Works and Shows June 2010

Kilian Rthemann

Kilian Rthemann Walking Distance (Show) 2010

Kilian Rthemann Walking Distance 2010

Kilian Rthemann Walking Distance 2010 X (Bremen) 2010 Concrete Plaster, 304 1000 cm Untitled (Stucco) 2010 Plaster, 6,5 4,5 1850 cm Ohne Titel 2010 Chalk, 380 x 1150 x 0,3 cm All shown in the exhibition: Walking Distance, Knstlerhaus Bremen. 2010 Architectural spaces and the appearance of building materials are the two poles between which Kilian Rthemann develops his sculptural interventions. His point of departure is usually a concrete place whose tectonic shell provides him with the occasion to reshape it. Rthemann works with simple substances, such as plaster, sugar or bitumen, often changing their aggregate state in the course of the creative process. Plaster is mixed with water, sugar melted with heat and then broken up when it has cooled. This gives rise to works that testify to their own mutability and transience, that occasionally embed themselves in the existing architecture, but sometimes also thwart it. By handling these simple materials in different ways, Rthemann repeatedly tests their formal and sculptural potential. He avails himself of their variableness to reorganise space and surprise the visitors with new formations. Pressrelease Stefanie Bttcher

Kilian Rthemann Attacca (Show) 2010

Kilian Rthemann Attacca 2010

Kilian Rthemann Attacca 2010 Attacca 2010 Cement plaster, 480 360 cm Untitled 2010 Cement plaster, 1570 500 cm, 1370 500 cm, 800 500 cm, 930 500 cm, 600 500 cm Untitled (Stucco) 2010 Plaster, 6,5 4,5 1650 cm Runs One Section Ahead Suspending One Casting Segment (Pilgrimstep 2) 2009 Rolled steel, each 0,5 6 450 cm Untitled (Sarkophagus) 2009 Polyurethane foam, 130 230 108 cm All shown in the exhibition: Attacca, Manor Kunstpreis Basel, Museum fr Gegenwartskunst Basel. 2010 Photos: David Aebi

Kilian Rthemann Attacca 2010 Kilian Rthemanns practice is grounded in his interest in materials. For the exhibition at the Museum fr Gegenwartskunst, his critical exploration of the notion of sculpture manifests itself in a variety of site-specific, architectural interventions. Much less interested in the stasis or monumentality of sculpture than its decay and dissolution, Rthemanns works create new environments that reveal the essence and unpredictability of the materials themselves. Through employing and manipulating functional and everyday materials, he re-configures their potential (and their limitations). In Rthemanns installations, the artists process is ever present, revealing the tension between the material and the ephemeral.

Kilian Rthemann Double Rich (Show) 2009

Kilian Rthemann Double Rich 2009

Kilian Rthemann Double Rich 2009 X (Rome) 2009 plaster, 10 x 11 m Very Short Moment 2009 13 flint stone blades, app. 8 cm each Untitled 2009 polyurethane foam, 130 x 230 x 108 cm Untitled 2009 plaster, 9 m All shown in the exhibition: Double Rich, Istituto Svizzero di Roma. 2009 Photography: Davide Francescini, Kilian Rthemann On the occasion of his first solo show in Italy, Kilian Rthemann presents Double Rich, a project realized during the artists residency at the Istituto Svizzero di Roma. Telescope poles, layers of road salt, expanses of tar roofing, plaster, cement, polyurethane: Kilian Rthemann used them all, increasing the sculptural potential of the materials and objects, as they spontaneously integrate into his work. The artist defines only the works fundamental parameters, in order to grant free expression to the most specific characteristics, both physical and symbolic, of each material. His sculptures and installations originate within the space, afterwards they are destroyed or they resume their original function. In X (Rome), for instance, the sign of a cross marked in the plaster on the floor modifies the perception of the space, in contrast with the immobility of the exhibition space and the horizontal lines drawn by the central columns. Yet, it is the combining with the shiny travertine that increases the value of the rough plaster. Similar to the mark of some spray paint on the wall, traced using a rudimental hand-crafted tool, a three dimensional triangle-shaped line (Untitled) flows along the wall, inspired by an ancient technique, typical of plasterers. 13 flint stone blades complete the exhibition, modern copies of very first tools used by primitive Man. Valentina Sansone < Untitled, polyurethane foam <<X (Rome), plaster

