Auswahl 23
Aargauer Kunsthaus, Aarau, Switzerland

2 December, 2023 - 7 January, 2024
Opening 1 December, 2022, 18h

Georg Aerni, Urs Aeschbach, Esther Amrein, Serena Amrein, Bošković-Scarth, Marie-Claire Baldenweg, Valérie Balmer, Annette Barcelo, Myrien Barth, Leonie Brandner, Edlyn Brucker, Marilin Brun, Christoph Brünggel, Françoise Caraco, Anna Deér, Andreas Dobler, Maurice Ducret, Félicia Eisenring, Esther Ernst, Sonja Feldmeier, Anselmo Fox & Sandra Contreras, Thomas Galler, Eva Maria Gisler, Clare Goodwin, Stefan Gritsch, Michael Günzburger, Philipp Hänger, Eric Hattan, Valentin Hauri, Andreas Hofer, Victoria Holdt, Ruben Hollinger, Dominique Lämmli, Max Matter, Dominic Michel, Laura Mietrup, Irene Naef, Lan Nguyen, Hannah Parr, Jason Rohr, Doris Schmid, Milena Seiler, Veronika Spierenburg, Jürg Stäuble, Mette Stausland, Levin Stettler, Jonas Studer, Linus Weber, Andrea Winkler, Rolf Winnewisser, Beat Zoderer, Daniel Züsli

Run Run Run, 2023

one hundred pages /// № 1 Thomas Galler • Dream with us
Book launch - Mars Bar Zurich

Dream with us refers to a collection of appropriated slogans from legendary Nike advertising campaigns dating back to the early seventies. The inserted photographs are from a series of appropriated advertising shots by Nike and other producers. These show close-ups of tech clothing which has a speed enhancing, protective or signalling function due to its fabric structure and surface texture. Dream with us is also the script for the production of a sound installation based on the spoken text fragments.

Book launch
Monday 20 March 2023

Mars Bar
Neufrankengasse 15
8004 Zürich

one hundred pages is the art book publishing house of Jakob and Thomas Galler. In close collaboration with the authors and artists, we focus on socio-political content and phenomena of pop culture. We refer to artistic positions from our milieu that reflect the social fields of tension and global developments with a critical and subversive attitude. one hundred pages publishes a serial pocket book series. Each issue contains strictly 100 pages, is printed in black and white and appears in an edition of 100 copies.


Published by one hundred pages
Book concept by Jakob and Thomas Galler
Graphic design by Jakob Galler
Printed by Lulu Press, Inc.
© 2023 one hundred pages

Auswahl 22
Aargauer Kunsthaus, Aarau, Switzerland

3 December, 2022 - 2 January, 2023
Opening 2 December, 2022, 18h

Esther Amrein, Rosângela de Andrade Boss, Claudia Breitschmid, Marilin Brun, Kai Bührer & Jan Hofer, Tanja Bykova, Copa & Sordes, Manuela Cossalter, Félicia Eisenring, Tatjana Erpen, Gabriel Flückiger, Lilian Frei, Franziska Furter, Thomas Galler, Viviana González Méndez, Clare Goodwin, Otto Grimm, Stefan Gritsch, Thomas Hauri, Valentin Hauri, Emanuel Heim, Arnold Helbling, Victoria Holdt, Stefanie Knobel, Oliver Krähenbühl, Rafael Lippuner, Lea Lüscher, Max Matter, Laura Mietrup, Irene Naef, Sadhyo Niederberger, Petra Njezic, Guido Nussbaum, Hannah Parr, Michael Roggli, Ueli Sager, Lorenz Olivier Schmid, Mette Stausland, Jonas Studer, Paul Takács, Timo Ullmann & Marco Baltisberger, Nick Walter, Linus Weber, Olivia Wiederkehr & Theater Hora, Rolf Winnewisser, Beat Zoderer

Destroy to Create, 2021

New Books New Space
New and recent titles from Fair Enough
Boabooks, edition fink, Jungle Books and tria publishing platform

15 October, 2022, 10-19h

edition fink
Verlag für zeitgenössische Kunst
Anwandstrasse 30
8004 Zürich


Davor · Darin · Danach. Die Sammlung im Wandel
Aargauer Kunsthaus

15 May - 7 August, 2022

The Collection — the cornerstone of the Aargauer Kunsthaus — is growing apace, and today consists of over 20,000 pieces of Swiss art dating from the 18th century to the present day. In recent years, notable donations and loans — such as those from the Ringier Collection, the Federal Collection of Contemporary Art, the Walter A. Bechtler Foundation, or from patrons of the Aargauische Kunstsammlung — have contributed enormously to the outstanding importance of the collection in the European art scene. These additions, including many works by contemporary artists, serve as a source of fresh inspiration and form surprising associations within the portfolios.

Judith Albert, John M. Armleder, Marc Bauer, Seline Baumgartner, Reto Boller, Christoph Brünggel, Balthasar Burkhard, Miriam Cahn, Valentin Carron, Julian Charrière, Tatjana Erpen, Valérie Favre, Urs Fischer, Fischli/Weiss, Sylvie Fleury, Pia Fries, Agnes Fuchs, Franziska Furter, Thomas Galler, Christian Gonzenbach, Michel Grillet , Stefan Gritsch, Michael Günzburger, João Maria Gusmão/Pedro Paiva, Alex Hanimann, Andrea Heller, Teresa Hubbard/Alexander Birchler, Daniel Robert Hunziker, Bruno Jakob, San Keller, Esther Kempf, Zilla Leutenegger, Urs Lüthi, Lutz & Guggisberg, Christian Marclay Max Matter, Thomas Müllenbach, Barbara Müller, Christian Philipp Müller, Yves Netzhammer, Rivane Neuenschwander, Karim Noureldin, Edit Oderbolz, Taiyo Onorato & Nico Krebs, Uriel Orlow, Mai-Thu Perret, Elodie Pong, Markus Raetz, Didier Rittener, Giacomo Santiago Rogado, Ugo Rondinone, Christian Rothacher , Ilona Ruegg, Mario Sala, Hans Schärer, Shirana Shahbazi, Francisco Sierra, Roman Signer, Veronika Spierenburg, Christine Streuli, Hugo Suter, Paul Takács, Fiona Tan, Hannah Villiger, Beat Zoderer

Untitled #1, 2007, Collection Aargauer Kunsthaus

Turn Doubt into Belief
_957 N°133 Independent Art Magazine, Lucerne

Photographed, edited and designed by Jakob and Thomas Galler.
© 2022 Jakob Galler, Thomas Galler and _957 Independent Art Magazine
Published by Stephan Wittwer

Magazine Release
Thursday, 7 April 2022, 18-21h

@ _957 /// Redaktion
Himmelrichstrasse 4
6003 Luzern
ISSN 2296-3057

Turn Doubt into Belief brings together all the fragments of a Nike Air Max sneaker disassembled into its individual parts. Titled Arab Air Max, this was originally part of a serial production of over twenty pairs of shoes that I had made in 2015 for the exhibition On Remote Control, Lothringer 13 Halle in Munich. Through the online platform Nike ID (now Nike By You), various Air Max models were produced through conceptual customizing in the Pan-Arab colors (Black/White/Mystic Green/Studio Red).
Turn Doubt into Belief comes from my text collection of various appropriated slogans from legendary Nike advertising campaigns dating back to the seventies. These are often based on a provocative, socio-political content. Martial and military vocabulary is used, and the language is imperative: Destroy to Create! Following this maxim, I disassemble the Air Max into its leather, foam, rubber and textile parts. Opening the threads and loosening the glued joints becomes a reflection and analysis of the construction and materiality.
„The destructive character knows only one watchword: make room; only one activity: clearing away. His need for fresh air and open space is stronger than any hatred. The destructive character is young and cheerful. For destroying rejuvenates in clearing away the traces of our own age; it cheers because everything cleared away means to the destroyer a complete reduction, indeed eradication, of his own condition. No vision inspires the destructive character. He has few, needs, and the least of them is to know what will replace what has been destroyed.“ (Text excerpt from The Destructive Character, Walter Benjamin, 1931)
Turn Doubt into Belief represents a process of transition and shows the fragments of an Air Max in ambivalent, sculptural form. But this publication is also the script for an experimental film set that takes on the cinematic reproduction of the sneaker.

_957 N°133 Turn Doubt into Belief, 2022

Politics in Art
MOCAK Museum of Contemporary Art in Krakow

29 April 2022 - 26 February 2023

In the past, art served the purpose of bolstering political power –
today it is a tool for questioning and holding authority to account.
Once, artists used their talent to support the political system of the day. Today, they have become perspicacious and critical observers of the political scene and are active participants in opposition.

The relationship between politics and art goes back a long way. For centuries, religion was part of the arrangement; for rulers and politicians it was the means of gaining control over hearts and minds. In some countries – for example Poland and Russia, to name but two – religion continues to back politics, with a doubly demoralising effect.

The exhibition Politics in Art presents – in six sections – the sceptical and critical approach of contemporary artists to the actions of those in power, exposing the artifice and mendacity of political strategies. It demonstrates that in the name of ambition, the desire to remain in power and the feeding of the dictatorial ego, politicians are capable of lying, manipulation and murder. Artists oppose this, both as critics and as soldiers.

Michał Adamski, Paweł Althamer, Andrej Anro, Alpin Arda Bağcık, Mirosław Bałka, Krzysztof M. Bednarski, Marcin Berdyszak, Jerzy Bereś, Andrij Bojarov, Maciej Cholewa, Hubert Czerepok, Edward Dwurnik, Elmgreen & Dragset, Daniił Gałkin, Thomas Galler, Jakob Ganslmeier, Lukáš Houdek, Khaled Jarrar, Hannes Jung, Šejla Kamerić, Allan Kaprow, Dick Higgins, kennardphillipps, Thomas Kilpper, Paweł Kowalewski, Jarosław Kozłowski, Marcin Kruk, Agata Kubis, Michalina Kuczyńska, Tomasz Kulka, Edgar Leciejewski, Alicja Lesiak, Zbigniew Libera, Ella Littwitz, Artiom Łoskutow, Agnieszka Mastalerz, Rafał Milach, Richard Mosse, Tanja Muravskaja, Joanna Musiał, Deimantas Narkevičius, Csaba Nemes, Laura Pannack, Piotr Pawlenski, Beata Pofelska, Wojtek Radwański, Tomáš Rafa, Artūras Raila, Oliver Ressler, Adam Rzepecki,, Bartek Sadowski, Tomasz Sarnecki, Maksim Saryczau, Santiago Sierra, Slavs and Tatars, Ola Sosnowskaja, Paweł Starzec, Stitchit (Rufina Bazłowa & Sofija Tokar ) and Collective, SUPERFLEX, Paweł Susid,, Jason deCaires Taylor, Piotr Uklański, Daniel Warmuziński, Sislej Xhafa,, Ada Zielińska, Dawid Zieliński, Artur Żmijewski

Demonstrations/Manifestations/Riots, 2009-2022

The Drawing Lesson
Museu Molí Paperer de Capellades

June - October 2020

Drawing at its best is not what your eyes see but what our mind understands.

Yamandú Canosa, David Montlleó, Bernat Daviu, Irma Cohen, Aldo Urbano, Francesc Ruiz Abad, Josep Maynou, Javier Peñafiel, Tere Recarens, Javier Arce, Antoni Llena, Miquel Mont, Marc Badia, Rasmus Nilausen i Pere Llobera.
Marthe Bolda (CAM), Barbara Davi (CH); Nils,Lux & Ava Nova (CH), Yuki Ofumura(JP), Iris&Scott King (UK), Dan Perjovschi (ROM), Keren Cytter (ISR), Erich Weiss (B), Thomas Galler(CH), Esra Kayira (TURK), Wieteke Heldens (NL), Marijn Van Kreij (NL), Tin Eitel (D), Leo Copers (B) , Rainier Lericolais(R).


Das Stundenbuch/Very Important Books V.I.B.
Die Lehrerzimmer Kunstbuch Handlung, PROGR Bern

Nov 11, 2019, 18h30

Thomas Gallers künstlerische Praxis kreist um Fragen der medialen Repräsentation, der Autorschaft und des Bedeutungstransfers gefundener Materialien und reflektiert mit einer gesellschaftskritischen Haltung die Erzeugnisse und Phänomene der Massenkultur. Seine Arbeiten basieren auf Sammlungen und Archiven von fotografischen Abbildungen, Videofootage und anderen Dokumenten, welche auf politische, gesellschaftliche und geschichtliche Themen Bezug nehmen.
In Walking through Baghdad with a Buster Keaton Face, 2009, Various Fires and Four Running Boys, 2010, Palm Trees, Sunsets, Turmoil, 2017 und The Tenderness of Wolves, 2018, die alle bei edition fink, Zürich erschienen sind, bezieht er sich auf seine umfangreichen Sammlungen und Bildarchive, die in den einzelnen Publikationen auf ganz unterschiedliche Weise repräsentiert werden. Im Gespräch mit Daria Gusberti geben Georg Rutishauser (edition fink, Zürich) und Thomas Galler Einblick in ihre gemeinsamen Produktionen und erzählen anhand ihrer Bücher über Strategien und Konzepte.

Die Reihe „Das Stundenbuch / Very Important Books“ ist eine Zusammenarbeit der HKB, Fachbereich Gestaltung und Kunst und dem Lehrerzimmer. Am zweiten Montag im Monat stellen eingeladene Künstler*innen eigene Kunstbücher oder Publikationen vor, die sie inspirieren, begleiten & beeinflussen. In unterschiedlichen Formaten vor- gestellt, werden diese mit dem Publikum diskutiert und in einen Zusammenhang mit der eigenen und der allgemeinen Kunstproduktion gestellt.


R_E_Volution 1918/2018 Kunst, Revolution, Evolution, Volution - 100 Jahre, 50 Jahre, heute, morgen, irgendwann - ein Programm
Motorenhalle Dresden

Opening, Nov 8, 2018, 20h
Nov 8, 2018 - March 10, 2019

Curated by Andrea Domesle & Frank Eckhardt

Farid Abu Shakra, Simone Bader, Zbyněk Baladrán, Thomas Baumhekel, Filippo Berta, Mailand, Nin Brudermann, Martin Chramosta, chto delat, Eduard Constantin, Anders Eiebakke, Thomas Galler, Sabine Groß, Igor Grubić, Norbert W. Hinterberger, Ruppe Koselleck, Olga Alia Krulišová, Česká Třebová & Jana Pavlišová, Anton Kuznetsov, Via Lewandowsky, Ariane Littman, Florian Merkel, Csaba Nemes, Beate Passow, Andreas Rost, Maria Safranova, San Donato (Oleg Blyablyas, Alexey Chebykin, Evgeny Umansky), Joachim Seinfeld, Belle Shafir, Ivan Tatíček, Axel Töpfer & Jo Preußler, Zvi Tolkovski, Yury Vassiliev, Martina Wolf, ZIP Group

Als vor rund einhundert Jahren nacheinander und miteinander verschiedenartige Umwälzungen in vielen Ländern und Regionen Europas und im Nahen Osten einsetzten, endete zwar auch der Erste Weltkrieg, gleichzeitig begann aber vielerorts eine Phase teils gewaltsamer Auseinandersetzungen um die Durchsetzung jeweils unterschiedlicher oder antagonistischer Konzepte von Zukunft, deren Aus- und Nachwirkungen wir gegenwärtig wieder deutlicher und sensibler spüren, als wohl noch vor einigen Jahren.
Wie reflektieren heutige Künstler_innen die Auswirkungen jener Ereignisse auf die Gesellschaft und auf die damalige und damit auch auf die heutige Kunst? Was bedeutete damals und vor allem, was können Revolution, Evolution oder Volution heute bedeuten?

