Ugo Rondinone
Cry Me a River

06.07.20.10.2024
Ugo Rondinone, sechstermaizweitausendundvierundzwanzig, 2024, Acryl auf Leinwand, 400 × 600 cm, Kunstmuseum Luzern, Depositum der Stiftung BEST Art Collection Luzern, vormals Bernhard Eglin-Stiftung, Foto: Studio Rondinone
Ugo Rondinone, Ausstellungsansicht Cry Me a River, Kunstmuseum Luzern, 2024, Courtesy oft he artist, Foto: Stefan Altenburger
Ugo Rondinone, cry me a river, 1997–2024, Neon, 1006 × 606 × 10 cm, Courtesy of the artist, Kunstmuseum Luzern, 2024, Foto: Stefan Altenburger
Ugo Rondinone, Ausstellungsansicht Cry Me a River, Kunstmuseum Luzern, 2024, Courtesy oft he artist, Foto: Stefan Altenburger
Ugo Rondinone, Ausstellungsansicht Cry Me a River, Kunstmuseum Luzern, 2024, Courtesy oft he artist, Foto: Stefan Altenburger
Ugo Rondinone, thank you silence, 2005, Ausstellungsansicht Kunstmuseum Luzern, 2024, Courtesy the artist, Galerie Eva Presenhuber, Mennour, Esther Schipper, Gladstone Gallery, Kukje Gallery und Sadie Coles HQ, Foto: Stefan Altenburger
06.07.
20.10.2024

Despite his international career, the artist Ugo Rondinone (*1964), who grew up in Brunnen, still has close ties to Central Switzerland. His work is characterised by the overwhelming beauty of the landscape and the force of nature. The exhibition title Cry Me a River cites a song that has been interpreted by many singers, including Ella Fitzgerald and Justin Timberlake. In the case of Ugo Rondinone, “river” refers to the River Reuss, which flows out of the Lake Lucerne, in front of the Kunstmuseum Luzern. Inside the museum it seems as if it is snowing, a couple of fish flit by. Ugo Rondinone’s reference to the legendary Inner-Swiss Inwardness and its particular leaning towards materials is no coincidence. The artist stages his cultural origins lovingly and with great exhilaration. A nice example of this are his “Stonefigures”, larger-than-life stone men that continue the tradition of the helpful signposts in the mountains.

In ascetic-looking rooms, Ugo Rondinone focuses on light, sound and form. The optical effects of his installations are easily understood, and their quality lies in this very simplicity.

Opening
Friday, 05.07., from 6 pm

curated by Fanni Fetzer 

supported by ArtClub Luzern, Sophie und Karl Binding Stiftung, Dätwyler Stiftung, Ernst Göhner Stiftung, Kanton Schwyz, Westiform Visuelle Kommunikation

Media cooperation with The New York Times

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