Switzerland: Pro Helvetia, Swiss Arts Council
He is currently preparing a comprehensive exhibition focussing on the archive and library of the late, world-famous Swiss curator Harald Szeemann at the renowned Getty Research Institute in LA.
Kaiser began his career as an Art historian in Switzerland. From 2001 to 2007, he worked as curator for modern and contemporary art at the Museum für Gegenwartskunst in Basel. He then moved to the Museum of Contemporary Art (MOCA) in Los Angeles. At the age of 39 he was appointed director of Museum Ludwig in Cologne. His work as visiting professor at the Akademie der Bildenden Künste in Karlsruhe, the University of California in Los Angeles and, also in California, the Claremont McKenna College give evidence of his close ties to teaching and research.
Teresa Hubbard (Irish/ American/ Swiss, born in Dublin, Ireland 1965) and Alexander Birchler (Swiss, born in Baden, Switzerland 1962) have been working as a collaborative artist duo since 1990. Their lens-based practice interweaves hybrid forms of storytelling and explores the connections between social life, memory and history that sit just outside the frame of a recorded image. As the critic Jeffrey Kastner notes, «Teresa Hubbard / Alexander Birchler’s filmic essays are also in their way detective stories, with all the poetic and philosophical resonance that the form at its best can offer. Not run-of-the-mill whodunnits, but examinations of the ways in which knowing and notknowing are related.»
Hubbard attended the Skowhegan School of Painting and Sculpture and the graduate sculpture program at Yale University School of Art, New Haven. Birchler studied at the Academy of Art and Design Basel and the University of Art and Design, Helsinki, Finland. They received MFA degrees from the Nova Scotia College of Art and Design in Halifax, Canada in 1992.
Teresa Hubbard / Alexander Birchler’s work is held in numerous public collections including the Kunsthaus Zurich; Kunstmuseum Basel; Museum of Contemporary Art, Los Angeles; Hirshhorn Museum and Sculpture Garden, Washington D. C.; Aargauer Kunsthaus Aarau; Modern Art Museum of Fort Worth; Museum of Fine Arts Houston; Thyssen- Bornemisza Art Contemporary, Vienna and the Pinakothek der Moderne,
Image: Portrait of Teresa Hubbard / Alexander Birchler
Courtesy the Artists and Tanya Bonakdar Gallery, New York, Lora Reynolds Gallery, Austin, Vera Munro Gallery, Hamburg.
Work by the artist is represented in permanent collections worldwide, including the Fonds Régional d’Art Contemporain (FRAC) Nord-Pas de Calais, Dunkerque, France; Institute of Contemporary Art, Boston; The Museum of Modern Art, New York; Princeton University Art Museum, New Jersey; Wadsworth Atheneum Museum of Art, Hartford, Connecticut; Whitney Museum of American Art, New York; and the Yale University Art Gallery, New Haven, Connecticut.
Bove’s work has been the subject of solo exhibitions at institutions including The Museum of Modern Art, New York; High Line at the Rail Yards, New York; The Common Guild, Glasgow; Palais de Tokyo, Paris; Blanton Museum of Art, The University of Texas at Austin; Kunsthalle Zürich; Institute of Contemporary Art, Boston; and Kunstverein Hamburg.
In 2014, a major two-person exhibition, «Carol Bove/Carlo Scarpa», was held at Henry Moore Institute, Leeds, England and traveled to Museion, Bolzano, Italy, followed by Museum Dhondt-Dhaenens, Deurle, Belgium.
Major group exhibitions include Documenta 13, Kassel, Germany; 54th Venice Biennale; and the Whitney Biennial, Whitney Museum of American Art, New York.
Bove studied at New York University where she later taught as a clinical associate professor of studio art. She is co-represented by David Zwirner and Maccarone galleries. She lives and works in Brooklyn, New York.
Geneva-born, American artist Carol Bove (b. 1971), who was raised in Berkeley, California, is known for her assemblages that combine found and made elements. Incorporating a wide range of domestic, industrial and natural objects, her sculptures, paintings, and prints reveal the poetry of their materials. As the art historian Johanna Burton notes, «Bove brings things together not to nudge associative impulses into free play driven by the unconscious, but rather to conjure a kind of affective tangle that disrupts any singular, historical narrative.»
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