Ida Ekblad, ‘Flyable, Rideable’
Karma International, Zurich
June 10 – July 16, 2022

With ‘Flyable, Rideable’, Oslo-based artist Ida Ekblad returns to Zurich for the first time following her acclaimed solo exhibition ‘FRA ÅRE TIL OVN’ at Kunsthalle Zürich in 2019. As an artist who has made painting, sculpture, outdoor works, and poetry, here Ekblad will present a careful and considered group of eight paintings. Previous works have cross-referenced Norwegian mythology, pop culture, and meta-histories enveloped within a punk ethos that has developed into an enigmatic artistic practice previously seen at the Venice Biennale, Museo Tamayo, and Bergen Kunsthalle, among many others.

Sonja Sekula
Galerie Knoell, Basel
Through July 2, 2022

A poignant and gifted abstract expressionist, Sonja Sekula was critically underrecognized and largely forgotten at her time of death in 1963 in Zurich, despite decades living in New York and working among historically lauded mid-century artists, surrealists, and avant-garde figures like André Breton and Jackson Pollock. Over the last 10 years, the Swiss artist has been – like many female artists from this period – ‘rediscovered’ through a dedicated resurgence of interest, permanent collection acquisitions, and exhibitions curated with thoughtful nuance. In this ambitious solo exhibition, Galerie Knoell presents 50 paintings and drawings made between the mid-1940s and 1963. The burgeoning and notable influence of Abstract Expressionism is clear, but obvious nods to Native American folk art in works like Private Totem (1947) and Since Yesterday (1957) give her paintings the worthy gravitas of newfound scholarship and acclaim.

Peter Fischli & David Weiss, ‘Airports and Cars’
Galerie Eva Presenhuber, Maag Areal, Zurich
June 11 – July 30, 2022

Galerie Eva Presenhuber is highlighting the quintessential Swiss duo Peter Fischli and the late David Weiss with their photographic ‘Airport’ and sculptural ‘Cars’ series (1987–2012 and 1988, respectively) – two meditative takes on archetypes that have become ultimate visual parlance for the revolution of travel in everyday life. In their creation of the images and the plaster sculptures, a demonstrated stripped-down subject matter and minimalist, ironic aesthetic became a metaphor for standardization against the backdrop of middle-class conformity. The two series can be seen side-by-side in the gallery’s historically significant industrial location, lending further thought to contemplations of changing landscapes.

Theaster Gates, ‘Ashen’
Gagosian, Basel
June 13 – July 30, 2022

The renowned multivalent, multidimensional artist Theaster Gates returns to Basel with a meditative display of ceramic works five years after his groundbreaking exhibition ‘Black Madonna’ at the Kunstmuseum Basel. While Gates is regarded for a practice foregrounded by ambitious architectural interventions and archival collections, the last few years have been steeped in questions informed by his background in pottery. At Gagosian, he carries on this quest through examining pre-historic notions of the vessel through a contemporary lens of labor and material concerns.

克雷爾特伯萊（Claire Tabouret）“L’Urgence et la Patience”
阿爾敏萊希畫廊（Almine Rech ）
克雷爾特伯萊“Paysages d’Intrérieur”
貝浩登（Perrotin）
展期從即日起至2021年12月18日

正值駐洛杉磯的法國藝術家克雷爾特伯萊受到畢卡索（Pablo Picasso）1921年的《Three Women at the fountain》而創作的首個青銅噴泉作品《Baigneuse assise》在巴黎畢卡索博物館（Musée National Picasso）展出，阿爾敏萊希和貝浩登也同期在藝廊舉辦了她的繪畫作品展。阿爾敏萊希的“L’urgence et la Patience”展覽聚焦于特伯萊色彩豐富而鮮明的肖像；而貝浩登的“Paysages d’interieurs”則展示了類似色調的全新風景畫。這些作品畫在合成毛皮上，並與藝術家的花束和陶器單版畫一同展出。當一起觀賞這三個展覽時，會發現他們都提供了關於藝術家當前工作和關注點的實質性概述。

Teresa Margolles, ‘Estorbo’
Galerie Peter Kilchmann, Zurich
June 10 – July 29, 2022

For her fifth solo exhibition at Galerie Peter Kilchmann, Latin American conceptual artist Teresa Margolles presents an expansive multimedia installation based on years of research and residence along the geopolitically charged Colombian-Venezuelan border. With a third of Venezuela’s population of six million having sought refuge in Colombia since 2013, manual labor and illegal activities are often the only opportunities for employment; as such, Margolles has created multiple ongoing projects in collaboration with communities of people seeking new lives, away from their country’s longstanding governmental corruption, poverty, and food insecurity. In thoughtful examinations of labor, production, and pride, Margolles puts forth a poetic interpretation of estorbo, or ‘obstacle’, that focuses on one place but ultimately achieves a universal resonance in a globalized world. 

「白立方 X 巴黎當代藝術博覽會」
白立方（White Cube）巴黎辦公室
展期從即日起至2021年11月12日

今年早些時候，白立方在巴黎第八區開設了辦公室，目前正在那裡展出一系列藝術家的精選作品。在一個房間內，可以看到達米安赫斯特（Damien Hirst）「藥櫃」（medical cabinets）系列中的作品《Fear》(1994)，在其對面是卡迪諾蘭（Cady Noland）的一件雕塑，而在另外三個房間裡，有兩件雕塑作品、一幅油畫和一件大衛哈蒙斯（David Hammons）的身體印記作品。哈莫斯的作品之一是2007年的無題毛皮大衣作品，線上附有策展人Mark Godfrey的音訊指南，他探討了這件被紫色顏料覆蓋的水貂大衣是如何體現出藝術家對 "對抗白人世界建立的經濟體系，並為自己的利益破壞這些體系 "的興趣。