Search results for ""Scheidegger und Spiess AG, Verlag""

'M Selection' features a selection of works from the Migros Museum of Contemporary Art's collection by 27 Swiss and international artists. It examines the artists and their works and puts them in context with various artistic movements from the second half of the 20th century: Pop Art, Minimalism, Post-Minimalism, Land Art, Performance, Photography and conceptual Art, Feminist and Appropriation Art. The fully illustrated book gives brief texts on the featured works. Two introductory essays on the entire collection and the exhibition concept complete the book. 'M Selection' is published to coincide with an exhibition at the Musee Rath in Geneva. Artists featured include: Marc Camille Chaimowicz (French), Cosey Fanni Tutti (British), Thea Djordjadze (Georgian, working in Germany), Hamish Fulton (British), Douglas Gordon (British [Scottish]), Mathilde ter Heijne (Dutch, working in Germany), Daniel Knorr (Romanian, working in Germany), Sol LeWitt (American), Babette Mangolte (French, working in the USA), Bruce Nauman (American), Gerhard Richter (German), Markus Schinwald (Austrian), Katharina Sieverding (German), Alina Szapocznikow (Polish, worked in France), Oscar Tuazon (American), Andy Warhol (American), Stephen Willats (British), Christopher Wool (American), and others.

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Hans Josephsohn, born in 1920 in Königsberg (now Kaliningrad, Russia), came to Zurich via Florence as a Jewish immigrant in 1938. In more than six decades he has created a sculptural oeuvre that transcends the fashions and fads of the art world and yet testifies to his incomparably sensitive understanding of our age. This comprehensive monograph introduces the reader to Josephsohn's approach, outlines his development and places him within the development of twentieth-century art. The book shows the fascinating uniqueness and the tense calm of an oeuvre that offers many young artists an attitude to art that mirrors their own concerns. AUTHOR: Gerhard Mack is the arts editor of the Sunday edition of the "Neue Zurcher Zeitung" and the author of numerous essays and publications on art and architecture, literature, and theatre." 136 colour, 92 b/w illustrations

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In August 1968, the Pakistani foreign minister visited Beijing and presented Chairman Mao with a crate of mangoes. Apparently, Mao immediately sent the mangoes, a fruit unkown so far in China, as a gift to the 'Worker-Peasant Mao Zedong Thought Propaganda Teams' deployed into Quinghua University to put down warring factions of Red Guards and occupy the campus, with the implicit political message that workers were now made managers of education. The exotic fruit were then distributed over the following weeks to various factories. Thus the mangoes, perceived as coming from Chairman Mao, transformed from mere fruit into near-divine symbol. They were celebrated by the workers as tokens of Mao's love and compassion and worshipped as a kind of religious relic. The Golden Mango powerfully symbolised the slogan "The working class must be the leaders in everything", and soon appeared on all kinds of household products. The new book Mao's Golden Mangoes and the Cultural Revolution illustrates how factory workers tried to preserve Chairman Mao's precious gift, how the mango transformed into a religious symbol, and how the political spectacle of the 1968 National Day Parade featured the mango.

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Felix Nussbaum (1904-44) was a German painter of Jewish descent, murdered in Auschwitz by the Nazis. After more than four decades in oblivion, his native city Osnabruck in northern Germany brought this distinguished artist to light again by opening a museum dedicated to his oeuvre, the Felix-Nussbaum-Haus. The artist's work, life, and fate resonates in this expressive structure that was designed by celebrated American architect Daniel Libeskind. German artist Brigitte Waldach, born 1966, has produced an impressive body work, mainly of large-format drawing and voluminous installations. Existenz (existence) she conceived especially for Felix-Nussbaum-Haus, where it has been on display since December 2018. It consists of three-dimensional drawings, excerpts from Nussbaum's letters, and a sound collage, involving the viewer in a dialogue with his paintings. This book documents the environment Waldach has created within Libeskind's architecture to reflect upon and experience Felix Nussbaum's art from our contemporary perspective. Text in English and German.

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Austrian artist Manfred Wakolbinger, born 1952, trained as a metal worker and tool maker before turning to art. Following first steps in jewellery design, he moved on to sculpture and photography, later also to video art. Many of his sometimes voluminous sculptures were created for public spaces. The submarine world has captured his particular interest in photography and video. Wakolbinger's art is organic and conveys an inner poetry, yet it remains enigmatic even when it becomes concrete and figurative. This book features a selection Wakolbinger's works in photography and sculpture since 2012, accompanied by a conversation between the artist and curator Jasper Sharp. An essay on the topic of language in his art by scholar and critic Cornelia Offergeld and a text by celebrated Austrian novelist Christoph Ransmayr describe and interpret the recent oeuvre by one of Austria's most distinguished contemporary artists. Text in English and German.

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Masks evoke scenes of carnival or African tribal rites, we may be thinking of death masks of famous people, theatre and fashion, cosplay, disguise, and of protection. They represent some of the most ancient and most controversial objects of our cultural history. Today's artists look beyond the mere object, they are interested also in the social, cultural, and political meanings of masks. This book, published in conjunction with an exhibition at Aargauer Kunsthaus Aarau in fall 2019, explores their appearances in contemporary art. Artists at all times have been attracted by masks and their symbolism. Through works by distinguished Swiss and international artists and concise texts the book demonstrates manifold approaches to the topic of masks. With contributions by Yasmin Afschar, Daniel Berndt, Hendrik Bundtge, Emily Butler, Wendy Chang, Michelle Cotton, Peter Fischer, Claire Hoffmann, Olivier Kaeser, Melitta Kliege, Susanna Koeberle, Elsy Lahner, Leo Lencses, Bettina Muhlebach, Lena Nievers, Lucia Rey, Hermant Sareen, Joerg Scheller, Madeleine Schuppli, Angela Strecken, and Thomas D. Trummer. Text in English and German.

