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

Cat Tuong Nguyen has over the past ten years gained significant recognition for a highly individual, intelligent and poetic work. Photographs, collages, painted-over pictures from magazines form together a cosmos of images of great visual and substantial power. Nguyen confronts the viewer with strange, humourous and mysterious things and investigates our everyday reality. He takes-up political and social aspects and events, and he investigates the emotional world of the individual searching for its way in everyday reality. Nguyen's images, playful as they seem to be in some cases, are based on fundamental experiences, such as emigration, integration in a new world and the outsider's view of an alien culture and society. "Underdog Suite" is the first large book on Nguyen's art. It comprises nearly the complete oeuvre of this extraordinary young artist, his own selection of images arranged in an unconventional, highly original manner. It is not a mere monographic overview, it is rather the artist's self-portrait in the shape of a book. Two essays investigate Nguyen's ideas, concepts and artistic method. This title includes text in English and German.

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David Chipperfield’s new building for the Kunsthaus Zürich now stands in all its splendour on Zurich’s Heimplatz, opposite the old museum building of 1910 designed by Karl Moser. Its opening to the public in October 2021 will make the Kunsthaus Zürich Switzerland’s largest art museum. Following the two previous volumes on Kunsthaus Zürich’s architectural history and the design for turning it into an art museum for the 21st century, this book documents the genesis of David Chipperfield’s extension from proposal through political debates about the entire project to completed structure. It features a foreword by David Chipperfield and an essay by Christoph Felger, executive architect for the project at David Chipperfield Architects Berlin, that discusses the design concept, the promise made with it, and its fulfilment. A conversation between Christoph Felger, the director of the City of Zurich’s Building Surveyor's Office Wiebke Rösler, and Kunsthaus Zürich’s director Christoph Becker, and architecture critic Sabine von Fischer, as well as numerous illustrations and plans sound out this new volume.

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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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Indonesia, a country spread over some 17,500 islands large and small; home of the world's largest fleet of ships and boats; with 252m people the fourth-largest country in the world in terms of inhabitants. A vast, manifold, surprising world in its own, of which very little is known outside the South-east Asian region. Beat Presser, Swiss-born photographer, travelled the Indonesian archipelago in 2012 and 2014. He went from place to place, from island to island, from adventure to adventure on all sorts of maritime vessels. He took photographs and notes and talked to the local people. He taught them the English language and discussed the topic of football with them. He encountered fellow travellers from China, and Australian oil explorers, and went diving with coast guard officers. From a wealth of experiences and memoirs of his journeys around this vast, astonishing country, Beat Presser has made this unique book that brings together his striking photographs and personal writings with short stories and poems by local authors.

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Light Scripture collects three photo essays by Swiss photographer Andreas Greber. Created over the course of two decades, Greber's photographs show simple scenes, such as fragments of a wall, translucent portraits, and wooded landscapes. Yet they are enigmatic and unsettling in that, while visible, their subjects escape the determination of shadow and light. For Greber, this is the essence of photography: inscribing with light. Presented in a dual English-German edition, Light Scripture brings together thirty-three of Greber's photographs in a beautiful, large-format book. It takes readers through the artist's process in the creation of the series, which explores the aesthetics and properties of photography with a special focus on how recent shifts in photography during the digital age call for a re-evaluation of its classic analogue variety. Greber's photographs are complemented by an essay by art critic Konrad Tobler. Text in English and German.

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Swiss painter Robert Zund (1827-1909), also known in Switzerland as 'Master of the Beech Leaf', is revered for his light-flooded paintings of bucolic landscapes. Swiss photographer Tobias Madorin, born 1965, has gained international recognition for his tableau-like images that document the interaction between the inhabitants and their surrounding environment. This new book, published to coincide with an exhibition at Kunstmuseum Luzern in summer 2017, features work by both artists. Rather than merely enjoying the beauty of the sun-lit paradise Zund depicts in his precise manner, the book invites us to look more closely. For this purpose, Zund's paintings are juxtaposed with Madorin's photographs of the same views, captured today with an analogue large format camera. Thanks to the slowness of the procedure and the wealth of detail achieved in working with such an apparatus, Madorin's photographs boast an intensity comparable to that of Zund's paintings in terms of precision of the gaze. Observation, the gaze, and the aptitude to see is the real topic of this exhibition and accompanying book.

