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Kid's Alright

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20110316104943-sebastiaan_schlicher__ecstasy_of_truth__2011__pencil_on_paper__150x244cm
Ecstasy of truth, 2011 Pencil on Paper 150 Cm X 244 Cm © Sebastiaan Schlicher
Kid's Alright

Anwandstrasse 67
8004 Zurich
Switzerland
March 5th, 2011 - April 9th, 2011
Opening: March 5th, 2011 6:00 PM - 9:00 PM

QUICK FACTS
WEBSITE:  
http://www.barbaraseiler.ch
COUNTRY:  
Switzerland
EMAIL:  
info@barbaraseiler.ch
PHONE:  
+41 43 317 1042
OPEN HOURS:  
We - Fr: 14:00 - 18:00, Sa: 12:00 - 16:00 and by appointment
TAGS:  
video-art, collages mixed-media, figurative

DESCRIPTION

Galerie Barbara Seiler is very pleased to present the first solo exhibition of Dutch artist Sebastiaan Schlicher (1975, Roermond, NL) at the gallery after featuring his work in the inaugural group show "you can tell a cowboy by the horse he rides".

The exhibition, entitled "Kid's Alright", presents the outline and first installment of a new series of installations, collages, drawings, and video works structured around a fictional character named Cotton Mouth. Loosely based on the histories of Kurt Cobain and Ivy League student Christopher McCandless, - who disappeared from civilization to live in the Alaskan wilderness and died there - two seemingly disparate events that happened around the same time in recent history are disassembled and reconstructed into a new narrative exploring the desire to escape from the confinements of society, towards a more fulfilling, ecstatic experience of life.

While his earlier works on paper exhibited at Barbara Seiler have been an assemblage of wild punk and ironic lyrics, figurative and abstract expressions, and statements about music, fashion and subcultures, and included materials such as colorful beads made of paper, caramel or found tinfoil carrying traces of heroin, Schlicher has returned to the roots of drawing for his new body of works. "Kid's alright", a large scale drawing done in thin, elaborate pencil lines, displays a group of young, urban people who observe the viewer with a motionless expression and from hollow eyeholes. This emptiness is repeated in two portraits of a young man and a woman, both fashionable and hip, but looking with hollow eyes into opposite directions. And in "Ecstasy of truth" a performer who functions as kind of a guru for the hollow-eyed crowd sings his ideologies in an ecstatic performance on a lorn stage.