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All across Switzerland, in smaller towns like Schaffhausen or Biel as well as in larger villages such as Altdorf or Buchs, there are local public theatres, restaurants with a stage, or multi-purpose halls. This part of the country is second home to Beat Schlatter, actor-comedian, playwright, and the person behind one of Switzerland's most famous faces. For some thirty years, he has travelled Switzerland in every direction to perform his own programmes and to appear in shows, and he has rested, changed, and made-up his face in hundreds of these places that offer some form of a back-stage. When on tour, Schlatter takes photographs of these usually dull transitional spaces where A, B, and C celebrities and local stars and starlets await their appearance. This new book, featuring around 300 of Schlatter's images, is a testimonial to the moderate tristesse and the well-intended fruit bowl inherent to all these spaces, no matter how conventional or hilariously extravagant they may seem. Text in English and German.

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Walter Mittelholzer (1894-1937), pioneer of aviation and co-founder of Switzerland's legendary airline Swissair, is chiefly revered as an accomplished aerial photographer. His spectacular views of the Swiss Alps have been very popular ever since he began publishing them in the 1920s. Much lesser known today are his expeditions by plane to distant places. In his day, he proved to be a keen marketer, selling the images he took on travels to Spitsbergen (Svalbard today), Persia (Iran), and Abyssinia (Ethiopia) in his self-written books, in movies, and to the press. His 1926/27 trans-Africa journey on the seaplane Switzerland from Zurich via Alexandria to Capetown made his name known internationally, both as an aviator and a photographer. Well respected entrepreneurs and bankers funded Mittelholzer's undertakings, supporting his goal to promote air travel in Switzerland. The entire Mittelholzer archive is now held as part of ETH Bibliothek's special collections in Zurich. This latest volume in the Pictorial Worlds series revaluates Mittelholzer's media activity from today's perspective. It features some 200 of his outstanding photographs. The complementing essay looks at the patronising view of Africa and its people and cultures the aviator-photographer maintained and provides an account of the colonialist backdrop of Swissair's lift-off in 1931.

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The mythic figure of Prometheus has inspired many poets, painters and musicians since the age of romanticism. For Goethe and Henry Fuseli, the titan who stole the fire from the gods of ancient Greek became the embodiment of mankind struggling for autonomy and self-determination. Yet the fire has come not only to our benefit. Along with it came also menace upon mankind. This is the subject of a major work by Venezuelan artist Javier Tellez. In his film installation 1/2 Rotations (Prometheus and Zwitter) of 2011, two sculptures slowly rotate before a camera: Arno Breker's (1900-91) Prometheus and Zwitter (hermaphrodite) by the German art-brut sculptor Karl Genzel (1871-1925). Both works were on display in the Nazi propaganda art shows of 1937 in Munich, Breker's in the Great German Art Exhibition and Genzel's in the coinciding defaming show Degenerate Art. This new book juxtaposes paintings and drawings reflecting the Prometheus myth by Henry Fuseli with Javier Tellez capital work of contemporary art. It is published to coincide with an exhibit at Kunsthaus Zurich in summer 2014.

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German-born artist Thomas Mullenbach plays with our everyday perception of the normal and well-known and undermines ourcollective ideas of sense, value, and purpose of the visible world. To this end, the now Zurich-based artist explores the discipline of art history and puts the possibilities and limits of painting up for discussion.This lavishly illustrated new monograph features a range of Thomas Mullenbach's paintings and drawings. Published inconjunction with a recent exhibition at Kunsthalle Zurich, it focuses on Mullenbach's more recent works, many of which hecreated especially for this show. Essays by Elke Bippus and Juri Steiner and a conversation between curator Beatrix Ruf and Thomas Mullenbach complement the illustrations.

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Leipzig-born photographer Margret Hoppe is a promising new voice in European photographic art. This new book features her series Apres une Architecture, a photographic perspective of Le Corbusier's architecture that refers to his concept of a modern architecture laid-out in the book Vers une architecture (Toward an Architecture) of 1923. Hoppe's images show Le Corbusier's use of exposed concrete, the clarity of his geometric shapes and the emblematic polychrome surfaces as symbols of his buildings. She investigates what remains today of these visions of architectural modernism, now that its legacy in many cases is adored as a monument rather than actually used and appreciated as a functional piece of architecture. The photographic image transforms the buildings into signs of a highly pictorial and sculptural aesthetic, enabling manifold views at Le Corbusier's work in the present day. The book also presents a selection of Hoppe's photographs of international modernist buildings, alongside two essays and a conversation with the artist. It is published to coincide with a solo exhibition at the Museum der bildenden Kunste in Leipzig.

