SHOW MUST GO ON_ZH_21, Toxi, Zurich 2021
SHOW MUST GO ON_ZH_21, installation using fringe curtain, curtain track system, glazed ceramics, found objects and sound by Tobias Oderbolz
RAPUNZEL’S REVENGE (EXTENDED), 2021; PHANTOMS (ELEENA), 2020, (FIA), 2021, (ALMA), 2021, (MELANIE), 2020, glazed ceramic, stool and transport rollers, dimensions variable
RAPUNZEL’S REVENGE (EXTENDED), 2021, fringe curtain moving with engine on curtain track system, dimensions variable, here: 320 x 1050 x 450 cm
RAPUNZEL'S REVENGE (EXTENDED), 2021 (installation documentation)
PHANTOMS (SUNAKO), 2021, (ADRIA), 2021, (YORU), 2021, (NOX), 2021, (BLAQUE), 2020, glazed ceramic, stools, trolley and transport rollers, dimensions variable
NECESSAIRE, 2021, engobed ceramic, 22 x 28 x 19 cm
PHANTOMS (CALIMERO), 2021, (CHIARA), 2020, (SUNAKO), 2021, (BELLINOR), 2021, (ADRIA), 2021, (JETTA), 2020, (NOX), 2021, glazed ceramic, stools, trolley and transport rollers, dimensions variable
PHANTOMS (ZELDA), 2021, (DARCY), 2020, (SULLIVAN), 2021, (CHIARA), 2020, (SUNAKO), 2021 glazed ceramic, moss, stools and trolleys, dimensions variable
PHANTOM (SAYO), 2021, glazed ceramic, stools, CROOKED, 2020, tassel, aluminum, broken transport roller, PHANTOM (KOKO) 2021, glazed ceramic, step stool, BREAD, 2021, glazed ceramic, dimensions variable
MY DIGESTION AND I, 2021, glazed ceramic, 13 x 117 x 28 cm
BOUQUET FRUTTI DI MARE, 2021, BOUQUETS DE MANDARINES, 2021, BOUQUET PETITE OPULENCE, 2021, PETIT BOUQUET, 2021, BOUQUET CERAMIQUE ANCIENNE TRESSÉE, 2021, BOUQUET SENZA SCARICO, 2021, glazed ceramic, dimensions variable
GIRLS IN TIES, 2021, glazed ceramic, painted wood, metal, 15.5 x 43 x 23.5 cm
BLIND DATE, 2021, glazed ceramic, painted wood, metal, fringe ribbon, dimensions variable
CRISIS PREVENTION, 2021, horn speaker (part of the installed public address system), audiofile, soundtrack by Tobias Oderbolz, 6’ 13’’ (loop)
SHOW MUST GO ON at TOXI transports visitors into a world which they share with large phantoms and small ghosts. Black-glazed clay sculptures venturing into the room, confront the viewer, bringing with them their own pedestals on rolling boards and stools, while an indefinable murmur echoes through the space. It is unclear, whether the figures are just frozen in their movement beginning to move as soon as one’s back is turned to them and they think they are unobserved. Marianne Mueller's exhibition course seduces through the tactile quality of the different materials that come together as well as the arrangement of the various objects that allows the visitor to become part of a larger tableau.
In the exhibition, CROOKED (2020), who guards the entrance like an old janitor, must be passed first. The arrangement of works that is subsequently presented, offers various paths of discovery — uncertain where exactly the works, laid out like breadcrumbs, will lead. No fixed system with a normative order can be discerned. Therefore, the works, in their specific manner of presentation, elude the stagnant tendencies so typical of the White Cube. A lingering feeling remains that they have merely paused for a brief moment, and so it comes as no surprise when RAPUNZEL'S REVENGE (EXTENDED) (2021) repeatedly sets itself in motion almost silently. Long, golden threads move across the concrete floor, swaying gently as part of the exhibition space disappears behind them. A soft whirring and ticking of the motor accompanies the choreography, the noises from the sound installation CRISIS PREVENTION (2021) intermingle. Together they form an auditory backdrop in which footsteps and the rustling of visitors’ clothing also find their way in, thus getting "woven" into the exhibition space. Surrounded by strange sounds, a multitude of reference points are thus offered for a growing web of connections between the various works, between the works and the space, as well as the works and the viewers.
Elsa Himmer (excerpt from the exhibition text)