Caroline Bachmann

Caroline Bachmann’s practice and approach to painting can be seen as a tireless quest to unravel the medium while simultaneously examining the semiotic potential of representation. Often studying her direct surroundings, Bachmann sketches her visible landscape in moments of sunrise, resulting in light playing a crucial role in her works. Bachmann takes her sketches - diagram-like, offering rough cues on colours and com- position - and further translates them into her paintings, culminating in intricate layers composed of memory, imagination and art historical concerns.
Working frequently in a series of recurring motifs, one can read Bachmann’s works as an experience in studying the subject. The work can be seen rooted in a lifelong accumulation of the views of the landscape that repeatedly appears in Bachmann’s paintings. By inserting the framing device continually seen in the works, Bachmann creates a distance between the subject of the image, re-affirming the power of painting and the notion of representation. The framing format also directly references Louis Michel Eilshemius, the American landscape artist from whose paintings Bachmann was influenced to incorporate the painted frame on the edges of the canvas.

Caroline Bachmann’s work is currently featured in group exhibitions at Musée cantonal des Beaux-Arts in Lausanne and MAMCO, Geneva. In early 2025, Bachmann will have a solo show alongside Nicolas Party at our gallery in Zurich.

Caroline Bachmann, Le Matin, 2023
Exhibition view, Le Credac, Paris

Caroline Bachmann, Lune rosse reflet, 2023
Exhibition view, Galerie Gregor Staiger, Zurich

Guillaume Dénervaud

Guillaume Dénervaud renders dense forests of organic and engineered forms using stencils and templates he has collected over the years. These templates include traditional architectural French curves and various ellipses, as well as branded stencils used by real estate agents and furniture designers to sketch diverse industrial elements: the curve of a wall, the shape of bathroom fixtures, plumbing, electrical wiring, etc. As CAD has made these tools mostly obsolete for commercial use, Dénervaud redeploys them to create various visions of the future built on the remnants of today’s industrialized society.
These new anticipatory scenarios of dystopian scapes seem more like disrupted habitats than deliberate plans, with mutant flora, overgrown invasive species, rusting motor parts collecting silt in lakebeds, and living tissue merging with electronic circuitry. Flowing shapes reminiscent of parasitic plants or cancerous cells proliferate. Dénervaud infuses the systems with life by using ink and oil paint made from plants, algae, and minerals: the colors don’t only represent nature, they are derived from nature itself, crushed and dissolved and stirred.

Guillaume Dénervaud had a major solo exhibition at the Swiss Institute in New York in 2023. This year, he presented a solo show at the gallery’s Zurich venue, and his work is currently featured in group exhibitions at MAMCO Geneva and ICA Miami.

Guillaume Dénervaud, Orphaned Wells, 2024
Exhibition view, Galerie Gregor Staiger, Zurich

Raphaela Vogel

With exhibitions at major institutions like Kunsthaus Bregenz, Kunshalle Basel, Haus der Kunst, and many others, Raphaela Vogel has an exceptional record, especially for an artist born in the late 1980s.
Raphaela Vogel’s practice can be described by it’s physicality – from her monumental sculptures, or how sound from her videos and installations inhabits space, to the materiality of her animal-hide paintings. Building links between a variety of contrasting materials and mediums, Vogel creates physically palpable tension and a richly contrasting interplay between imagination and scale.
At Paris Internationale, we are presenting a series of bronze sculptures, a development from sculptural elements in our last exhibition with the artist, and translated from thermoplastics into bronze. The works refer at the same time to the architecture of the space in which Vogel’s exhibition was held, which includes a significant nod to the iconic Michael Asher exhibition at Kunsthalle Bern in 1992 (using the museums radiators and piping as the raw material for his work) - while at the same time creating vaguely animal- like objects, half country idyll, half ovine body horror. The works also connect to the artist biographically, as she often uses personal histories in her work - in this case the birth of her first child and move from the city center to the gardened outskirts of Berlin.

Raphaela Vogel’s solo show ‘International Comparison’ is currently on view at the Centre d’art contemporain – la synagogue de Delme, situated in eastern France near Metz. At the end of November, the artist will open a solo show at Kunsthalle Giessen and in March 2025, the Museo Tamayo will present the artist’s first solo show in Latin America.

Raphaela Vogel, International Comparison, 2024
Exhibition view, CAC – synagogue de Delme, Delme

Raphaela Vogel, Found Subject, 2024
Exhibition view, Heidelberger Kunstverein, Heidelberg