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Markus Raetz is one of the most renowned contemporary artists in Switzerland. Initially educated and working as a primary school teacher, he became an artist in his early twenties. Since the 1970s, his work, including solo exhibitions, has been been on the international stage. Raetz works with a variety of materials and media. The phenomenon of perception is his main focus, rather than how something is represented. Prints form a major part of his work. Markus Raetz.The Prints 1951-2013 covers his complete body of work in this genre.; the Catalogue Raisonne is complemented by a separate volume, with essays on his work and artistic development. Exhibitions: Museum of Fine Arts Bern, early 2014 (date TBC). Markus Raetz is represented with works also in the permanent collections of museums such as: Stedelijk Museum, Amsterdam; Kunstmuseum Basel, Basel; Museum fur Moderne Kunst, Frankfurt (Main); San Diego Museum of Contemporary Art, La Jolla CA; Tate Gallery, London; MoMA, New York; Musee national d art moderne, Centre Georges Pompidou, Paris; Schaulager, Munchenstein near Basel; Moderna Museet, Stockholm.

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Hubert Looser, entrepreneur and patron of the arts, has put together an outstanding collection of modern and contemporary art. The focus of Looser's interest is Abstract Expressionism, Minimal Art, and Arte Povera. The collection also includes classical modernists, as well as Asian and African sculpture. The Hubert Looser collection will be given to Kunsthaus Zurich as a long-term loan in 2017. This book is published to coincide with the first exhibition of key works from this highly significant Swiss collection at Kunsthaus Zurich in summer 2013. It features paintings and sculptures by artists such as John Chamberlain, Jasper Johns, Donald Judd, Elsworth Kelly; Anselm Kiefer, Yves Klein, Willem de Kooning, Roy Lichtenstein, Brice Marden, Pablo Picasso, Jackson Pollock, Sean Scully, Louis Soutter, Cy Twombly, Andy Warhol, and others. It also offers an insight into Looser's private space, his home and garden, as a setting for masterpieces of 20th and 21st-century art.

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Jules Spinatsch ranks among the foremost contemporary Swiss photographic artists. Many of his projects, although controversial are thought-provoking and internationallly recognised. Since 2003, he has been working on his Surveillance Panorama Projects; shot with network cameras, these works create awareness for social habits and show the sometimes striking discrepancy between illusion and reality. In Vienna MMIX, he focused on the famous Vienna Opera Ball; from the opening of the doors at 20:32hrs, until the end of the dance at 05:17hrs, using 2 cameras to complete duel rotations, capturing an image every few seconds, an incredible 17,352 in total. Jules Spinatsch. Vienna MMIX-10008/7000 presents this fascinating social study in two volumes. Volume 1 shows 10,008 images, combined into a single chronological sequence; panoramic views that recreat the entire space, yet show only fragments of events. Volume 2 presents a selection of 70 images, documenting single moments of great intensity or intimacy, in fascinating close-up detail. It is a striking collection, documenting a range of human behaviour in a public space, over a relatively short period of time, in a very specific arena.

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For more than 20 years, photographic artist Tobias Madorin has been working on his series Topos. Metropolises like Barcelona and Sao Paulo, a Swiss mountain resort like Grindelwald, or foreign countries like Uganda, Indonesia and Japan: with his large scale images he explores dwellings and landscapes. Madorin creates tableaux, similar to 19th-century painters. His particular interests are places where people gather, places on the outskirts of cities along arterial roads, waste disposal sites, or areas changed and scarred by agriculture and mining. He understands such places as products of human visions and ideals, but also as result of exploitation and greed, as sites of fight for survival. Tobias Madorin - Topos is the first monographic book on Madorin's work, presenting his most important pictures from twenty years. An essay by the journalist and art critic Nadine Olonetzky comments Madorin's oeuvre and puts it in context of contemporary photography and the history of representing landscapes and cities.

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As an effect of the recent economic and financial crisis in the USA, a vast number of people have suddenly lost their jobs and income and often also their home. Many of them still live in their cars or even just in the streets. In spring 2007, the young Swiss photographer Eberhard began talking to some of these homeless people and invited them to his studio to take a portrait of them. He paid them a fee and built a relationship with these individual personalities that can be traced in his photographs. Eberhard's In Good Light series shows a sensitive and respectful approach to difficult situations of life in which these people find themselves, in most cases through no fault of their own, sometimes by their own choice. They are impressive personalities who have kept their dignity and show great power despite the struggle of living on the edge of society. Eberhard's images are complemented in the new book by an introduction by curator Karen Sinsheimer and a literary essay by the celebrated German novelist Bernhard Schlink.

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In the work of artist and artistic researcher Hannes Rickli, video and audio recordings originating from research in scientific laboratories (videograms) play an important role. Videograms are a category of moving images produced in an operative context by measuring cameras and microphones. This kind of audio-visual commodity has so far been largely neglected by artists as well as by image scientists. For his work-in-progress Spillover Rickli has put together since 1992 vast collection of such audio-visual lab reports. Rickli has also initiated also a research program on this topic at Zurich University of the Arts. In close exchange with biologists and image scientists Rickli investigated the material to enhanced his understanding of and work with it for his artistic project. This resulted in a series of video-installations that were shown for the first time in an exhibition Zurich in autumn 2010. The book Videograms documents both, the video installations and their mise en scene at the museum, as well as the context in which the original material was produced in the laboratory. It also includes essays by scholars in image and cultural sciences and by scientists.

