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Works and Shows July 2012

Kilian Rthemann

Kilian Rthemann Room for Milk 2013

Kilian Rthemann Room fro Milk 2013

Kilian Rthemann Room for Milk 2013 Room for milk 2013 polyurethan foam 10 parts each 160 x 180 x 200 cm Haus Konstruktiv, Zrich. 2012/13 photo: Gunnar Meier, Stefan Altenburger

Kilian Rthemann Linger! (3) 2012

Kilian Rthemann Linger (3) 2012

Kilian Rthemann Linger (3) 2012 Linger (3) 2012 4 pieces steel sheet (0,8mm) each 375 x 250 x 7.5cm La Jeunesse et un art, Kunsthaus Aarau, 2012

Kilian Rthemann Untitled 2012

Kilian Rthemann Untitled 2012

Kilian Rthemann Untitled 2012 Untitled 2012 cotton, bitumen paint each 240 x 175 cm Made in situ using a white piece of fabric whose back is covered with a black bitumen paste that glues it to the exhibition wall. One part got stripped off the wall and left. arteBA, Buenos Aires, RaebervonStenglin, Zurich. 2012

Kilian Rthemann Linger! 2012

Kilian Rthemann Linger! 2012

Kilian Rthemann Linger! 2012 Linger! 2012 steel sheets, paint (three parts) 8mm x 250 x 320 cm The Glasgow Festival of International Art, David Dale Gallery, Glasgow, 2012 For this exhibition, Rthemann has created a large-scale installation: Linger!, which parodies the structural framework of the gallery space. Rthemanns new work mimics and emphasises the division of the gallery space by the architecturally integral steel girders. Reminiscent of Richard Serras One ton prop or Fulcrum, the work denies these references by eschewing its own materiality, instead acting more like paper buckling under its own weight and the implied weight of its support. Linger! draws the viewer in through an altered perception of space and follows a narrative of dissolution that underpins the impermanence of construction.

Kilian Rthemann New Paintings 2011

Kilian Rthemann New Paintings 2011

Kilian Rthemann New Painings 2011 New Paintings 2011 styrofoam, pitumen paint 280 x 160 x 7 cm (New Painting (1)) 230 x 330 x 7 cm (New Painting (2)) Made in situ using two white styrofoam boards, whose backs are covered with a black bitumen paste that glues them to the corner-stand walls. Each board was moved one vertically, one horizontally smearing the bitumen, then remain stuck pristinely in place Frieze Art Fair, London, RaebervonStenglin, Zurich. 2011 photo: Mark Blower [] The bituminous paste is used both as a glue of the assumed paintings as well as the paint itself. All this happens not on the front of the board rather on the back of it and aside on the walls. The surface of the styrofoam will not be touched but kept clean and white. What makes it an elegant and formally minimal assemblage is the pure simplicity of the act and the accuracy of how the poor materials have been brought into a strong shape. Still, the artist or at least the person who made the installation will allways be present in the work. The two artworks question not only painting itself by using a cheap material like styrofoam, call it paintings and present them canvas-like. The question of how to hang a painting goes into a field of how to install an artwork in general and that for goes into the field of the highest interest of the artist KR. His works often combine the two issues of creating art and postitioning it in the artspace into one single act. The same will happen in the installation New Paintings for Frieze Frames. The works will be made directly in situ and have to be fully destroyed after the show but can be remade when- and wherever it makes sens to do so.

Kilian Rthemann Untitled 2011

Kilian Rthemann Untitled 2011

Kilian Rthemann Untitled 2011 Untitled 2011 fur, bitumen paint 135 x 115cm A rectangular piece of fur gets dipped in a black bitumen paint. Its placed by throwing it through the room onto the floor. A clock that runs on mud, Groupshow curated by Jennifer Teets, Galeria Stereo, Pozna. 2011 photo: Mateusz Sadowski

< Tania Prez Crdova, Things above the ground / Things below the ground, 2011. Kilian Rthemann, Ohne Titel, 2011.

