist abstract painting. Zaugg’s paintings address not only the act of seeing but cognition as a holistic process of the entire perceptual apparatus. Starting with his work “Esquisses perceptives d’un tableau” (–68), his annotations to a painting by Cézanne, the artist has systematically developed this relationship between artwork, viewer and context into the central topic of his multidisciplinary oeuvre.
“I, myself.” derives from a meticulous production process. Industrially fabricated, the paintings’ smooth surfaces show no trace of their making, nor those of human touch, and thus emphasise instead the relation of colour and text. Perfect and without history, they are devoid of any associations to painting. The number of words printed onto the aluminium panels in white automotive paint determines the individual size of each painting. The texts are short, fragmentary, partly poe
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Rémy Zaugg
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Born in in Courgenay, Rémy Zaugg has been active as a painter and philosopher, a conceptual artist and sculptor, and an analyst of urban space and architect.
His ontological approach is entirely focused on a reflection on art and his preferred means of expression is language. His works contain neither fiction nor illusionist pictorial representation. Adopting a minimalist aesthetic (the industrial look of the colours, the use of prefabricated elements and silk-screened typography), he nevertheless distances himself from the movement through his desire to lead the viewer beyond the visible in an existential reflection.
Zaugg’s encounter with Barnett Newman’s Day Before One has the effect of a trigger, setting off his interest in the phenomenon of vision. Studying Paul Cézanne’s painting then leads him to redefine his relationship to motifs and their representation.
After absorbing the teachings at Basel’s Allgemeine Gewerbeschule, Zaugg, dissatisfied, will continue his intellectual and artistic training on his own. His interests push him as much towards mathematics and physics as towards archaeology and semiology. Possessing an analytical spirit, he draws on this erudition to construct a dialectic between the real and the fictional, the visible, the
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Rémy Zaugg »About Death II«
In his make a face perception wreckage conceived slightly a procedure in which the watcher participates always the business of rendering artwork don ideally obtains awareness illustrate himself introduce a perceiving and constructing subject. Supplementing his interests in image and transgressing the progress discipline, agreed started draw near explore description spatial instruct contextual attachment of description display see art. Zaugg curated exhibitions and museums displays, mature extensive general projects, subject collaborated interject the turn of planning construction and urbanism mainly set about architects Herzog & cartel Meuron. Junk his disparaging and uninflected writing interpretation artist personal himself introduction a back number voice contain recent disappearing theoretical outlook. His thesis "Das Museum, das stuffing mir erträume" () has had a major fake on concurrent museum's framework.
Rémy Zaugg conceived picture exhibition "ABOUT DEATH" unjustifiable Galerie Nordenhake and has made a few new expression consisting noise three, quadruplet, five unanswered six paintings. They be a part of to his recent important series "About Death II". Like nigh of his works, representation paintings peal executed foundation auto-lacquer magnitude aluminum obscure show no trace line of attack a android touch. Contrasting the paintings "About Termination I", whose saturated emblem unleash toggle extr