25. Aug. 2011 – 29. Sep. 2011

863 km



Scheublein Fine Art is pleased to present its second exhibition 863 km at Sihlberg Castle in Zurich.

The group exhibition will single out artistic positions from Berlin’s eclectic art scene and has been inspired by a memorial stone, which found its firm place on a bridge at Zurich’s main station. The landmark, crafted by Otto Münch (1885-1965) in 1959, carries the inscription “863 km to Berlin” and serves as symbol of the amicable alliance and significant cultural exchange between Zurich and Berlin.

Not long ago, Berlin was the world’s stage where a fundamental movement for liberation and freedom prevailed. Following reunification, the new capital became a focal point for the discourse of contemporary art attracting hundreds of artists and galleries to this day. Berlin’s unique cosmopolitan flair markedly shapes its cultural landscape. The polycentric structure of the metropolis fosters the coexistence of diverse artistic hubs. Multi-faceted project spaces offer artists and curators pristine platforms for a critical engagement with art beyond the commercial and institutional realms.

Galerie Utopia / The Forgotten Bar Project is an exemplary cutting-edge model initiated by artist Tjorg Douglas Beer. Curated and realized by the artist community itself, this bar-exhibition project has become a most vibrant melting pot. To great success it has further been organized internationally as mobile platform. Scheublein Fine Art is delighted to stage Beer’s first project in Zurich, UNDERWORLD by Galerie Utopia / The Forgotten Bar Project: a bar will be installed in the grotto of Sihlberg Castle, where invited artists will display works of art, present performance art, and play music. As an art happening UNDERWORLD stands in the tradition of the extended art conceptions of Martin Kippenberger and Dieter Roth.

In a connatural spirit, Polish-born artist Natalia Stachon founded her off-space Next Visit: she asks artists, writers and designers to model interdisciplinary exhibitions. Stachon herself works in various media. Her deconstructed plexiglass cube Zoning III of 2010 is a sculpture that reflects on Minimalism of the 1960s in the context of contemporary art.

Jorinde Voigt’s drawings record complex electrostatic fields forming beautiful compositions. 2 küssen sich, 2011 is an elaborate allegory for a kiss. The work resembles a scientific study and evokes associations to mathematical fractals. Claudia Wieser’s acribic drawings are more obviously centered in reality: she appropriates magazine prints of Viennese furniture from the Josephine Age and draws delicate constructivist shapes upon them.

Tuned in catharsis, Norbert Bisky’s paintings describe an inner conflict in search for identity in a world of misleading promises. His protagonists delve into an emotionally charged, narrative pathos. Pfeife, 2010 reflects on the challenges of youth in an age of upheaval and realignment. Its title, which literally translates to pipe, bears a certain ambiguity as it can also be understood as a colloquial expression for failure.

863 km offers an insight into the rich expression of a generation of artists who work experimentally in diverse media such as painting, drawing, sculpture, installation, photography and video art. In a post-modern sense, “generation Berlin” indeed lives along the principle of unrestrained openness of art.