India INHALT · CONTENTS · indice

1 St. Moritz welcomes India 28 Jitish Kallat & Julian Schnabel 2 Willkommen · Welcome · Benvenuto 30 Smriti Dixit Reiner Opoku 31 Francesco Clemente 4 Programm 2014 32 Interview with Francesco Clemente 6 Mercedes-Benz Art Lounge 34 Matthias Brunner 7 Artist Talk 35 Filmprogramm Kino Scala St. Moritz 8 Walk of Art Tours 36 Montblanc Art Bags 10 Leica Camera Exhibition - Craig Semetko Sylvie Fleury, Gary Hume, David Lachapelle, Huang Min 11 Photo Workshop Kids Day 37 St. Moritz Art Masters Foundation 12 Contemporary Art from India 39 Curtis Anderson 14 Nalini Malani 40 Christoph Steinmeyer 15 Subodh Gupta 41 Leiko Ikemura 16 India, Maximum City 42 Billy Childish Pablo Bartholomew, Amshu Chukki, 44 The Bilderberg Collection Pratul Dash, Ranbir Kaleka, Reena Saini Kallat, Manish Nai, 47 Didier Hagège Gigi Scaria, Mithu Sen, 48 Lori Hersberger Sooni Taraporevala, Hema Upadhyay 49 Philipp Keel 18 Interview with Nalini Malani 50 Art Public Engadin 20 Shilpa Gupta 54 Appenzeller & Schmidlin 21 Manish Nai Ophelia Finke & Charlie Billingham 22 Stellar International Art Foundation 55 Amshu Chukki Maqbool Fida Husain, Mixed Four Paresh Maity, Jayasri Burman 57 Kultur Im Engadin · Culture Engadin 24 R. Burman Cultura Engiadina 25 Jayasri Burman 62 Fondazione Lineapiù Italia 27 Paresh Maity 64 Friend of St. Moritz Art Masters Donor of St. Moritz Art Masters Foundation Impressum

ST. MORITZ ART MASTERS · T +41 81 833 1028 · www.stmoritzartmasters.com iPhone App S t. Moritz Art Masters 2014 St. Moritz welcomes India Liebe Kunstliebhaber, liebe Freunde Dear art lovers and friends of the Cari amanti dell’arte, cari amici des Engadins und des St. Moritz Art Engadine and of the St. Moritz Art dell’Engadina e di St. Moritz Art Masters Denken wir an Indien, den- Masters If we think of India, we think Masters, se pensiamo all’India, dob- ken wir an ein Land voller Kontraste. of a country full of contrasts. A huge biamo pensare a una terra ricca di con- Ein riesiges Land, das sich in seiner ge- country that can not easily be grasped trasti. Un Paese enorme, difficile da sellschaftlichen Vielschichtigkeit nicht in its social complexity. This summer, inquadrare nella sua complessità socia- leicht erfassen lässt. Das Kunst- und the art and culture festival St. Moritz le. Quest’estate il Festival artistico e Kulturfestival St. Moritz Art Masters Art Masters provides a special insight culturale St. Moritz Art Masters ci re- wird uns diesen Sommer einen beson- into India: the contemporary Indian art galerà uno scorcio dell’India davvero deren Einblick von Indien vermitteln: scene with its many facets, as well as singolare: l’arte indiana contempora- die zeitgenössische indische Kunst mit national and regional artists who were nea, con le sue tante sfaccettature, ma ihren vielen Facetten sowie auch nati- inspired by India. The diverse program anche vari artisti nazionali e locali che onale und regionale Künstler, welche invites you to visit the so-called WALK nell’India hanno trovato fonte d’ispira- sich von Indien inspirieren liessen. Das OF ART in various places between Sils zione. Il variegato programma invita a vielfältige Programm lädt ein, den so- and S-chanf, and, besides the art, to visitare il cosiddetto WALK OF ART, genannten WALK OF ART an den ver- explore our unique and inspiring nelle sue disparate locations dislocate schiedensten Plätzen zwischen Sils landscape and nature. tra Sils e S-chanf, e a esplorare oltre ai und S-chanf zu besuchen und neben siti artistici anche i nostri singolari e der Kunst auch unsere einzigartige und The St. Moritz municipality, the St. Moritz suggestivi paesaggi naturali. inspirierende Landschaft und Natur zu Tourist Board and the Engadin St. Moritz erkunden. Tourist Organization support this first- Il comune e l’ente di soggiorno di class event, which unites art and cul- St. Moritz, così come l’organizzazione Die Gemeinde und der Kurverein ture. We are very pleased to welcome turistica Engadin St. Moritz, sostengo- St. Moritz sowie die Tourismusorgani- you to this year’s art and cultural festival no questa manifestazione di altissimo sation Engadin St. Moritz unterstützen St. Moritz Art Masters. livello, che combina arte e cultura. diesen hochkarätigen Anlass, der Kunst Siamo lieti di invitarLa all’edizione del und Kultur vereint. Es freut uns sehr, 2014 del Festival artistico e culturale Sie zum diesjährigen Kunst- und Kul- St. Moritz Art Masters. turfestival St. Moritz Art Masters zu begrüssen.

Sigi Asprion, Mayor of St. Moritz Ariane Ehrat, CEO Engadin St. Moritz Tourist Organization Richard Dillier, President St. Moritz Tourist Board

Hubert Kiecol · „Reise nach …“ 1 St. Moritz © SAM 2013 · Walk of Art · 18 Willkommen

Liebe Freunde der Kunst und des Enga- internationalen Kunstsammlungen wie der complete cultural experience in the midst of dins, ich begrüsse Sie sehr herzlich zu dem Burger-Collection, die einen Schwerpunkt the Engadin’s unparalleled nature. inzwischen 7. Jahr des St. Moritz Art Masters in der zeitgenössischen indischen Kunst Looking back at the exhibitions and realized Festivals in St. Moritz und des Engadins. hat, oder der Stellar International Art Foun- projects of recent years, an extensive and Der Charme des Festivals definiert sich vor dation, die uns einen Blick in die klassische complex picture is unfolding that we aim to allem über seine Vielseitigkeit: die zahlrei- Moderne Indiens ermöglicht, soll die Mög- extend again this year. The presence of chen Ausstellungen, vertiefende Künstler- lichkeit geben, das grosse Spektrum der zeit- many international artists and the realization gespräche und begleitende Workshops genössischen Kunst und Kultur zu erfassen. of numerous projects that have been pre- generieren inmitten der beispiellosen Natur Wir hoffen, dass Sie diese Vielfalt inspiriert viously presented in the Engadin have des Engadins ein kulturelles Gesamter- und freuen uns auf ein intensives und er- changed the valley and turned its summer lebnis. folgreiches St. Moritz Art Masters 2014! into a summer of art and culture. The con- Bei einem Blick zurück auf die Ausstellun- centration of internationally active galleries, gen und realisierten Projekte der vergange- Herzlich, ihr Reiner Opoku collectors and art-lovers is continuously in- nen Jahre zeichnet sich ein umfangreiches creasing and confirms this region’s great und vielschichtiges Bild, an das wir in die- potential. In this way, the cultural impor- sem Jahr wieder anknüpfen. Die Präsenz tance of the Engadin has clearly gained zahlreicher internationaler Künstler sowie presence in recent years. die Realisierung unzähliger Projekte, die Once again this year, our program provides a bisher im Engadin präsentiert wurden, ha- comprehensive view of current contempo- ben das Tal verändert und den Sommer zu rary art. For the third time, we realize a focus einem Sommer der Kunst und der Kultur Welcome on a specific country: after Brazil and China, gemacht. Die Dichte von international agie- this year we look at art from India. We are renden Galerien, Sammlern und Kunsten- Dear Friends of art and of the Engadin, pleased that we were able to work with India gagierten erhöht sich kontinuierlich und we would like to extend a warm welcome to connoisseur Birgid Uccia, film specialist bestätigt das grosse Potential der Region. the visitors of the seventh St. Moritz Art Matthias Brunner and artist Christoph Somit hat die kulturelle Wichtigkeit des En- Masters Festival in St. Moritz and the Enga- Steinmeyer as curators of our exhibitions. gadins in den letzten Jahren deutlich an din. The charm of the festival is primarily Matthias Brunner has additionally curated an Präsenz gewonnen. defined by its versatility: the numerous India-specific film program and presents, Unser Programm ermöglicht Ihnen auch in exhibitions, in-depth artist interviews and among other things, an exquisite selection diesem Jahr wieder einen umfangreichen accompanying workshops that generate a of the best Indian movies from the last five Blick auf aktuelle zeitgenössische Kunst. Wir realisieren nun schon zum dritten Mal – nach Brasilien und China – einen Länder- schwerpunkt: in diesem Jahr blicken wir auf Kunst aus Indien. Wir freuen uns, dass wir die Indien-Kenne- rin Birgid Uccia, den Filmspezialisten Mat- thias Brunner, den Künstler Christoph Steinmeyer als Kuratoren für unsere Aus- stellungen gewinnen konnten. Matthias Brunner hat sich als Kurator ebenso mit der Indien-Thematik beschäftigt und präsen- tiert uns unter anderem ein auserlesenes Filmprogramm der besten indischen Filme aus den letzten fünf Jahrzehnten. Christoph Steinmeyer bringt mit seiner Ausstellung das erste Mal die Sammlung „The Bilder- berg Collection“ an das Licht der Öffent- lichkeit und Birgid Uccia bekannte Grössen und vielversprechende Newcomer der indi- schen Kunstszene zu uns in das Engadin. Dieses international renommierte Kurato- ren-Team hat sich zusammen mit unserer Kuratorin Charlotte Desaga in diesem Jahr noch stärker auf die inhaltliche Vermittlung und auf die konzeptionellen Aspekte der einzelnen Ausstellungen konzentriert. Die für einen längeren Zeitraum installier- ten Skulpturen der Region erfahren in die- sem Jahr weitere Bereicherungen wie zum Beispiel die Neupositionierung der Martin Kippenberger Skulptur der Walter A. Bechtler Stiftung. Uns ist es wichtig, die Aufmerk- samkeit auch auf die grosse Vielzahl der bereits bestehenden Kunstwerke zu richten und wir fassen daher alle bestehenden Skulpturen zu einem gemeinsamen „Pfad“ zusammen und geben hiermit auch eine Übersicht über die Arbeit der vergangenen Jahre. Auch unsere Zusammenarbeit mit Jennifer Wen Ma · „Amor Fati“ · St. Moritz · 2011

2 Benvenuto decades. Christoph Steinmeyer’s exhibition Cari amici dell’arte e dell’Engadina, un migliori film indiani degli ultimi cinque decenni. shows parts of ”The Bilderberg Collection“ cordiale benvenuto al St. Moritz Art Masters Christoph Steinmeyer presenta al pubblico to the public for the first time and Birgid Festival di St. Moritz e dell’Engadina, giunto per la prima volta la collezione „The Bilder- Uccia brought well-known representatives alla sua settima edizione. berg Collection“ e Birgid Uccia porta in En- and promising newcomers of the Indian art Il fascino del Festival si può definire soprat- gadina personalità importanti e promettenti scene to us at the Engadin. Together with tutto grazie alla sua varietà: le numerose newcomer della scena artistica indiana. our curator Charlotte Desaga, this team of esposizioni, gli approfonditi incontri con gli Questo team di curatori di importanza inter- internationally renowned curators has now autori e workshop, creano nell’ambito della nazionale, unitamente alla nostra curatrice focused even more on the mediation and on natura incomparabile dell’Engadina un’espe- Charlotte Desaga, si è concentrato quest’anno the conceptual aspects of each individual rienza culturale totale. in modo particolare sui contenuti generali exhibition. Additional works have been Guardando le esposizioni e i progetti rea- che si desidera trasmettere e sugli aspetti added this year to the sculptures that are lizzati negli scorsi anni, si delinea un quadro concettuali delle singole esposizioni. installed in the region for a longer period vario e stratificato al quale anche quest’anno Le sculture locali, che saranno esposte per of time, such as the repositioning of Martin vogliamo collegarci. La presenza di numerosi un periodo più esteso, saranno quest’anno Kippenberger’s sculpture from the ”Walter artisti internazionali così come la realizzazio- ulteriormente arricchite, ad esempio, con A. Bechtler Stiftung“. It is important for us to ne dei numerosi progetti presentati finora in il riposizionamento della scultura di Martin also give great attention to the large number Engadina, hanno cambiato la valle e trasfor- Kippenberger della „Walter A. Bechtler of existing works of art. We have therefore mato l’estate in una stagione dell’arte e della Stiftung“. Per noi è importante portare combined all existing sculptures to a ”WALK cultura. Lo spessore qualitativo di gallerie di l’attenzione sul gran numero di opere d’arte OF ART“ that leads as a rendering of the livello internazionale, così come il continuo già esistenti, riunendo così le sculture work from the past years. Our collaboration aumento di collezionisti e persone impegna- presenti in un unico „Sentiero“ che offre anche with international art collections such as te nell’arte, confermano il grande potenziale una visione d’insieme del lavoro degli scorsi the Burger Collection, which has a focus in della regione. Grazie a tutto ciò, negli ultimi anni. contemporary Indian art, or the Stellar Inter- anni, l’importanza culturale dell’Engadina si Anche la nostra cooperazione con collezioni national Art Foundation, which allows us a è enormemente sviluppata. internazionali quali la collezione Burger, il cui glimpse into the classic modern India, also Il nostro programma vi offrirà anche focus è l’arte contemporanea indiana, o la gives us the opportunity to perceive the large quest’anno un vasto panorama sull’arte mo- Stellar International Art Fundation, che ci spectrum of contemporary art and culture. derna contemporanea. Per la terza volta – permette di dare un’occhiata nell’arte classica We hope that you are inspired by this diver- dopo Brasile e Cina – ci concentriamo su un moderna dell’India, dovrebbe offrire la possi- sity and are looking forward to a busy and Paese, l’India, occupandoci della sua arte. bilità di cogliere il grosso spettro dell’arte e successful St. Moritz Art Masters 2014! Siamo lieti di essere riusciti ad avere come della cultura contemporanea. curatori dell’esposizione Birgid Uccia, conosci- Speriamo che questa varietà possa ispirarvi Sincerely, yours Reiner Opoku trice dell’India, lo specialista cinematografico e ci auguriamo che il St. Moritz Art Masters Matthias Brunner e l’artista Christoph 2014 sia intenso e ricco di successo. Steinmeyer. Matthias Brunner si è anche occupato come curatore della tematica indiana Cordialmente, Reiner Opoku e presenta tra l’altro un programma con i

Choi Jeong Hwa · „Lotus Flower“ · St. Moritz · 2011

3 Programm 2014

Wir freuen uns, Ihnen ein umfangreiches We are delighted to present you an exciting Siamo lieti di presentarvi un programma und spannendes Programm präsentieren program. Most of our events, especially the quanto mai vario e ricco. La maggior parte zu dürfen. Der grösste Teil unserer Veran- art exhibitions “WALK OF ART” are free of delle nostre manifestazioni, in particolare le staltungen, insbesondere die Kunstausstel- charge and open daily. More information esposizioni d’arte del „WALK OF ART“, lungen des sogenannten WALK OF ART, and detailed exhibition descriptions, artist sono gratuite e aperte quotidianamente. In- sind kostenlos und täglich geöffnet. Weite- talks and other events: formazioni, dettagliate descrizioni delle re Informationen und detaillierte Angaben www.stmoritzartmasters.com mostre, incontri con gli artisti e altri eventi: zu den Ausstellungen, Künstlergesprächen and on our iPhone App. www.stmoritzartmasters.com und anderen Veranstaltungen: o sulla nostra iPhone App. www.stmoritzartmasters.com und in unserer iPhone App.

