Max Von Moos the Draughtsman
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Hans Ulrich Obrist a Brief History of Curating
Hans Ulrich Obrist A Brief History of Curating JRP | RINGIER & LES PRESSES DU REEL 2 To the memory of Anne d’Harnoncourt, Walter Hopps, Pontus Hultén, Jean Leering, Franz Meyer, and Harald Szeemann 3 Christophe Cherix When Hans Ulrich Obrist asked the former director of the Philadelphia Museum of Art, Anne d’Harnoncourt, what advice she would give to a young curator entering the world of today’s more popular but less experimental museums, in her response she recalled with admiration Gilbert & George’s famous ode to art: “I think my advice would probably not change very much; it is to look and look and look, and then to look again, because nothing replaces looking … I am not being in Duchamp’s words ‘only retinal,’ I don’t mean that. I mean to be with art—I always thought that was a wonderful phrase of Gilbert & George’s, ‘to be with art is all we ask.’” How can one be fully with art? In other words, can art be experienced directly in a society that has produced so much discourse and built so many structures to guide the spectator? Gilbert & George’s answer is to consider art as a deity: “Oh Art where did you come from, who mothered such a strange being. For what kind of people are you: are you for the feeble-of-mind, are you for the poor-at-heart, art for those with no soul. Are you a branch of nature’s fantastic network or are you an invention of some ambitious man? Do you come from a long line of arts? For every artist is born in the usual way and we have never seen a young artist. -
Alberto Giacometti and the Crisis of the Monument, 1935–45 A
UNIVERSITY OF CALIFORNIA Los Angeles Hollow Man: Alberto Giacometti and the Crisis of the Monument, 1935–45 A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Art History by Joanna Marie Fiduccia 2017 Ó Copyright by Joanna Marie Fiduccia 2017 ABSTRACT OF THE DISSERTATION Hollow Man: Alberto Giacometti and the Crisis of the Monument, 1935–45 by Joanna Marie Fiduccia Doctor of Philosophy in Art History University of California, Los Angeles, 2017 Professor George Thomas Baker, Chair This dissertation presents the first extended analysis of Alberto Giacometti’s sculpture between 1935 and 1945. In 1935, Giacometti renounced his abstract Surrealist objects and began producing portrait busts and miniature figures, many no larger than an almond. Although they are conventionally dismissed as symptoms of a personal crisis, these works unfold a series of significant interventions into the conventions of figurative sculpture whose consequences persisted in Giacometti’s iconic postwar work. Those interventions — disrupting the harmonious relationship of surface to interior, the stable scale relations between the work and its viewer, and the unity and integrity of the sculptural body — developed from Giacometti’s Surrealist experiments in which the production of a form paradoxically entailed its aggressive unmaking. By thus bridging Giacometti’s pre- and postwar oeuvres, this decade-long interval merges two ii distinct accounts of twentieth-century sculpture, each of which claims its own version of Giacometti: a Surrealist artist probing sculpture’s ambivalent relationship to the everyday object, and an Existentialist sculptor invested in phenomenological experience. This project theorizes Giacometti’s artistic crisis as the collision of these two models, concentrated in his modest portrait busts and tiny figures. -
Schweizerische Kunstausstellung Basel 1956