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Galerie nachst St. Stephan is one of Austria's, and indeed Europe's, most eminent and distinguished galleries for contemporary art. Located in the same place in the heart of Vienna since the 1920's it has been exploring the art of the modern era for nearly ninety years. With the exhibition 'Signs, Waves, Signals - Reconstructive and Parallel' Rosemarie Schwarzwalder, the gallery's director since 1978, presented in 1984 a program featuring basic elements that have proven relevant in numerous solo and group exhibitions up to the present. 'Rift Gap Hinge A' documents an internationally recognised exhibition staged at Galerie nachst St. Stephan in 2006/07. Curator and artist Heinrich Dunst had put together work by international artists, driving the trained relationship between media and sign, between the visible and the expressible to the extreme. The show made traceable the illuminating relation between visual art, film and literature. By transposing the display of art works into a book 'Rift Gap Hinge A' extends and consolidates at the same time the scope in the relation between art and its depiction. More than 70 photographs of art works and the exhibition are complemented by detailed descriptions of the works and an introductory essay. The artists represented in the exhibition include: John Baldessari, Konrad Bayer, Marcel Broodthaers, Rafal Bujnowski, Ernst Caramelle, Clegg & Guttmann: Michael Clegg & Martin Guttmann, Heinrich Dunst, Rainer Ganahl, Nikolaus Gansterer, Louise Lawler, Jan Mancuska, Christian Marclay, Michael S. Riedel, Ferdinand Schmatz, Peter Tscherkassky, JoA"lle Tuerlinckx & Remy Zaugg .

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Practices of experimentation lie at the heart of creative research and teaching in higher education in arts. The Department of Art & Media at Zurich University of the Arts offers a unique teaching and research environment as a laboratory of converging and diverging practices of experimentation. Its Bachelor and Master's programs are supported by two research institutes within the department, the Institute for Contemporary Art Research (IFCAR) and the Institute for Critical Theory (ith). Practices of Experimentation investigates how the different fields of fine arts, photography, media arts and theory interlace with each other, inspire and differentiate one and another. The book presents 15 positions in text, image, video and sound by theorists and artists. They enquire how practices of experimentation constitute one of the most advanced approaches to research and teaching in arts worldwide. They ask how practices of experimentation are able to unfold, take position and enquire current discourses on artistic creation, the relation between art schools and society, the specific production of knowledge in the arts and the particularities of inter- and trans-disciplinary teaching and research in the arts. Contains essays by Essays by Ute Meta Bauer, Maria Eichhorn, Knowbotic Research, Jorg Huber, Marianne Muller, Gerald Raunig, Nils Roller, Richard Wentworth. With a foreword by Giaco Schiesser and Christoph Brunner.

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Edition VFO, Verein für Originalgraphik (Association for Original Prints) was established in 1948 to pursue the goals of publishing contemporary art and making collecting affordable to broader audiences. The Zurich-based, much-recognised non-profit institution remains committed to the dissemination of contemporary art, and is now the largest of the few remaining publishers of original printed editions in Switzerland. Print Art Now marks Edition VFO’s 75th anniversary. It brings together three exhibitions in Switzerland, at the Musée Jenisch in Vevey, the Museo Civico Villa dei Cedri in Bellinzona, and the Kunsthaus Grenchen, all curated on the occasion of the jubilee. They respectively explore the topics of collecting prints today, the technical and artistic challenges of printmaking, and the emancipation of print as a medium within the traditional hierarchy of visual art. The featured artworks demonstrate how print is constantly evolving as an artistic technique and has become equal to painting, photography, sculpture, or video. The beautiful volume also offers an up-to-date survey of printmaking in Switzerland and highlights its relevance in contemporary art practice, marking Edition VFO’s 75th anniversary. It brings together three exhibitions in Switzerland, at the Musée Jenisch in Vevey, the Museo Civico Villa dei Cedri in Bellinzona, and the Kunsthaus Grenchen, all curated on the occasion of the jubilee. They respectively explore the topics of collecting prints today, the technical and artistic challenges of printmaking, and the emancipation of print as a medium within the traditional hierarchy of visual art. The featured artworks demonstrate how print is constantly evolving as an artistic technique and has become equal to painting, photography, sculpture, or video. The beautiful volume also offers an up-to-date survey of printmaking in Switzerland and highlights its relevance in contemporary art practice. Text in English, German French, and Italian.

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British-born artist Rachel Lumsden creates primarily large-format figurative paintings characterised by intensely atmospheric, pictorial spaces. Her imagery coalesces on the canvas through a virtuoso handling of paint, evoking visual narratives that come unexpectedly close and yet cannot be entirely grasped. In her book Igniting Penguins, Lumsden invites the reader on an entertaining excursion into the art world and to the core of painting itself. Along the way we are introduced to some of its powerful and quirky gatekeepers, we are baffled by art’s apparently unshakeable gender roles, and we discover what makes figurative painting the sexy form of quantum physics. Lumsden’s essay is both a personal manifesto and a survey of today’s art scene. It offers everything you ever wanted to know about painting and the art world but never dared to ask.

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A humorous tribute to Matteo Thun, one of Italy’s most distinguished designers and architects, and his work. In the summer of 2009, Swiss photographer Walter Pfeiffer made an extensive trip from Zurich to the Italian island of Capri, taking shots of some 50 of Thun’s design objects en route. Yet, rather than doing a mere documentation of these items, Pfeiffer created highly lively tableaux vivants. The artist was accompanied on his journey by Thun’s two then teenage sons, who thus form the main visual narrative of the book and appear in many pictures together with their father’s creations. A brief introduction by Matteo Thun’s wife Susanne and an index of the depicted design gems round out this extraordinary and entertaining visual travelogue.

