This December, the exhibition ‘space-time continuity’ at the gallery’s new space on Bahnhofstrasse 1 will examine the dialogue between Max Bill, artist, designer, theorist, writer, curator and pedagogue, and a group of his contemporaries who explored a similar territory to his own art and ideas. Many of the works on display are from Max Bill’s private collection, indicating personal friendships as well as aesthetic exchanges. ‘space-time continuity’ is a testament to Bill’s proximity with, and attentiveness to, his artist peers and shows how he was at the very centre of the conversation to develop a radical new art. The artists featured in this exhibition alongside Max Bill include Josef Albers, Hans Arp, László Moholy-Nagy, Kurt Schwitters, Fritz Glarner, Sophie Taeuber-Arp and Georges Vantongerloo amongst others.
Max Bill’s contribution stems from the way we define and describe the art on view: the precise manner he approached the use of terms such as abstract, concrete, construction, non-objective; and the relationship between art, geometry, and mathematics. At the centre of the exhibition is an extraordinary, white marble sculpture by Bill, titled ‘konstruktion aus einem kreisring’ (Construction from a Ring) (1942), which is shown alongside two- and three-dimensional works spanning from the 1940s to the 1970s, such as ‘drei linien’ (three lines) (1944-46) and ‘acht flächen gleicher grösse‘ (Eight Fields of Equal Surface) (1970-1971). The exhibition offers a way to understand Bill’s own consistent journey as an artist in the context of an ongoing aesthetic conversation and exploration of form.
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
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About the artists
Max Bill was a great Swiss polymath: an artist, architect, industrial designer, graphic designer, and teacher. He attended the Bauhaus where he was taught by Josef Albers, László Moholy-Nagy, Paul Klee, Wassily Kandinsky and Oskar Schlemmer. Bill remained closely associated with the…Learn more
Georges Vantongerloo, born in Antwerp, Belgium, was a sculptor, painter, architect, designer and theorist, and a member of De Stijl. While living in Holland and working on architectural designs during the years of World War I, Vantongerloo became part of the circle…Learn more
Hans Arp is a familiar figure of classical Modernism and was a key contributor in the development of Dada and Surrealism in the early twentieth century. Focusing his attention on everyday objects, Arp created his own unique ‘object language’ using a nonsensical…Learn more
Sophie Taeuber-Arp (1889 – 1943) is one of the most important artists of the twentieth-century avant-garde and is considered a pioneer of Constructivist art. Reconciling extremes with conﬁdence—Dada and Geometric Abstraction, ﬁne art and utilitarian objects—Taeuber-Arp’s works boldly engaged with the intellectual…Learn more