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

Caroline Bachmann is one of Switzerland’s foremost contemporary artists. Alongside her independent work in painting and drawing, she has also formed one half of the artist duo Bachmann Banz, together with Stefan Banz, since 2004. Together, the two founded the Kunsthalle Marcel Duchamp — The Forestay Museum of Art in Cully, Switzerland, in 2009. In 2013, Bachmann reinvented herself as an artist and turned to classical themes of painting. She engages deeply with the genres of portraiture, still life, and history painting and takes up existential questions of the metaphysical and the sacred, creating compositions that strive not for a materialistic grasp of reality, but for a depiction of the spiritual dimension of existence. This first comprehensive and richly illustrated monograph traces Caroline Bachmann’s extraordinary journey through the medium of painting. Essays by renowned experts on Bachmann's work and on contemporary Swiss art, as well as a conversation with the artist, reveal a creative self-discovery that is shaped by the ideals of artistic idols such as Marcel Duchamp, Louis Michel Eilshemius, and Arthur Dove, and set in motion by the courage to reinvent herself through subject, technique, and material. Text in English and French.

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The completion of David Chipperfield's distinctive new building for Kunsthaus Zürich in December 2020 has nearly doubled the museum's overall space. In combination with the preceding refurbishments of the earlier buildings, this has made it fit to meet the demands of an art museum in the 21st century. A sequel to The Architectural History of the Kunsthaus Zürich 1910-2020, this book comprehensively introduces the new Kunsthaus Zürich, demonstrating how the task of building an art museum in the 21st century can be fulfilled. Concise texts, statements by protagonists and by future users and visitors as well as numerous illustrations trace the project's evolution and the construction process and look at the completed building from various perspectives. The book also highlights what features contemporary museum infrastructure has to offer and the architectural and urban design qualities it requires, and what financial and organisational challenges the entire undertaking implied. A conversation between experts exploring the expanded museum's impact on its immediate neighbourhood and Zurich's urban fabric as a whole rounds out the volume. Text in French.

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The opening of celebrated British architect David Chipperfield's extension building of Kunsthaus Zürich in the fall of 2021 will make this renowned institution Switzerland's largest art museum. In the run-up to this milestone in the museum's development, this new book looks back at its architectural history. It tells a lively story that starts in 1847 with the Zurich Artists' Society's initial gallery building and had its first culmination in 1910, when distinguished Swiss architect Karl Moser's Kunsthaus was opened. Over the past century, three major additions were carried out in 1925, 1959, and 1976, and many attempts for a visionary large-scale extension were made. Illustrated with historic images, reproductions of plans and drawings as well as newly drawn floor and site plans, the book documents all stages of constructing Kunsthaus Zürich.

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The Bauhaus was distinguished neither by function nor by use but rather by symbolism. Whether square, triangle, or circle; whether Wilhelm Wagenfeld's lamp, Oskar Schlemmer's 'Kopf' (head), or white cubes with flat roofs: the Bauhaus created iconic visual symbols and a style that is neither functional nor social but visually striking. Walter Gropius, founder of the Bauhaus, from the outset sought to develop the school into a brand - and he succeeded. More than eight decades after its forced closure, the Bauhaus is more present than ever before in consumerism, politics, and culture alike. It has become a participative brand that escapes centralised control entirely. It has been, and continues to be, forged collectively by countless designers, manufacturers, and consumers. Yet its founders' initial pledge for functionality and social commitment remains unfulfilled. In this book, Philipp Oswalt, former director of Foundation Bauhaus Dessau, explores the development of the Bauhaus brand and its use around the world, illustrated with some 950 images that highlight the vast range of Bauhaus appearances from a century.

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Bruno Reichlin ranks among the world's most distinguished architectural theorists. His occupation with protagonists of 20th-century architecture - such as Eileen Gray, Ludwig Mies van der Rohe, Philip Johnson and, above all, Le Corbusier - and their work is guided by a method that looks at the characteristics of a building as well as at its theoretical foundations. Reichlin's writings and his own built work as a practicing architect is marked by a deep understanding for how buildings materialise signs and symbols and by a referential framework that includes also literature, film and visual art. This book collects Reichlin's 13 essays on Le Corbusier, written over the period of four decades. Taking as examples the villas La Roche, Mandrot, and Savoye; Harvard University's Carpenter Center for Visual Arts; the Petite Maison on Lake Geneva; and the project for a hospital in Venice, he explores aspects of Le Corbusier's creativity to reveal underlying principles and their manifestation in the realised buildings. Rich archival materials as well as analytical plans and diagrams round out the volume. Text in French.

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Swiss photographer Rene Burri (1933-2014) has been wherever history had been played out. A member of the famous Magnum Photos cooperative since 1955, he photographed in the Middle East in the 1950s and 1960s, recording the Six-Days and Yom Kippur Wars, as well as the Vietnam War during the 1960s. His many travels took him to Japan and China, across Europe and the Americas to report sharply many of the 20th century's major events. His extraordinary sense for people and their personalities helped him create portraits of celebrities such as architects Le Corbusier, Oscar Niemeyer, and Luis Barragan; or artists Alberto Giacometti, Pablo Picasso, and Jean Tinguely. His iconic picture of Che Guevara with cigar, shot in 1963, is one of the world's most famous and widely reproduced photographic portraits ever. Burri had a close relationship with Lausanne's Musee de l' Elysee and in 1987 the museum staged a first exhibition of his work, entitled The Ruins of the Future, followed by his first major retrospective in 2004. The museum also hosts the Fondation Rene Burri, which the artist established in 2013 as a home for his estate. Published to coincide with a new exhibition at Musee de l'Elysee in spring 2020, Rene Burri: An Eye Explosion draws from this vast collection. It brings together for the first time Burri's entire body of work, photographic and non-photographic. Black-and-white and colour photographs feature alongside previously unpublished archival documents as well as book designs, exhibition projects, travel diaries, collages, watercolours, and other multiple objects he collected. It offers a new, multi-faceted and uniquely intimate view of one of the world's greatest photo reporters.

