* EXHIBITIONS AND PROJECTS





GRAPHISCHE SAMMLUNG DER ETH - HELMHAUS ZURICH



Boris Rebetez, Untitled, 2001 (Collage Nr. 9 from the serie "Walking Day")

Eternal Present

Contemporary Art from the Graphische Sammlung ETH Zürich


24 February – 17 April 2017 : Graphische Sammlung ETH Zürich and Helmhaus Zürich

The ETH Zürich’s Collection of Prints and Drawings includes some 160,000 fine artworks on paper from the
16th century to the present day. It continues to develop – also in the field of contemporary art, where it acts
as a for the latest developments by acquiring contemporary works. The exhibition “Eternal Present” marking
its 150th anniversary focuses on prints, photographs and drawings which have been produced during the
past twenty years and which have been absorbed into the collection. In close collaboration, the head of the
Graphische Sammlung ETH Zürich and the head of the Helmhaus Zürich have focused intensively on this part
of the collection. Their selection includes works by almost 40 artists; some of them have already achieved
recognition while others are still at the very beginning of their careers.

• Curated by Linda Schädler and Simon Maurer




MENTHAPHYSICA MUNICH

Menthaphysica, 1 - 17 september 2016, Easy!upstream Munich

With: Aribert von Ostrowski, Boris Rebetez, Catrin Steck, Denise Flamme, Johannes Tassilo Walter,
Jonas von Ostrowski, Max Ernst, Niko Abramidis & NE, Giovanni Battista Piranesi, Tobias Donat

• Curated by Konstantin Lannert




VON BARTHA BASEL



Sitting on a branch, 29 january - 26 march 2016, Von Bartha Basel

With: Daniel Robert Hunziker, Aglaia Konrad, Doris Lasch, Boris Rebetez,
David Thorpe, Bernard Voïta and Claudia Wieser

• Curated by Boris Rebetez





KUNSTHAUS BASELLAND



Boris Rebetez, Anticipation XI, XIII, V, 2009 - 2015

Ueberzeichnen, 18.9 - 15.11.2015, Kunsthaus Baselland

There is a lot of been said about drawing of present. It is the most origial artistic media, autonomous, spontaneous,
direct, process-authentic, by their process closer to the artist than other disciplines. Since years a renaissance of
drawing is attested, which suggests that the drawing has had a rather quiet existence in other disciplines the
decades before.

With: Anna B. Wiesendanger, Boris Rebetez, Bruce Nauman, Bruno Jakob, Cécile Hummel, Claudia und Julia Müller,
Eric Hattan, Fred Sandback, Jürg Stäuble, Karim Noureldin, Lena Eriksson, Maja Rieder, Miriam Sturzenegger,
Robert Estermann, Silvia Bächli, Stalder Anselm, Therese Bolliger

• Curated by Ines Goldbach and Cécile Hummel





VITRINE LONDON







Boris Rebetez, Columnist
27 june - 8 august 2015, Vitrine Gallery London

In ‘Columnist’, Boris Rebetez exposes the viewer to two potential spaces – that of the physical installation and
that of the past architecture on which the photographs reflect. In doing so, Rebetez creates a transitional space,
constantly fluxing between the real and imagined, past and present.





SCULPTURES PARK GARANGULA AUSTRALIA



Pioneer (Pavilion green, yellow, red), 2014
Powder coated steel, 600 x 980 x 800 cm, 540 x 1130 x 200 cm, 700 x 785 x 200 cm
Sculptures park Garangula, Australia (upcoming)




BEX & ARTS 2014



Boris Rebetez, AIR & WATER
Emergences, 1 juin - 5 octobre 2014, Parc Szilassy Bex



The concept of Bex & Arts 2014, ‘Emergences’, suggests we reflect on the relationship between humankind
andthe contemporary world, on the utopia of an all-encompassing understanding of the universe, and on
the relationship between the work of art and the ‘whole’ to which it pertains. Thus each work crystallises the
emergence of a poetic and artistic ‘island’.

