We are very pleased to announce a group exhibition with three women artists; we will be showing
ceramics by Selina Baumann (*1988, CH) and – for the first time in Switzerland – works on paper by Frédérique Loutz (*1974, FR) as well as Sandra Vásquez de la Horra (*1967, Chile).
Physical involvement in the production of her ceramic sculptures is an important aspect of Selina
Baumannʼs (*1988, Wattwil, CH) creation process. In her figurative, surreal sculptures, Baumann
explores themes such as the female body, motherhood, fertility or gender ambiguity and challenges simultaneously classical ideal of beauty. Baumannʼs work reenacts classic motives such as Madonnas, mother and child or woman busts, brought to life in a new way and charged with erotic meaning. The breast of a feeding mother has thus been turned into penises (Ohne Titel [Mutter und Kind], 2010) or the head of a female torso replaced by a hole (Ohne Titel [Torso], 2010). These could be shocking, but the skilfully shaped and superbly glazed sculptures, – thanks to their high formal quality and powerful expression – fade the objectsʼ frivolity.
Selina Baumann lives and works in Zurich. She studies at the Zurich University of the Arts (ZHdK) and will be showing her works for the first time to the public.
Frédérique Loutz (*1974, in Sarreguemines, FR) grew up in the culturally and linguistically contested region of Lorraine. The coexistence of both cultures – French and German – prompted her to develop an alternative language to the ones she masters since her childhood; she found this in drawing. Loutz mainly draws her inspiration from fairy tales or mythological figures to translate onto paper her inner thoughts. With dense networks of pen-and-ink crosshatching and strong patches of watercolour or colour pencil, she succeeds in creating a world for itself, populated by double images. The hybridity of her drawings is reflected in the artistʼs use of German or French captions – often charged with a poetic and double meaning. In her new Schlitz series, the artist revisits the fairy tale Little Red Riding Hood in a masculine version. The drawings evoke the story of a young boy who, after having been eaten by the big bad wolf, comes back to the world after having cut the wolf open. This gives the artist the freedom to exploit themes such as the reach to maturity, sexual awakening or self-consciousness, where the cut (Schlitz) and the idea it may bring about is an omnipresent motif.
Frédérique Loutz lives and works in Paris. Her works were recently shown in the group exhibition
elles@centrepompidou in Centre Georges Pompidou, Paris and in a solo show at the espace dʼart
contemporain in Château de Jau, Roussillon-Languedoc. From 2006 to 2007, Loutz was resident at the Villa Medici in Rome and was in 2009 nominated for the Guerlain Drawing prize. The artist also deals with prints and texts in her work and has published several books in collaboration with the lyric singer/writer Ernesto Castillo. In conjunction with the exhibition Loutz and Castillo will be performing on 25 January 2011 at Cabaret Voltaire in Zürich.
Sandra Vásquez de la Horra (*1967, Viña del Mar, Chile) dedicates herself essentially to drawing.
Paper has turned out to be the medium best suited to her desire to render visible a personal yet
universal world. Her radically figurative drawings speak of fears, visualise dreams, recount memories of her native country, Chile, and deal with themes such as religion, sex, myth or popular tales. The dominance of the female figure stands out: her drawings are mostly populated by mothers, nuns, saints or seductresses. Often placed at the centre of the page, the motif is drawn with a fluid line, applied in a firm and unbroken movement. The shapes are filled in, in graphite, in a wide variety of greys and blacks. A key element in Sandra Vásquez de la Horraʼs work is typography. Many of her drawings combine figure and writing; the words – most often in Spanish but also in English or German – are distributed across the entire page, ignoring questions of grammatical correctness. To give the final touch to her drawings, Vásquez de la Horra immerses them in wax. This unusual procedure seals the drawing and generates a patina, which gives her work a unique materiality.
Sandra Vásquez de la Horra lives and works in Berlin. After exhibitions in Centre Georges Pompidou in Paris and at the Museum Kunst Palast in Düsseldorf, the most extensive solo exhibition of Sandra Vásquez de la Horraʼs works was on view at the Bonnefantenmuseum in Maastricht, Holland until October 2010. In 2009, the artist won the Guerlain Drawing prize, an important award supported by private collectors. Hatje Cantz has recently published an extensive large-format monograph, which is available at KATZ CONTEMPORARY.