Daniel Hourdé Without title mixed media drawing, 180cm*146cm, 2002

Robert Flynt spinal unique inkjet print on vellum/ found book page 25cm*16cm, 2010

Robert Flynt & Nicolas Spinosa untitled / sin nombre aus der Serie [:tandem] unique inkjet print with mixed media, 42cm*30cm, 2010

Nicolas Spinosa Estruvo: uno Mixed Media on canvas, 95cmx100cm, 2007

Gerhard Hintermann aus der Serie Jims Welt Fine Art Print auf Büttenpapier, 78cm*110cm, 2010 Ed. 1/5, signiert verso

Zachari Logan Sebastian 2 Pencildrawing on paper,2009

Nicolas Spinosa Estruvo: Siete Mixed Media on canvas, 95cmx100cm, 2008

Gerhard Hintermann aus der Serie Jims Welt Portrait Karlheinz Weinberger Fine Art Print auf Büttenpapier, 42cm*60cm, 2010 Ed. 1/5, signiert verso

Robert Flynt 3 skulls light-jet chromogenic photo 16x20” ed. 1/5, 2010 signiert verso

01 04 07

02 05 08

03 06 09

01 Daniel Hourdé Without title mixed media drawing, 180cm*146cm, 2002 02 Robert Flynt spinal unique inkjet print on vellum/ found book page 25cm*16cm, 2010 03 Robert Flynt & Nicolas Spinosa untitled / sin nombre aus der Serie [:tandem] unique inkjet print with mixed media, 42cm*30cm, 2010 04 Nicolas Spinosa Estruvo: uno Mixed Media on canvas, 95cmx100cm, 2007 05 Gerhard Hintermann aus der Serie Jims Welt Fine Art Print auf Büttenpapier, 78cm*110cm, 2010 Ed. 1/5, signiert verso 06 Zachari Logan Sebastian 2 Pencildrawing on paper,2009 07 Nicolas Spinosa Estruvo: Siete Mixed Media on canvas, 95cmx100cm, 2008 08 Gerhard Hintermann aus der Serie Jims Welt Portrait Karlheinz Weinberger Fine Art Print auf Büttenpapier, 42cm*60cm, 2010 Ed. 1/5, signiert verso 09 Robert Flynt 3 skulls light-jet chromogenic photo 16x20” ed. 1/5, 2010 signiert verso

Memento

Robert Flynt, Gerhard Hintermann, Daniel Hourdé, Zachari Logan,
Gio Black Peter, Nicolas Spinosa

Exhibition Dates: 05.06.-10.07.2010
Opening Reception: 04.06.10 from 8-11 pm

The current exhibition is focussing on the body between life and death and is asking the question which traces are left behind after death and how visiual art can capture this.
One example can be seen in the mixed media installation from the sculpturer Daniel Hourdé in which a lifeseize pencildrawing of a male couple is underlayered with real linen.(180cm*146cm, 2002).

In his installation «Jims world» Gerhard Hintermann is giving a hommage to the Swiss photographer Karlheinz Weinberger (1921–2006), Photographer for the legendary gay magazine “Der Kreis”.
Weinberger led during the 50's and 60's, typical for those times a double life. Working daytime in a warehouse and in his sparetime, making erotically charged pictures of Beatniks, Rockers and men with tattoos.
From 2001 till 2006, Gerhard Hintermann attended Karlheinz Weinberger, his mentor and friend. During this time he also organized Weinbergers extensive archive.
Photos taken in Weinbergers home, shortly after his death, reflect his bourgois life mixed with the Beatnik lifestyle cult. Next to a sofa with crocheted covers, cherub figurines and a standard-lamp, attributes of bourgois „Gemütlichkeit“, hang the emblems of motorcycle clubs – mismatched worlds. The typical conflicts of gay men throughout the Post War aera.
Large-sized colour photos printed on vat paper stand for a posthume portrait and are also an allegorie for life as a gay in the 20th century. The photos are supplemented with a slide-show, with pictures which so far have not been on view.

The artists Robert Flynt and Nicolas Spinosa shared strong interest in the performative act in relation to the making of visual art, with an intensive focus on the body and its re-presentation.
Their initial meeting consisted of three intensive photo shoots built around Spinosa’s practice: initially he served as a model for Flynt’s idiosynchratic shooting technique: tracing the body with flashlights in a completely dark room over relatively long exposure periods. Then Flynt traced Spinosa during the “performing” of his painting creations, following the body as it was painting, imprinted, traced and drawn on large sheets of paper on the studio floor. Additional shooting with completed earlier paintings on both the walls and floor of the studio created additional imagery, and Spinosa was also actively engaged in the making of the photographs through drawing with light (via other flashlights), as well as through conventional mark making.
Flynt subsequently edited the photographic images, using many for his own work, often layered or sequenced with found imagery. The modified digital files were emailed to Spinosa, who had them printed out as light-jet prints and then further drew and painted on these already collaborative images: the [:tandem] series.
The final products are naturally unique images, neither entirely photographs nor paintings, the result of a multifaceted “conversation” between the two artists, where the line between one individual’s aesthetic and the other’s has become almost completely blurred.

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