• Curated by Noémie Enz, Jessica Schüpbar





KUNSTHAUS BASELLAND










Boris Rebetez, Columnist, 24.1 - 23.3 2014, Kunsthaus Baselland

" In the Kunsthaus Baselland the artist is building two additional columns into the support system of the upper
galleries, which could have a structural use in their locations. If one thinks back to the title, Columnist, one could
read it associatively, relating it to the term column. Accordingly, a Columnist is someone who deals with columns.
More than 80 black and white photographs will be projected onto one of these columns, giving detailed insights
into an instance of palatial architecture from the 19th century. "

• Curated by Ines Goldbach





VON BARTHA BASEL











Boris Rebetez, Syndrome temporel, Sep 10  - Oct 26 2013, von Bartha Basel

-The Thirteenth Month-

"From time immemorial we have been creating systems to give structure to our lives, to make them simpler, to give
them a form.This does not solely apply to the simplification of our individual everyday life, but also to communal
life. In some part these systems are based on natural phenomena such as the phases of the moon, some appear
to be generated artificially, such as political and social systems."...

• Fabian Schöneich





KUNSTHALLE BASEL



Boris Rebetez, L‘année des treize mois (1st january), 2013
Watercolour on Paper, 156 x 114 cm




Boris Rebetez, Untitled, 2013
Photo collage, 11 x 14,5 cm

Why is Landscape beautiful ?, 1. Dec 2013 – 5. Jan 2014, Kunsthalle Basel


The exhibition brings together works by artists who all share an interest in landscapes, spaces and environments.
It takes its title from the essay of the same name by Lucius Burckhardt, the Basel sociologist, planning theorist
and architect, who explores the question of what landscape is – namely a construction. Burckhardt suggests that
landscape exists not as a phenomenon of the environment, but arises in the imagination of the person looking at it.
This way of looking is governed by a process of selection: only by means of this selection process – via exclusion,
filtering and re-combination – does the picture of a landscape take shape. As a way of seeing, subjective perception
also enables movement and positioning in the landscape to become part of the creative process.
The artists at Kunsthalle Basel take account of this and direct their view at subsidiary motifs and everyday vistas, at
architecture that determines our surroundings, and likewise at natural features and at experienced, appropriated
and interiorized space. The results are personal topographies and narratives about places that are familiar to us all,
and all of which - astonishingly - are beautiful. For that is Lucius Burckhardt’s conclusion: it is impossible to
generate an ugly image of landscape.

With: Hans-Rudolf Fitze, Gina Folly, Jonas Hänggi, David Heitz, Rut Himmelsbach, Jan Hostettler,
Cécile Hummel, Georgine Ingold, Werner von Mutzenbecher, Raoul Müller, Boris Rebetez and works
from the collection of Basler Kunstverein.

• Curated by Adam Szymczyk, Ruth Kissling, Fabian Schöneich





LUDLOW 38 NEW YORK

Celluloid brushes, 14.7 - 1.9.2013, Ludlow 38 New York

• Curated by Margot Vanheusden





KUNSTRAUM RIEHEN



Installation view: Antichambre, 1st floor Kunstraum Riehen



Le logis ou le secret identitaire, 2011
Installation view: Antichambre, 2sd floor Kunstraum Riehen




Le logis ou le secret identitaire, (81 slides in loop of the garden city Le logis)

Boris Rebetez, Antichambre, 26. Mai bis 1. Juli 2012, Kunstraum Riehen


Boris Rebetez zeigt im Dachgeschoss unter dem Titel "Le logis ou le secret identitaire" eine Diaprojektion von
81 Schwarzweiß-Fotografien, die zwei Gartenstädte im Westen Brüssels dokumentieren. Diese Gartenstädte
entstanden Anfang des 20. Jahrhunderts als utopischer Entwurf, Architektur und Natur, urbanes Wohnen,
städtischen Raum und ländliches Grün in Einklang zu bringen. Rebetez wirft in seiner Lichtbilder-Projektion,
die wie ein filmischer Bilderbogen aus einzelnen Sequenzen abläuft, aus Sicht des heutigen Künstlers einen
Blick auf diese Gartenstadt-Welten: Architekturen und Häuserfassaden wie abstrakte, streng angeordnete
Kompositionen, Torbögen, die den Blick vom Licht ins Dunkle ziehen, Treppen und Gemäuer mit Rissen,
Hecken und Büsche wie geometrische oder ornamentale Elemente, Bäume wie Skulpturen vor den Gebäuden.
Es sind eigene kleine Welten für sich, diese Gartenstädte, teilweise fern und versunken anmutend, dann wieder
funktional in der Ästhetik von Architektur und Natur, aber auch mit sichtbaren Spuren des langsamen Zerfalls.
• Text Simon Baur