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“We dive into Gerber’s worlds to lose ourselves and to find ourselves again in amazing places.” This is how the Swiss art historian and acclaimed novelist Paul Nizon characterised the work of his compatriot, the painter Theo Gerber (1928–1997). Gerber was a free spirit who has remained largely unknown in his native country until the present day. This is due to the artist’s own choice, having rejected the efforts of gallery owners to introduce his works to the general public. For Gerber, success did not mean fame and glory, but rather that his art showed a different possibility from that of his contemporaries. The way in which Gerber, who roamed between a variety of styles, travelled the world, and lived with the ethnic group of the Dogon in West Africa for two years during a creative crisis, upheld his artistic freedom makes it impossible to assign him to a specific direction in 20th-century art. This book, published to coincide with a retrospective exhibition at the Kunstmuseum Thun, Switzerland, is an overdue tribute to this, in the best sense of the word, incomprehensible artist and finally provides the general public with a chance to discover and recognise his oeuvre. Text in English and German.

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A decade after the Swiss National Bank had opened its neo-baroque building in Berne, the bank’s Zurich-based Governing Board moved into its own grand office building in 1922. This major work of the local firm of Otto and Werner Pfister is a prime example of neo-classicism in Switzerland and provided Zurich with an architectural landmark at the top end of its famous Bahnhofstrasse. Marking its centenary, this book celebrates the Zurich home of the Swiss Franc. It describes in detail and lavishly illustrated the architecture and building history from planning stage until today. This is supplemented by essays on bank architecture since the Middle Ages, the urban formation of Zurich and the city's development into a financial centre in the late 19th century. In his contribution, the renowned Canadian-British architect Adam Caruso compares it from today’s perspective with other central bank buildings and places it in context of the Pfister brothers’ other public commissions, many of which are occupying prominent locations in Zurich's cityscape. Richly illustrated with historical and new photographs, original plans and other historical documents, the volume pays tribute to a piece of public architecture that combines monumentality with pragmatism and republican modesty.

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Wolfgang Beltracchi is a phenomenon of the international art world. His name is inextricably entwined with one of the greatest upheavals in the global art market. Emulating numerous world-famous artists, he developed and painted new paintings, continued their narrations and biography, and concluded them with a forged signature. His wife Helene Beltracchi then smuggled them onto the art market. Many experts were deceived by Beltracchi’s stupendous skill and auctioneers cast many doubts aside in the interests of insatiable market demand, selling the paintings as authentic works by the purported artists. Reading the artistic handwriting of a painting requires an exceptional willingness and ability to be able to empathise and identify with the artist, until you “can feel what the other feels” (Wolfgang Beltracchi). Through extensive discussions with the painter and his wife, the psychoanalyst Jeannette Fischer explored this capability that is so pronounced for Beltracchi. In her new book, she places this in relation to the disappearance of Beltracchi’s own signature. As with her previous highly successful book about the performance artist Marina Abramović, Jeannette Fischer has created an exceptionally insightful portrait of a fascinating artist personality.

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Many psychiatric hospitals in Switzerland house a treasure trove of historical photographs that go back to the 19th century and until now have never been studied properly. Glass slides and negatives, loose paper prints, and photo albums allow fascinating insights into the modernisation of these establishments — and at the same time into the history of photography. The medium that was new at the time was used by psychiatrists to record diagnoses, as well as to show the public life behind institutional walls. Thanks to increasingly handy cameras, it was also possible to record the modest celebrations, and leisure and creative activities. Behind Walls introduces these testimonials of life and scientific practice in psychiatric institutions from the late 19th and early 20th centuries that are accessible to the public for the first time. The essays critically study the use of photography as a medium in psychiatry from different perspectives. Text in English and German.

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In October 2021, David Chipperfield’s new extension of the Kunsthaus Zürich will open for the public. The new wing doubles the museum’s space for art display. Perhaps more importantly, it offers the opportunity to present larger parts of the museum’s permanent collection in a new light and in new groupings. The Chipperfield building is now home to the renowned Merzbacher, Hubert Looser, and Emil Bührle collections, all on permanent loan to the museum. The formidable selection of French impressionist paintings in the Emil Bührle Collection combined with Kunsthaus Zürich’s own holdings of that period constitutes the largest display of impressionist art outside France. In addition, Surrealism, art from the post-war period, Pop Art, and contemporary art now have the prominent space they deserve. This new book offers an introduction to the curatorial concept as well as concise essays on key aspects of Kunsthaus Zurich’s permanent collection. Lavishly illustrated with views of the new exhibits and individual art works, it is an attractive invitation to visit Switzerland’s largest art museum.

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The studio and residential building at Wuhrstrasse 8/10 in Zurich is a unique place: Commissioned by the Painters & Sculptors Cooperative Zurich, founded in 1948, eminent Swiss architect Ernst Gisel (1922–2021) designed this ensemble of buildings comprising 8 apartments and twelve artist studios in 1953. Thus, a utopia of self-organised working and living space became reality. Since then, 54 artists have left their mark on the artistic and cultural life of Zurich and Switzerland from their home on Wuhrstrasse 8/10. This book recounts the history of this extraordinary structure, illustrated with archival plans and documents as well as new and historic photographs. It also examines the political and social dimension of the Wuhrstrasse model and its international impact. Further essays explore how the lives and works of the resident artists are interwoven with contemporary events, and address the artist studio as both an idealised myth and as a real place of work. In inserts created especially for the book, eleven Zurich-based artists, all members of the cooperative themselves, respond to the exemplary model that is the “Atelierhaus.”

