Sequential Gestures II_Serial Approaches in Contemporary Art_ —
Bartha_contemporary is pleased to announce Sequential Gestures II: Serial Approaches in Contemporary Art, the second exhibition examining the enduring fascination with repetition, process, and order in art-making. This instalment reflects on how contemporary artists build upon ideas of structure, alienation, and perception.
The show delves into the creative potential of repetition as an inquiry tool. It contrasts the sequential logic of singular gestures with parallel processes that unfold simultaneously, revealing the nuanced interplay of control and spontaneity, simplicity versus complexity.
The exhibition features the works of Frank Gerritz, Alan Johnston, Stefana McClure and Beat Zoderer. It brings together diverse practices with an acute sensitivity to materials and methods. These artists explore repetition not as mere replication but as a mode of discovery, producing subtle shifts and unexpected variations through disciplined mark-making, layering and systematic methodologies.
Frank Gerritz is a sculptor and draftsman whose practice employs precise geometric systems that, in this instance, translate sculptural concerns into two-dimensional compositions.
Alan Johnston's works explore spatial contexts and relations through drawing and architectural construction, reflecting on the spatial factors in sight and touch.
Stefana McClure's drawings transform entire films into layered, monochromatic abstractions. The labour-intensive process vails the essence of language through meticulously superimposing subtitles.
Beat Zoderer's playful, self-contradictory works use everyday materials arranged in seemingly methodical but intentionally imperfect structures. They blend spontaneity with influences from geometric abstraction to find order within chaos.
Sequential Gestures II reflects on the power of disciplined processes to create engaging and emotionally resonant artworks through this dynamic grouping. The second exhibition in this continuing series of exhibitions encourages audiences to consider how repetition, often disregarded as monotonous, can instead become a wellspring of creativity and transformation.
Stefana McClure
The Crying Game: closed captions to a film by Neil Jordan, 2010
Wax transfer paper mounted on Dibond
48 × 74 cm
18 ⅞ × 29 ⅛ in
Stefana McClure
Touch of Evil: Japanese subtitles to a film by Orson Wells, 2003
Wax transfer paper mounted on rag
7 × 12.7 cm
2 ¾ × 5 in
Stefana McClure
Pulp Fiction: closed captions to a film by Quentin Tarantino, 2017
Transfer paper mounted on rag
7 × 12.7 cm
2 ¾ × 5 in
Stefana McClure
South Pacific: closed captions to a film by Joshua Logan, 2008
Blue transfer paper mounted on rag
41.5 × 59.6 cm
16 ⅜ × 23 ½ in
Stefana McClure
Bergman’s Religious Trilogy, 2017
Graphite transfer paper mounted on rag
18 × 23 cm
7 ⅛ × 9 in
Stefana McClure
Smiles of a Summer Night: English subtitles to a film by Ingmar Bergman, 2012
Graphite transfer paper mounted on rag
7 × 12.7 cm
2 ¾ × 5 in
Stefana McClure
Fear and Trembling: English subtitles to a film by Alain Corneau, 2008
Wax transfer paper mounted on rag
41.6 × 58 cm
16 ⅜ × 22 ⅞ in
Stefana McClure
Set of Five Drawings: Dragon Ball, dialogue to a manga by Akira Toriyama, 2005
Blue Transfer Paper Mounted on Rag
Price on request
Stefana McClure
The 39 Steps: closed captions to a film by Alfred Hitchcock, 2002
Graphite transfer paper mounted on rag,
42 × 58 cm
16 ½ × 22 ⅞ in
Stefana McClure
La Luxure: English subtitles to a film by Jacques Demy, 2002
Pink transfer paper mounted on rag
7 × 12.7 cm
2 ¾ × 5 in
Stefana McClure
Colourblind Drawing C.L., 2012
4 layers of archival inkjet on paper with Japanese holepunch holes and black paper backing
60 × 60 × 0.5 cm
23 ⅝ × 23 ⅝ × 0 ¼ in
Stefana McClure
Colourblind Drawing, 2012
4 layers of archival inkjet on paper with Japanese holepunch holes and black paper backing
60 × 60 × 0.5 cm
23 ⅝ × 23 ⅝ × 0 ¼ in
Alan Johnston
Untitled, Ref. Kanazawa 1 (09.05.18), 2018
Titanium white acrylic, pencil, charcoal and beeswax on wood panel
27 × 22 cm
10 ⅝ × 8 ⅝ in
Alan Johnston
Untitled, Ref. Kanazawa 2 (09.05.18), 2018
Titanium white acrylic, pencil, charcoal and beeswax on wood panel
27 × 22 cm
10 ⅝ × 8 ⅝ in
Alan Johnston
Untitled, Ref. Kanazawa 4 (09.05.18), 2018
Titanium white acrylic, pencil, charcoal and beeswax on wood panel
27 × 22 cm
10 ⅝ × 8 ⅝ in
Alan Johnston
Untitled, Ref. Kanazawa 9 (10.05.18), 2018
Titanium white acrylic, pencil, charcoal and beeswax on wood panel
27 × 22 cm
10 ⅝ × 8 ⅝ in
Alan Johnston
Untitled, Ref. Concept Space Shirukawa 8, 2018
Titanium white acrylic, pencil, charcoal and beeswax on wood panel
27 × 22 cm
10 ⅝ × 8 ⅝ in
Frank Gerritz
Two Center Connection II, 2015
Pencil on paper
58.8 × 42 cm
23 ⅛ × 16 ½ in
Beat Zoderer
Tektur on paper, 2022
Acrylic paint on paper
38 × 34 cm
15 × 13 ⅜ in
Beat Zoderer
Resttektur on paper, 2022
Varnished Acrylic paint on tapes mounted on museum-board
50 × 47 cm
19 ⅝ × 18 ½ in
Beat Zoderer
Six-Zack No. 14/20, 2020
Acrylic on board
143 × 103 cm
56 ¼ × 40 ½ in
Price on request
Beat Zoderer
Tapes, 2006
Vinyl insulation tapes on paper
45.8 × 45.8 cm
18 × 18 in
Beat Zoderer
Ringelreih, 2006
Wool and glue on museum board
49 × 45 cm
19 ¼ × 17 ¾ in
Downloads
Press release PDF
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