The artwork presents an abstract composition featuring a collage of various photographic materials. The visual elements include a monochromatic palette dominated by shades of gray, with pops of yellow accents. The shapes and textures create a visually striking arrangement, blending photographic fragments, torn paper, and geometric structures. The subject matter appears to be a exploration of the photographic medium itself, with the inclusion of a box of Ilford photographic paper alluding to the artist's interest in the materiality of the photographic process. The overall style and technique suggest a conceptual approach, where the artist investigates the essence of photography through a deconstructed and experimental presentation. The context of this piece likely reflects the artist's desire to challenge traditional photographic conventions and invite the viewer to reconsider the nature of the medium. ...
Bernhard Schobinger (b. 1946, Zürich) testifies through his work to a constant experimentation that resists any hierarchisation of the arts. His reuse of ordinary, almost crude, materials shares some of the methods of Surrealism and Arte Povera, as well as display an early influence of Constructivism’s industrial, angular style. But overall, it’s a punk ethos that has permeated Schobinger’s work ever since he encountered the burgeoning subculture in the late-1970s.
From his connections with Concrete art to punk rebellion, from postmodern eclecticism to the smallest of zen-influenced touches, Schobinger’s work makes extensive use of formal and technical invention. His practice brings together opposites, transfiguring everyday objects charged with individual histories.
In the democracy of materials instituted by the artist, noble metals and precious stones sit alongside the waste of industrial civilisation. Combining unexpected materials, his practice subverts conventions of value while opening poetic and critical readings of form.
In 1998 Schobinger was the recipient of the Françoise van den Bosch Award in recognition of his influential contribution to the arts. His work has been widely published and is represented in major public collections worldwide, including the Victoria and Albert Museum (London), the Museum of Fine Arts (Boston and Houston), LACMA (Los Angeles), the Philadelphia Museum of Art, the National Museum of Australia (Canberra), the National Gallery of Victoria (Melbourne), the Stedelijk Museum (Amsterdam and ’s-Hertogenbosch), the Museum Boijmans Van Beuningen(Rotterdam), the Pinakothek der Moderne / Die Neue Sammlung, Dannerstiftung (Munich), the Musée des Arts Décoratifs (Paris), MUDAC (Lausanne), the Museum Bellerive and the Schweizerisches National Museum (Zurich), and MAKK – Museum of Applied Arts (Cologne). ...
Since the gallery was established in 2018, Martina Simeti has cultivated an interdisciplinary program. Martina Simeti is deeply involved in the production process together with the represented artists, working actively to generate new opportunities for exhibition beyond its own walls.