NAMASTE - Enjoy the ”Raksha Bandhan“ High Tea with sweet and savoury Indian delights, Chai tea, Lassi, exotic fruits, aromatic spices and stimulating cocktails at the Kempinski Grand Hotel des Bains. Moti Mahal - one of London’s finest modern Indian restaurants Nira Alpina, Surlej. Table - Reservation: [email protected] / Tel 081 838 69 69 Indian Highlights Badrutt’s Palace Hotel. Table - Reservation: [email protected] / Tel 081 837 2661 INDIAN HIGH TEA TIME 15 – 18 h Kulm Hotel, St. Moritz iPhone App

22.08.2014 Freitag / Friday / Venerdì 10 – 17 h ART LOUNGE Mercedes-Benz Art Lounge @ Posthaus, St. Moritz 10 – 18 h WALK OF ART Ausstellungen / Exhibitions / Esposizioni, Sils to S-chanf 10 – 18 h LEICA PHOTO Kempinski Grand Hotel des Bains, St. Moritz 15 – 16.30 h ARTIST TALK Nalini Malani moderated by Daniel Kurjakovic. Mercedes-Benz Art Lounge @ Posthaus, St. Moritz

23.08.2014 Samstag / Saturday / Sabato 10 – 17 h ART LOUNGE Mercedes-Benz Art Lounge @ Posthaus, St. Moritz 10 – 18 h WALK OF ART Ausstellungen / Exhibitions / Esposizioni, Sils to S-chanf 10 – 18 h LEICA PHOTO Kempinski Grand Hotel des Bains, St. Moritz 12 – 12.30 h Book Release & Art Talk: ”Passages – Indian Art Today“ with Julia Ritterskamp & Gerald Goodrow Chesa Planta, Zuoz

24.08.2014 Sonntag / Sunday / domenica 10 – 17 h ART LOUNGE Mercedes-Benz Art Lounge @ Posthaus, St. Moritz 10 – 18 h WALK OF ART Ausstellungen / Exhibitions / Esposizioni, Sils to S-chanf 10 – 18 h LEICA PHOTO Kempinski Grand Hotel des Bains, St. Moritz 10 – 11.30 h WALK OF ART TOUR, St. Moritz Dorf. Treffpunkt / Meeting Point / Ritrovo Mercedes-Benz Art Lounge @ Posthaus 11 – 13 h BOOK VERNISSAGE M.F. HUSAIN: The Journey of a Legend @ Nira Alpina, Surlej 11 h ARTIST TALK Smriti Dixit, Hotel Waldhaus, Sils 17 h INDIAN CINEMA „The Music Room“ von Satyajit Ray, 1955, 100 Minuten, Kino Scala, St. Moritz

25.08.2014 montag / MONday / LUNEDì 10 – 17 h ART LOUNGE Mercedes-Benz Art Lounge @ Posthaus, St. Moritz 10 – 18 h WALK OF ART Ausstellungen / Exhibitions / Esposizioni, Sils to S-chanf 10 – 18 h LEICA PHOTO Kempinski Grand Hotel des Bains, St. Moritz 10 – 11.30 h WALK OF ART TOUR, St. Moritz Bad. Treffpunkt / Meeting Point / Ritrovo Kempinski Grand Hotel des Bains 17 h INDIAN CINEMA „Une Ville a Chandigarh“ von Alain Tanner, 1965, 50 Minuten, Kino Scala, St. Moritz

4 26.08.2014 dienstag / TUESday / MARTEDì 10 – 17 h ART LOUNGE Mercedes-Benz Art Lounge @ Posthaus, St. Moritz 10 – 18 h WALK OF ART Ausstellungen / Exhibitions / Esposizioni, Sils to S-chanf 10 – 18 h LEICA PHOTO Kempinski Grand Hotel des Bains, St. Moritz 10 – 11.30 h WALK OF ART TOUR, St. Moritz Dorf. Treffpunkt / Meeting Point / Ritrovo Mercedes-Benz Art Lounge @ Posthaus 17 h INDIAN CINEMA „Titash“, von Ritwik Ghatak, 1973, 159 Minuten, Kino Scala, St. Moritz

27.08.2014 mittwoch / WEDNESDAY / MERCOLEDì 10 – 17 h ART LOUNGE Mercedes-Benz Art Lounge @ Posthaus, St. Moritz 10 – 18 h WALK OF ART Ausstellungen / Exhibitions / Esposizioni, Sils to S-chanf 10 – 18 h LEICA PHOTO Kempinski Grand Hotel des Bains, St. Moritz 10 – 11.30 h WALK OF ART TOUR, St. Moritz Bad. Treffpunkt / Meeting Point / Ritrovo Kempinski Grand Hotel des Bains 14 – 17 h KIDS DAY Creative Indian Afternoon & Photoworkshop for kids, Nira Alpina, Surlej ([email protected] / 081 838 69 69) 16 – 17.30 h WALK OF ART TOUR, Zuoz. Treffpunkt / Meeting Point / Ritrovo Chesa Planta 17 h INDIAN CINEMA „Piravi“, von Shaji Karun, 1988, 110 Minuten, Kino Scala, St. Moritz

28.08.2014 donnerstag / THURSDAY / GIOVEDì 10 – 17 h ART LOUNGE Mercedes-Benz Art Lounge @ Posthaus, St. Moritz 10 – 18 h WALK OF ART Ausstellungen / Exhibitions / Esposizioni, Sils to S-chanf 10 – 18 h LEICA PHOTO Kempinski Grand Hotel des Bains, St. Moritz 10 – 17 h LEICA ACADEMY MASTERCLASS WORKSHOP – Craig Semetko, Kempinski Grand Hotel des Bains, St. Moritz 10 – 11.30 h WALK OF ART TOUR, St. Moritz Dorf. Treffpunkt / Meeting Point / Ritrovo Mercedes-Benz Art Lounge @ Posthaus 17 h INDIAN CINEMA „Dance of the Wind“, von Rajan Khosa, 1997, 87 Minuten, Kino Scala, St. Moritz

29.08.2014 Freitag / Friday / Venerdì 10 – 17 h ART LOUNGE Mercedes-Benz Art Lounge @ Posthaus, St. Moritz 10 – 18 h WALK OF ART Ausstellungen / Exhibitions / Esposizioni, Sils to S-chanf 10 – 18 h LEICA PHOTO Kempinski Grand Hotel des Bains, St. Moritz 10 – 17 h LEICA ACADEMY MASTERCLASS WORKSHOP – Craig Semetko, Kempinski Grand Hotel des Bains, St. Moritz 10 – 11.30 h WALK OF ART TOUR, St. Moritz Bad. Treffpunkt / Meeting Point / Ritrovo Kempinski Grand Hotel des Bains 17 h INDIAN CINEMA „Bombay Diaries“, von Kiran Rao, 2011, 100 Minuten Kino Scala, St. Moritz 20 h ST. MORITZ ART MASTERS FOUNDATION CHARITY NIGHT. Reservations: 081 833 1028 / [email protected]

30.08.2014 Samstag / Saturday / Sabato 10 – 17 h ART LOUNGE Mercedes-Benz Art Lounge @ Posthaus, St. Moritz 10 – 18 h WALK OF ART Ausstellungen / Exhibitions / Esposizioni, Sils to S-chanf 10 – 18 h LEICA PHOTO Kempinski Grand Hotel des Bains, St. Moritz 10 – 11.30 h WALK OF ART TOUR, St. Moritz Dorf. Treffpunkt / Meeting Point / Ritrovo Mercedes-Benz Art Lounge @ Posthaus 14 – 15.30 h LECTURE, Inside Segantini, Prof. Dr. Nils Büttner, Mercedes-Benz Art Lounge @ Posthaus, St. Moritz 15 h INDIAN CINEMA „Lagaan“, von Ashutosh Gowariker, 2011, 224 Minuten, Kino Scala, St. Moritz 16 – 17.30 h WALK OF ART TOUR, Zuoz. Treffpunkt / Meeting Point / Ritrovo Chesa Planta

31.08.2014 Sonntag / Sunday / domenica 10 – 14 h ART LOUNGE Mercedes-Benz Art Lounge @ Posthaus, St. Moritz 10 – 14 h WALK OF ART Ausstellungen / Exhibitions / Esposizioni, Sils to S-chanf 10 – 12 h LEICA PHOTO Kempinski Grand Hotel des Bains, St. Moritz 10 – 11.30 h WALK OF ART TOUR, St. Moritz Bad. Treffpunkt / Meeting Point / Ritrovo Kempinski Grand Hotel des Bains

5 Mercedes-Benz Art Lounge

St. Moritz Art Masters Information Desk Posthaus · Via dal Vout 3 · 7500 St. Moritz ST. MORITZ MERCEDES-BENZ Öffnungszeiten / Opening hours / Orario d’apertura täglich / daily / giornaliero, 10 - 17 h Sonntag / Sunday / Domenica 31.8.2014, 10 - 14 h

MB

Als Treffpunkt für Künstler, Kunstlieb- As a meeting point for artists, art lovers, Punto di ritrovo per artisti, amanti haber, Kunstinteressierte und jeder- guests interested in art and for every- dell’arte, curiosi, insomma per tutti, la mann bietet die Lounge Gelegenheit, body else, the lounge offers the oppor- Lounge offre l’opportunità di parteci- an Künstlergesprächen teilzunehmen, tunity to participate in artist talks, get pare alle conversazioni degli artisti, sich über Ausstellungen und Künstler information about exhibitions and artists di informarsi su esposizioni e autori, zu informieren sowie sich für ein ge- or to just drop in for an informal get- o d’incontrarsi per il piacere di stare mütliches Beisammensein zu treffen. together. insieme.

Die Lounge ist jeden Tag von 10 bis 17 h The lounge is open daily from 10 to La Lounge è aperta tutti i giorni, dalle offen. 17 h. 10 alle 17 h.

