From 2000 onwards, imaginary models of spatial situations emerged from my occupation with landscape as a continuous, unlimited space. In an exhibition at the Villa Merkel in Esslingen in 2006, plaster balls were hung as models of a complex spatial concept.

“Four years ago, the first moon hung as a single orb in the Galerie Tony Wuethrich. Then a mobile of 4 spheres followed. In 2006 Schwander’s Monde multiplied into a first installation of large orbs at the Villa Merkel in Esslingen. Schwander subsequently enlivened a showcase in public space with small spheres, hung low and aligned close together. In 2009 he took up the motif again, thereby illustrating how his modularly oriented work complexes grow next to and into one another. The new versions now combine sizes as well as proportions and turn an attic into an expansive planetarium (Kunst Raum Riehen) or form a constellation compressed into a cluster (Art Basel).”
Pierre-André Lienhard

In 1996 a question arose as to how small clay objects created through the imprints of metal bars could be integrated into an exhibition. Over a long period of time, two goldfish swam around the sculptures in an aquarium, evoking an imaginary gallery. During the years that followed, I repeatedly built model sculptures that expand real exhibition spaces via ideas of other spaces.

9 Pierre-André Lienhard, Schwanders Moons, 2009

9 Katharina Dunst and Markus Schwander, Imprint, Trace-Tracking and Prophecy. in: Abdruck - On Markus Schwander's Objects and Drawings, Revolver, 2004
Translated by Jeanne Haunschild