Laurent Schmid

‹BELAUSCHTE DIALOGE›

27.10.-26.11.2016

 

«Heliopause», 2015
Print auf Alucobond hinter Plexiglas mit Sound, 110 x 72 cm
«Heliopause», 2015
Print auf Alucobond hinter Plexiglas mit Sound, 87 x 60 cm
«Heliopause», 2015
Print auf Alucobond hinter Plexiglas mit Sound, 145 x 109 cm
«From the trickster’s toolbox 2», 2015/2016 Posterprint, 300 x 442 cm, Unikat
«Ether, God and the Devil», 2015
Print auf Alucobond hinter Plexiglas, 81 x 119 cm, Unikat
«The Blackening Rock», 2015
Print auf Alucobond hinter Plexiglas, 121 x 121 cm, Unikat
Aus der Serie «Contact with space - storm in November», 2016
Print auf Alucobond, 51 x 70 cm, Unikat
Aus der Serie «Cosmic superimposition», 2015, Print auf Plexiglas weiss, 103 x 73 cm, Unikat
Aus der Serie «Cosmic superimposition», 2015, Print auf Plexiglas weiss, 103 x 73 cm, Unikat
Aus der Serie «Cosmic superimposition», 2015, Print auf Plexiglas weiss, 103 x 73 cm, Unikat
Aus der Serie «Cosmic superimposition», 2015, Print auf Plexiglas weiss, 103 x 73 cm, Unikat
Aus der Serie «Cosmic superimposition», 2015, Print auf Plexiglas weiss, 103 x 73 cm, Unikat

From the very beginning Laurent Schmid has always worked at the intersection of art and science. His work irritates with incessant para-scientific coquetries, leading to ambiguous statements. “Truth” mutates into the projection of wishes or expectations and can be interpreted in various ways. It is within this field of tension that he keeps searching for interesting stories, escalating further by weaving in absurd conspiracy theories or mixing malicious truths with lies. The artist puts his basic mistrust in pictures at the centre of his interest.

The new exhibition ‹OVERHEARD DIALOGUES› focuses on two speculative physics theories which have been refuted: On the one hand, there is Johann Wilhelm Ritter’s idea of vibration or oscillation as the basic principle of nature, and Faraday’s assumption of atoms being some kind of knotted vortices in the ether. Both theories represent hypotheses of how to grasp the world. Although not entirely wrong, they are, however, considered rather imprecise. And yet, they have led to some important findings: physicist and mathematician Peter Guthrie Tait, for example, built on Faraday’s theory by classifying the knots, thus giving the mathematical knot theory an early but important impetus. Tait and Kevin, collaborating closely on several occasions, also conducted significant studies into kinematics. And this, finally, closes the circle to Johann Wilhelm Ritter.

During a six-month stay in New York, Laurent Schmid created various groups of works inspired by these scientific theories. One series, for instance, is based on the idea of oscillation as nature’s basic principle, and thus on light/image and sound representing the same phenomenon (although using different frequencies). To visualise this theory, Schmid used sound to vibrate plates covered with sand, causing the sand to create geometric patterns. Or he edited a radio telescope recording from New Mexico in a way that caused liquids such as brandy to vibrate.
A second series consists of neon works that refer to P.G. Tait’s knot theory and knot classification system, respectively. Their design relies on the assumption that knotted ether vortices are the basis of all elements. According to this theory each knot is allocated to one element.

Schmid’s works are the result of playful experimentations conducted in his studio(-cum-laboratory). A lot of it is based on association and some of the processes he immediately exploited semantically. Almost all photographs are based on photographs (i.e. they are photographed photos), rendering evident the complexity of reality; between object, image and reproduction. The artist does so by applying various methods of montage and collage, by using transparent parts and overpainting. Some photographs are printed on clear perspex, the neon knots are varnished in black, purple light flashing through scratches in the surface. Additionally, a sound installation in the exhibition demonstrates the complex scientific theories as well as the works inspired by them.




Archiv Bern/PROGR:
Pascal Danz - Works on Paper 2019
Bodo Korsig - Escape from Memory 2019
Kotscha Reist - Comptoire de Mystic 2019
Martin Kasper
Reto Camenisch 2018
Christian Denzler 2018
Martin Kasper - Im Wechsel 2018
Matchpoint 2018
Andrea Heller / Dominik Stauch 2018
Porter à l'envers 2018
Alfred Hofkunst 2018
Silvia Gertsch - Captured 2018
Winter Story 2017
Böniger / Indermühle 2017
Sereina Steinemann 2017
Xerxes Ach - inside outside 2017
Christian Indermühle - Glarea 2017
Peter Wüthrich 2017
Samuel Blaser - Skip the Pit Stop 2017
Filip Haag - Ins Auge 2017
Kotscha Reist - Painting As Usual 2017
Pascal Danz - Vor der Reise 2016
Laurent Schmid 2016
Freyschmidt/Merkisch/à Wengen 2016
Aquaréelles 2016
Com&Com - New works 2016
Reto Leibundgut - Clementine 2016
Erich Weiss feat. Otto Tschumi 2016
ABOUT PAINTING - PART II 2016
Dominik Stauch 2015
Christian Denzler - Neue Arbeiten 2015
Bodo Korsig - No regrets 2015
Filip Haag - Abrakadie & mehr 2015
Kotscha Reist 2015
Samuel Blaser 2015
Pascal Danz 2015
Elsbeth Böniger - Structures 2015
Catching Moments 2014
Now and Here 2014
(Hi)stories 2014
Summerproject 14
Com&Com - Sky 2014
Katia Bourdarel 2014
Otto Tschumi - Variationen 2014
Lorenz Spring - Spring im Winter 2014
En-lighted 2013
Reto Leibundgut 2013
Patterns 2013
Filip Haag - Oder nach Absprache 2013
Mit dem Körper sehen 2013
Samuel Blaser - Diptycha 2013
Originally Bern 2013
Zwischenspiel: PROGR In-House 2013
Kotscha Reist - Old Ideas 2013
Pascal Danz 2013
Dominik Stauch - Rhinestones 2012
Tiefen Wirkungen 2012
Summerproject 2012
On paper 2012
Com&Com - Clouds 2012
Arno Nollen 2012
Locking glass 2012
Raffaela Chiara - Transformer Kit 2012
X Years 2011
Dominik Stauch - Breathless 2011
Marius Lüscher 2011
Reto Leibundgut - Flora 2011
Kotscha Reist - Painting Life 2011
Microcosmes 2011
Elsbeth Böniger 2011
Laurent Schmid - Rope Tricks 2010
Reto Camenisch 2010
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