St. Moritz Art Masters Artist Talks

6 Artist Talk

NALINI MALANI ”Passages – Indian Art Today“ Andrea Robbi Museum, Chesa Fonio Mercedes-Benz Art Lounge, Book Release & Art Talk in Sils Maria. Short introduction to the St. Moritz Chesa Planta, Zuoz work by Dr. Mirella Carbone. Subse- 22. August 2014, 15 - 16.30 h 23. August 2014, 12 - 12.30 h quently aperitif at the Hotel Waldhaus Sprache · language · lingua: Sprache · language · lingua: and Artist Talk (shuttle-service). The Englisch · English · Inglese Englisch · English · Inglese conversation with the artist is held by Barbara Liebster (art historian). Die angesehene indische Künstlerin Die Herausgeber Julia Ritterskamp und Nalini Malani erläutert im Gespräch Gérard A. Goodrow laden zum Ge- Andrea Museo Robbi, Chesa Fonio a mit dem Kurator Daniel Kurjakovic das spräch über die Kunstszene des Sub- Sils Maria. Mirella Carbone terrà una facettenreiche Werk „Listening to the kontinents ein. Ihr Buch „Passages – breve introduzione al lavoro di Smriti Shades“, bestehend aus 42 Bildtafeln Indian Art Today“ umfasst die Themen Dixit. A seguire, aperitivo e Artist talk einschliesslich einer Tonspur sowie Politik, Gender, Kunstmarkt, Fotojour- all’Hotel Waldhaus (servizio navetta). weitere Arbeiten. Das Gespräch widmet nalismus, Abstraktion und gezielte La conversazione con l’artista sarà mo- sich dem Verhältnis von Kunst und Rückgriffe auf traditionelle Techniken. derata dalla storica dell’arte Barbara Engagement, mit besonderem Augen- Liebster. merk für die konzeptuelle „Mehr- The editors Julia Ritterskamp and stimmigkeit“ dieses hochpolitischen Gerard A. Goodrow invite you to a Werks, und behandelt auch Gender- discussion about the art scene of the Prof. Dr. Nils Büttner Fragen und Feminismus. subcontinent. Their book ”Passages – „Inside Segantini“ Indian Art Today” covers the themes Mercedes-Benz Art Lounge, In a conversation with curator Daniel of politics, gender, art market, photo- St. Moritz Kurjakovic prominent Indian artist Nalini journalism, abstraction and selective 30. August 2014, 14 - 15.30 h Malani talks about her multi-faceted recourse to traditional techniques. Sprache · language · lingua: work ”Listening to the Shades“, which Deutsch · German · Tedesco consists of 42 reverse paintings inclu- Gli autori Julia Ritterskamp e Gerard Supported by St. Moritz Art Academy ding sound, and other works in the A. Goodrow ti invitano a parlare della www.stmoritz-art-academy.com exhibition. Assessing the relations scena artistica nel subcontinente. Il loro between art and commitment, the libro, „Passages – Indian Art Today” Der renommierte Stuttgarter Kunst- conversation will especially gauge the tratta argomenti quali la politica, il historiker Prof. Dr. Nils Büttner wird polyphony of her acutely political work genere, il mercato dell’arte, il foto- zum Thema Giovanni Segantini, Billy including issues of gender and feminism. giornalismo, l’astrazione e il ricorso Childish und die Künstler des Engadins selettivo alle tecniche tradizionali. einen öffentlichen Vortrag halten. Durante una conversazione con il cura- tore Daniel Kurjakovic, l’importante The renowned art historian Prof. Dr. Nils artista indiana Nalini Malani illustra Smriti Dixit Büttner gives a public lecture on the la sua poliedrica opera „Listening to Andrea Robbi Museum & subject of Giovanni Segantini, Billy the Shades“, che comprende 42 dipinti Hotel Waldhaus, Sils Childish and the artists of the Engadin. sottovetro e un sottofondo musicale, Treffpunkt / Meeting point / Ritrovo come pure svariati altri lavori. Il collo- Andrea Robbi Museum, Sils Il rinomato storico dell’arte Professore quio si concentra sulla relazione 24. August 2014, 11 h Nils Büttner di Stoccarda da una lettura tra arte e impegno e tematizza in Sprache · language · lingua: pubblica su „Giovanni Segantini, Billy particolare la „polifonia“ concettuale Englisch · English · Inglese Childish e gli altri artisti della Engadina“. di quest’opera altamente politica, che tratta anche questioni di genere e di Andrea Robbi Museum, Chesa Fonio femminismo. in Sils Maria. Kurze Einführung in das Werk von Frau Dr. Mirella Carbone. Anschliessend Apéro im Hotel Wald- haus mit Künstlergespräch (Shuttle- bus-Service). Das Gespräch mit der Künstlerin führt Frau Barbara Liebster (Kunsthistorikern).

7 WALK OF ART Tours

St. Moritz-Dorf, St. Moritz-Bad & Zuoz

Erleben Sie die Highlights des St. Moritz Experience the highlights of the Potrete ammirare le attrazioni del Art Masters WALK OF ART in einer St. Moritz Art Masters WALK OF ART WALK OF ART dei St. Moritz Art geführten Tour (ca. 1.5 Std). Die ge- in a guided tour (1.5 h). The guided Masters con un tour guidato (1.5 ore). führten Touren finden täglich statt und tour takes place daily and offers the Le visite guidate si effettuano ogni bieten die Möglichkeit, die Ausstellun- opportunity to explore and experience giorno e permettono di scoprire a piedi gen des WALK OF ART in St. Moritz- the WALK OF ART in St. Moritz Dorf, le esposizioni del WALK OF ART a Dorf und St. Moritz-Bad sowie in Zuoz St. Moritz Bad or Zuoz on foot. St. Moritz-Dorf, a St. Moritz-Bad o a Zuoz. zu Fuss zu erkunden.

Walk of Art Tour St. Moritz-Dorf 2013 Walk of Art Tour St. Moritz-Dorf 2013 Ai Weiwei, „Iron Tree“, 2013 Donald Baechler, „Clay Pot Flowers“, 2011

SUN MON TUE WED THU FRI SAT SUN Tour St. Moritz-Dorf 24.8. 25.8. 26.8. 27.8. 28.8. 29.8. 30.8. 31.8. Treffpunkt / Meeting Point / Ritrovo Mercedes-Benz Art Lounge @ Posthaus 10 – 11.30 h DORF BAD DORF BAD DORF BAD DORF BAD Ende / End / Fine 16 – 17.30 h ZUOZ ZUOZ Mercedes-Benz Art Lounge @ Posthaus Tour St. Moritz-Bad Treffpunkt / Meeting Point / Ritrovo Informationen sind erhältlich unter · More information is available at Kempinski Grand Hotel des Bains Le informazioni sono disponibili su www.stmoritzartmasters.com Ende / End / Fine Eglise au Bois Kostenlos / free of charge / gratuito Tour zuoz Treffpunkt / Meeting Point / Ritrovo unterstützt von Chesa Planta con il supporto di Ende / End / Fine supported by Chesa Planta / optional Hotel Castell

8 Performance Art. The new S 65 AMG.

Arousing passion with twelve cylinders: the new standard bearer of the luxury segment. Delivering 463 kW (630 hp) and 1,000 Nm of torque, the hand-built AMG V12 biturbo engine propels the bar for sportiness and exclusivity into the stratosphere. www.mercedes-amg.com

Fuel consumption urban/extra-urban/combined: 17.1/8.6/11.9 l/100 km; CO₂ emissions combined: 279 g/km. Efficiency class: F. 9 Figures do not relate to any individual vehicle, do not form part of any offer and are intended solely to aid comparison between different types of vehicle. The vehicle shown features optional equipment. Provider: Daimler AG, Mercedesstraße 137, 70327 Stuttgart, Germany

210x297_AMG_S65_EN_Compromises.indd 1 07.07.14 13:18 Leica Camera Exhibition Craig Semetko – India unposed

Im Sommer 2013 wurde Craig Semetko In the summer of 2013 Craig Semetko Nell’estate del 2013, Craig Semetko mit 10 anderen internationalen Foto- was one of 10 photographers world- fu uno dei 10 fotografi internazionali grafen von Leica Camera eingeladen, wide invited by Leica Camera to take invitati da Leica Camera a far parte di um an einer einzigartigen Ausstellung part in a unique exhibition celebrating una mostra unica nel suo genere che teilzunehmen, welche das 100-jährige its 100-year anniversary. The photo- festeggiava i 100 anni della sua fonda- Jubiläum des Unternehmens feierte. graphers were paired with their artistic zione. Ai fotografi venne chiesto di pre- Die Künstler wurden mit ihren künstleri- ”fathers,” and asked to shoot a project parare un progetto focalizzato sui loro schen „Vätern“ gepaart und darum ge- with them in mind. Semetko was paired „padri” artistici. Semetko fu associato beten, in deren Sinne ein Projekt zu foto- with iconic photographer Elliott Erwitt, al celebre fotografo Elliott Erwitt e una grafieren. Semetko arbeitete mit dem and a series of circumstances con- serie di circostanze lo spinsero in India weltberühmten Fotografen Elliott Erwitt spired to send him to India to shoot per realizzare il suo progetto. Armato zusammen und eine Reihe von Zufäl- the project. Armed with a Leica Mono- di una Leica Monochrom e una M240, len brachte ihn nach Indien, um das chrom and M240, Semetko spent the Semetko viaggiò per il Paese durante Projekt zu fotografieren. Semetko reiste fall of 2013 traveling throughout the tutto l’autunno del 2013, visitando im Herbst 2013 durch Indien und be- country, visiting Mumbai, Chennai, Mumbai, Chennai, Goa, Kolkata, Delhi, suchte Mumbai, Chennai, Goa, Kolkata, Goa, Kolkata, Delhi, Varanasi, Jaipur, Varanasi, Jaipur e la grande fiera inter- Delhi, Varanasi, Jaipur und den welt- and the world’s largest camel fair in nazionale di cammelli di Pushkar. A weit grössten Kamelmarkt in Pushkar. Pushkar. Serendipity was a constant fargli compagnia durante tutto il viaggio Er war mit einer Leica Monochrom companion. ci fu una totale „serendipità”. und M240 bewaffnet. Der glückliche Zufall war sein ständiger Begleiter.

Craig Semetko

10 Photo Workshop Leica Akademie Workshop Craig Semetko 28.08.2014 – 29.08.2014 Kempinski Grand Hotel des Bains, St. Moritz

Erleben Sie gemeinsam mit dem Fotografen Craig Semetko Join us for two intensive and exciting days of learning with zwei spannende Tage rund um die Fotografie. Der Work- celebrated photographer Craig Semetko. Scheduled to shop findet im Rahmen der aktuellen Ausstellung „INDIA coincide with the latest exhibition to date of Semetko’s UNPOSED“ im Hotel Kempinski statt. Craig Semetko wird work at the Hotel Kempinski, this workshop experience Sie durch sein neuestes Werk führen und die spannenden provides the opportunity to hear the stories behind Semetko’s Geschichten hinter den Bildern erzählen. Im Lauf dieses latest images, learn first-hand his techniques for shooting Workshops vermittelt der Fotograf wie Sie mit der Leica M with the Leica M and Leica M Monochrom and the chance oder der Leica M Monochrom eine kunstvolle Aufnahme to put your new skills to the test. The workshop will con- komponieren. Natürlich bietet dieser Workshop ausreich- sist of feedback on the images you create during the course end Gelegenheit gemeinsam mit Craig aktiv Ihre Fotogra- of the weekend. We will also take a detailed look at the fie weiterzuentwickeln. Neben weiteren Einblicken in die editing process Craig used to produce his newest book Bildbearbeitung, bietet der Workshop die Möglichkeit ge- INDIA UNPOSED. meinsam die Bildergebnisse aller Teilnehmer zu bespre- The number of participants is limited and participation will chen. be accepted upon registration. Die Teilnehmerzahl ist begrenzt. Der Preis für den zwei- Price for the two-day workshop including snacks and lunch tägigen Workshop, inklusive Snacks und Mahlzeiten at Kempinski Grand Hotel des Bains St. Moritz: CHF 480 im Kempinski Grand Hotel des Bains St. Moritz beträgt: (inkl. VAT). CHF 480 inkl. MwSt. Please send your registration for the workshop via Bitte registrieren Sie sich für den Workshop per E-Mail: email to: [email protected] [email protected]

Kids Day Mittwoch · Wednesday · Mercoledì August 27, 2014, 14 - 17 h Nira Alpina, Surlej

Kreativer Nachmittag zum Thema Creative Indian afternoon & Photo- Il Pomeriggio Creativo Indiano & il Indien & Fotoworkshop für Kinder workshop for kids between 8-14 years laboratorio di fotografia per bambini zwischen 8-14 Jahre Kids Day is free of charge, number of dagli 8 ai 14 anni è gratuito, il numero Der Kids Day ist kostenlos, die Teil- participants is limited. dei partecipanti è limitato. nehmeranzahl beschränkt.

Informationen und Anmeldungen Information and registration Informazione e iscrizione [email protected] T +41 81 833 1028

11 12 Contemporary Art from India

Das pulsierende Feld der zeitgenössi- Indian contemporary art is a vibrant Il campo vibrante dell’arte contempora- schen indischen Kunst spiegelt den field, reflecting the fast changing reali- nea indiana rispecchia la veloce trasfor- rapiden Wandel dieser Nation und de- ty of the nation in all its hybrid forms. mazione di questa nazione e dei suoi ren Gegensätze wider. Im Unterschied Unlike the Moderns, burdened by a contrasti. A differenza del Moderno in- zu der indischen Moderne, die von der colonial past and preoccupied with find- diano, segnato dal peso del passato co- Last der kolonialen Vergangenheit und ing an authentic pictorial language, loniale e dalla ricerca di un linguaggio dem Ringen um eine authentische Bild- contemporary Indian artists draw on pittorico autentico, gli artisti di oggi si sprache geprägt war, nehmen sich die the pressing issues of the moment. In confrontano con le pressanti domande zeitgenössischen Künstler den drän- coalescing the ritual and the mythic, del presente. Collegando riti e miti, genden Fragen der Gegenwart an. In- the everyday and the political, they quotidiano e politico in modo unico, dem sie Ritual und Mythos, Alltägliches have found their own distinctive voice hanno fatto sentire la loro voce sulla und Politisches in einzigartiger Weise in the global scenario. scena internazionale. verknüpfen, haben sie ihre eigene The group exhibition ”India: Maximum L’esposizione di gruppo „India: Maxi- Stimme auf dem internationalen Par- City” showcases the works of 10 mum City“ presenta lavori di dieci artis- kett gefunden. emerging and established artists, who ti/e emergenti e famosi che si confron- Die Gruppenausstellung „India: Maxi- are deeply engaged with the rapid and tano con la furiosa e dinamica crescita mum City” zeigt Arbeiten von 10 auf- dynamic growth of the Indian metrop- delle metropoli indiane. Temi centrali strebenden und etablierten Künst- olis, its social disparities, architectural sono le differenze sociali, gli eccessi lern/-innen, die sich mit dem rasanten excesses, and the migration related to architettonici e la migrazione, ma anche und dynamischen Wachstum der indi- it. The exhibition also explores the infi- l’immensa molteplicitá culturale, linguis- schen Metropolis auseinandersetzen. nite cultural diversity of the Indian city, tica ed etnica che contraddistinguono Im Mittelpunkt stehen soziale Un- where various communities of mixed queste metropoli. gleichheit, architektonische Exzesse language and ethnicity coexist. I tre progetti individuali si concentrano und Migration, aber auch die ungemei- The three solo projects focus on trans- su questioni transculturali. Le installa- ne kulturelle, sprachliche und ethnische cultural subjects. The installations of zioni di Nalini Malani, Shilpa Gupta e Vielfalt, von der die indische Metropolis Nalini Malani, Shilpa Gupta, and Subodh Subodh Gupta si occupano di grandi geprägt ist. Gupta address compelling issues that temi che spaziano dal significato uni- In den drei Einzelprojekten stehen range from the universal meaning of versale dei miti indiani e occidentali transkulturelle Anliegen im Mittelpunkt. Indian and Western myths, to the fino al superamento di limiti politici e Die Installationen von Nalini Malani, questioning of political borders and the alle pratiche transculturali dei riti cele- Shilpa Gupta und Subodh Gupta han- evocation of cross-cultural rituals to brativi della nascita e della morte. deln von grossen Themen. Diese rei- commemorate birth and death. chen von der universellen Bedeutung indischer und westlicher Mythen bis hin zur der Überwindung von politi- schen Grenzen und der Praxis kultur- übergreifender Rituale im Gedenken an Leben und Tod.

