Search results for ""scheidegger und spiess ag, verlag""

Raphael Ritz (1829–1894) is one of the most important artists to have emerged from the Swiss canton of Valais. In the 1850s, Ritz, who later became famous as the “Raphael of the Alps,” studied at the renowned Academy of Art in Düsseldorf, Germany, and perfected his technique in the genre of mountain painting, which focuses on the relationship between landscape and man. Ritz, who felt a strong connection to his roots, created landscape idylls in faraway Düsseldorf for an audience that appreciated regional peculiarities. At times with a touch of irony, he put his works at the service of a modern effort to illustrate the timeless character of everyday life. This new monograph looks at the work of the Valais-born artist beyond national borders and frames it in both the Swiss and international artistic contexts of the time. Ritz’s correspondence with his father, Lorenz Justin Ritz, who was a painter as well, is also comprehensively examined for the first time: it constitutes an important testimony to his artistic self-discovery. Selected photographs by Swiss contemporary artists from the museum’s collection show the Valais of today and establish a connection between Ritz’s ethnographic view of his own origins and the present. Text in French and German.

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Jacob Lawrence (1917-2000) is among the most distinguished 20th-century African-American painters. He is widely known for his modernist illustrations of everyday life as well as epic narratives of African American history and historical figures. The new book Jacob Lawrence: Lines of Influence explores his life, work, and legacy not only as an acclaimed artist but also as a storyteller, educator, and chronicler of the mid-20th-century African American experience. The book's first part, 'Relations', traces some of the engagements that shaped Lawrence's personal and professional life. It presents his work in dialogue with that of his contemporaries, mentors, and historically significant artists, such as Josef Albers, Richmond Barthe, Romare Bearden, Jose Clemente Orozco, George Grosz, Marsden Hartley, Gwendolyn Knight Lawrence, Horace Pippin and Augusta Savage. Its second part, 'Legacy', explores Lawrence's influence on contemporary artists living and working today and those who share similar formal and conceptual concerns.

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In 1913, psychiatrist, psychoanalyst, and theorist Carl Gustav Jung (1875-1961) experienced powerful visions, often terrifying. However, seeing their great potential value he found ways to encourage further visions and fantasies. Over many years, he recorded his experiences in a series of small journals, added commentaries and transcribed them, using calligraphy and illuminations, into a large, red, leather-bound volume, commonly known as The Red Book. Jung never published the Liber Novus, as he called this pivotal part of his oeuvre, and left no instructions for its final disposition, and it therefore remained unpublished until recently. The Red Book Hours complements the facsimile edition and English-language translation of The Red Book, published in 2009, and draws out insights into Jung's affinity with art as a means of personal insight. Psychologist and multimedia artist Jill Mellick documents copious research into Jung's choices regarding media and technique and his careful design of environments in which he could experience creative processes and allow unconscious content to flow forth. Her unlikely journey includes explorations of memory, serendipity, and science. A stunning interplay of texts and images includes magnifications of the wildly colorful and intricately detailed sketches from The Red Book and a selection of Jung's own pigments, never seen until now, The Red Book Hours presents a more comprehensive picture than ever before of the foundational psychoanalyst's experience and expression of his rich inner world.

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In summer 2015, performance artist Marina Abramovic and psychoanalyst Jeannette Fischer spent four days together at Abramovic's house in the Hudson Valley. Associating freely, they explored - from a psychoanalytical perspective - Abramovic's biography and art and what connects them. A better understanding of herself, her personality and her work, was Abramovic's objective. She claims that conversations with artists abound, with one curator saying this and another saying that. Yet there is no book in which psychoanalysis puts her life and artistic work in context. This new book aims to fill this gap. Yet it is not a therapist's report, nor a record of Fischer's analysis of Abramovic. It records the dialogue between artist and analyst attempting an interpretation of Abramovic's extraordinary violent performances that sometimes reach the brink of faint, even death. The two search for an understanding of the underlying structures and dynamics. Abramovic performs relationships, and she performs violence, yet she remains on her own in facing the pain and fear about it. The book is arranged in a sequence of dialogues, separated by Fischer's comments on and images of four of Abramovic's performances to which the psychoanalyst refers.

