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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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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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