Kilian Rthemann Sooner Rather than Later (Show) 2009

Kilian Rthemann Sooner Rather than Later 2009

Kilian Rthemann Sooner Rather than Later 2009 Untitled (Glarus) 2009 80 glass-cylinders, lacquered inside, 19 x 5 m Description: The jackets were dropped one after the other from a height of 1m. X 2009 Iron, glass, 17 x 4.75 x 0.7 m Description: Two glass panels are taken from the roof-construction and put on especially made iron scaffoldings. All shown in the exhibition: Sooner Rather than Later, Kunsthaus Glarus. 2009 Photography: David Aebi

< Untitled (Glarus), glass, paint <<X, iron, glass

Kilian Rthemann Sooner Rather than Later 2009 More Than This 2009 Marble (Carrara), 120 x 60 x 64 cm, Wood, Iron, 95 x 950 x 1000 cm Description: A white marble smoke column stands on a table-like pedestal filling almost the whole room. The platform can be accessed over some stairs. Shown in the exhibition: Sooner Rather than Later, Kunsthaus Glarus. 2009 Photography: David Aebi

Kilian Rthemann Sooner Rather than Later 2009 Untitled 2009 Concrete, 12 elements each 120 x 17 x 15 cm Description: The concrete is poured directly onto the stairs. A wooden frame holds the material but before it consolidates the frame is taken away and used for the next step. Shown in the exhibition: Sooner Rather than Later, Kunsthaus Glarus. 2009 Photography: David Aebi

Kilian Rthemann Sooner Rather than Later 2007 Heranziehendes Gewitter 2009 13 pictures from the collection of the Glarner Kunstverein Description: The frames of the paintings mostly showing bad weather situations are replaced by new ones. The pictures are then hung on the walls in pairs and are used to build a v-shaped object. The light was dimmed. Shown in the exhibition: Sooner Rather than Later, Kunsthaus Glarus. 2009 Photography: David Aebi

Kilian Rthemann Ohne Titel (Pilgerschritt 2) Ohne Titel (Freiburg) 2009

Kilian Rthemann Ohne Titel (Pilgerschritt 2) 2009

Kilian Rthemann Untitled (Freiburg) 2009 Untitled (Freiburg) 2009 80 glass-cylinders, lacquered inside, 15 x 4.5 m Description: The jackets were dropped one after the other from a height of 1m. Ohne Titel (Pilgerschritt 2) 2009 Steel, rolled, 5 x 60 x 4650 mm, 4 pieces Description: 4 pieces of long steel strip are fixed in a right angle to the wall. They inertially move back and forth at the least touch. All shown in the exhibition: Open Space, Kunsthaus L6, Freiburg im Breisgau. 2009 Photography: Marc Doradzillo

< Untitled (Pilgerschritt 2), steel << Untitled (Freiburg), glass

Kilian Rthemann Fragile Monumente (Groupshow) 2009

Kilian Rthemann Fragile Monumente (Groupshow) 2009

Kilian Rthemann Fragile Monuments (Groupshow) 2009 Untitled 2009 Parquet flooring 1.50 x 0.7 m Echo (1 + 4) 2008 2 Lambdaprints, 297 420 mm Untitled (Birds) 2008 DVD, 3min 50sec (Loop) All shown in the exhibition: Fragile Monuments, SuzieQ Projects, Zurich. 2009 Photography: Kilian Rthemann Fragile Monuments brings together six young artists living in Switzerland who work in quite different ways on the problematics of the monumental and anti-monumental, as well as on the fragility of the artistic medium itself. The term monument is used in its literal, as well as in its figurative, sense. The issue here is about the deconstruction and reconstruction of narrations, about an expanded concept of sculpture, and about the ephemeral and non-monumental as an artistic strategy. [] Kilian Rthemann undertakes mostly direct interventions in inside and outside spaces and works with nonart materials, while alluding to Minimal Land or Process Art. The computergenerated collage on view represents a virtual intervention in a landscape, which can be read, like the actual (de) constructivist interposition in the gallerys parquet flooring, as a precise placement, which calls in question both the site and the sculptural concept. [] Eva Scharrer

< Echo (4), Lambdaprint << Untitled, parquet flooring

Kilian Rthemann Echo (Show) 2008

Kilian Rthemann Echo 2008

Kilian Rthemann Echo 2008 Echo 2008 Description: Parts of the exhibition pavilion were taken away or changed; other parts were added. A wooden board was taken from the terrace on the flat roof-top outside to be put under a curtain inside. The curtain was gently lifted leaving a triangular section of the window visible. A tar-sculpture lies over the gap that was left on the terrace. On the floor of a room a long piece of grey foamed plastic extends into the outside and is hemmed in the glass door. Next to it, six elongated white piles of shards from fluorescent tubes are placed in parallel on the floor. A picture of a turning object is projected onto the wall. It shows a computer-generated piece of a mountain landscape with a large rectangular plate sticking in it. Shown in the exhibition: Echo, Loge, Stadtgalerie Bern. 2008 Photography: David Aebi

