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An automatic lawnmower rings a bell, a balloon leaves a trace in the sand, a boat moves on barrels. Everything is on the move with Roman Signer (* 1938 in Appenzell)—randomly, one might assume, as insinuated by his statement? Not at all; the artist rather perceives sculpture as a processual description of a condition, and thus expands the usual three dimensions of objects by a fourth: time. Hence his works are also described as “time sculptures”. He often uses explosives, water or movement as a resource, so as to be able to direct the experience of his artworks toward the experience of physical violence and speed. Such a method of working naturally generates a lot of interest from the audience, because it is quite reminiscent of those exciting and crackling archaic forces that seem to inhabit this anarcho-lab. But above all we love that violent roar and crack. Roman Signer's work has actually been exhibited internationally for quite a while, for instance at the 1987 documenta, the sculpture projects in Münster in 1997, and in Hannover in 2000 at the Expo, as well as most recently in 2010 at Herrenhausen Gardens. The exhibition at Kestnergesellschaft thus shows a very well-known artist with his latest works that, in this volume accompanying a remarkable exhibition, delight us once again with the poetic quality of things and the grotesque aspects of everyday life.
Exhibition Kestnergesellschaft Hanover, 23/8–4/11/2018
Roman Signer, born 1938, is one of the worldwide, best-known Swiss artists . He won 2008 the Hugo Boss-Prize, 2010 the Meret Oppenheim-Prize and has numerous exhibitions worldwide, among others 2008 at Contemporary Art Museum St. Louis, 2010 Swiss Institute New York, 2011 Mercer Union Toronto, 2013 Rice University Houston, 2014 Hauser & Wirth New York, and 2018 with new works at renowned German Kestner Gesellschaft in Hanover.
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