Marie-Luce Nadal @ ZKM KARLSRUHE


06.04.2019 – 11.08.2019

Cloud extracts by Marie-Luce Nadal merges science and art; reminding us of the medieval reliquaries that showed the precious bones of the saints

“Cloud extracts” are pieces of atmosphere captured thanks to “la Fabrique du vaporeux”. The transparent frame that houses it, a glass aquarium, is a landscape format whose thickness does not exceed that of a lightweight partition. 

Intended to be installed indoors, this void is a window in which an internal life evolves with the moods of the building that hosts it.

Captive, a cloud appears and disappears at will.

The Extracts from Clouds of the World are shown, framed, according to a window: a “monstrance” like the medieval reliquaries that showed the precious bones of the saints. This window is of variable height and width, from 6 cm x 10 cm and up to 100 x 130 cm.

The window reveals the essence of the cloud, somehow cultivated in a test tube: a sterile environment.

The cloudy essence appears in the form of a scroll, at the Palais de Tokyo where 10 different vintages of cloud extracts were exposed, the spectator was invited to compare the different cloud essences of the world, that is to say the types or shapes of scrolls.

In order for a Cloud Extract to be born from cloud essence, this essence is no longer integrated into air, but into water. The dilution degree is 2%° (two per thousand), the water used is sterile and demineralised. At a temperature below 32°C, the cloud essence is evenly distributed in the water and totally invisible.

At a precise temperature of 32°C, this essence dissociates from the water. It forms thousands of small aggregates of pure essence, like hailstones without water, which allows light to be reflected, and the captive synthetic cloud to appear.

As soon as the temperature rises above 32°C again, the gasoline mixes with the water, and the captive synthetic cloud disappears before our eyes. The process is of course reversible at will.A physicist could point out that the chemistry causing the captive synthetic cloud is the opposite of that of the clouds in the sky. However, on the negative side, the process remains structurally identical. 

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Curated by Tangent Projects

25/10/2018 – 30/11/2018

PREVIEW: 25.10 > 20hr
LOOP CITY SCREEN: 10.11 > 12hr

HANS & FRITZ CONTEMPORARY is pleased to present in collaboration with Tangent Projects and Loop Barcelona City Screen the exhibition “To Brush Against the Grain of History”.  An exhibition that scrutinises history and particularly, the production of history.

The title, “To Brush Against the Grain of History”, is the ultimate line from chapter seven of Walter Benjamin’s final work “On the Concept of History”. In which, Benjamin correlates history to the spoils of the war victorious – a past that is empathetic to the victors and their heirs, handed down from one to the next without a great deal of debate. For this exhibition, we will be showing video works by artists Eli Cortiñas (Spain – based in Berlin), Christopher Kline (USA – based in Berlin) and Katy B Plummer (USA – based in Sydney), that seek to remedy this by asking us to listen to new narratives and in turn, produce alternative stories – sometimes personal and sometimes even with song!


HANS & FRITZ CONTEMPORARY se complace en presentar la exposición “To Brush Against the Grain of History”. Una exposición que analiza la historia y, en particular, la producción de la historia.

El título, “To Brush Against the Grain of History”, es la última línea del capítulo siete de la última obra de Walter Benjamin, “Sobre el Concepto de Historia” en el cual Benjamin relaciona la historia con el botín de la guerra victoriosa, un pasado que es empático con los vencedores y sus herederos, transmitidos de uno a otro sin mucho debate. Para esta exposición, mostraremos videos de los artistas Eli Cortiñas (España, con sede en Berlín), Christopher Kline (EE. UU., con sede en Berlín) y Katy B Plummer (EE. UU., con sede en Sídney), que buscan remediar esto pidiendo a nosotros para escuchar nuevas narraciones y, a su vez, producir historias alternativas, a veces personales y a veces con canciones.


HANS & FRITZ CONTEMPORARY es complau en presentar l’exposició “To Brush Against the Grain of History”  Una exposició que analitza la història i, en particular, la producció de la història.

