For “Melodies & Rock/Copyright,” a refreshing concept was chosen by Zurich’s emerging gallery Karma International. In opposition to the classical group show devoted to a common topic or thesis, this show was conceived as an experimental arrangement, opening up a multifaceted field discourse on the ideas of inspiration, incorporation, copying and appropriation. Responding and/or referring to each other’s work were three represented artists (Martin Soto Climent, David Hominal and Tobias Madison,) three invited artists (Dawn Mellor, Lucy Pawlak and Emanuel Rossetti) and fi ve “godfathers” (Ingmar Bergman, Möbius, Meret Oppenheim, Dieter Roth and Ettore Sottsass.) Standing alone, Climent’s fl oor piece, made of a sheep fur and a pair of red stilettos erotically placed, was implicitly in conversation with the work of Swiss artist Meret Oppenheim, famous for objects like Ma gouvernante (1936): a white pair of bonded stilettos served on a platter. Works by Madison and Rosetti interacted with those of Möbius and Sottsass in a more concrete way.