Kilian Rthemann Sticks and Trees 2011

Kilian Rthemann Sticks and Trees 2011

Kilian Rthemann Sticks and Trees 2011 Sticks and Trees 2011 aluminium, paint 10 x 10 m Two aluminum poles are placed in an Apple tree. The exact same constellation of the poles appears in the most similar tree just next to the first one. Bex & Arts Triennale, Bex. 2011

Kilian Rthemann Untitled 2011

Kilian Rthemann Untitled 2011

Kilian Rthemann Untitled 2011 Untitled 2011 Jeans, bitumen paint 120 x 45cm A pair of jeans gets dipped in a black bitumen paint and glued with the back to a architectonic protrusion or into a corner. Liste 16, RaebervonStenglin, Basel, 2011 Rua Madalena Projects, Lissabon, 2011

Kilian Rthemann Ressource 2011

Kilian Rthemann Ressource 2011

Kilian Rthemann Ressource 2011 Ressource 2011 concrete, 5500 x 950 x 38 cm A tube releases concrete continually by moving along the surface of a public place. Gastrume Kunst im ffentlichen Raum, Sigi-Feigel-Terrasse, Zurich. RaebervonStenglin, Zurich. 2011

Kilian Rthemann Target as Fronside 2011

Kilian Rthemann Target as Frontside 2011

Kilian Rthemann Target as Frontside 2011 Target as Frontside 2011 216 glass-cylinders, lacquered inside, acrylic glue 340 x 310 cm Fluorecent tubes are glued to the wall and got smashed later with a hammer. Target as Frontside, RaebervonStenglin. 2011 Target as Frontside takes its title from a text by the electronic music composer and theorist Dick Raaijmakers, whose scientific yet poetic thought experiments profoundly influence Rthemanns work. The phrase comes from Raaijmakers 1984 work METHOD and summarises an attempt to understand the way in which humans interact with the world through their use of tools, arriving at the conclusion that the person who moves a thing or thought toward a target can only ever see it from its frontside, for it will turn with him and follow him constantly with its frontside: like a lion following the hunter with his head. The works at RaebervonStenglin explore this relationship between movement and agency, allowing simple actions to invoke narratives of dissolution and decay thus testifying to the transience of all things. Two sheets of white cement will lie on top of each other in the front room of the gallery, their exact dimensions relaxed into a soft formation due to the ways in which they have been released from their casts. In the back gallery another work will present approximately 180 fluorescent bulbs affixed to a wall and then smashed, forming an incandescent monument to fragility. Through their use of individual components to create injured shapes, such works convey the delicacy of relationships, sublimating functionality into feeling. Auszug aus dem Pressetext von Gair Burton

Kilian Rthemann Untitled 2011

Kilian Rthemann Untitled 2011

Kilian Rthemann Untitled 2011 Untitled 2011 white concrete 800 x 360 x 30 cm The first platform is created by releasing concrete from a slim crate by moving it backwards along the floor of the space. After it hardened the second platform is made on top of the first trough the same procedure. Target as Frontside, RaebervonStenglin. 2011 Target as Frontside takes its title from a text by the electronic music composer and theorist Dick Raaijmakers, whose scientific yet poetic thought experiments profoundly influence Rthemanns work. The phrase comes from Raaijmakers 1984 work METHOD and summarises an attempt to understand the way in which humans interact with the world through their use of tools, arriving at the conclusion that the person who moves a thing or thought toward a target can only ever see it from its frontside, for it will turn with him and follow him constantly with its frontside: like a lion following the hunter with his head. The works at RaebervonStenglin explore this relationship between movement and agency, allowing simple actions to invoke narratives of dissolution and decay thus testifying to the transience of all things. Two sheets of white cement will lie on top of each other in the front room of the gallery, their exact dimensions relaxed into a soft formation due to the ways in which they have been released from their casts. In the back gallery another work will present approximately 180 fluorescent bulbs affixed to a wall and then smashed, forming an incandescent monument to fragility. Through their use of individual components to create injured shapes, such works convey the delicacy of relationships, sublimating functionality into feeling.