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Esther Eppstein is an artist and art educator and a pivotal figure in Switzerland's cultural life. 1996-2013 she ran her message salon in Zurich, a space for experimental art that soon became a legend and an institution. It was located in various buildings, all of them bound for demolition, and 1998/99 also in an old caravan. The caravan was later purchased by the Migros Museum of Contemporary Art in Zurich for its permanent collection. Throughout its seventeen years, message salon was a cultural beehive humming with artists and art lovers. This new book is a review of the message salon's entire existence and a gallery of people making it what it was: young artists, whom Eppstein offered a first chance to present themselves, the more established ones who could re-invent themselves in this laboratory, and also the public and celebrities who came to admire, experience, and to see and be seen. Richly illustrated with some 800 photographs, Esther Eppstein - message salon is also an homage to an extraordinary personality. The essays tell the story and reflect on the significance of this unique social sculpture.

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When does a war begin and when does it really end? Every war leaves traces, scars in the landscape, and people's resultingtraumas are passed from one generation to the next. Post-war times can also become the years before a war.Over ten years, Swiss photographer Meinrad Schade has recorded the precarious life oscillating between war and peace in parts of Russia, Chechnya and Ingushetia, in Kazakhstan, the Armenian Nagorno-Karabakh region, and in Ukraine. His portraits, still lifes, interiors, street scenes, and landscapes introduce the viewer to remote places and preliminary events. Schade's images show the long-term effects of old conflicts on people. This new book features a selection of some 160 images from Schade's "War Without War project". The essays tell the history of the countries and their conflicts, look at the decline and struggle for resurrection of the Soviet empire, and reflect on chances and restrictions of documentary photography.

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"On Common Ground" is a photographic history of spatial development in post-war Switzerland illustrated through 250 images with complementing essays. The development of settlements is documented by the idealised examples of Schlieren, which grew from an agricultural village to an industrial town and eventually to a cluster of service firms and residential suburbs of Zurich, and the Upper Engadine, the world famous mountain resort around St. Moritz in the Canton of Grisons. The authors have put together a vast collection of photographs found in archives of all sorts: local government offices, building companies, local and national newspapers, publishers of postcards, cultural heritage societies and amateur photographers. Such images have rarely been collected and analysed systematically. "On Common Ground" presents these pictures in a double-track, chronological sequence: the top part of each page shows Schlieren, the Upper Engadine takes the bottom half. The concept reveals manifold references, discrepancies and parallels between the two places. It makes traceable the passing of time and all the changes it imposes at times synchronically, in some periods at a different pace in each place. Some developments unfold at great speed in one place and stemmed in the other. Text in English and German.

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Roger Eberhard, Swiss-born and American-educated photographer, conceives his works as series, taking-up impulses and inspirations for new projects from any possible source, such as a story he learns about or media reports catching his attention. He is particularly fascinated by people in the landscape, or rather the absence of mankind from a place leaving it again to nature and weather. But he has also done series of portraits of people in their given environment. Some series he has created in collaboration with other artists. In late 2008 Eberhard set out for a campaign searching for the visually lyrical backstage of the United States. His road-trip stared in Reno, Nevada, and led him through the states of Montana, North and South Dakota, Nebraska and Wyoming to Denver, Colorado. From there he continued his journey to Kansas, Oklahoma, Texas, New Mexico, and finally across Arizona back to Nevada. The resulting series 'Wilted Country' is published for the first time in this book. The resulting, highly atmospheric photographs show the enduring impact humans have on their landscape and simultaneously offer an evocative tour through the past and present of the American West. The images are accompanied by essays by Anthony Bannon, director of George Eastman House International Museum of Photography and Film in Rochester, NY, and by the young German novelist Benedict Wells.

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Credit Suisse, one of the two major international banks in Switzerland, has been putting together a corporate collection of Swiss contemporary art since 1975. The bank aims in particular to acquire representative groups of works by individual artists. The collection currently comprises around 5000 items. It also includes art-in-architecture objects that have been created for designated locations and buildings. The artists represented in the collection include internationally recognised names such as John Armleder, Balthasar Burkhard, Yves Netzhammer and Monica Studer/Christoph van den Berg. Credit Suisse Collection documents this unique collection for the first time. Twenty objects for designated locations and groups of works by 30 artists are presented comprehensively. Essays on specific aspects of the collection and a complete illustrated catalogue complete the book. As a particular conceptual feature of the book, the art works are shown in their normal presentation in the bank's offices rather than being highlighted in a neutral museum context. This represents interesting contrasts and relations between architecture and art. Contains essays by Maria Becker, Barbara Hatebur, Giulia Passalacqua, Magdalena Plüss and Andre Rogger. With a preface by Hans-Ulrich Doerig. Text in English & German. AUTHOR: Andre Rogger is head of Credit Suisse s art unit and lecturer in the history of art at Lucerne University of Applied Sciences and Arts. Barbara Hatebur is a research assistant with Credit Suisse s art unit. SELLING POINTS: . Presents a leading collection of contemporary Swiss art . Features work by fifty important Swiss artists 405 colour, 256 b/w illustrations

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