• Curated by Reto Thüring





WITTE DE WITH ROTTERDAM

Celluloid brushes, february 2012, Witte de with, Rotterdam
• Curated by Margot Vanheusden





VON BARTHA S-CHANF



Boris Rebetez, L'Espace d'après, 17 .2 -  10.3 2012, von Bartha S-Chanf

Boris Rebetez’s exhibition at the von Bartha Chesa in S-chanf is his first solo project with the Galerie von Bartha.
The work, which the artist made especially for this exhibition, is tied conceptually to the sculpture, which was
exhibited in the entrance hall of the Brussels showroom Komplot in 2011. Rebetez continues with this intervention
by picking up and responding to the characteristics of the showroom in the Engadin. The monumental wood
sculpture fills the white cube of the gallery. However, it leaves enough space for the visitor to move freely.
The sculpture is a structure inside a structure, which again is placed inside another structure.

• Text Reto Thüring





KOMPLOT BRUSSELS



Boris Rebetez, Maria Iorio & Raphaël Cuomo
Le logis / et jamais devient, 27 June to 27 August 2011, Komplot Brussels

• Curated by Sonia Demience





AARGAUER KUNSTHAUS



Voici un dessin suisse, 29.01.2011 – 25.04.2011, Kunsthaus Aarau

• Curated by Julie Enckel-Juillard and Madeleine Schuppli





KUNSTMUSEUM SOLOTHURN



Grand Hall, 2010
Styrofoam, plaster, wood structure.
Staircase: 420 x 450 x 330 cm. Pillar: 436 x 46 x46 cm.




Portail, 2010
Plexiglass, wood, metal, paint.
340 x 160 x 4 cm.


Boris Rebetez, Anticipation, 05.06.2010 – 08.08.2010, Kunstmuseum Solothurn

Meist sind es periphere Situationen, die Boris Rebetez interessieren: Orte, an denen Stadt und Landschaft,
Architektur und Natur aufeinander treffen und sich zu einem vielschichtigen Ganzen verdichten. Seine
Aufmerksamkeit richtet sich auch auf halböffentliche Räume wie Innenhöfe oder Treppenhäuser, die zwischen
innen und aussen changieren und verschiedene Funktionen in sich vereinen. Er untersucht ihre räumliche und
architektonische Qualität, fragt jedoch immer auch nach unserer subjektiven Wahrnehmung und Erfahrung,
nach dem erlebten und verinnerlichten Raum.

• Curated by Barbara von Flüe




ETABLISSEMENT D'EN FACE BRUSSELS



Celluloid brushes, 25.3 - 23.4..2011, Etablissement d'en face Brussels

• Curated by Margot Vanheusden





ANNEX14 BERN



Environment and the establishment of a way of life, 2009
Ink on paper, 55 x 75 cm

Boris Rebetez, Romans d'anticipation
28 November - 23 Dezember 2009, Galerie annex14, Bern






ISTITUTO SVIZZERO ROM



Boris Rebetez, Podium, 11.12 2008 - 27.04 2009, Istituto Svizzero di Roma

• Curated by Salvatore Lacquagnina





ABBATIALE DE BELLELAY







Boris Rebetez, La Réception, 22.6. - 13.9.2008, Fondation de l'abbatiale de Bellelay

La "Réception" by Boris Rebetez offers a more committed conception in the 'profanation' of the space, the
abbeychurch of Bellelay. In so doing he reinstates it to common use. And if he likes to dive into culture, it is
because he stages the present world, declining its historical cycles clashing against each other, and which he
simultaneously understands. He places the real in a field of tension, an realizes it, becoming its mediator.
• Text Sarah Zürcher

• Curated by Valentine Reymond




GALERIE MICHELINE SZWAJCER ANTWERP



Boris Rebetez, Lieven de Boeck
11.6 - 28.7 2007, Galerie Micheline Szwajcer, Antwerpen





ETABLISSEMENT D'EN FACE BRUSSELS











Boris Rebetez, Forteresse, 7.1 - 22.2 2007, Etablissement d'en face projects Brussel

