Dear Friends of the fine arts,
Please join us for the opening of the exhibition of Daniel Vlček and Pascal Häusermann on Friday June the 3rd at 19:00.
(1978) is Prague based painter and art activist, who also is active in a number of musical formations. He once was on of the founding members of the legendary art group Guma Guar. His latest works are visual paraphrases of sounds,and are painted on canvas or scratched into walls. In these picture one can find quotations from the aesthetics of techno or they can be seen as allusions to modernist paintings. In terms of motif, Vlček ‘s circular pictures are references to art-historical ‘standards’: to the Targets of Jasper Johns and Kenneth Noland from the 1950s as well as to the Op Art pictures from the 1960s.Vlček adopts these approaches and adapts them to contemporary aesthetics by means of scratching the drawings into walls. With their blurred edges, the pictures develop a hypnotizing, vibrating motion which seems to attract and at the same time physically attack the onlooker. This contradictory nature of the emotions reflects the contradictory nature of the object: blurred targets.
Pascal Häusermann (1973) is based in Zürich in terms of working and living. He studied Theory of Arts and Media at University of Arts Zurich from 2004-2008 and worked as visual designer, in the context of cultural activism, as freelanced curator and lecturer. He had exhibitions in Switzerland, Italy, Czech Republic, Germany, Georgia Morocco and Brazil. 2014 he has his first institutional solo – exhibition at Centre PasquArt, Biel – Switzerland and 2015 he wins an international residency from the FAAP – Fundação Armando Alvares Penteado in São Paulo.
Häusermann’s latest works are concerned on the perception of space and the relation of spatial structure, e.g. public spaces to and interaction with the individual, using sculpture, installations, film, serial montage.
The exploration of space involves e.g. city and architectural structures, encircling topics like disorientation, so the tension between control and bewilderment in today’s time, the endless movement and spatio-temporal research for a relocation. The idea of the “flaneur” together with the perception of space creates an infinite structure and movement, which is mirrored in one of the guiding motives: the stairs. Häusermann uses strategies of layering, juxtaposition and comparison to investigate contemporary social and cultural issues.