ARTPIL Profiles of the Arts
Heidi Bucher
Through Dec 9, 2018 / Parasol unit

Heidi Bucher, installation view at Parasol unit, London, 2018. Photography by Benjamin Westoby. Courtesy of Parasol unit Foundation for Contemporary Art.

Parasol unit foundation for contemporary art is delighted to present a major survey exhibition of works by Swiss artist Heidi Bucher (1926–1993). Showing for the first time in a UK public institution 25 years after her death, this exhibition brings together a significant body of her enigmatic latex works made during the last two decades of her artistic life and includes screenings of films that document her at work.

The visceral qualities of Heidi Bucher’s intriguing works bear testimony to her deep sensitivity and suggest numerous associative meanings. Well known for her latex casts of room interiors, objects, clothing and the human body, which she herself referred to as Häutungen (skinnings), Bucher’s process invariably preserved a haunting imprint of an architectural surface or an object which was simultaneously both a physical encapsulation of and a liberation from the memories these things held for her. To create her skinnings, Bucher first covered her chosen surface with gauze, pressed liquid latex into it, then when it was almost dry she peeled it off. Bucher dealt with the body and architecture in the same manner, an indication that these concepts are fully intertwined within her work. Her complex working technique was often physically demanding and carried out with great vigor and conviction.

 

Heidi Bucher, Libellenkleid (Dragonfly costume object), 1976. Textile, latex and mother-of-pearl pigments, approx. 246 x 295 x 15 cm (96¾ x 116¼ x 6 in) / Estate of Heidi Bucher. Photograph by Daniele Kehr

Heidi Bucher, Anna Mannheimer mit Zielscheibe (Anna Mannheimer with Target), 1975. Latex, cotton, mother-of-pearl pigment, 213 x 200 x 2 cm (83¾ x 78¾ x ¾ in) / Estate of Heidi Bucher. Photograph by Daniele Kehr

Displayed in the Parasol unit ground-floor gallery is a series of Bucher’s large-scale latex skinnings, suspended from the ceiling, hung on the walls, or simply placed on the floor. Bucher’s first Raumhaut (room skin), Borg, 1976, stands on the floor, a dark and fleshy replica of the cold-store structure of a former butcher’s shop in Switzerland, which she used as her studio. In contrast, a later interior moulding of a former psychiatric sanatorium, Kleines Glasportal, Bellevue Kreuzlingen (Small glass portal, Bellevue Kreuzlingen), 1988, has light passing ethereally through its rubbery translucent windows and seems loaded with psychological connotations. These strange, elusive skins present a paradoxical combination of forms that are sturdy yet fragile, transitory yet perpetual, solid yet flexible.

 

Heidi Bucher, installation view at Parasol unit, London, 2018. Photography by Benjamin Westoby. Courtesy of Parasol unit Foundation for Contemporary Art.

Heidi Bucher, Borg, 1976. Textile, latex, mother-of-pearl pigments, bamboo, approx. 230 x 350 x 100 cm (90½ x 137¾ x 39¼ in) / Estate of Heidi Bucher. Photograph by Mayo Bucher

Heidi Bucher, installation view at Parasol unit, London, 2018. Photography by Benjamin Westoby. Courtesy of Parasol unit Foundation for Contemporary Art.

Being intrigued by the idea of space, whether that occupied by an object, body or architectural interior, the process of skinning allowed Bucher to excavate memories from deep within herself. A mantra she often repeated, Räume sind Hüllen, sind Häute (Spaces are shells, are skins), suggests that she considered all such elements, including memory, as spaces. Whether physical or metaphysical, spaces were of the greatest interest to Bucher when they existed in a state of flux. Concepts of temporality and transience manifest within her themes, as in her use of dragonfly images and, for instance, the water in Die Quelle (The source), 1987. In this sculpture, which stands on the outdoor terrace of Parasol unit, a vase appears to be floating high in the air with a cascade of latex ‘water’ flowing from its spout.

 

Heidi Bucher, la vida el muerte (life death) [detail], 1992. Tree trunk with shelf and door, 2 cotton bags of lava ash from Lanzarote, 100 x 48 x 46 cm (39¼ x 19 x 18 in) / Estate of Heidi Bucher. Photograph by Indigo Bucher

Heidi Bucher, Heute fliesst das Wasser aus dem Krug (The water flows out of the pitcher today), 1986. Textile, latex, wood, glue, colour and mother-of-pearl pigments, approx. 100 x 117 x 123 cm (39¼ x 46 x 48½ in) / Estate of Heidi Bucher. Photograph by Daniele Kehr

Heidi Bucher, Bodyshells, Venice Beach, 1972. Single-channel video on monitor or projection, 16-mm film shown on DVD, colour, sound, 2:33 min. / Estate of Heidi Bucher, Installation view at Parasol unit, London. Photograph by Benjamin Westoby. Courtesy of Parasol unit foundation for contemporary art

Bucher’s fascination with the complex relationship between the body and its context is evident in her experimental film Bodyshells, Venice Beach, 1972. Its performers move slowly across the beach in over-sized foam costumes, like creatures from another planet. This work returns to the idea of a house as a shell or even a protective cocoon. The film is showing in a small room off the ground floor gallery, along with a selection of films documenting her skinning process.