"Forteresse" est la deuxième exposition en solitaire de Rebetez en Belgique. Pour la devanture d'Etablissement
d'en face, Boris Rebetez a conçu un vitrail en plexiglas et vernis colorés. Le motif architectural du vitrail et son
intégration urbanistique sont typiques de la manière de Rebetez dans son oeuvre de dessins, de collages et de
sculptures. La deuxième oeuvre est une colonne en ascension qui pénètre le rez-de-chaussée depuis la cave par
un trou pratiqué au sol et monte jusqu'au plafond pour y appliquer un appui factice, en suspension. Cette colonne
est une libre variation sur les architectons de Malevich mais l'accent y est déplacé de l'architectural à l'ornemental
et fait penser à une tourelle. Le titre de l'exposition "Forteresse" confère à l'ensemble l'idée du pouvoir et des
méchanismes qui l'accompagne.

• Text Michael Van den Abeele





MUSEUM FUR GEGENWARTKUNST BASEL







Boris Rebetez, Two-story house, 3 March 2006 - 14 May 2006, Museum für Gegenwartskunst Basel

The house sounds small. Smaller than expected anyway. And the title of the exhibition, "Two-story house", is
contrary to expectation as well, because it does not allude to the kind of functional late modernist apartment
block that crops up time an again in Boris Rebetez' drawings, sculptures and collages. Instead it houses a story
of two. And therein lies its duality: the deeply personal view of lived and remembered space and the constructivist
urban aspect that addresses first and foremost a general phenomenology of space. For the artist, however, this
space has never been a homogenous place of shifting and multiple levels. As Gilles Deleuze and Felix Guattari
have shown, space and time can no longer be thought of in linear terms, but only in terms of smooth and the
striated, which endless simultaneities and rhizomes and labyrinthine pathways. Boris Rebetez explores these
pathways in his drawings, collages and sculptures who are not only instructions or cartographies for implying a
somewhat universal utopian dimension; they also map a personal inner space - a space of exquisitely calm.

• Curated by Philipp Kaiser





W139 AMSTERDAM



Boris Rebetez, Montagne (after Mantegna), 2004
Bronze cast, 14 x 29 x 29 cm



Boris Rebetez, Montagne (after Gerard David), 2006
Bronze cast, 19 x 32 x 21 cm

Wat Is/ Wat Zou Kunnen, 4 Feb – 12 Mar 2006, W139 Amsterdam

With:
Armando Andrade Tudela, Virginie Bailly, Koenraad Dedobbeleer, Francis Denys, Manuel Depoorter, Marjolijn Dijkman,
Pieter Dobbelsteen, Kristof Van Gestel, Frank Koolen, Lars Kwakkenbos, Asier Mendizabal, Jens Nippert, Martijn Olie,
Falke Pisano, Boris Rebetez, Joe Scanlan, Marien Schouten, Maud Vandeveire, Reinaart Vanhoe, Dirk Zoete

• Curated by Kristof van Gestel





SWISS INSTITUTE NEW YORK







Boris Rebetez, Assiette, 1992 - 93 (serie of 7 plates)
Plaster cast, enamel, each ~ ø 27 cm

Tracking suburbia, 13 sept - 22 oct 2005, Swiss institute New York

With: Peter Fischli & David Weiss, Urs Lühti, Boris Rebetez and Jean-Frédéric Schnyder

• Curated by Paul Tanner





CIRCUIT LAUSANNE



Boris Rebetez, Untitled (photo collage), 2002
Color print, 110 x 163 cm

Stoop, Karim Noureldin & Boris Rebetez
10.04 - 31.06 2003, Circuit Lausanne

À partir de collages photographiques, Boris Rebetez recompose des paysages, comme autant d’assemblages
d’images provenant d’horizons et de sources différents. Karim Noureldin présente quant à lui deux sculptures
que l’on peut aussi appréhender comme des maquettes. Elles ont été fabriquées de mémoire. L’une représente
un aéroport existant et l’autre le village natal de l’artiste.