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Those in the know are aware that Wes Anderson's Grand Budapest Hotel has a real-life counterpart in the Swiss Alps: The Waldhaus Sils, which has pleased and puzzled visitors for 111 years and become an icon of Swiss hospitality. Located above the small and pretty village of Sils Maria, near St. Moritz, it overlooks a striking landscape of forests, lakes and mountains and offers a combination of Belle Epoque flair and modern comfort. Its distinctive charm comes from the fact that the Waldhaus has been family-owned and operated ever since its grand opening on June 15, 1908. 111 Years of Waldhaus Sils ranges across the hotel's life and history. Brief essays look at the hotel's history and the broader context in which it exists. The book also shines a light on colourful members of the owning family and their dreams and work, interspersed with conversations with people who have known them. Beautifully illustrated with newly commissioned and historic photographs and documents, it is a tantalising glimpse into the life of an exceptional hotel in one of Europe's most spectacular landscapes. Text in German.

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Henri Matisse (1869-1954) is adored worldwide as a revolutionary painter and loved for his collages, or papiers découpés, the icons of his late work. His paintings and drawings for a long time overshadowed his achievements as a sculptor. Yet his Back Series, four bas-reliefs showing a nude, created between 1908 and 1930, are widely recognised as a milestone in modern sculpture. Starting out from the naturalistic depiction, Matisse gradually transformed it to reach a radically abstracted figure. Each of the four original plaster casts represents a decisive moment of this artistic process. This transformative process has parallels in Matisse's painting and drawing. Published in conjunction with a major exhibition at Kunsthaus Zürich marking the artist's 150th anniversary, this is the first book to explore the relation between metamorphosis and feedback in both main fields of the artist's work. Documents of his diverse sources of inspiration for his sculptures - photographs of nudes, examples from African and ancient art - as well as images featuring Matisse at work as sculptor, round out this volume. It is a welcome addition to any art library, highlighting the llesser known side of this modern master. Text in French.

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Volumes that are massive yet lightweight, the sculptures of British artist Anthony Cragg firmly take hold of the space without seeming static. They are dynamic objects that bear trace of the process that created them: starting from in many cases figurative drawings to encountering the artist s chosen material, guided by inner force. Cragg s sculptures reveal the infinite possibilities of form. They seem to obey the laws of nature that govern living organisms, evolving from one another and growing upon themselves. This new book features new work by Anthony Cragg shown in a recent exhibition at Museo Nivola in Orani, Sardinia. Illustrated in color throughout, it offers also an essay exploring Cragg s art by British scholar and curator Mark Gisbourne. Text in English and Italian.

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Those in the know are aware that Wes Anderson's Grand Budapest Hotel has a real-life counterpart in the Swiss Alps: the Waldhaus Sils, which has pleased and puzzled visitors for 111 years and become an icon of Swiss hospitality. Located above the small and pretty village of Sils Maria, near St Moritz, it overlooks a striking landscape of forests, lakes and mountains and offers a combination of belle epoque flair and modern comfort. Its distinctive charm comes from the fact that the Waldhaus has been family-owned and operated ever since its grand opening on 15 June 1908. 111 Years of Waldhaus Sils ranges across the hotel's life and history. Brief essays look at the hotel's history and the broader context in which it exists. The book also shines a light on colourful members of the owning family and their dreams and work, interspersed with conversations with people who have known them. Beautifully illustrated with newly commissioned and historic photographs and documents, it is a tantalising glimpse into the life of an exceptional hotel in one of Europe's most spectacular landscapes.

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While completing the Almannajuvet Zinc Mine Museum in southern Norway in 2016, celebrated Swiss architect Peter Zumthor asked Norwegian scholar Mari Lending to engage in a dialogue about the project. Departing from the ways in which Zumthor's pavilions frame the barely visible traces of the industrial exploitation of zinc in the 1890s, the conversation took unexpected turns. In meandering, impressionistic style and drawing on Zumthor's favourite writers, such as Johann Peter Hebel, Stendhal, Vladimir Nabokov, or T.S. Eliot, their exchanges explore how history, time and temporalities reverberate across the famous architect's oeuvre. Looking back, Zumthor ponders on how a feeling of history has informed his continuous attempts of emotional reconstruction by means of building, from architectural interventions in dramatic landscapes to his design for the redevelopment of Los Angeles' LACMA on a grand urban scale. This small, beautifully designed new book records the conversation between Zumthor and Lending, illustrated with photographs by the renowned Swiss architectural photographer Hélène Binet. Text in French.