In contrast to the physicality of her large-scale works, the first-floor gallery contains works on a smaller scale which nonetheless continue to explore ideas of fragility and impermanence. The elegant and minimalist structures of Bucher’s Glue House series, Weissleimhaus, from 1976–1983, appear to be ghostly renderings or the miniaturized shells of houses. Bucher, captivated by notions of ephemerality, transformation and metamorphosis, captures these ideas in several of her works, such as her latex costume-object Libellenkleid, 1976, and Der Schlüpfakt der Parkettlibelle (The hatching of the parquet dragonfly), 1983. Shiny with the sheer luminescence of mother-of-pearl pigments, the surface of these works is akin to the delicate wings of a dragonfly. In a process similar to Bucher’s skinning, the dragonfly larva sheds its skin to reveal an enchanting dragonfly, which may live only a few days. Many dichotomies exist within Bucher’s oeuvre and despite her use of vulnerable and impermanent materials there is both clear and implied energy evident in their creation.

 

Heidi Bucher /  Parasol unit

To coincide with its comprehensive survey exhibition devoted to the later works of Swiss artist Heidi Bucher (1926-1993) predominantly made with latex and known as ‘Skinning’, Parasol unit has produced an extensive publication featuring full-page color reproductions of the exhibited works as well as further key pieces from the last twenty years of the artist’s career.

The publication includes insightful essays by New York based poet and critic John Yau, who was awarded the 2018 Jackson Prize in Poetry; Mark Godfrey, Senior Curator, International Art (Europe and Americas) at Tate Modern; and Ziba Ardalan, Founder/Director of Parasol unit.

Curated by Ziba Ardalan, the exhibition and its accompanying publication give an overview of Bucher’s innovative sculptures and films documenting her various performances from the 1970s to the 1990s.

Parasol unit appreciates the generous support of Art Mentor Foundation Lucerne, Henry Moore Foundation, Pro Helvetia, Stanley Thomas Johnson Foundation and Swiss Cultural Fund UK.

 

Exhibition

Heidi Bucher
Through December 9, 2018 / Parasol unit
For more information please visit the exhibition page >

Publication

Heidi Bucher, 2018
Hardcover, 28.5 x 24.5 cm, 88 pages
Published by Parasol unit, London, 2018
For more information please visit the publication page >

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Heidi Bucher
Through Dec 9, 2018 / Parasol unit

Heidi Bucher, installation view at Parasol unit, London, 2018. Photography by Benjamin Westoby. Courtesy of Parasol unit Foundation for Contemporary Art.

Parasol unit foundation for contemporary art is delighted to present a major survey exhibition of works by Swiss artist Heidi Bucher (1926–1993). Showing for the first time in a UK public institution 25 years after her death, this exhibition brings together a significant body of her enigmatic latex works made during the last two decades of her artistic life and includes screenings of films that document her at work.

The visceral qualities of Heidi Bucher’s intriguing works bear testimony to her deep sensitivity and suggest numerous associative meanings. Well known for her latex casts of room interiors, objects, clothing and the human body, which she herself referred to as Häutungen (skinnings), Bucher’s process invariably preserved a haunting imprint of an architectural surface or an object which was simultaneously both a physical encapsulation of and a liberation from the memories these things held for her. To create her skinnings, Bucher first covered her chosen surface with gauze, pressed liquid latex into it, then when it was almost dry she peeled it off. Bucher dealt with the body and architecture in the same manner, an indication that these concepts are fully intertwined within her work. Her complex working technique was often physically demanding and carried out with great vigor and conviction.

 

Heidi Bucher, Libellenkleid (Dragonfly costume object), 1976. Textile, latex and mother-of-pearl pigments, approx. 246 x 295 x 15 cm (96¾ x 116¼ x 6 in) / Estate of Heidi Bucher. Photograph by Daniele Kehr

Heidi Bucher, Anna Mannheimer mit Zielscheibe (Anna Mannheimer with Target), 1975. Latex, cotton, mother-of-pearl pigment, 213 x 200 x 2 cm (83¾ x 78¾ x ¾ in) / Estate of Heidi Bucher. Photograph by Daniele Kehr

Displayed in the Parasol unit ground-floor gallery is a series of Bucher’s large-scale latex skinnings, suspended from the ceiling, hung on the walls, or simply placed on the floor. Bucher’s first Raumhaut (room skin), Borg, 1976, stands on the floor, a dark and fleshy replica of the cold-store structure of a former butcher’s shop in Switzerland, which she used as her studio. In contrast, a later interior moulding of a former psychiatric sanatorium, Kleines Glasportal, Bellevue Kreuzlingen (Small glass portal, Bellevue Kreuzlingen), 1988, has light passing ethereally through its rubbery translucent windows and seems loaded with psychological connotations. These strange, elusive skins present a paradoxical combination of forms that are sturdy yet fragile, transitory yet perpetual, solid yet flexible.