• Curated by Karim Noureldin





CASINO LUXEMBOURG







Boris Rebetez, Untitled (photo collage), 1998
Color print, 80 x 120 cm

The Larsen effect, 9.3 - 9.6 2002, Casino Luxembourg, Forum d'art contemporain

Boris Rebetez' photographs are based on a very simple collage technique. He takes pictures of landscapes from
various magazines, cuts them up, mounts them, photographs and finally enlarges them. This results in a sampling
of impressions suggesting a plausible new reality. Foreground and background, lighting, shadows and objects are
only apparently flowing, until one recognizes the few brutal but virtuosic cuts in the picture. The artist works with
small and precise gestures. The individual landscapes retain their "autonomy", because they are not interlocked,
but rather layered consecutively and horizontally. A logical perspectival sequence is undermined in this way. A post
in the foreground of a picture becomes, in contrast with a meadow landscape, monumentalized, or a street is
miniaturized directly adjacent to a rooftop landscape. Since the autonomous plateaus are next to one another in an
optically harmonious co-existence, the sum of the fragments is read as a unit. This reveals a process of optical
feedback, in that the different interpretations of the part and the whole, the integral part and the separable whole,
can no longer be distinguished.

With: Sven Augustijnen, Pierre Bismuth, Manon De Boer, Gerhard Dirmoser, Dan Graham, Margarete Jahrmann,
Max Moswitzer, Daniela Keiser, Dieter Kiessling, Ken Lum, Matt Mullican, Josef Pühringer, Boris Rebetez, Daniel Roth,
Simon Starling, Mitja Tusek, Keith Tyson, Peter Zimmermann.

• Curated by Moritz Küng





ZENTRUM FUR GEGENWARTKUNST LINZ

21.12.2001 - 8.2.2002, Der Larsen Effekt - prozeßhafte Resonanzen in der zeitgenössischen Kunst
Offenes Kulturhaus Oberösterreich Linz

• Curated by Moritz Küng





GRAPHISCHE SAMMLUNG DER ETH ZURICH



Boris Rebetez, Walking Day
10. April - 21. Juni 2002, Graphische Sammlung der ETH Zürich

Over the last years Rebetez has turned his attention to a new field: collages. From visual source
material found in magazines and journals he creates new, unreal and constructed landscapes.
The authenticity of this colourful picture world is thus examined; the viewer is challenged to think
about the veracity of the images. With his collages, Rebetez contributes to the contemporary
discourse on the boundaries, or rather lack thereof, between painting and photography.

• Curated by Paul Tanner





LES HALLES PORRENTRUY

Boris Rebetez / Bernard Voïta, 22.09.2002 - 10.11.2002





PACOS DAS ARTES SAO PAULO



Boris Rebetez, public space, 2002

Diazonal, 9.3 - 9.6 2002, Paços das Artes Sao Paulo
Collaboration with Paul Casaer, Willem Oorebeek, Robert Suemondt







* ART - IN - ARCHITECTURE






LEICHTER ALS LUFT























Art-in-architecture : Leichter als Luft, 2016
Seven flying objects : (Aeroplane Eole II, Mongolfière, flying carpet, cumulus, Graf Zeppelin, parachute)
Acrystal, steel, fiberglass. Sizes from 170 x 200 to 350 x 430 cm.
New Primary School, Allschwil Switzerland
Architect: BUR Architekten Zürich
Collaboration with Kunstbetrieb AG Münchenstein





EMERGENCY STAIRS



Art-in-architecture : Rettungstreppe, 2013
Galvanized steel, 950 x 240 x 1.5 cm
New highway emergency centre, City of Bern
Architect: Müller & Truniger Architekten Zürich
Collaboration with Kunstbetrieb AG Münchenstein





OSCAR COMME CHEZ SOI







Art-in-architecture : Oscar comme chez soi, 2012
Acrylic and pigment on wood, 310 x 630 cm (variable)
Privat house, Riehen Switzerland
Architect: Schmidt Vecsey Architekten Basel





ONZE CHAISES



Art-in-architecture : 11 chaises, 1993 - 1996 (destroyed)
11 garden chairs, painted and anchored to the floor. Surface ~15 x 8 m.
Entry of personnel, Firm Ciba Geigy Basel















© Photo credits


Vitrine Gallery: Jonathan Bassett
Bex&Arts: David Gagnebin
Kunsthaus Baselland: Gina Folly
von Bartha: Andreas Zimmermann
Kunstraum Riehen: Jannette Mehr
Abbatiale de Bellelay: Daniel Müller
Kunstmuseum Solothurn: Jörg Müller
Etablissement d'en face: Vincent Everarts
Museum für Gegenwartkunst Basel: Martin Bühler
Art-in-building project Bern: Dominique Marc Wehrli