< Echo (1), DVD Ohne Titel, glass Ohne Titel, . Polyurethane foam << Untitled, curtain, wood

Kilian Rthemann Echo 2008 The LOGE pavilion makes no secret of its construction. It is a simple building of wood and glass that could have been dropped from the sky into the courtyard of the Progr. Its glass swei ides express that it is open to any spectacle, it could stage any narrative for the people of Bern. But Kilian Rthemanns Echo does not use the space to state an agenda, but rather engages with LOGEs inherent qualities. Rthemann works as a sculptor of functional materials, materials used in building or construction for example, undoing our assumptions about their meanings and playing with their potential. The installations he has created on site do not try to occupy the volume of the room, instead they draw attention to its form and to its limitations. How fragile is it? How did it come about? Why is it used thus? What would happen if we looked at it in a different way or used it unexpectedly? He employs industrial ready-mades such as roofing tar, metals and foam as a child experiments with sand, trying out what is possible and delighting in a high-risk approach. There is no attempt to create illusions; materials stand or fall on their own merits. Failure is not disastrous; it is part of the process. A material that breaks reveals yet more about itself. On the other hand Rthemanns video works are allowed to be flights of fantasy. On screen, objects are freed from gravity and physics, heavy masses are able to float freely in the air and huge architectural forms haphazardly skewer a landscape, to try the earth with fictional challenges. At this other end of the scale of possibility there are no constraints, there is not the same possibility of catastrophe. Back in the gallery, the miniature tar and glass landscapes could be God playing in a more hands-on manner, making understated creative gestures. Aoife Rosenmeyer

< Ohne Titel, . Polyurethane foam

Kilian Rthemann Echo 2007 Exhibited works: Untitled, curtain, wooden board, 8.50 x 3 m. 2008 Echo (1), DVD, 16 sec, Loop. 2008 Untitled, glass, dim. variable. 2008 Untitled, Polyurethane foam, 8.50 x 64 x 0.3 m. 2008 Untitled, Polyurethane foam, 8.50 x 64 x 0.3 m. 2008 Untitled, bituminous sheetings, 250 x 50 x 24 cm. 2008 Shown in the exhibiton: Echo, Loge, Stadtgalerie Bern. 2008 And where photographed by David Aebi

< Untitled, bituminous sheetings

Kilian Rthemann Masse Critique (Show) 2008

Kilian Rthemann Masse Critique 2008

Kilian Rthemann Masse Critique 2008 Masse Critique 2008 Doubble Show with Niklaus Wenger Untlitled, burned sugar. each 2 x 4.5 m. 2008 Untitled, massive plaster wall, hand carved, 3 x 7 m together with Niklaus Wenger. 2008 Description: Two of the works were made together. The others seperately. Excerpt: Kilian Rthemann: Two plates each made from 100kg melted cristal sugar were leaned against the biggest wall of the exhibition room and let tilt them down to the floor. Niklaus Wenger/Kilian Rthemann: A relief carved directely into the wall of the smaller room shows a slightly crooked surface in the form of a trapezoid. Chips and rubbish were used to form a second crooked surface. All shown in the exhibition: Masse Critique, CAN Centre dArt Neuchtel. 2008 Photography: Sully Balmassire

< Untitled, massive plaster wall, with Niklaus Wenger << Untlitled, burned sugar

Kilian Rthemann The Sound of Many Voices (in the Street Commanding Silence) 2008

Kilian Rthemann The Sound of Many Voices 2008

Kilian Rthemann The Sound of Many Voices 2008 Untitled (Birds) 2008 DVD, 3min 50sec (Loop) Untitled 2008 Bituminous sheetings, 250x50x24cm Description: 50 bituminous sheetings are laid over a fair-booth wall. The endings at the inside conclude in a horizontal line. A monitor shows the video loop Untitled (Birds). In real shoots seagulls move digital added triangles across the sky. Shown in the exhbition: Swiss Art Awards, Kiefer Hablizel Award, Messe Basel. 2008 Videowindow, Swiss Institute Paris. 2008 Bureau des videos, restaurant Georges, Centre Georges Pompidou, Paris. 2008 K2 Photography: David Aebi