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Few figures tower over twentieth-century art like Salvador Dali and Andy Warhol. Their works were ground-breaking and incalculably influential, yet at the same time both artists were wildly popular in their lifetime and have only become more so in the decades since their deaths. Despite the striking differences in their art and personalities, the two men nonetheless had a lot in common the most obvious being a strong sense of the power of publicity and an affinity for eccentricity and extravagance. They also shared a love of New York, which both men made the heart of their social lives; it was there, in the 1960s, that they met for the first time. This book offers the first-ever direct juxtaposition of Dali and Warhol as personalities and artists. Torsten Otte builds his account through perceptive analyses of similarities in their lives and work, and reconstructs their many encounters based on first-hand accounts by some 120 people who knew and worked with the men. Around sixty images, many of them published here for the first time, by eminent photographers such as Richard Avedon, David Bailey, Philippe Halsman, Christopher Makos, Man Ray, or Robert Whitaker, round out the book.

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This colourfully illustrated book gives a broad introduction to the life and work of Asger Jorn, one of the most significant Scandinavian artists. Educated in Paris, he collaborated with Fernand Leger and Le Corbusier, as well as creating a vast oeuvre of paintings, prints, tapestries, ceramics, collages and sculpture, characterised by his constant need to challenge his work and methods. He was a founding member of various international art movements, providing theory and narrative on an exquisite collection of European avant-garde art. This new book presents a selection of Jorn's key works and also features many original documents, such as interviews, letters and photographs, as well as articles by and about Jorn. Arranged in chapters focusing on crucial moments of his life and works of particular significance throughout his career, it illustrates the diverse range of his artistic and literary achievements, and reveals his highly ironic and prosaic approach to art, politics and philosophy.

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Silvia Buol, born 1954, studied fine arts in Basel and contemporary dance in Zurich. From the outset of her career in the 1980s, she has been working in both disciplines. She realises projects at the intersection of dance and performance and as a choreographer. In visual arts, she works mainly in drawing and watercolour and with photography. She merges performative and visual art also in her work as a lecturer at the Academy of Art and Design in Basel. Buol's large-format works on paper reflect her rich experience with space and movement, landscape and nature, becoming and decay. They express the artist's constant dialogue with the movement and volume of her own body as well as with the character and properties of colours, papers, and fabrics she is using. This beautifully manufactured, object-like book features for the first time a selection of some twenty-five series from Silvia Buol's works. The oversized spreads allow for presentation of some works in true size. Essays by scholar and critic Konrad Tobler and by writer Martin Zingg complement the reproductions of these floating drawings and watercolours. Text in English and German.

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Swiss artist Franz Gertsch, born 1930, is one of the most important exponents of photorealism worldwide. Yet unlike many of his fellow artists, he takes liberties when translating a photograph into one of his large-format paintings or prints, thus animating his depictions of human faces or landscapes. Rüschegg, created in 1988, represents a landmark in Gertsch's oeuvre. It is both his first attempt in woodcut for a landscape, and his first large-format work in that genre. Abandoning painting for nearly a decade as of 1986, he developed a special woodcut technique. Having worked in portraiture almost exclusively for many years, Gertsch now begins his exploration of nature. Starting from a view of his garden in the Swiss village of Rüschegg, Gertsch singles out some of its elements, such as a footpath, rocks, shrubs and trees, grass and leaves, taking them as individual motifs first for woodcuts and later for monumental 'portraits' of such pieces of nature. Thus, Rüschegg also stands for Gertsch's movement away from the representation of humans to that of nature, just as it links his later work with the landscape studies of his early years. Text in English and German.

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Over the years, Swiss photographer Tomas Wuthrich has visited Borneo many times to document the daily life of the Penan, a partially nomadic indigenous people living in the rainforest of Borneo. The way of life that these hunter-gatherers lead in the Sarawak state of Malaysia is critically threatened by illegal logging and oil palm plantations. The Penan people came to the world's attention thanks to Swiss-born environmental activist Bruno Manser, who disappeared in the jungle without trace in the year 2000 while campaigning for the Penan cause. In this book, Wuthrich paints a nuanced portrait of this unique culture. A selection of Penan myths, collected by Ian Mackenzie are published for the first time alongside Wuthirch's photographs. An essay on Bruno Manser and his mission for the Penans' case completes the book. Text in English, German and Penan.

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For two decades, Swiss photographer Serge Fruehauf has documented fascinating architectural details cast in concrete. But his focus lies not only in the beauty of the built environment, but also in the surprising and sometimes absurd puzzles created by later interventions: stairways that lead to dead ends, disfigured garden walls that have long outlived their purpose. With Serge Fruehauf - Extra Normal, Joerg Bader has selected the best and most interesting of more than one thousand images in Fruehauf's most recent series. Taken throughout Paris, Geneva, Grenoble, and Lyon, Fruehauf's photographs form a critical reflection on architectural modernity mitigated by the photographer's love of the spaces he has photographed, and his deep sympathy for the architects and planners who were drawn to concrete as a versatile and multifaceted building material in the latter part of the twentieth century. Despite its promise, the buildings or clusters of buildings that have come out of the modern methods of construction with concrete appear today as bland monstrosities or grotesque hybrids of traditional and modern architecture. Fruehauf's photographs are joined by a preface by scholar and curator Martino Stierli, which offers an insightful discussion of how Fruehauf's work highlights these structures as allegories of the current cultural situation.

