An automatic lawnmower rings a bell, a balloon leaves a trace in the sand, a boat moves on barrels. Everything is on the move with Roman Signer (* 1938 in Appenzell)—randomly, one might assume, as insinuated by his statement? Not at all; the artist rather perceives sculpture as a processual description of a condition, and thus expands the usual three dimensions of objects by a fourth: time. Hence his works are also described as “time sculptures”. He often uses explosives, water or movement as a resource, so as to be able to direct the experience of his artworks toward the experience of physical violence and speed. Such a method of working naturally generates a lot of interest from the audience, because it is quite reminiscent of those exciting and crackling archaic forces that seem to inhabit this anarcho-lab. But above all we love that violent roar and crack. Roman Signer's work has actually been exhibited internationally for quite a while, for instance at the 1987 documenta, the sculpture projects in M�nster in 1997, and in Hannover in 2000 at the Expo, as well as most recently in 2010 at Herrenhausen Gardens. The exhibition at Kestnergesellschaft thus shows a very well-known artist with his latest works that, in this volume accompanying a remarkable exhibition, delight us once again with the poetic quality of things and the grotesque aspects of everyday life.

Exhibition
Kestnergesellschaft Hanover, 23/8–4/11/2018

About the Author

Roman Signer, born 1938, is one of the worldwide, best-known Swiss artists . He won 2008 the Hugo Boss-Prize, 2010 the Meret Oppenheim-Prize and has numerous exhibitions worldwide, among others 2008 at Contemporary Art Museum St. Louis, 2010 Swiss Institute New York, 2011 Mercer Union Toronto, 2013 Rice University Houston, 2014 Hauser & Wirth New York, and 2018 with new works at renowned German Kestner Gesellschaft in Hanover.

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