Tag Archives: Kunsthalle Basel


Order was always wishful thinking for me. For sixty years I have produced disorder in files, correspondence, and books. In my work, however, I have always aspired to a distinct arrangement of typographic and pictorial elements, the clear identification of priorities. The formal organization of the surface by means of the grid, a knowledge of the rules that govern legibility—line length, word and letter spacing, and so on—and the meaningful use of color are among the tools a designer must master in order to complete his or her task in a rational and economic matter. — Josef Müller-Brockmann

THE SWISS GRID—an exhibition that “explores the development and impact of the International Typographic Style”—is now in its final weeks at Poster House.*

See link below for details.


Through February 14.

Poster House

119 West 23rd Street, New York City.

The Swiss Grid, Poster House, New York, February 27, 2020–February 14, 2021, from top: Josef Müller-Brockmann, Musica Viva, 1958, Tonhalle-Gesellschaft, Zürich; Armin Hofmann, Junge Holländische Bildhauer, 1960, Kunsthalle Basel; Robert Büchler, Typographie, 1962, Gewerbemuseum Basel, unmodified and modified; Richard Paul Lohse, Ausstellung Musikinstrumente, 1962, Kunstgewerbemuseum, Zürich; Armin Hofmann, Stadt Theater Basel, circa 1963–1967; Emil Ruder, Berlin, 1963, Gewerbemuseum Basel; Armin Hofmann, Giselle, 1959, Basler Freilichtspiele. Images courtesy and © the artists, their estates, and Poster House.


Contemporary sculpture is populated by hybrid techno-bodies. But such connections between technology and the body reach far back into modernity. The symposium explores these lines of reference: How can sculpture be thought of and defined in relation to technological developments? How, in turn, does sculpture relate to changing concepts of the body and corporeality? What are the consequences for a theory of contemporary sculpture? These and other questions form the focus of the discussion with leading theorists from various disciplines.*

Museum Brandhorst presents the online symposium FUTURE BODIES FROM A RECENT PAST—SCULPTURE, TECHNOLOGY, AND THE BODY SINCE THE 1950S. Participants include Marta Dziewanska, Louis Chude-Sokei, N. Katherine Hayles, Namiko Kunimoto, Jeannine Tang, Ursula Ströbele, and many others.

See link below to register.


Museum Brandhorst

Thursday, January 21 through Saturday, January 23.

From top: Mark Leckey, UniAddDumThs, 2014–ongoing, detail from the section Man, installation view Mark Leckey: UniAddDumThs at Kunsthalle Basel, 2015, photograph by Philipp Hänger, image © Mark Leckey, courtesy of the artist and Kunsthalle Basel; Alina Szapocznikow, Untitled (Fetish VII), 1971, Ursula Hauser Collection, Switzerland, image © 2020 VG Bild-Kunst, Bonn, courtesy of the Estate of Alina Szapocznikow, Piotr Stanislawski, Galerie Loevenbruck, Paris, and Hauser & Wirth; BINA48 (Breakthrough Intelligence via Neural Architecture 48), robotic face combined with chatbot functionalities, owned by Martine Rothblatt’s Terasem Movement, modeled after Rothblatt’s wife, image © 2010 Hanson Robotics; Albert Renger-Patzsch, Marmor an der Lahn (Metamorphit), 1963, plate 55, Gestein, 1966, image © 2020 Albert Renger-Patzsch and VG Bild-Kunst, Bonn; David Smith, Forging series of sculptures in progress, Bolton Landing Dock, Lake George, New York, circa 1956, image © 2020 Estate of David Smith and VG Bild-Kunst, Bonn; Tishan Hsu, Autopsy, 1988, installation view Tishan Hsu: Liquid Circuit at the Hammer Museum, Los Angeles, 2020, private collection, image © Tishan Hsu, courtesy of the artist and the Hammer Museum; Aleksandra Domanović, production photograph of The Future Was at Her Fingertips, 2013, image © Aleksandra Domanović, courtesy of the artist.


Deanna Lawson’s “meticulously staged yet profoundly intimate images of the sartorial styles, quotidian habits, and domestic interiors of the African diaspora in her native United States, Brazil, and beyond” are now on view in Basel.*

One of my first visual influences… was the idea of a family album… In my portrait work, I am creating more formal stages, a theater of the family snapshot…

I think that there is definitely something tragic in the family photograph—it’s a fundamentally retroactive idea. We make the image specifically to look back on it, to refer to it later in life. Even in my old family albums, the process of aging—the space between them and now—can be haunting and unstable. How to deal with the idea of projected time in a static medium is an interesting challenge. While the work is by no means autobiographical, its impulses are born from personal experiences. It references people I knew and had relationship with. — Deana Lawson

DEANA LAWSON—CENTROPY is co-produced with the Fundação Bienal de São Paulo as part of the 34th Bienal de São Paulo—Though It’s Dark, Still I Sing. The curatorial team includes Jacopo Crivelli Visconti, Paulo Miyada, Carla Zaccagnini, Francesco Stocchi, and Ruth Estévez.


Through October 11.

Kunsthalle Basel

Steinenberg 7, Basel.

Deana Lawson, Centropy, Kunsthalle Basel, June 9, 2020–October 11, 2020, from top: Daenare, 2019; Chief, 2019; installation view of Latifah’s Wedding, 2020 (left), and Vera, 2020; installation views of Boom Box Hologram (working title), 2020, and Fragment (church) (working title), 2020; ; installation view and detail of House of My Deceased Lover, 2019 (2); installation view of Niagara Falls, 2018 (left), and Taneisha’s Gravity, 2019; installation view of Fragment (Jacqueline and Taneisha) (working title), 2020; An Ode to Yemaya, 2019. Installation photographs by Philipp Hänger. Images courtesy and © the artist, Kunsthalle Basel, and Sikkema Jenkins & Co.