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La Gara is an 18th-century country estate in Jussy, a village near Geneva, Switzerland. The buildings have been carefully restored by Swiss architect Verena Best, who also added inspired touches to the interior design. The renowned Belgian landscape designer Erik Dhont reinterpreted and subtly redesigned the gardens and surrounding grounds, completed by a palindrome-like labyrinth designed by Swiss artist Markus Raetz. This new book tells the full story of the La Gara estate and illustrates its beauty. The essays investigate various aspects of its preservation and restoration of buildings and gardens and the contemporary interventions. They highlight features such as the historic watering system for the gardens and the fishponds, and look at the specific Genevan garden tradition and characteristics of the rural landscape around Jussy with its biodiversity. Moreover, they contextualise La Gara with the 'ferme ornée', a villa with agricultural and ornamental features following ancient Roman models. The beautiful volume is rounded out with newly commissioned photographs by renowned Swiss photographer Georg Aerni.

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Swiss artist Sophie Taeuber-Arp (1889-1943) was a pioneer of 20th-century avant-garde. Remarkably versatile and immensely gifted, she produced an oeuvre that encompasses the entire range of the modernist movement from applied and fine art and dance to architecture, interior design, and teaching. Equlibre, created in 1931, marks the beginning of Taeuber-Arp's career as an accomplished painter. She moves away from figuration to focus on shape and colour. Circle, square, and rectangle define her future vocabulary. While in her earlier textiles she used multiple shades and hues, she now reduces her palette to primary colours alongside black and white, signalling a markedly changed sense of colour. The painting's posthumous title emphasises Taeuber-Arp's constant striving for an ideal balance of colour, shape, and indeed all the elements in her paintings. From here, she sets out to explore movement, circles, and spaces, and later gradations and lines. Equilibre, a landmark of Taeuber-Arp's oeuvre, looks ahead to her future subject matter, while at the same time referencing her earlier work. Text in English and German.

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Since it was first published in 1972, "Learning from Las Vegas" has become a classic in the theory of architecture and one of the most influential architecture texts of the twentieth century. The treatise by Robert Venturi (*1925), Denise Scott Brown (*1931), and Steven Izenour (1940 2001) enjoys a reputation as a signal work of postmodernism in architecture and urban planning. Yet none of the book s editions have ever featured high-quality color images of the field research the authors conducted to illustrate their argument. "Las Vegas Studio "is the first book ever to present these significant photographs in large color reproductions. Now available again in a new paperback edition, this unique book features 102 of these iconic images and film stills, alongside essays by Swiss scholars Stanislaus von Moos Martino Stierli that explore how the pictures contemplate the phenomenon of the modern city. Also included is a discussion by curator and critic Hans Ulrich Obrist with Dutch architect Rem Koolhaas and Swiss artist Peter Fischli that speaks to the strong and lasting influence these images still have on contemporary art and movies.A unique opportunity to experience the full intent and import of the Learning from Las Vegas project, "Las Vegas Studio" continues to appeal to architects, architectural historians, and scholars alike. "

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The Swiss collects the work of Swedish photographer Christian Nilson, who has lived in Switzerland for more than ten years. During that time, he has travelled hundreds of miles throughout the country, camera in hand, capturing countless people and places through his inimitable self-taught technique, which involves using a flash to ensure every detail is perfectly visible. Nilson brings his perspective as an immigrant in Switzerland to a wide variety of subjects, which show his love of his adopted country in all its conflicted complexity - the traditional and the innovative, the spectacular and the mundane. By turns pensive and humorous, Nilson's photographic journey through Switzerland will be of interest to anyone who has called a new place home, while also introducing new audiences to one of the most exciting young voices in European photography. With sixty-seven full colour images, the book also includes an essay by Jon Bollmann.

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2010 marked the 50th anniversary of Brazil's capital Brasilia. Architects Lucio Costa and Oscar Niemeyer designed what has become the world's most famous and widely studied urban planning project. Niemeyer's Cathedral, his building for the National Congress and the city's 707-ft television tower are icons of modern architecture. The entire city, marked by its cross-shaped layout and vast open spaces, was named a UNESCO World Heritage site in 1987. Rene Burri, celebrated Magnum photographer, visited Brasilia's vast building sites for the first time in 1958. He returned many times over the years, documenting with his camera growth and further development of this built Utopia. Besides documenting the buildings in various stages of completion, Burri took portraits of Niemeyer and his workers and photographed Brasilia's street scenes and people and aerial views of the city's first slums. His images capture the strong sense of a new era and a vibrant atmosphere of hard work and strain; they reflect the huge dimensions of the landscape and the great scale of this project and its ambition to design and build a new capital. Rene Burri. Brasilia presents a large selection from hundreds of colour and black-and-white photographs, the majority of them published in this book for the first time. It allows the reader for the first time to look at one of the most extraordinary cities with the eyes of an exceptional photographer.