Sooni Taraporevala Cosmopolitan Bombay, 1985 Archival pigment print, ed. 5 + 2 AP, 102 x 152 cm, Courtesy: the artist and Chemould Prescott Road, Mumbai

13 Nalini Malani Curated by Birgid Uccia

Nalini Malanis künstlerisches Schaffen um- Nalini Malani’s oeuvre encompasses five L’opera di Nalini Malani copre cinque spannt fünf Jahrzehnte, von ihren Anfän- decades, from her beginnings as a painter decenni, dai suoi inizi come pittrice fino a gen als Malerin bis hin zu ihrem Status als to her development as one of the most diventare una delle artiste di installazioni e eine der weltweit erfolgreichsten Video- internationally acclaimed video and installa- di video di maggior successo mondiale. Il und Installationskünstlerinnen. Ihr an Kom- tion artists. Her work, rich in complexity and suo lavoro, ricco in complessità e volume, plexität und Umfang reiches Werk spricht magnitude, reflects the challenging social parla delle difficili condizioni sociali e politi- von den schwierigen sozialen und politi- and political circumstances in which she che nelle quali ha sperimentato la sua arte, schen Umständen, unter denen sie künstle- created her experimental art, and the fatal ma anche della posizione della donna nella risch experimentierte, aber auch von der position of the woman in Indian society. società indiana. „Listening to the shades“ è Stellung der Frau in der indischen Gesell- ”Listening to the Shades”, a series of 42 una serie di 42 dipinti sottovetro. Al centro schaft. „Listening to the Shades” ist eine reverse paintings, retells the archetypal role vi è la figura archetipa di Cassandra, le cui Serie von 42 Hinterglasmalereien. Im Mit- of Cassandra, whose prophecies are seen profezie sono una metafora delle catastrofi telpunkt steht die archetypische Figur der as a metaphor for foretold catastrophes. anticipate. La serie trasporta la sua tragica Kassandra, deren Prophezeiungen eine Me- The series brings the tragic story of Cas- storia nel presente, collegandosi ai pregiu- tapher für antizipierte Katastrophen sind. sandra into the contemporary fold, relating dizi ai quali, ancora oggi sono sottoposte le Die Malereien überführen die tragische Ge- her fate to the many challenges women still donne. Video come „Penelope“, „In search schichte Kassandras in die Gegenwart und face today. In videos like ”Penelope”, ”In of vanished blood“ e „Memory“ (da Bertolt stellen so eine Verbindung zu den Vorurtei- Search of Vanished Blood”, and ”Memory: Brecht) sono racconti moderni e classici, len her, denen Frauen auch heute noch un- Record/Erase” (after Bertold Brecht), clas- trasposti in film, che mettono in discussio- terliegen. In Videos wie „Penelope”, „In sical and modern stories are evoked in an- ne iconografie e stereotipi culturali. Search of Vanished Blood” und „Memory: imation, questioning inherited iconogra- Record/Erase” (nach Bertold Brecht) wer- phies and cultural stereotypes. den klassische und moderne Erzählungen in ein filmisches Medium übertragen und so überkommene Ikonographien und kultu- relle Stereotypen in Frage gestellt.

Nalini Malani Listening to the Shades, 2008, painting environment, 42 reverse paintings on acrylic sheet, sound Courtesy: the artist and Burger Collection, Hong Kong

Walk of Art · 7

Engadiner Museum Via dal Bagn 39 · 7500 St. Moritz täglich · daily · tutti i giorni · 10 - 12 h & 14 - 17 h

14 Subodh Gupta Curated by Birgid Uccia

Subodh Gupta ist einer der führenden indi- Subodh Gupta is one of India’s most cele- Subodh Gupta è uno dei principali artisti schen Künstler. Zu seiner Handschrift wur- brated artists. He takes familiar objects indiani. Suo segno distintivo sono gli utensi- den die in Indien allgegenwärtigen Utensili- from the universe around him like stainless li di acciaio, presenti in India ovunque, en aus Edelstahl, die er zu Skulpturen und steel utensils that are prevalent in everyday che trasforma in sculture e installazioni. Installationen zusammenfügt. Edelstahl ist life in India. By transforming them into L’acciaio è un materiale che dopo l’indipen- ein Material, das nach der Unabhängigkeit sculptures and installations, they are consid- denza dell’India è diventato il simbolo del Indiens zum Inbegriff für den industriellen ered his signature material. Stainless steel progresso industriale. Pur avendo soppian- Fortschritt wurde. Zwar hat es die ur- is indicative of post-independence India and tato materiali originali come terracotta sprünglichen Materialien wie Terrakotta its aspirations for industrial progress. Even e ferro dal quotidiano, le scodelle e piatti und Eisen aus der Alltagskultur verdrängt, though today this material replaces indig- (thalis) in acciaio usati dall’artista rappresen- aber die von Subodh Gupta verwendeten enous materials such as terracotta and iron, tano a tutt’oggi valori presenti in miti e leg- stählernen Schüsseln und Platten (thalis) the stainless steel vessels and plates (thalis) gende. L’installazione „School“ crea una stehen immer noch für Werte, wie sie in the artist uses in his work have a value relazione con le tradizionali riunioni di comu- Mythos und Legende verbürgt sind. Die In- endowed to them by power of myth and nità che condividono un pasto per celebrare stallation “School” stellt einen Bezug zu legend. The installation ”School” embodies le nascite e le morti. Sia la cultura occiden- den traditionellen Zusammentreffen von the traditional gathering of communities for tale che quella orientale conoscono il lega- Gemeinschaften her, die ein rituelles Mahl rituals, where meals are shared to comme- me esistente tra nutrimento e divinità, sot- im Gedenken an Leben und Tod einneh- morate birth and death. Junctures between to forma di riti safrificali. In questo senso men. Sowohl die östliche wie auch die food and the divine evoke offerings pre- „School“ rappresenta una pratica spirituale westliche Kultur kennen die Verknüpfung valent in Eastern as well as Western culture. diffusa, che collega il secolare con il rituale. von Nahrung mit dem Göttlichen in Form In this sense the installation signifies a des Opferrituals. In diesem Sinne drückt widespread spiritual practice that relates „School” eine weit verbreitete spirituelle the secular with the ritual. Praxis aus, die zwischen den weltlichen und rituellen Gepflogenheiten eine Brücke baut.

Subodh Gupta School, 2008, 45 brass cast stools and stainless steel utensils, 560 x 545 cm Courtesy: the artist and Hauser & Wirth, Photo: Stefan Altenburger Photography Zürich © Subodh Gupta

Walk of Art · 9

Reformierte Kirche · Protestant Church · Chiesa Protestanta Via Maistra 18 · 7500 St. Moritz täglich · daily · tutti i giorni · 10 - 18 h

15 „India: Maximum City” Curated by Birgid Uccia Pablo Bartholomew, Amshu Chukki, Pratul Dash, Ranbir Kaleka, Reena Saini Kallat, Manish Nai, Gigi Scaria, Mithu Sen, Sooni Taraporevala, Hema Upadhyay

Am eindrücklichsten ermessen lässt sich The rapid growth of India is best gauged by La rapidissima crescita dell’India si lascia das rasante Wachstum Indiens an den Me- exploring its megacities with their complex misurare in modo impressionante nelle sue gacities mit ihrem komplexen Geflecht von entanglements of demographic shifts, mod- megalopoli, complessi intrecci di cambia- demographischen Umwälzungen, moder- ern technologies, and social disparities. In menti demografici, tecnologia moderna e nen Technologien und sozialer Ungleich- the post-colonial age the Indian metropolis disparità sociali. La metropoli postcoloniale heit. Die post-koloniale Metropolis hat sich has been undergoing dramatic transforma- ha subito un cambiamento profondo: da in- grundlegend verändert. Sie ist von einer tion from an industrial to a post-industrial dustriale è diventata post-industriale, dove industriellen zu einer post-industriellen Gross- city, where manufacturing is replaced by a influssi di capitale globale e servizi hanno stadt gewachsen, wo globaler Kapitalfluss globalised network of capital and services. sostituito l’originaria industria manifatturie- und Dienstleistungen die ursprüngliche The changes in the urban landscape result ra. Una delle conseguenze è il vistoso cam- Produktionsindustrie ersetzen. in the segregation of urban areas, where biamento del panorama urbano, sempre più Eine Folge davon ist die markante Verände- protected zones for elite consumption and diviso tra consumo elitario, abitazioni esclu- rung der urbanen Landschaft, die zuneh- living coexist with slum dwellings for the sive e baraccopoli desolate. Altro motivo mend in beschützte Zonen für elitären Kon- urban poor. The spatial density of the pop- del sovrappopolamento delle città indiane è sum, exklusives Wohnen und desolate ulation – mainly caused by rural migration – la migrazione dalle campagne, che provoca Slums aufgeteilt wird. Ein Hauptgrund für has created explosive social conditions. How- nelle megalopoli condizioni sociali esplosi- die Bevölkerungsdichte in Indiens Städten ever, migrants who are living at the fringes ve. Ma è proprio la massa di migranti margi- ist die Zuwanderung aus den ländlichen Ge- of society are the backbone of the informal nalizzati che costituisce la spina dorsale bieten, die in den Megacities zu verschärf- economy on which the formal economy dell’economia ombra, legata indissolubil- ten sozialen Bedingungen geführt hat. Aber largely depends. mente al funzionamento di quella ufficiale. gerade die von der Gesellschaft marginali- ”India: Maximum City” showcases the „India: Maximum City” presenta i lavori di sierten Migranten sind das Rückgrat der works of 10 artists, who address the numer- dieci artisti, che tematizzano queste sfide. Schattenwirtschaft, die untrennbar mit dem ous challenges of the Indian metropolis, for Oltre al lavoro artistico essi assumono il Funktionieren der offiziellen Wirtschaft ver- they assume a dual role as practitioners and ruolo doppio di cittadini urbani e sono con- bunden ist. urban citizens. In their daily life, they are frontati nella loro quotidianità con queste „India: Maximum City” zeigt Arbeiten von confronted with an infrastructure that is difficoltà. Difficoltà che spaziano da infra- 10 Künstlern/-innen, die diese Herausforde- strained to the point of collapse, the lack of strutture perennemente al collasso, alla rungen thematisieren. Neben ihrer künstle- proper urban planning, and gentrification. mancanza di pianificazione urbana adeguata rischen Praxis nehmen sie auch die Doppel- At the same time, they experience the Indi- fino alla gentrificazione. Al tempo stesso rolle als urbane Bürger/-innen ein und sind an metropolis as a thriving place, a melting vivono la città indiana come un luogo che si in ihrem Alltag mit diesen Schwierigkeiten pot of infinite cultural diversity, where distingue per la ricca diversità culturale, konfrontiert. Diese reichen von einer chro- various communities of mixed language, dove comunità di lingue, religioni e origini nisch überbeanspruchten Infrakstruktur religion and ethnicity coexist. etniche diverse convivono in una dinamica über das Fehlen einer adäquaten Stadtpla- All the artists in the exhibition critically ex- coesistenza. nung bis hin zur Gentrifizierung. Gleichzei- plore the social, political, architectural, and Tutti gli artisti della mostra esplorano con tig erleben sie die indische Stadt als einen economic implications of the Indian city. As occhio critico le implicazioni sociali, politi- Raum, der sich durch reiche kulturelle Viel- an ever-growing organism, it has a visual che, architettoniche ed economiche della falt auszeichnet, wo Gemeinschaften von culture of its own, which also serves as a grande città. Come un organismo in crescita unterschiedlicher sprachlicher, religiöser und rich source of inspiration to them. They permanente, con una sua propria cultura ethnischer Herkunft für ein dynamisches question the Indian metropolis as an unsus- visiva, essa rappresenta una ricca fonte di Zusammenleben sorgen. tainable, ”premature“ one, a city which is ispirazione. Tutti questi artisti condividono Alle Künstler/-innen der Ausstellung unter- still in transition to a ”proper urban moder- la percezione della città indiana come una suchen kritisch die sozialen, politischen, ar- nity“. The works on display commonly raise „metropoli“ immatura, sul cammino di una chitektonischen und wirtschaftlichen Impli- the question, ”Will the utopian dream of vera „modernità urbana“. I lavori della kationen der Grossstadt. Als ein permanent urban modernity ever be deemed liveable mostra pongono la domanda: „la città indiana wachsender Organismus mit einer eige- or will it end up in dystopia?“ riuscirà mai a diventare il luogo dove questo nen, visuellen Kultur stellt sie auch eine sogno utopico diventa realtà o invece tutto reiche Inspirationsquelle für die Künst- finirà in una distopia?“. ler/-innen dar. Gemeinsam teilen sie die Wahrnehmung von der indischen Stadt als einer „unreifen“ Metropolis, die sich erst auf dem Weg zu einer „echten urbanen Moder- ne“ befindet. Die Werke der Ausstellung werfen die Frage auf, „ob die indische Stadt jemals der Ort sein wird, wo sich der utopi- sche Traum der urbanen Moderne verwirk- lichen lässt oder ob er als Dystopie enden wird”.

