Emanuel Rossetti’s practice seems evasive at times. Encountering his work, you often feel like you have arrived either too early or too late—and never at the right time. This is perhaps because Rossetti seems less concerned with organizing discrete, individual encounters with things and more interested in the contagion of collective spirits within a particular space. Rossetti often works in collaboration with artists Stefan Tcherepnin and Tobias Madison: “Drip Event” at The Power Station in Dallas (2013), for example, turned two exhibitions floors into a sonic installation of flooded water, which was also programmed with music events and other interventions. At The Modern Institute in Glasgow, “Life & the Invitation& Vapour in Debri&” (2014) transformed the architecture of the exhibition space with its flesh-colored carpeted walls. At the Hepworth Gallery, Haggard Caravan (2014) was a sound and sculpture installation in which debris collected during the ten-daylong residency was embedded in the site’s surface. This August at Kunsthalle Bern, Rossetti continues to pursue his interest in the physicality of sound, but it’s an exhibition that also promises to investigate the distinct properties of each ingredient in this “industrial hot sauce.” He extends the spatial, temporal and social loops of a space, contaminating that space with something alien, unsettling and unknown. (Matt Packer)

“Delay Dust,” Emanuel Rossetti’s solo exhibition at Kunsthalle Bern, will open on August 16