1 A 1 Schweizerische 7815 Kunstausstellung Basel 1956 H Bazaine-Bertholle-Bissière- Eble Abstrakte Maler Estève-Hartung-Lanskoy- Loutre Manessier-Le Moal-Nallard Reichel-Singier-Vieira da Silva Spiller-de Staël Ausstellung Juni, Juli Maîtres de l'art moderne Delacroix-Renoir-van Gogh Cézanne -Braque-Rouault Picasso etc. Ausstellung August, September, Oktober Illustrierte Kataloge Galerie Beyeler Basel/Bäumleingasse 9 täglich (sonntags nur 10-12 Uhr) ETHICS SIK Telephon 222558 02000001352510 Schweizerische Kunstausstellung Basel 1956 A/\ r- vf Schweizerisches Institut WlU . W für Kunstwissenschaft Zürich Schweizer Mustermesse, Halle 8, «Baslerhalle» 2. Juni bis 15. Juli 1956 (ö ö ~t s \~2-~ Dauer der Ausstellung 2. Juni bis 15. Juli 1956 Besuchszeiten Täglich 10-12 und 14-17 Uhr Sonntags durchgehend von 10-17 Uhr Eintrittspreise Einmaliger Eintritt (inkl. Billettsteuer) Fr. 1.50 Schüler und Studenten Fr.I.¬ Schüler in geführten Gruppen Fr.-.50 Tageskarte Fr. 2.50 Illustrierter Katalog Fr. 2.50 Verkäufe Alle Verkäufe haben durch Vermittlung der Kasse zu erfolgen. Fürdie ausdem Ausland eingesandten Werke hat der Käufer den Zoll zu tragen. Die Abgabe der gekauften Werke erfolgt nach Schluß der Ausstellung. Prof. Dr. Max Huggler, Bern, Präsident Walter Bodmer, Basel Serge Brignoni, Bern Charles Chinet, Rolle Charles-François Philippe, Genf Hans Stocker, Basel Frau Janebé, Boudry Frau Elsa Burckhardt-Blum, Küsnacht, Ersatz Max von Mühlenen, Bern, Ersatz Rudolf Zender, Winterthur, Ersatz Werner Bär, Zürich, Präsident Bruno Giacometti, Zürich Otto Charles Bänninger, Zürich Hermann Hubacher, Zürich Remo Rossi, Locarno Max Weber, Genf Fräulein Hildi Hess, Zürich Paul Baud, Genf, Ersatz Casimir Reymond, Lutry, Ersatz Fräulein Hedwig Frei, Basel, Ersatz Architektonische Gestaltung E. -
"Un Moderno Edificio Amministrativo" : Il Nuovo Complesso Architettonico Adibito a Uffici Dello Stato a Bellinzona
"Un moderno edificio amministrativo" : il nuovo complesso architettonico adibito a Uffici dello Stato a Bellinzona Autor(en): Cavadini, Nicoletta Ossanna Objekttyp: Article Zeitschrift: Kunst + Architektur in der Schweiz = Art + architecture en Suisse = Arte + architettura in Svizzera Band (Jahr): 58 (2007) Heft 1: Im Büro = Au bureau = In ufficio PDF erstellt am: 10.10.2021 Persistenter Link: http://doi.org/10.5169/seals-394356 Nutzungsbedingungen Die ETH-Bibliothek ist Anbieterin der digitalisierten Zeitschriften. Sie besitzt keine Urheberrechte an den Inhalten der Zeitschriften. Die Rechte liegen in der Regel bei den Herausgebern. Die auf der Plattform e-periodica veröffentlichten Dokumente stehen für nicht-kommerzielle Zwecke in Lehre und Forschung sowie für die private Nutzung frei zur Verfügung. Einzelne Dateien oder Ausdrucke aus diesem Angebot können zusammen mit diesen Nutzungsbedingungen und den korrekten Herkunftsbezeichnungen weitergegeben werden. Das Veröffentlichen von Bildern in Print- und Online-Publikationen ist nur mit vorheriger Genehmigung der Rechteinhaber erlaubt. Die systematische Speicherung von Teilen des elektronischen Angebots auf anderen Servern bedarf ebenfalls des schriftlichen Einverständnisses der Rechteinhaber. Haftungsausschluss Alle Angaben erfolgen ohne Gewähr für Vollständigkeit oder Richtigkeit. Es wird keine Haftung übernommen für Schäden durch die Verwendung von Informationen aus diesem Online-Angebot oder durch das Fehlen von Informationen. Dies gilt auch für Inhalte Dritter, die über dieses Angebot -
JUN 2 7 2013 JUNE 2013 LIBRAR ES 02013 Mariel A