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Marcel Gautherot (1910-96) is regarded by many as one of the most significant French photographers, yet his work is relatively little known and even less published. Marcel Gautherot: The Monograph features some 200 of his striking pictures from all stages of his career, superbly reproduced in tritone printing. The images are complemented by essays on his affinity for modern architecture, his contribution to the history of photography, and on his attachment to Brazil. The most famous part of his work is the body of some 3,000 images documenting the construction of Brasilia 1958-1960. This, and other images he took of this extraordinary place until the 1970s, is widely appreciated as a high point of 20th-century architectural photography. Gautherot began an education in architecture but very soon took up photography as well. He travelled extensively in France and abroad and visited Brazil and Peru for the first time in 1939, before being drafted into the French army on the outbreak of World War II. Upon demobilisation in summer 1940 he returned to Brazil and made Rio de Janeiro his home for the rest of his life.

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Swiss artist Martin Disler (1949–1996) was a self-taught painter, draughtsman, and sculptor, as well as a poet. Over the course of his career, his work evolves from clearly recognisable motifs towards the utter disintegration of figures. Especially his later paintings owe their power, as well as their size, to his particular way of working: In a highly physical process, the artist would alternate between applying and removing paint, moulding matter with brushes and knives as well as with his hands and nails until his body merged with the work. The materialisation of Disler’s physical thinking, a ‘theatre of survival’, places him in a fascinating dialogue with Ernst Ludwig Kirchner and the great expressionist’s work. This new monograph, published in conjunction with an exhibition at Kirchner Museum Davos, focuses on the last decade of Disler’s career and relates his output from the period to Kirchner’s art, thus revealing similarities between the two artists. The essays explore the importance of the human body and its role in the artist’s creative process as well as aspects such as movement and dance, gesture, expression, abstraction and figuration.

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Swiss artist, architect, designer, typographer, and theorist Max Bill (1908-94) was one of the most important exponents of concrete and constructive art and a key figure in the history of 20th-century European applied arts and design. Educated by such eminent teachers as Paul Klee, Wassily Kandinsky, and Walter Gropius at the Bauhaus in Dessau, Bill immediately displayed a genius for work in fields as diverse as painting, sculpture, architecture, typography and design from the outset of his career in the 1930s. In the 1950s, he teamed up with Inge Scholl and Otl Aicher to found the legendary Ulm College of Design in Ulm, of which he became the first director. In his work, Max Bill carried on the Bauhaus legacy, both as an artist and a teacher, and made a decisive and lasting contribution to 20th-century cultural life. The new edition of this authoritative and much sought-after monograph displays Bill's wide-ranging work and sets him in the context of his cultural milieu by featuring works by his contemporaries, such as Kurt Schwitters, Wassily Kandinsky, and Donald Judd. Accompanying essays investigate Bill's influence on other artists and the lasting importance of his oeuvre in the present. Text in English and German.

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During the heyday of the Japanese coloured woodblock print around 1800, an ordinary print filled the same purpose as modern commercial graphic art. Mainly because of European art lovers' growing enthusiasm for these subtle, refined compositions, some artists and their work soon gained worldwide recognition and fame. Capturing the fugitive moment is a key element of Japanese woodblock prints, for which Japanese language has the term 'ukiyoe', 'images of the fluid, transient world'. 'Bijin-ga', 'images of beautiful women' is a specific kind of such prints, paying tribute to women by capturing a moment of irretrievable magic. The graceful look of a self-assured beauty of a very private situation's intimacy have stimulated many artists to create their greatest works. 'The Beauty of the Moment' presents around 100 'Bijin-ga' by the best known masters of Japanese woodblock printing. Included are particularly exquisite pieces using 'kirazuri', a technique using powdered brass or mica dust highly polished on a light film of glue to imitate gold dust on the surface of the print. This book accompanies an exhibition Die Schonheit des Augenblicks (The Beauty of the Moment) at the Museum Rietberg in Zurich. Text in English and German.