El títol, “To Brush Against the Grain of History”, és l’última línia del capítol set de l’última obra de Walter Benjamin, “Sobre el Concepte d’Història” en el qual Benjamin relaciona la història amb el botí de la guerra victoriosa, un passat que és empàtic amb els vencedors i els seus hereus, transmesos d’un a un altre sense gaire debat. Per a aquesta exposició, mostrarem vídeos dels artistes Eli Cortiñas (Espanya, amb seu a Berlín), Christopher Kline (EE. UU., amb seu a Berlín) i Katy B Plummer (EE. UU., amb seu a Sydney), que busquen remeiar això demanant a nosaltres per escoltar noves narracions i, al seu torn, produir històries alternatives, de vegades personals i de vegades amb cançons.




Curated by ERICH WEISS | Hosted by @LAUNLOC

12.10.2018 – 27.10.2018

VERNISSAGE: 12.10.2018 > 18hr




IMPORTANT NOTICE: *NO CELL PHONES OR PHOTOGRAPHY ALLOWED ON THE PREMISES.  **FOLLOW our exclusive LIVE VIDEO STREAMING on our instagram story @hansandfritzcontemporary on the 12.10.2018 > 19-20hr (17-18hr CET)


OPENING HOURS:     By Appointment Only

CONTACT:                  Sorana Oltean > +40 746 612 383

LOCATION:                 Str. Emil Racovita nr.55 | Cluj-Napoca 400165 | Romania


NOMAD #1 > 12.10.2018



«No I don’t believe in luck
No I don’t believe in circumstance no more
Accidents never happen in a perfect world»

Debbie Harry / Blondie


HANS & FRITZ NOMAD is pleased to present in Cluj-Napoca (Romania), the exhibition ACCIDENTS NEVER HAPPEN as NOMAD #1 curated by Erich Weiss.  

When entering the house of a stranger, one usually does so taking all possible precautions. We ‘re conscious we will invade as a guest a private terrain, a secret atmosphere, filled with memories and souvenirs.  Knowing in advance we probably won’t meet the owner himself, but some strange, provisional guests adds extra suspense and drama to this scenario. The house we visit and his rooms and interiors are thus by art of magic transformed in settings for a particular‘ private’ fiction.

Two local artists (Mona Vatamanu & Florin Tudor) welcome us with a rain of candles hanging from the ceiling at the entrance of the exhibition space. Their piece –entitled « The Dead are silent » is located on the spot traditionally reserved for orthodox icons and previously desecrated by Malevich’s black square. It’s accompanied by a quotation of Theodor Lessing – a fragment of this text ‘History is giving Meaning to the meaningless’ (1919).

An other famous Rumanian artist participating is the conceptual artist Dan Perjovschi, known worldwide for his critical socio-political drawings and site-specific installations. He unveils us the secret messages hidden in the pages of newspapers, magazines or on the screens of instagram, twitter, facebook, television or mass media.

A third one to welcome us is the Belgian artist Leo Copers, who places one of his ‘un-selfies’ in the hallway. We see the artist posing proudly –but with his face hidden by a black cap- in front of the premises where the exhibition takes place.

Esra Kaiyra is a young Turkish artist, based in Barcelona, who explores in her work the mysterious world of the Hammams reserved exclusively for a female public. Using tissues and towels she finds in her homecountry, she creates a personal universe echoing references to the orientalist style of Jean-Auguste-Dominique Ingres’ famous odalisques.

An other Turkish artist (from Kurdish origin) is Erkan Ozgen, who shows us a fascinating video piece tackling the complex issue of the existence of prisons (‘Crime & Punishment’ / ‘’Surveiller et punir’ come to mind), by referring also explicitly to the French celebrated author Michel Foucault.

Female presence is the ‘leitmotiv’ of Dutch artist Arno Nollen’s work. He obsessively focusses on the (innocent) beauty of adolescent girls, as praraphrasing Urge Overkill’s soundtrack for Pulp Fiction : ‘Girl you will be a woman soon’.