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The exhibition Swiss Pop Art at Aargauer Kunsthaus in spring 2017 is the first-ever comprehensive overview of Pop Art in Switzerland. For the Swiss art scene in the 1960s and early 1970s, this international movement was of pivotal importance. Artists such as Susi and Ueli Berger, Fernando Bordoni, Carl Bucher, Emilienne Farny, Bendicht Fivian, Franz Gertsch, Margrit Jaggli, Urs Luthi, Markus Muller, Markus Raetz, and Peter Stampfli took up the trends coming from the US and Britain with great interest. Impressed by the Pop Art movement's provocative images and new motifs, they created works that sometimes borrowed strongly from their models, yet also using them to develop their own artistic language. This new book coincides with the exhibition, exploring the particularities of Swiss forms of Pop Art and looking not only at visual art but also examining various links to design, art in public space, photography, film, fashion, and music. Featuring a wealth of works by Swiss protagonists of the Pop Art movement, it offers as well an illustrated chronology of the period that was politically, socially, and artistically exceptionally lively in Switzerland as much as in many other countries. Swiss Pop Art, Aargauer Kunsthaus, Aarau, Switzerland, 6 May to 30 October 2017.

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Swiss photographer Roland Iselin, born 1958, graduated from the famous photography class at the School of Design in Zurich (today Zurich University of the Arts ZHdK) and also completed a Master's degree at New York's School of Visual Arts. Prior to his artistic education, he completed his studies in socio-cultural animation at Zurich-based Institute of Applied Psychology. Unguided Road Trip is Iselin's latest long-term project. Since 2011, he has been travelling his native Switzerland and his adopted second home country, the US, documenting how in either place the landscape is 'furnished' with all sorts of structures and objects. Bus stops, public toilets, gas stations. We recognise such things and make use of the convenience they offer, yet we forget about them again immediately. In small and densely populated Switzerland, the landscape is cluttered with objects that serve a specific purpose: phone and letterboxes, benches, signposts, wayside crosses. But equally, the vast and scarcely inhabited open landscapes in the US are cut-across by roads lined by mass-produced objects.Iselin has found many motifs common in both countries: memorials for victims of road accidents, cattle gates, rifle ranges with their pavilions, rest stops. A landscape's 'furniture' does not accumulate accidentally. Rather, each object is placed intentionally, and they testify, in a way, to a society's state. Iselin's images demonstrate values and ideals, showing how the design of these objects guides our behaviour. This new book brings together some 140 photographs from Iselin's Unguided Road Trip, for the first time. The images are complemented with texts by writer and photography critic Nadine Olonetzky.

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Haiti has long been known as a benighted place of poverty and corruption. Even before the 2010 earthquake destroyed much of the country, it was beset by difficulties inextricably rooted in its history of rebellion and revolution. Since gaining independence from France in 1804, following the only successful slave revolt in the history of the world, Haiti s past has been characterized by dictatorships, serious conflict, and near-constant social and political unrest, as the country struggles to define its independence and realize its promise. Haiti: The Perpetual Liberation collects 140 photographs of Haiti by Swiss photographer Thomas Kern, taken in black and white with an analogue camera over the course of twenty years of travel there. As the photographs demonstrate, the people of Haiti remain determined to realize the country s promise in the face of crushing poverty and crisis, and, behind the barrage of bad news that dominates its public image, it is a country full of hope and life. The photographs, which make up the first part of a four-part boxed set, are joined by three separate text booklets each in one of three languages: English, German, and Creole that feature texts by Kern on his work and his approach to the country, as well as two essays by Swiss journalist Georg Brunold and Haitian novelist Yanick Lahens that provide context and commentary for the images and discuss the country s people and culture, and its enduring political conflict. A powerful photographic portrait, Haiti: The Perpetual Liberation shows a different, more personal and therefore also more ordinary view of the troubled country that reaches beyond what we think we know about Haiti.

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Georg Aerni is a photographic artist with a particular interest in architecture. Educated as an architect himself, he has been working with the camera on this subject with great precision and consistence for the past fifteen years Paris, Barcelona, Hong Kong, Mumbai and Tokyo: each metropolis is also a zone where mankind's will to create is driving constant change. Aerni documents this change in scrupulously prepared and carefully designed series of images. But also when he focuses on receding glaciers in the Alps, his studies of cages in zoological gardens and of mankind's interventions in nature, the extraordinary carefulness and quality inherent to all of Aerni's work is captivating. It sets his oeuvre in sharp contrast to the quickly done, impromptu photography that has become so widespread in recent years. Sites and Signs is the first comprehensive monograph on Aerni's photographic work. The book presents his complete work with an emphasis on the most recent series. Essays on his work in the context of contemporary photography and on images of architecture and landscape, and a complete catalogue of Aerni's oeuvre so far round out the book.

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Ferdinand Hodler (1853-1918) is arguably the foremost Swiss artist of the late 19th and early 20th centuries. Ignoring artistic conventions of his time he created a vast oeuvre comprising landscapes and portraits, monumental historic scenes and symbolic and allegorical figures, and also drawings and sketches. A number of recent international publications and exhibitions as well as rising prices for his works at auction indicate that Hodler today has secured his place as an important figure in art history. Although Hodler's work has been widely published in recent years, a catalogue raisonne of his work has been lacking. This gap is being closed now by the Swiss Institute for Art Reasearch (SIK-ISEA) in Zurich. The result of years of scholarly work is going to be published in four parts until 2016. The new volume 2 documents Hodler's oeuvre in portraiture and includes all known works. It presents also all works where attribution to Hodler is questioned by recent research, works where attribution has been proven wrong or that are proven forgeries.