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The Museum of Drawers is the world's smallest museum of twentieth-century art. This unique piece has been conceived and put together by the Swiss-born artist Herbert Distel in 1970-77. It consists of an old cabinet made to hold reels of sewing silk whose twenty drawers each contain twenty-five compartments. Each of the 500 compartments houses an original miniature work of art, many of which were made especially for the Museum of Drawers. The list of artists represented includes such influential pioneers as Joseph Beuys, Marcel Duchamp, Hannah Hoch, Meret Oppenheim, Pablo Picasso, and Andy Warhol. Following a first presentation as a work-in-progress at the documenta 5 in Kassel (Germany) in 1972, the Museum of Drawers caused sensation internationally. It has been shown several times in New York, including a presentation at the Museum of Modern Art (MoMA) in 1999, and at many museums around the world. After its restoration it is now part of the permanent collection of the Kunsthaus, Zurich. This new book is a comprehensive documentation of this extraordinary object. It shows all twenty drawers with their content as well as each of the 500 miniature art works individually and in true size. Essays on the history and importance of the entire work and concept complement the images.

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In summer 2017, celebrated Swiss architect Peter Zumthor curated the exhibition Dear to Me at the Kunsthaus Bregenz, marking the 20th anniversary of one of his most famous designs. Part of the program were conversations with philosophers, curators, historians, composers, writers, photographers, collectors, and craftsmen that Zumthor had invited to contribute to the exhibition. His dialogues with them offer insights into the thoughts and practice of fascinating personalities. Together with his counterparts, he explores artistic preferences and practices, reasonings, as well as practical knowledge from artisanal experience. Always charming and affectionate, he follows-up persistently, and takes his guests with gentle determination on mutual intellectual strolls. The equally serious and serene conversations with Anita Albus, Aleida Assmann, Marcel Beyer, Hélène Binet, Hannes Böhringer, Renate Breuss, Claudia Comte, Bice Curiger, Esther Kinsky, Ralf Konersmann, Walter Lietha, Olga Neuwirth, Rebecca Saunders, Karl Schlögel, Martin Seel, Ruedi Walli, and Wim Wenders are collected in 17 booklets held together in an exquisitely manufactured box. An 18th complementary booklet documents the Dear to Me exhibition in Bregenz through concise texts, images, drawings and plans.

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Dreamscapes is a long-term artistic project of Swiss photographer Dominic Buttner, in which he is recording actual performances at night, both in natural and built environments. Bearing a torch, he slowly walks away from his large format view camera. Time exposure captures the scenery illuminated by the moving light, and sometimes his footprints, while the artist's figure is eradicated again from the image. At the same time familiar and strange, the fascinating pictures of enchanted or haunted landscapes tell us what an eerie place our everyday surroundings can be, depending on the light in which we see it. This first monographic book on Dominic Buttner's art features some one-hundred of his Dreamscapes alongside essays by literary scholar and critic Elisabeth Bronfen and by publicist and art critic Nadine Olonetzky. Text in English and German. AUTHORS: Dominic Buttner is a Zurich-based photographic artist. Elisabeth Bronfen is professor of English and American studies at the University of Zurich and a Global Distinguished Professor at New York University. Nadine Olonetzky is a freelance cultural publicist and an editor with Scheidegger and Spiess. SELLING POINTS: . Features a unique photographic-artistic project . First monographic book on Domini Buttner's work 100 colour, 5 b/w illustrations

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In 1960, Eberhard Fischer had the opportunity to accompany his father, the art ethnologist Hans Himmelheber, on a major expedition to West Africa. He was actually only meant to film the Dan mask carvers as they worked, as well as their festive performances. Yet the strong personalities of these sculptors impressed the young man deeply and he began to document their life stories, record their artistic work methods in detail, and also to collect their works. The biographies and many of the photographs shown in the book of four mask carvers from the Liberian hinterland are unique in the study of African art, as masks are carved in secret in many of these cultures. Until recently, the works were recognised by art ethnologists and collectors, but rarely the people who created them. The new book presents Fischer's essay for the first time in English, supplemented by additional images and an epilog. A DVD with the historic film recordings of the artists at work completes the book.