 

Heidi Bucher, installation view at Parasol unit, London, 2018. Photography by Benjamin Westoby. Courtesy of Parasol unit Foundation for Contemporary Art.

Heidi Bucher, Borg, 1976. Textile, latex, mother-of-pearl pigments, bamboo, approx. 230 x 350 x 100 cm (90½ x 137¾ x 39¼ in) / Estate of Heidi Bucher. Photograph by Mayo Bucher

Heidi Bucher, installation view at Parasol unit, London, 2018. Photography by Benjamin Westoby. Courtesy of Parasol unit Foundation for Contemporary Art.

Being intrigued by the idea of space, whether that occupied by an object, body or architectural interior, the process of skinning allowed Bucher to excavate memories from deep within herself. A mantra she often repeated, Räume sind Hüllen, sind Häute (Spaces are shells, are skins), suggests that she considered all such elements, including memory, as spaces. Whether physical or metaphysical, spaces were of the greatest interest to Bucher when they existed in a state of flux. Concepts of temporality and transience manifest within her themes, as in her use of dragonfly images and, for instance, the water in Die Quelle (The source), 1987. In this sculpture, which stands on the outdoor terrace of Parasol unit, a vase appears to be floating high in the air with a cascade of latex ‘water’ flowing from its spout.

 

Heidi Bucher, la vida el muerte (life death) [detail], 1992. Tree trunk with shelf and door, 2 cotton bags of lava ash from Lanzarote, 100 x 48 x 46 cm (39¼ x 19 x 18 in) / Estate of Heidi Bucher. Photograph by Indigo Bucher

Heidi Bucher, Heute fliesst das Wasser aus dem Krug (The water flows out of the pitcher today), 1986. Textile, latex, wood, glue, colour and mother-of-pearl pigments, approx. 100 x 117 x 123 cm (39¼ x 46 x 48½ in) / Estate of Heidi Bucher. Photograph by Daniele Kehr

Heidi Bucher, Bodyshells, Venice Beach, 1972. Single-channel video on monitor or projection, 16-mm film shown on DVD, colour, sound, 2:33 min. / Estate of Heidi Bucher, Installation view at Parasol unit, London. Photograph by Benjamin Westoby. Courtesy of Parasol unit foundation for contemporary art

Bucher’s fascination with the complex relationship between the body and its context is evident in her experimental film Bodyshells, Venice Beach, 1972. Its performers move slowly across the beach in over-sized foam costumes, like creatures from another planet. This work returns to the idea of a house as a shell or even a protective cocoon. The film is showing in a small room off the ground floor gallery, along with a selection of films documenting her skinning process.

In contrast to the physicality of her large-scale works, the first-floor gallery contains works on a smaller scale which nonetheless continue to explore ideas of fragility and impermanence. The elegant and minimalist structures of Bucher’s Glue House series, Weissleimhaus, from 1976–1983, appear to be ghostly renderings or the miniaturized shells of houses. Bucher, captivated by notions of ephemerality, transformation and metamorphosis, captures these ideas in several of her works, such as her latex costume-object Libellenkleid, 1976, and Der Schlüpfakt der Parkettlibelle (The hatching of the parquet dragonfly), 1983. Shiny with the sheer luminescence of mother-of-pearl pigments, the surface of these works is akin to the delicate wings of a dragonfly. In a process similar to Bucher’s skinning, the dragonfly larva sheds its skin to reveal an enchanting dragonfly, which may live only a few days. Many dichotomies exist within Bucher’s oeuvre and despite her use of vulnerable and impermanent materials there is both clear and implied energy evident in their creation.

 

Heidi Bucher /  Parasol unit

To coincide with its comprehensive survey exhibition devoted to the later works of Swiss artist Heidi Bucher (1926-1993) predominantly made with latex and known as ‘Skinning’, Parasol unit has produced an extensive publication featuring full-page color reproductions of the exhibited works as well as further key pieces from the last twenty years of the artist’s career.

The publication includes insightful essays by New York based poet and critic John Yau, who was awarded the 2018 Jackson Prize in Poetry; Mark Godfrey, Senior Curator, International Art (Europe and Americas) at Tate Modern; and Ziba Ardalan, Founder/Director of Parasol unit.

Curated by Ziba Ardalan, the exhibition and its accompanying publication give an overview of Bucher’s innovative sculptures and films documenting her various performances from the 1970s to the 1990s.

Parasol unit appreciates the generous support of Art Mentor Foundation Lucerne, Henry Moore Foundation, Pro Helvetia, Stanley Thomas Johnson Foundation and Swiss Cultural Fund UK.

 

Exhibition

Heidi Bucher
Through December 9, 2018 / Parasol unit
For more information please visit the exhibition page >

Publication

Heidi Bucher, 2018
Hardcover, 28.5 x 24.5 cm, 88 pages
Published by Parasol unit, London, 2018
For more information please visit the publication page >