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Ernst Scheidegger (1923–2016) ranks among Switzerland’s most distinguished 20th-century photographers. His portraits of artists made his name internationally. Scheidegger’s photographs of Alberto Giacometti at his Paris studio or in his native Val Bregaglia in Switzerland continue to shape the public image of this celebrated artist today. Marking the centenary of Ernst Scheidegger, who was also the founder of the Scheidegger & Spiess publishing house, this book offers a fresh and contemporary look at his multi-faceted body of work. It is based on an extensive reappraisal of his estate and features a concise selection of iconic and lesser-known images that demonstrated Scheidegger’s prowess as a portraitist. More importantly, however, the volume enables an encounter with Scheidegger’s hitherto little-published early work and thus undertakes a reassessment of his entire oeuvre. Essays by Tobia Bezzola, art historian and director of the MASI Lugano, Alessa Widmer, curator and artistic director of Photo Basel art fair, and Helen Grob, Scheidegger’s long-time companion, trace his career and self-concept as a photographer. A biography and brief texts on a selection of key examples of Scheidegger’s art round off this beautifully designed photo book.

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Alberto Giacometti (19011966), one of the most significant figures in 20th-century art, was throughout his life closely attached to his family, and in particular to his parents Giovanni and Annetta Giacometti, in their native Swiss village of Stampa. At least once a week he wrote to his parents to keep them up-to-date on everything important to him, maintaining this routine even when a telephone was installed at their house in the remote Val Bregaglia. Their entire correspondence comprises more than 1,000 letters.For the first time ever, excerpts from this body of documents are now published in this volume. They reveal fascinating insights into this close family relationship and the manifold exchanges about core issues of Alberto's life and work as an artist. The letters tell of his artistic education in Switzerland and the early years in Paris his studies at the art academy and encounters with the avant-garde, his joining with and later turning away from the Surrealist movemen

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For centuries, the Alps were an almost insurmountable barrier on the way from Europe’s north to the south, and vice versa. The Romans replaced some of the ancient narrow transalpine mule tracks with their famous roadways. Paved roads were introduced in the 19th century, soon followed by railroads with impressive bridges, viaducts, and tunnels. Today, 120 safe and comfortable highways and roads, as well as high-capacity railroad lines, serve as indispensable transit routes for Europe’s people and economies. Without these passages, Switzerland would be an entirely different country: socially, culturally, economically, and militarily. Through some 80 large-format colour and black-and-white images, Alpine Passes of Switzerland demonstrates the boldness of the country’s modern Alpine crossings, their infrastructure and beautiful landscapes. Additional historic photographs convey earlier generations’ courage and pioneering efforts to build the roads and railtracks that connect Europe’s nations. Supplementary essays trace the history of the Alpine passes and highlight their significance for Swiss national identity, explain their military importance, and describe the vision that preceded the construction of new base tunnels across the St. Gotthard and Lötschberg massifs between 1994 and 2016: the future of rail transit across the Alps lies deep underground.

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Swiss artists Sabina Lang and Daniel Baumann have been collaborating since 1990, gaining much international recognition as Lang/Baumann (or L/B). Their collaborative work comprises installations, sculptures, murals, and floor paintings, as well as architectural interventions. Models play a key role in their creative process. This book brings together for the first time all the models that L/B have made for the projects they have pursued over 33 years. It thus forms a complete catalogue of their oeuvre to date in miniature format, featuring also those projects that were never developed beyond the model stage. A model can serve three purposes: three-dimensional sketch, test of a concept, or presentation. L/B use all three types. The sketch model is quickly made, fragile, and merely manifests a thought. The working model is used to try to test formal or technical details. The presentation model is made to show the result once the design process is complete, and this is usually elaborately built. Some 120 colour illustrations are supplemented by two essays on iconography in Lang/Baumann’s work and on the playful aspect of model making. A conversation with Sabina Lang and Daniel Baumann rounds off the book.

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For more than 25 years, Swiss architects Bernhard Aebi and Pascal Vincent have been running their practice with offices in Bern and Geneva. Housing is one of the firm’s main fields of activity, yet it has also won a number of high-profile public commissions, such as the restoration and reconstruction of Switzerland’s national parliament building in Berne, the renovation of the Swiss National Bank’s Berne headquarters, and the south wing of Zurich’s main train station. The images by photographers Adrian Scheidegger and Alexander Jaquemet, both longtime companions of the architects, demonstrate how the spaces they created gradually and naturally integrate with their environment. Writer Gianna Molinari joined Scheidegger and Jaquemet on their expeditions to Aebi & Vincent’s buildings. Her literary snapshots supplement the images in this volume, stimulating our imagination of the inner life of these structures and their occupants.

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In recent years, painter and legendary art forger Wolfgang Beltracchi has opened a new chapter of his career. The core of his latest work is an extensive series of paintings, titled The Greats, that have been put on sale as digital artworks using NFT technology. Its starting point was the Salvator Mundi, a painting attributed to Leonardo da Vinci and sold in 2017 in an auction at Christie’s in New York for $450m to an unknown buyer. Beltracchi studied the picture meticulously and created several hundred versions of the motif in a variety of styles, ranging from high renaissance to pop art, or depicting Jesus in the personification of Mick Jagger or Mao Zedong. The result is a fascinating game of deception with the disputed painting and its symbolism. This large-format book combines photographic insights into Beltracchi's everyday life in the studio by renowned Swiss photographer Alberto Venzago with a documentation of The Greats collection. Texts are contributed by Stanford University professor emeritus Hans Ulrich Gumbrecht, German philosophers Peter Sloterdijk and Markus Gabriel, German journalist Ulrike Posche, German finance executive Leonhard Fischer, Swiss-based cryptocurrency and NFT expert Hansen Wang, Swiss art dealer Guido Persterer, and Alberto Venzago. A conversation between Beltracchi and Swiss writer and philosopher René Scheu rounds out this volume that describes and interprets the phenomenon of this extraordinary artist from a range of perspectives.