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Paola De Martin, born 1965, is a textile designer, co-founder of Zurich-based fashion label Beige, and a design researcher. Her groundbreaking research focuses on classism and other forms of discrimination in Western culture, and is rooted in her own experience as the child of an uneducated migrant working-class family.Lucie Meier, born 1982, was appointed creative director of the global fashion brand Jil Sander in 2017, following previous engagements as a designer with Louis Vuitton and Balenciaga, and as an interim co-director of Dior. Her position and expression as a designer remain unimpressed by the fashion world's eternal hustle.The achievement of Luciano Rigolini, born 1950, is shaped by his own photography as well as by his work as an educator and producer. His series Urban Landscapes earned him international recognition as an artist in the early 1990s. He directed the creative development of auteur films with French-German TV channel ARTE, from 1995 t

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Pauline Julier, born in 1981, graduated in political sciences from the Université Grenoble Alpes and in photography from the Ecole Nationale Supérieure de la Photographie d'Arles; she also completed the SPEAP Art and Politics Experimental Program at Sciences Po in Paris. Her multimedia works featured in this book take us through the geological ages of planet Earth and into space. At the interface of documentary and fiction, Julier takes us on a dizzying journey through space and time. She interweaves different histories and combines natural disasters with the Anthropocene's paradigm shifts. Looking into the past and the future, Julier investigates highly topical questions about the unlimited use of natural resources, escapism, and the colonisation of space.Conceived and designed as a work of art in its own right, this volume offers a comprehensive insight into Pauline Julier's art and thought through a conversation with eminent scholar of science and technology studies Donna

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Swiss painter Léopold Robert (1794–1835) is emblematic of the romantic myth of the artist with a tragic destiny. Educated in Paris at the École des Beaux-Arts and in the studios of artists Jacques-Louis David and Edouard Girardet, he moved to Italy in 1818. With the substantial assistance of his brother and fellow artist Aurèle (1805–71), he created idealised depictions of Italian brigand life and gained recognition throughout Europe. Yet, his success as a painter did not save him from the deep melancholy that eventually led to his suicide in 1835, due also to his unrequited love for Princess Charlotte Bonaparte. Loved and praised by collectors and art critics of their time, the Robert brothers’ oeuvre gradually fell into oblivion after Léopold's death and Aurèle's subsequent return to Switzerland. This book, published to coincide with a dual exhibition at the Musée d’art et d’histoire in Neuchâtel and the Musée des beaux-arts in the Robert brothers’ native town of La Chaux-de-Fonds, pays tribute to their art and brings their great skill as painters back into focus. Based on a major research project at the University of Neuchâtel and the École du Louvre in Paris, it offers scholarly essays alongside some 170 colour plates. Text in French.

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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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The Swiss National Museum's permanent collection reflects Switzerland's history from pre-historic times until the present day. Each object also represents the location where it was found or made; the people who made or used it; a trade or profession; a personal or regional identity. Published to coincide with the opening of the new extension of the Landesmuseum in Zurich, Swiss National Museum's oldest and largest site, 26 Things features as many highlights from its collection, one from each of Switzerland's cantons. The selection ranges from a Celtic gold bowl from ca. 1500 BC (Zurich) to a miniature electro motor that propelled NASA's Mars rover Spirit in 2004 (Obwalden). It includes Switzerland's first snow gun of 1978 (Grisons) as well as a medieval Madonna sculpture (Valais) or a clock made in 1796 that once belonged to Napoleon (Neuchatel). The beautifully designed small book offers a varied Swiss panorama, taking the reader all around the country's twenty-six cantons, each with its own history and cultural identity.

