Dwarfs, Unicorn, Glasses

Dwarfs, Unicorn, Glasses
250 x 1050 x 550 cm
Installation, oil on linen, canvas, jute, polyester and paper, typewriter, charcoal, graphite and ink on paper, collected and painted objects, acrylic and spray on plaster, kiwi liquor, performance, text, sound
Solo show, Dogo Residenz für Neue Kunst, Lichtensteig, CH
2021
©Hanes Sturzenegger

“How far does your horizon go? To which extent do others limit it? Do you think that your horizon is determined by our country and our future? 
Sylvain Gelewski‘s solo exhibition “Dwarfs, Unicorn, Glasses” is first of all, an invitation. An invitation to take a seat several times and to face the questions of responsibility and solidarity that lie between the polarities crea- ted by the artist. Starting in the hot summer, in provincial Lichtensteig and ending in the cold winter, in urban Paris. 

Sylvain Gelewski‘s solo exhibition “Dwarfs, Unicorn, Glasses” is first of all, an invitation. An invitation to take a seat several times and to face the questions of responsibility and solidarity that lie between the polarities created by the artist. Starting in the hot summer, in provincial Lichtensteig and ending in the cold winter, in urban Paris. 

Throughout the exhibition, the Geneva based artist provokes a treatment of these constructs and contradictions – they quickly turn into “good” and are part of a white, “ideal” world. For example, these include the identity constructs created by the state and, in Switzerland’s case, by federalism. Gelewski also explores the simultaneity of participation and exclusion. It should be noted that Switzerland (the artist‘s main place of activity) was the first European country to enforce popular sovereignty as a politically legal principle and at the same time, was the last to recognise the Jewish community as voters in the 19th century and women in the 20th century. 

Making their debut at the Dogo Residenz für Neue Kunst in Lichtensteig, the guests will be able to look at the paintings, framed drawings and texts, the so-called “punchlines” and make friends with the prepared dwarfs, which suggest happiness through their smiles and normally decorate people‘s gardens. 

The arranged materials (wood, plaster, stone, canvas, cotton, jute, beer coasters, screws, snail shells) on one hand, form the places for guests to stay in during the exhibition and on the other hand, a landscape of interests which the artist deals with. The interplay follows a set of certain self imposed rules, which, however, remain a secret to the audience. Gelewski deals with a broad spectrum of themes which can range from the aspect of caring, collective responsibility, sport and music as unifying and functional forms of coming together to the eternal struggle in societies shaped by capitalism.“

Marcel Hörler

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