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Swiss artist Rochus Lussi, born in 1965, examines the individual’s existence in the mass. Issues of vulnerability, sensitivity, and defensibility are also key topics of his art, for which he mainly employs the mediums of sculpture and installation, but also drawings and performance. This first monograph on Lussi offers a broad survey of his work from 30 years, featuring small and multi-part installations, wood sculptures, works on paper, and photographs of his performance actions. The human figure is at the core of his early works, yet over time this begins to dissolve, and forms from everyday life, structures, draperies, surfaces of different body worlds come to the fore. The comprehensive visual presentation of Lussi’s oeuvre is supplemented with essays contributed by art historians, curators, and art educators. Text in English and German.

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Marguerite Saegesser (1922–2011) achieved fame in the US, her adopted country for many years, where her prints and paintings were repeatedly shown in group and solo exhibitions in California and New York over a period of two decades. In her native Switzerland, however, the artist and her multifaceted oeuvre are yet to be discovered. This book fills this gap, featuring Saegesser’s art with a special focus on the monotype, a printing technique developed in the 17th century and producing only a single original at a time. It also demonstrates how Saegesser, who initially studied sculpture in Lausanne, found her artistic destiny in America. Key to her evolution was San Francisco’s lively art scene of the late 1970s, and in particular the painter Sam Francis, an outstanding representative of action painting and abstract expressionism, who became her friend and precursor. His fascination with the monotype quickly transferred to Saegesser, who soon achieved mastery in it and made a significant contribution to the revival of the historic technique. Text in English and German.

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Drawing occupies a prominent place in the work of Paul Klee (1879-1940). Klee attached great importance to drawing and in particular to the line as the principle from which the realisation and visual generation of an idea emanates. This aspect is also a core interest of collectors Sylvie and Jorge Helft, who over almost five decades have assembled some 70 of Klee's pencil, pen and pastel drawings, as well as watercolours, etchings, and lithographs, which the artist has created between 1914 and 1940. The Helff’s Klee collection forms an extraordinarily coherent whole. This book, published in conjunction with an exhibition at the Museo d'arte della Svizzera italiana (MASI) in Lugano from 4 September 2022 to 8 January 2023, features for the first time this unique selection from Klee’s oeuvre. A conversation with Sylvie and Jorge Helft by MASIS’s director Tobia Bezzola and essays by philosopher Francisco Jarauta, art and literary critic Juan Manuel Bonet, and art dealer and curator Achim Moeller supplement the full colour plates.

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Alfredo Häberli, who was born in Buenos Aires in 1964 and has been working from Zurich since the 1980s, is one of the world's most widely acclaimed product designers. Major international brands such as BMW, Camper, Georg Jensen, Iittala, Luceplan, Moroso, Schiffini, or Vitra are among his clients, for whom he has designed furniture, lamps, objects, tableware, or even entire interiors. Häberli''s work has been shown in numerous exhibitions throughout Europe and has earned him many awards over the years.In the first of this book's two volumes, Häberli looks back at the people, places, and objects that have influenced him and shaped his ideas and creative process. He tells of his visits with the great Italian designers, the British and American role models influencing him, and about inspiring exchanges with colleagues such as Konstantin Grcic, Jasper Morrison, or Patricia Urquiola. Moreover, his encounters with visionary entrepreneurs, and the places, locations, and objects that

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Dominique Bondy, born in Zurich in 1946, created an extensive artistic oeuvre starting in her youth, and later also alongside her studies of comparative literature and Romance philology and her work as a psychoanalyst. It comprises pen and ink drawings and paintings in an art brut style, as well as surrealistic collages. In the 1980s and 1990s her works were displayed in several gallery exhibitions in Zurich. This is the first book to be published about Bondy’s art. The volume highlights what Bondy is concerned with in her artistic work: tracing her own life in order to find herself. The full colour plates are accompanied by Bondy’s own poems, which she writes in French, English, and German, some of which were written specifically for this book. The text contributions come from the writer and philologist Iso Camartin and the art historian Marianne Karabelnik. Reflections on her biography and art by Dominique Bondy herself round out the book. Text in English and German.

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Swiss artist Mirko Baselgia, born in 1982, already made a name for himself internationally in the first decade of his career. Baselgia works within the context in which he lives and with the conditions available to him. His works appear to be calm and soulful, unassuming and endless. They invite the viewer to pause and reflect on their place on planet earth. Philosophical and scientific questions are reflected by means of the local, natural, and recycled materials Baselgia uses. This book offers a snapshot of Mirko Baselgia’s current creativity and is published in conjunction with an exhibition at the Kunst(Zeug)Haus Rapperswil-Jona. Its subtitle )in(out) till sundown refers to a quote by the Scottish-American author John Muir (1838–1914): “I only went out for a walk, and finally concluded to stay out till sundown, for going out, I found, was really going in.” Baselgia’s art also stimulates reflection on the meaning of inside and outside, the boundaries that separate us from our surroundings, as well as their permeability. Text in English and German.

