84
Kilian Rüthemann Works and Shows July 2012
Kilian Rüthemann
Works and ShowsJuly 2012
Kilian Rüthemann
Room for Milk2013
Kilian Rüthemann
Room fro Milk2013
Room for milk2013
polyurethan foam
10 partseach 160 x 180 x 200 cm
Haus Konstruktiv, Zürich. 2012/13
photo: Gunnar Meier, Stefan Altenbur-ger
Kilian Rüthemann
Room for Milk2013
Kilian Rüthemann
Linger! (3)2012
Kilian Rüthemann
Linger (3)2012
Linger (3)2012
4 piecessteel sheet (0,8mm)
each 375 x 250 x 7.5cm
«La Jeunesse et un art», Kunsthaus Aarau, 2012
Kilian Rüthemann
Linger (3)2012
Kilian Rüthemann
Untitled2012
Kilian Rüthemann
Untitled2012
Untitled2012
cotton, bitumen paint
each 240 x 175 cm
Made in situ using a white piece of fabric whose back is covered with a black bitumen paste that glues it to the exhibition wall. One part got stripped off the wall and left.
arteBA, Buenos Aires, RaebervonSteng-lin, Zurich. 2012
Kilian Rüthemann
Untitled2012
Kilian Rüthemann
Linger!2012
Kilian Rüthemann
Linger!2012
Linger!2012
steel sheets, paint (three parts)
8mm x 250 x 320 cm
The Glasgow Festival of International Art, David Dale Gallery, Glasgow, 2012
Kilian Rüthemann
Linger!2012
For this exhibition, Rüthemann has created a large-scale installation: Linger!, which parodies the structural framework of the gallery space. Rüthemann’s new work mimics and emphasises the division of the gallery space by the architecturally integral steel girders. Reminiscent of Richard Serra’s «One ton prop» or «Fulcrum», the work denies these references by eschewing its own materiality, instead acting more like paper buckling under its own weight and the implied weight of its support. «Linger!» draws the viewer in through an altered perception of space and follows a narrative of dissolution that underpins the imper-manence of construction.
Kilian Rüthemann
New Paintings2011
Kilian Rüthemann
New Paintings2011
New Paintings2011
styrofoam, pitumen paint
280 x 160 x 7 cm (New Painting (1))230 x 330 x 7 cm (New Painting (2))
Made in situ using two white styrofoam boards, whose backs are covered with a black bitumen paste that glues them to the corner-stand walls. Each board was moved — one vertically, one hori-zontally — smearing the bitumen, then remain stuck pristinely in place
Frieze Art Fair, London, RaebervonSten-glin, Zurich. 2011
photo: Mark Blower
Kilian Rüthemann
New Painings2011
[…] The bituminous paste is used both as a glue of the assumed paintings as well as the paint itself. All this happens not on the front of the board rather on the back of it and aside on the walls. The surface of the styrofoam will not be touched but kept clean and white. What makes it an elegant and formally minimal assemblage is the pure simpli-city of the act and the accuracy of how the poor materials have been brought into a strong shape. Still, the artist or at least the person who made the installation will allways be present in the work.
The two artworks question not only painting itself by using a cheap material like styrofoam, call it paintings and present them canvas-like. The question of «how to hang a painting» goes into a field of «how to install an artwork» in general and that for goes into the field of the highest interest of the artist KR. His works often combine the two issues of creating art and postitioning it in the artspace into one single act. The same will happen in the installation «New Paintings» for Frieze Frames. The works will be made directly in situ and have to be fully destroyed after the show but can be remade when- and wherever it makes sens to do so.
Kilian Rüthemann
Untitled2011
Kilian Rüthemann
Untitled2011
Untitled2011
fur, bitumen paint
135 x 115cm
A rectangular piece of fur gets dipped in a black bitumen paint. It’s placed by throwing it through the room onto the floor.
«A clock that runs on mud», Group-show curated by Jennifer Teets, Galeria Stereo, Poznań. 2011
photo: Mateusz Sadowski
< Tania Pérez Córdova, Things above the ground / Things below the ground, 2011. Kilian Rüthemann, Ohne Titel, 2011.
