The landscapes of Abel Auer center on figures, flora, and various symbolist paraphernalia roaming in ‹out there› topographies. His exhibition at Galerie Kirchgasse, titled Schatten meiner Selbst (Shadow[s] of Myself), evokes the concept of the shadow in analytical psychology. Being aware of one’s own shadow is probably a good thing. The train of thought of the following review stretches across generations from the nineteenth century to the present, from landscape painting to mountaineering and, in the process, reflects on a psychedelic connection between the Himalayas and the Alps.

Der Schweizer Kunstbetrieb erfreut sich an der bewusst sorglosen Kunst von Lynette Yiadom-Boakye in Basel. Warum aber sprechen alle nur von Malerei und niemand von Blackness? 

Someone I met in Berlin a little while ago said he couldn't wait for the Biennale to end so that people could finally start talking about something else. The shock of the summer in this city was that Manifesta 11 wasn't the big talking point after all, but that the excellent retrospective of Francis Picabia at the Kunsthaus Zürich was. In fact, these two exhibitions had more in common than just their dates; while DIS used to concern themselves primarily with visual tropes of 21^st century work (the theme Manifesta chose as its subject matter), the Picabia show and the DIS Biennale engage much more with questions of artistic authenticity, sincerity and political responsibility.