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Paper has been irreplaceable for centuries in the communication and transmission of knowledge. In spite of the digital revolution, paper remains an essential vehicle for the production of art, whether in drawings, painting, the creation of objects, or in the context of site-specific installations. In the urgent need to give material substance to our ideas and experiences, we capture them on paper. In the artistic treatment of this medium, our cultural practices are transcribed onto the paper along with the intended messages. Sur Papier. Su Carta explores paper as a unifying element in the encounter and confrontation of artistic practices with different cultural origins. It opens up a dialogue in which hybrid identities and the cultural spaces between East and West are negotiated, as illustrated by working processes and works on and with paper by Sivan Eldar (USA), Mingjun Luo (Switzerland/China), Francine Mury (Switzerland), and Jiang Zuqing (China).

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In recent years, Swiss artist Franz Bucher, born in 1940, has produced an extensive series of paintings which he simply titles Fields: lavender, dandelion, rapeseed, and poppy fields congruent with the canvas to form a pictorial field. Yet Bucher’s objective is not primarily the pictorial. Rather, it is more about the two-dimensional space which is given an inherent structure by the largely monochromatic primary colours he uses, as well as his dynamic brushstroke. It becomes apparent that most of the artist’s oeuvre since the early 1970s has been determined by the metrical rhythm in his use of colour. Bucher’s paintings constitute actual energy fields. This new monograph offers a retrospective of Bucher’s entire body of work from the vantage point of his recent pictorial fields. It thus illustrates his true artistic intentions independently of the context of his chosen motifs. Text in English and German.

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The Musée de l’Elysée in Lausanne, one of the most renowned photography museums in Europe, has awarded the Prix Elysée biannually since 2014. Young photo artists are invited to submit a photo book project with the prize being the realisation of the winning submission, which constitutes a major step in an artist-photographer’s career. This book documents the Prix Elysée’s fourth edition. It features the work submitted by the eight nominees Alexa Brunet, Arguine Escandón & Yann Gross, Magali Koenig, Thomas Mailaender, Moises Saman, Assaf Shoshan, Alys Tomlinson, and Kurt Tong. Sketches, first drafts, and photographic studies illustrate the progress of their projects, from initial concept to image selection and design. Conversations with the artists published alongside reflect on their close collaboration with the museum and expand on the visual portfolios. The individual creative process thus becomes visible, and at the same time, a cross-section of contemporary art photography production emerges. Text in English and French.

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A pioneer of the Nouvelle Tapisserie (New Tapestry) movement, Polish artist Magdalena Abakanowicz (1930–2017) revolutionised the practice of weaving in the 1960s. She elevated this craft to the status of sculptural expression, using the possibilities of organic fibers such as wool, sisal, and linen as living, malleable materials to realise her artistic vision based on the observation of nature and man. Her spectacular wall-mounted and spatial woven works made her name internationally and marked several editions of the Biennale of Tapestry, held in the Swiss city of Lausanne between 1962 and 1995. This French-language book illuminates the crucial role that Lausanne played at the beginning of Abakanowicz’s international career and in her artistic explorations. Her reflections and creative paths are juxtaposed with places and encounters in Lausanne and the rest of Switzerland: the Bienniale of Tapestry and the Alice Pauli Gallery, local patrons and collectors of art, scholars, and friends. Text in French.

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South African sculptor Angus Taylor, born in Johannesburg in 1970 and alumnus of the University of Pretoria, is known mainly for his monumental works. For these, in addition to the classic bronze, he uses a selection of materials special to his immediate environment: black granite, red jasper, straw, and the red earth of the Pretoria region. In the symbiosis of these materials with traditional artistic craft techniques, distinctly contemporary works arise, which Taylor pioneeringly positions as figurative landmark sculpture. This first-ever monograph on Angus Taylor offers a comprehensive survey of his oeuvre to date. Key works from his entire career since the founding of his studio Dionysus Sculpture Works in 1997 are featured in full colour illustrations throughout. The essays discuss Taylor’s methods, practices, and personal philosophies and put his work is context within South Africa’s social situation as well as with his own biography. The book offers a much welcomed profound introduction to Angus Taylor’s innovative and characteristic body of work.

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While completing the Almannajuvet Zinc Mine Museum in southern Norway in 2016, celebrated Swiss architect Peter Zumthor asked Norwegian scholar Mari Lending to engage in a dialogue about the project. Departing from the ways in which Zumthor's pavilions frame the barely visible traces of the industrial exploitation of zinc in the 1890s, the conversation took unexpected turns. In meandering, impressionistic style and drawing on Zumthor's favourite writers, such as Johann Peter Hebel, Stendhal, Vladimir Nabokov, and T.S. Eliot, their exchanges explore how history, time and temporalities reverberate across the famous architect's oeuvre. Looking back, Zumthor ponders on how a feeling of history has informed his continuous attempts of emotional reconstruction by means of building, from architectural interventions in dramatic landscapes to his design for the redevelopment of Los Angeles' LACMA on a grand urban scale. This small, beautifully designed new book records the conversation between Zumthor and Lending, illustrated with photographs by the renowned Swiss architectural photographer Helene Binet.