Kilian Rthemann Untitled (Valentine) 2011

Kilian Rthemann Untitled (Valentine) 2011

Kilian Rthemann Untitled (Valentine) 2011 Untitled (Valentine) 2011 steel, plywood, bitumen sheeting, water pumping system 1200 x 980 x 190 cm water jet: 500 cm Valentine, with Manuel Scheiwiller, Kunstverein Harburger Bahnhof, Hamburg. 2011

Kilian Rthemann Anchor of Hope (Show) 2011

Kilian Rthemann Anchor of Hope (Show) 2011

Kilian Rthemann Anchor of Hope (Show) 2011 Untitled 2011 cement plaster 900 x 900 x 12 cm (Grsse varialbel) A tube releases concrete continually by moving along the surface of a public place. Glass Front 2010 glass, silicone each 100 x 160 cm A glass plane is fixed to a wall with black silicone glue. Anchor of Hope 2011 FL-tube, silicon 900 x 250 cm (variable) A row of the lighting in the gallery space is doubled by gluing non-working fluorescent tubes underneath the existing ones. photo: Trevor Lloyd For his show in our gallery Kilian Rthemann created a cement mortar sculpture which extends through the space in serpentine lines, it is circular in diameter, but of a porous consistency, and will shift in color from dark to light grey in the course of the exhibition. In the rear exhibition room a square cube of plastic foam is positioned, which the artist hollowed out, and which bears traces of decomposition from being stored outdoors. The fissured surface texture contrasts with its exterior shape the same way that the construction of the mortar shape is opposed to its crumbly appearance, ultimately negating the form which the artist assigns to the material. Here form and the discontinuity of form become the subject of the work. Rthemanns objects often function as graphic elements within space, which mark the conception of space, as well as his action as a temporal gesture, as transient designations. Glass Front for example four panes of glass attached to the wall with black silicone applied in the shape of a cross not only makes the symbol of the marking the subject of the work, it also causes the background, the base of the image to become the picture itself. An image that portrays only its own materiality, and undermines the illusion of depiction. The artist deals with illusionist character in his work tangibly: Utilising a surrealistic extension of the existent underneath single fluorescent tubes in the exhibition space he hung doubles as function-free duplications

Kilian Rthemann Anchor of Hope (Show) 2010 Untitled (Sarcophagus) 2010 polyurethane foam 130 x 230 x 108 cm Rthemann initiates moments of displacement, which only take effect under the comparing eye of the viewer, through the structure of material, as well as via his choreography of objects and space. In a silent, situational dialogue the artist places the autonomous existence of a space and the objects within it into the viewers field of vision. It is the fragile aspect of this moment, as well as its strength, which is expressed in Kilian Rthemanns work as a condition, but also as a temporary modification, even as a poetic moment of irritation inscribed in space.

Kilian Rthemann The Truth Will Always Have A Hole In It 2011

Kilian Rthemann The Truth Will Always Have A Hole In It 2011

Kilian Rthemann The Truth Will Always Have A Hole In It 2011 The Truth Will Always Have A Hole In It 2010 plaster, marble plaster 297 x 256 x 4.5 cm A perfect handmade plaster surface is made directly on top of the windowfront. Displaced Fractions, migrosmuseum fr gegenwartskunst, Zurich. 2010 photo: Gina Folly

Kilian Rthemann Glass Front 2011

Kilian Rthemann Glass Front 2010

Kilian Rthemann Glass Front 2010 Glass Front 2010 glass, silicone 1600 x 1000 x 2 mm A glass plane is fixed to a wall with black silicone glue. Guerilla Galerie, St. Gallen. 2010 Werkbeitrge, Kunstkredit Basel, Architekturmuseum Basel. 2011 RaebervonStenglin, Zrich. 2011 Meyer Riegger, Berlin. 2011 Rua Madalena Project, Lissabon. 2011

