Vittorio Brodmann
Annual Exterior Project 2018
16 Mar 2018 - 10 Feb 2019
Vittorio Brodmann, annual exterior project 2018, installation view Kunsthaus Baselland 2018, photo: Serge Hasenböhler
VITTORIO BRODMANN
Annual Exterior Project 2018
16 March – 10 February 2019
Curator: Ines Goldbach
For the fifth time, the Kunsthaus has devoted its exterior banner project to a year-long project. Vittorio Brodmann, who was born in 1987 in Ettingen and currently lives and works in Berlin, has been invited to follow Bianca Pedrina (2014), Kilian Rüthemann (2015), Matthias Huber (2016) and Daniel Göttin (2018).
Brodmann has developed a work for the huge surface of the banner which issues from his typical narrative painting, which is often reminiscent of comic scenes. Equally characteristic are subjects which immediately appeal to the viewer’s imagination without ever clearly revealing a narrative. Like this, the work developed for the Kunsthaus could suggest the back of a head or, instead, a cactus; it could be a window motif or it could be a colour plane. As the subject tips from landscape to portrait format it demands a second look and also defers a quick reading. At the same moment the image dovetails with the Kunsthaus architecture, it seems itself to be architectural or sculptural. Temporality is an important aspect of this work — how do we read subjects and narratives, and what changes if these are adjusted, overlapped or tilted? Brodmann’s subject will define the ‘new face’ of the Kunsthaus Baselland for for 10 months.
Text by Ines Goldbach
Annual Exterior Project 2018
16 March – 10 February 2019
Curator: Ines Goldbach
For the fifth time, the Kunsthaus has devoted its exterior banner project to a year-long project. Vittorio Brodmann, who was born in 1987 in Ettingen and currently lives and works in Berlin, has been invited to follow Bianca Pedrina (2014), Kilian Rüthemann (2015), Matthias Huber (2016) and Daniel Göttin (2018).
Brodmann has developed a work for the huge surface of the banner which issues from his typical narrative painting, which is often reminiscent of comic scenes. Equally characteristic are subjects which immediately appeal to the viewer’s imagination without ever clearly revealing a narrative. Like this, the work developed for the Kunsthaus could suggest the back of a head or, instead, a cactus; it could be a window motif or it could be a colour plane. As the subject tips from landscape to portrait format it demands a second look and also defers a quick reading. At the same moment the image dovetails with the Kunsthaus architecture, it seems itself to be architectural or sculptural. Temporality is an important aspect of this work — how do we read subjects and narratives, and what changes if these are adjusted, overlapped or tilted? Brodmann’s subject will define the ‘new face’ of the Kunsthaus Baselland for for 10 months.
Text by Ines Goldbach