Bruce Nauman au Schlauger: Disappearing Acts

Installation view: Bruce Nauman, Green Horses, 1988 Bruce Nauman: Disappearing Acts, 17 March–26 August 2018, Schaulager® Münchenstein/Basel, installation view with Bruce Nauman, Green Horses, 1988, Two-channel video installation (color, sound), one projection, two monitors, and chair, 59:40 min., continuous play, Purchased jointly by the Albright-Knox Art Gallery, Buffalo, New York, with funds from the Bequest of Arthur B. Michael, by exchange; and the Whitney Museum of American Art, New York, with funds from the Director's Discretionary Fund and the Painting and Sculpture Committee, 2007, © Bruce Nauman / 2018, ProLitteris, Zurich, photo: Tom Bisig, Basel

Installation view: Bruce Nauman, Leaping Foxes, 2018 Bruce Nauman: Disappearing Acts, 17 March–26 August 2018, Schaulager® Münchenstein/Basel, installation view with Bruce Nauman, Leaping Foxes, 2018, Polyurethane foam with steel and wire cables, Collection the artist, Courtesy Sperone Westwater, New York, © Bruce Nauman / 2018, ProLitteris, Zurich, photo: Tom Bisig, Basel

Bruce Nauman, Make Me Think Me, 1993 Graphite and masking tape on paper, 55 7/8 × 38 1/4 in. (142 × 97.2 cm), Froehlich Collection, Stuttgart, photo: Dorothy Zeidman, New York, © Bruce Nauman / 2018, ProLitteris, Zurich

Bruce Nauman, One Hundred Live and Die, 1984 Neon tubing with clear glass tubing on metal, 118 × 132 1/4 × 21 in. (299.7 × 335.9 × 53.3 cm), Collection Benesse Holdings, Inc. / Benesse House Museum, Naoshima, photo: Dorothy Zeidman, Courtesy the artist and Sperone Westwater, New York, © Bruce Nauman / 2018, ProLitteris, Zurich

Installation view: Bruce Nauman, The True Artist Helps the World by Revealing Mystic Truths (Window or Wall Sign), 1967 Bruce Nauman: Disappearing Acts, 17 March to 26 August 2018, Schaulager® Münchenstein/Basel, installation view with Bruce Nauman, The True Artist Helps the World by Revealing Mystic Truths (Window or Wall Sign), 1967, Neon tubing with clear-glass-tubing suspension frame, Collection the artist, exhibition copy, © Bruce Nauman / 2018, ProLitteris, Zurich, photo: Tom Bisig, Basel

Bruce Nauman, Wall-Floor Positions, 1968 (still) Video (black and white, sound), 60 min., The Museum of Modern Art, New York, purchased from Video Data Bank, The School of the Art Institute of Chicago, Exhibition file courtesy Electronic Arts Intermix (EAI), New York, still: EAI, © Bruce Nauman / 2018, ProLitteris, Zurichsound), 60 min., The Museum of Modern Art, New York, purchased from Video Data Bank, The School of the Art Institute of Chicago, Exhibition file courtesy Electronic Arts Intermix (EAI), New York, still: EAI, © Bruce Nauman / 2018, ProLitteris, Zurich

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Installation view: Bruce Nauman, Green Horses, 1988 Bruce Nauman: Disappearing Acts, 17 March–26 August 2018, Schaulager® Münchenstein/Basel, installation view with Bruce Nauman, Green Horses, 1988, Two-channel video installation (color, sound), one projection, two monitors, and chair, 59:40 min., continuous play, Purchased jointly by the Albright-Knox Art Gallery, Buffalo, New York, with funds from the Bequest of Arthur B. Michael, by exchange; and the Whitney Museum of American Art, New York, with funds from the Director's Discretionary Fund and the Painting and Sculpture Committee, 2007, © Bruce Nauman / 2018, ProLitteris, Zurich, photo: Tom Bisig, Basel
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Installation view: Bruce Nauman, Leaping Foxes, 2018 Bruce Nauman: Disappearing Acts, 17 March–26 August 2018, Schaulager® Münchenstein/Basel, installation view with Bruce Nauman, Leaping Foxes, 2018, Polyurethane foam with steel and wire cables, Collection the artist, Courtesy Sperone Westwater, New York, © Bruce Nauman / 2018, ProLitteris, Zurich, photo: Tom Bisig, Basel
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Bruce Nauman, Make Me Think Me, 1993 Graphite and masking tape on paper, 55 7/8 × 38 1/4 in. (142 × 97.2 cm), Froehlich Collection, Stuttgart, photo: Dorothy Zeidman, New York, © Bruce Nauman / 2018, ProLitteris, Zurich
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Bruce Nauman, One Hundred Live and Die, 1984 Neon tubing with clear glass tubing on metal, 118 × 132 1/4 × 21 in. (299.7 × 335.9 × 53.3 cm), Collection Benesse Holdings, Inc. / Benesse House Museum, Naoshima, photo: Dorothy Zeidman, Courtesy the artist and Sperone Westwater, New York, © Bruce Nauman / 2018, ProLitteris, Zurich
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Installation view: Bruce Nauman, The True Artist Helps the World by Revealing Mystic Truths (Window or Wall Sign), 1967 Bruce Nauman: Disappearing Acts, 17 March to 26 August 2018, Schaulager® Münchenstein/Basel, installation view with Bruce Nauman, The True Artist Helps the World by Revealing Mystic Truths (Window or Wall Sign), 1967, Neon tubing with clear-glass-tubing suspension frame, Collection the artist, exhibition copy, © Bruce Nauman / 2018, ProLitteris, Zurich, photo: Tom Bisig, Basel
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Bruce Nauman, Wall-Floor Positions, 1968 (still) Video (black and white, sound), 60 min., The Museum of Modern Art, New York, purchased from Video Data Bank, The School of the Art Institute of Chicago, Exhibition file courtesy Electronic Arts Intermix (EAI), New York, still: EAI, © Bruce Nauman / 2018, ProLitteris, Zurichsound), 60 min., The Museum of Modern Art, New York, purchased from Video Data Bank, The School of the Art Institute of Chicago, Exhibition file courtesy Electronic Arts Intermix (EAI), New York, still: EAI, © Bruce Nauman / 2018, ProLitteris, Zurich
In partnership with the MoMA of New York it is the first retrospective of this magnitude with 170 works collected on all the spaces of the Herzog & De Meuron building. From the front we are welcomed by the video”Mr Rogers” on two giant screens the dance in balance of 3 pencils before the cat comes to break all the scene taken in the workshop.
“Disappearing Acts” thus covers the different phases of his career from the 1960s to the present, such as Contrapposto Split from 2017, a video that uses 3D imagery or sculpture,”Leaping Foxes”, a pyramid of inverted animals that is the possible metaphor for the mistreatment suffered.
Good and evil, vices and virtue, appearance and absence, sex and death, are summoned in turn in a journey that holds out a mirror to the spectator, a captive witness of scenes of violence and excess in noises sometimes sinister and haunting. Here the rides look like torture, the clowns laugh yellow, the pantomines shout insults, the neons flash contradictory injunctions… the human condition in all its cruelty in the face of these manchas and its dissatisfactions.
The masks fall off and an oppressive feeling seizes you little by little at the rhythm of the generated tensions. “Get Out of my mind, Get Out of this Room” is the final cut and yet we ask for more! At the exit you even think it’s the best exhibition in town.

Marie-Elisabeth de La Fresnaye

After training in literature and art history, Marie de la Fresnaye entered the art market in Drouot and embarked on events. In parallel to several years in business in the field of editorial commun...

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