25 Years! Shared Histories, Shared Stories
Fotomuseum Winterthur

Opening Oct 19 October, 2018, 18-21h

Oct 20, 2018 – Feb 10, 2019

With works by:
John Baldessari, Lewis Baltz, Becky Beasley, Besma Ben Said, Suky Best, Daniele Buetti, Hannah Collins, Antje Dorn, ETH Zurich Urban-Think Tank, Jan Paul Evers, Valie Export, Nicolas Faure, Hal Fischer, Seiichi Furuya, Thomas Galler, Luigi Ghirri, Nan Goldin, Paul Graham, Tina Hage, Roni Horn, David Horvitz, Peter Hujar, Graciela Iturbide, Paul Albert Leitner, Sherrie Levine, Gordon Matta-Clark, Boris Mikhailov, Mark Morrisroe, Kristina Õllek, Onorato & Krebs, Hirsch Perlman, Walter Pfeiffer, Peter Piller, Max Pinckers, Pipilotti Rist, Guadalupe Ruiz, Adrian Sauer, Bruno Serralongue, Fazal Sheikh, Dayanita Singh, Alec Soth, Joel Sternfeld, Christer Strömholm, Sturtevant, Diana Tamane, Shōmei Tōmatsu, Bertien van Manen, Hannah Villiger, Jeff Weber, Christopher Williams and Bruno Zhu

Selected by:
Laia Abril, Emma Bowkett, Melanie Bühler, Beate Eckhardt, Patrick Frey, Marta Gili, Martin Heller, Rainer Iglar, Nicole Kurmann, Zoe Leonard, Irene de Mendoza, Yann Mingard, Andreas Reinhart, Michael Ringier, Esther Ruelfs, Gudrun Ruetz, Wilhelm Schürmann, Aveek Sen, Shirana Shahbazi, Dorothea Strauss, David Streiff, Jan Wenzel, Trix Wetter, Francesco Zanot, Mara Züst and Nadine Wietlisbach

On reaching our milestone 25th anniversary, here at Fotomuseum we are celebrating this jubilee in images and words. That includes reaching out to those who have accompanied us on our path: artists, photographers, authors and friends alike. 25 individuals at home and abroad will be invited to select their favourite works, or groups of works, from our own collection and to share with us their reasons for that choice – whether some particular esteem, or some personal memory. Every year from 1993 to 2018 represents an important exhibition, an important acquisition or a generous donation that has made its mark on the collection. And so the jubilee exhibition reflects, for once, not a view from within the museum, but an outward view of the wider ramifications of our shared experience.

Week End, 2008, Collection Fotomuseum Winterthur

Accidents Never Happen
Hans & Fritz Nomad, Cluj, Rumania

Opening October 12, 2018, 18h
October 12 – 27, 2018

Location Strada Emil Racoviță 55, Cluj-Napoca 400000, Rumania
Contact Sorana Oltean +40 746 612 383

Erkan Ozgen, Leo Copers, Mona Vatamanu & Florin Tudor, Dan Perjovschi, Olaf Breuning, Richard Fauguet, Marijn Van Kreij Frederik Van Simaey, Marc Badia, Momu & No Es, Nils Nova, Arno Nollen, Esra Kayira, Erich Weiss, Wieteke Heldens, Stefanie Ferraz, Tere Recarens, Thomas Galler, Josh Müller, Gerald Van Der Kaap

«No I don’t believe in luck
No I don’t believe in circumstance no more
Accidents never happen in a perfect world»
Debbie Harry, Blondie

When entering the house of a stranger, one usually does so taking all possible precautions. We ‘re conscious we will invade as a guesta private terrain, a secret atmosphere, filled with memories and souvenirs.
Knowing in advance we probably won’t meet the owner himself, but some strange, provisional guests adds extra suspense and drama to this scenario. The house we visit and his rooms and interiors are thus by art of magic transformed in settings for a particular‘ private’ fiction.

Curated by Erich Weiss

PD0140, Selfportrait, 2017 (after GG Allin)

Notes on the Beginning of the Short 20th Century
Artist House, Tel Aviv

August 30 – September 22, 2018

Simone Bader, Nin Brudermann, Eduard Constantin, Frank Eckhardt, Thomas Galler, Karen Geyer, Anna Jermolaewa, Ruppe Kosellek, Martin Krenn, Jérome Leuba, Mladen Miljanović, Olga Alia Krulišová & Jana Pavlišová, Beate Passow, Jo Preussler & Axel Töpfer, Deborah Sengl, Belle Shafir, Joachim Seinfeld, Zvi Tolkovsky, Martina Wolf, Arye Wachsmuth

curated by Dr. Andrea Domesle and Frank Eckhardt

"Notes on the Beginning of the Short 20th Century" aims to show the historical traces of the First World War in the present, and reflects on our contemporary approach to them. What did that time mean then, what do those long past events mean to us today? What is behind current opinion, and elicits contemporary artistic engagement? How and where is the historical impact tangible in artworks. What are the intentions and the visual politics behind different forms of engagement with the past?
The exhibition pursues the extent to which it is possible for contemporary art between construct, reference and depiction to expand the cultural memory, to correct or even contribute to finding the historical facts. At the same time, the exponents show altered rather than socially compliant images of history, highlighting differences between national narratives about the war and the distinct cultures of commemorating it.

Artist House
9 Alharizi Street
64244 Tel Aviv

Release #78/79_LIVE IN YOUR HEAD
957 Independent Art Magazine

Brigitt Bürgi, Alex Silber Company, Romuald Etter, Thomas Galler, Katrin Keller, Simon Kindle, Natalie Madani, Cat Tuong Nguyen, Anina Schenker, Ruedi Schmidig, Stefan Sulzer, Mahtola Wittmer

Dienstag, 12. Juni ab 18 - 20h
Dorfplatz, 6043 Adligenswil

Mittwoch, 20. Juni, 17.30 - 20h
kleio, Limmatstrasse 204, 8005 Zürich


The Tenderness of Wolves
Eis, Zwoi, Drü, Offspace, Zurich

Book launch
May 9, 2018

May 9-13, 2018
14h - 18h

Eis Zwoi Drü
Badenerstrasse 123a
Im Innenhof
8004 Zürich

The Tenderness of Wolves, published by edition fink, Zurich, edited by Krispin Heé, Samuel Bänziger, Georg Rutishauser and Thomas Galler

This book was made possible by the generous support of Aargauer Kuratorium, Fachstelle Kultur Kanton Zürich and Stadt Zürich Kultur

© 2018 Thomas Galler, the authors and edition fink, Zurich
ISBN 978-3-03746-221-8

Second Nature / Engendered
Gate 3 Gallery, Haifa

Opening February 1, 2018

Anna Witt, Ariel Blitz, Barak Zemer, Hannah Whitaker, Micah Hesse, Noa Yafe, Ohad Benit, Ronny Hardliz, Sharon Fadida, Thibault Brunet, Thomas Galler, Tomer Grinberg

Curator Joshua Simon

Gate 3 Gallery
Shaar Palmer 2, Haifa

Second Nature
International Photography Festival, Tel Aviv-Jaffa

November 23 - December 2, 2017

Anna Witt, Ariel Blitz, Barak Zemer, Hannah Whitaker, Micah Hesse, Noa Yafe, Ohad Benit, Ronny Hardliz, Sharon Fadida, Thibault Brunet, Thomas Galler, Tomer Grinberg

Curator Joshua Simon
Assistant Curator Ariel Blitz

Second Nature is usually taken to mean a quality that has become an ingrained trait. Cultural and biological explanations place the preeminence of the eye at the root of human society's construction of reality. We rely on sight as a second nature with which we discover the world. In recent years, the term Second Nature has also been used in reference to the price that the Earth (״first nature״) pays for the rampant exploitation of natural resources and pollution brought about by the dominance of capitalism (i.e.–second nature). In our current ecological disaster, second nature is given precedence over first nature. The exhibition operates in the interplay between the two meanings of Second Nature, from an awareness to the changes that have taken place in our ways of seeing in the early 21st century, as images broke away from the human eye and became largely invisible. Human sight has turned into a private case of a wider phenomenon – images produced by machines for other machines. We are accustomed to the electronic eye that is used every day in toll roads, packaging, shipping, transporting, industrial production, pharmaceuticals, and electronics. However, beyond security, production efficiency, and ״smart cities,״ the electronic eye is also involved in the process of our recognition – of ourselves and of others, and in the relations between us. With the ubiquitous online use of software like Deep Face and Deep Mask, our sight has become secondary in the description and understanding of the reality in which we operate. A reality in which machines not only take pictures but also see, inevitably alters the way we see the world. The photographers featured in the exhibition Second Nature look at the way we see today, in a reality of seeing and learning by artificial intelligence. And so, when photography itself – as an action and as a way of thinking – changes its identity, images break away from a portrayal of reality and return to their ancient meaning as ״memory images,״ indicating the overriding principle of the system we all live in – Second Nature.

Arab Air Max, 2016

The National Gallery of Kosovo, Pristina

October 10 – November 10, 2017

Erica Scourti, Clare Strand, HAVE IT, Brilant Pireva, Eva and Franco Mattes, Claudia Sola, Dardan Zhegrova, Jeff Guess, Thomson & Craighead, Jordan Tate, Margo Wolowiec, Christopher Meerdo, Oskar Schmidt, Kurshtrim Asllani, Thomas Galler, Anne de Vries, TADI / Sadie Suhodolli, Eliza Hoxha and Alice Pedroletti.

We refer to images, or the act of creating images, to act socially, politically and even privately. As a consequence of the digital age of photography, the way we are involved in image making is continuous:we can confer it a specific professional or artistic function, or embed it in they way we shape our existence.
When digital images are imposing themselves as a visual translation of the self, the understanding of photography is striving to go away from standard representational practices. Images compose a visual timeline, comparable to a textual linear narrative, where the grammar is made of our shopping lists, chats, social media’s comments or work emails.
Although these images are not coherent when considered together and are produced for different reasons, they become knowledge ‘chunks’ thatvisually translate different contexts into what we wish others to think of us. They can therefore be understood as a pictorial alphabet, where the possibilities of communicating are infinite and universal, freed from constraints related to textual translation. The result is a flow of visual forms and meanings that are interchangeable, independently from the situations in which they were generated and consumed.
The 2017 “Gjon Mili” Biennial & Award wants to query this hypothesis; focusing on image-making in the digital era, it wants to test if ‘visual authorship’ today is still associated with holding a specific position through the idea of representation, or rather is about delving into an ever-changing process that never produces a ‘finished’ work to display.
Beyond a classic photographic exhibition, the 2017 “Gjon Mili” Biennial & Award will therefore exhibit an expanded narrative of photography through photo-objects, installations, projections, visual data streams and ‘moving wallpapers’ that will put the curatorial rationale to test, and will engage the audience on a path to discovery, self-reflection and open enquiry about the status of visual culture in the beginning of the 21st century.

Curated by Alfredo Cramerotti

Palm Trees, Sunsets, Turmoil 2017 © Thomas Galler

Rolling Paper N°1 : Salon d'édition
LE BAL, Paris

September 2-3, 2017

Thomas Galler’s Palm Trees, Sunsets, Turmoil comprises almost 1,000 pages of photographs collected from various online platforms such as Flickr, Panoramio and Photobucket. They show, among other scenes, familiar, clichéd sunset scenes; idyllic settings featuring beaches, palm trees and shimmering seas. But this semblance is deceptive. The images don’t stem from dream holiday destinations, but from the military occupation of Iraq (2003–2011) and the war in Afghanistan (from 2001). Taken by soldiers of the occupying armies, reporters and Iraqi and Afghani collaborators, they were published online via private social media accounts. Thomas Galler’s series challenges us to look beyond the boundaries of the visible. Today, images must be viewed with suspicion, no matter how private or innocent they may appear: the political turmoil doesn’t just provide the background (noise) to Galler’s Palm Trees and Sunsets, it forms the necessary condition for any critical consideration of photographic images.

Palm Trees, Sunsets, Turmoil, artist book, 2017 © Thomas Galler & edition fink, Zurich

Fortsetzung folgt. 140 Jahre HSLU D&K
Kunstplattform akku, Emmenbrücke

Davix, Thomas Galler, Lina Müller, Luca Schenardi, Salon Liz

September 2 - October 15, 2017

Palm Trees, Sunsets, Turmoil
Kunstverein Wagenhalle e.V. Stuttgart

July 1, 2017, 19h

Book launch and talk with Lisa Biedlingsmeier, Petra Köhle, Nicolas Vermot Petit-Outhenin and Thomas Galler

«Palm Trees, Sunsets, Turmoil» is based on a collection of photographs compiled and appropriated via image hosting sites, such as Flickr, Panoramio, Imgur, and Photobucket. The photographs relate to the period of the invasion, deployment, occupation, and military intervention – all contrary to international law – of the United States Armed Forces and the British Armed Forces in Iraq (Operation Iraqi Freedom, 2003–2011), as well as during the war in Afghanistan (Operation Enduring Freedom, from 2001), courtesy of ISAF troops in NATO’s anti-terror mission, which in 2015 was carried out under the name Resolute Support and continues to this day. The conflicts come at a time when interactive and collaborative approaches and applications are being developed in technology and communications, establishing new relations between producers and consumers, in which the function and location of sender and recipient is no longer clear. Both conflicts simultaneously persist. With the withdrawal of the occupying armies from Iraq in 2011, the new political administration is falling apart and the country is sinking into the chaos of civil war.
All pictures in this collection were taken by soldiers, mercenaries from private security consulting companies, such as Blackwater Worldwide (today Academi), embedded journalists, and Iraqis and Afghanis who collaborated with the occupying armies, and were published through private accounts on the Internet.

Kunstverein Wagehalle /TAUT
Innerer Nordbahnhof 1
70191 Stuttgart

Palm Trees, Sunsets, Turmoil, artist book, 2017 © Thomas Galler & edition fink, Zurich

The Third Mediterranean Biennale, Sakhnin Valley, Israel

June 29 - Dec 15, 2017

Hamra Abbas, Adel Abdessemed, Rashid Al-Khalifa, Lela Ahmadzai, Hazem Alzoubi, Carlos Amorales, Samar Awadieh, Mahmoud Badarny, Yto Barrada, Avital Bar-shay, Nathalie Bikoro, Daniele Buetti, Jordi Colomer, Burak Delier, Elmgreen&Dragset, Belu-Simion Fainaru, Günther Förg, Thomas Galler, Moshe Gershuni, Tal Granit&Sharon Maimon, Majooda Halabi, Damien Hirst, Jenny Holzer, Pierre Huyghe, Muhammad Kallash, Bouchra Khalili, Lisbeth Kovacic, Jannis Kounellis, Moshe Kupferman, Sigalit Landau, Mohsen Makhmalbaf, Shahar Marcus, Nardina Mugaizel, Şerban Savu, Olivia Mihălţianu, Sener Ozmen, Walid Raad, Pipilotti Rist, Meinrad Schade, Zineb Sedira, Angelika Sher, Sudarshan Shetty, Fiona Tan, Sérgio Téfaut, Cengiz Tekin, Isam Telhami, Lisa Trutman, Yigal Tumarkin, Samira Wahabi, Jola Wieczorek, Kai Wiedenhöfer, Tomasz Wendland, Rui Xavier, Akram Zaatari

Book Launch Brunch
Dorothée Baumann, Benjamin Hugard, Klaus Speidel & Thomas Galler
Centre de la photographie Genève

June 3, 2017, 11.30

On the occasion of CPG Publishing new release, Dorothée Baumann’s «Pleasure Arousal Dominance» (June 2017), the CPG invites you, Saturday June 3, to a Book Launch at 11:30, followed by a brunch, with presentations by Dorothée Baumann, in discussion with Séverine Garat ; Benjamin Hugard and Klaus Speidel who will talk about their publication “Sparkling Past” (RVB Books, 2016), and Thomas Galler for the presentation of his new book “Palm Trees, Sunsets, Turmoil” (edition fink, Zurich, 2017)

Palm Trees, Sunsets, Turmoil, artist book, 2017 © Thomas Galler & edition fink, Zurich

SITUATION #79: Palm Trees, Sunsets, Turmoil
Thomas Galler and Georg Rutishauser in conversation with Jörg Koopmann
Fotomuseum Winterthur

Book launch
Sunday May 7, 2017, 12.30–13.30

Thomas Galler’s Palm Trees, Sunsets, Turmoil is a series of photographs collected from various online platforms such as Flickr, Panoramio and Photobucket. They show familiar, clichéd sunset scenes; idyllic settings featuring beaches, palm trees and shimmering seas. But this semblance is deceptive. The images don’t stem from dream holiday destinations, but from the military occupation of Iraq (2003–2011) and the war in Afghanistan (from 2001). Taken by soldiers of the occupying armies, reporters and Iraqi and Afghani collaborators, they were published online via private accounts. In refraining from explicitly showing the conflict in the images, Thomas Galler’s series challenges us to look beyond the boundaries of the visible. Today, images that appear beautiful and innocent should be viewed with suspicion: turmoil doesn’t just provide the background to Galler’s Palm Trees and Sunsets, it forms the necessary condition for any critical consideration of photographic images.

Palm Trees, Sunsets, Turmoil, artist book, 2017 © Thomas Galler & edition fink, Zurich

Notes on the Beginning of the Short 20th Century
NCCA, National Centre for Contemporary Arts, Kaliningrad

March 1 - April 9, 2017

Simone Bader, Marcin Berdyszak, Nin Brudermann, Martin Chramosta, ETAGE group, Tatiana Fiodorova, Karen Geyer, Ruppe Kosellek, Olga Alia Krulišová & Jana Mořkovská, Jérôme Leuba, Małgorzata Łuczyna & Jacek Złoczowski, François Martig, Mladen Miljanović, Anton Kuznetsov, Yves Netzhammer, Jo Preußler & Axel Töpfer, San Donato group, Deborah Sengl, Joachim Seinfeld, Belle Shafir, Yuri Vassiliev, Martina Wolf

Curated by Frank Eckhardt and Dr. Andrea Domesle

“Notes on the Beginning of the Short 20th Century” aims to show the historical traces of the First World War in the present, and reflects on their treatment. What does that time mean, what do those long past events mean to us? What is behind current opinion, and elicits contemporary artistic engagement? How and where is the historical impact tangible in artworks? What are the intentions and the image politics behind different forms of engagement with the past?

