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Tom Burr, Hélène Fauquet, KwieKulik, Sophie Reinhold, Lise Soskolne, Pedro Wirz


St. Moritz

Jul 09 - Aug 28, 2021

GUILTY PLEASURES is a temporary exhibition space, organized by Philipp Zollinger and Ludovica Parenti. It is located in an apartment building in the centre of St. Moritz. For the first exhibition they invited Hannes Schmidt from Schiefe Zähne (Berlin), to collaboratively conceive a group exhibition.

TOM BURR's distinct appropriation of the formal vocabulary of the avantgarde and neo-avantgarde, particularly minimalism and post-minimalism, has become pivotal for a generation of artists concerned with the political and critical potential of art, as well as identity politics after 1990. Recent solo exhibitions include at Bortolami (New York, 2021); Auroras (São Paulo, 2019); Wadsworth Atheneum Musuem of Art (Connecticut, 2019); SCAD Museum of Art (Georgia, 2018); Westfälischer Kunstverein (Munster, 2017); Maureen Paley (London, 2017); Galerie Neu (Berlin, 2017); Hessel Museum (New York, 2014); Museum für Gegenwartskunst (Basel, 2009); Swiss Institute (New York, 2007); Schinkel Pavillon (Berlin, 2007) and Whitney Museum of American Art (New York, 2002). Group shows include at Whitechapel Gallery (London, 2019); Museum Ludwig (Cologne, 2019); Kunsthalle Bern (2018) and Louisiana Museum (Humlebaek, 2010). Burr is represented in major collections such as at Centre Pompidou (Paris); Ludwig Museum (Cologne); Migros Museum (Zurich); MOCA (Los Angeles) and Whitney Museum of American Art (New York).

In the series on view HÉLÈNE FAUQUET works with found imagery of Op-Art objects, which are offered online for sale. Involuntarily the works depict the often precarious situation of the photo shoot, as well as the photographer him/herself. Fouquet was born 1998, in Saint-Saulve, France and studied at Staedelschule, Frankfurt, in the class of Michael Krebber. She lives and works in Vienna and Paris. Recent solo and duo exhibitions include at Schiefe Zähne (Berlin, 2020); Édouard Montassut, (Paris, 2020); Boltenstern Raum/Galerie Meyer Kainer (Vienna, 2020); Kunstverein Nürnberg (2019); Kunstverein Eisenstadt (Austria, 2019). Moreover she has participated in numerous group shows, such as at Rodeo Gallery (Piraeus, 2021); TOKAS (Tokyo, 2020); Foundation Vienna (2019); Christian Andersen (Copenhagen, 2019); Acappella (Naples 2018) and Jan Kaps (Cologne, 2019).

KWIEKULIK is an artistic duo (active in this constellation from 1971 – 1987) consisting of Zofia Kulik and Przemysław Kwiek. Their practice postulated a deep resistance to Soviet totalitarian communism and a commitment to the fundamental values of democratic socialism, including self-organization and collective authorship. Their work has been exhibited in numerous international Biennials, as well as Documenta 12, Kassel and is represented in public collections such as Museum of Modern Art (New York); Tate Modern (London); Museum of Contemporary Art (Warsaw); Ludwig Museum (Budapest) and National Museum (Wroclaw).

LISE SOSKOLNE’s work can be read as the personal chronicle of an inevitable confrontation with media images and their contexts. Sources, as diverse as internet search queries, or found print advertisements, dating back to the 1970s, form the starting points for Soskolne’s paintings. She was born in 1971, in Toronto and lives and works in New York since the late 1990s. She is a co-founder of Working Artists and the Greater Economy (W.A.G.E.) and has been its core organizer since 2012. Recent solo exhibitions include at Kunstverein Nürnberg (2020); Svetlana (New York, 2020); Mishkin Gallery (New York, 2019); The Middler (New York, 2018); Diorama Oslo (2015). In addition, she has participated in numerous group shows, such as at Emanuel Layr (Vienna, 2021); Schiefe Zähne (hosted by CFA, Berlin 2021); Kunstverein München (2020); Kai Matsumiya (New York, 2019); Artist Space (New York, 2017); Svetlana (New York, 2015) and Studiolo (Zurich, 2013).

SOPHIE REINHOLD responds in her typically humorous and satirical manner to her surroundings, creating subversive narratives of historical, social and moral themes. She was born 1981, in Berlin and studied under Antje Majewski at Kunsthochschule Berlin-Weißensee, prior to that under Amelie von Wulffen at the Academy of Fine Arts Vienna and at the Academy of Fine Arts Leipzig. Recent solo and duo exhibitions include at CFA (Berlin, 2020); galerie philippzollinger (Zurich, 2020); Kunstverein Reutlingen (2019); Sundogs (Paris, 2019); Schiefe Zähne (Berlin, 2018); Rüdiger Schöttle (Munich, 2018) and Sophie Tappeiner (Vienna, 2017). In addition, she has participated in numerous group shows, such as at Andrew Kreps (New York, 2021); Kunstverein Ingolstadt (2019); Neuer Berliner Kunstverein (2019) and Freedman Fitzpatrick (Paris, 2018). In 2012, Reinhold was the recipient of the Villa Romana Prize and therefore completed an artist residency in Florence.

PEDRO WIRZ draws his inspiration from cultural history, science, craft as well as folklore. He was born 1981, in São Paulo and lives in Zurich. In 2022, Wirz is scheduled for a solo exhibition at the Kunsthalle Basel. Recent solo shows include; galerie philippzollinger (Zurich, 2020); Marc Selwyn (Los Angeles, 2020); Kai Matsumiya (New York, 2020); Galerie Nagel Draxler (Berlin, 2019); Centre Culturel Suisse (Paris, 2019); Kunsthaus Langenthal (2019); LongTang (Zürich, 2019) and Instituto Tomie Ohtake (São Paulo, 2017). In addition, Wirz has been included in numerous group exhibitions, such as at Aargauer Kunsthaus (2019); Centre Pasquart (2018); Blank Projects (Cape Town, 2018); Tinguely Museum (Basel, 2016); CCS Bard Hessel Museum of Art (New York, 2015); Künstlerhaus Stuttgart (2013); Dortmunder Kunstverein (2013); Palais de Tokyo (Paris, 2013) and Kunsthalle Basel (2011).

La Serletta 5, 7500 St. Moritz, Switzerland

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Left, Lise Soskolne, Humour Now, 2005, oil on canvas, 178 x 178 cm / Middle: Hélène Fauquet, Paranoiac view, 2020, ed. 2 + 1 AP, UV print on wood, 45 x 45 cm / Right, Tom Burr, Screenplay (gold), 2020, plywood, wood molding, plexi-mirror, 180 x 55 x 180 cm

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Left, Hélène Fauquet, House of fun, 2020, ed. 2 + 1 AP, UV print on wood, 45 x 45 cm / Right, Sophie Reinhold, Person without Head, 2020, oil on marble powder on jute, 80 x 60 cm

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Left, Pedro Wirz, Tooth of a Giant, 2020, chrome steel, clay, humus, hay, acrylic binder, 180 x 35 x 35 cm / Right, Hélène Fauquet, House of fun, 2020, ed. 2 + 1 AP, UV print on wood, 45 x 45 cm

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KwieKulik, Activities with a Tube, 1975, 42 photographs, archival pigment print, framed, 33 x 33 cm each; tube, cardboard, lacquer, 148 x 40 x 28 cm

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Sophie Reinhold, Money 2.0, 2020/21, oil on marble powder on canvas, 90 x 115 cm

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Installation view