An other Dutch artist (Gerald Van der Kaap) takes us to China for a strange walk on the wild side, following a girl in uniform (Weiwei) descending the track of a local train. A normal scene, too beautiful to be true and full of stange suspense.

The Swiss artist Thomas Galler presents us his newest publication : ‘The Tenderness of Wolves’.

An artist book consisting of drawings he made based on illustrations created by serial killers or criminals condemned to dead row.

A similar contribution is Josh Müller’s (Austria) multiple ‘Les Constructions du ciel’ (I>V). It shows us photographs of parked planes on international airports, covered by snow, or with the machines disappearing behind the misty clouds. Fascinating still-lives showing a kind of graveyards of helpless modern’ birds ‘…

The Brazilian artist Stefanie Ferraz (who studied and is based in London) attracts the viewer guiding him into a personal world made up of references to dark magic, voodoo and tarot reading.

Living in Berlin, but with Catalan roots, Tere Recarens is a globetrotter with an interest in African and Persian culture. Combining these ‘global’ references she creates an individual universe, full of imaginary persons, animals and strange creatures. Her works sometimes seem to refer to Goya’s famous statement : « Sleep of reason produces monsters ».

Erich Weiss (a Belgian artist living in Barcelona and curator of this show) will surprise the public with his usual mix of media : sound, performance, drawing, video, photo and installation. The title chosen for his intervention refers to an emblematic work of the history of surrealism : René Magritte’s « Je ne vois pas la femme cachée dans la fôret » (subtitled : « this is for me to know and for you to findout’).

Likewise, Nils Nova (born in El Salvador but living in Luzern/Switzerland) is a polyfacetic author, combining various media in his search o pervert reality. In all his creations nothing is really what it seems to be and every image or situation seems to be pregnant of his opposite.

The same becomes true in a certain way in the complex video universe of Momu & No Es (a duo based in Rotterdam) where reality and fiction collapse and collide. Post- or Neo- modern scenes take the viewer into a seducing but sometimes surreal underworld.

Their work is in a certain way similar to the video ‘Cris Croft’ made by the Swiss artist Olaf Breuning. Here too we witness a phantasmagoric scene, staged on a luxurious yacht inhabited by zombie-like creatures.

Frederik Van Simaey (Belgium) has a more down to earth approach. Using found objects and readymades he transforms ordinary objects in subtle sculptures with a poetic dimension.

Wieteke Heldens (Dutch from origin but based in NY) shares the same taste for the banal and the ordinary. Every object being part of hier everyday existence can –through very simple manipulation –be transformed into a painting, drawing or a work of art.

Marc Badia (a Catalan artist) shares the same taste for the obvious and the things present in his immediate surroundings. With a touch of irony (inspired by the great Alfred Jarry or maybe Richard Prince) he stages a personal theatre full of surprising references and inside jokes.

References are always at the origin of the paintings/ drawings and installations of Marijn Van der Kreij (NL) – from Breughel, to Lewitt, Iggy Pop or even Pablo Picasso.

The poetry of such a Ubu-esque world can also be found in the creations of the French artist Richard Fauguet, whose intellectual games force us to make use of all our ‘tongue in cheek’ sense of humour.



Când intrați în casa unui străin, o faceți de obicei, luând toate măsurile de precauție posibile. Suntem conștienți că vom invada ca musafir,un teren privat, o atmosferă secretă, plină de amintiri și suveniruri.

Știind în avans, că probabil nu vom întâlni însuși proprietarul, dar niște oaspeți ciudați și provocatori adaugă  suspans și dramă în plus fată de acest scenariu. Casa pe care o vizităm, camerele și interioarele sale sunt prin arta magiei transformate în setări pentru o ficțiune specială “privată”.