The exhibition pursues the extent to which it is possible for contemporary art — between construct, reference and depiction — to expand the cultural memory, to correct or even contribute to finding the historical facts. At the same time, the exponents show altered rather than socially compliant images of history, highlighting differences between national narratives about the war and cultures of commemorating it.

Cinéma mon amour
Aargauer Kunsthaus, Aarau, Switzerland

January 22 – April 17, 2017

Martin Arnold, John Baldessari, Fiona Banner, Marc Bauer, Pierre Bismuth, Candice Breitz, Janet Cardiff & George Bures Miller, collectif_fact, Tacita Dean, Stan Douglas, Thomas Galler, Christoph Girardet & Matthias Müller, Douglas Gordon, Teresa Hubbard / Alexander Birchler, Samson Kambalu, Daniela Keiser, Urs Lüthi, Philippe Parreno, Julian Rosefeldt, Hiroshi Sugimoto, Sam Taylor-Johnson, Mark Wallinger

Film and art have been inseparably linked since the invention of the medium of film. In January 2017, the Aargauer Kunsthaus and the Solothurn Film Festival are devoting an exhibition (Cinéma mon amour. Film in Art) and a special programme (Art mon amour) to the reciprocal fascination between art and film. During the 52th Solothurn Film Festival from 19 to 26 January, 2017 circa ten Swiss and international films will be shown as part of the Fokus special programme. At the same time, the Aargauer Kunsthaus opens its doors for a 13-week group show featuring works of contemporary artists that deal with film and cinema in a variety of ways.

The exhibition at the Aargauer Kunsthaus shows works of international artists that reflect on various aspects of cinema and filmmaking. Interest in the subject goes well beyond the art form itself, as evidenced by the wide range of media to which the artists resort. Drawing, painting, photography, sculpture and installation are included as well as works of video and film that stand out for their sophisticated forms of presentation. Thematically, the works reflect on film and cinema-related topics: they examine the production processes and conditions of film, take up the language of specific film genres and films or explore issues relating to the distribution of films, their reception and cinema as an institution. And even “by-products” of the motion picture industry, such as screen credits or the movie poster, inspire artistic work as well.

Auswahl 16
Aargauer Kunsthaus, Aarau, Switzerland

December 3, 2016 — January 1, 2017


Palm Trees, Sunsets, Turmoil, 2016, a series of collected jpegs originally taken by soldiers in Afghanistan and Iraq, slideshow, 80 images

Ed Ruscha Books & Co.
Gagosian Gallery, Beverly Hills

July 28 - September 9, 2016

Gagosian Gallery
456 North Camden Drive
Beverly Hills, CA 90210

Various Fires and MLK, 2010, artist book by Scott McCarney & Various Fires and Four Running Boys, 2010, artist book by Thomas Galler

Capsule 2 — Week End
Halle Nord Genève

Vernissage jeudi 9 juin 18h
Du 9 juin au 7 juillet 2016

Le travail de Thomas Galler se nourrit depuis plus de 10 ans de l'imaginaire collectif occidental, et plus particulièrement notre relation trouble à l'iconographie de guerre, de la contre culture et des « people » en convoquant des sources aussi variée que le documentaire, la fiction, les images officielles ou de found footage.
Dans Week End, 2008 (référence au film de 1967 réalisé par Godard fortement marqué par la guerre du Vietnam), Galler s'empare de vidéos réalisées avec leurs portables par des soldats américains mobilisés en Irak et en Afghanistan, durant leur temps libre. Playback de morceaux de Hip Hop, joutes verbales, danses, simulations de rapports de force entre supérieur et simple soldat, défis idiots et autres comportements difficilement interprétables, rythment cette dérive sans but, reflétant un ennui, une latence et un besoin d'affirmer son existence qui touche parfois à une intensité sublime et plus souvent au néant.

En partenariat avec le Centre de la Photographie Genève et dans le cadre des 50 Jours pour la Photographie à Genève

Halle Nord—Capsule 2
1, Place de l'Ile
1211 Genève


Week End, 2008

Le Coeur, Paris

Du 3 au 21 février 2016

Guillaume Airiaud, Remi Amiot, Heddy-John Appeldoorn, Annabelle Arlie, Ruth Barabash, Raphaël Barontini, Vincent Beaurin, Sarah Bedford, Yannick Bernede, Davide Bertocchi, Karina Bisch, Charlie Boisson, Elvire Bonduelle, Fred Bott, Barbara Breitenfellner, Guillaume Bruère, Frédéric Bruly Bouabré, Christophe Brunnquell, Florian Bézu, Damien Cadio, Guillermo Caivano, Nicolas Chardon, Mathieu Cherkit, Claude Closky, Philippe Cognée, Dennis Congdon, Guillaume Constantin, Anne-Lise Coste, François-Xavier Courrèges, Paul Cowan, Thomas Cristiani & Antoine Roux, Andy Cross, Pauline Curnier Jardin, Franck David, Stephen Dean, Plamen Dejanoff, Edith Dekyndt, Emilie Ding, Florence Doléac, Valentin Dommanget, Kaye Donachie, Antoine Dorotte, Luke Dowd, Thomas Dozol, Arthur Dreyfus, Melissa Dubbin & Aaron S. Davidson, Florent Dubois, Chloé Dugit-Gros, Kenny Dunkan, Lisa Duroux, Aymeric Ebrard, Charlotte El Moussaed, Antoine Espinasseau, Camila Oliveira Fairclough, Sylvie Fanchon, Didier Faustino, Ivan Fayard, Olivier Filippi, Ed Fornieles, Samuel François, Erwan Frotin, Galeria Perdida, Thomas Galler, Ryan Gander, Hélène Garcia & Emile Degorce-Dumas, Christophe Gaudard & Hugo Shüwer-Boss, Yves-Noël Genod, Paul-Armand Gette, Paolo Giardi, Nicolas Giraud, Geraldine Gliubislavich, Chad Gordon, Antoine Grulier & Pierre Pauselli, Nils Guadagnin, Andrew Guenther, Neil Haas, Chris Hammerlein, Sebastian Hammwöhner, Swetlana Heger, Lothar Hempel, Uwe Henneken, Kent Henriksen, Christophe Herreros, Patrick Hill, Thomas Hirschhorn, Karl Holmqvist, Christophe Honoré, Nicolas Hosteing, Frédéric Houvert, Pearl C. Hsiung, Nadira Husain, Marcel Hüppauff, Armand Jalut, Charles Jeffery, Scott King, Tarik Kiswanson, Vincent Kohler, Gabriel Kuri, Arnaud Labelle-Rojoux, Clément Laigle, Johan Larnouhet, Matthieu Laurette, Laurent Le Deunff, Mads Lindberg, Brett Lund, Matthew Lutz-Kinoy, Benjamin Magot, David Malek, Natacha Mankowski, Josh Mannis, Barry Marre, Richard Marti-Vives, Leonard Martin, Max Maslansky, Yom Massaloux, Eva & Franco Mattes, Philippe Mayaux, Côme Di Meglio & Elliott Paquett, Keegan McHargue, Taylor McKimens, Charles de Meaux, Emo de Medeiros, Justin Meekel, Mathieu Mercier, Nicolas Momein, Jonathan Monk, Justin Morin, Christian Newby, Cécile Noguès, Vincent Olinet, Tony Oursler, Guillaume Paris, Aurora Passero, Bruno Peinado, Mai-Thu Perret, Gerald Petit, Matt Phillips, Benoit Platéus, Henrik Plenge Jakobsen, Justine Ponthieux, Chloé Quenum, Loïc Raguénès, Brian Rattiner, Werner Reiterer, Muriel Rodolosse, Maxime Rossi, Sylvain Rousseau, Florent Routoulp, Gabriele de Santis, Christophe Sarlin, Hank Schmidt in der Beek, Michaël Sellam, Davina Semo, David Shrigley, Bret Slater, Lise Stoufflet, Veit Stratmann, Jonathan Sullam, Catherine Sullivan, Philippe Terrier-Hermann, Zefrey Throwell, Betty Tompkins, Wilson Trouvé, Morgane Tschiember, Florian Viel, Camille Vivier, Gary Webb, Christoph Weber, Marnie Weber, Cyrille Weiner, Lawrence Weiner, Wendy White, Stephen Wilks, Graeme Williams, Eric Winarto, Guy Yanai, Jason Yates...

Le Coeur
83 rue de Turenne
75003 Paris


7th Cairo Video Festival
Video Art & Experimental Films

December 10 — 25, 2015
Opening on December 10, 2015, 7:30pm, Cinema Zawya

Daily screenings at Zawya Cinema, Institut Français, from 7:30 to 10pm /// Loop Videos Exhibitions, Medrar for Contemporary Art at Contemporary Image Collective (CIC) from 3 to 9pm except fridays

Alpineum Produzentengalerie, Luzern

December 12, 2015 — January 2, 2016
Opening December 12, 2015, 14h

Bar­bara Davi, Tacita Dean, Peter Freiburghaus, Thomas Galler, Rebekka Gnädinger, Colin Guillemet, Vivian Kasel, Nadja Kirschgarten, Marcin Kokoszyn­ski, Karin Lus­ten­berger, Max Mat­ter, Thierry Per­ri­ard, Dieter Roth, Claude San­doz, Lorenz Olivier Schmid, Diana See­holzer, Andri Stadler, Mar­ian Wijn­vo­ord, Edward Wright

Cold. War. Hot. Stars. The Iron(y) Helmet of the Intellect
Corner College, Zurich

A group exhibition with Denise Bertschi, Jackie Brutsche, Thomas Galler, Andreas Glauser, Andreas Marti, Nicolasa Navarrete

Curated by Dimitrina Sevova

December 9, 2015 — January 29, 2016.
Opening on Dec, 9 2015, 19:00

At the opening a reading performance peace pills by Jackie Brutsche and a sound performance signal by BUG (Andreas Glauser and Christian Bucher).

The exhibition Cold. War. Hot. Stars. The Iron(y) Helmet of the Intellect displays a dystopian landscape produced by asymmetric relation of delirious realism and rigorous fiction in the time of global capital, with a certain sense of alienation, coldness and distance. It intensifies these affects and creates a space of reflection and a heterogeneous perceptual field that is simultaneously a close-range haptic space of proximity, on the backdrop of the recent mass media rhetoric announcing a new global crisis in which the world has never been closer to a New Cold War, a security crisis that escalates the fears of a future nuclear “option.” The exhibition inquires into some of these scenarios for the future from the past, and traces various historiographic lines or directions through the artistic practices and art works as seismographs of global social change. They sense the current symptoms “where everything is played in uncertain games, ‘front to front, back to back, front to back …,’ ” as consequences of the politico-social and economic developments after WW II, and the so-called Cold War, a period of propaganda, technologization and militarization of civil life in the competition between Western and Eastern blocs. The segmentary forms of the fight for control and domination altered the North and South lines of longitude and deepened the gap between the so-called Third World and the Western or advanced technological-industrial societies with their current development of a knowledge and service based economy. The exhibition undermines the stereotypes produced by binary abstract machines that overcode the divisions into a homogeneous West and a homogeneous East, into the “rich” North and the “poor” South. It proposes rather other focal points as thresholds to the outside, through which the South can be thought as a new trajectory of knowledge, aesthetics and practices of critique of cultural, ideological and technological hegemony, from which can emerge new lines of resistance and the potentiality of new cooperations, as everybody has their own South with electric palm trees, not only geographic and economic but personal and political, too.
The participating artists, through their practices based on research, appropriation, poetic displacements and personal aesthetic reflections on memory, cognition, attention, mass media, territory and technologies critically interrogate the past/future tensions and give a passage to the present impossibility of isolation through securitization, militarization and ideological separations in order to increase the modes of connection. With the irony of the intellect, which is a qualitative duration of consciousness, the exhibition aims to intensify and empower movements of deterritorialization that fabulate and produce desires to repeat over and over again the melody of The Plastic Ono Band’s Give Peace a Chance, grasped as a cosmopolitical proposal for the upcoming winter – not a military machine, but a mutating living machine on which one can take a flight or just stay in bed.

Sonnenstube, Lugano

December 4, 2015 — January 14, 2016
Opening December 4, 2015, 6pm

Thursday and Friday, from 6pm to 8pm
Saturday, from 2pm to 5pm

Curators: Regaida Comensoli and Sébastien Peter

Jonas S. Baumann, Pauline Beaudemont, Beni Bischof, Oppy De Bernardo, Marco Bongiorni, Audrey Cottin, Luca Frei, Gilles Furtwängler, Thomas Galler, Hayan Kam Nakache & Josse Bailly, Andreas Hochuli, 0100101110101101.ORG, Isabelle Racine & Laura Thiong-Toye, Juice & Rispetta, Camille Le Houezec, Jérôme Leuba, Hektor Mamet, Marius Margot, Damiano Merzari, Jonathan Monk, Gianni Motti, Damian Navarro, Garrett Nelson, Frédéric Post, Nicolas Raufaste, Augustin Rebetez, Maya Rochat, Darren Roshier, Christoph Wachter and Mathias Jud.

The project Cluster gathers more than thirty artists, from various disciplines, to create stickers with two hundred to five hundred printed copies each. The evening of the opening and throughout the duration of the exhibition, the stickers are at the disposal of the public. Integrated in the project, the visitors become vectors of diffusion of the artworks, which can be stuck somewhere in the exhibition space or on various other informal supports. Aim of the exhibition is the creation of objects that spread rhizomatically through the interaction with the public, reaching other places and people. The structure of the project allows the development both of an exhibition the limits of which through space and time cannot be defined, and of an instrument of promotion and cultural mediation between the contemporary art word and new publics. Therefore Cluster involves two major issues of the contemporary artistic production: the relation with the public, with the possibility of integrating it into the creative process, and the development of strategies aiming to go beyond the limits characterizing the spaces designated traditionally to engage with art.

Sticker for CLUSTER from the collection Demonstrations/Manifestations/Riots, 2009-2015

Auswahl 15
Aargauer Kunsthaus, Aarau, Switzerland

December 4, 2015 — January 10, 2015
Opening December 4, 2015, 18h

Andy Athanassoglou, Marilin Brun, Patricia Bucher, Isabell Bullerschen &Félicia Eloise Eisenring, copa et sordes, Regula Dettwiler, Marianne Engel, Dogan Firuzbay, Max Frey, Thomas Galler, Florian Gasser, Cosimo Gritsch, Stefan Gritsch, Michael Günzburger, Roman Gysin, Philipp Hänger, Marc Hartmann, Valentin Hauri, Arnold Helbling, Jan Hofer& Severin Zaugg, Simone Holliger, Thomas Hüsler&Roger Wirz, Nici Jost, Katja Jug, Tom Karrer, Oliver Krähenbühl, Sonja Kretz, Christian Kuntner, Dominque Lämmli, Raphael Linsi, Pascal Marchev, Max Matter, Claudio Moser, Barbara Müller, Roberta Lena Müller, Willi Müller, Ann Nelson, Sadhyo Niederberger, Pat Noser, Tyrone Richards, Lara Russi, Christina Schmid, Lorenz Olivier Schmid, Christian Schoch, Milena Beatrice Seiler, Roman Sonderegger, Mette Stausland, Hansruedi Steiner, Paul Takács, Flurin Tuor, Timo Ullmann, Lukas Veraguth, Rolf Winnewisser, Agatha Zobrist

The Photobook and its Authors
Schweizerische Nationalbibliothek, Bern

November 28, 2015-February 13, 2016

Curated by Susanne Bieri & Nathalie Dietschy

A photobook, as the word suggests it, is a book of photographs. But if this definition looks simple and clear, it actually hides a great variety of different types of photobooks. The exhibition encompasses photobooks from the 1990s onwards, from the very rich collection of the Swiss National Library. It is a selection of books made by Swiss artists or photographers, or released by Swiss publishing houses. The exhibition wishes to show the various relationships between book and photography and is a reflection upon the book as a format and as a medium of creation today, where photography reveals its multiple dimensions.

After "Unikat-Unicum. Artist's Books" (2014), "The Photobook and its Authors" is the second exhibition about artist's books from the Swiss National Library and organized within the research project supported by the Swiss National Science Foundation (SNSF), entitled "Artists and Books (1880-2015). Switzerland as a Cultural Platform".

Palm trees — Sunsets — Turmoil
Bezalel Photography Gallery, Jerusalem

October 21 — November 19, 2015

Bezalel Academy of Arts and Design
Mount Scopus
Weiler building, floors 7-8


RE: Follow-ed (after hokusai)
Cabinet Du Livre D’Artiste, Université Rennes, France

Du 28 septembre au 3 décembre 2015

Cette exposition présentera la collection de Michalis Pichler et Tom Sowden consacrée aux appropriations et/ou hommages aux livres d’Ed Ruscha. Alimentée depuis plusieurs années, elle compte à ce jour près de 400 titres, toute époque et tout pays confondus, témoignant plus que jamais de la fascination suscitée par Ruscha au point de constituer un genre à part entière.