Kilian Rüthemann
Untitled2011
Kilian Rüthemann
Sticks and Trees2011
Kilian Rüthemann
Sticks and Trees2011
Sticks and Trees2011
aluminium, paint
10 x 10 m
Two aluminum poles are placed in an Apple tree. The exact same constella-tion of the poles appears in the most similar tree just next to the first one.
Bex & Arts Triennale, Bex. 2011
Kilian Rüthemann
Sticks and Trees2011
Kilian Rüthemann
Untitled2011
Kilian Rüthemann
Untitled2011
Untitled2011
Jeans, bitumen paint
120 x 45cm
A pair of jeans gets dipped in a black bitumen paint and glued with the back to a architectonic protrusion or into a corner.
Liste 16, RaebervonStenglin, Basel, 2011 Rua Madalena Projects, Lissabon, 2011
Kilian Rüthemann
Untitled2011
Kilian Rüthemann
Ressource2011
Kilian Rüthemann
Ressource2011
Ressource2011
concrete, 5500 x 950 x 38 cm
A tube releases concrete continually by moving along the surface of a public place.
«Gasträume – Kunst im öffentlichen Raum», Sigi-Feigel-Terrasse, Zurich. RaebervonStenglin, Zurich. 2011
Kilian Rüthemann
Ressource2011
Kilian Rüthemann
Target as Fronside2011
Kilian Rüthemann
Target as Frontside2011
Target as Frontside2011
216 glass-cylinders, lacquered inside, acrylic glue
340 x 310 cm
Fluorecent tubes are glued to the wall and got smashed later with a hammer.
«Target as Frontside», RaebervonSten-glin. 2011
Kilian Rüthemann
Target as Frontside2011
Target as Frontside takes its title from a text by the electronic music com-poser and theorist Dick Raaijmakers, whose scientific yet poetic thought experiments profoundly influence Rüthemann’s work. The phrase comes from Raaijmakers 1984 work METHOD and summarises an attempt to under-stand the way in which humans inter-act with the world through their use of tools, arriving at the conclusion that the person who ‘moves’ a thing or thought toward a ‘target’ can only ever see it from its frontside, for ‘… it will turn with him and follow him constantly with its frontside: like a lion following the hun-ter with his head.’ The works at Raeber-vonStenglin explore this relationship between movement and agency, allo-wing simple actions to invoke narratives of dissolution and decay thus testify-ing to the transience of all things. Two ‘sheets’ of white cement will lie on top of each other in the front room of the gallery, their exact dimensions relaxed into a soft formation due to the ways in which they have been released from their casts. In the back gallery another work will present approximately 180 fluorescent bulbs affixed to a wall and then smashed, forming an incandescent monument to fragility. Through their use of individual components to create injured shapes, such works convey the delicacy of relationships, sublimating functionality into feeling.
Auszug aus dem Pressetext von Gair Burton
Kilian Rüthemann
Untitled2011
Kilian Rüthemann
Untitled2011
Kilian Rüthemann
Untitled2011
Untitled2011
white concrete
800 x 360 x 30 cm
The first platform is created by re-leasing concrete from a slim crate by moving it backwards along the floor of the space. After it hardened the second platform is made on top of the first trough the same procedure.
«Target as Frontside», RaebervonStenglin. 2011
Target as Frontside takes its title from a text by the electronic music composer and theorist Dick Raaijmakers, whose scientific yet poetic thought experi-ments profoundly influence Rüthemann’s work. The phrase comes from Raaijmakers 1984 work METHOD and summarises an attempt to under-stand the way in which humans interact with the world through their use of tools, arriving at the conclusion that the person who ‘moves’ a thing or thought toward a ‘target’ can only ever see it from its frontside, for ‘… it will turn with him and follow him constantly with its frontside: like a lion following the hunter with his head.’ The works at RaebervonStenglin explore this relati-onship between movement and agency, allowing simple actions to invoke narratives of dissolution and decay thus testifying to the transience of all things. Two ‘sheets’ of white cement will lie on top of each other in the front room of the gallery, their exact dimensions relaxed into a soft formation due to the ways in which they have been released from their casts. In the back gallery another work will present approximate-ly 180 fluorescent bulbs affixed to a wall and then smashed, forming an incandescent monument to fragility. Through their use of individual com-ponents to create injured shapes, such works convey the delicacy of relati-onships, sublimating functionality into feeling.