Walk of Art · 23

Chesa Planta Plazzet · 7524 Zuoz täglich · daily · tutti i giorni · 10 - 13 h & 14 - 18 h

16 Pablo Bartholomew from the series Chronicles of a Past Life – Bombay, 1979 Archival pigment print, 41 x 61 cm, ed. of 10 + 3 AP Courtesy: the artist and Sakshi Gallery, Mumbai

Reena Saini Kallat Untitled (rubber-stamp), 2012 Ivory Duco paint on FRP, 96 x 191 x 89 cm Courtesy: the artist and Chemould Prescott Road, Mumbai

17 INTERVIEW Nalini Malani Nalini Malani (NM) is one of the foremost artists from India today. She became known as a pioneer in India in the 1980s for her attention to feminist issues, and later in the early 1990s for her innovative installation projects. She exhibited at the Documenta (13), Kassel and has currently a year-long retrospective at the Kiran Nadar Museum of Art, New Delhi. In this conversation with Birgid Uccia (BU) she talks about her background and her philosophies toward art and politics.

”At the time, doing art was not a university course. It was like having a diploma in plumbing or being an electrician.“ Nalini Malani in the studio working on her documenta 13 artist book, Courtesy: the artist

BU: There were very few museums in India when you grew thought I was crazy. My father wanted me to have a university up. How did you first discover that you were interested in art? degree. He said, „The only thing that is going to help you is a good NM: It was actually through my biology teacher that I got interest- education. They may throw you out of here and then what will you ed in drawing because she was able to, in a very lucid way, show do?“ At the time, doing art was not a university course. It was like the systems of nature, which were invisible. My motto was to having a diploma in plumbing or being an electrician. He thought it make that which is invisible visible and to find forms that are invisi- was very, very stupid of me for thinking about doing art. He said ble but very essential parts of life. there is no such thing as a woman artist and he was right! There was no such thing as a woman artist when I started. BU: Are these early teachings the reason why elements of the human body such as the brain or spinal cord became central BU: You were one of those ”midnight’s children“ who were features of your work? born at the brink of independence. As a refugee of the Parti- NM: It’s the same idea of trying to make that which is invisible tion what role does this play in your work? visible. For example, people’s psyches and aggression between I use the Partition of 1947 as a warning signal. You have to remem- people. Also, I’m very interested in drawing the organs of the body ber history or you repeat it. In the Indian sub-continent there are and things in nature because those carry a lot of weight in terms of sectarian issues that keep popping up and there is bloodshed. It’s thought processes and ideas. We tend to think that ideas only like another little partition that’s taking place. I think the violence of come from the mind, but I think other sections of the body also one human being on another is so regressive in this age of techni- carry ideas and thoughts. cal development. We’ve progressed so far, so why is it that the human mind doesn’t progress and get over these medieval ideas BU: When you started your career in the 1970’s, were there of ”my religion is better than yours“? It’s a bit like what Hannah other woman artists in India who served as a role model? Arendt said: Does one need to resort to killing to get ideas across? NM: When I told my parents that I wanted to go to art school they

18 Nalini Malani Transgressions, 2001, 3 channel video, shadow play, sound, 7 min, multiple 1/3 Installation view: Musée cantonal des Beaux-Art, Lausanne, 2010 / Collection: Stedelijk Museum, Amsterdam Courtesy: the artist

BU: You started out as a painter before exploring other mediums Our points of reference, ideas and values are not confined by such as video and shadow plays. Would you still consider man-made borders. More than ever we have embraced a kaleido- yourself as a painter? scope of cross-referential reflections. And this has to do not just NM: I paint therefore I am… Would it be presumptuous of me to with the jamboree of the digital age we live in. My family members quote Descartes? Yes, drawing/painting helps me to dream, to became refugees overnight with the Partition. To learn to live and free-associate, to flow into reveries. It helps me to compose ideas survive in another culture became a crucial factor. The question is, that can then engage to create works in other disciplines. do you seek refuge in an orthodox manner inside your own culture, or are you able to create new meaning by apprehending the chang- BU: In 1992 you were the first artist inI ndia to use video as an ing situation? integral part of your practice in combination with perfor- mance. Did you want to address a wider audience? BU: In your video play, ”Mother India: Transactions in the Con- NM: Video for me forms an excellent language bridge between the struction of Pain“, shown at the 51st Venice Biennale, you talk artist and a divergent group of spectators. Working in collaboration about women as the forgotten victims of 1947. How would with performance artists has brought new juxtapositions, also show- you describe the status of women in today’s globalized India? ing in experimental theatres and incorporating the street – all of NM: The strange thing about India and Indian myths is that on one these ideas I could try out in the early nineties, and here lay the level the woman is treated like a goddess (Mother India as the na- possibilities of pulling in larger audiences and coming out of the tional personification of India) and on the next level she’s treated white cube. like a doormat. It’s this terrible swing that one is working against. It’s about time BU: Your work is known for its ”The strange thing about India and that people look at women as ordinary engagement in socio-political human beings with senses and thoughts issues, ranging from post-co- Indian myths is that on one level the instead of in these extreme ways. lonial aggression to violence against women. At the same woman is treated like a goddess and BU: In your work you create a ”femi- time it evokes the topic of nine space“ through which larger beauty. What role does beauty on the next level she’s treated like questions of race, gender and class play in your work? a doormat.“ are mediated. Would you consider NM: I use seduction in my work. yourself a feminist artist? The first encounter I want is that NM: The thing about feminism is that of beauty and I use that device to draw the spectator in. Then I you say you’re so-and-so – a Marxist or a feminist – and it’s put unfold a story, which will have its ups, downs and contradictions. in the drawer and forgotten about. So I prefer not to. I prefer open-ended things. I believe feminism will come into it’s own BU: Your work brings Eastern and Western myths into the when I hear men speaking about these problems as their own. I’m contemporary fold. Where does this inner urge for cross-cultur- waiting for that moment. As long as males do not think feminine al references come from? thoughts as well, it’s not going to resolve. NM: We all inherit the rich histories passed on to us from the past.

19 Shilpa Gupta Curated by Birgid Uccia

Die Multi-Media Künstlerin Shilpa Gupta New-media artist Shilpa Gupta is of a L’artista multimediale Shilpa Gupta appar- gehört zu einer jüngeren Künstlergenera- younger generation of Indian artists, whose tiene ad una piú giovane generazione di tion Indiens, die sich gesellschaftlich rele- works have been informed by the notion of artisti, i cui lavori si occupano di temi sociali vanter Themen annimmt. Diese reichen political and cultural borders, the excesses rilevanti. Questi vanno dai limiti politici e von politischen und kulturellen Grenzen bis of economic globalisation, and the con- culturali fino agli eccessi della globalizzazio- hin zu Exzessen der ökonomischen Globali- flicts, disparities, and prejudices related to ne economica e relativi conflitti emergenti, sierung und damit einhergehender Konflik- it. The neon installation‚ ”Today will end” is differenze sociali e discriminazioni. L’instal- te um soziale Ungleichheit und Diskriminie- an outdoor artwork, which appropriates the lazione al neon „Today will end“ è un’opera rung. Die Neon-Installation „Today will sky as an infinite plane on which incandes- all’aperto. Shilpa Gupta si appropria del cielo end” ist eine Arbeit im Aussenraum. Shilpa cent words are inscribed. Driven by the uto- come superficie infinita, sulla quale sono Gupta eignet sich den Himmel als unbe- pian idea of unity, the artist postulates free scritte parole luminose. Spinta dall’utopica grenzte Fläche an, auf den die leuchtenden movement across terrains, not only geogra- idea dell’unitá, l’artista sviluppa un supera- Worte eingeschrieben sind. Ausgehend phical but also in terms of class, gender, mento di conflitti, non solo di natura geo- von der utopischen Idee der Einheit, ent- and social practices. The assertion‚ ”Today grafica, ma anche di classe, genere e prati- wirft sie ein Überwinden von Grenzen, die will end” may seem so self-evident that it is che sociali. La frase „Today will end“ nicht nur geographischer Natur sind, sondern hardly worth mentioning it. However, by appare cosí laconica e banale, che quasi ebenso Klasse, Geschlecht und gesell- puncturing the sky as an undivided space non pare degna di attenzione. Poiché Shilpa schaftliche Praxis einbeziehen. Dabei with this truism, the artist makes us aware Guta la colloca nello spazio indivisibile del kommt der Satz „Today will end” so lako- that it is an existential and universally shared cielo, essa assume il significato di una nisch und banal daher, dass er kaum beach- truth. veritá esistenziale ed universale. tenswert scheint. Weil ihn Shilpa Gupta aber in den unteilbaren Raum des Himmels verlegt, erlangt er die Bedeutung einer exis- tentiellen und universellen Wahrheit.

Shilpa Gupta Today will end, 2012 600 x 96 cm, site-specific neon-based light installation Courtesy: Einzweidrei, the artist, and Yvon Lambert Gallery, Paris

Walk of Art · 22

Hotel Castell Via Castell 300 · 7524 Zuoz täglich · daily · tutti i giorni

20 Manish Nai

Der 1980 in Gujarat geborene und in Mumbai Manish Nai was born in Gujarat in 1980; he Manish Nai è nato nel Gujarat nel 1980; lebende Manish Nai ist einer der wenigen lives and works in Mumbai. Nai is one of vive e lavora a Mumbai. Nai è uno dei rari seiner Generation auf dem Subkontinent, the very few abstract positions in the con- artisti astratti della scena artistica contem- die sich konsequent der Abstraktion ver- temporary Indian art scene, which is better poranea indiana, solitamente nota per ope- schrieben haben. Kennt man von der zeit- known for colourful and narrative works. In re piuttosto colorate e narrative. In netto genössischen Kunstszene Indiens eher contrast to this, Manish Nai uses only a contrasto con queste posizioni, per creare i starkfarbige, narrative Arbeiten, findet man small palette of natural tones and geometric suoi oggetti Manish Nai fa ricorso a una bei Nai eine reduzierte Palette an Natur- forms to create his objects, which are char- ristretta tavolozza di toni naturali e forme tönen und nahezu ausschliesslich geome- acterised by a simple, unadorned materiality. geometriche. trische Formen. Nais employment of jute, also known as Il lavoro di Manish Nai è caratterizzato Manish Nai’s Arbeiten zeichnen sich durch burlap, can be regarded as a starting point da una semplice e disadorna materialità. La eine einfache Materialität aus. Als Ausgangs- for his artistic creations. Nai, who came into iuta, comunamente nota come tela, potreb- punkt seines künstlerischen Schaffens contact with the material through his be essere vista come fondamento, un steht der Werkstoff Jute, mit welchem Nai father’s burlap trade, transfers this traditio- punto di partenza per le creazioni artistiche durch den Jutehandel seines Vaters erst- nal natural product, which stands in stark di Nai che venne in contatto con questo mals in Berührung kam. Dieses traditionelle contrast to new synthetic fabrics, into an materiale tramite l’attività commerciale del Naturprodukt steht im Kontrast zu neuen artistic context. Just as the Arte Povera padre. Nai trasporta questo materiale, di per synthetischen Stoffen und wird von Nai in movement – which the artist highly values – sé prodotto naturale e tradizionale in netto einen künstlerischen Kontext überführt. Da- Manish Nai works with a material of com- contrasto con il moderno tessuto sintetico, mit sind die Werke des Künstlers – ähnlich mon, everyday use. in un contesto artistico. Come nell’Arte der von ihm geschätzten Kunstrichtung der Povera – movimento molto apprezzato Arte Povera – aus kunstfremdem Alltags- dall’artista – Manish Nai utilizza un materiale material gestaltet. di uso quotidiano.

Manish Nai Billboards III, 2014 Lucia Pigment on Hahnemuehle paper, 208.2 x 203.3 cm Courtesy: Galerie Karsten Greve

Walk of Art · 8

Galerie Karsten Greve Via Maistra 4 · 7500 St. Moritz Montag - Samstag · Monday -Saturday · Lunedì - Sabato · 11 - 13 h & 14 - 18.30 h

21 Stellar International Art Foundation Maqbool Fida Husain, Paresh Maity, Jayasri Burman

Am diesjährigen siebten St. Moritz Art At this year’s seventh St. Moritz Art Masters Per la settima edizione di St. Moritz Art Masters freut sich die Stellar International the Stellar International Art Foundation is Masters, la Stellar International Art Founda- Art Foundation, ihre Ausstellung der mo- pleased to present a landmark exhibition of tion è lieta di presentare, per la prima volta, dernen und gegenwärtigen indischen Kunst seminal modern and contemporary Indian un’importante mostra dell’influente arte in- zu präsentieren, die sich als Ausgangspunkt art that proved to be the starting point for diana moderna e contemporanea che ha für diese bisher unveröffentlichte Privat- this previously unseen pioneering private dimostrato essere il punto di partenza per sammlung herausgestellt hat. Im Zentrum collection. At the exhibition’s heart are un- questa collezione privata pionieristica. Il cuore der Ausstellung sind beispiellose gestische precedented gestural ink and pencil draw- dell’esposizione è composto da straordinari Tinte- und Bleistift-Zeichnungen aus einer ings from a pivotal period of the life of the disegni gestuali a matita e inchiostro da un entscheidenden Periode des Lebens des late great Maqbool Fida Husain – whose periodo centrale della vita del compianto ehemaligen, grossen Maqbool Fida Husain, work is currently the subject of a major solo Maqbool Fida Husain, il cui lavoro è attual- dessen Arbeit derzeit Gegenstand einer exhibition at the Victoria and Albert Muse- mente oggetto di una grande personale grossen Einzelausstellung im Victoria and um, London. The Maria series illustrates presso il Victoria and Albert Museum di Albert Museum in London ist. Die Maria- one of the artists’ most significant bodies Londra. La mostra presenta Maria, la serie Serie gehört zu den bedeutendsten Arbei- of work that have never before been exhibi- più significativa di lavori mai interamente ten des Künstlers, die noch nie zuvor voll- ted in full to the public. These are accompa- esposti in pubblico. Queste opere sono ac- ständig in der Öffentlichkeit ausgestellt nied by equally influential and previously compagnate da quadri a olio e acrilico ugual- wurden. Diese werden durch gleichermas- unseen, oil and acrylic works that span a mente influenti e mai visti in precedenza sen einflussreiche und bisher ungesehene longer period in the artist’s career; delivered che coprono un periodo più esteso della Öl- und Acrylarbeiten begleitet, die einen in his signature style. This highly anticipa- carriera dell’artista, caratterizzati dal suo stile längeren Zeitraum in der Karriere des ted presentation is curated by revered Indian caratteristico. Questa presentazione, an- Künstlers umfassen und in seiner Hand- artist Paresh Maity, who provides a con- nunciata con grande anticipo, è curata dal schrift abgefasst sind. Diese mit Spannung temporary context for Husain’s work, with famoso artista indiano Paresh Maity, che erwartete Präsentation wird vom ange- his own highly stylised watercolours and fornisce un contesto contemporaneo al sehenen indischen Künstler Paresh Maity works of coloured fables and elegant dei- lavoro di Husain, con i suoi acquerelli molto kuratiert, der einen zeitgenössischen Kon- ties by his wife, artist Jayasri Burman. This stilizzati e le opere di favole colorate ed text für Husains Arbeit schafft, zum einen eminent collection serves to anchor this eleganti divinità, realizzati da sua moglie, mit seinen eigenen hochstilisierten Aqua- year’s India-focused event. Jayasri Burman. Questa eminente collezio- rellen, zum anderne mit Werken über far- ne ha lo scopo di introdurre l’evento incen- benfrohe Fabeln und elegante Gottheiten trato sull’India. von seiner Frau, der Künstlerin Jayasri Burman. Diese bedeutende Sammlung bildet einen Schwerpunkt des diesjährigen Fokus Indien.