6 Decades Books, Steen Bach Christensen, Victoria Bianchetti, Doro Boehme & Eric Baskauskas, Jeffrey Brouws, Corinne Carlson, Julie Caves, Cathy Davidson, Claudia de la Torre, Eric Doeringer, Sue Doggett, Jeff Eaton, Francis Elliott, Frank Eye, Joel Fisher, Stephen Fowler, Thomas Galler, Dejan Habicht, Karen Henderson & Marla Hlady, Mishka Henner, Taro Hirano, Hiroshige, Katsushika Hokusai, Sveinn Fannar Jóhannsson, Easley Stephen Jones, Hildegard Karnath, Sowon Kwon, Tanja Lazetic, Silvio Lorusso & Sebastian Schmieg, Helena Louro, Michael Maranda, Scott McCarney, John McDowall, Jean-Claude Moineau, Dan Monick, Jonathan Monk, Simon Morris, Bruce Nauman, Heidi Neilson, John O’Brian, Performance Re-enactment Society & Tom Sowden, Michalis Pichler, Tadej Pogacar, Susan Porteous, Henri Rivière, Allen Ruppersberg, Ed Ruscha, Joachim Schmid, Jean-Frédéric Schnyder, Ben Scragg, Yann Sérandour, Travis Shaffer, Matthew Sleeth, Tom Sowden, Derek Sullivan , Yoshikazu Suzuki, Eric Tabuchi, Kazuhide Takada, Elisabeth Tonnard, Louisa Van Leer, John Waters, Hermann Zschiegner and many more…


Various Fires and Four Running Boys, 2010, artist book, edition fink, Zurich

Beyond Borders
Beaufort Triennial, Belgium

June 21 – September 29, 2015

A Dog Republic, Marti Anson, Polly Apfelbaum, Charif Benhelima, Otto Berchem, Marc Bijl, Katinka Bock, Kasper Bosmans, Thorsten Brinkmann, Mariana Castillo Deball in collaboration with Innovando la Tradición, C L A I R E F O N T A I N E, Lucile Desamory, Liesbeth Doms, Matias Faldbakken, Thomas Galler, Pieterjan Ginckels, Pablo Helguera, Cyrus Kabiru, Scott King, Gabriel Kuri, Mark Lombardi, Ingrid Luche, Domenico Mangano, Moondog, Alessandro Pessoli, Falke Pisano, Nicolas Provost, Kelly Schacht, SUPERFLEX, Zhou Tao, Oscar Tuazon, Rinus Van de Velde, Lily van der Stokker, Mark Wallinger

Catalan Pavilion, Anonymous Architect, by Marti_Anson

Bright Shadow
The Morgue, Chelsea College of Arts, London

March 31 – April 4, 2015

Bright Shadow is a video art exhibition that explores how contemporary mass media can manipulate the perception of truth with moving image. Treating the output of moving image, the screen acts as the shadow in Plato’s the Allegory of the Cave. The exhibition showcases artworks that portray the ways knowledge can be presented via moving image in order to shape, alter or commoditize our views.
Bright Shadow offers a global vision towards manipulating knowledge with moving image. It features 8 video artists ranging from international established artists as well as emerging artists in London, including Thomas Galler, Vasilis Karvounis, Billy Ward, Daniel Wechsler, Guli Silberstein, Alper T. Ince, Scott Morrison and Carla Chan.
Mass media tries to control knowledge and information for reasons such as marketing, political propaganda and traditional moral standards. As vividly depicted in Plato’s Cave, mass media feeds a perception of truth to us, where we don’t question and only accept. When confronted by other perceptions of truth, we resist being open-minded and self-deny in order to believe what we’re fed is the only truth.
In response to such a modern version of the allegory, Bright Shadow focuses on the how, along with a spectrum of video artworks that reveal, imitate or escalate the process of manipulating ‘truths’.

Curated by Kyle Chung

The Morgue, Chelsea College of Arts
16 John Islip Street
London SW1P 4JU

On Remote Control – Part 2
Lothringer13 Halle, München

March 20 – June 14, 2015

Luis Berríos-Negrón, Thomas Galler, Oliver Hartung, Eric van Hove, Philip Messner, Andreas Neumeister, Nira Pereg, Sharon Ya‘ari

Elucidating the diversity of the topic, and foregrounding new aspects, positions and regions, part two of On Remote Control is again devoted to the Arab world, with a new set of eight artists. While the first stage focused on military and social issues, the second is dedicated to civil, cultural and scientific influences across the Western and Arabian informed world. In times of proceeding globalisation, foreign lifestyles not only come closer, but converge seamlessly into another context. The subtle transitions between different cultures lead, all too often, to a sceptical view into the distance, trusting common readings and interpretive models. The show is based on the theory and practise of certain ideas, that will be reconsidered in the presented works.
Both Luis Berríos-Negrón and Eric van Hove link folklore to high-tech, thus taking loaded topics from their interpretation into the naive. The West’s monopoly on scientific progress, and simultaneously its power of definition of technology and research, become reversed into mutual exertion of influence and stimulation. Diverging notions of merit and value, different perceptions of exclusivity and handcraft, and a Western claim on sobriety undergo new perspectives. Berríos-Negrón poses the central question: how much we need to see in order to believe it. A question, which not only is relevant to science, but moreover symptomatic in regard to a conflict between the unknown and the familiar. Nira Pereg attends to the answer on two different levels. On the one hand, she demonstrates in her video work a coexistence of two religions, whose realisation seemed barely imaginable based on the current media coverage. On the other hand, Pereg stresses religion’s commonality to visualise belief with decor and furnishing in order to make it perceptible. In their photographic works, Sharon Ya’ari and Oliver Hartung formulate the contrast of holding onto memories and the concurrent urge for persistence and progress. Between fatalism and confidence, which become manifest in the medium of photography as well as in the shown motifs, both artists explore the possibility to create images of reality, which go beyond the politics of the day and at the same time imply their failure. The awareness of a continuous change becomes tangible and something timeless of “too late” or “not yet” determines the timing of the works.
The media and its predominance on meaning and the wide influence of this circumstance are the focus of artists Andreas Neumeister and Philipp Messner. Neumeister, having already pointed out the domination of daily media coverage in text and image in the first part, deepens his examination of the subject and emphasises the momentous appropriation of certain patterns in the news. The constructions of Philipp Messner expand Neumeister’s approach into the three-dimensional space. With his models and their formal execution, Messner highlights the objectification of certain events, exposing structures and connections which stay ignored because of a monotonous repetition. The seductive power of simplification of contexts and the need to hold on to available facts get refused in the interaction of the works from different positions. In this context, Zurich-based artist Thomas Galler reappears a second time and combines the demonstration of visual patterns with an area of conflict between different values of industrial goods, as already noted by van Hove.
On Remote Control 2 centres on ideas which elude an actual experience, but show two oppositional implications: Mistrust of the unknown, which can be followed only vaguely and therefore entails other sources; and antagonism to respecting conceptions we cannot experience, therefore requesting a high level of leeway. With detailed muse, subtle and intertwined narratives, the displays frame a space for these examinations.

Arab Air Max, 2016

Ed Ruscha Books & Co.
Gagosian Gallery, Paris

March 12 - May 7, 2015

“Books & Co.” presents Ruscha’s legendary artist books together with those of more than 70 contemporary artists from all over the world—from Russia to Japan to the Netherlands—who have responded directly and diversely to his inspiration. Some of the books are installed so that viewers can browse their pages.

Participating artists include Amanny Ahmad, Pascal Anders, Edgar Arceneaux, Ben Barretto, Eric Baskauskas, Doro Boehme, Jeff Brouws, Denise Scott Brown, Joanna Brown, Wendy Burton, Corinne Carlson, Dan Colen, Julie Cook, Kim Corbel, Claudia de la Torre, Jen DeNike, Eric Doeringer, Frank Eye, Thomas Galler, Anne-Valérie Gasc, Steve Giasson, Oliver Griffin, Daniel S. Guy, Dejan Habicht, Marcella Hackbardt, Sebastian Hackenschmidt, Karen Henderson, Mishka Henner, Trevor Hernandez, Kai-Olaf Hesse, Marla Hlady, Dominik Hruza, Steven Izenour, Sveinn Fannar Jóhannsson, Gregory Eddie Jones, Rinata Kajumova, Shohachi Kimura, Hubert Kretschmer, Sowon Kwon, Tanja Lazetic, Gabriel Lester, Jochen Manz, Michael Maranda, Scott McCarney, Jerry McMillan, Dan Monick, Jonathan Monk, Simon Morris, Maurizio Nannucci , Bruce Nauman, John O’Brian, Stefan Oláh, Michalis Pichler, Tadej Pogačar, Susan Porteous, Clara Prioux, Joseph Putrock, Hassan Rahim, Achim Riechers, Craig Ritchie, Tom Sachs, Joachim Schmid, Andreas Schmidt, Jean-Frédéric Schnyder, David Schoerner, Yann Sérandour, Travis Shaffer, Izet Sheshivari, Tom Sowden, Derek Sullivan, Yoshikazu Suzuki, Aggie Toppins, Louisa Van Leer, Robert Venturi, and Hermann Zschiegner

Distressed Geometry
Kunstraum Baden, Switzerland

March 8 - April 26, 2015
Opening March 7, 17h

A project by Clare Goodwin, co-curated with Claudia Spinelli

Isha Bøhling, Bianca Brunner, Patricia Bucher, Thomas Galler, Clare Goodwin, Justin Hibbs, Vanessa Jackson, Sophie Michael, Tim Renshaw

Artist/curator Clare Goodwin is interested in using her own practice as a curatorial tool to connect and create dialogues with artists who share her interests. Thus, in dialogue with Claudia Spinelli, she conceived the exhibition «Distressed Geometry», bringing together works that highlight a renewed interest in the significance of geometry and the languages of abstraction to contemporary art practice. Through painting, film-making, wall painting, photography and the use and creation of objects, the artists invited seek to play with the conventions of geometry – poke holes in the 'safety net' to deliver the viewer into less certain territories.

Careof - Milano

in collaboration with Kunstraum Walcheturm, Zurich

20 - 21 febbraio 2015

Yves Netzhammer, Elodie Pong, Sami Eschmann, Thomas Galler, Benny Jaberg, Veli & Amos

Caught in the Crossfire
Guildford House Gallery, GB

January 31 – February 28, 2015

Conrad Atkinson, Banksy, Barnbrook Design, Blek Le Rat, Ian Berry, Thomas Galler, Peter Howson, Al Johnson, John Keane, Peter Kennard, kennardphillipps, Simon Norfolk, Michael Peel, Jamal Penjweny

transmediale, Berlin

January 28 – February 1, 2015

On Remote Control – Part 1
Lothringer13 Halle, München

January 9 – March 8, 2015
Opening January 8, 19h

Thomas Galler / Arwa Al Neami / Andreas Neumeister / The Atlas Group in Collaboration with Walid Raad / Hoda Tawakol

ALTERNATIVE film/video festival
Belgrade, Serbia

December 9 - 13, 2014

New Swiss Works curated by Patrick Huber
Elodie Pong, Sami Eschmann, Thomas Galler, Benny Jaberg, Veli & Amos

Truffes et Trouvailles
Kunstraum Baden, Switzerland

December 7, 2014 - January 18, 2015

Urs Aeschbach, Esther Amrein, Luigi Archetti, Annemarie Auer, Frances Belser, Nicole Böniger, Kathrin Borer, Peter Brunner-Brugg, Marius Brühlmeier, Beat Buri, Sonja Feldmeier, Gabi Fuhrimann, Susanne Fankhauser, Thomas Galler, Emanuel Graf, Patrick Graf, Bob Gramsma, Clare Goodwin, Christian Greutmann, Andreas Hagenbach, Roman Hofer, Andrina Jörg, Gabriele Kulstrunk, Pascal Marchev, Niggi Messerli, Ruth Maria Obrist, Monika Reize, Michael Roggli, Sara Rohner, Ursula Rutishauser, Merhaba Schaich, Esther Verena Schmid, Milena Seiler, Remigius Sep, Roman Sonderegger, Christian Vetter, Cäcilia Warmeling, Paul Takacs, wiedemann/mettler, Andy Wildi, Rolf, Winnewisser, Marianne Wüest, Nicola van Zijl, Beat Zoderer

Auswahl 14
Aargauer Kunsthaus, Aarau, Switzerland

December 6, 2014 - January 4, 2015

Georg Aerni, Anna Andris-Schwindt, Valérie Balmer, Baltensperger + Siepert, Myrien Barth, Nicole Biermaier, Leonie Brandner, Beat Brogle, Christoph Brünggel, Beat Buri, Balz Buri, Marianne Engel, Rita Ernst, Tatjana Erpen, Peter Fischer, Philippe Fretz, Fromherz, Gabi Fuhrimann, Thomas Galler, Florian Gasser, Eva Maria Gisler, Otto Grimm, Stefan Gritsch, Mireille Gros, Camille Hagner, Philipp Hänger, Eric Hattan & Severin Kuhn, Thomas Hauri, Valentin Hauri, Dunja Herzog, Esther Hunziker, koorder, Andreas Marti, Max Matter, Roberta Müller, Claudia und Julia Müller, Ursula Mumenthaler, Sadhyo Niederberger, Lorenz Olivier Schmid, Andreas Seibert, Sandra Senn, Petra Soder, Jürg Stäuble, Mette Stausland, Max Treier, Sabine Trüb, Stefan Wegmüller, Jacqueline Weiss, Renate Wernli, Rolf Winnewisser, Beat Zoderer

Poster 6 & 6
Eden 16, Zurich / The Option Gallery, Lucerne

Karin Müller und Asi Föcker, Henrik Strömberg, Ivan Seal, Nils Nova, Davix, Thomas Galler

Für die Ausstellung Poster 6 & 6 hat die Künstlerin Karin Müller je ein Bild von sechs KünstlerInnen ausgesucht und zu diesen sechs Bildern wiederum sechs eigene. Diese insgesamt zwölf Bilder hat sie als Offset Poster drucken lassen und präsentiert diese als Set.
Bei der Auswahl der Bilder legte sie den Fokus auf Werke, bei denen mit Licht, Abstraktion, Stillleben oder gefundenem Material gearbeitet wurde – Techniken, die in ihren eigenen Arbeiten immer wiederkehren. Somit zeigt sie Parallelen zwischen ihren und den anderen Arbeiten auf, hebt aber durch die Gegenüberstellung gleichzeitig die Anders- und Einzigartigkeit der einzelnen Positionen hervor.
Als Special präsentieren die KünstlerInnen je eine speziell für die Ausstellung entstandene skulpturale Arbeit. Das Interessante dabei: Weil keiner der Teilnehmenden in erster Linie Skulpteur ist, wagen sie sich auf ein für sie neues Terrain. Bei genauerer Auseinandersetzung mit den einzelnen KünstlerInnen wird aber schnell klar, dass die Skulptur bei allen latent oder offenkundig Thema ist.

Die A1 Poster können an den Abenden für 20,- CHF erworben werden.

One night shows:

Fr 14. November 2014,
18 – 21h

Eden 16
Edenstr. 16
8045 Zürich

So 16. November 2014,
18 – 21h

The Option Gallery
Industriestr. 17
6005 Luzern


Hauser Gallery, Zurich

Opening Thursday, September 4, 2014, 18 - 21h
September 4 - October 10, 2014

Cornelia Baldauf, Irene Bisang, Samuli Blatter, Esther Ernst, Thomas Galler, Stefan Guggisberg, Huber.Huber, Isabelle Schiper, Julia Steiner

The group exhibition “The End of the Line” presents nine different perspectives on our world. But there is one thing they have in common: they are drawings - in pencil, colored pencil, charcoal and other materials. Some of the artists stay closer to figurative representations, while others seduce us into fantastical realms and spaces between reality and dreams.

American Soldiers
Hartware MedienKunstVerein (HMKV), Dortmund

August 1 - 31, 2014

Thomas Galler
American Soldiers
CH 2012, Video, 5:22 Min.

In autumn 2003 the US country singer-songwriter Toby Keith released his song American Soldier, which conquered the hearts and charts in his home country. His number one song also reached the war zones in Iraq and Afghanistan where Keith performed to entertain the troops and soldiers watched cover versions posted by fans and relatives on video platforms in support of their loved ones. Galler’s compilation mines the online archive of interpretations of the song, which it assembles into a polyphonic, evocative and highly emotional choir piece.

American Soldiers is composed of a series of cover versions of Toby Keith’s song American Soldier (USA, 2003) performed and uploaded to YouTube by Jeffery, Joe, Zack, Debbie, the Scillan Family, Colin, Patrizio, Tasia, Shanda, Stephany, Kathy and others.

