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After some wandering in and out of the various takes on Mathis Pfäffli’s work—and specifically in relation to the exhibition Meteora—I found myself opening one reference after another: the history of murals and the Basler Totentanz; Baudrillard’s The Agony of Power (1978); the ‘line of flight’ in Deleuze and Guattari’s Capitalism and Schizophrenia (1972); Tim Ingold’s notion of lines connecting drawing to writing to weaving as Sophia Roxane Rohwetter ruminated on in her essay in Tracer, the catalogue for Mathis’s exhibition at Kunstmuseum Luzern in 2022. Each layer led elsewhere—to Surrealism, as well as to the 16th-century Bomarzo Monster Park, a site where sculptures seem to seek escape from the fundamental forces—gravity, electromagnetism, and the strong and weak nuclear interactions—that are today understood to shape and govern the universe we inhabit—each of them might open a path into reading Mathis’s work.
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Press Release
After some wandering in and out of the various takes on Mathis Pfäffli’s work—and specifically in relation to the exhibition Meteora—I found myself opening one reference after another: the history of murals and the Basler Totentanz; Baudrillard’s The Agony of Power (1978); the ‘line of flight’ in Deleuze and Guattari’s Capitalism and Schizophrenia (1972); Tim Ingold’s notion of lines connecting drawing to writing to weaving as Sophia Roxane Rohwetter ruminated on in her essay in Tracer, the catalogue for Mathis’s exhibition at Kunstmuseum Luzern in 2022. Each layer led elsewhere—to Surrealism, as well as to the 16th-century Bomarzo Monster Park, a site where sculptures seem to seek escape from the fundamental forces—gravity, electromagnetism, and the strong and weak nuclear interactions—that are today understood to shape and govern the universe we inhabit—each of them might open a path into reading Mathis’s work.
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