Jayasri Burman Lord Buddha, 2009 Paresh Maity Magical Odyssey, 2008 watercolour, pen and ink on board, 122 x 113 cm watercolour on paper, 102 x 102 cm Copyright; the artist Copyright: the artist Courtesy: Stellar International Art Foundation Courtesy: Stellar International Art Foundation

Walk of Art · 3

Kempinski Grand Hotel des Bains Via Mezdi 27 · 7500 St. Moritz täglich · daily · tutti i giorni

22 M F Husain (1913 - 2011) Untitled (Dancing Tigers), 1954 Maria Series, pencil and ink on paper, 35 x 25 cm Copyright: the Estate of M F Husain Courtesy: Stellar International Art Foundation

23 R. Burman

Nach seinem Abschluss am renommierten After graduating from the prestigious Dopo essersi diplomato al prestigioso Brooks Institute of Photography arbeitete Brooks Institute of Photography, R. Burman Brooks Institute of Photography R. Burman R. Burman ausgiebig als freier Assistent worked extensively as a freelance assistant ha lavorato a lungo come assistente free- mit international renommierten Namen wie with renowned international names such as lance con grandi nomi di fama internazionale Steven Klein und Mark Seliger in New York Steven Klein and Mark Seliger in New York come Steven Klein e Mark Seliger, a New und Los Angeles. Nach fünf Jahren Ausbil- and Los Angeles. After 5 years of training York e Los Angeles. Dopo cinque anni di dung bei einigen der besten Fotografen be- under some of the best lens men, he star- formazione con alcuni dei migliori fotografi, gann er seine eigenen Fotoshootings in ted shooting on his own in New York and ha iniziato un’attività autonoma a New York New York und fotografierte mehrere Edito- photographed several editorials and catalo- e ha prodotto diversi editoriali e cataloghi rials und Kataloge für verschiedene Publika- gues with various publications and brands. per varie pubblicazioni e marchi. Il progresso tionen und Marken. Indiens Fortschritte im India’s progress in early 2008 inspired him dell’India all’inizio del 2008 lo ha spinto a Frühjahr 2008 inspirierten ihn dazu, im Mai to move back in May of this year. There, he ritornarci nel maggio di quell’anno. Lì ha dieses Jahres nach Indien zurückzukehren. started to extensively create portraitures iniziato a lavorare molto per Vogue India Dort begann er, ausgiebig Porträts für Vogue for Vogue India. From then on, it has been a facendo ritratti fotografici. Da allora in poi è Indien zu erstellen. Von da an war es eine spectacular journey. In the past 3 years, stato un cammino insarrestabile. Nel corso aufregende Reise. In den letzten drei Jah- Burman has worked for most of the country’s degli ultimi tre anni Burman ha lavorato per ren hat Burman für die meisten der landes- leading magazines and brands. He has also la maggior parte delle più importanti riviste weit führenden Zeitschriften und Marken photographed some of Indian cinema’s e marchi del Paese. Ha anche fotografato i gearbeitet. Burman hat ausserdem einige most renowned faces and continues to più famosi volti del cinema indiano e questa der bekanntesten Gesichter des indischen enjoy the process of creating a great blend miscela di arte e lavori pubblicitari continua Kinos portraitiert und geniesst weiterhin of art and commercial work. a dargli grandi soddisfazioni. den Schaffensprozess einer Verbindung aus Kunst und kommerzieller Arbeit.

R. Burman Conversations, 2014 Photograph, 50 cm x 76 cm, Edition: 1/10 Courtesy: Art Alive Gallery, India

Walk of Art · 3

Kempinski Grand Hotel des Bains Via Mezdi 27 · 7500 St. Moritz täglich · daily · tutti i giorni

24 Jayasri Burman

Jayasri Burmans Arbeit speist sich aus der Jayasri Burman’s work derives from the Il lavoro di Jayasri Burman trae origine dalla reichhaltigen visuellen Volkstradition Indi- rich pictorial folk tradition of India. The work ricca tradizione popolare pittorica dell’India. ens. Die Arbeit verkörpert die Kraft einer represents the empowerment of a woman Esso rappresenta l’emancipazione della Frau, deren Inspiration die Inkarnation whose inspiration is the incarnation of donna, ispirata dall’incarnazione di Shatki – Shaktis ist - Symbol weiblicher Energie und Shakti – symbol of female energy and na- energia femminile e natura. Shakti è la forza Natur. Shakti ist jene göttliche Kraft, die zur ture. Shakti is the divine force, manifesting divina, che si manifesta per distruggere Zerstörung dämonischer Kräfte in Erschei- to destroy demonic forces and to restore le forze diaboliche e ristabilire l’equilibrio. nung tritt, um wieder ein Gleichgewicht zu balance. Every God in Hinduism has his Ogni divinità dell’Induismo ha la sua Shakti, herzustellen. Im Hinduismus verfügt jede Shakti and has no power without that ener- senza la cui energia non ha nessun potere. Gottheit über eine Shakti, ohne deren Ener- gy. Therefore, Shakti is the mother god- Così Shakti è la madre divina, la sorgente di gie sie machtlos wäre. Shakti ist demnach dess, the source of all, the universal princi- tutto, il principio universale di energia, pote- die Muttergöttin, die Quelle allen Seins, das ple of energy, power or creativity. Free, and re o creatività. Libera e in simbiosi con la universelle Prinzip von Energie, Kraft und at one with nature, the woman is so- natura, la donna è talvolta un uccello da ce- Kreativität. Frei und eins mit der Natur, wird metimes depicted as a coronated ceremo- rimonia incoronato, altre volte una dea mad- die Frau manchmal als gekrönter zeremoni- nial bird, and at others, as a mother God- re o una creatrice. eller Vogel, manchmal als eine Mutter-Göt- dess or a creator. L’opera rispecchia una forte femminilità e tin oder Schöpferin dargestellt. The work reflects strong femininity and po- una poetica vitalità, fondata su una dinamica Das Werk zeigt kraftvolle Weiblichkeit und etic vitality, dynamically rooted in iconogra- di iconografia e simbolismo. L’aura si mani- poetische Lebensfreude - auf energetische phy and symbolism. A certain aura is crea- festa nei dettagli, realizzati con grande cura. Weise in Ikonographie und Symbolik ver- ted through carefully crafted details. Il suo lavoro rappresenta nel modo migliore wurzelt. Mittels sorgfältig gestalteter De- Burman’s work represents tradition in the la tradizione, reinterpretata, reinventata e tails entsteht eine gewisse Aura. Burmans best sense: reinterpreted, re-invented and ripensata, per l’India di oggi. Arbeit verkörpert Tradition im besten Sinne: re-imagined for India of today. neu interpretiert, erfunden und entdeckt für ein Indien von heute.

Jayasri Burman Dharitri, 2013 Bronze, 238 cm x 198 cm x 193 cm, Edition: 1/3 Courtesy: Art Alive Gallery, India

Walk of Art · 3

Kempinski Grand Hotel des Bains Via Mezdi 27 · 7500 St. Moritz täglich · daily · tutti i giorni

25 INSPIRED BY NATURE DRIVEN BY PASSION

IN THE MIDST OF NATURE // Our award-winning hotel with fine restaurants, happening bars, relaxing spa and much more – builds the perfect basecamp for your personal discoveries in our stunningly beautiful valley – what a playground.

Come join us at one of the coolest alpine resorts for an amazing experience you’ll never forget … 26 NIRA ALPINA Switzerland +41 81 838 69 69 [email protected] niraalpina.com

LAY_A_NIRA_SAM_2014_Insertion_Programm_297x210_201407.indd 2 7/2/14 10:14 AM Paresh Maity

Für die Installation „Mystic Abode“ / „Mys- For the installation “Mystic Abode”, the In- L’artista indiano Paresh Maity (1965), ha tische Wohnstätte“ baute der indische dian artist Paresh Maity (*1965) created a creato con l’installazione „Mystic Abode“ Künstler Paresh Maity (*1965) ein Haus house with more than 8.000 brass bells. una casa formata da più di 8000 campane di mit mehr als 8.000 Messingglöckchen. Der With the clear sound of the bells, the walk-in ottone. L’installazione, in cui è possibile helle Klang der Glöckchen macht die Instal- installation becomes an enchanting space. entrare, diventa uno spazio incantato grazie lation zu einem berückenden Ort. Das The artwork evokes a holy place of medita- al piacevole suono delle campane. L’opera Kunstwerk erinnert an einen heiligen Ort tion, reflection and inner peace. The bells d’arte, con le sue campane dorate, ricorda der Meditation, Reflexion und des inneren signify peace and purity, echoing the inner al visitatore un sacro luogo di meditazione, Friedens. Die Glöckchen symbolisieren voice and creating positive energy. The riflessione e pace interiore. Le campane, Ruhe und Reinheit, ein Echo der inneren work is placed in front of the Badrutt’s che significano pace e purezza, fanno eco Stimme und die Schaffung positiver Ener- Palace Hotel, St. Moritz. alla voce interiore e creano energia positiva. gie. Die Arbeit ist vor dem Badrutt’s Palace L’installazione si trova di fronte all’Hotel Hotel, St. Moritz platziert. Another installation by Paresh Maity, “Pro- Badrutt’s Palace a St. Moritz. cession”, is exhibited at the Nira Alpina Eine weitere Installation von Paresh Maity, Hotel, Surlej. “Procession” is an installa- L’altra sua opera „Procession“ è presentata „Procession“ / „Prozession“, wird am Nira tion of 50 ants, which pays tribute to the nell’Hotel Nira Alpina, a Surlej. „Processi- Alpina Hotel Surlej gezeigt. „Prozession“ ant’s resolute character and humble achieve- on“ è un’installazione composta da cin- ist eine Installation aus 50 Ameisen, die ments. Their characterizing strength lies in quanta formiche che vuole rendere dem entschlossenen Charakter und den their togetherness, and they harness this omaggio al carattere risoluto e alle umili re- bescheidenen Leistungen der Ameisen An- characteristic of their species to reach farther alizzazioni di questi insetti. La notevole erkennung zollt. Die kennzeichnende Stärke and deeper than most other beings. By forza delle formiche risiede nel loro lavoro dieser Tiere liegt in ihrer Zusammengehö- creating them larger than life size, the artist in comune: sfruttando questa caratteristica rigkeit, und sie nutzen diese Eigenschaft draws our attention to the ant’s exemplary riescono a raggiungere obiettivi considere- ihrer Spezies, um mehr und Grösseres zu standards. voli, assai più importanti di quanto riescano erreichen als die meisten anderen Lebe- a fare altri animali. L’artista vuole attirare la wesen. Indem er sie überlebensgross nach- nostra attenzione sui modelli di vita esemp- gebildet hat, macht der Künstler auf die lari delle comuni formiche e per questa ragi- exemplarischen Massstäbe der Ameisen one le ha prodotte di dimensioni più grandi INSPIRED BY NATURE aufmerksam. che in natura. DRIVEN BY PASSION

Paresh Maity Mystic Abode: An Installation of Bells, 2014 Brass Bell, Steal Bar and Metallic Paint, 368 cm x 445 cm x 262 cm, Single Edition Courtesy: Art Alive Gallery, India

IN THE MIDST OF NATURE // Our award-winning hotel with fine restaurants, happening bars, relaxing spa and much more – builds the perfect basecamp for Walk of Art · 16 Walk of Art · 2 your personal discoveries in our stunningly beautiful valley – what a playground. Badrutt’s Palace Hotel Nira Alpina Come join us at one of the coolest alpine resorts for an Via Serlas 27 · 7500 St. Moritz Via dal Corvatsch 76 · 7513 Silvaplana täglich · daily · tutti i giorni täglich · daily · tutti i giorni amazing experience you’ll never forget … 27 NIRA ALPINA Switzerland +41 81 838 69 69 [email protected] niraalpina.com

LAY_A_NIRA_SAM_2014_Insertion_Programm_297x210_201407.indd 2 7/2/14 10:14 AM Jitish Kallat & Julian Schnabel