Caught in the Crossfire: Artistic responses to conflict, peace and reconciliation
Stadtmuseum Dresden

July 5 – October 5, 2014

Terry Atkinson, Banksy, Barnbrook Design, Bob Barron, Ian Berry, Blek Le Rat, Muirhead Bone, Iftikhar Dadi, Nancy Davenport, Anthony Davies, Thomas Galler, Ori Gersht, Bita Ghezelayagh, Siobhán Hapaska, Peter Howson, Al Johnson, Ross Jones, Rosie Kay Dance Company, John Keane, Peter Kennard, Kennardphillipps, Eric Kennington, Laura Knight, Langlands & Bell, Nalini Malani, Raymond Mason, Locky Morris, Simon Norfolk, Cornelia Parker, Michael Peel, Jamal Penjweny, Matthew Picton, John Piper, William Roberts, Paul Seawright, Graham Sutherland, War Boutique.

sic! Raum für Kunst, Lucerne
Kaskadenkondensator / Liste, Art Fair, Basel

June 17 - 22, 2014

Togther with 'Nectar artist run space' from Tbilisi, Georgia, sic! Raum für Kunst, Lucerne will be present in Basel during the art fair in June.
Guesting at the Kaskadenkondensator, Team sic! will present a "Shop in Shop". Editions designed by artists with whom they have collaborated over the past eight years will be sold. The prices of these editions will be in a state of constant flux, but the knowledge of how the prices are generated will remain hidden from the public.
For three years, the print publication "Lack/lack" has been published by the small publishing house "Maniac Press". The issue being released to mark the presence at the Liste Art Fair in Basel is a compilation of articles by critics and curators on the subject of art criticism today and in the future.

Editions by Brigitte Dätwyler, Stefan Wegmüller, Karin Lehmann, Thomas Galler, Dominique Koch, Gilles Rotzetter

Tribute to D-DAY 70
Galerie Gilles Peyroulet, Paris

22 mai – 29 juin / 9 – 27 septembre 2014

Richard Parkes Bonington, Gérard Deschamps, Fouad Elkoury, Charles Eames, Thomas Galler, Robert F. Sargent, Photographies d’agences, Peintures anonymes.

Librement inspirée de la célèbre chanson de Frédéric Bérat, ‘J’irai revoir ma Normandie’ (1841), l’exposition se veut, sous ce titre, un hommage au D-DAY en son 70ème anniversaire. Connue et chantée dans le monde entier, cette chanson fut aussi, tel un hymne, entonné par les soldats qui participèrent au débarquement en Normandie le 6 juin 1944.
L’exposition se veut aussi une évocation de la Normandie au travers d’œuvres du XIX ème siècle d’artistes normands ou anglais qui furent séduits par cette région. Enfin, comment ne pas associer Victor Hugo à cette évocation régionale, lui qui restera marqué par le drame de Villequier, qui lui inspirera ces plus vers. Le D-Day (Débarquement du 6 juin 1944) sera présent en photographies avec l’une des images la plus représentative de ce jour réalisée par Robert F. Sargent sur les plages normandes, Into the Jaws of Death ainsi que photographies d’agences de presse américaines de cette période.


Norman died 1944, 2006, installation, postcard blow-up, diptych, c-prints, 86 x 95 / 86 x 33 cm, text, vinyl letters application, installation view Kunstmuseum Luzern

Tales and aesthetics of power in Western electronic music cultures
Le Commun, BAC, Bâtiment d'art contemporain, Geneva

March 21 - April 20, 2014
Opening March 20, 6pm

Curated by Vincent de Roguin and Jérôme Massard

The magnitude of the done and undone perpetual trading between music, power and politics borders on vertigo. Despite a reductive denomination, defining nothing more than the instrumental resource used, the case of the various types of electronic music is eloquent in this regard, and allows for the emerging of many tendencies, consistencies and formulas: a substantial usage of the rallying aspects of sound; the sound modulation of affects; the recurrence of the warlike lexicon and imagery; the military origins of many sound tools; the fictional setting of major socio-political and ecological threats; the authoritarian stage displays; the ritualized gatherings.

By focusing on the various Western electronic music genres, from the second World War onwards, the exhibition points to the underlying polyphony regarding this issue. By means of numerous works and documents (among which records, publications, and posters), the exhibition meanders through a troubled history rooted in the black American culture marked by oppression; in the Italian futurist project that celebrated war and the machines; in the Soviet agitprop vested in state propaganda; in the scientific experiments of the 1940s and 1950s, marked by the traumatic experience of war; in the strategical appropriation, for economic and political purposes, of the artistic progress during the postwar period; and within the context of the international technological competition and propaganda during the Cold War (via the universal and national exhibitions, the emergence of globalised electronic music studios, etc.).

A film program is scheduled on march 21th and april 20th at Cinema Spoutnik at nine o'clock: CROSSROADS & T.G.: PSYCHIC RALLY IN HEAVEN

Conferences: EIMERT REVISITED & SONS, BRUITS & POUVOIRS FIN-DE-SIÈCLE, Conferences given by Vincent Barras Christophe Khim and Thibault Walter on subjects related to the theme of the exhibition will be held at the conference room of the Commun, from April 18 to 20.

Fotomuseum Winterthur

March 8 - August 24, 2014

One element of contemporary photography is a concern for surfaces and the investigation of their supposed smoothness and impenetrability. Swiss photography classes at the Zurich University of the Arts, the ECAL in Lausanne, or HEAD in Geneva have trained a number of artists who, in addition to exploring questions of content, have primarily addressed issues specific to the medium. Have new developments in photography been made due to the digital turn? How is our relationship to the tangible object changing, when photographs are no longer shown in photo albums but as files on screens? From an artistic perspective, does this lead to any conclusions for the future production of works of art? These and other questions are explored in Surfaces, an exhibition of works from the collection of Fotomuseum Winterthur, which includes a dozen current Swiss photographic positions.

Works by Beni Bischof, Stefan Burger, collectif_fact, Cédric Eisenring/Thomas Julier, Matthias Gabi, Thomas Galler, Dominik Hodel, Dominique Koch, Taiyo Onorato/Nico Krebs, Adrien Missika, Nils Nova, Rockmaster K, Shirana Shahbazi, Jules Spinatsch, Herbert Weber

Do you speak touriste? Quand les photographes décodent les clichés
Le Musée d'art de Pully

6 mars - 11 mai 2014

Présentant le travail d’importants photographes contemporains romands ou basés en Suisse romande, l’exposition se penchera sur le détournement par les artistes du vocabulaire et des codes de la photographie touristique : du « clic » du touriste à la carte postale, de l’image d’Epinal au dépliant publicitaire.
En complément à cette présentation, le musée accueille les œuvres des candidats et des lauréats d’un concours photographique organisé en partenariat avec l’Ecole cantonale d’art de Lausanne (ECAL) sur le thème de la photographie touristique, son imagerie – de la rade de Genève au Cervin, en passant par Lavaux – et ses multiples supports.
L’exposition associe ainsi les œuvres de créateurs confirmés et le travail d’artistes en devenir pour mieux questionner les pratiques et les stéréotypes visuels solidement ancrés chez les touristes que nous sommes tous.

Desiderata — New in the Collection
Aargauer Kunsthaus

January 25 – April 21, 2014

The collection of the Aargauer Kunsthaus grows continuously through acquisitions as well as, to no small extent, through generous donations and permanent loans. In this way both outstanding individual works and entire bodies of works have been added to the holdings of the Kunsthaus in recent years. Each of these enriches the collections, enabling new crossreferences between – and unexpected perspectives on – the existing works. The large-scale exhibition Desiderata offers a survey of recent additions. In concise presentations the show carves out the most recent tendencies and developments and contextualizes them both ith regard to other works from the collection and to Swiss art, which is extensively represented at the Kunsthaus. Sprawling three-dimensional installations, a rarely shown artistic genre, are a focus of this exhibition.

Untitled #1, Collection Aargauer Kunsthaus

27. stuttgarter filmwinter
festival for expanded media

January 16 -19, 2014

Shoot the Screen

Opening December 21, 2013, 9pm

An exhibition with screenshots of:
Andy Storchenegger, Chingsum Jessye Luk, CKÖ, Cris Faria, Fabiana de Barros, Gabriele-Juergens & Zilm, huber.huber, Jonas Etter, Linus Bill + Adrien Horni, Livio Baumgartner, Lukas Beyeler, Maya Bringolf, Michael Günzburger, Michael Meier + Christoph Franz, Monika Stalder, Navid Tschopp, Nicolas Duc, Pedro Wirz, Petra Elena Köhle + Nicolas Vermot Petit-Outhenin, Pietro Mattioli, Riikka Tauriainen, Sandra Kühne, Sarah Burger, Sebastien Verdon, Tatiana Arce, Thomas Galler, Urs Steiner, Veronika Spierenburg, Zain Burgess

Albulastrasse 38
8048 Zurich

ALTERNATIVE film/video festival
Belgrade, Serbia

December 10 - 14, 2013

Swiss Made Shorts curated by Kyros Kikos

Truffes et Trouvailles
Kunstraum Baden

Opening November 16, 2013, 17h
November 16 - December 15, 2013

Paul Takacs, Sadhyo Niederberger, Rolf Winnewisser, Gabi Fuhrimann, Daniela Keiser, Esther Amrein, Max Treier, Milena Seiler, Simone Bonzon, Beat Zoderer, Thomas Galler, Huber & Huber, Michael Roggli, Ursula Rutishauser, Remigius Sep, Guido Nussbaum, Marianne Engel, Christian Vetter

Kassel, Germany

November 12 - 17, 2013

Side Dishes
i shine - you shine, Zurich

Opening October 10, 2013, 19h
October 10 - 19, 2013

Franziska Baumgartner, Ramon Feller, Sophie Jung, Françoise Caraco, Livia Di Giovanna, Rene Fahrni, Mia Sanchez, Thomas Galler, Garrett Nelson, Paul Polaris, Nino Baumgartner, Sandro Fiechter, Livio Baumgartner, Matthias Tharang
Curated by Die Diele, Zurich

i shine - you shine
Hohlstrasse 513
8048 Zürich

Skopje, Macedonia

September 27 - 28, 2013


American Soldiers, 2012, video still, American Soldiers features a collection of cover versions of Toby Keith's American Soldier (USA/2003) based on appropriated footage, originally published on YouTube

Schlagt die "Geistig-Politische Wende", wo Ihr sie trefft!
Gitte Bohr c/o West Germany, Berlin

September 18 – 22, 2013

Juan Perez Agirregoikoa (E), Diego Castro (D), Frederik Foert (D), Thomas Galler (CH), Erik Göngrich (D), Uwe Jonas (D), Nicolas Savary & Tilo Steireif (CH), ...

When Helmut Kohl ran for the chancellory in 1980, he proclaimed a "mental and ethical change", meaning a spiritual preparation for the dismantling of the welfare state. In 2010 Guido Westerwelle asked for a "mental and political change", meaning shift towards a more technocratic and minarchic state.
Following the exhibition "Tötet die geistig-moralische Wende" held at WestGermany during the past elections in Germany, Gitte Bohr and WestGermany are planning a new exhibition project, examining the current political culture, on the verge of the German elections in September. The national elections in Germany are thus not only important for us Germans, but against the background of the European financial crisis and austerity politics, the results of the German votes will have a strong effect on the entire European community.
The exhibition deals with images of a changing democratic culture. From the rigour of cold-war Germany, over populism to liquid democracy, the imagery intertwined with political policies is constantly changing, and yet represents nothing but the return of the same old power structures in new shapes.
In response to the elections 2013, Gitte Bohr and West Germany are presenting works about the current visual culture of democracy with a critical view on the representations of opinion making, rituals of campaigning and media coverage, orchestrated with rallies, opinion survey, speeches and stagings, propaganda and votes forecasts.

Gitte Bohr
c/o West Germany
Skalitzer Strasse 133

The Sunset Series – Bright Star
Hauser Gallery Zurich

Opening September 4, 2013
September 5 - October 12, 2013


Shatt Al-Arab, Basra, 2011, from a series of collected photographs from the World Wide Web, originally taken by soldiers in Afghanistan and Iraq

L'art à l'épreuve du monde
DEPOLAND de Dunkerque, France

July 6 – October 6, 2013

L’exposition « L’Art à l’épreuve du monde » est née de la rencontre entre deux collections installées à Dunkerque, celle du Frac Nord-Pas-de-Calais et celle du Laac, avec des œuvres majeures de la collection Pinault, à l’occasion du programme « Dunkerque 2013, Capitale culturelle de la Région Nord-Pas-de-Calais ». Très rapidement, il est apparu que beaucoup d’œuvres de ces collections renvoyaient à la question de l’attitude des artistes à l’égard du sort de l’humanité, en un mot à la question de leur engagement. C’est la force de ce propos qui a convaincu le commissaire de l’exposition, d’ouvrir son choix à d’autres collections de cette Région qui se veut si fortement « Région des musées » et dans le même temps, d’associer à des œuvres contemporaines d’autres œuvres antérieures à la modernité. Il s’agit de marquer ainsi la constance du regard militant des artistes sur la réalité de la vie des Hommes qu’ils souffrent, qu’ils espèrent ou qu’ils combattent et qu’ils acceptent, de cette manière, de devenir les témoins et les acteurs de l’histoire du monde.

Ed Ruscha Books & Co.
Museum Brandhorst, München

June 6 – September 22, 2013

shimmer edition #70

June 2013

Palm Trees, Sunsets, Turmoil
Schaukasten Herisau

May 29 – August 18, 2013

ReCoCo: Life Under Representational Regimes
MoBY: Museums of Bat Yam, Tel Aviv

Opening May 3, 2013
May 4 – August 3, 2013

An exhibition and project curated by Siri Peyer and Joshua Simon

Boaz Arad and Miki Kratsman, Ariella Azoulay, Zanny Begg and Oliver Ressler, Lisa Biedlingmaier, Diego Castro, Köken Ergun, Francesco Finizio, Thomas Galler, Orr Herz and Ira Shalit, Daphni Leef, Hito Steyerl, Roee Rosen, Anna Witt, Hannes Zebedin and the collection of Rudi Maier „Advertising and Revolt“


EMAF European Media Art Festival, Osnabrueck

April 24 – 28, 2013

The MIT Press

In the 1960s and 1970s, the artist Ed Ruscha created a series of small photo-conceptual artist’s books, among them Twentysix Gas Stations, Various Small Fires, Every Building on the Sunset Strip, Thirtyfour Parking Lots, Real Estate Opportunities, and A Few Palm Trees. Featuring mundane subjects photographed prosaically, with idiosyncratically deadpan titles, these “small books” were sought after, collected, and loved by Ruscha’s fans and fellow artists. Over the past thirty years, close to 100 other small books that appropriated or paid homage to Ruscha’s have appeared throughout the world. This book collects ninety-one of these projects, showcasing the cover and sample layouts from each along with a description of the work. It also includes selections from Ruscha’s books and an appendix listing all known Ruscha book tributes.

These small books revisit, imitate, honor, and parody Ruscha in form, content, and title. Some rephotograph his subjects: Thirtyfour Parking Lots, Forty Years Later. Some offer a humorous variation: Various Unbaked Cookies (which concludes, as did Ruscha’s Various Small Fires, with a glass of milk), Twentynine Palms (twenty-nine photographs of palm-readers’ signs). Some say something different: None of the Buildings on Sunset Strip. Some reach for a connection with Ruscha himself: 17 Parked Cars in Various Parking Lots Along Pacific Coast Highway Between My House and Ed Ruscha’s.

With his books, Ruscha expanded the artist’s field of permissible subjects, approaches, and methods. With VARIOUS SMALL BOOKS, various artists pay tribute to Ed Ruscha and extend the legacy of his books.