Kilian Rüthemann
Untitled (Valentine)2011
Kilian Rüthemann
Untitled (Valentine)2011
Untitled (Valentine)2011
steel, plywood, bitumen sheeting, water pumping system
1200 x 980 x 190 cm water jet: 500 cm
«Valentine», with Manuel Scheiwiller, Kunstverein Harburger Bahnhof, Ham-burg. 2011
Kilian Rüthemann
Untitled (Valentine)2011
Kilian Rüthemann
Anchor of Hope (Show)2011
Kilian Rüthemann
Anchor of Hope (Show)2011
Kilian Rüthemann
Anchor of Hope (Show)2011
Untitled2011
cement plaster
900 x 900 x 12 cm (Grösse varialbel)
A tube releases concrete continually by moving along the surface of a public place.
Glass Front2010
glass, silicone
each 100 x 160 cm
A glass plane is fixed to a wall with black silicone glue.
Anchor of Hope 2011
FL-tube, silicon
900 x 250 cm (variable)
A row of the lighting in the gallery space is doubled by gluing non-working fluorescent tubes underneath the exis-ting ones.
photo: Trevor Lloyd
For his show in our gallery Kilian Rüthemann created a cement mortar sculpture which extends through the space in serpentine lines, it is circular in diameter, but of a porous consistency, and will shift in color from dark to light grey in the course of the exhibition. In the rear exhibition room a square cube of plastic foam is positioned, which the artist hollowed out, and which bears traces of decomposition from being stored outdoors. The fissured surface texture contrasts with its exterior shape the same way that the construction of the mortar shape is opposed to its crumbly appearance, ultimately nega-ting the form which the artist assigns to the material. Here form and the discon-tinuity of form become the subject of the work.
Rüthemanns objects often function as graphic elements within space, which mark the conception of space, as well as his action as a temporal gesture, as transient designations. “Glass Front” for example – four panes of glass attached to the wall with black silicone applied in the shape of a cross – not only makes the symbol of the marking the subject of the work, it also causes the back-ground, the base of the image to become the picture itself. An image that portrays only its own materiality, and undermines the illusion of depic-tion.
The artist deals with illusionist charac-ter in his work tangibly: Utilising a surrealistic extension of the existent – underneath single fluorescent tubes in the exhibition space he hung doubles as function-free duplications –
Untitled (Sarcophagus)2010
polyurethane foam
130 x 230 x 108 cm
Kilian Rüthemann
Anchor of Hope (Show)2010
Rüthemann initiates moments of displacement, which only take effect under the comparing eye of the viewer, through the structure of material, as well as via his choreography of objects and space. In a silent, situational dialogue the artist places the autono-mous existence of a space and the objects within it into the viewers field of vision. It is the fragile aspect of this moment, as well as its strength, which is expressed in Kilian Rüthemanns work as a condition, but also as a temporary modification, even as a poetic moment of irritation inscribed in space.
Kilian Rüthemann
The Truth Will Always Have A Hole In It
2011
Kilian Rüthemann
The Truth Will Always Have A Hole In It2011
The Truth Will Always Have A Hole In It2010
plaster, marble plaster 297 x 256 x 4.5 cm
A perfect handmade plaster surface is made directly on top of the window-front.
«Displaced Fractions», migrosmuseum für gegenwartskunst, Zurich. 2010
photo: Gina Folly
Kilian Rüthemann
The Truth Will Always Have A Hole In It2011
Kilian Rüthemann
Glass Front2011
Kilian Rüthemann
Glass Front2010
Glass Front2010
glass, silicone
1600 x 1000 x 2 mm
A glass plane is fixed to a wall with black silicone glue.
Guerilla Galerie, St. Gallen. 2010Werkbeiträge, Kunstkredit Basel, Architekturmuseum Basel. 2011RaebervonStenglin, Zürich. 2011Meyer Riegger, Berlin. 2011Rua Madalena Project, Lissabon. 2011
Kilian Rüthemann
Glass Front2010
Kilian Rüthemann
Walking Distance (Show)2010
Kilian Rüthemann
Walking Distance2010
X (Bremen)2010
concrete plaster
304 × 1000 cm
Lines of sprayed concrete plaster.
