Rémy Zaugg
LOOK, I’M BLIND, LOOK, 1998-1999
68,5 x 69,3 x 2,7 cm (27 x 27 1/4 x 1 1/8 in.)
exhibition view at Centre PasquArt, Biel (Switzerland), 14 April 2012
photo © WFW
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The planes of the spaces… should be rectangular in outline… The walls and ceilings should be of an identical material and painted white, with a slightly textured finish, whereas the floor should be constructed of “a natural material of a medium tonal value with broken colouring… If it is necessary to have installations for delivering heat, ventilation, natural or artificial light, then… (it) should be masked by some kind of glass enclosure. – RÉMY ZAUGG for HERZOG & DE MEURON, ‘Collaboration in the Turbine Hall: The Tate Gallery of Modern Art by Herzog and de Meuron’, 1994
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Thanks to the work of RÉMY ZAUGG, LOOK, I’M BLIND, LOOK (1998-1999), the almost spectacular simplicity (and size) of the room Poma at Centre PasquArt in Biel (Switzerland) becomes a space of perception playing on the spectator’s visual attention.
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Over the past thirty years, RÉMY ZAUGG – widely known for his object-like text paintings that involve the viewer in a complex discussion on perception – has also devoted himself to finding and defining a suitable architectural context for the presentation of art; he has even published a textbook on the subject (Das Kunstmuseum, das ich mir erträume, oder der Ort des Werkes und des Menschen, Cologne, 1987 / The Art Museum of My Dreams, or the Place for Works and People).
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Art does not reproduce the visible; it makes visible – RÉMY ZAUGG
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➝ LOOK, I’M BLIND, LOOK (1998-1999) is currently part of the group exhibition REVIEW at Centre PasquArt in Biel, running through June 17, 2012.
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