Her exhibitions—at Manifesta and at the Berlin Biennale in 2008, at Art Basel Statements and at the Switzerland Institute in Venice in 2009, as well as at the Centre d’art contemporain de Genève for her first solo exhibition in 2010—present plays of mirrors and truncated reflections (Nothing Unbound, 2009), investigations of the body’s medium, its surface, the skin (Our Sun, 2009), and tensions between mental perception and its physical transposition in space (No Core, 2010).
Like Untouched by Man (2010) and This Is Not the Colour of My skin (2011)—presented in 2011 at the Swiss Institute in New York—the series Because They Tried to Bore Holes in My Greatest and Most Beautiful Work and Creation, Deterioration, Conservation challenge the notion of subjectivity and materiality in the digital era. Working from digital prints of famous paintings (Yves Klein’s monochromes and the Procession in St. Mark’s Square by Gentile Bellini), Rosenkranz enters into dialogue with striking figures from the history of art, shifting the viewer’s attention away from the work’s symbolic content, towards its material elements: its size, texture, surface, colours and chemical composition—all apparently devoid of meaning. Thus she limits the work’s transcendent aspect and recalls how much this relies on its materiality.
Pamela Rosenkranz lives and works in Zurich. In 2015, she was invited to represent Switzerland at the Venice Biennale.