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Over the past thirty years, Swiss architect Peter Zumthor has expressed himself on numerous occasions and in a range of contexts about his work and his self-conception as an architect. Many of these statements have been recorded on film. Christoph Schaub, Swiss film director and internationally renowned author of documentaries on architects and architecture, has composed a biographic film collage from this rich legacy of interviews and conversations, lectures, and public talks. It spans Zumthor's entire career from early days in the 1980s until today, including conversations with Schaub recorded for this compilation. This portrait also introduces us to Zumthor as a persona that has changed over three decades, yet still remained much the same man. Authentic, abiding, and passionately he responds to questions about his positions. His statements reveal sensitivity and consistency; they demonstrate a person following his inner compass and ideals. Christoph Schaub has conceived this biographic collage in collaboration with Atelier Peter Zumthor to coincide with the exhibition Dear to Me, curated by Zumthor, at Kunsthaus Bregenz in autumn 2017. DVD has English subtitles.

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Julius Baer, established in Zurich in 1890, is the leading Swiss wealth management group and an icon of Swiss banking tradition. For nearly as long, the founder family has been engaged in supporting visual and performing arts and in 1981, on the initiative of Hans J. Bär (1927-2011), the company began to build its own collection of contemporary art, guided by a firm belief that art in a business environment enhances the culture of discussion and is inspirational to employees and clients alike. Today, the Julius Baer Art Collection comprises more than 5,000 works in a range of media painting, drawing, sculpture, photography, and video-by Swiss artists, internationally renowned ones as well as emerging talents. This book offers a survey of the collection that is on rotating display at the bank's offices around the world and highlights its origins and development over the past four decades. Artistic positions of 35 contemporary Swiss artists, such as John M Armleder, Silvia Bächli, Miriam Cahn, Lutz & Guggisberg, Markus Raetz, Shirana Shahbazi, and Roman Signer, are introduced through brief texts and illustrated with some 300 works from the collection.

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Swiss Graphic Design Histories offers an entirely new redefinition of Switzerland''s graphic design landscape. Based on extensive research by scholars of design history and with a multiple and inclusive approach, it reaches beyond the usual canon and the well-know epicentres Basel and Zurich with the germanophone fathers of what has become famous as the Swiss Style in the 1950s, 1960s and 1970s.In three volumes it features visual artefacts and archival documents, the majority published here for the first time, alongside likewise previously unpublished conversations with designers who have forged developments of the past decades, as well as new essays discussing key terms that refer to various design practices. The complexity of the undertaking is embraced through a system of keywords, thus enabling readers to connect contents within the individual volumes. A fourth volume comprising a glossary, bibliography, and an index of the

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Italian-born American artist Harry Bertoia (1915-1978) was one of the most prolific, innovative artists of the post-war period. Trained at the Cranbrook Academy of Art, where he met future colleagues and collaborators Charles and Ray Eames, Florence Knoll, and Eero Saarinen, he went on to make one-of-a kind jewellery, design iconic chairs, create thousands of unique sculptures including large-scale commissions for significant buildings, and advance the use of sound as sculptural material. His work speaks to the confluence of numerous fields of endeavour, but is united throughout by a sculptural approach to making and an experimental embrace of metal. Harry Bertoia: Sculpting Mid-Century Modern Life accompanies the first U.S. museum retrospective of the artist's career to examine the full scope of his broad, interdisciplinary practice, and feature important examples of his furniture, jewellery, monotypes, and diverse sculptural output. Lavishly illustrated, the book offers new scholarly essays as well as a catalogue of the artists numerous large-scale commissions. It questions how and why we distinguish between a chair, a necklace, a screen, and a freestanding sculpture and what Bertoia's sculptural things, when taken together, say about the fluidity of visual language across culture, both at mid-century and now.

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The Soviet Union has left a vast heritage in interior design that is largely unknown in the West. Other than architecture and graphic or product design, interior design from the Soviet era has not yet been thoroughly investigated. For the first time ever, this book offers a comprehensive survey of the country's interior design culture between revolutionary avant-garde and late Soviet modernism. Drawing on archives that were inaccessible until recently and featuring a wealth of previously unpublished material, it documents the achievements of seven decades in the former socialist empire. Soviet design is often discredited as massive, non-ergonomic and monotonous. Yet a remarkable variety of original styles have emerged behind the iron curtain. The 1920s were marked by bold exploration and experiments at Vkhutemas and by constructivism, rationalism, and suprematism. Early in Stalin's reign constructivism was heavily criticised and post-constructivism and Soviet neo-classicism appeared alongside what became known as 'agitational furniture', inspired by the regime's propaganda. The 1930s brought Soviet Art Deco and eventually Stalinist Empire, which has produced some of the Soviet Union's most iconic buildings. In the late 1950s, after Stalin's death, the last Soviet 'big style' originated modernist and functionalist furniture, mass-produced to fit the small apartments in the Khrushchyovka multi-unit housing developments that were built in cities on a large scale. The 1960s mark the Golden Age of Soviet interior design, showing again influences by the early Soviet Avant-Garde and the Bauhaus, while most of the visionary work of a new generation of designers in the 1970s and 1980s remained unrealised.

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Carole A. Feuerman is celebrated as one of America's major hyper-realistic sculptors, alongside Duane Hanson and John De Andrea. Born 1945, she was educated in New York and Philadelphia and began as an illustrator before turning to sculpture in the 1970s, which soon earned her much recognition and early success. A pioneer of hyper-realism in sculpture, her work has been displayed in many group shows and solo exhibitions at private galleries and public museums, as well as at the major art fairs, in America, Europe, and Asia. Over five decades, Feuerman has created visual manifestations of stories telling of strength, survival, and balance. She works in marble, bronze, vinyl, painted resins, and stainless steel. Her work is marked by her thorough understanding of materials' characteristics and her ability to control them in the studio. Her subject matter is the human figure, most often a woman in an introspective moment of exuberant self-consciousness shaded by erotic lassitude. Feuerman's works represent a state of female mind rather that an alluring body meant to attract the male gaze. They suggest that women look at themselves differently from men looking at them, that a woman is more innately creative than a man. Many of Feuerman's figures have a fragmented quality, recalling those by Auguste Rodin, and the aesthetics of Surrealism. This is the most comprehensive survey of Feuerman's work in sculpture to date. Lavishly illustrated in colour throughout, it demonstrates the variety of materials and media she uses and highlights the specific qualities of her figures.