< Untitled, Bituminous sheetings << Untitled (Birds), DVD

Kilian Rthemann Stripping 2008

Kilian Rthemann Stripping 2008

Kilian Rthemann Stripping 2008 Stripping 2008 340 pits, diameter 80cm each, 10 x 50m Shown in the exhibition: 5. berlin biennale, Skulpturenpark Berlin_Zentrum. 2008 Photography: Kilian Rthemann At Skulpturenpark Berlin_Zentrum, the artist has realized Stripping: an expansive, site-specific sculptural invention consisting of around 300 handmade, semispherical hand-dug cavities that perforate a ten by fifty meter surface. Inspired by a 800-meter-long strip of stone-lined holes that snakes across a ridge through Pisco Valley (in todays Peru), whose time of emergence and function is still unexplained today, Stripping covers the surface of its empty lot like scar. It enables viewers to look beneath the surface, into the underground of the lot, pregnant with history. Parallel to the outer fence and in the north bordering on the wall of a building, whose surface is reflected in the spatial extension of the field of holes, is a further element of the piece: a path through the field of holes that cuts through the area where once East German soldiers patrolled the East Berlin border. Stripping thus ventures onto the worn terrain of Land Art to revive it and ridicule its totalizing pretence. A minor scratch on the surface sets the ground in motion. Silke Baumann

Kilian Rthemann Aussenportal (Show) 2008

Kilian Rthemann Aussenportal 2008

Kilian Rthemann Aussenportal 2008 Aussenportal 2008 Exhibited works: Aussenportal, mortar, 120x215x35cm (dim. variabel). 2008 Untitled, fluorescent tube, 100x200cm. 2008 Untitled, glass, lack, 50x82cm. 2008 Untitled, glass, mortar, 150x20cm. 2008 Untitled (Birds), DVD, 3min 50sec (Loop). 2008 Untitled, wood, 505x130x22cm (dim. variabel). 2008 Untitled, mortar, 85x30x14cm (dim. variabel). 2008 Untitled, mortar, 120x215x35cm (dim. variabel). 2008 Description: A solo show in the space of the Binz39 Foundation in Zurich exhibits several works as idividual, in situ made sculptures, ensembles, and a video on a monitor. Photography: Christian Schwager

<< Untitled, wood < Aussenportal, mortar

Kilian Rthemann No Linking Element 2007/2008

Kilian Rthemann No Linking Element 2007

Kilian Rthemann No Linking Element 2007 No Linking Element 2007 Salt, 3.5 x 1.15 m (5 x 1.30 m) Description: Salt is poured against a wall. The lower edge is straightened until no salt is sliding down any more so that the angle is defined by the characteristics of the material. Shown in the exhibition: Fireflies, Galerie Nicolas Krupp. 2007 ZKB Kunstpreis 08, Kunst 08 Zrich, Galleria Laurin, Messehalle 550, Oerlikon. 2008 Photography: Kilian Rthemann This is an exhibition of four young Basel-based artists one should keep an eye on. Its title evokes the fragile beauty of the very subtle, and its with just this subtlety, and nominal effort, that the fours works fill the gallery. In a narrow room, Kilian Rthemann has heaped salt along the wall between two corners. Meeting the floor along an exact, straight line, the salt forms the shape of a neat ramp with crystalline shimmering surface structure a gesture of intriguing lightness and accuracy, cheerfully mimicking Beuyss canonical Fettecke (Fat Corner), 1963, Wolfgang Laibs pollen or rice formations, and other Minimalist sculpture. Dagmar Heppner also playfully references Minimal and Conceptual art by framing full-page Artforum ads, after carefully cutting out information like gallery addresses and artists names to leave only the titles and dates of shows, as with Memento Mori and Deep Silence (both 2007), alongside white blanks. Karin Hueber has erected a constructivist sculpture from a mirror and two black-painted planks, loosely interlocked in a fragile balancing act and reflecting their surroundings, while Emil-Michael Kleins hybrids blur the lines between painting and object, frame and picture plane. All the works interact beautifully with one another, exploring surface tensions as well as negative space. Text: Eva Scharrer for Artforum.com