Life behind ruins: Constructing documenta by Mariel A. Viller6 B.A. Architecture Barnard College, 2008 SUBMITTED TO THE DEPARTMENT OF ARCHITECTURE IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF ARCHVES MASTER OF SCIENCE IN ARCHITECTURE STUDIES MASSACHUSETTS INSTTE AT THE OF TECHNOLOGY MASSACHUSETTS INSTITUTE OF TECHNOLOGY JUN 2 7 2013 JUNE 2013 LIBRAR ES 02013 Mariel A. Viller6. All rights reserved. The author hereby grants MIT permission to reproduce and distribute publicly paper and electronic copies of this thesis document in whole or in part in any medium now known or hereafter created. Signature of Author: Department of Architecture May 23,2013 Certified by: Mark Jarzombek, Professor of the Histo4y 7eory and Criticism of Architecture Accepted by: Takehiko Nagakura, Chair of the Department Committee on Graduate Students 1 Committee Mark Jarzombek,'Ihesis Supervisor Professor of the History, Theory and Criticism of Architecture Caroline Jones, Reader Professor of the History of Art 2 Life behind ruins: Constructing documenta by Mariel A. Viller6 B.A. Architecture Barnard College, 2008 Submitted to the Department of Architecture on May 23,2013 in Partial Fulfillment of the Requirements for the Degree of Master of Science in Architecture Studies Abstract A transnational index of contemporary art, documenta in its current form is known in the art world for its scale, site-specificity and rotating Artistic Directors, each with their own theme and agenda. On a unique schedule, the expansive show is displayed in Kassel, Germany from June to September every five years. The origins of the exhibition-event are embedded in the postwar reconstruction of West Germany and a regenerative national Garden Show. -
Surrealism Switzerland
Museo d’arte della Svizzera italiana Surrealism Switzerland Lugano +41(0)91 815 7971 10 February – 16 June 2019 [email protected] www.masilugano.ch Museo d’arte della Svizzera italiana, Lugano, at LAC Lugano Arte e Cultura Curated by Peter Fischer, art historian and independent curator and Julia Schallberger, assistant curator at Aargauer Kunsthaus Coordination and staging at MASI Lugano by Tobia Bezzola, director and Francesca Benini, assistant curator Press conference: Friday 8 February at 11:00 am Opening: Saturday 9 February at 6:00 pm Press release Lugano, Friday 8 February 2019 From 10 February to 16 June 2019, the Museo d’arte della Svizzera italiana presents a great retrospective regarding Swiss Surrealism, organised in cooperation with the Aargauer Kunsthaus. The exhibition, titled Surrealism Switzerland , investigates both the influence the movement had on Swiss art and the contribution of Swiss artists in defining it. These artists include Hans Arp, Alberto Giacometti, Paul Klee and Meret Oppenheim. Starting from the question “Does Swiss Surrealism actually exist?” the Museo d’arte della Svizzera italiana (MASI) and the Aargauer Kunsthaus thoroughly examine the issue of Surrealism in Switzerland, which is an important part of the art history of this Country. The two museums present a new great retrospective in two different settings. The first, in Aarau from 1 September 2018 to 2 January 2019, focused not only on historical Surrealism, but also on its influence on contemporary art. The second one, setting at MASI from 10 February to 16 June 2019, deals exclusively with the historical expressions of Surrealism until the end of the 1950s, and is curated by museum director Tobia Bezzola in cooperation with Francesca Bernini, assistant curator at MASI. -
Surrealism Switzerland