Kilian Rthemann Walking Distance (Show) 2010

Kilian Rthemann Walking Distance 2010

Kilian Rthemann Walking Distance 2010 X (Bremen) 2010 concrete plaster 304 1000 cm Lines of sprayed concrete plaster. Untitled (Stucco) 2010 plaster 6,5 4,5 1850 cm A line made of plaster and a oldfashioned tool directely on the wall creating a extended prism. Untitled 2010 chalk 380 x 1150 x 0,3 cm Wet chalk is smeard along the floor with a huge scraper. Walking Distance, Knstlerhaus Bremen. 2010 Architectural spaces and the appearance of building materials are the two poles between which Kilian Rthemann develops his sculptural interventions. His point of departure is usually a concrete place whose tectonic shell provides him with the occasion to reshape it. Rthemann works with simple substances, such as plaster, sugar or bitumen, often changing their aggregate state in the course of the creative process. Plaster is mixed with water, sugar melted with heat and then broken up when it has cooled. This gives rise to works that testify to their own mutability and transience, that occasionally embed themselves in the existing architecture, but sometimes also thwart it. By handling these simple materials in different ways, Rthemann repeatedly tests their formal and sculptural potential. He avails himself of their variableness to reorganise space and surprise the visitors with new formations. press release Stefanie Bttcher

Kilian Rthemann Attacca (Show) 2010

Kilian Rthemann Attacca 2010

Kilian Rthemann Attacca 2010 Untitled 2010 cement plaster 1570 500 cm 1370 500 cm 800 500 cm, 930 500 cm 600 500 cm Lines of sprayed cement plaster. Untitled (Stucco) 2010 plaster 6,5 4,5 1650 cm A line made of plaster and a oldfashioned tool directely on the wall creating a extended prism. Runs One Section Ahead Suspending One Casting Segment (Pilgrimstep 2) 2009 rolled steel each 0,5 6 450 cm Untitled (Sarkophagus) 2009 Polyurethane foam 130 230 108 cm Attacca, Manor Kunstpreis Basel, Museum fr Gegenwartskunst Basel. 2010 photo: David Aebi

Kilian Rthemann Attacca 2010 Attacca 2010 cement plaster 480 360 cm A surface of sprayed concrete plaster. photo: David Aebi For the exhibition at the Museum fr Gegenwartskunst, his critical exploration of the notion of sculpture manifests itself in a variety of site-specific, architectural interventions. Much less interested in the stasis or monumentality of sculpture than its decay and dissolution, Rthemanns works create new environments that reveal the essence and unpredictability of the materials themselves. Through employing and manipulating functional and everyday materials, he re-configures their potential (and their limitations). In Rthemanns installations, the artists process is ever present, revealing the tension between the material and the ephemeral.

Kilian Rthemann Sooner Rather than Later (Show) 2009

Kilian Rthemann Sooner Rather than Later 2009

Kilian Rthemann Sooner Rather than Later 2009 Untitled (Glarus) 2009 80 glass-cylinders, lacquered inside 19 x 5 m The jackets were dropped one after the other from a height of 1m. X 2009 steel, glass 17 x 4.75 x 0.7 m Two glass panels are taken from the roof-construction and put on especially made steel scaffoldings. Sooner Rather than Later, Kunsthaus Glarus. 2009 photo: David Aebi

< Untitled (Glarus), glass, paint <<X, iron, glass

Kilian Rthemann Sooner Rather than Later 2009 More Than This 2009 marble (Carrara), 120 x 60 x 64 cm, plywood, steel, 95 x 950 x 1000 cm A white marble smoke column stands on a table-like pedestal filling almost the whole room. The platform can be accessed over some stairs. Sooner Rather than Later, Kunsthaus Glarus. 2009 photo: David Aebi

Kilian Rthemann Sooner Rather than Later 2009 Untitled 2009 Concrete, 12 elements each 120 x 17 x 15 cm Description: Concrete is poured directly onto the stairs. A wooden frame holds the material but before it consolidates the frame is taken away and used for the next step. Shown in the exhibition: Sooner Rather than Later, Kunsthaus Glarus. 2009 photo: David Aebi