Untitled (Stucco) 2010
plaster
6,5 × 4,5 × 1850 cm
A line made of plaster and a old-fashioned tool directely on the wall cre-ating a extended prism.
Untitled 2010
chalk
380 x 1150 x 0,3 cm
Wet chalk is smeard along the floor with a huge scraper.
«Walking Distance», Künstlerhaus Bremen. 2010
Kilian Rüthemann
Walking Distance2010
Architectural spaces and the appearan-ce of building materials are the two poles between which Kilian Rüthemann develops his sculptural interventions. His point of departure is usually a con-crete place whose tectonic shell provi-des him with the occasion to reshape it. Rüthemann works with simple substan-ces, such as plaster, sugar or bitumen, often changing their aggregate state in the course of the creative process. Plas-ter is mixed with water, sugar melted with heat and then broken up when it has cooled. This gives rise to works that testify to their own mutability and transience, that occasionally embed themselves in the existing architecture, but sometimes also thwart it. By hand-ling these simple materials in different ways, Rüthemann repeatedly tests their formal and sculptural potential. He avails himself of their variableness to reorganise space and surprise the visitors with new formations.
press release Stefanie Böttcher
Kilian Rüthemann
Attacca (Show)2010
Kilian Rüthemann
Attacca2010
Untitled2010
cement plaster
1570 × 500 cm1370 × 500 cm800 × 500 cm, 930 × 500 cm600 × 500 cm
Lines of sprayed cement plaster.
Untitled (Stucco) 2010
plaster
6,5 × 4,5 × 1650 cm
A line made of plaster and a old-fashioned tool directely on the wall crea-ting a extended prism.
Runs One Section Ahead Suspending One Casting Segment (Pilgrimstep 2)2009
rolled steel
each 0,5 × 6 × 450 cm
Untitled (Sarkophagus) 2009
Polyurethane foam
130 × 230 × 108 cm
«Attacca», Manor Kunstpreis Basel, Mu-seum für Gegenwartskunst Basel. 2010
photo: David Aebi
Kilian Rüthemann
Attacca2010
Attacca2010
cement plaster
480 × 360 cm
A surface of sprayed concrete plaster.
photo: David Aebi
Kilian Rüthemann
Attacca2010
For the exhibition at the Museum für Gegenwartskunst, his critical explorati-on of the notion of sculpture manifests itself in a variety of site-specific, architectural interventions. Much less interested in the stasis or monumenta-lity of sculpture than its decay and dissolution, Rüthemann’s works create new environments that reveal the essence and unpredictability of the materials themselves. Through employ-ing and manipulating functional and everyday materials, he re-configures their potential (and their limitations). In Rüthemann’s installations, the artist’s process is ever present, revealing the tension between the material and the ephemeral.
Kilian Rüthemann
Sooner Rather than Later (Show) 2009
Kilian Rüthemann
Sooner Rather than Later2009
Untitled (Glarus)2009
80 glass-cylinders, lacquered inside 19 x 5 m
The jackets were dropped one after the other from a height of 1m.
X2009
steel, glass
17 x 4.75 x 0.7 m
Two glass panels are taken from the roof-construction and put on especially made steel scaffoldings.
«Sooner Rather than Later», Kunsthaus Glarus. 2009
photo: David Aebi
< «Untitled (Glarus)», glass, paint<<«X», iron, glass
Kilian Rüthemann
Sooner Rather than Later2009
More Than This2009
marble (Carrara), 120 x 60 x 64 cm, plywood, steel, 95 x 950 x 1000 cm
A white marble smoke column stands on a table-like pedestal filling almost the whole room. The platform can be accessed over some stairs.
«Sooner Rather than Later», Kunsthaus Glarus. 2009
photo: David Aebi
Kilian Rüthemann
Sooner Rather than Later2009
Untitled2009
Concrete, 12 elementseach 120 x 17 x 15 cm
Description:Concrete is poured directly onto the stairs. A wooden frame holds the mate-rial but before it consolidates the frame is taken away and used for the next step.
