Roman Signer’s whimsical world

The exhibition “Landscape” showcases works spanning over 50 years of artistic practice and extends across the large exhibition hall of the Moser Building, which Signer deliberately designed to be open and free of partition walls. The hall is impressive for its size, almost its vastness. Visitors are invited to explore the works freely, as if on a walk through a landscape.

The artist was present at the media preview on 3 April and gave interviews, as did the exhibition’s curator, Mirjam Varadinis, and others. Anyone familiar with Signer’s work could spot many familiar objects, such as the suitcase, the ladder and the wellington boots. A recurring motif is the kayak. It hangs from the ceiling. Dismantled into seven parts, it forms a new sculpture. Or it serves as a vehicle for Signer, towed by a car on a high-speed journey through the countryside, accompanied by an agitated herd of cows.

Roman Signer has also created new works for the exhibition. One of them made its debut on the opening night: an enclosed space of just a few square metres with openings, containing a decorated Christmas tree that spins so rapidly that the decorations are flung off and shatter. Anyone seeking the deeper meaning of this and other works should look within themselves. As Mirjam Varadinis explains in a personal conversation, many of Signer’s works have emerged from a pure desire to experiment. He takes great pleasure in playing with the things he encounters in everyday life. To this end, he combines what nature, the seasons and the elements offer him. This can give rise to humorous events. However, Signer strives neither for profundity nor for humour. ‘Laughter is allowed, but it doesn’t have to be there,’ says the artist. With childlike curiosity, he leaves much to chance and is then himself amazed by the result: ‘I merely arrange. The power comes from my sculpture.” This lends his works a lightness that is typical of Signer’s oeuvre. He has retained this approach to this day; the 86-year-old Signer tinkers with new ideas every day.

In 1972, Signer went to Warsaw, where he studied under Oskar Hansen. He explored the city on walks that lasted for days – the streets became his academy. During this time, he recognised the potential in everyday objects such as a bucket, a boot or a bottle, and transformed them into art in combination with the elements.

A central theme in Signer’s work is the element of water. Even as a child, he spent a great deal of time by the River Sitter in the canton of Appenzell. He observed the dynamics of the current and the ice and marvelled at the ice sculptures that formed of their own accord. In his later works, he makes deliberate use of natural forces such as wind, gravity and explosions to create temporary sculptures and performative events.

Signer is known for his explosive works, but officially and categorically rejects derogatory remarks that reduce him and his art to mere fireworks. The preview lists specific words that must not be used in connection with Signer and his work.

Finally, the factor of time also plays an important role in the work of this artist, who is known for his ‘time sculptures’. The works change over time or exist only for a short period. For this reason, many of his performances are documented on film or in photographs. These media are an integral part of his artistic practice and also feature in the exhibition at the Kunsthaus.

Walking through the ‘Landscape’ exhibition, it becomes clear that, even at the age of 86, Roman Signer remains an artist brimming with curiosity, a love of experimentation and creative energy.