Hauser & Wirth was founded in 1992 in Zurich by Iwan Wirth, Manuela Wirth and Ursula Hauser, who were joined in 2000 by Partner and President Marc Payot. A family business with a global outlook, Hauser & Wirth has expanded over the past 27 years to include outposts in Hong Kong, London, New York, Los Angeles, Somerset, Gstaad and since December 2018 in St. Moritz. The gallery represents over 75 artists and estates who have been instrumental in shaping its identity over the past quarter century, and who are the inspiration for Hauser & Wirth’s diverse range of activities that engage with art, education, conservation and sustainability.
The exhibitions are accompanied by various events and art education Programmes.
Hauser & Wirth St. Moritz will present a fully-functional, specially-crafted bar designed by Björn, Oddur and Einar Roth, son and grandsons of German-born Swiss artist Dieter Roth (1930 – 1998). This presentation will activate the gallery’s ground floor space as a hub for social interaction, music, readings and talks.
First conceived by Dieter Roth and his son Björn in the early 1980s, the bars are dynamic and changing installations and a continuing element in the Roth family’s cross-generational practice. The "Roth Bar", which is now on view in St. Moritz, was first shown 25 years prior in the exhibition "Dieter Roth: Lest / Train" at the Reykjavík Art Museum in Iceland (2005) and has since been included in various exhibitions, most recently at the Museum Tinguely in Basel (2019). The bar has gradually evolved during this period as, for each exhibition, site-specific materials have been incorporated into the installation. Both bar and studio were central concepts and locales for the work of Dieter Roth.
Occupying the first floor of the St. Moritz gallery this Winter, Hauser & Wirth will present a selection of Isa Genzken’s early exposed concrete sculptures, social façades and later wall-works, highlighting the artists continued interest in the structure, relevance and social aspect of modernist architecture.
By emphasizing the rawness and naturalness that characterize concrete and revealing the inherent rough beauty of the material, Genzken’s exposed concrete sculptures lay bare the core elements of modern architecture, thus contradicting the machine aesthetics of minimalism. With her social façades, the artist focuses on the relationship between inside and out. Creating impressions of high-rise façades by means of metal foil and adhesive tape, Genzken brings the impression of the skyline down to our level and enables direct interaction with the aesthetics of a fluctuating urban fabric. Additional wall-works on view further evidence how Genzken has, in recent years, allowed more and more traces of her own life – such as her self-portrait – into her works, underlining the continued social and personal element of her practice.