Shown in the exhibition:«Sooner Rather than Later», Kunsthaus Glarus. 2009
photo: David Aebi
Kilian Rüthemann
Sooner Rather than Later2009
Heranziehendes Gewitter2009
13 pictures from the collection of the Glarner Kunstverein
Description:The frames of the paintings mostly showing bad weather situations are replaced by new ones. The pictures are then hung on the walls in pairs and are used to build a v-shaped object. The light was dimmed.
Shown in the exhibition:«Sooner Rather than Later», Kunsthaus Glarus. 2009
photo: David Aebi
Kilian Rüthemann
Sooner Rather than Later2007
Kilian Rüthemann
Fragile Monumente (Groupshow)
2009
Kilian Rüthemann
Fragile Monumente (Groupshow)2009
Untitled2009
Parquet flooring 1.50 x 0.7 m
Echo (1 + 4)2008
2 Lambdaprints, 297 × 420 mm
Untitled (Birds)2008
DVD, 3min 50sec (Loop)
All shown in the exhibition:«Fragile Monuments», SuzieQ Projects, Zurich. 2009
< «Echo (4)», Lambdaprint<< «Untitled», parquet flooring
Kilian Rüthemann
Fragile Monuments (Groupshow)2009
«Fragile Monuments» brings together six young artists living in Switzerland who work in quite different ways on the problematics of the monumental and anti-monumental, as well as on the fragility of the artistic medium itself. The term «monument» is used in its literal, as well as in its figurative, sense. The issue here is about the deconstruction and reconstruction of narrations, about an expanded concept of sculpture, and about the ephemeral and non-monumental as an artistic strategy. […]
Kilian Rüthemann undertakes mostly direct interventions in inside and outside spaces and works with «non-art» materials, while alluding to Minimal Land or Process Art. The computer-generated collage on view represents a virtual intervention in a landscape, which can be read, like the actual (de)constructivist interposition in the gallery’s parquet flooring, as a precise placement, which calls in question both the site and the sculptural concept.[…]
Eva Scharrer
Kilian Rüthemann
Masse Critique (Show)2008
Kilian Rüthemann
Masse Critique2008
Masse Critique2008
Doubble Show with Niklaus Wenger
«Untlitled», burned sugar. each 2 x 4.5 m. 2008
«Untitled», massive plaster wall, hand carved, 3 x 7 m together with Niklaus Wenger. 2008
Two of the works were made together. The others seperately.
Two plates each made from 100kg mel-ted cristal sugar were leaned against the biggest wall of the exhibition room and let tilt them down to the floor. (Kili-an Rüthemann)A relief carved directely into the wall of the smaller room shows a slightly crooked surface in the form of a trape- zoid. Chips and rubbish were used to form a second crooked surface. (Ni-klaus Wenger/Kilian Rüthemann)
«Masse Critique», CAN Centre d´Art Neuchâtel. 2008
Photos: Sully Balmassière
< «Untitled», massive plaster wall, with Niklaus Wenger<< «Untlitled», burned sugar
Kilian Rüthemann
Masse Critique2008
Kilian Rüthemann
The Sound of Many Voices (in the Street Commanding Silence)
2008
Kilian Rüthemann
The Sound of Many Voices2008
Untitled (Birds)2008 DVD, 3min 50sec (Loop)
Untitled2008
Bituminous sheetings 250 x 50 x 24 cm
50 bituminous sheetings are laid over a fair-booth wall. The endings at the inside conclude in a horizontal line. A monitor shows the video loop «Untitled (Birds)». In real shoots seagulls move digital added triangles across the sky.