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Paintings from the Indian subcontinent bedazzle the viewer with their minute details, colours and aesthetic qualities. Relatively modest in size, they often illustrate historical events, religious texts and poetry, or document life at court. Painted with watersolved pigments on paper, they invite closer observation and allow insight into the artistic traditions of India. "A Secret Garden" is the name of an outstanding private collection of Indian paintings. It comprises works spanning seven centuries from the time of the Sultans (1206-1526) through to the nineteenth century. This new book features a selection of 105 artworks from Danielle Porret's collection. Each entry provides a stylistic analysis of the painting as well as a discussion of the subject matter by leading experts in the field of Indian painting. Museum Rietberg Zurich is one of Europe's leading museums for non-European art.

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Charlotte Perriand (1903-99) is undoubtedly one of the most significant figures in 20th-century interior design. She was one of the pioneers in introducing the metal tube as building material for furniture, paving the way for machine age aesthetic in interiors in the 1920s and 1930s. Together with Le Corbusier and Pierre Jeanneret she created a number of iconic classics, such as the chaise-longue LC4, the armchair LC2, or the sling chair LC1. This second part of the new three-volume monograph on Perriand covers the period 1940-55 with her extensive stays in Japan 1942-42 and 1953-55, and with her designs for the reconstruction in France after WW II. It also investigates extensively her collaboration with Jean Prouve 1952-55. Moreover, the new volume looks at her work together with with Jeanneret and again also Le Corbusier during the 1950s, and it documents Perriand's involvement and role in founding the Useful Forms movement in 1949. The book features again an abundance of images and documents, mostly in colour and many of them previously unpublished. Charlotte Perriand: Complete Works is the authoritative source on this key figure of 20th-century interior design for scholars, dealers, and collectors. Each of the three lavishly illustrated volumes is completed by annotations, index, and bibliography.

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Luminous, with a silken glow and soft to the touch, yet harder than steel, created by nature and shaped by human hand: no other material has been more highly valued in China for millennia than jade. Since humanity’s earliest days, magical properties have been attributed to the mineral. As a burial gift it confers immortality and is said to improve health when given as medicine, as a talisman it bestows good fortune and protection. It is hardly surprising that jade objects became sought-after collectables as early as the 10th century. Zurich’s Museum Rietberg is home to an exquisite collection of Chinese jade objects spanning four millennia. In his striking images, Zurich-based photographer Felix Streuli brings them to life and makes them glow. The images reveal the most intricate details and make these works of art almost tangible to the viewer. This book features around 60 of Streuli's outstanding photographs, supplemented with concise texts on the objects they show and an introduction to the history of Chinese jade art. Interspersed short stories and poems revolving around the mythical gemstone and a reflection on the photographer’s gaze round out this carefully designed picture book. Text in English and German.

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Giovanni Segantini’s (1858–99) three paintings La Vita—La Natura—La Morte (Becoming—Being—Passing) of 1898/99 do not reveal at first glance anything about their equally complex and interesting background. Originally planned for the 1900 Paris Exposition of 1900 as a gigantic, multimedia “Alpine symphony” panorama 722 ft long and 66 ft high, Segantini was forced to reduce his work to three purely pictorial main paintings, owing to a lack of financial means. When he died in 1899, whilst still working on it, he left behind an incomplete triptych that was intended to embody “the spirit of nature, of life, and of death.” In this book, Swiss art historian and Segantini-expert Juerg Albrecht traces this monumental landmark piece in the artist’s oeuvre as one of the last programmatic works of fin de siècle art. Apart from its genesis, the book explains, as well the cycle of life and death that the three paintings visualise, whose origins Segantini sought both privately and creatively in the mountains of the upper Engadine valley during his lifetime. Text in English and German.

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Swiss artist Zimoun enjoys significant international renown for an oeuvre that he has been creating over a period of some 20 years. Zimoun uses kinetic principles of rotation and oscillation to set things in motion and generate sounds. He uses mundane, unspectacular materials and conventional industrial products. For his works, he develops small, minimalist apparatus that generate tonal and visual complexity when activated, despite their fundamental simplicity. These mechanical contraptions are often used hundreds of times in the installations, creating visual and acoustic spaces with fascinating power and poetry. This book presents 65 of these location-specific installations that Zimoun realised between 2009 and 2021 in various art galleries and museums around the world. The full-page images are supplemented with brief texts by international authors, who outline a variety of perspectives on Zimoun’s work. Two concise essays consider and position his oeuvre in the wider international and art historical context. QR codes provided with all the images extend the book by enabling the direct playback of video documentations available online on smartphones or tablets, thus offering the reader the additional dimension of sound and movement — the essential elements of Zimoun’s art.

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Swiss artist Meret Oppenheim (1913–1985) is far more than just the creator of the iconic fur teacup. In the course of her career she produced a complex, wide-ranging, and enigmatic body of work that has no parallel in modern art. Like an x-ray beam, this book scans Oppenheim’s artistic oeuvre, bringing its variety, playfulness, and poetry to the fore. Instead of simply answering the riddles posed by these intriguing works, it maps out the paths that will lead us to still more clues. Simon Baur is a leading expert in the life and art of Meret Oppenheim. The nine new essays featured in this volume are at once scholarly and easy to read. In them, Baur shares the many fascinating insights and interpretations that he has gleaned from his decades-long engagement with Oppenheim’s work. The result is an anthology that combines both biographical and thematic aspects and takes us on an exciting journey into the poetic cosmos of a truly great female artist.

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