Museo d’arte della Svizzera italiana Surrealism Switzerland Lugano +41(0)91 815 7971 10 February – 16 June 2019 [email protected] www.masilugano.ch Museo d’arte della Svizzera italiana, Lugano, at LAC Lugano Arte e Cultura Curated by Peter Fischer, art historian and independent curator and Julia Schallberger, assistant curator at Aargauer Kunsthaus Coordination and staging at MASI Lugano by Tobia Bezzola, director and Francesca Benini, assistant curator Press conference: Friday 8 February at 11:00 am Opening: Saturday 9 February at 6:00 pm Press release Lugano, Friday 8 February 2019 From 10 February to 16 June 2019, the Museo d’arte della Svizzera italiana presents a great retrospective regarding Swiss Surrealism, organised in cooperation with the Aargauer Kunsthaus. The exhibition, titled Surrealism Switzerland , investigates both the influence the movement had on Swiss art and the contribution of Swiss artists in defining it. These artists include Hans Arp, Alberto Giacometti, Paul Klee and Meret Oppenheim. Starting from the question “Does Swiss Surrealism actually exist?” the Museo d’arte della Svizzera italiana (MASI) and the Aargauer Kunsthaus thoroughly examine the issue of Surrealism in Switzerland, which is an important part of the art history of this Country. The two museums present a new great retrospective in two different settings. The first, in Aarau from 1 September 2018 to 2 January 2019, focused not only on historical Surrealism, but also on its influence on contemporary art. The second one, setting at MASI from 10 February to 16 June 2019, deals exclusively with the historical expressions of Surrealism until the end of the 1950s, and is curated by museum director Tobia Bezzola in cooperation with Francesca Bernini, assistant curator at MASI. -
Finden Sie Eine Auswahl Unserer Werke
Art Basel June 14–17 2018 Galerie Carzaniga Basel 1 Sam Francis Philipp Bauknecht 192 3-1994 Julius Bissier Walter Bodmer Serge Brignoni Samuel Buri Paul Camenisch Sam Francis Charles Hindenlang Rolf Iseli Ernst Ludwig Kirchner Lenz Klotz Christopher Lehmpfuhl Wilfrid Moser Flavio Paolucci Gianriccardo Piccoli Marcel Schaffner Hermann Scherer Lorenz Spring Albert Steiner Untitled SF75-622 , 1 975 Niklaus Stoecklin Acryl auf Papier, 54,8 x 44,2 cm Mark Tobey Umschlag Albert Müller (1897 -1 926) Varlin Grosse Berglandschaft (Davoser Landschaft) , 1 925 Walter Kurt Wiemken Oel auf Leinwand , 110 x 100 cm 2 3 Julius Bissier 1893 -1965 22. Sept. 60 , 1 960 Eioeltempera auf selbstgrundierter Baumwolle , 1 7x26 cm 4 5 Julius Bissier Julius Bissier 1893 -1965 1893 -1965 11.1 .63 , 1 963 28 .Jan.65 , 1 965 Tusche auf Papier, 38,4 x 52,3 cm Eioeltempera auf selbstgrundierter Baumwolle, 20,4 x27,9 cm 6 7 Walter Bodmer Walter Bodmer 1903 -197 3 1903 -197 3 Verstiegen , 1 946 Metallrelief mit Glas, o. J. Oel auf Leinwand, 80 x100,5 cm Eisen, Glas, 44 x 65 x 1 cm 8 9 Serge Brignoni Paul Camenisch 1903-2002 189 3-1 970 Vorderseite: Figuren , 1 948 Rückseite: Teichlandschaft mit Haus Bruderholz II , 1 936 Oel auf Leinwand, 44 x 52,5 cm Oel auf Leinwand, 95 x 81 cm 10 11 Samuel Buri Samuel Buri 1935 1935 Saitenstück, 2 01 7 Tondo , 1 95 8/ 59 Oel auf Leinwand , 113,5 x 63,5 cm Oel auf Pavatex, 57 cm Durchmesser 12 13 Samuel Buri Samuel Buri 1935 1935 Hüttlenen, 2 01 7 Hüttlenen, 2 01 7 Aquarell, zweiteilig, je 36 x 57 cm Oel auf Leinwand, zweiteilig , -
Les Yeux Enchantes
