Installation view, Weiss Falk, Found Refined Refound, Eva Presenhuber, New York, 2023.
Galerie Eva Presenhuber is pleased to host fellow Swiss gallery Weiss Falk and their exhibition Found Refined Refound, a group show extending from the material investigation of six artists from Weiss Falk’s orbit: Timothée Calame, Klara Lidén, Lorenza Longhi, Daniele Milvio, Sveta Mordovskaya, and Urban Zellweger.
By taking on found objects and developing formulas to deal with those objects, each artist develops a unique approach to the object trouvé. These interventions are updates on ongoing considerations within each practice, and become strategies by repetition of process. On the occasion of this exhibition, Eva Presenhuber’s New York space will also be occupied by Weiss Falk’s gallerists and their pop-up art cinema Kino Süd.
Kino Süd, originally initiated in 2016 as an experimental cinema and part of Timothée Calame‘s exhibition in Weiss Falk’s Basel space, will take over the downstairs gallery for a series of screenings throughout March. As such, this space will oscillate between an extension of the exhibition as well as a screening room, with 2-3 evening programs each week organized by Weiss Falk and a host of artists, curators, and friends of the gallery.
New sculptures by Lorenza Longhi (*1991 in Lecco, IT) will act as signage for the theater. She offers two additional bodies of work for this exhibition. Longhi’s silk-screened paintings will be on view alongside her handmade Camellias spy cameras.
Timothée Calame’s (*1991 in Geneva, CH) four panels on view are recuperated from the streets of Marseilles where the artist lives and works. After the surfaces are flattened, he applies letters from his collection of Letraset sheets – the ancestor of InDesign. While these works bear slight dimensionality, they float between the categories of wall-bound sculpture, readymades, and painting. One such painting will hang downstairs and function as the screen for the gallery-turned-theater. Klara Lidén’s (*1979 in Stockholm, SE) seating arrangement will also be set to use for Kino Süd’s audience members. These benches and table tops are also on view in the mainspace, constructed with the twofold function as sculpture and furniture.
The multifarious output of Daniele Milvio (*1988 in Genoa, IT) found a new avenue at the tail end of summer 2021 when the artist discovered a defunct snakeskin processing factory. At first he sought to create pure abstractions on top of the sad, discarded skins, but began following the natural patterning and evoking forms in accordance with the scales. In doing so, Milvio developed a process of finding his compositions rather than creating them. Sveta Mordovskaya (*1989 in Ulan-Ude, RU) also contends with inherited materials, producing assemblages towing the line between nest and grave. The former denotes a developmental stage, one full of potentiality, while the latter confronts inertia or else the possibility of an afterlife. Two of Mordovskaya’s wall works will also be on view in the exhibition, countering the loose floor compilations with confined, wooden structures and forms.
In seeking an alternative to the extensively historicized oil on canvas, Urban Zellweger (*1991 in Zurich, CH) repurposes pizza boxes as the surfaces for his paint. While previous contributions to this series (some of which are on view in this exhibition) have seen the use of modestly sized boxes, Zellweger will leverage the American context: bigger is better! The larger scale in combination with new pizza shop imagery provides a new basis for pictorial exploration, as Zellweger activates the found background within his compositions.