Ed Ruscha Books & Co.
Gagosian Gallery, New York

March 5 - April 27, 2013

NEW YORK, NY 10075

I want to be the Henry Ford of book making. —Ed Ruscha

Gagosian Gallery is pleased to present an exhibition of Ed Ruscha’s legendary artist books together with books and works of art by more than 100 contemporary artists that respond directly and diversely to Ruscha’s original project. Organized by Bob Monk, “Ed Ruscha Books & Co.” has been drawn from private collections, including Ruscha’s own. Most of the books are installed so that viewers can interact with them and browse their pages.
Inspired by the unassuming books that he found on street stalls during a trip to Europe, in 1962 Ruscha published his first artist book, Twentysix Gasoline Stations under his own imprint, National Excelsior Press. A slim, cheaply produced volume, then priced at $3.50, Twentysix Gasoline Stations did exactly what its title suggests, reproducing twenty-six photographs of gasoline stations next to captions indicating their brand and location. All of the stations were on Route 66, the road mythologized by the eponymous TV series and in John Steinbeck’s The Grapes of Wrath. Ruscha’s book traveled more or less west to east, from the first service station in Los Angeles, where he moved as a young man, back to Oklahoma City, where he grew up.
Initially, the book received a poor reception, rejected by the Library of Congress for its “unorthodox form and supposed lack of information.” However, during the sixties it acquired cult status, and by the eighties it was hailed as one of the first truly modern artist's books. Ruscha followed up Twentysix Gasoline Stations (1962) with a succession of kindred publications, including Some Los Angeles Apartments (1965), Nine Swimming Pools and a Broken Glass (1968), and Real Estate Opportunities (1970), all of which combined the literalness of early California pop art with a deadpan photographic aesthetic informed by minimalist sequence and seriality.
As the prolific and playful examples in the exhibition attest, Ruscha’s artist books have proved to be deeply influential, beginning with Bruce Nauman’s Burning Small Fires (1968), for which Nauman burned Ruscha's Various Small Fires and Milk (1964) and photographed the process. More than forty years later, photographer Charles Johnstone relocated Ruscha's Twentysix Gasoline Stations in Cuba, producing the portfolio Twentysix Havana Gasoline Stations (2008). The most recent homage is One Swimming Pool (2013) by Dutch artist Elisabeth Tonnard, who re-photographed one of the photographs from Ruscha's Nine Swimming Pools and a Broken Glass (1968) and enlarged it to the size of a small swimming pool, consisting of 3164 pages the same size as the pages in Ruscha's original book. The pages of this ‘pool on a shelf’ can be detached to create the life-size installation. Between these early and recent examples are a wealth of responses to Ruscha's ideas by artists from all over the world, gathered here in this celebratory exhibition:

ABC Artists’ Books Cooperative, Noriko Ambe, Edgar Arceneaux, Eric Baskauskas, Luke Batten / Jonathan Sadler (New Catalogue), Erik Benjamins, Victoria Bianchetti, Doro Boehme, Jeff Brouws, Denise Scott Brown, Wendy Burton, Stephen Bush, Corrine Carlson, Dan Colen, Julie Cook, Jennifer Dalton, Bill Daniel, Claudia de la Torre, Jen DeNike, Eric Doeringer, Stan Douglas, Harlan Erskine, Frank Eye, Kota Ezawa, Robbert Flick, Jan Freuchen, Jochen Friedrich, Thomas Galler, Anne-Valérie Gasc, Steve Giasson, Simon Goode, Oliver Griffin, Daniel S. Guy, Dejan Habicht, Marcella Hackbardt, Sebastian Hackenschmidt, Karen Henderson, Mishka Henner, Kai-Olaf Hesse, Taro Hirano, Marla Hlady, Dominik Hruza, Steven Izenour, Sveinn Fannar Jóhannsson, Taly and Russ Johnson, Charles Johnstone, Rinata Kajumova Henning Kappenberg, Jean Keller, Shohachi Kimura, Julia Kjelgaard, Joachim Koester, Sowon Kwon, Tanja Lažetic, Gabriel Lester, Jonathan Lewis, Jochen Manz, Michael Maranda, Scott McCarney, Mark McEvoy, Jerry McMillan, Daniel Mellis, Martin Möll, Dan Monick, Jonathan Monk, Simon Morris, Audun Mortensen, Brian Murphy, Toby Mussman, Maurizio Nannucci, Bruce Nauman, John O'Brian, Stefan Oláh, Performance Re- Enactment Society, Michalis Pichler, Tadej Pogačar, Susan Porteous, James Prez, Clara Prioux, Robert Pufleb, Joseph Putrock, Jon Rafman, Achim Riechers, David John Russ, Mark Ruwedel, Tom Sachs, Joachim Schmid, Andreas Schmidt, Jean-Frédéric Schnyder, David Schoerner, Yann Sérandour, Travis Shaffer, Gordon Simpson, Paul Soulellis, Tom Sowden, Kim Stringfellow, Derek Stroup, Derek Sullivan, Yoshikazu Suzuki, Chris Svensson, Eric Tabuchi, Elisabeth Tonnard, John Tremblay, Marc Valesella, Wil Van Iersel, Louisa Van Leer, Robert Venturi, Reinhard Voigt, Alex Von Bergen, Emily Wasserman, John Waters, Henry Wessel, Keith Wilson, Charles Woodard, Theo Wujick, Mark Wyse, Hermann Zschiegner

“Ed Ruscha Books & Co.” will coincide with the publication of MIT Press's Various Small Books: Referencing Small Books by Ed Ruscha (2013), which documents ninety-one of the books inspired by Ruscha’s own, reproducing cover and sample layouts from each, along with a detailed description. Various Small Books... also includes selections from Ruscha’s books and an appendix listing most of the known Ruscha book tributes.

On March 6, Ed Ruscha will appear in conversation with Paul Holdengräber at the New York Public Library.

Images For Images, Artists for Tichy – Tichy for Artists
GASK – The Gallery of the Central Bohemian Region, Kutná Hora, Czech Republic

April 7 – July 28, 2013

The Tichy Ocean Foundation’s “Artists for Tichy – Tichy for Artists” collection is based on the concept of exchange. Artists from around the world trade their works for the photographs of Miroslav Tichý (1926–2011), who came up with the idea himself. When the Austrian painter Arnulf Rainer visited him in Kyjov in 1992, Tichý refused to sell him any of his works, but he had nothing against trading. Thus was born an extensive collection whose works have one thing in common: They were all traded by artists who admire not only Tichý’s work, but also his attitude of not seeking out public recognition but listening only to his obsessions and will to create. Tichý has become an artists’ artist.

Exhibition curator Zdenek Felix writes: “The exhibition at GASK provides a systematic overview of the current state of the Tichy Ocean Foundation collection, while also offering a concentrated look at contemporary developments in international art. On display are works by more than 100 artists from Europe and America working with a diverse range of media including photography, installations and conceptual art, or text. It includes such well-known names as Hans Peter Feldmann and Thomas Ruff from Düsseldorf, Richard Prince and Alex Katz from the United States, Fischli/Weiss from Switzerland, and Araki and Hirakawa from Japan. Czech artists include Zbyněk Baladrán, Jiří David, Jitka Hanzlová, Krištof Kintera, Eva Koťátková, Jiří Kovanda, Helena van der Kraan, Dominik Lang and Václav Stratil. It is without a doubt an important cross-section of international art from the past thirty years.”

The exhibition is accompanied by an extensive scholarly publication with texts by curator Zdenek Felix, author Bazon Brock, Noemi Smolik, Cora Waschke and Roman Buxbaum. Each artist is given a separate section accompanied by selected reproductions of works. This Czech/English catalogue is intended as a kind of encyclopedia of contemporary international art and as a guide for exhibition visitors.

Caught in the Crossfire: Artistic responses to conflict, peace and reconciliation
The Herbert, Art Gallery & Museum, Coventry

Opening January 24, 2013, 6.30pm
January 25 – July 7, 2013

Terry Atkinson, Banksy, Barnbrook Design, Bob Barron, Ian Berry, Blek Le Rat, Muirhead Bone, Iftikhar Dadi, Nancy Davenport, Anthony Davies, Thomas Galler, Ori Gersht, Bita Ghezelayagh, Siobhán Hapaska, Peter Howson, Al Johnson, Ross Jones, Rosie Kay Dance Company, John Keane, Peter Kennard, Kennardphillipps, Eric Kennington, Laura Knight, Langlands & Bell, Nalini Malani, Raymond Mason, Locky Morris, Simon Norfolk, Cornelia Parker, Michael Peel, Jamal Penjweny, Matthew Picton, John Piper, William Roberts, Paul Seawright, Graham Sutherland, War Boutique.

Herbert Art Gallery & Museum
Jordan Well

Die Diele, Zurich

Dec 23, 2012 - Jan 6, 2013
Opening Dec 22, 2012, 5pm

Nino Baumgartner, Anja Braun, Jonas Etter, Dominic Fiechter & Madeleine Stahel, Sandro Fiechter, huber.huber, Livia di Giovanna, Thomas Galler, Michael Günzburger, Sandra Kühne, August, Nicolas Vermont Petit-Outhinen & Petra Köhler, Livio Baumgartner, Karin Schuh, Lorenzo Salafia, Veronika Spierenburg, Karin Lehmann, Martin Möll, Ernestyna Orlowska, Costa Vece, Niklaus Wenger

Die Diele
Sihlhallenstrasse 4
CH-8005 Zurich

@ BLOWUP Albulastrasse 38 Zurich

Saturday, Dec 15, 2012

Adam Broomberg & Oliver Chanarin, Ana Roldan, Athene Galiciadis, Aurelio Kopaining, Benjamin Egger, Céline Peruzzo, Chris van der Kaap, Claudia Comte, Ckolektif, Corina Künzli & Mühlethaler Siebdruck, Cris Faria, Daniel Karrer, David Renggli, Garrett Nelson & Silvan Hillmann, Gregory Polony, Jiajia Zhang, Johannes Gees, Marvin Zilm, Marcel A. Reimer, Mariano Gaich, Michael Etzensperger, Michael Meier & Christoph Franz, Nick Waplington, Niklaus Rüegg, Nuri Koerfer, Pascal Häusermann, Pascal Schwaighofer, Pedro Wirz, Peter Tillessen, Pietro Mattioli, Raphael Langmair, Seline Baumgartner, Thomas Galler, Thomas Julier, Urs August Steiner, Veronika Spierenburg, Virginie Yassef

Fotomuseum Winterthur at Paris Photo

November 15 - 18, 2012, Grand Palais

Cut&Paste, the presentation from the Fotomuseum Winterthur collection developed for Paris Photo, addresses a significant strategy used by contemporary photographers and artists since the 1970s: the appropriation of found photography footage. This includes archival material, especially from the mass media, as well as material borrowed directly from the history of photography. Here artists switch roles, acting as moderators, interpreters, and curators. They challenge the notion of “originality” and of the “author,” intervening in the rapidly developing public visual spaces that are created, communicated, and consumed in enormous amounts. They shift images and attitudes in order to offer new possibilities of understanding in the resulting fissures.

The exhibition Cut&Paste examines appropriation art from the 1970s into the present, with works by Kristleifur Björnsson, Hans-Peter Feldmann, Thomas Galler, Guerilla Girls, Annette Lemieux, Sherrie Levine, Mike Mandel/Larry Sultan, Remy Markowitsch, Nils Nova, Peter Piller, Martha Rosler, Elaine Sturtevant, and Zoe Leonard.

16th International Short Film Festival Winterthur

November 6 - 11, 2012

American Soldiers will be screened in the Swiss Competition section.
Thursday Nov 8, 19.30, Casino Theatersaal & Friday Nov 9, 22.00, Theater Winterthur

ACHTUNG?! – respect, control, change
Fotodoks, Festival for contemporary documentary photography
Münchner Stadtmuseum

October 17 - November 25, 2012

Die Diele, Zurich

August 30 - September 23, 2012
Opening August 29 2012, 6 pm

Die Diele
Sihlhallenstrasse 4
CH-8005 Zurich

Printed Matter, Inc., New York

July 14 - September 29, 2012

Printed Matter, Inc.
195 Tenth Avenue
New York, NY 10011

Printed Matter is hosting an ambitious instore exhibition entitled HELP/LESS, organized by artist Chris Habib. The store-wide show includes over 200 works that explore the fluidity of authorship in artists’ books and multiples. A program of hands-on workshops and other events will take place during the exhibition.
Including original artworks, book objects, prints and a tremendous selection of artists’ books, HELP/LESS looks to the various modes and methods of appropriation in contemporary art, including: plagiarism, re-authorship, identity subversion, copyism, substration, redaction, curation from the Commons, collective authorship, forgery, theoretical translation, narrative appropriation and reprography. The books gathered in the show represent many of the significant works that have, by choice or not, framed the conversation about fair use, derivation and the nature of contemporary practice. In the spirit of the books, ephemera and multiples it presents, HELP/LESS re-considers the exhibition space as an object to upset. It considers its viewers and featured artists accomplices.

The exhibition includes books and other works by: 38th Street Publishers, Kathy Acker, Todd Alden, Greg Allen, Amanda Andersen, Conrad Bakker, Fiona Banner, Judith Barry, Fred Benenson, Harvey Benge, Bernadette Corporation, Jen Bervin, Mike Bidlo, Scott Blake, Christian Boltanski, William Boyd, Bertolt Brecht, Marcel Broodthaers, Stephanie Brooks, Patrick Cariou, Sean Joseph Patrick Carney, Mary Ellen Carroll,Maurizio Cattelan, Marc Camille Chaimowicz, Paul Chan, Clem Chivas, Anne Collier, Diego Cortez, Peter D’Agostino, Anita Di Bianca, Rutherford Chang, Joshua Deaner, Eric Doeringer, Thomas Dworzak, Laura Edbrook, Sam Falls, Hans Peter-Feldmann, Bettina Funcke, Thomas Galler, General Idea, Crispin Hellion Glover, Kim Gordon, Dan Graham, Wade Guyton, Shuruq Harb, David Hammons, Matthea Harvey, Kismaric Heifer, Hester Barnard, Matthew Higgs, Antonia Hirsch, Misha Hollenbach, Stuart Home, Ciprian Homorodean, Glenn Horowitz, Jonathan Horowitz, David Horvitz, Khaled Hourani, Marc Hundley, Jamison Flint, William E Jones, David Jourdan, Steve Kado, Mike Kelley, Brian Kennon, Martin Kippenberger, Joseph Kosuth, Margia Kramer, Tuli Kupferberg, Hyo Kwon, Tanja Lazetic, Antoine Lefebvre, Sherrie Levine, Hanna Liden, Tan Lin, Michael Lobel, Nate Lowman, Sarah Lüdemann, Katou Malou, Nathaniel Matthews, Adam McEwen Jonathan Monk, Simon Morris, Bruno Munari, Bruce Nauman, Olaf Nicolai, Abner Nolan, Soner Ön, Yoko Ono, Denis Oppenheim, Asher Penn, Stephen Perkins, Tom Phillips, Michalis Pichler, Sigmar Polke, Barbara Pollock, Bern Porter, Seth Price, Manny Prieres, Richard Prince, Rob Pruitt, Lee Ranaldo, Gerhard Richter, David Robbins,Torbjorn Rodland, Ed Ruscha, Jonathan Safran Foer, JD Salinger, Joachim Schmit, Andreas Schmidt, Jonathan Seliger, Cindy Sherman,Brian Singer, Leah Singer, Smile Magazine, Dash Snow, Valerie Solanas, Buzz Spector, Chelsea Spengemann, Klaus Staeck, Dan Starling, Superflex, Triin Tamm, Hank Willis Thomas, Mungo Thomson, Visitor, Kara Walker, Kelley Walker, Lawrence Weiner, Werkplaats Typografie, Dirk Westphal, Jocko Weyland, Ofer Wolberger, Christopher Wool, Yes Men, Paul Zelevansky and others.


with contributions by åbäke, Anu Vahtra, Astrid Seme, Corner College, Eric Hattan, Gallery Factory, Gavin Wade, Hilde Meeus, James Langdon, Janna Meeus, mk2, Na Kim, OZ, Paul Cox, Sasa [44], Silvia Bächli, Specter Press, Thomas Galler, Thomas Geiger, Triin Tamm, workroom, Yair Barelli
edited and published by Na Kim

ISBN 978-90-802700-6-0

International Experimental Film & Video Festival, Zurich

May 26 - June 3, 2012

VIDEOEX at Kunstraum Walcheturm
Kanonengasse 20
CH-8004 Zurich


Stack of Books, Gregory Polony & Thomas Galler, publication II, published by Le Foyer, Gabrielle Schaad & Gioia Dal Molin, Zurich, May 2012


March 14 - 21, 2012

artespace Lessing1, Zurich

March 9 – April 4, 2012
Opening March 9, 2012, 6pm

Thomas Galler, Haus am Gern (Barbara Meyer Cesta / Rudolf Steiner), Christina Hemauer + Roman Keller, Sandra Kühne, Anne Lorenz

artespace Lessing1
Lessingstrasse 1-3
8002 Zurich

Grösser als Zürich - Kunst in Aussersihl
Helmhaus Zürich

Feb 24 - April 22, 2012

222 künstlerische Beiträge aus dem Kreis 4 in der Ausstellung mit Lesungen, Referaten, Diskussionen, Filmen, Performance und Konzerten
Kuratiert von Silvio R. Baviera, Michael Hiltbrunner und Guido Magnaguagno