Zeichnungen & Druckgraphik Les Yeux enchantes des Surrealismus Anita Haldemann Kunstmuseum Basel, Kupferstichkabinett KERBER ART INHALT Dank Les Yeux enchantes Zeichnungen und Druckgraphik des Suriealismus Katalogteil OTTO ABT 22 HANS ARP 28 SERGE BRIGNONI 38 MAX ERNST 46 ALBERTO GIACOMETTI 60 PAUL KLEE 70 ANDRE MASSON 74 JOAN MIRO 78 MERET OPPENHEIM 86 FRANCIS PICABIA 90 PABLO PICASSO 98 MAN RAY 104 KURT SELIGMANN 106 YVES TANGUY 112 OTTO TSCHUMI 118 WALTER KURT WIEMKEN 124 Bibhografie 134 Abkürzungen und Kommentar 150 Impressum 152 Diese Publikation erscheint anlasslich der Ausstellung Les Yeuxenchantes Zeichnungen undDruckgiaphik des Surrealismus Kunstmuseum Basel, Kupferstichkabinett 27. September 2008 bis 18. Januar 2009 Duektor Bernhard MendesBurgi / Leitu desKupfeistichkabinetts Christian Muller / Ausstellung und Katalog Anita Haldemann / Wissenschaftliche Assistenz Gudula Metze / Restauiatoi innen Chantal Schwendener, Caroline Wyss /Foroguf Martin P Buhlei / Fotoaichi\ und Sckietuiat Christine Ram- seyer / Rcgistiare Charlotte Gutzwiller, Margareta Leuthardt / Offcntlichkeitsaibeit Christian Selz / Einrahmung und Ausstellungsaufbau Claude Bosch, Daniela Erni, Urs Nachbur, Stefano Schaller Kunstmuseum Basel St Alban-Giabeni6 CH -4010 Basel Tel +41(0)612066262 Fax +41(0)61206 62 52 www kunstmuseumbasel ch Lcktoiat Katrin Günther, Kathleen Herfurth - Kerber Veilag, Leipzig / Gestaltung Susanne Bax, Berlin GesamthciStellung und Vcrtneb Keiber Verlag WindelsbleicherStr 166-170 D- 3365-9 Bielefeld Tel +49 (0)? 21/9 50 08-10 Fax +49 -
Selected Bibliography
Selected bibliography 1. Publications by Harald Szeemann (ed.), Fred Stauffer: Werke von i%2 bis 1962, cat 1.1. Catalogues alogue, Bern: Kunsthalle Bern, 1962. 1.2. Monographs (ed.), Harry Kramer: Automobile Skulpturen, 1.3. Articles Marionetten, Filme, catalogue, Biel: Stadtische Gale rie Biel, 1962. 2. Publications with and about Harald Szeemann (ed.), Lenz Klotz, Friedrich Kuhn, Bruno Miiller, 2.1. Monographs Matias Spescha, catalogue, Bern: Kunsthalle Bern, 2.2. Interviews, Articles, Portraits 1962. — (ed.), Puppen - Marionetten - Schattenspiel (Asiatica und Experimente), catalogue, Bern: Kunst halle Bern, 1962. I. Publications by Harald Szeemann 1963 — (ed.), Alan Davie, catalogue, Bern: Kunsthalle I.I. Catalogues by HSz (Only catalogues with contri Bern, 1963. butions by Harald Szeemann are listed here. For (ed.), Auguste Herbin (1882-1960), catalogue, other catalogues in the context of the exhibtions Bern: Kunsthalle Bern, 1963. curated by Harald Szeemann see: "Catalogue of — (ed.), Bildnerei der Geisteskranken - Art Brut - all Exhibitions," p. 27 ff.) Insania pingens, catalogue, Bern: Kunsthalle Bern 1963. 1957 — (ed.), Etienne-Martin, catalogue, Bern: Kunst Harald Szeemann (ed.), Hugo Ball, leaflet, Bern, 1957. halle Bern, 1963. 1961 — ied.), Piotr Kowalski, catalogue, Bern: Kunsthalle {e&.),BurU Giirtler, Iselt Luginbiihl, Meister, Spe- Bern, 1963. scha, Schaffner, catalogue, Biel: Stadtische Galerie — (ed.), Victor Pasmore / David Scott, catalogue, Biel, 1961. Bern: Kunsthalle Bern, 1963. ied,), Hans Aeschbacher, catalogue, Bern: Kunst- 1964 halle Bern, 1961. — (ed.), Anselmo Boix-Vives, catalogue, Bern: Kunst — (ed.), OttoTschumi, catalogue, Bern: Kunsthalle halle Bern 1964. Bern, 1961. — (ed.), Ex Voto, catalogue, Bern: Kunsthalle Bern, — (ed.), Prdhistorische Felsbilder der Sahara: Expe 1964. dition Henri Lhote im Gebiet Tassili-n-Ajjen cata — {ed.), Ferdinand Hodler: Pay sage de 1904 a 1918, logue, Bern: Kunsthalle Bern, 1961. -
Schweizerische Kunstausstellung Basel 1956
