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 Rémy Zaugg (1943-2005) Lichthof, SCHMILZT / DER SCHNEE / WO BLEIBT / DAS WEISS (2002/2003, Screen print in enamel paint on aluminium, 215 x 192 x 4 cm) Ricola Collection Photograph: Serge Hasenböhler |
 [...] The art historian Jean-Christophe Royoux once asked Zaugg the following question: “Are the exhibitions that you create works of art?” to which he replied: “Personally I make no distinction between the project whose purpose is to exhibit the work of an artist and that activity that consists in producing a picture. I do not see any hierarchical relationship between these two activities. Cézanne and Giacometti behaved like Romantics. The difficulty they both had capturing reality to them was something dramatic and tantamount to failure, whereas to me it is a source of joy. Capturing reality is a task that knows no end. Perhaps this explains the growing importance of the exhibition as a special mode of expression, and the fact that the autonomous picture, at least for me, now takes a backseat. I’m not much interested in architecture either; though what I am thrilled by are the relationships between buildings, urban planning in other words, which in my view is the architectural equivalent of an exhibition. After my casting doubt on the masterpiece led to an accumulation of objects in the studio, I planned exhibitions of these objects, and these exhibitions in their turn led to a new learning experience, that of the city.”. Roman Kurzmeyer, 2020  back...
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