Swiss Art Awards, Kiefer Hablizel Award, Messe Basel. 2008 Videowindow, Swiss Institute Paris. 2008 Bureau des videos, restaurant Georges, Centre Georges Pompidou, Paris. 2008 K2
Photo: David Aebi
< «Untitled», Bituminous sheetings << «Untitled (Birds)», DVD
Kilian Rüthemann
The Sound of Many Voices2008
Kilian Rüthemann
Stripping2008
Kilian Rüthemann
Stripping2008
Stripping2008
340 pits, diameter 80cm each, 10 x 50m
5. berlin biennale, Skulpturenpark Ber- lin_Zentrum. 2008
Kilian Rüthemann
Stripping2008
At Skulpturenpark Berlin_Zentrum, the artist has realized Stripping: an expan- sive, site-specific sculptural invention consisting of around 300 handmade, semispherical hand-dug cavities that perforate a ten by fifty meter surface. Inspired by a 800-meter-long strip of stone-lined holes that snakes across a ridge through Pisco Valley (in today’s Peru), whose time of emergence and function is still unexplained today, Stripping covers the surface of its empty lot like scar. It enables viewers to look beneath the surface, into the underground of the lot, pregnant with history. Parallel to the outer fence and in the north bordering on the wall of a building, whose surface is reflected in the spatial extension of the field of holes, is a further element of the piece: a path through the field of holes that cuts through the area where once East German soldiers patrolled the East Berlin border. Stripping thus ventures onto the worn terrain of Land Art to revive it and ridicule its totalizing pretence. A minor scratch on the surface sets the ground in motion.
Silke Baumann
Kilian Rüthemann
No Linking Element2007/2008
Kilian Rüthemann
Untitled (Slope)2007
Untitled (Slope)2007
salt, 3.5 x 1.15 m (5 x 1.30 m)
Salt is poured against a wall. The lower edge is straightened until no salt is sliding down any more so that the angle is defined by the characteristics of the material.
«Minimal Myth», Museum Boijmans Van Beuningen. 2012«ZKB Kunstpreis 08», Kunst 08 Zürich, Galleria Laurin, Messehalle 550, Oerli-kon. 2008«Fireflies», Galerie Nicolas Krupp. 2007
Photo: Kilian Rüthemann, Photo Lotte Stekelenburg
Kilian Rüthemann
Untitled (Slope)2007
This is an exhibition of four young Basel-based artists one should keep an eye on. Its title evokes the fragile beau- ty of the very subtle, and it’s with just this subtlety, and nominal effort, that the four‘s works fill the gallery. In a narrow room, Kilian Rüthemann has heaped salt along the wall between two corners. Meeting the floor along an exact, straight line, the salt forms the shape of a neat ramp with crystalline shimmering surface structure – a ge- sture of intriguing lightness and accura- cy, cheerfully mimicking Beuys’s cano- nical Fettecke (Fat Corner), 1963, Wolfgang Laib’s pollen or rice formati- ons, and other Minimalist sculpture. Dagmar Heppner also playfully refe- rences Minimal and Conceptual art by framing full-page Artforum ads, after carefully cutting out information like gallery addresses and artists’ names to leave only the titles and dates of shows, as with Memento Mori and Deep Silence (both 2007), alongside white blanks. Karin Hueber has erected a constructivist sculpture from a mirror and two black-painted planks, loosely interlocked in a fragile balancing act and reflecting their surroundings, while Emil-Michael Klein’s hybrids blur the lines between painting and object, frame and picture plane. All the works interact beautifully with one another, exploring surface tensions as well as negative space.
Text: Eva Scharrer for Artforum.com
Kilian Rüthemann
Untitled (Salt)2007
Kilian Rüthemann
Untitled (Salt)2007
Untitled (Salt)2007
Salt, diameter: 2,5 m Edge length: 80 x 80 cm
Some material is taken away from the cone shaped by poured salt until a rectangular piece of the floor is uncove- red and no more salt is sliding down.
«The Trees Bring Forth Sweet Ecstasy», Ausstellungsraum Klingental, Basel, Switzerland. 2007
Kilian Rüthemann
Untitled (Salt)2007
Kilian Rüthemann
Untitled2006
Kilian Rüthemann
Untitled2006
Untitled2006
Telescope aluminium rods, diameter 7cm, height 9,5 – 20 m ropes, struts
Aluminium poles visualising the outlines of planned buildings on construction sides in Switzerland are installed in two groups in the park. They are not stan- ding completely straight and thereby evoke a natural bending. Their tops are gentling moving in the wind.