Doi artiști locali (Mona Vătămanu și Florin Tudor) ne intampină cu o ploaie de lumanări atârnate de tavan la intrarea în spațiul expozițional. Piesa lor-“Morții sunt tăcuți”este localizată la fața locului rezervat în mod tradițional pentru icoanele ortodoxe și desecrată anterior de pătratul negru al lui Malevich. Este însoțit de un citat al lui Theodor Lessing-un fragment din acest text “Istoria dă semnificație celor lipsiți de sens” (1919).

Un alt artist român faimos participant este artistul conceptual Dan Perjovschi, cunoscut în întreaga lume pentru desenele sale socio-politice critice și pentru instalațiile specifice locației. El ne dezvăluie mesajele secrete ascunse în paginile ziarelor, revistelor sau pe ecranele de instagram, twitter, facebook, televiziune sau mass-media

Un al treilea artist care ne-a întâmpinat este artistul belgian Leo Copers, care plasează unul dintre “ne-autosii” pe hol. Vedem că artistul pozează cu mândrie-dar cu fața ascunsă de o cagulă neagră-în fața locatiei unde are loc expoziția.

Esra Kaiyra este o artistă tanără turcă, cu localizată în Barcelona, care explorează în lucrarea ei lumea misterioasă a Hammamurilor rezervată exclusiv publicului feminin. Folosind țesuturile și prosoapele pe care le găseste în țara sa de origine, ea creează un univers personal care echivă referirile la stilul orientalist al celebrului Jean-Auguste-Dominique Ingres.

Un alt artist turc (de origine kurdă) este Erkan Ozgen, care ne arată o piesă fascinantă care abordează problema complexă a existenței închisorilor (“Crimă și Pedeapsă” / “Surveiller et punir”), referindu-se, de asemenea, în mod explicit autorului francez Michel Foucault.

Prezența feminină este “laitmotivul” operei artistului olandez Arno Nollen. El se concentrează obsesiv asupra frumuseții (nevinovate) a fetelor adolescente, în calitate de interpret al coloanei sonore a lui Urge Overkill pentru Pulp Fiction: “Fata va fi o femeie în curând”.

Un alt artist olandez (Gerald Van der Kaap) ne duce în China pentru ciudată o plimbare pe latură sălbatică, urmărind o fată în uniformă (Weiwei) coborând pista unui tren local. O scenă normală, prea frumoasă pentru a fi adevărată și plină de suspans.

Artistul elvețian Thomas Galler ne prezintă cea mai nouă publicație: “Tandrețea lupilor”.  O carte de artă compusă din desene pe care le-a făcut pe baza ilustrațiilor create de criminali în serie sau de infractori condamnați la moarte.

O contribuție similară este reprezentată de numeroasele “Les Constructions du ciel” (I> V) ale lui Josh Müller (Austria). Ne arată fotografii ale avioanelor parcate pe aeroporturile internaționale, acoperite de zăpadă sau cu mașini dispărute în spatele norilor cețoși. Fascinația încă trăiește în felul în care arată un fel de cimitire ale “păsărilor” moderne neajutorate.

Artistul brazilian Stefanie Ferraz (care a studiat și are sediul la Londra) atrage privitorul călăuzindu-l într-o lume personală, alcătuită din referințe la magia întunecată, voodoo și cititul de tarot.

Trăind în Berlin, dar cu rădăcini catalane, Tere Recarens este un globetrotter interesat de cultura africană și persană. Combinând aceste referințe “globale”, ea creează un univers individual, plin de persoane imaginare, animale și creaturi ciudate. Lucrările ei uneori par a se referi la celebra declarație a lui Goya: “Somnul rațiunii produce monștrii”.

Erich Weiss (artist belgian care locuiește în Barcelona și curator al acestui spectacol) va surprinde publicul cu amestecul obișnuit de media: sunet, performantă, desen, video, fotografie și instalație. Titlul ales pentru intervenția sa se referă la o lucrare emblematică a istoriei suprarealismului: René Magritte, subtitlu: «aceasta este pentru mine să știu și voi sa aflați».