1 A 1 Schweizerische 7815 Kunstausstellung Basel 1956 H Bazaine-Bertholle-Bissière- Eble Abstrakte Maler Estève-Hartung-Lanskoy- Loutre Manessier-Le Moal-Nallard Reichel-Singier-Vieira da Silva Spiller-de Staël Ausstellung Juni, Juli Maîtres de l'art moderne Delacroix-Renoir-van Gogh Cézanne -Braque-Rouault Picasso etc. Ausstellung August, September, Oktober Illustrierte Kataloge Galerie Beyeler Basel/Bäumleingasse 9 täglich (sonntags nur 10-12 Uhr) ETHICS SIK Telephon 222558 02000001352510 Schweizerische Kunstausstellung Basel 1956 A/\ r- vf Schweizerisches Institut WlU . W für Kunstwissenschaft Zürich Schweizer Mustermesse, Halle 8, «Baslerhalle» 2. Juni bis 15. Juli 1956 (ö ö ~t s \~2-~ Dauer der Ausstellung 2. Juni bis 15. Juli 1956 Besuchszeiten Täglich 10-12 und 14-17 Uhr Sonntags durchgehend von 10-17 Uhr Eintrittspreise Einmaliger Eintritt (inkl. Billettsteuer) Fr. 1.50 Schüler und Studenten Fr.I.¬ Schüler in geführten Gruppen Fr.-.50 Tageskarte Fr. 2.50 Illustrierter Katalog Fr. 2.50 Verkäufe Alle Verkäufe haben durch Vermittlung der Kasse zu erfolgen. Fürdie ausdem Ausland eingesandten Werke hat der Käufer den Zoll zu tragen. Die Abgabe der gekauften Werke erfolgt nach Schluß der Ausstellung. Prof. Dr. Max Huggler, Bern, Präsident Walter Bodmer, Basel Serge Brignoni, Bern Charles Chinet, Rolle Charles-François Philippe, Genf Hans Stocker, Basel Frau Janebé, Boudry Frau Elsa Burckhardt-Blum, Küsnacht, Ersatz Max von Mühlenen, Bern, Ersatz Rudolf Zender, Winterthur, Ersatz Werner Bär, Zürich, Präsident Bruno Giacometti, Zürich Otto Charles Bänninger, Zürich Hermann Hubacher, Zürich Remo Rossi, Locarno Max Weber, Genf Fräulein Hildi Hess, Zürich Paul Baud, Genf, Ersatz Casimir Reymond, Lutry, Ersatz Fräulein Hedwig Frei, Basel, Ersatz Architektonische Gestaltung E. -
Brochure Kunsthaus Zug. English Version Without Pictures (PDF)
Kunsthaus Zug New Horizons – Within Reach “You enter with expectations and leave with memories.” Olafur Eliasson, artist, Berlin and Copenhagen – 4 – Editorial – 6 – New Horizons – Within Reach – 10 – Treasure Trove and Laboratory – 22 – Inside and Out – 30 – A Place for Conversations – 36 – Moving Museum – 42 – A New Kunsthaus for Zug – 48 – Press Comments – 52 – Imprint – Page 4 – With this brochure, we want to introduce you to some of the many facets of Kunsthaus Zug. Did you Editorial know that the Kunsthaus has the most comprehensive collection of Viennese Modernism anywhere in Europe, outside of Austria? This treasure includes a collection of impressive landscape paintings by Gus- tav Klimt and Egon Schiele, unequalled in any museum anywhere in the world. Or have you already dis- covered one of Paul Klee’s most beautiful watercolors from Tunis, Oskar Schlemmer’s only self-portrait, or Kurt Schwitters’ famous collage – true gems of our collection? At the Kunsthaus, you can also discover surprising pieces by “lesser-known” Swiss artists of the 20th century, such as Trudi Demut, Friedrich Kuhn, or Karl Friedrich Schobinger. Finally, the collection includes works by Guido Baselgia, Josef Her- zog, Eugen Hotz, Hans Potthof, Annelies Štrba, and other artists from the Zug region. In addition to a treasure trove, Kunsthaus Zug is a laboratory for contemporary art. Interna- tional artists such as Olafur Eliasson, Roman Signer, and Richard Tuttle experiment with site specific art in Zug. Have you examined Tadashi Kawamata’s wood interventions on Landsgemeindeplatz, or at the Strandbad, our public beach? Have you immersed yourself in James Turrell’s colored light at the train station? Maybe you have seen the Kunsthaus Zug mobile, our “museum on wheels,” as it criss- crosses the Canton of Zug or on the Gotthard Pass? There is hardly another museum that is so actively engaged in the public space, with the aim of communicating art to a wide segment of the population.