Yuri A, Hans Aeschbacher, Domenico Angelica, Ian Anüll, Luigi Archetti, Nadja Athanasiou, Bastien Aubry, Bruno Augsburger, Charlotte Bachmann / Elizabeth Frey / Milena Wayllany, Michael Baviera, Peter Baviera, Silvio R. Baviera, Vincenzo Baviera, Simon Beer, Marina Belobrovaja, Michael Blättler, Roman Blumenthal, Hannes R. Bossert, Bettina Browar, Anton Bruhin, Hannes Brunner, Stefan Burger, Jürg Burkhart, René Burri, Sandra Capaul, Françoise Caraco, Daniel Casparis / Niccolò Castelli, Flavia Caviezel, Carolina Cerbaro, Teresa Chen, Kristina Comiotto, Stéfanie Marie Couson, Bice Curiger, Nora Dal Cero / Alexandra Eichenauer, Hans Danuser, Trudi Demut, Mo Diener, Andreas Dobler, Dr. Frog, Maurice Ducret, Max Dudler, Edition Populaire, Verena Eggmann, Heinrich Eichmann, Nik Emch, Peter Emch, Lisa Enderli, Esther Eppstein / Serge Pinkus, Marc-Antoine Fehr, Cristina Fessler, Elisa Frauenfelder, Barbara Frei / Martin Saarinen, Max Frei / Alf Hofstetter (Alma), Urs Frei, Katrin Freisager, Evita Galanou / Thomas Wollenberger, Thomas Galler, Pier Geering, Karl Geiser, Monica Germann / Daniel Lorenzi, Daniel Glaser / Magdalena Kunz, Marcus Gossolt / Johannes M. Hedinger (COM&COM) Gabrielle Grässle, GRRRR, Rahel Grunder, Co Gründler, Eduard Gubler, Ernst Gubler, Max Gubler, Alis Guggenheim, Colin Guillemet, Karl Guldenschuh, Michael Günzburger, Thomas Haemmerli, Marianne Halter, Richard Hartwell, Peter Hauser, Andrea Heller, Nicole Henning, Linda Herzog, Olivia Heussler, Andreas Hofer, Susanne Hofer, Gottfried Honegger, Berndt Höppner, Theo Hotz, Felix Stephan Huber, Markus Huber / Reto Huber (huber.huber), Tom Huber, Christiane Hummel, Daniel Robert Hunziker, Christoph Hüppi, Schang Hutter, Ikou Tschüss, Roland Iselin, Nicola Jaeggli, Marthe Kauer, Max Keller, San Keller, Kurt Kleinert, Knapp daneben, Denise Kobler, Sarah Kreuter / Urs Lehmann, Isabelle Krieg, Kueng Caputo, A. C. Kupper, Gottlieb Kurfiss, Eva Kurz, Labyrinthplatz Zürich, Aude Lehmann, Micha Lewinsky, Carl Leyel, Beatrice Liaskowski, James Licini, Dominique Lieb, Richard Paul Lohse, Peter Lüem, Valentin Lustig, Claude Lüthi, Urs Lüthi, Lutz & Guggisberg, Georgette Maag, Nina Mann, Manon, Ursula Markus, Andreas Marti, Zeljka Marusic, Carlos Matter, Enrico Mattioli, Silvio Mattioli, Svetlana Mazoulevskaja, Dieter Meier, Michael Meier, Daniel Meili / Bruno Lötscher, Regula Michell, Mickry 3, R. Mond, Clement Moreau (Carl Meffert), Andrea Muheim, Victorine Müller, Müller Sigrist Architekten AG, Fredi M. Murer, neu & c me, Heinz Niederer, Cat Tuong Nguyen, Thomas Ott, Katja Peter, Judith Peters, Peter Phillips, Livio Piatti, Pipifax, Jessica Pooch, Walter Ramseier, Philipp Ramspeck, Giuseppe Reichmuth, David Renggli, Paul Riniker, Pipilotti Rist, Ursula Rodel, Ursina Gabriela Roesch, Ana Roldán, Chantal Romani, Romero & Schaefle Architekten AG, Ugo Rondinone, Corina Rüegg, Niklaus Rüegg, Runzelstirn & Gurgelstøck, Eliane Rutishauser, Judith Rutishauser, Elena Rutmann, Alex Sadkowsky, Stefan Sadkowsky, Samir, Yvonne Scarabello, Ursula Schertenleib, Anka Schmid, Talaya MH Schmid, Peter Schweri, Margareth Schwyter, Kerim Seiler, Susanne Seiler, Martin Senn, Shirana Shahbazi, Paul Sieber, Sebastian Sieber, Barbara Signer, Nadine Spengler, Willy Spiller, Peter Spillmann, Hans Staub, Walter Arnold Steffen, Peter Stiefel, Denis Stoffner, Ana Strika, Marion Strunk, Klaus Tinkel, Tor 14, Varlin (Willy Guggenheim), Costa Vece, Veli & Amos, Till Velten, Verdorbene Jugend, Karl Viridén + Partner, Peter Volkart, Maya Vonmoos, Susann Walder, Eva Wandeler, Meret Wandeler, Achmed von Wartburg, Walter Wäschle, Annekäthi Wehrli, Karlheinz Weinberger, Werner Wollenberger, Margot Zanni, ZanRé, Christa Ziegler, Nicola van Zijl, Zaccheo Zilioli, Daniel Zimmermann, Silvie Zürcher, Andreas Züst

Helmhaus Zürich
Limmatquai 31
8001 Zürich

Lost Weekend
sic! Raum für Kunst, Luzern

October 13 - November 5, 2011
Opening October 8, 2011, 6 pm

A newspaper will be published to accompany the exhibitionin in collaboration with Amanda Haas and Diego Castro / Galerie Gitte Bohr, Berlin

sic! Raum für Kunst
Sälistrasse 24
6005 Luzern

The Uncanny Familiar . Images of Terror
C/O Berlin, International Forum for Visual Dialogues

September 10 - December 4, 2011
Opening September 9, 2011 . 7 pm

"The games must go on!" Avery Brundage . IOC President . 1972
"Show you’re not afraid!" Rudolph Giuliani . Mayor of New York . 2001

A masked man looking over a balcony. An airplane flying into a skyscraper. Hearing these descriptions, we immediately picture the scenes in our minds. We know exactly what events are meant. Pictures possess a tremendous power. Not only do they capture the decisive moment; they also influence public discourse, demanding reflection and response. Particularly after catastrophes and traumatic events, the ubiquity of the images makes the events themselves seem omnipresent, inescapable. Pictures of terror have an enormous, enduring power that holds the viewer in its thrall. They burn themselves deep into our collective memory. The exhibition The Uncanny Familiar curated by C/O Berlin examines the meaning of photography in our contemporary visual culture by exploring the visual processing of images of terror in recent decades. The events in Munich in 1972 and in New York in 2001 establish the temporal framework for the exhibition. Through the artistic confrontation with these events, political images are called into question; and the archival images presented lay bare the construction and illusion of photography.

This exhibition was organized to commemorate the tenth anniversary of September 11, 2001, and is curated by Felix Hoffmann for C/O Berlin. It features approximately 200 works from Spiegel magazine’s photographic archives and around 30 artists, including Thomas Hoepker,Dennis Adams, Michal Kosakowski, Coco Kühn, Fiorenza Menini, Thomas Galler, Thomas Ruff,Simon Menner, Peter Piller, Christoph Draeger, Thomas Hirschhorn, G.R.A.M., Walid Raad, Gael Peltier, Naeem Mohaiemen, Michael Schirner, Sarah Charlesworth, Mikael Mikael, Robert Boyd, Johan Grimonprez, Luuk Wilmering, Pascale Couvert, Natalie Czech, Reymond Depardon, Michael Schäfer, Marc Volk, and Malte Wandel.

What is the logic behind the use and dissemination of pictures in our modern media culture? Has the digital age heralded in a new kind of terrorism aimed at capturing the public attention? When does an event take on global im- portance and how strong a role do the media play in conditioning and synchronizing such events? Often it is only by confronting the images of terror that the structure and function of the journalistic photograph becomes evident. The media’s images of terror were and are more than mere depictions of situations or events beyond themselves, or pic- tures that simply document occurrences. They do more than simply convey meanings through their unique aesthetic properties. They are pictures with the capacity to shape reality.
The historical starting point for the exhibition is the attack of a Palestinian terrorist commando on the Israeli delegation to the twentieth Summer Olympic Games in Munich. There, for the first time ever, a terrorist act took place before the rolling cameras—and thus before the eyes of the world. The live television broadcasting of the events brought about a quantitative change in terror, transforming it into a strategy of mass communication. The staging of the scene thus became part of the terrorist act. In the modern media society, the image is both weapon and goal. And it is just a short path from the representation of the terrorist act in the image to the image as the act in itself.

The attacks of September 11, 2001—the most photographed and filmed event in media history—represent an extreme example of how terrorist visual events are cultivated. In line with their inherent logic of exploitation, the global mass media began right away, on the day of the attack, to repeat the same few images and sequences in endless loops, thus fixing them permanently in the media landscape. Here, the terrorist strategy of seeking to reach the wi- dest audience possible enters into a symbiotic relationship with the capitalist strategy of exploiting the possibilities of the mass media. The media inevitably become collaborators—mediators between terrorists and the public.
Despite the deluge of images, there were only around 30 photographs that appeared on the front pages of newspa- pers and magazines worldwide. Similarly, the images shown on television were always the same videos repeated in endless loops. The international concentration of and collaboration among photo agencies reduced the variety of images further. Years later, only five to ten images remain in collective memory. This reduction of the media’s coverage of the event to only a few image types is characteristic of the ways that the media deal with terror. Historical images are quoted, and new images become icons and media archetypes. As a result, the basic patterns of these images appear “uncannily familiar” to all of us. Through this sense of the familiar, the horror that bursts in on everyday life, resonating throughout the social system, becomes tangible. The familiarity of the incomprehensible—a feeble attempt at action in the face of helplessness.

A catalog will be published by Walther Koenig to accompany the exhibition. C/O Berlin will also be hosting a diverse program of events including a film series, lectures, and a symposium.

C/O Berlin, International Forum for Visual Dialogues
Oranienburger Str 35/36
10117 Berlin

Sarajevo Film Festival

July 22 - 30, 2011

Out of Storage / Provisoire et définitif

Opening June 25, 2011, 15:30 pm
June 25 – Dec 18, 2011

Out of Storage is a cooperation of Marres, FRAC Nord-Pas de Calais, H+F Collection, Belvédère Development Group Maastricht and the Municipality of Maastricht, and is financially supported by VSB Fund, SNS REAAL Fund, Elisabeth Strouven Foundation and the Province of Limburg.
Out of Storage offers a glimpse of the dynamics within a collecting art institute and reveals functions that usually take place behind closed doors. The visitor can take several routes through the exhibition, allowing him to share the view of diverse experts in order to gain insight into the various functions of FRAC Nord-Pas de Calais, such as restoration, education, research and presentation.
The collection of FRAC Nord-Pas de Calais is one of the most important collections of contemporary art in France and consists of approximately 1,500 works, of which hundreds will be shown in Maastricht. The collection includes works from movements such as Arte Povera, Minimal Art, Conceptual Art, New Realism, Pop Art and Fluxus. Out of Storage also includes works that are generously made available from the H+F Collection. Spearhead of the collection policy of director Hilde Teerlinck is the acquisition of socially engaged art, which encourages reflective thought and the development of a critical attitude.
Guus Beumer is the initiator of Out of Storage and director of Marres, Centre for Contemporary Culture. He is also the commissioner of the Dutch Pavilion during the Venice Biennale. Hilde Teerlinck is curator of Out of Storage and director of FRAC Nord-Pas de Calais.

Vito Acconci, Pawel Althamer, Carl Andre, Micol Assaël, Atelier van Lieshout, Ralph Ball, Robert Barry, Walead Beshty, Joseph Beuys, Marc Bijl, Bless, Alighiero Boetti, Christian Boltanski, Cosima von Bonin, Sergey Bratkov, Marcel Broodthaers, Elina Brotherus, Stanley Brouwn, Daniel Buren, Victor Burgin, Tom Burr, James Lee Byars, André Cadere, Maurizio Cattelan, Guy de Cointet, Anne Collier, Hanne Darboven, Philippe Decrauzat, Jessica Diamond, Marcel Duchamp, Simon Dybbroe, Møller Matias Faldbakken, Dan Flavin, Nicolas Floc'h, Claire Fontaine, Maddalena Fragnito de Giorgio, Thomas Galler, Piero Gatti, General Idea, Isa Genzken, Liam Gillick, Jack Goldstein, Rodney Graham, Daiga Grantina, Joachim Grommek, Marti Guixé Roca, Raymond Hains, Isabell Helmerdinger, Georg Herold, Prudencio Irazabal, Peter Joseph, Donald Judd, Gerald van der Kaap, On Kawara, Annette Kelm, Anna Klamroth, Wolfgang Laib, Bertrand Lavier, Ange Leccia, Sol LeWitt, Klara Liden, Erik van Lieshout, Richard Long, Antonia Low, Ken Lum, Gordon Matta-Clark, Paul McCarthy, Catherine Melin, Mathieu Mercier, Philippe Meste, Boris Mikhailov, Mike Mills, Olivier Mosset, Matt Mullican, Masato Nakamura, Maurizio Nannucci, Deimantas Narkevicius, Maxine Naylor, Cady Noland, Ahmet Ögüt, Sarah Ortmeyer, Cesare Paolini, Blinky Palermo, Steven Parrino, Philippe Parreno, Mathias Poledna, Julien Previeux, L.A. Raeven, Gerhard Richter, Torbjorn Rodland, Allen Ruppersberg, Kelly Schacht, Sebastiaan Schlicher, Collier Schorr, Michael Scott, Maarten Seghers, Bruno Serralongue, Frederik van Simaey, Taryn Simon, Hedi Slimane, Andreas Slominski, Florian Slotawa, Daniel Spoerri, Simon Starling, Superflex, Mika Tajima, Franco Teodoro, Rirkrit Tiravanija, Gavin Turk, Dahn Vo, Martin in't Veld, Michel Verjux, Jacques Villeglé, Barbara Visser, Mark Wallinger, Andy Warhol, Lawrence Weiner, Jens Wolf, Christopher Wool, Margot Zanni, Rémy Zaugg, Lorana Zilleruelo

Stücke des Widerstands - Pièces de résistance
Motorenhalle, Projektzentrum für zeitgenössiche Kunst, Dresden

Opening May 27, 2011, 8pm
May 28 – July 9, 2011

Akademia Ruchu, PL | Die Planung / A Terv, H/D | Angela Lubic, D | Bettina Pousttchi, D | Calin Dan, NL | Ciprian Muresan, RO | Csaba Nemes, H | Else Gabriel, D | Erik Dettwiler, CH | Gintaras Makarevicius, LT | Ion Grigorescu, RO | Jirí Kovanda, CZ | Kristina Leko, HR | Marina Gržinic & Aina Šmid, SLO | Martin Krenn, A | Mona Vatamanu & Florin Tudor, RO/CH | Nina Höchtl, A | Oliver Ressler, A | Silke Wagner, D | Siniša Labrovic, HR | Thomas Galler, CH | Zbynek Baladrán, CZ

Adlergasse 14
01067 Dresden

ReCoCo: Life Under Representational Regimes
Kunsthalle Exnergasse, Wien

Opening May 11, 2011, 7pm
May 12 – June 18, 2011

Boaz Arad & Miki Kratsman (IL), Ariella Azoulay (IL), Lisa Biedlingmaier (CH), Diego Castro (D), Köken Ergun (TR), Francesco Finizio (USA/F), Thomas Galler(CH), Roee Rosen (IL), Anna Witt (A), Hannes Zebedin (A)
The collection of Rudi Maier (D) as revolution turns - ads & revolt
Curated by Siri Peyer and Joshua Simon

Resignation, conspiracy and corruption (ReCoCo), have become the ways in which we understand and narrate politics. ReCoCo - Life Under Representational Regimes comes at a time of shared understanding that the political devices that have been established since the beginning of modern democracy, namely those of liberal democracies, are in a deepening crisis, especially since the collapse of the Soviet Block.
For the majority today, political agency takes its form as resignation, political truth arrives in the shape of conspiracy theories and governance is synonymous with corruption. As we are subjected to a politics of representation in two ways—one is the system of political representation (parliamentary regimes) and the other is that of the representation of politics (through the media), we find ourselves to be both the sovereign ("The people") and the audience of spectators ("The viewers"). This dual status produces a series of paradoxes: political resignation becoming a new form of agency; ignorance becoming our political knowledge; passivity turning to be our political activism.
In these post-democratic times, under the rule of Capital's technocratic Fascisms, a form of conspirative knowledge has emerged and we find ourselves reading images from the media—photos, captions, headlines, and news stories—in a paranoid way. The 24/7 live catastrophe on the news networks produces a constant disbelief. The same questions arise over and over: where did this image come from? Who brought it to my knowledge? Why am I seeing this?
ReCoCo - Life Under Representational Regimes answers to the discursive explosion of conspiracy theories, which stems from a widespread re-visioning of liberal politics. ReCoCo is a term through which we can look at the construction and organization of various political concepts of representational regimes: transparency and media, spectatorship and sovereignty, censorship and hegemony and citizenry.
ReCoCo - Life Under Representational Regimes puts these forms of knowledge and power, and the aesthetic economies that they produce in negotiation with artistic practice. This, at a moment of enhanced ornamentalisation of the classical political gestures of sovereignty—a rococo of those tropes (hence the echoing of term in the title). The exhibition brings together contemporary works that engage with questioning truth regimes and representational governments, experimenting with the performance of representations and the inactivity embedded in contemporary parliamentary systems, exploring spectacle and conspiracy, political spaces of appearance and political resignation, corruption and governance, the death of journalism and the rise of new non-representational forms such as wikileaks and live TV.