«LUST», Kunststiftung Erich Hauser, Rottweil, Germany. 2006
Kilian Rüthemann
Untitled2006
Rüthemann installed two works made out of construction profiles in the park. In Switzerland, these profiles are used to mark the place and volume of the project while planning permission is being obtained. The profiles Rüthemann used were light aluminium-tubes, which he could handle and put up himself. For the smaller work he used four profiles, inscribing a volume in the air that had a base area of 2x2m and a height of 9.5m. The installation stood on sloping terrain. The artist placed the profiles in a way that reflected this topographical quality in their volume, and evoked the image of a crooked tower. He also arranged a line of profiles reminiscent of a wall 30m long and 20m high, lead- ing through Hauser’s steel sculptures and overtopping the monumental works in the foundation’s huge park. Rüthe- mann worked with the elasticity of the aluminium tubes, and took advantage of their lightness. The stakes bent like grass in the wind, because Rüthemann did not make them perpendicular. In space, his filigree works graphically hinted at the possibility of sculpture, without realising it. The artist rented the profiles, now they are used for their original function again.
Excerpt from the catalogue text of Roman Kurzmeyer
Kilian Rüthemann
Untitled2006
CV2002-2005 School of Art and Design,Basel
1997-2002 education and work as sculptor in stone in Zuzwil, St.Gallen
1979 born in Bütschwil, St. Gallen,Switzerland
Group (Exc.)
«Minimal Myth», Museum Boijmans Van Beuningen. 2012
«SWEETS IN JARS, SEEDS IN BAGS, JARS IN STORES, BAGS IN STORES», Ausstel-lungsraum Klingental. 2012
«Das Unerwartete erwarten», Künstler-haus Bremen. 2012
«A clock that runs on mud», Galeria Stereo, Poznań. 2011
«Territoires», sculptures dans le parc de Szilassy, Bex. 2011
«Displaced Fractures», migros museum für Gegenwartskunst, Zürich. 2010 (catalogue)
Nomination «Vordemberge-Gildewart-Preis». Kunsthaus Aarau. 2009
«Open Space», L6, Freiburg i. B. 2009
«5. berlin biennale for contemporary art», Berlin. 2008 (catalogue)
«Topfloor», Platform Garanti, Contem-porary Art Center, Istanbul. 2007
«Fireflies», Nicolas Krupp contemporary art, Basel. 2007
«Poor Thing», Kunsthalle Basel. 2007
«The Trees Bring Forth Sweet Ecstasy», Ausstellungsraum Klingental, Basel. 2007
«Vrits», Falknerstrasse 4, Basel. 2007
Awards2012 New York City, Residency Unli-mited, studio scholarship by iaab Basel
2011 Jerusalem, studio scholarship by The Jerusalem Foundation
2010 Werkbeitrag Kunstkredit Basel
2010 Manor Art Award Basel
2009 Swiss Exhibition Award
2009 Swiss Art Award
2009 Award Kiefer-Hablitzel-Foundation
2009 Berlin, studio scholarship by iaab Basel
2008 Werkbeitrag Kunstkredit Basel
2008 Award Kiefer Hablitzel Foundation
2007 Istanbul, Platform GarantiContemporary Art Center, studio scholarship by iaab Basel
Kilian Rüthemann
Solo (Exc.)
«North to the Future», Clearing, New York. 2012
«Target as Frontside», RaebervonStenglin, Zürich. 2011
«Valentine» with Manuel Scheiwiller, Kunstverein Harburger Bahnhof, Ham-burg. 2011
«Anchor of Hope», Meyer Riegger, Berlin. 2011
Guerilla Galerie, St.Gallen. 2010
«Walking Distance», Künstlerhaus Bre-men. 2010
«Attacca – Manor Art Award Basel», Museum of Contemporary Art, Basel.2010 (cataloque)
«Double Rich», ISR Istituto Svizzero di Roma. 2009
«Sooner rather than Later», Kunsthaus Glarus. 2009
«Masse Critique» with Niklaus Wenger, CAN Centre d’Art Neuchâtel. 2008
«Aussenportal», Stiftung Binz39, Zurich. 2008
«KANTE» with Emil Michael KleinEspace Bellevaux, Lausanne. 2007
«Flatland», Kunsthaus Baselland, Muttenz CH. 2007
Güterstrasse 106CH-4053 Basel
0041 78 820 13 24
www.raebervonstenglin.com
Kilian Rüthemann
