The title ‘space-time continuity’ refers to Bill’s as well as Vantongerloo’s engagement with mathematics, logic and physics, and with the crucial impact of Albert Einstein on their work, in particular Einstein’s Theory of Relativity (1915), which explored the link between space and time. Building on his teacher Hermann Minkowski’s geometric interpretation of relativity, Einstein united the three spatial dimensions and the fourth dimension of time and introduced the idea of the space-time continuum. Such a continuum was expressed by Bill through his moebius-shaped sculptures of endless ribbons, and by Vantongerloo particularly in his hanging works, such as ‘Ligne circulaire et cercle à rayons variables’ (Circular line and circle with changeable radii) (1946). Both artists explore the possibilities of topological form in a variety of materials. Through these shapes Bill and Vantongerloo sought to express ideas of continuity and infinity in their work, as well as exhibiting their profound interest in a changing understanding of energy, movement, cosmology and astrophysics.

Not only did Bill create his own sculptural monument to Einstein in 1979-82, he also acquired the stone threshold from the physicist’s house in Ulm, bought from the builders demolishing the building, and installed it in the garden of his self-designed Zumikon house. Such gestures indicate the perpetual interest of the artist in themes shared between art, mathematics and science. The artists included in this exhibition also testify to another kind of continuity: that of the individual dialogues, aesthetic relationships and of Concrete art through the decades.

Max Bill’s work will also be presented at Hauser & Wirth New York, 69th Street, in the exhibition ‘max bill & georges vantongerloo. crossover’, opening on 27 January 2022.

Featured artists include: Josef Albers, Hans Arp, Max Bill, Fritz Glarner, László Moholy-Nagy, Kurt Schwitters, Leon Polk Smith, Sophie Taeuber-Arp, Georges Vantongerloo