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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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In Army Of One, photo journalist Elisabeth Real tells the story of six American veterans whose lives have been irreversibly altered by the war in Iraq. All but one of the veterans have been diagnosed with post-traumatic stress disorder (PTSD). Between 2006 and 2013, Real photographed and interviewed these young men, trying to uncover what they went through and how, in turn, this affected them on returning home, as they re-connected with families and tried to make lives, away from the army. The war in Iraq began in March 2003 and lasted until December 2011; 2.16 million U.S. troops were deployed in combat zones in 2001-10. 4,500 US service people were killed, many more committed suicide as a consequence of their deployment and many thousands more returned home with PTSD. A single PTSD diagnosis could cost $1.5 million in disability compensation over a soldier's lifetime. Elisabeth Real breaks down numbers, focusing on the individual soldier: the lone "Army Of One", many of whom feel this means that they have been forgotten, as soldiers and as human beings.

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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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The Swiss capital Bern has seen a fast architectural development in recent years. A vast number of new buildings have been constructed and existing ones refurbished and transformed for new purposes. Among the architects whose projects have been realised are names well-known among the professional community and the enthusiasts of contemporary architecture, such as Diener & Diener, Atelier 5, Burkhalter Sumi or Graber Pulver (all Switzerland), but also the internationally celebrated Renzo Piano and Daniel Libeskind. This pocket guide presents around 80 projects, public and private, realised between 1990 and 2010 in the historic town centre, the surrounding neighbourhoods and the suburbs of Bern. Each building is documented with a short critical essay, photographs especially taken for this book, floor plan and section and a box with key facts and figures. A separate chapter introduces a selection of earlier 20th-century 'classics' and an introductory essay on aspects of contemporary architecture and Bern's building history completes the book.

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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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Cinema mon amour focuses on the mutual fascination that art and film have for one another. It features work by international artists, including Martin Arnold, John Baldessari, Fiona Banner, Marc Bauer, Pierre Bismuth, Candice Breitz, Janet Cardiff & George Bures Miller, collectif_fact, Tacita Dean, Stan Douglas, Thomas Galler, Christoph Girardet & Matthias Muller, Douglas Gordon, Teresa Hubbard / Alexander Birchler, Samson Kambalu, Daniela Keiser, Urs Luthi, Philippe Parreno, Julian Rosefeldt, Hiroshi Sugimoto, Sam Taylor-Johnson, and Mark Wallinger. All of them have engaged with different themes surrounding cinema and filmmaking. The well-founded essays discuss topics such as cinema as space, the film industry, found footage, specific movies and genres, the mechanisms of film, as well as the filmmakers' gaze at art. This lavishly illustrated book, published to coincide with an exhibition at Aargauer Kunsthaus in Switzerland, offers an insight into the allure that film and cinema have on us. Cinema mon amour, Aargauer Kunsthaus, Aarau, Switzerland, 22 January to 17 April 2017.

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Gunther Wizemann, born 1953 in Graz (Austria), came to Switzerland as a child in 1960. He graduated from Zurich's School of Design and has since been working as a painter and concept artist. Studying the Russian modernists raised the question of what he could possibly paint in the aftermath of Kazimir Malevich and Aleksander Rodchenko. Equally, Mario Merz's installation Che fare? or, as Barnett Newman put it, What to paint? were statements that became programmatic for Wizemann's work. The 43 paintings of The Black Garden Wizemann has created between 2003 and 2013 are a possible response to his queries. Done in oil and resin on canvas, they are the result of lengthy artistic processes and a multitude of layers of paint, forming an inner and outer image space. Featured in its entirety for the first time in this new book, the paintings are published alongside essays placing Wizemann's largest series to date in art history. The accompanying texts reveal formal and conceptual relations, ranging from the Renaissance to his contemporaries. Starting from the title The Black Garden they also look at literary and philosophical connotations.