Währinger Straße 59
1090 Wien

Small Fires
Sint-Lukasgalerie, Brussels

Opening, April 28, 2011, 18h
April 29 - May 28, 2011

Edward Ruscha (USA), Bruce Nauman (USA), Jonathan Monk (UK), Superflex (DK), Keren Cytter (IL), Thomas Galler (CH), Reynold Reynolds (USA), Rosemary Laing (AUS), Ariel Schlesinger (IL), Leo Copers (B), Erich Weiss (B)

Sint-Lukasgalerie Brussel
Paleizenstraat 70
B-1030 Brussels

Blumen und Perlen
Kunstraum Baden

Opening, April 27, 2011, 18h
April 28 - June 26, 2011

Thomas Galler, Mireille Gros, Cécile Hummel, Oliver Lang, Ruth Maria Obrist, Sara Rohner, Christian Vetter

Kunstraum Baden
Haselstrasse 15
Bahnhof West
5400 Baden

Week End
Galerie Gitte Bohr, Berlin

Opening March 24, 2010, 19h
March 25 – April 16, 2010
Thursday-Saturday, 14h-18h

Gitte Bohr präsentiert in einer Einzelpräsentation Arbeiten Schweizer Künstlers Thomas Galler. Das Werk des in Zürich lebenden Künstler operiert mit visuellen Strategien informationeller, propagandistischer und militärischer Bilderzeugung. Es setzt sich hier insbesondere mit Ikonographien und Repräsentationen des Konflikts auseinander: Bilder von Aufständen und Krieg treffen auf propagandistische Bildproduktion und polizeiliche sowie militaristische Ästhetik. Thomas Galler setzt diese Bilder durch seine Form der Präsentation erneut Konfliktsituationen aus, welche sich auf den Betrachter übertragen.
Die Akkumulation von Bildmaterial, sei es ausgeschnittenes Bildmaterial aus Zeitungen, das Galler zu mitunter reichhaltigen Sammlungsblöcken zusammenträgt, oder aber als Fundstücke ähnlich zu charakterisierende, vom Künstler neu angeordnete Videosequenzen, werden durch Auswahl und Zusammenstellung zu komplexen Gefügen, deren Aussage explizit, jedoch nicht implizit, beim Betrachter erst entstehen müssen. Sie fordern den Betrachter nicht nur auf, sich mit dem Gesehenen zu beschäftigen. Die Virulenz der Bilder in ihrer Ansammlung drängt sich dem Betrachter auf. Zu aufgeladen sind die Bilder, als dass sie einen kalt liessen. Zu sperrig, als dass man umhin könnte, sich als Betrachter ihnen gegenüber zu positionieren.
So zeigt Galler in der Videoarbeit Week-End einen Zusammenschnitt aus Videofragmenten, in denen sich im Irak oder in Afghanistan stationierte US-Truppen in ihrer Freizeit bei Männlichkeitsritualen filmen. Ohne direkt darauf zu verweisen, sorgt Galler qua Dekontextualisierung dafür, das Wesentliche an diesen Bildern wachzurufen: Es handelt sich um Selbstinszenierungen junger Männer, die fernab der Kampfhandlungen mit grenzwertigem Spiel, eine Aura der Entmenschlichung als noch kommendes Schicksal der jungen Soldaten und als Essenz des Krieges erahnen lassen. Inwiefern diese Selbstinszenierung sich von Repräsentationen von Folter und Gewaltexzessen, wie wir sie aus Abu Ghraïb kennen, strukturell unterscheiden, ist eine Frage die sich aufdrängt.
So erinnert Week-End in gewisser Weise an die in Michail Romm's aus Dokumentarmaterial zusammengestellten Filmessay Der gewöhnliche Faschismus von 1965, aufgeworfene Frage, warum gewöhnliche junge Menschen durch ideologische Indoktrination, durch autoritäre Strukturen und durch die Erfahrung des Krieges schlechthin, zur Unmenschlichkeit fähig werden. Denkt man an die Fotos aus dem Foltergefängnis in Abu Ghraïb, in denen eine zierliche US-Soldatin, nackte Gefangene erniedrigt und foltert und dabei stolz auf den Fotos posiert, bleiben diese Bilder ihrem Charakter nach nichts anderes als jene, die russische Soldaten während des sogenannten Russlandfeldzuges bei Deutschen Soldaten fanden: Junge Männer posierend vor von Ihnen getöteten Zivilisten, in der Hauptsache Frauen, Greise und Kinder, misshandelt und grausam zugerichtet.
Gallers Arbeit Week-End geht indes subtiler mit dieser Frage um. Ohne das Grauen zu zeigen, erfasst den Betrachter der Schauer vor dem was da noch kommen mag und von dem wir annehmen müssen, dass es die Abscheu überschatten wird, die sich in uns angesichts des ostensativen Machogehabes und der geballten Dummheit der Bilder vielleicht entwickelt.
Thomas Galler's Arbeit zeigt aber auch, wie soziale Medien die repräsentatorische Alleinherrschaft und Informationshoheit der Allianzen aus Staat, Militär und Massenmedien unterminiert. In Zeiten des Regierens im Bildraum (vgl. Tom Holert) hat die Demokratisierung des Bildes durch zum Beispiel soziale Medien neue Fronten gebildet: Während das Militär mit inflationärer Produktion von Bildern und der Unterdrückung von nicht-opportunen Bildinformationen reagiert, untergraben sogenannte Whistleblower bewusst, unbedarfte Bilderproduzenten vielleicht unbewusst, die Autorität der offiziellen Bilder. Der Kampf um die Bilder hat die Zuordnung der Wahrheit erschwert und einen Zustand kollektiven Misstrauens geschaffen. Die Frage, wie wir dennoch angesichts von Opfer- oder Täterbildern zu einem Konsens kommen können (wie Susan Sontag es in Regarding the Pain of Others beschreibt), wird durch dieses Misstrauen bedingt.
Denn auch davon spricht Week-End: Wie wird unser Denken über das Gesehene durch unser Wissen, bzw. Unwissen über die Herkunft der Bilder konditioniert? Sind die Bilder, die Galler zusammengetragen hat, Teil einer konspirativen und schwer zu durchschauenden Manipulation? Und schon misstrauen wir den Emotionen, die wir angesichts der Bilder haben, die uns der Künstler vorsetzt. Ist unser Lachen, unser Zorn, unser Mitgefühl, unsere Begeisterung oder unsere Abneigung gerecht? Begegneten uns diese Bilder, in der vorliegenden Zusammenstellung auf einem Kanal bei YouTube, so würden wir eventuell abwinken und keinen Gedanken an den Wahrheitsgehalt verschenken. Aber auch das ist bei Galler ein Bestandteil des dekontextualisierenden künstlerischen Gestus:
Indem wir es als Kunst betrachten, verdächtigen wir (als Kinder der Aufklärung) das künstlerische Bild, Wahrheit freizulegen. Diese Erwartung wird jedoch insofern enttäuscht, als dass der Künstler hier kein Postulat subjektiven Wahrheitsempfindens darbietet, sondern die Frage nach der Wahrheit, die der Betrachter dem Kunstwerk stellt, beantwortet, indem er durch das Werk die Beantwortung der Frage an der Betrachter zurück delegiert. Und das ist keineswegs künstlerische Aporie, sondern ein klarer Auftrag an den Betrachter.
Thomas Galler, geboren 1970 in Baden, CH, hat bildende Kunst an der HGK Luzern studiert. Sein Werk wurde in zahlreichen Ausstellungen international gezeigt und ist vielfach ausgezeichnet worden, u.a. 2009 mit dem Manor Kunstpreis oder dem Eidgenössischen Kunstpreis. Gitte Bohr präsentiert die erste kleine Einzelpräsentation von Thomas Galler in Berlin. DC.

Galerie Gitte Bohr
c/o West Germany
Skalitzer Strasse 133

follow-ed (after hokusai)
P74 Gallery, Ljubljana, Slovenia

March 11 – April 3, 2011

follow-ed (after hokusai) is an exhibition curated by Michalis Pichler and Tom Sowden, featuring conceptual artworks, which for the most part use photography, the book form, and are somewhat ruschaish.

The assembly attempts to span a larger arc of tension, integrate Ruscha’s own books and put him into a evolution line in particular with the publications of Hiroshige and Hokusai, whose titles show great parallels in rhythm and use of numeric and vague enumerations (e.g. SEVEN ASPECTS OF THE ACTOR, FIFTYTHREE STATIONS OF THE TOKAIDO, FOUR SAMURAI FAMILIES, THIRTYSIX VIEWS OF MT FUJI, ONE HUNDRED VIEWS OF MOUNT FUJI, UNUSUAL VIEWS OF FAMOUS BRIDGES IN VARIOUS PROVINCES).
The missing link could be Yoshikazu Suzuki’s GINZA HACCHO, buildings on Ginza, Tokyo, published as an accordion foldout book – in 1952, hence preceding Ruscha’s Sunset Strip for 13 years- in the same street-view-style which was for very long considered essentially Ruscha.
Another missing link could be Henri Riviere’s Thirtysix Views of Eiffel Tower, one of the first western explicit paraphrases of Hokusai`s Thirtysix Views of Mount Fuji, that by now has been ‘redone’ dozens of times, both by Japanese and international artists.

The show is traveling to Winchester Gallery (University of Southhampton), Gallery P74 (Ljubljana), Arnolfini (Bristol, UK) and other places.
On occasion of the openings different new bookworks will be launched Cover of Crackers, by the Performance Reenactment Society (PRS) at Arnolfini and SIX HANDS AND A CHEESE SANDWICH by Michalis Pichler (featuring an excessive after-ruscha bibliography) at Gallery P74.

With works from: David Abbott, Anonymous, Edgar Arceneaux, Frans Baake, Steen Bach Cristensen, Jill Ballard, Victoria Bianchetti, Doro Boehme & Eric Baskauskas, JeffreyBrouws, Stephen Bush, Corinne Carlson & Karen Henderson & Marla Hlady, Lin Charlston, Bill Daniel, Natalie Daves, Cathy N. Davidson, Adam & Kate Davis, Jen Denike, Eric Doeringer, Sue Doggett, Lee Duegyoung, Frank Eye, Hans-Peter, Feldmann, Joel Fisher, Rafael Flichman, Stephen Fowler, Jan Freuchen, Thomas Galler, Anne-Valérie Gasc, Kate Glicksberg, Dejan Habicht, Sebastian Hackenschmidt & Stefan Oláh, Marcia Hafif, Mishka Henner, Taro Hirano, Hiroshige, Katsushika Hokusai, Dominik Hruza, Easley Stephen Jones, Rinata Kajumova & Achim Riechers, Hildegard Karnath, Gandha Key, Tanja Lažetić, Jonathan Lewis, Jochen Manz, Michael Maranda, miss read, Jonathan Monk, Simon Morris, Audun Mortensen, Angel Morua, Dan Murphy, Toby Mussman, Bruce Nauman, John O’Brian, Michalis Pichler, Adrian Piper, Tadej Pogačar, Susan Porteous, Jon Rafman, Lee Really, Performance Re-enactment Society (PRS), Henri Riviere, Henri, Ed Ruscha, (solo, with & Lawrence Weiner & with Mason Williams & Patrick Blackwell) Patrick, Tom Sachs, Ari Salomon, Jeremy Sanders, Joachim Schmid, Jean Frederic Schnyder, Yann Serandour, Travis Shaffer, Matthew Sleeth, Thomas Sowden, Gary Starks, EF Stevens, Derek Sullivan, Yoshikazu Suzuki, EricTabuchi, Kazuhide Takada, Erik Van der Weijde, LouisaVan Leer, Sam Venables, John Waters, Roger Zelazny, Hermann Zschiegner

P74 Gallery
Prušnikova 74
Ljubljana, Slovenia, 1000

Why do you resist? Forms of Resistance in Contemporary Art
Arsenal Gallery, Bialystok, Poland

Opening 10 February, 2011
11 February - 6 March, 2011

Arsenal Gallery in Bialystok
ul. Mickiewicza 2
15-222 Bialystok

Zwischenlager / Ankäufe der Stadt Zürich 06-10
Helmhaus, Zurich

Opening 10 February, 2011
11 February - 10 April, 2011

Helmhaus Zürich
Limmatquai 31
8001 Zürich

ReCoCo — Life Under Representational Regimes
White Space, Zurich

An exhibition project curated by Siri Peyer and Joshua Simon

Boaz Arad & Miki Kratsman, Ariella Azoulay, Diego Castro, Francesco Finizio, Thomas Galler, Roee Rosen, Anna Witt, Hannes Zebedin & the collection of Rudi Maier: So geht Revolution – Advertising & Revolt

Opening February 4, 2011
5 - 26 February, 2011

Militärstrasse 76
CH-8004 Zürich

The Right to Protest
Museum on the Seam, Jerusalem

Opening October 14, 2010
October 14, 2010 - October 1, 2011

Museum on the Seam
4 Chel Handasa st.
Jerusalem 91016

Kunstmuseum Bern & Zentrum Paul Klee, Switzerland

October 15, 2010 - February 20, 2011
Opening: Thursday, October 14, 2010, 6:30 pm

Kunstmuseum Bern and Zentrum Paul Klee will devote a comprehensive exhibition to the seven deadly sins, targeting a fitting documentation of artistic preoccupation with this theme from medieval times to the present. The exhibition will address the relevance of the notion of sin in contemporary society and how our culture justifies changes in values..


October 13-17, 2010

Impakt Festival Utrecht

Werkleitz, Centre for Media Art, Halle (Saale), Germany
October 12–17, 2010

The international film programme will present current and historical films from all genres (feature film, documentary film, experimental film, animation, but also ephemeral films like adverts, educationals or propaganda). The programme will describe a line from macro sociological fears (like in politics, economics and wars) to micro sociological fears (like family, gender, body, psyche, illness, death) and investigate the interwovenness of social and individual fears.
Angst in der Schwarzen Schachtel (Fear in the black box) will be curated by Marcel Schwierin (Berlin) and guest curator Brent Klinkum (Caen).

Press Art - Sammlung Annette und Peter Nobel
Museum der Moderne, Salzburg

July 3 - October 24, 2010

Museum der Moderne
Mönchsberg 32
A-5020 Salzburg

Pori Art Museum, Finland

June 11 - September 5, 2010

Zbynek Baladrán, Rebecca Bournigault, Thomas Galler, Fabrice Gygi, Thomas Hirschhorn, Alexey Kallima, Jiri Kovanda, Martin Krenn, Kristina Leko, Lucas Lenglet, Jérôme Leuba, Gintaras Makarevicius, Bettina Pousttchi, Oliver Ressler, Slaven Tolj, Mona Vatamanu & Florin Tudor, Costa Vece.

The younger generation of artists has in recent years once again begun to analyse the structures of power, while discussion of the forms of resistance has become one of the main themes of artistic practice. But what does power mean to this generation? Many artists focus on governmental power and its systems, and on political trends on a more general level, but also on the effects of globalisation, racist beliefs and the reality of migration. Artists are interested in how such issues are addressed by governments or the bodies of the European Union, how they wield power that they only understand as an administrative instrument. The WHY DO YOU RESIST? exhibition focuses on works from the topical field of international contemporary art, works that use available media with the purpose of making visible control mechanisms, structures of power and representation.
Curators: Andrea Domesle, Michal Kolecek & Pia Hovi-Assad. Produced in cooperation with: Kunstmuseum Thun, Kunsthalle Palazzo, Liestal, Switzerland.

28100 PORI, Finland

CAN, Le Centre d’Art Neuchâtel, Switzerland

4 JULY - 11 JULY 2010
Opening: Monday 5th July at 7 pm at Jardin Anglais, Neuchâtel
With a fantastic performance of DOMENICO BILLARI!

Video art presented by the CAN at the NIFFF (Neuchatel International fantastic film festival, 10th edition)

Fantastic is always looking, in a more or less obvious way, the offbeat effect, which prevents a rational resolution of h(H)istory by disturbing the vision of reality. The galloping vertigo of the global era is strong in the surrealist chaos effect. Video takes note of, diffuses and especially differs images sometimes going as far as expressing saturation. Today, where quotations are practiced in an unconscious manner, are the subtle effects of offbeat, which are so popular in fantastic as a deconditioning force, still effective?
The CAN is pleased to present a series of recent video installations by contemporary Swiss and foreign artists in the perimeter of the festival: 3 videos by day/night / 2 artist performances during the festival / free entrance.
Programmed by Marie Villemin & Marie Léa Zwahlen

37, rue des Moulins
CH-2000 Neuchâtel