Kilian Rthemann Sooner Rather than Later 2007 Heranziehendes Gewitter 2009 13 pictures from the collection of the Glarner Kunstverein Description: The frames of the paintings mostly showing bad weather situations are replaced by new ones. The pictures are then hung on the walls in pairs and are used to build a v-shaped object. The light was dimmed. Shown in the exhibition: Sooner Rather than Later, Kunsthaus Glarus. 2009 photo: David Aebi

Kilian Rthemann Fragile Monumente (Groupshow) 2009

Kilian Rthemann Fragile Monumente (Groupshow) 2009

Kilian Rthemann Fragile Monuments (Groupshow) 2009 Untitled 2009 Parquet flooring 1.50 x 0.7 m Echo (1 + 4) 2008 2 Lambdaprints, 297 420 mm Untitled (Birds) 2008 DVD, 3min 50sec (Loop) All shown in the exhibition: Fragile Monuments, SuzieQ Projects, Zurich. 2009 Fragile Monuments brings together six young artists living in Switzerland who work in quite different ways on the problematics of the monumental and anti-monumental, as well as on the fragility of the artistic medium itself. The term monument is used in its literal, as well as in its figurative, sense. The issue here is about the deconstruction and reconstruction of narrations, about an expanded concept of sculpture, and about the ephemeral and non-monumental as an artistic strategy. [] Kilian Rthemann undertakes mostly direct interventions in inside and outside spaces and works with nonart materials, while alluding to Minimal Land or Process Art. The computergenerated collage on view represents a virtual intervention in a landscape, which can be read, like the actual (de) constructivist interposition in the gallerys parquet flooring, as a precise placement, which calls in question both the site and the sculptural concept. [] Eva Scharrer

< Echo (4), Lambdaprint << Untitled, parquet flooring

Kilian Rthemann Masse Critique (Show) 2008

Kilian Rthemann Masse Critique 2008

Kilian Rthemann Masse Critique 2008 Masse Critique 2008 Doubble Show with Niklaus Wenger Untlitled, burned sugar. each 2 x 4.5 m. 2008 Untitled, massive plaster wall, hand carved, 3 x 7 m together with Niklaus Wenger. 2008 Two of the works were made together. The others seperately. Two plates each made from 100kg melted cristal sugar were leaned against the biggest wall of the exhibition room and let tilt them down to the floor. (Kilian Rthemann) A relief carved directely into the wall of the smaller room shows a slightly crooked surface in the form of a trapezoid. Chips and rubbish were used to form a second crooked surface. (Niklaus Wenger/Kilian Rthemann) Masse Critique, CAN Centre dArt Neuchtel. 2008 Photos: Sully Balmassire

< Untitled, massive plaster wall, with Niklaus Wenger << Untlitled, burned sugar

Kilian Rthemann The Sound of Many Voices (in the Street Commanding Silence) 2008

Kilian Rthemann The Sound of Many Voices 2008

Kilian Rthemann The Sound of Many Voices 2008 Untitled (Birds) 2008 DVD, 3min 50sec (Loop) Untitled 2008 Bituminous sheetings 250 x 50 x 24 cm 50 bituminous sheetings are laid over a fair-booth wall. The endings at the inside conclude in a horizontal line. A monitor shows the video loop Untitled (Birds). In real shoots seagulls move digital added triangles across the sky. Swiss Art Awards, Kiefer Hablizel Award, Messe Basel. 2008 Videowindow, Swiss Institute Paris. 2008 Bureau des videos, restaurant Georges, Centre Georges Pompidou, Paris. 2008 K2 Photo: David Aebi

