Louis Schlumberger (Switzerland)
Born in Basel. Lives in Zurich & Basel.
2019 Admission Swedish professional association
2004-2018 Medical interruption
2007 "awo" parallel exhibition Documenta Kassel
2003 Film Project Manager and Actor TV Production Company Tiger
2002 Admission Visarte
2002 Graduated Chelsea College, MA (Fine Art)
1997 Admitted Slade (ULC, London) MFA
1990 Start artistic career
1990 Sotheby's Institute (Univ. of Manchester) Post.Grad. Art Hist.
1986 University of St. Gallen Bachelor's degree in Economics
1985 Representative of Swiss artists at the Forum Universelle, Crans-Montana
1982 Federal Matura (Type B)
- 2016 Action solidaire, Basel
- 2008 12 artists gartencity.ch, Zurich
- 2007 awo-documenta, documenta 12, Kassel
- 2006 Filmpilot Tiger Aspect Production, London
- 2004 Visarte
- 2004 Filmpilot Tiger Aspect Production, London
- 2003 Chelsea Arts Club, London
- 2003 UN Water Project, London
- 2002 Chelsea College, M.A. Fine Art, London
Solo exhibitions (selection)
- 2005 Galerie Wehrli, Zurich
- 2004 H&B Gallery, Lausanne
- 2004 Visarte, Zurich
- 2004 XS Project, New York
- 1996 Galerie Point Rouge, Paris
- 1995 Forum Universelle, Crans-Montana
- 1995 Théâtre du Grütli, Geneva
- 1995 Galerie de Provence, Cannes
- 1993 Galerie de Crans, Crans- Montana
- 1993 University of Basel, Basel
- 1992 UBS Gallery, Basel
- 1991 Phillips, Son & Neale, Zuurich
- 1990 SBV Gallery, St. Moritz
Group exhibitions (selection)
- 2016 Action Solidaire, Basel
- 2010 Kunstetage, Zurich
- 2008 Frontiers, Museum of Art and History, Neuchâtel
- 2008 Project Space M54, Basel
- 2005 Intermezzo Metropol, Zurich
- 2004 Visarte at the Stadthaus, Zurich
- 2003 Cubitt Artists, London
- 2002 Chelsea College M.A. Show, London
- 2001 Sub Art, The House Project, London
- 2001 Cubitt Artists Gallery, London
- 2001 The House Project Space, London
- 1999 Gallery for Contemporary Art, Zurich
- 1997 Zurich Artist Inventory, Zurich
- 1995 La Galerie de Tourgéville, Deauville
- 1994 Kunstvermittlung Stadt Zürich, Zurich
- 1993 Three Galerie Heidi Brehm, Zurich
- Swiss Bank Corporation
- Private collection Switzerland
- Private collection Belgium
- Private collection USA
With my approach to art, I will never be able to bring the theory of sciarsism to a perfect perfection, because I will never be able to create the scientific mental art space holistically, because the great nothing is unfathomable and infinite must become science, for me the great freedom, to speak with Kant, can come closer, but never coincide with the inspiration that can never fathom the truth for its part.
I can’t come to perfection despite the fact, that I compose under the influence of music in parallel worlds, dripping, pouring, flowing, splashing, and slinging and smearing colours from all sides onto the painting to achieve a balance of chaos and control that makes these dimensions visible. Nothing’s left to chance, for all the colours and all the media applied, sometimes against the rules of painting, finally find a balance that must be right down to the millimetre. In the process, fabulous worlds, creatures, and demons are created, all of which find their place in the painting.
All my paintings are covered with mythical creatures, spirits, and demons. Every small part of the universe probably has a consciousness. Energy particles can even be smaller than a quark or lepton. Today, scientific entanglements are being researched on gravity and black holes, which may prove in the future that every particle in the universe is in deep communion with all other particles. For me, these particles are nothing other than my creatures, which are constantly visible in my painting.
Each of my paintings can be combined an infinite number of times and every day the viewer discovers a new composition. For this reason, none of my paintings can be copied. For me, the inner world, whether it leads to the psyche or to other dimensions, is as complex and ripe for exploration as the world beyond our bodies. My language possesses an incongruence between chaotic, dark, ghostly background with extravagant meticulousness, reflecting the uncanny and sometimes elusive imagery of cognitions, dreams, myths, and delusions.
My surrealist approach is not at odds with the elements that mirror these aspects. I am driven by a passion to ask questions rather than take facts for granted and would never stop drilling for knowledge for any reason. Ultimately, it does not matter how we respond to any of the realities, because our response will always be of a political, socio-psychological, or even metaphysical nature in this context, which affects all of us who live in our "polis", or civilisation.
"L'art pour l'art" n'éxiste pas! I am rather hostile to "pleasing art". Especially when it does not reflect a natural, universal force and limits itself by decorating some superficialities of low quality in a meaningless way. But this too can be seen in different ways, for even a total nonsense can lead to realisation via chaos. It is a journey without end and will never give us a clear or definitive answer. In this sense, I will never succeed. Socrates said, "The unexamined life is not worth living". So at least there is hope for me. Hope is fulfilment, not certainty.
I can’t bring my art to a perfect connection of the sciarsism, but if the theory of sciarsism wants to come closer to art than ever before, it seems (if I understood the theory of sciarsism in its basics) to harmonise with my approach of art creation. If ever we will be able to describe our inner space with the same ease as the space of inner mathematics or quantum mechanics, I must leave open, but it seems to me a fantastic approach between art and science.