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For her most recent series, Austrian artist Katharina Anna Loidl has reworked steel engravings of Swiss alpine landscapes, transforming the original nineteenth-century prints with an etching needle and burin. By carefully removing parts of the printer s ink, Loidl also removes portions of the landscapes. In their place, she introduces simple geometric shapes, deliberately lacking in distinguishing architectural detail so that viewers are encouraged to imagine the addition of structures of their choosing apartment blocks, industrial buildings, or sports facilities to the idyllic images. Landscape Engravings brings together fifty of Loidl s alpine landscapes. Vitus Weh;s essay examines the sublime and crystalline character of Loidl s art, and Paolo Bianchi looks at aspects of romanticism as a fund, landscape as a sensation, and the art of repetition. By introducing spatial interventions to the idyllic, perhaps idealized, images, Loidl asks the reader to consider the impact of residential and industrial encroachment on the natural world and the value we ought to place on its preservation. "

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Dada began on February 5, 1916, when Hugo Ball, Emmy Hennings, and others launched the Cabaret Voltaire in Zurich. Cabaret Voltaire would eventually become the stuff of legend, joined by the short-lived but no less less significant Gallery Dada. Even as Dada spread throughout Europe and the world, its heart was always in Zurich. This German language book honors the centennial of Dada by telling for the first time the full story of its genesis and the role played by Zurich and its vibrant community of artists in its creation and flourishing. It sets the early years of Dada firmly in the city''s historical and cultural context and reveals the intellectual and social background that were crucial to the fermenting artistic ideas that culminated in Dada. It goes on to trace the explosion of Dada into a worldwide phenomenon that took in such artists and intellectuals as Joan MirÃ, Marcel Duchamp, Jean Cocteau, and Man Ray. Richly illustrated, this book will stand as the definitive account

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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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Since its early days, photography has been both a tool of and subject for scientific research. Developments in photochemistry, camera construction and lense refinement made photography an extremely successful mass medium. At the same time, photography served scientific research as a key medium for observation, documentation, education and communication. ETH-Bibliothek, the main library at ETH Zurich, is holding in its Image Archive vast collections of photographs. Among them is the complete collection of the university's own Photographic Institute, an independent service and research unit between 1886 and 1979. This new book documents both the main aspects of scientific photography, illustrating the research of many disciplines while being the subject of basic research itself. Using a rich selection of images, ranging from astronomical and micro-photography, to laboratory situations and carefully illuminated experimental installations. The introductory essay investigates the interplay between photography and the world of science, and tells the story and changing role of the Photographic Institute.

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Badain Jaran: more than 19,000 square miles of endless openness, sand dunes up to 1,600 feet tall and mysterious saltwater lakes. Badain Jaran is part of the Alashan desert, south-west to the Gobi in the Inner Mogolia province of China. It is a place that has been discovered by American scientists on satellite images in the 1980s only, and that has miraculously been kept hidden to most people since. In 2009 - 12, photographic artist Carlos Crespo realised a vast photo essay on the unique, spectacular, and very remote landscape of Badain Jaran. Crespo had to deal with extreme cold in winter and violent sandstorms in spring and autumn in a barely inhabitable environment. Over time he got in contact with some of the few Mongolian herdsmen living on the fringes of the desert and won their confidence and sympathy. This allowed him also to make portraits of these people and document their way of living. The new book 'Badain Jaran' is meant to make this extraordinary place a symbol and metaphor for all untouched natural sites, reflecting their importance and the necessity of their protection from being turned into ever more tourist attractions.

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The oeuvre of Swiss artist Mirko Baselgia, born 1982, has been carefully selected, using a combination of different materials. With references to architecture, (art) history, and classical music, his sculptural works symbolise, both in form and substance, the relationship between the individual and the environment; while additionally reflecting current sociopolitical issues. Mirko Baselgia ranks among the top most promising young artists in Switzerland. He has recently been awarded the renowned Kiefer-Hablitzel Prize and the Manor Art Award Chur, and the Bundner Kunstmuseum Chur staged Baselgia's first solo museum exhibition in spring 2013. This first monograph presents a range of his work, further illustrated by a conversation between the artist, and curator Stephan Kunz.

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