Zwischen den Arbeiten von Julian Schnabel An encounter between East and West, a Un incontro tra Oriente e Occidente, un dia- und Jitish Kallat manifestiert sich eine temporal and cultural dialogue which spans logo temporale e culturale che abbraccia Begegnung zwischen Ost und West – ein traditions manifests itself between the diverse tradizioni, si instaura tra i lavori di Traditionen umfassender, zeitlicher und kul- work of Julian Schnabel and Jitish Kallat. Julian Schnabel e Jitish Kallat. Il primo si tureller Dialog. Schnabel arbeitet auf bereits The first expresses himself on pre-existing esprime su preesistenti fotografie di Shiva, vorhandenen Fotografien der Hindu-Gott- photographic images of Shiva, the Hindu la divinità Hindu che rappresenta la distru- heit Shiva, welche sowohl die Zerstörung deity who represents both the destruction zione del mondo ma anche la sua conserva- der Welt als auch deren Erhaltung und Re- of the world, but also its preservation and zione e rigenerazione, integrando l’immagine generation verkörpert. Auf diese Weise bin- regeneration, integrating his image with della divinità con richiami letterari, storici e det er seine Malerei in literarische, histori- literary, historical and musical references musicali derivati dalla tradizione occidentale. sche und musikalische Referenzen der from the Western tradition. The second Il secondo ricostruisce i diversi aspetti della westlichen Tradition ein. Kallat hingegen re-constitutes the many facets of life as vita nelle megalopoli, incrociandoli con di- stellt in Verknüpfung mehrerer autobiogra- manifested in a mega-city, interlacing sever- versi richiami legati alla sua autobiografia, phischer, kunsthistorischer, politischer und al autobiographical, art-historical, political alla politica, alla storia dell’arte e alla sfera himmlischer Referenzen die vielen Facetten and celestial references. A few themes sacrale. Alcuni temi quali il tempo, la nascita, des Lebens dar, wie es sich in einer Mega- such as time, birth, sustenance and morta- il nutrimento e la mortalità continuano a City manifestiert. Themen wie Zeit, Geburt, lity continue to recur in his work, often ricorrere nella sua opera, spesso sovrappo- Nahrung und Mortalität tauchen wiederholt overlaying disparate moments, everyday nendosi in narrazioni interconnesse con in seinem Werk auf, oft in Überlagerung images and events into interconnected momenti disparati, immagini della vita quo- disparater Momente, alltäglicher Bilder und narratives. From one perspective, cultural tidiana e vari eventi. Da una delle due pros- Vorkommnisse zu miteinander vernetzten integration is viewed as a necessary and pettive l’integrazione culturale è vista come Erzählungen. Gilt kulturelle Integration einer- indispensable thing, and from another un elemento necessario e indispensabile, seits als notwendig und unverzichtbar, wer- westernisation and globalisation is viewed dall’altra l’occidentalizzazione e la globa- den andererseits Verwestlichung und Glo- as an inevitable and often dramatic force lizzazione sono viste come forze inevitabili balisierung als unvermeidliche und oft kata- in the development of society. These two e spesso drammatiche nello sviluppo della strophale Antriebskraft in der Entwicklung artists unite their respective life experiences società. Questi due artisti uniscono le loro der Gesellschaft angesehen. Beide Künst- and research, inviting the viewer to join rispettive esperienze e ricerche invitando lo ler bringen ihre jeweiligen Lebenserfahrun- them in a journey which is seemingly long spettatore a unirsi a loro in un viaggio che gen mit ihren Forschungsgebieten zusam- distance, but which in fact is always closer sembrerebbe andare molto lontano ma che men und laden zu einer gemeinsamen to us than originally thought, slicing through in realtà ha una destinazione più vicina di Reise ein, die nur scheinbar eine Fernreise the cultural divides which are in a process quella che originariamente si penserebbe, ist, da sie uns tatsächlich stets näher ist, als of merging. passando attraverso le differenze culturali ursprünglich angenommen. Dabei werden tra le due tradizioni che, al giorno d’oggi, kulturelle Grenzen durchschnitten, die heu- tendono ad avvicinarsi sempre di più. te mehr und mehr zusammenwachsen.

Jitish Kallat 14 Lives, 2011 Acrylic on canvas, 1 bronze sculpture, 175,26 x 254 cm, 69 x 100 inch Courtesy: ARNDT, Berlin/Singapore

Walk of Art · 17

Robilant + Voena Via Serlas 35 · St. Moritz Montag - Samstag · Monday - Saturday · Lunedì - Sabato · 14 - 19 h

28 Julian Schnabel Untitled (Indian Painting), 2007 Oil, wax and resin on polyester, 82 x 58 ½ inch / 208.28 x 148.6 cm Courtesy: Robilant + Voena, London – Milan – St. Moritz

29 Smriti Dixit

„Ich habe schon seit langer Zeit eine enge ”I have had a relationship with my material „Da molto tempo ho uno stretto rapporto Bindung zu meinen Materialien. Ich bin for a long time. I am constantly surrounded con i materiali che utilizzo. Stoffe e filati ständig von Stoffen und Garnen umgeben, by textiles and threads, they are on my sono sempre intorno a me, sul mio corpo, sie sind auf meinem Körper, in meiner Küche body, in my kitchen and even in my bath- nella mia cucina e anche nel mio bagno.” und auch in meinem Badezimmer.“ room.“ L’artista indiana Smriti Dixit (*1971, Bhopal) Die indische Künstlerin Smriti Dixit (*1971, The Indian artist Smriti Dixit (*1971 Bhopal) utilizza per le sue opere astratte qualsiasi Bhopal) verwendet in ihren abstrakten Wer- uses all kinds of textile material in her abs- tipo di materiale tessile. I filati, le fibre e le ken alle Arten von textilen Materialien. Fä- tract works. Thread, fibres and fabrics are stoffe vengono cuciti, lavorati a maglia, an- den, Fasern und Stoffe finden sich in ge- used alongside each other, they are sewed, nodati o impiegati combinando le tre diver- nähter, gestickter oder geknüpfter Form stitched, knotted or employed in a combi- se tecniche. L’artista amplia costantemente oder in Kombination aller Techniken. Ihr nation of all these techniques. She conti- le sue conoscenze del cucito tradizionale Wissen um das traditionelle Handwerk des nually develops her knowledge of the tradi- tutt’oggi usato dalle donne indiane e sfrutta Nähens, das noch heute von indischen tional handiwork sewing, which is still used tali conoscenze nel creare opere d’arte con- Frauen angewandt wird, erweitert die today by Indian women, and transfers it to temporanea. Dixit sperimenta tessuti, mo- Künstlerin kontinuierlich und überträgt es in contemporary artworks. Dixit experiments delli e colori. Ai materiali naturali unisce zeitgenössische Kunstwerke. Dixit experi- with textures, patterns and colours and spesso oggetti d’uso comune cui raramen- mentiert mit Texturen, Mustern und Far- combines natural materials with items from te si presta attenzione, come ad esempio i ben. Die natürlichen Materialien verbindet the world of consumption that usually rivestimenti in plastica per i cartellini prezzo sie oft mit Textilien aus der Konsumwelt, receive little attention. Examples are plastic o le etichette dei vestiti con le istruzioni per denen man selten Beachtung schenkt, z.B. price tags or laundry tags. For Dixit, textile il lavaggio. I dipinti su tessuto e gli oggetti Plastikaufhänger von Preisschildern oder paintings and objects are equal. The artist hanno per Dixit la stessa importanza. Nel Wäscheetiketten. Bei Dixit stehen textile developed her own language over the ye- corso degli anni l’artista ha sviluppato un Gemälde und Objekte gleichbedeutend ne- ars, a language that is significant for her proprio linguaggio espressivo che si adatta beneinander. Über die Jahre hat die Künst- subjects. Her works discuss questions of perfettamente ai temi da lei scelti per le sue lerin eine eigene Sprache entwickelt, die rebirth, recycling and renewal. The process opere: la reincarnazione, il riciclaggio e il rin- signifikant für ihre Themen ist. Ihre Werke of creation and fabrication, the work of se- novo. Il cucito, il lavoro a maglia o il drap- thematisieren Fragen wie Wiedergeburt, wing, stitching and draping textile material peggio dei tessuti sono l’elemento principa- Wiederverwertung und Erneuerung. Der are the central elements of her art. Dixit le della sua attività creativa. Dixit vive e Prozess des eigenen Schaffens und Schöp- lives and works in Mumbai today. lavora a Mumbai. fens, die Arbeit des Nähens, Stickens oder Drapierens des textilen Materials, gilt als das zentrale Element ihrer Kunst. Dixit lebt und arbeitet heute in Mumbai.

Smriti Dixit TRAP, 2014 In Zusammenarbeit mit Installation view, Polythene Polypropylene, Size variable In collaboration with Courtesy: Galerie & Edition Stephan Witschi, Zürich In collaborazione con Galerie Stephan Witschi /Zürich Walk of Art · 1

Andrea Robbi Museum Chesa Fonio · 7514 Sils Maria Dienstag - Sonntag · Tuesday - Sunday · Martedì - Domenica · 14 - 18 h

30 Francesco Clemente

Francesco Clemente, geboren 1952, ver- Francesco Clemente, born in 1952, leaves Francesco Clemente, è nato a Napoli nel lässt seine Heimat Neapel zum ersten Mal, his native town Naples the first time for 1952. Abbandona la sua città natale per um in Rom Architektur zu studieren. Nach Rome to study architecture. Three years trasferirsi a Roma dove studia architettura. drei Jahren Studium wendet er sich der later he turns his focus on painting. At the Dopo tre anni, il suo interesse si rivolge alla Malerei zu. Mit 21 Jahren reist er noch weiter age of 21 he travels farther, following his pittura. A 21 anni viaggia con il suo mentore, fort, seinem Mentor Alighiero Boetti folgend, mentor Alighiero Boetti to Afghanistan and Alighiero Boetti, in Afghanistan e successi- nach Afghanistan, dann nach Indien. Er findet later to India. There he finds a new, second vamente in India. Qui trova una seconda eine neue, zweite Heimat. 1978 richtet er home. In 1978 he founds a studio in Madras. patria. Nel 1978 apre un studio a Madras, e sich in Madras ein Atelier ein, seither be- Since then he travels back and forth between in seguito viaggia tra l’India e New York, wegt er sich hauptsächlich zwischen Indien India and New York, where he works since dove si era trasferito dal 1983, in una ideale und New York, wo er seit 1983 arbeitet, 1983 – between orient and occident. His fusione tra oriente e occidente. La poetica zwischen Orient und Okzident. Seine Male- painting describes, it is poetry and history, della sua pittura descrive quello che vede e rei beschreibt, sie ist Poesie und Geschichte, what he sees, what he encounters. Conti- quello che incontra. Le sue opere esplorano was er sieht und was ihm begegnet. Anhal- nuously he deals with the body, with desire, temi come il corpo, la forza femminile, la tend befasst er sich mit der Körperlichkeit, and the female force, with birth and death, nascita e la morte. Studia l’Induismo, lavora der Begierde und der weiblichen Kraft, mit with self-observation both here and there. con carta fatta a mano, utilizza colori e Geburt und Tod, der Selbstbetrachtung hier He studies Hinduism, works on hand- tessuti locali e collabora con artisti locali. als auch dort. Dort setzt er sich mit dem dipped paper, uses local colours and textiles, Clemente ripercorre a ritroso tutto quell’in- Hinduismus auseinander, arbeitet auf hand- and occupies local artists. Here he goes sieme di esperienze culturali che fanno geschöpftem Papier, verwendet lokale Far- back on a rich cross-cultural experience, dell’India un luogo magico.Nelle sue storie, ben und Stoffe, beschäftigt lokale Künstler. makes India somehow magic. He embeds riesce a fondere mitologia e iconografia; in Hier schöpft er aus seiner reichen interkul- mythology and iconography in his stories in questo modo, nelle sue opere s’incontrano turellen Erfahrung, verleiht Indien etwas a way that turns human experience power- alberi che affondano le proprie radici nel Magisches. Mythologie und Ikonografie less: As if self-evident, trees grow down cielo, o uomini con quattro gambe e la testa werden so in seine Erzählungen eingebet- from the sky and a man has four legs and a che fluttua nel mezzo. La mostra presenta tet, dass die eigenen menschlichen Erfah- head––if at all––that finds itself somewhere i lavori „indiani” di Clemente degli ultimi rungen unwirksam erscheinen: Selbstver- in between. A centerfield between promise, 25 anni. ständlich wachsen Bäume vom Himmel seduction, and fulfilment or belief and hope. herunter und hat der Mann vier Beine und The exhibition shows ”Indian” works by ein Haupt – wenn überhaupt –, das irgend- Francesco Clemente from the last 25 years. wo dazwischen liegt. Ein Mittelfeld zwi- schen Verheissung, Verführung und Erfül- lung oder Glaube und Hoffnung. In der Ausstellung werden „indische” Arbeiten Francesco Clementes aus den letzten 25 Jahren vereint.