Kilian Rthemann Untitled (Salt) 2007

Kilian Rthemann Untitled (Salt) 2007

Kilian Rthemann Untitled (Salt) 2007 Untitled (Salt) 2007 Salt, diameter: 2,5 m Edge length: 80 x 80 cm Description: Some material is taken away from the cone shaped by poured salt until a rectangular piece of the floor is uncovered and no more salt is sliding down. Shown in the exhibition: The Trees Bring Forth Sweet Ecstasy, Ausstellungsraum Klingental, Basel, Switzerland. 2007 With booklet: The Trees Bring Forth Sweet Ecstasy with a text by Christiane Rekade & Caroline Eggel. 2007 Photography: Kilian Rthemann

Kilian Rthemann Flatland (Show) 2007

Kilian Rthemann Flatland 2007

Kilian Rthemann Flatland 2007 Flatland 2007 Cement mortar, 500 x 400 x 12 cm (dimensions variable) Construction foil, 2000 x 400 cm TV monitor, 28 zoll Looped video on DVD, 3 min 17 sec TV monitor, 15 zoll Timer Description: Transparent construction foil covers parts of the grey carpet in three rooms of the exhibitionspace. Hardened cement in shape of a puddle lies half on the plastic and half on the carpet. Nearby a monitor stands on the floor showing a pair of feet floating shortly above the floor. Another monitor without any images is put in the left corner of the room. It is plugged in. A timer switches it on every fifteen minutes and off again after another fifteen. When on the monitor shows the number of the channel: green zero on black screen. Shown in the exhibition: Flatland, Kunsthaus Baselland, Muttenz, Switzerland. 2007 Photography: Kilian Rthemann

Kilian Rthemann Flatland 2007 Kunsthaus Baselland presents the first institutional solo show of Kilian Rthemann, an artist who graduated from the Academy of Design and Art in Basel in 2005. With the title Flatland originally used by Edwin A. Abott for his novel the artist picks up on the expansion into a third dimension by adding a third one, a topic addressed in the book. In a very intelligent and innovative fashion, Rthemann articulates sculpting processes and turns these into the content of his work. Just like an inhabitant of the fictitious planet Flatland succeeds in penetrating the Earths three-dimensional atmosphere, the artist manages to instigate a discourse on the power of presentation and the relationship between sculpting and physics. For his exhibition at Kunsthaus Baselland the artist displays a flat sculpture made of mortar spread out like a tortilla or a puddle beyond the edges of industrial sheeting that is laid out across half of the space. The choice of material emphasizes the sense of heaviness, of attachment, of clinging to the ground. Sculpting is traditionally seen as an activity that transgresses gravity and aims at capturing life in all its variety and motion. Rthemann overcomes this gravity inherent in the process of creation by pouring bucketfuls of mortar across the floor. For a brief moment, therefore, the phenomenon of gravity is canceled: material flies. This lightness is contrasted with the process of removing material the artist, in an effort to shape his artwork, strips off the hardened substance in certain places. Another part of the exhibition consists of two monitors. One shows a video of feet dangling in the air. The second monitor is turned off most of the time except for those moments in which a timer triggers a switch-on impulse. The hissing sound this produces seems all of a sudden to breathe life into the contraption. For a brief moment, this act of switching on builds up a connection to the real world which stands in stark contrast to the endless images of hovering and wriggling feet displayed on the other side. While working with video and switch-on and switch-off mechanisms in these two monitors, he still bundles ideas relating to sculpting: The animation of what is essentially inanimate matter, the elimination and activation of gravity or its manual processing are the salient features of his artistic practice. Sabine Schaschl

Kilian Rthemann Untitled 2006

Kilian Rthemann Untitled 2006

Kilian Rthemann Untitled 2006 Untitled 2006 Telescope aluminium rods, diameter 7cm, height 9,5 20 m Ropes Struts Description: Aluminium poles visualising the outlines of planned buildings on construction sides in Switzerland are installed in two groups in the park. They are not standing completely straight and thereby evoke a natural bending. Their tops are gentling moving in the wind. Shown in the exhibition: LUST, Kunststiftung Erich Hauser, Rottweil, Germany. 2006 With catalogue: LUST with texts by Heiderose Langer and Roman Kurzmeyer. 2007 Photography: Kilian Rthemann

Kilian Rthemann Untitled 2006 Rthemann installed two works made out of construction profiles in the park. In Switzerland, these profiles are used to mark the place and volume of the project while planning permission is being obtained. The profiles Rthemann used were light aluminium-tubes, which he could handle and put up himself. For the smaller work he used four profiles, inscribing a volume in the air that had a base area of 2x2m and a height of 9.5m. The installation stood on sloping terrain. The artist placed the profiles in a way that reflected this topographical quality in their volume, and evoked the image of a crooked tower. He also arranged a line of profiles reminiscent of a wall 30m long and 20m high, leading through Hausers steel sculptures and overtopping the monumental works in the foundations huge park. Rthemann worked with the elasticity of the aluminium tubes, and took advantage of their lightness. The stakes bent like grass in the wind, because Rthemann did not make them perpendicular. In space, his filigree works graphically hinted at the possibility of sculpture, without realising it. The artist rented the profiles, now they are used for their original function again. Excerpt from the catalogue text of Roman Kurzmeyer