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First book to place the art of British sculptor Lynn Chadwick in its international context. Examines in particular the reception and promotion of Chadwick's sculpture in the United States. Richly illustrated. This is the first book to set the work of British sculptor Lynn Chadwick (1914-2003) in its international context. Chadwick, a leading figure in modern British art and celebrated for his innovative steel and bronze sculptures of abstracted, expressive figures and animals, always felt that his work was better understood abroad than in his native country. In this richly illustrated monograph, distinguished British scholar and writer Michael Bird, and eminent American art historian and curator Marin R. Sullivan chart the different phases of Chadwick's long career. They vividly locate his art within the wider narrative of European and American post-war sculpture. They examine in particular the reception and promotion of Chadwick's sculpture in the United States, and how a collection of some 140 of his works at the Berman Museum in rural Pennsylvania came to be.

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City Lust is a timely dialogue between words and images about a crucial moment in our recent history: the apotheosis of globalisation and its current unravelling. In this book, Charlie Koolhaas - an artist, photographer, and writer - takes us to London, Guangzhou, Lagos, Dubai, and Houston, cities in which she has either lived or worked. Her personal and humorous account explores the rapid changes taking place in these culturally vastly different metropolises that are being united by the influences of global trade and the evolution of a shared global culture. A captivating combination of photographic documentary and written testimony, City Lust portrays a global landscape that contradicts the current pessimism to reveal unexpected creativities, connections, and collective references that emerge despite huge global and economic divides.

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In 2006, the book Historic Houses in the Engadin: Architectural Interventions by Hans-Jörg Ruch brought the name and work of this Swiss architect to international attention. His new book, with equally opulent design and again lavishly illustrated, now documents the entire range of his achievements over nearly twenty-five years. His oeuvre comprises private houses and multi-unit residential buildings, public buildings such as museums or libraries, as well as infrastructure designs. A focus of the firm's work is the rebuilding and restoration of existing and in particular of historic buildings. Close-up - Ruch & Partner Architects 1994-2016 features all of the firm's realised buildings and projects to date, including the restored historic houses in the Engadine with the careful and sensitive contemporary interventions that made his name internationally known. Each is presented with atmospheric photographs and selected plans that demonstrate the firm's approach and concepts and with a concise text. A topical essay on Ruch's architecture in context with his biography and the surrounding Swiss mountain landscape.

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Le Corbusier (1887-1965) is one the most influential architects of the 20th century. In the Scandinavian countries, his influence is arguably most pronounced in the writings and art of the Danish experimentalist Asger Jorn (1914-1973). Their collaboration on Le Corbusier's pavilion for the 1937 Paris World Exhibition sparked Jorn's lifelong fascination with the great architect and with architecture more broadly as an inherently public form of art. At the same time, Le Corbusier began revealing his work in visual art and started to move from a rational, technological approach to architecture, towards a more poetic, materialist one. Published in collaboration with the Museum Jorn, Silkeborg, What Moves Us? focuses specifically on the reception of Le Corbusier in Scandinavia, with the relationship between Jorn and Le Corbusier as a thematic thread. The book first highlights the architect's change of direction and subsequently takes readers through his influence on the young artist. The book's distinguished contributors explore the relationships that emerged among their artistic theories and practices, including Jorn's later critique of Le Corbusier.Essays also explore the wider influence of Le Corbusier on Scandinavian architecture and urbanisation and consider Le Corbusier alongside the Danish architect Jorn Oberg Utzon and the Aarhus Brutalism movement.

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Since it was first published in 1972, Learning from Las Vegas has become a classic in the theory of architecture and one of the most influential architecture texts of the 20th century. The treatise by Robert Venturi, Denise Scott Brown and Steven Izenour enjoys a reputation as a signal work of postmodernism in architecture and urban planning. None of the book's editions have ever featured high-quality colour images the authors produced to illustrate their argument. Las Vegas Studio, originally published in hardback in 2008, was the first publication ever to present these significant photographs in large colour reproductions. Now available again in a new paperback edition, this unique book features 102 of these iconic images and film stills, alongside essays by Swiss scholars Stanislaus von Moos and Hans Ulrich Obrist exploring how the pictures contemplate the phenomenon of the modern city. Also included is a discussion with Dutch architect Rem Koolhaas and Swiss artist Peter Fischli that speaks to the strong and lasting influence these images still have on contemporary art and movies. Hilar Stadler, born 1963, read art history and is director of Museum im Bellpark in Kriens, near Lucerne, Switzerland. Martino Stierli, born 1974, has been appointed the MoMA s Philip Johnson Chief Curator of Architecture and Design as of March 2015. He has been a senior research assistant at ETH Zurich's Institute for the History and Theory of Architecture (gta) 2011 to 2012, a Fellow of the Getty Institute in Los Angeles in 2012, and an SNSF Professor for the History of Architecture and Art at University of Zurich since 2012.

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