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Flurin Bisig, It‘s You, 2020, carrara marble, spruce wood, 222 x 32 x 18 cm.
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![Flurin Bisig, [TT MM JJJJ], Netstal, 2020, permanent marker and pencil on paper, 140 x 100 cm.](//img.artrabbit.com/events/flurin-bisig-the-anarchy-of-silence/images/uXiuCk43Nu4l/337x460/FB-D-17-001-L.jpg)
Flurin Bisig, [TT MM JJJJ], Netstal, 2020, permanent marker and pencil on paper, 140 x 100 cm.
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Flurin Bisig, Tragedy 3, 2020, collage from book illustration, 25 x 25 cm.
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Flurin Bisig, Songs: Ohia 3, 2020, carrara marble, spruce wood, 227 x 24 x 16 cm.
![Flurin Bisig, [TT MM JJJJ], Netstal, 2020, permanent marker and pencil on paper, 140 x 100 cm.](http://img.artrabbit.com/events/flurin-bisig-the-anarchy-of-silence/images/YAl1Ty6iVstx/1102x1500/FB-D-17-001-L.jpg)
Exhibition
Flurin Bisig: The Anarchy of Silence
23 Jan 2021 – 6 Mar 2021
Regular hours
- Monday
- Closed
- Tuesday
- Closed
- Wednesday
- 12:00 – 18:00
- Thursday
- 12:00 – 18:00
- Friday
- 12:00 – 18:00
- Saturday
- 12:00 – 18:00
- Sunday
- Closed
Address
- Knesebeckstrasse 96
- Berlin
Berlin - 10623
- Germany
GNYP Gallery is delighted to announce the first solo exhibition The Anarchy of Silence of the Swiss artist Flurin Bisig in our gallery. The exhibition can be seen on our website from Saturday, January 23rd, 2021 and will be on view until Saturday, March 6th.
About
GNYP Gallery is delighted to announce the first solo exhibition The Anarchy of Silence of the Swiss artist Flurin Bisig in our gallery. The exhibition can be seen on our website from Saturday, January 23rd, 2021 and will be on view until Saturday, March 6th.
In consideration of the current pandemic regulation the gallery will be open again for public from Tuesday, February 2nd, 2021, in compliance with the current distancing and hygiene regulations.
If you are planning to visit, don’t forget your mask, so we can ensure a pleasant and safe stay for everyone.
Assuming a given perspective, one can find authorities everywhere, all the time. It can manifest itself through the model of society one inhabits, the religion one observes, the economic system that regulates our exchanges—we are always pledging allegiance to some entity, real or abstract. Because of their intermittent contact with tradition, manifest through the material in front of them, the names in the museums and galleries, artists are among the most sensitive to the ambiguous weight of authority. The way for artists to deal with this is twofold: One can face it critically or succumb to it. Flurin Bisig selected the first option.