My surreal worlds reflect our supposed reality in a different light. They penetrate our spirit and our mind and lead our sciences into new dimensions that change everything and remind us that the surreal points to the real. We are on the verge of creating the destruction of a new world. Which force is winning? As I deal a lot with the world of the world, demons and spirits in my intuitive work and my main theme is to make many aspects of the part of consciousness visible, I am curious and concerned about the currently connected to global subconscious and feel in what fatal direction our journey will go if we continue like this. For no one is ever isolated and every thought of every human, animal and plant has a metaphysical effect on the entire universe. A thought is energy in another dimension with immediate effect for the receiver and the sender. My aim is to let the viewer participate in it, but I am not involved in a judgement, a political statement, a theory, or a religion. I am only a "transmitter". It is enough to mirror reality in the subconscious to know where we stand.
Description of Works
The painting "Covid19? Mars!" (2021) is a humorous interlude. Why not move to Mars? There's no virus there! Or is there? Mars is our brother and a mystery. I have tried to make this figurative.
The painting The Lock-Freeze (2021) was created in many versions and was repeatedly changed and repainted. When it was painted in 2020, it was originally called "The Lock- Down" and was inspired by the painting "The Scream" by Edvard Munch, which was created between 1883 and 1910. Perhaps I move in similar abysses as Munch, who fascinates me. But unfortunately, I notice that more and more people are moving into a similar abyss because of the long-lasting pandemic. We were supposed to be the first generation without any war and pandemics, weren't we? As this state has lasted for a long time, this image has now turned into a "lock- freeze". However, this also holds hope and opportunities to correct our way of life and finally see ourselves as part of the planet and not as rulers of it.
Remember Club Life?
The painting Remember Club Culture. (2021) has the following background: The Covid19 pandemic has almost destroyed a wild, exciting, and disinhibited club culture after an already existing change in behaviors of the young generation through the new media and an emerging control and moral society. From once vibrant club metropolises such as New York, London, Berlin and Zurich, there are now far fewer impulses than 20 years ago, as young people can no longer meet in an unfinished underground. This leads to a restriction of creativity, openness, liveliness and daring. This restriction goes hand in hand with increasing uniformity, moralisation and ultimately a diminution of entrepreneurship. Will new things emerge, especially after the Covid19 pandemic, and will people rediscover the value of freedom? This painting shows a city or concrete landscape with its own special raw and shimmering beauty. In this landscape, the viewer encounters countless beings in a filigree labyrinth, reminiscent of the pulsating club culture of yesteryear.
Rising Sea Level
The painting "Rising Sea Level" (2021) was created in several stages and was painted over several times. It is intended to show the universal importance of water for life as we know it and to reflect its power, beauty, and strength. It is meant to show us its energy, systematics, and simultaneous unpredictability. The essential and metaphysical element and the fullness of life in water is also revealed by this image at second glance. Much of it cavorts in the refreshing wave coming towards the viewer, rushing into the room. But the wave is also meant to show that the force of a rising sea level cannot stop anything in the long run.
Bitcoin (Authenticity stored on blockchain)
The painting "Bitcoin" (2021) symbolises the golden quick wealth acquired through this cryptocurrency. But besides the gold, it also shows the black colour of risk and the abyss that can open at any time. The grey grids show the interconnectedness of this investment. Everything seems organized but at the same time unreal.
Disappearing civilisation (Authenticity stored on blockchain)
The picture "Disappearing civilisation" (2021) is a foreshadowing. Because this is the first picture, which was taken in January 2021. When I saw the horrific images of the animal markets in China and heard about the outbreak of a new virus, it was clear to me that we cannot continue to treat our wildlife and planets like this, because this is how our civilization will perish. I imagined a new virus, like an eerie fog in which creatures hide, invading a vibrant city like New York, permeating, paralysing and eventually killing everything. Today I wish it had remained a performance.
@BLM (Authenticity stored on blockchain)
The painting “@BLM” (2020): Our world is becoming increasingly surreal under the influence of prejudice, which has also led to racism in many parts of the world. It is frightening to note that in the United States, for example, the age-old prejudices of the terrible colonial history against the black race still exist in some circles today, which is why the picture "@BLM" was created. This picture is meant to honour the struggle of the blacks and to call for peaceful reconciliation.
The Amazon Rainforest (Authenticity stored on blockchain)
"The Amazon Rainforest" (2020) is a painting that was created over many months in the course of 2020. At the beginning, with the Amazon burning in late summer 2020, it was a picture of fire and devastation. But over time, hope for the recovery of vegetation and plump life prevailed. The many layers invite us to step into the picture, into the jungle, and move from this wonder to a more sustainable life. I have already been in the jungle once in Guatemala.
中国一 一路, Belt and Road China (Authenticity stored on blockchain)
The painting " 中国一□一路, Belt and Road China" (2019) shows the globale problem of the dilemma between wealth, sustainability, and freedom, because it is by no means certain that we can maintain our prosperity with the new superpower China. It is an open question how China will develop, but we should try to understand this country in its historical context so that we can work for freedom and sustainability. The soft gold and seductive creatures’ contrast with the powerful red lines in the picture.
Quantitative Ease (Authenticity stored on blockchain)
The painting "Quantitative Ease" (2017) shows the disorder created today by central bank policies that will finally destroy our current stability. Even a famous banker told me that no one really knows the outcome. It is a surreal experiment. The surreal world also includes nature, because we cannot understand our world with our limited dimensions without nature and the nature of nature. I try to decelerate these mysteries - never with resounding success. In this painting a beautiful stream of energy, powerful beings and warmth in precious colours floods the viewer. At the same time, this effect fades very quickly through dying creatures in darker colours.