< Untitled, Bituminous sheetings << Untitled (Birds), DVD

Kilian Rthemann Stripping 2008

Kilian Rthemann Stripping 2008

Kilian Rthemann Stripping 2008 Stripping 2008 340 pits, diameter 80cm each, 10 x 50m 5. berlin biennale, Skulpturenpark Berlin_Zentrum. 2008 At Skulpturenpark Berlin_Zentrum, the artist has realized Stripping: an expansive, site-specific sculptural invention consisting of around 300 handmade, semispherical hand-dug cavities that perforate a ten by fifty meter surface. Inspired by a 800-meter-long strip of stone-lined holes that snakes across a ridge through Pisco Valley (in todays Peru), whose time of emergence and function is still unexplained today, Stripping covers the surface of its empty lot like scar. It enables viewers to look beneath the surface, into the underground of the lot, pregnant with history. Parallel to the outer fence and in the north bordering on the wall of a building, whose surface is reflected in the spatial extension of the field of holes, is a further element of the piece: a path through the field of holes that cuts through the area where once East German soldiers patrolled the East Berlin border. Stripping thus ventures onto the worn terrain of Land Art to revive it and ridicule its totalizing pretence. A minor scratch on the surface sets the ground in motion. Silke Baumann

Kilian Rthemann No Linking Element 2007/2008

Kilian Rthemann Untitled (Slope) 2007

Kilian Rthemann Untitled (Slope) 2007 Untitled (Slope) 2007 salt, 3.5 x 1.15 m (5 x 1.30 m) Salt is poured against a wall. The lower edge is straightened until no salt is sliding down any more so that the angle is defined by the characteristics of the material. Minimal Myth, Museum Boijmans Van Beuningen. 2012 ZKB Kunstpreis 08, Kunst 08 Zrich, Galleria Laurin, Messehalle 550, Oerlikon. 2008 Fireflies, Galerie Nicolas Krupp. 2007 Photo: Kilian Rthemann, Photo Lotte Stekelenburg This is an exhibition of four young Basel-based artists one should keep an eye on. Its title evokes the fragile beauty of the very subtle, and its with just this subtlety, and nominal effort, that the fours works fill the gallery. In a narrow room, Kilian Rthemann has heaped salt along the wall between two corners. Meeting the floor along an exact, straight line, the salt forms the shape of a neat ramp with crystalline shimmering surface structure a gesture of intriguing lightness and accuracy, cheerfully mimicking Beuyss canonical Fettecke (Fat Corner), 1963, Wolfgang Laibs pollen or rice formations, and other Minimalist sculpture. Dagmar Heppner also playfully references Minimal and Conceptual art by framing full-page Artforum ads, after carefully cutting out information like gallery addresses and artists names to leave only the titles and dates of shows, as with Memento Mori and Deep Silence (both 2007), alongside white blanks. Karin Hueber has erected a constructivist sculpture from a mirror and two black-painted planks, loosely interlocked in a fragile balancing act and reflecting their surroundings, while Emil-Michael Kleins hybrids blur the lines between painting and object, frame and picture plane. All the works interact beautifully with one another, exploring surface tensions as well as negative space. Text: Eva Scharrer for Artforum.com

Kilian Rthemann Untitled (Salt) 2007

Kilian Rthemann Untitled (Salt) 2007

Kilian Rthemann Untitled (Salt) 2007 Untitled (Salt) 2007 Salt, diameter: 2,5 m Edge length: 80 x 80 cm Some material is taken away from the cone shaped by poured salt until a rectangular piece of the floor is uncovered and no more salt is sliding down. The Trees Bring Forth Sweet Ecstasy, Ausstellungsraum Klingental, Basel, Switzerland. 2007

Kilian Rthemann Untitled 2006

Kilian Rthemann Untitled 2006

Kilian Rthemann Untitled 2006 Untitled 2006 Telescope aluminium rods, diameter 7cm, height 9,5 20 m ropes, struts Aluminium poles visualising the outlines of planned buildings on construction sides in Switzerland are installed in two groups in the park. They are not standing completely straight and thereby evoke a natural bending. Their tops are gentling moving in the wind. LUST, Kunststiftung Erich Hauser, Rottweil, Germany. 2006

