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Onay Rosquet (*1987, Havana)

Onay Rosquet (Havanna, *1987) takes inventory of our lives. He demonstrates: We can not give up our “attachments”, cannot live on bread alone. As insignificant as every object, every meaning appears, in their totality they show our life.

The exhibition ATTACHMENTS is his second solo exhibition in Zurich. The latest work presented is a continuation of his series of collection of objects shown in 2017. His seemingly random – yet carefully orchestrated – compilation of papers lets the audience immerse themselves in personal memories. By painting collections of paper, he conjures up almost forgotten associations in the viewer. Onay Rosquet wants us to pay attention to the things we usually do not notice.

“I’m fascinated by the social phenomenon of people’s dependency on documents – be it bills, legal documents or love letters,” says Rosquet. He shows how t

Onay Rosquet - Assembly of Tools

 

Asamblea de herramientas / Tool Box
2014, Oil on canvas,
142 x 142 cm

5’500 CHF

Onay Rosquet - Stamps, 2018, Oil on canvas, 80 x 80 cm

 

 

Stamps
2018, Oil on canvas
80 x 80 cm

2’300 CHF

Onay Rosquet - Charcoal, 2018, Oil on canvas, 80 x 80 cm

 

Charcoal
2018, Oil on canvas
80 x 80 cm

2’900 CHF

Onay Rosquet - Confetti, 2018, Oil on canvas, 100 x 100 cm

Confetti
2018, Oil on canvas
100 x 100 cm

4’500 CHF

Onay Rosquet - Fluorescent, 2018, Oil on canvas, 100 x 100 cm

 

Fluorescent
2018, Oil on canvas
100 x 100 cm

4’000 CHF

Onay Rosquet - The Strong Dark Box

 

La caja fuerte / The Safe
2016, Oil on canvas
140 x 140 cm

5’500 CHF


Enrique Báster (*1973, Holguín)

Absolute abstraction does not exist in art. Enrique Báster does not even propose it. Their series tend bridges towards more or less identifiable referents; It is perfectly possible to glimpse certain metaphors. And titles often illuminate ideas.
In overcrowding there is, obviously, overcrowding: agglomeration of elements that seem to look for an escape point. The notion of order has been put into crisis, although some logic persists in that chaos.
In Virus the alteration of a fabric is remarkable. The color and the stroke pose a disturbing “landscape” that evokes the invasive capacity of a toxin.

Overcrowding
2018, Oil on canvas
100 x 80 cm


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