Roman Signer (St. Gallen) has become known for his actions since 1981 and is now one of Switzerland's most important artists with an international reputation. Starting with sculpture, Signer is interested in energetic processes or “events” as they manifest themselves in his staged actions. His preoccupation with the natural elements of water, fire, earth and air also involves an investigation of time. The playful turns into the existential; behind the supposed lightness of the elaborate processes lurks transience. Signer's humorously sarcastic work also addresses the role of the artist, which he completely demystifies. Self-ironically, the “senseless” artist is presented as an eternal failure, sometimes as a tragic clown whose blasts and other catastrophes leave hardly any traces and literally go up in smoke.

Since the early 1990s, Roman and Aleksandra Signer were close friends with Peter Kamm and Christine Kamm-Kyburz, who have become enthusiastic Signer collectors. On the occasion of the exhibition set up by the artist, the Kamms' entire set of works by Signer was donated to Kunsthaus Zug. This includes numerous sketches, photographs, videos, objects, installations and books, representing all groups of works and the artist's entire creative career. Along with the Nationalgalerie Berlin and the Kunstmuseum St. Gallen, Kunsthaus Zug owns the most important public Signer collection. Its first presentation in 2009 was a tribute to Peter Kamm, who died unexpectedly at the beginning of 2008.

Roman Signer presented a project idea for Zug entitled Seesicht as the second stage of the cooperation that began in 2009. A model, drawings and photographs illustrated the ambitious project for the public space. In addition, his new video work Flügel (2009) was presented for the first time.

To mark the 25th anniversary of the Kunsthaus Zug, the sculpture "Seesicht" by the renowned Swiss artist Roman Signer was realised on Zug's lakeside promenade. After five years of planning, the work was handed over to the people of Zug on 30 May 2015. For the inauguration, which was attended by 700 visitors, the artist performed a type of happening. A kayak was pushed off the roof of the "Seesicht", slid down the slope and sank vertically into the lake.

The architectural steel sculpture in a prominent location on the lakeside promenade (Rössliwiese) leads below the water level with a staircase and opens up a view of the lake through a window. The sculpture has been approved for ten years (until 2025) and will continue to be open regularly.

As humorous as it is surprising and profound, it conveys a new view of the familiar environment. When the local construction boom causes ever larger and taller buildings to be built, which increasingly obstruct the view of the lake, Signer leads us into the depths at a place with a magnificent view of the lake and the Alps and shows the body of water. With changing times of day and season, and depending on the weather, the same view is always different. In the middle of the city, the artistic nature observatory also offers a welcome resting place while strolling. In the artist's mind, however, the connection to the lake bed may also be reminiscent of the Zug lakeside disaster of 1887, when part of the suburb sank into the lake and swept eleven people to their deaths. Even today, the rubble lies there near the sculpture. The disaster, which Signer heard about as a child at school in Appenzell, made the name Zug known to him for the first time.

The sculpture, one of the artist's largest, was realised by the Kunsthaus Zug in close consultation with the authorities of the canton and city and in cooperation with local companies and craftsmen. It expands what is probably the artist's most comprehensive museum collection at the Kunsthaus Zug (donated by Christine and Peter Kamm). In 2015, the Kunsthaus Zug mobile was stationed beside the site-specific sculpture "Seesicht", (at the Rigiecke), where a small exhibition by the artist was shown. It comprised a new video work, a model and works from the collection on the subject of water. In addition, the Kunsthaus Zug presented an extensive group of Signer's project sketches from the collection.

A collection, if it is not one-dimensional, allows for many paths, has crossings, parallels and branches. After we had limited ourselves to male artists in our first overview shows of 2015, the female artists now had their turn. Their works were shown in open constellations to each other. Aleksandra Signer's video works bridged the gap between the “constellations” of the female artists in the collection, Sara Masüger and Katharina Anna Wieser, in the north wing, and Roman Signer's exhibition in the south wing, which was still running but had been altered for the opening of his walk-in sculpture Seesicht. This staircase leading down into the lake on the Zug lakeshore offers a fascinating insight into the underwater world and will be open to the public for viewing for ten years (until 2025). The artist couple Signer have been working together for decades, but were exhibited together for the first time at Kunsthaus Zug in 2010.

When summer comes around again, lawnmowers make their rounds. Also at Kunsthaus Zug: within a marked-out space, measured by a robotic lawnmower on a stony ground. Where there is a lawnmower but no lawn, Roman Signer cannot be far away. In 2019, a second large solo exhibition after the one in 2009 was dedicated to him in the rooms of Kunsthaus Zug and beyond. It was another step in a longstanding collaboration. The Seesicht, Signer's architectural sculpture in a prominent location on Zug's lake basin, has become a landmark in the city. With generous donations from Christine Kamm-Kyburz, who sadly passed away in January 2019, her husband Peter Kamm (1935-2008) and the artist himself, Kunsthaus Zug can count what is probably the most comprehensive Signer collection among its treasures.

Signer's works explain themselves just enough to stimulate the imagination. His sculptures are his words, as he says: a lawnmower and a barrel, a boot, a quadrocopter and a kayak. In ever new combinations, he processually develops construction kits further into new works. The “words” become ever new sentences. In order for these to function, water, wind, fire or sand are sometimes needed; the viewer's world of thought is always needed to expose the artist's view of the absurdity of human existence.

New works were shown that had never been presented in Switzerland. Those who like the explosive Signer will find his humour in these new works, even if it comes along quietly. The spectacle is only one aspect, the conceptual superstructure is another. Added to this is a delicate poetry that touches on the very foundations of the human condition.

On the closing day of the exhibition Time and Space – Homage to Peter and Christine Kamm the artist Roman Signer is carrying out an action in the courtyard of Kunsthaus Zug. There he set off a rocket with a red ribbon attached to it towards the sky, which then covered the city. The long-standing friendship of the artist and his wife Aleksandra Signer with Peter and Christine Kamm lead to Kunsthaus Zug having probably the most diverse public collection of Signer’s works thanks to the donation from the collector couple.