Kilian Rthemann Untitled 2006 Rthemann installed two works made out of construction profiles in the park. In Switzerland, these profiles are used to mark the place and volume of the project while planning permission is being obtained. The profiles Rthemann used were light aluminium-tubes, which he could handle and put up himself. For the smaller work he used four profiles, inscribing a volume in the air that had a base area of 2x2m and a height of 9.5m. The installation stood on sloping terrain. The artist placed the profiles in a way that reflected this topographical quality in their volume, and evoked the image of a crooked tower. He also arranged a line of profiles reminiscent of a wall 30m long and 20m high, leading through Hausers steel sculptures and overtopping the monumental works in the foundations huge park. Rthemann worked with the elasticity of the aluminium tubes, and took advantage of their lightness. The stakes bent like grass in the wind, because Rthemann did not make them perpendicular. In space, his filigree works graphically hinted at the possibility of sculpture, without realising it. The artist rented the profiles, now they are used for their original function again. Excerpt from the catalogue text of Roman Kurzmeyer

Kilian Rthemann

CV
2002-2005 School of Art and Design, Basel 1997-2002 education and work as sculptor in stone in Zuzwil, St.Gallen 1979 born in Btschwil, St. Gallen, Switzerland

Solo

(Exc.)

Group

(Exc.)

Awards
2012 New York City, Residency Unlimited, studio scholarship by iaab Basel 2011 Jerusalem, studio scholarship by The Jerusalem Foundation 2010 Werkbeitrag Kunstkredit Basel 2010 Manor Art Award Basel 2009 Swiss Exhibition Award 2009 Swiss Art Award 2009 Award Kiefer-Hablitzel-Foundation 2009 Berlin, studio scholarship by iaab Basel 2008 Werkbeitrag Kunstkredit Basel 2008 Award Kiefer Hablitzel Foundation 2007 Istanbul, Platform Garanti Contemporary Art Center, studio scholarship by iaab Basel

North to the Future, Clearing, New York. 2012 Target as Frontside, RaebervonStenglin, Zrich. 2011 Valentine with Manuel Scheiwiller, Kunstverein Harburger Bahnhof, Hamburg. 2011 Anchor of Hope, Meyer Riegger, Berlin. 2011 Guerilla Galerie, St.Gallen. 2010 Walking Distance, Knstlerhaus Bremen. 2010 Attacca Manor Art Award Basel, Museum of Contemporary Art, Basel. 2010 (cataloque) Double Rich, ISR Istituto Svizzero di Roma. 2009 Sooner rather than Later, Kunsthaus Glarus. 2009 Masse Critique with Niklaus Wenger, CAN Centre dArt Neuchtel. 2008 Aussenportal, Stiftung Binz39, Zurich. 2008 KANTE with Emil Michael Klein Espace Bellevaux, Lausanne. 2007 Flatland, Kunsthaus Baselland, Muttenz CH. 2007

Minimal Myth, Museum Boijmans Van Beuningen. 2012 SWEETS IN JARS, SEEDS IN BAGS, JARS IN STORES, BAGS IN STORES, Ausstellungsraum Klingental. 2012 Das Unerwartete erwarten, Knstlerhaus Bremen. 2012 A clock that runs on mud, Galeria Stereo, Pozna. 2011 Territoires, sculptures dans le parc de Szilassy, Bex. 2011 Displaced Fractures, migros museum fr Gegenwartskunst, Zrich. 2010 (catalogue) Nomination Vordemberge-GildewartPreis. Kunsthaus Aarau. 2009 Open Space, L6, Freiburg i. B. 2009 5. berlin biennale for contemporary art, Berlin. 2008 (catalogue) Topfloor, Platform Garanti, Contemporary Art Center, Istanbul. 2007 Fireflies, Nicolas Krupp contemporary art, Basel. 2007 Poor Thing, Kunsthalle Basel. 2007 The Trees Bring Forth Sweet Ecstasy, Ausstellungsraum Klingental, Basel. 2007 Vrits, Falknerstrasse 4, Basel. 2007

Kilian Rthemann

Gterstrasse 106 CH-4053 Basel 0041 78 820 13 24 www.ruethemann.net mail@ruethemann.net www.raebervonstenglin.com