Kilian Rthemann Lift up / Lay down 2005

Kilian Rthemann Lift up / Lay down 2005

Kilian Rthemann Lift up / Lay down 2005 Lift up / Lay down 2005 Water, 420 x 230 cm (dimension variable) Monitor Speakers Looped video on DVD, 3 min 25 Description: A water-puddle covers the floor. A monitor stands next to it showing hands pulling iron manhole covers out of their places. The according sound is audible, short cuts. Shown in the exhibition: Diplom HGK Basel, Kunsthaus Basselland, Muttenz, Switzerland. 2005 Photography: Kilian Rthemann

Kilian Rthemann

CV
2008 member of Artist Pension Trust London 2007 Reopening of the exhibitionspace Vrits, Basel. With Dagmar Heppner, Karin Hueber, Emil Michael Klein and Kaspar Mller. 2006 Founding and organisation of the exhibitionspace Vrits, Basel. With Emil Michael Klein. 2004 Founding and organisation of the exhibitionspace Schalter, Basel. With Dagmar Heppner and Karin Hueber. 2002-2005 School of Art and Design, Basel 2001-2002 work as stone-sculptor in Zuzwil, St.Gallen 1997-2001 education as stone-sculptor Zuzwil, St.Gallen 1979 born in Btschwil, St. Gallen, Switzerland

Solo Show
Walking Distance, Knstlerhaus Bremen. 2010 Attacca Manor Art Award Basel, Museum of Contemporary Art, Basel. 2010 Double Rich, ISR Istituto Svizzero di Roma. 2009 Sooner rather than Later, Kunsthaus Glarus. 2009 Echo, Loge Stadtgalerie Bern. 2008 Masse Critique with Niklaus Wenger, CAN Centre dArt Neuchtel. 2008 Aussenportal, Stiftung Binz39, Zurich. 2008 For a Blank Implies Space with Yngve Holen, Berlin. Kuratiert von Caroline Eggel. 2007 KANTE with Emil Michael Klein Espace Bellevaux, Lausanne. 2007 Flatland, Kunsthaus Baselland, Muttenz CH. 2007 Lust Werkstattpreis Kunststiftung Erich Hauser with Karin Hueber and Dagmar Heppner. Rottweil, Germany. 2006 (catalogue) The Object, Platfon, Basel. 2005 White Wedding with Florian Germann, Schalter, Basel. 2004

Group Show
Heimspiel Ostschweizer Kunstschaffen. Kunst Halle Sankt Gallen, Kunstmuseum St.Gallen. 2009 unter 30 VII, Kunsthaus Thun. 2009 Nomination Vordemberge-GildewartPreis. Kunsthaus Aarau. 2009 Open Space, L6, Freiburg i. B. 2009 Fragile Monumente, Suzie Q, Zurich. 2009 5. berlin biennale for contemporary art, Berlin. 2008 Regionale 8, Kunst Raum Riehen, Basel. 2007 Topfloor, Platform Garanti, Contemporary Art Center, Istanbul. 2007 Fireflies, Nicolas Krupp contemporary art, Basel. 2007 Poor Thing, Kunsthalle Basel. 2007 The Trees Bring Forth Sweet Ecstasy, Ausstellungsraum Klingental, Basel. 2007 Vrits, Falknerstrasse 4, Basel. 2007 Regionale 7, Kunsthalle Basel, 2005 Heimspiel Ostschweizer Kunstschaffen, Kunsthalle St.Gallen. 2003

Awards
2010 Manor Art Award Basel 2009 Swiss Exhibition Award 2009 Swiss Art Award 2009 Award Kiefer-Hablitzel-Foundation 2009 Berlin, studio scholarship by iaab Basel 2008 Werkbeitrag Kunstkredit Basel 2008 Award Kiefer Hablitzel Foundation 2007 member of Platform Garanti Contemporary Art Center, Istanbul, studio scholarship by iaab Basel

Kilian Rthemann

Gterstrasse 106 CH-4053 Basel 0041 78 820 13 24 www.ruethemann.net mail@ruethemann.net