Pingapa ▌PLUS▼

Il mondo non è banale? ░ Il linguaggio conveniente del Sublime Prefetto

edited by in data
¨ Sutta  (vedico: s ū tra; letteralmente: filo * ) del linguaggio conveniente del Sublime Prefetto ** Mia Nonna dello Zen così ha udito: una volta dimorava il Sublime Prefetto presso la Basilica di Sant’Antonio, nel codice catastale di Padua. E il Sublime così parlò: “Quattro caratteristiche, o mio bhikkh ū *** , dirigente dell’area del decreto di espulsione e dell’accoglienza e dirigente anche dell’area degli enti locali e delle cartelle esattoriali e dei fuochi d’artificio fatti come Buddho vuole ogni qualvolta che ad esempio si dica “cazzo di Buddha” o anche “alla madosca” o “gaudiosissimo pelo”, deve avere il linguaggio conveniente, non sconveniente, irreprensibile, incensurabile dagli intercettatori; quali quattro? Ecco, o mio dirigente che ha distrutto le macchie: un dirigente d’area parla proprio un linguaggio conveniente, non sconveniente, un linguaggio conforme alla Dottrina del Governo, non in contrasto con essa, un linguaggio gradevole, non sgradevole, un linguag

Rémy Zaugg | The Question of Perception

edited by in data

Rémy Zaugg at Museum für Gegenwartskunst Siegen


Re?my Zaugg at Museum fu?r Gegenwartskunst Siegen
Artist: Rémy Zaugg
Venue: Museum für Gegenwartskunst Siegen
Exhibition Title: The Question of Perception
Date: November 1, 2015 – March 6, 2016
Re?my Zaugg at Museum fu?r Gegenwartskunst Siegen
Re?my Zaugg at Museum fu?r Gegenwartskunst Siegen

Re?my Zaugg at Museum fu?r Gegenwartskunst Siegen
Full gallery of images, press release and link available after the jump.
Images:
Images courtesy of Museum für Gegenwartskunst Siegen, Germany; Galerie Mai 36, Zurich. Photos by Christian Wickler.
Press Release:
The oeuvre of the Swiss artist Rémy Zaugg (1943-2005) impresses through its interdisciplinarity and its theoretical foundation as well as its artistic practice, although painting was always the linchpin of his work.
Rémy Zaugg’s artistic position is explicitly unique because he was the absolute first to pose the existential question concerning perception. Without the perception of the artist and of the viewer and their involvement with what they are perceiving – which is always shifting – there can be no artistic work. A piece is processual and phenomenological and can never be reduced to an object. Painting (since the 1960s) was fundamental research for Rémy Zaugg on the quest for further – ‘applied’ – projects in the fields of architecture and urbanism. His passages on museum and exhibition architecture (mainly from the 1980s and 1990s) are key documents that develop surprisingly simple insights using suggestive rhetoric.
Rémy Zaugg was born in Courgenay in the canton of Jura in the French- speaking area of Switzerland and lived in Basel and Mulhouse. The reappraisal of his complex oeuvre now takes place – in commemoration of the tenth year of his death – with a concerted operation by several international experts and curators in a symposium and symposium reader, three exhibitions, a Spanish-English-German-French exhibition catalog, and the publication of the artist’s Collected Writings (nine volumes) in German and French.