21 x 29,7 cm.,
group exhibition at Kunsthaus Langenthal.
Curated by Marius Quiblier und Raffael Dörig.
30.08.–15.11.26.
Langenthal, Switzerland.
**************************UNDER CONSTRUCTION********************************.
Spotlight, Side Light, Key Light and Cloud II, 2023.
Ink and collage. Artist frame.
74 x 67 x 3 cm.
Low hanging fruit, 2017.
Ink and inkjet print on paper.
21 x 29,7 cm.
Vogelscheuche, 2019.
Pencil, ballpoint pen and felt tip pen on paper.
21 x 29,7 cm.
Industria, 2019.
Ink and inkjet print on paper.
21 x 29,7 cm.
Bola Paz, 2020.
Screen print and ink on paper.
21 x 29,7 cm.
Photos: Cedric Mussano and Nicolás Sarmiento.
"As in many of his installations, Sarmiento often reuses materials in his drawings and collages that
once served other purposes. On a sheet of notes from one of the artist‘s Master‘s seminars, the word ‚Vogelscheuche‘ (scarecrow)
is drawn over with a bird recalling Calimero, the cartoon chick.
The backgrounds of two other sheets were lifted off with water from a print that once served him as a source image.
Since 2023 the artist has also been making his own mounts and picture frames, letting these intuitive interventions
extend beyond the classic standard formats."
21 x 29,7 cm.
30.08.–15.11.26
Kunsthaus Langenthal, Langenthal, Switzerland.
www.kunsthauslangenthal.ch
Curated by Marius Quiblier und Raffael Dörig.
Artists:
Beni Bischof, Andrea Bonnet Adam, Vittorio Brodmann, Zora Decherf, Gaia Del Santo, Vidya Gastaldon, Hervé Graumann,
Samuel Haitz, Max Hari, Tobias Hauswirth, Esther Hunziker, Jeanne Jacob, Tobias Kaspar, Selina Lutz, Jean-Luc Manz,
!Mediengruppe Bitnik, Wanda Tschill Nay, Rondi Park, Annaïk Lou Pitteloud, Sam Porritt, Audrey Ramos, Marta Riniker-Radich,
Hinrich Sachs, Lionne Saluz, Nicolás Sarmiento, Isadora Vogt, Agnès Wyler und Urban Zellweger.
"A4 is the most widely used paper size in the world, and its rise began around a hundred years ago.
It was designed as a format for the business letter and remains associated with that function today.
Invoices and advertising flutter through the letterbox on A4; contracts are signed on it and forms filled
in. It is the standard for photocopiers, and in the supposedly paperless office of the digital age the printer spits out emails
and presentation notes on A4. And anyone in an office looking for a sheet for handwritten notes fishes an A4
out of the printer tray or the paper recycling beside it.
The exhibition brings together works by contemporary Swiss artists of various generations, all of whom work regularly with A4
and were asked to show between two and five sheets. They carry the format over from the sphere of the office into that of art.
In doing so they make reference to standardisation, to letters and forms, or to the sketch-like and the unpretentious,
but also to artistic traditions of ‚works on paper‘. The works are complemented by material on the history of paper size standardisation
from the Bibliothek für Gestaltung Basel.
The DIN A series was published in 1922 by the Deutsches Institut für Normung and drew on the rationalising spirit of the age
and on earlier moves towards standardisation such as the ‚Weltformat‘.
It follows the principle of a series with a constant aspect ratio of 1:√2, the only rectangular ratio that stays the same
when the long sides are halved. The basic size is A0, with an area of exactly one square metre.
Halved four times, this gives a rectangle of 21,0 × 29,7 cm: A4."