De asemenea, Nils Nova (născut în El Salvador, dar care trăieste în Luzern / Elveția) este un autor polifatic, combinând diverse mijloace de căutare în realitate. În toate creațiile sale nimic nu este cu adevărat ceea ce pare a fi și fiecare imagine sau situație pare să fie insărcinată de opusul său.

Același lucru devine adevărat într-un anumit fel în universul video complex al lui Momu & No Eș (un duo cu sediul în Rotterdam), unde realitatea și ficțiunea se prăbusesc și se ciocnesc. Scene post-sau ne-moderne ia spectatorul într-o lume interlopă seducătoare, dar uneori suprarealistă.

Opera lor este într-un fel similară cu filmul “Cris Croft” realizat de artistul elvețian Olaf Breuning. Și aici vedem o scenă fantasmagorică, organizată pe un iaht luxos, locuit de creaturi zombie.

Frederik Van Simaey (Belgia) are o abordare mai pămantească. Folosind obiecte găsite și gata făcute, el transformă obiecte obișnuite în sculpturi subtile cu o dimensiune poetică.

Wieteke Heldens (olandeză de la origine, dar cu sediul în NY) are același gust pentru banal și obișnuit. Fiecare obiect care face parte din existența ei de zi cu zi poate prin manipulare foarte simplă să fie transformat într-o pictură, desen sau o operă de artă.

Marc Badia (artist catalan) are același gust pentru lucrurile evidente și lucrurile prezente în împrejurimile sale imediate. Cu o ironie (inspirată de marele Alfred Jarry sau poate de Richard Prince), el a personalizat un teatru personal plin de referințe surprinzătoare și inside jokes-uri.

Referințele sunt întotdeauna la originea picturilor / desenelor și instalațiilor lui Marijn Van der Kreij (NL)-de la Breughel, la Lewitt, Iggy Pop sau chiar la Pablo Picasso.

Poezia unei astfel de lumi Ubu-esque se regăseste și în creațiile artistului francez Richard Fauguet, ale cărui jocuri intelectuale ne fortează să folosim simțul umorului.




August 30  – September 2, 2018

Bella Center, Copenhagen

Booth 033

HANS & FRITZ CONTEMPORARY is proud to present at CODE 3 in Copenhagen the project SYNTHETIC, by the danish/filipino artist LILIBETH CUENCA RASMUSSEN.

The average citizen lives in a compromised space. Everyday life is a race. Every breath and movement is calculated into efficiency.  The art world is no stranger to this situation. On average, Lilibeth Cuenca Rasmussen spends merely fifty percent of her time at home. The remaining time is spent traveling in relation to her work. Many in the art world live this way, pursuing an almost nomadic life.

Referring to this contemporary lifestyle, the artist draws upon her work involving the body – in its presence and in its absence through representation or as a trace. Through objects, organic material, and performance, Re- inventing Domesticity and the Decomposing of the Self reflects on our transition from life to death. Organic materials accompany rituals in the representation and re-performance of making art and the artists in the studio. The exhibit uses these facets in representing the body, its narrative and life through performative gestures.











04.09.2018 – 29.09.2018

HANS & FRITZ CONTEMPORARY is pleased to present the exhibition THE FOOLOSOPHER for ART NOU by the artist MARC BADÍA. The body of his work focuses on the hermeneutics of images in a pictorial practice and installation, using humour and mystery as tools of criticism.

In his work the artist seeks to create tangential connections between the history of pictorial tradition and the new paradigms that emerge from contemporary aesthetics. Many of his images are recovered from the vast ocean of the Internet to then be returned to the circuit in an ironically romantic way. Marc Badia’s series of paintings and sculptures for THE FOOLOSOPHER are inspired by the 2014 viral video A Potato Flew Around My Room. The video is a misheard lyric from Frank Ocean’s song Thinkin’ Bout You, in which the Vine user mistakenly sings the word “potato” instead of “tornado” while a potato – tied to a ceiling fan – spins around.

