The films of the multifaceted Swiss artist Hannes Schüpbach (Winterthur, 1965) start from a direct encounter with a place or person and take the depiction to the limits of the metaphor. His latest works, Verso (2008) - starring his father - and L’Atelier (2007), are being screened along with Spin (2001), an earlier film with the artist’s mother.
According to Philippe-Alain Michaud, for whom Schüpbach’s opus represents an analogy between the work of montage and the act of sewing, “the cinematic images, which often frame a detail and are sometimes out of focus, superimposed or coloured with a filter as if they were dyed fabric, succeed and respond to each other in the distance,” acting like “differentiated events of form and colour on a temporary canvas.”
Although Schüpbach is mainly known for his meticulously planned and filmed 16 mm silent movies, his “cinematic formulas,” a large series of paintings created in the 1990s, were only shown to the public for the first time in a solo show, Hannes Schüpbach: Stills and Movies, at the Kunsthalle Basel in 2009. His work examines the viewer’s movement, the response of the body to what it sees and the complex processes of experiencing and remembering.
Spin, 2001, 16 mm, colour, silent, 12’
Verso, 2008, 16 mm, colour, silent, 16’
L'Atelier, 2007, 16 mm, colour, silent, 16’