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Mathis Altmann, Annette Amberg, Kim Seob Boninsegni, Vittorio Brodmann, Emilie Ding, Cédric Eisenring/Thomas Julier, Criticism, Edgars Gluhovs, Dagmar Heppner, Tobias Kaspar, Emil Michael Klein, Balthazar Lovay, Tobias Madison, Kaspar Müller, Guillaume Pilet, Provence, Radio Arthur, Marta Riniker-Radich, Pamela Rosenkranz, Emanuel Rossetti, Valentina Stieger, Hannah Weinberger

In recent months there has been a flurry of international and national press reports about the young art scenes emerging from the Swiss cities of Geneva, Lausanne, Basel, and Zurich, all of which have been variously characterized as "fresh," "exciting," or "innovative." Somewhat uniquely, these scenes originated in artist-run exhibition spaces and platforms like Forde, Darse, and Hard Hat in Geneva; Circuit in Lausanne; New Jerseyy, Vrits, Galen, and Radio Arthur in Basel; and Paloma Presents and the commercial gallery Karma International in Zurich. Each of these initiatives share common ground in their deft networking skills, which they use as the starting point for their agile and decidedly international operations. Exemplary in this regard might be Showroom, a mobile exhibition space with a postal address in Basel, which realized a changing constellation of projects in different European cities from 2006 to 2009.

Vittorio Brodmann: Young spanish Painter, 2009

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The Kunsthaus Glarus exhibition "Of Objects, Fields, and Mirrors" brings together in one space, for the very first time, a selection of representatives of these scenes. Thus, the exhibition is not about showing one scene, but instead focuses on what each of these scenes reflects; how they have been thought about, discussed, and formulated; and how they might now be understood and judged. Furthermore, the show will ask whether this young Swiss art phenomenon is, in fact, a shared one. To that end, the guest curators Daniel Baumann and Maja Wismer have attempted to embrace the current tendencies of what appears to be happening in Switzerland at the moment, and thus present an overview of recent artistic strategies. They have gathered approximately 22 young artists, many of whom address ideas of reflection and object in their work. Formative ideas for the featured artists also include context and concept, both as defined by art discourses of the 1960s and '90s, but also as efficient means for the analysis and definition of the artist's role in contemporary society.

Emilie Ding: Γ, 2009

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The sprawling exhibition will occupy the entire Kunsthaus Glarus. It was the wish of the curators to allow each artist to be represented by more than one piece, particularly since most of them are unknown. This curatorial strategy also allots more space to different positions, as well as helps in the contextualization of different approaches. Works on view employ camouflage and ideas of performance, exaggerating and experimenting with style and pose in ways that undermine or reflect on established artistic mores. On the one hand, choice of material, the use of codes, and a firm control of language play an important role in the featured works, as do flawless production and clean surfaces, which variously affirm, criticize, or mirror today's society. On the other hand, the hints of despair found in the oversaturation of imagery, references, and manipulative techniques indicate that the artists are reflecting on both their own situation and on society's. "Of Objects, Fields, and Mirrors" is interested in this world of artificiality, with its play and metaphors, as well as a world of multiplication, which doesn't withdraw from the complexity of our time, but approaches it with curiosity, delight, and a certain amount of critical distance.

Curated by Daniel Baumann and Maja Wismer

For generous financial support we thank:
george foundation
Ville de Geneve
Pro Helvetia
Stiftung Anne-Marie Schindler
Stadt Zürich Kultur
Sennheiser
Basel Stadt