The artist uses humour as a tool for criticism: his works are a commentary on how this frivolous online world of bad jokes and video clips can allude to much more. His work explores the idea that this new language of the Internet provokes us to reflect on how humanity has developed so far, yet we inevitably look to for the absurd for some kind of solace. Within an information-charged and instantaneous digital world we have created a new rhetoric: memes. Through satire and stupidity these memes are frames in which we can better understand our own modern context and place.


[ES] Hans & Fritz Contemporary se complace en presentar la exposición THE FOOLOSOPHER de Marc Badia, para Art Nou 2018. En su obra, el artista busca crear conexiones entre la historia de la tradición pictórica y los nuevos paradigmas que emergen de la estética contemporánea. La serie de pinturas y esculturasTHE FOOLOSOPHER está inspirada en un video de la aplicación Vine, A Potato Flew Around My Room, que se hizo viral en 2014. Se trata de una interpretación errónea de la letra de la canción de Frank Ocean Thinkin ‘Bout You: el usuario de Vine confunde la palabra “potato” en lugar de “tornado”. Mientras canta erróneamente la letra, una patata atada a un ventilador de techo gira alrededor de una habitación. El trabajo presentado explora la idea de como el humor absurdo dentro del nuevo lenguaje de internet, los memes y los gifs, puede aludir a mucho mas. El absurdo como estrategia crítica, como refugio.


[CAT] Hans & Fritz Contemporary es complau a presentar l’exposició:THE FOOLOSOPHER de Marc Badia, per a Art Nou 2018. En aquesta obra, l’artista busca crear connexions entre la història de la tradició pictòrica i els nous paradigmes que emergeixen de l’estètica contemporània. La sèrie de pintures i escultures deTHE FOOLOSOPHER està inspirada en un vídeo de l’aplicació Vine,A Potato Flew Around My Room, que es va fer viral a 2014. Es tracta d’una interpretació errònia de la lletra de la cançó de Frank Ocean Thinkin ‘Bout You: l’usuari de Vine, confon la paraula “potato” en lloc de “tornado”. Mentre canta erròniament la lletra, una patata lligada a un ventilador de sostre gira al voltant d’una habitació. El treball presentat explora la idea de com l’humor absurd dins el nou llenguatge d’internet, els memes i els gifs, pot alludir a molt mes. L’absurd com a estratègia crítica, com a refugi.




31.05.2018 – 07.07.2018

PREVIEW: 31.05 > 18hr

HANS & FRITZ CONTEMPORARY is glad to present at our London space a solo exhibition by the Swiss artist NILS NOVA (Luzern- Switzerland / born in El Salvador, 1968). Nils Nova’s work is based on a subtle use of images – using a wide range of media: photography, video, painting and performance. 

The visual work of this internationally acclaimed artist has recently been characterised by a contemporary analysis of the possibilities offered by the trompe-L’oeil, the trick-of-the-eye technique that seemingly distorts reality. From 1997 to 2001, Nova studied fine arts at the Lucerne University of Art and Design. His work has been displayed at the Venice Art Biennale (2009) and the 14th International Architecture Biennale in Venice (2014).

A salient feature of the works Nils Nova has made in recent years is their reliance on the space in which they are presented, where they hover between illusion and reality. Specifically, Nova relates his installations to the real rooms of the exhibition venue, transforming and re-articulating them on-site. He starts by analysing and deconstructing the respective situation, going through it in his mind and trying out a series of spatial and visual variations. The spatial images or imagined spaces that he comes up with are then converted into constructive ideas that he projects back onto the original space. The medium he has chosen to give shape to his ideas is photography. Nova takes pictures of a room from thoughtfully chosen angles and prints them as wallpaper pictures that he mounts elsewhere in the same room or in a neighbouring room. Views of the photographed room are displaced, twisted and multiplied through juxtapositions and mirroring so that perception of the original room is confounded to varying degrees. By using a contemporary medium to create a tromp-l’oeuil effect within a real space, the artist produces a real virtual space – space and the illusion of space are paradoxically interwoven.