Francesco Clemente Shakti, 2003 Pastel on paper 47.7 x 66.7 cm Courtesy: Galerie Bruno Bischofberger

Walk of Art · 12

Galerie Bruno Bischofberger AG · Via Maistra 37 · 7500 St. Moritz Montag - Freitag · Monday - Friday · Lunedì - Venerdì · 14 - 18.30 h · Samstag · Saturday · Sabato 11 - 13 h & 15 – 18 h sowie nach Vereinbarung · or upon request · o su richiesta

31 INTERVIEW Fra ncesco Clemente

St. Moritz Art Masters is excited to show your tent ”Standing war of the mind against the mind. The tent covered in camouflage with Truth“ (2013). You have also made the tents ”Museum is a shelter where the mind can accept its own nature as illusory, Tent“ (2013) and ”Taking Refuge“ (2013). How do these three empty of visibility. tents relate to each other? Why is ”Standing with Truth“ (2013) so special for you? At first glance the inside of your tent I have always painted in cycles. The interior looks bright and colorful. At second walls and the ceiling of the tent allow the glance you discover gloomy motifs like unfolding of complex narratives, within a pain and dead. What is the message of simple form. the drawings? What kind of “truth” do The title ”Standing with truth“ originates you like to tell? from a poem by Kabir who says: “I sit with The goal of our society is to prove the truth, I stand with truth, I walk with truth“. nothing means anything. Our society pro- To me ”Truth“ is a descriptive stance not a motes a sentimental notion of reality where prescriptive one. The artist, like the mystic ”color and bright“ are opposed to ”pain of old, does not prescribe how to better and death“. If we don’t buy into this narra- the world but rather describes the world tive we easily see that joy is rooted in pain. as perfect the way it is. You have lived in India and traveled there Why did you choose the form of a tent? many times. Where does your curiosity Has this something to do with your in Indian culture come from? What was architectural studies or with your nu- the initial moment which aroused your merous journeys? Francesco Clemente interest in Indian aesthetics, culture I am interested in the persistence of form Courtesy: the artist (Photo: Neil Greentree) and history? through the vagaries of culture. I am also The scent of India converted me to India. fascinated by the contamination and mingling of diverse traditions. The tents sum up these themes. Last but not least I lead a nomadic What kind of changes have you noticed in contemporary Indian life between East and West, the tents are my spiritual home. art within the past 10 years? How would you describe its development in relation to the economical changes? The outside of the tent is covered by a camouflage pattern. Indian artists were making compelling works before ”the economical What does this pattern mean to you? Do you refer to military changes“ and will make compelling works after ”the economical equipment or to methods of covering? changes”. Tents are associated often with war. But there is only one war: the

32 The title ”Standing with truth“ originates from a poem by Kabir who says: ”I sit with truth, I stand with truth, I walk with truth“.

Francesco Clemente ”Standing with truth“ Tent, 2012 - 2013 Tempera on cotton, embroidery, hand stitching, bamboo poles, wood finials, ropes, iron weights, 9 x 7 x 3 m Courtesy: BLAIN|SOUTHERN (Photo: Christian Glaeser)

Walk of Art · 11

Turnhalle im alten Schulhaus · Gym · Palestra Plazza da Scoula · 7500 St. Moritz täglich · daily · tutti i giorni · 10 - 18 h

33 Matthias Brunner

Im brandneu restaurierten Prachtsbau des A film installation by Matthias Brunner is Al palazzo PARACELSUS di St. Moritz Bad, PARACELSUS Gebäudes in St. Moritz Bad staged in the recently restored and magni- recentemente restaurato, Matthias Brunner wird eine Filminstallation zu Ehren des ben- ficent PARACELSUS building in St. Moritz presenta un’installazione cinematografica galischen Regisseurs SATYAJIT RAY von Bad to honor Bengali director SATYAJIT in onore del regista bengalese SATYAJIT Matthias Brunner inszeniert. Satyajit Ray RAY. Satyajit Ray was born into a large family RAY. Satyajit Ray discendeva da una grande stammte aus einer grossen Künstlerfamilie of artists and is the only Indian director who famiglia di artisti ed è l’unico regista indiano und ist der einzige indische Regisseur, der managed to turn national peculiarities into che negli anni Cinquanta sia riuscito a pre- es in den 50er-Jahren schaffte, nationale an independent art form in the 1950’s. His sentare caratteristiche nazionali in una per- Eigenheiten in eine eigenständige künstleri- most impactful work is THE MUSIC ROOM sonale forma artistica. Il suo lavoro principale sche Form zu bringen. Sein Hauptwerk ist (1958.) Ray’s work, which is greatly influ- è „THE MUSIC ROOM“ del 1958. Questo THE MUSIC ROOM (1958). Rays Werk – enced by Italian Neo-realism, is still regar- film, fortemente influenzato dal neorealis- das stark vom italienischen Neorealismus ded as a classic example of an uncompro- mo italiano, viene ancora oggi considerato beeinflusst ist – gilt heute noch als Muster- mising film director, beyond the Bollywood come esempio di un regista senza compro- beispiel eines kompromisslosen Filmregis- kitsch that deliberately objectified India’s messi, al di fuori del Bollywood kitsch, in seurs – jenseits des Bollywood-Kitschs, der inner conflicts both artistically and socially. grado di presentare con obiettività i conflitti die inneren Konflikte seines Landes künst- interni artistici e umani del suo Paese. lerisch und menschlich zu objektivieren wusste.

Satyajit Ray, film still from „The Music Room“, 1958

Walk of Art · 4

Paracelsus Plazza Paracelsus · 7500 St. Moritz täglich · daily · tutti i giorni · 10 - 18 h

34 Filmprogramm curated by Matthias Brunner

Matthias Brunner und der Filmpublizist Walter Ruggle haben eine Matthias Brunner and the film publicist Walter Ruggle have Reihe mit indischen Filmen aus den Jahren 1958 bis 2013 zusam- selected some outstanding Indian movie from 1958 to 2013. The mengestellt, die zu den besten Werken des jeweiligen Jahrzehnts selection represents the best movies from its respective decades. zählen. Den Anfang macht THE MUSIC ROOM von Satyajit Ray, THE MUSIC ROOM by Satyajit Ray makes the start followed by gefolgt von ALAIN TANNERS hervorragendem Dokumentarfilm ALAIN TANNER’s excellent documentary about Chandigarh. All über Chandigarh. Alle Filme werden in Originalversion mit d/fr Un- films will be screened in their original version and with German/ tertiteln vom 25. bis 30. August 2014 im KINO SCALA in St. Moritz French subtitles from August 25th to 30th 2014 at 17 h at KINO um 17 h gezeigt. SCALA, St. Moritz.

Sonntag · Sunday, 24.08.2014, 17 h, 100 min In a village in Kerala, a father with his wife and daughter is waiting 1955 THE MUSIC ROOM by Satyajit Ray on the return of his son from the city. He does it with the utmost Satyajit Ray ist der Altmeister des indischen Films, auch heute calm, although the certainty increases that the boy was killed noch von jungen KünstlerInnen verehrt. „The Music Room” schil- during a demonstration. dert bravourös die Geschichte eines Übergangs von Zeiten und Kulturen. Donnerstag · Thursday, 28.08.2014, 17 h, 87 min Satyajit Ray is the doyen of Indian film and even today, his work is 1997 DANCE OF THE WIND by Rajan Khosa still admired by young artists. “The Music Room“ brilliantly tells Fünftausend Jahre alt ist die Tradition, von der Rajan Khosa erzählt. the story of a transition in times and cultures. Ihr zufolge lehren die Eltern ihre Kinder die Lieder der Weisheit, die es ihnen ermöglichen, Leben und Schicksal mit grösserer Gelassen- Montag · Monday, 25.08.2014, 17 h, 50 min heit zu tragen. 1965 UNE VILLE A CHANDIGARH by Alain Tanner Rajan Khosa tells us about a five thousand years old tradition. 1950 bekam der Schweizer Architekt Le Corbusier die Chance, According to her, parents teach their children the songs of wisdom in Chandigarh eine Stadt zu bauen. Alain Tanner betrachtet die that will allow them to endure life and destiny with more serenity. Situation, der Schriftsteller John Berger sinniert über sie und den Wandel der Zeit. Freitag · Friday, 29.08.2014, 17 h, 100 min In 1950, the Swiss architect Le Corbusier got the chance to build a 2011 BOMBAY DIARIES by Kiran Rao city in Chandigarh. Alain Tanner takes a look at this situation, while Eine Fotografin aus den USA will die Heimat ihrer Eltern erkunden. writer John Berger reflects on it and on changing times. Sie trifft in Mumbai auf einen Künstler (Aamir Khan) und einen Wäscher und taucht ein in das, was man als „incredible India“ Dienstag · Tuesday, 26.08.2014, 17 h, 159 min bezeichnen kann. 1973 TITASH by Ritwik Ghatak A photographer from the United States wants to explore her Ritwik Ghatak erzählt in seinem Klassiker aus dem Leben eines parents’ homeland. After meeting an artist (Aamir Khan) and a Fischerdorfes an den Ufern des Titash in Ostbengalen. Kiishore washerman in Mumbai, she delves into what can be described as verliebt sich in ein Mädchen, das kurz nach der Heirat von Piraten “incredible India“. verschleppt wird. In his classic, Ritwik Ghatak tells about the life of a fishing village Samstag · Saturday, 30.08.2014, 15 h, 224 min on the banks of Titash in East Bengal. Kiishore falls in love with a 2001 LAGAAN by Ashutosh Gowariker girl who is kidnapped by pirates shortly after her marriage. Kino zum Dahinschmelzen, ein Epos zum Träumen und Schwel- gen. Zur Kolonialzeit im 19. Jahrhundert treten die Bauern eines Mittwoch · Wednesday, 27.08.2014, 17 h, 110 min Dorfes zum Cricketspiel gegen die Briten an. Ein Vierstünder, den 1988 PIRAVI by Shaji Karun man nicht vergisst. Ein Vater wartet im Dorf in Kerala mit Frau und Tochter auf die A movie to die for – an epic for dreaming and reveling. During colo- Rückkehr des Sohnes aus der Stadt. Er tut es mit grösster Ruhe, nial times in the 19th century, the peasants of a village compete obwohl die Gewissheit steigt, dass der Junge bei einer Demon- against the British in a game of cricket. A four-hour movie you will stration ums Leben kam. not forget.

Kino Scala Via Maistra 29 · 7500 St. Moritz

35 Montblanc Art Bags Sylvie Fleury, Gary Hume, David LaChapelle, Huang Min

Im Rahmen seines Engagements für Kunst Within the framework of its engagement with Montblanc da sempre sostenitrice dell’arte und Künstler begann Montblanc im Jahr the arts and artists, Montblanc began to e degli artisti, ha creato nel 2002 una 2002 mit dem Aufbau einer eigenen build a contemporary art collection in 2002. collezione d’arte contemporanea. La colle- Sammlung zeitgenössischer Auftrags- As a part of the so called “Cutting Edge Art zione chiamata „Cutting Edge Art Collection“ kunst. Als Beitrag zur Kollektion wurden Collection” ten unique ART BAGS were comprende 10 „ART BAGS“ che oggi zehn einzigartige ART BAGS entworfen. Sie created. Today, they travel around the world viaggiano in tutto il mondo e vengono pre- reisen seitdem um die Welt und werden and have already been presented at selected sentate in numerosi eventi d’arte. an ausgewählten Kunst- und Kulturevents art events. präsentiert.

Walk of Art · 13

Kulm Hotel Via Veglia 18 · 7500 St. Moritz täglich · daily · tutti i giorni

36 St. Moritz art masters foundation

Die gemeinnützige Stiftung wurde im Jahr The non-profit foundation was created by Questa Fondazione senza scopo di lucro è 2009 von den Gründern des St. Moritz Art the founders of the St. Moritz Art Masters stata costituita nel 2009 dai fondatori del Masters ins Leben gerufen. Die St. Moritz in 2009. The St. Moritz Art Masters Foun- St. Moritz Art Masters. La Fondazione si è Art Masters Foundation hat es sich zur Auf- dation has made it its mission to promote assunta il compito di favorire progetti di gabe gemacht, Projekte von ausserge- projects by exceptional artists and to present artisti insoliti, presentandoli nel corso del wöhnlichen Künstlern zu fördern und wäh- the results during the St. Moritz Art St. Moritz Art Masters. È stato possibile rend des Festivals St. Moritz Art Masters zu Masters festival. Installations by the artist realizzare installazioni della coppia di artisti präsentieren. Es konnten Installationen mit couple Ilya & Emilia Kabakov and by Swiss Ilya & Emilia Kabarov, cosí come degli artisti dem Künstlerehepaar Ilya & Emilia Kabakov artists Jacqueline Baum & Ursula Jacob and svizzeri Jacqueline Baum & Ursula Jakob e sowie den Schweizer Künstlern Jacqueline Kerim Seiler have already been realized. Kerim Seiler. A partire dall’anno scorso Baum & Ursula Jakob und Kerim Seiler ver- Since last year, an “Artist in Residence“ esiste anche un programma „Artist-in- wirklicht werden. Seit dem letzten Jahr program allows young emerging artists to Residence“, che offre a giovani artisti gibt es ein „Artist-in-Residence“-Programm, study abroad in the Engadine. Last year, the emergenti un soggiorno di studio in Engadina. welches jungen aufstrebenden Künstlern artists Gerald Machona from South Africa Nel 2013 hanno partecipato a questo pro- einen Studienaufenthalt im Engadin ermög- and Li Li from China took part in the “Artist- gramma il sudafricano Gerald Machona e il licht. Letztes Jahr nahmen der Südafrikaner in-Residence“ program. This year, the pro- cinese Li Li. Quest’anno la borsa di studio è Gerald Machona und die Chinesin Li Li am motion was awarded to Indian artist Amshu stata assegnata all’artista indiano Amshu „Artist-in-Residence“-Programm teil. Die- Chukki. During his visit, the multimedia artist Chukki. L’artista multimediale girerá durante ses Jahr geht die Förderung an den indi- shot a personal video diary and digitally il suo soggiorno un videodiario personale, schen Künstler Amshu Chukki. Der Multime- captured his impressions. fissando in maniera digitale le sue impressioni. dia-Künstler wird während seines Besuchs ein persönliches Videotagebuch drehen On Friday, August 29, 2014, the “St. Moritz Venerdi 29 agosto 2014 avrá luogo la und seine Eindrücke digital festhalten. Art Masters Foundation Charity Night“ in „St. Moritz Art Masters Foundation Charity favor of the “Artist-in-Residence“ program Night“ a favore del programma „Artist-in- Am Freitag, 29. August 2014, findet die will take place. Support the foundation with Residence“. Vi preghiamo di voler sostenere „St. Moritz Art Masters Foundation Charity the purchase of tickets. Reservations & la Fondazione con l‘acquisto di biglietti Night“ zugunsten des „Artist-in-Residence“- sales at: d‘ingresso. Prenotazione e vendita presso: Programms statt. Unterstützen Sie die [email protected] [email protected] Stiftung mit dem Kauf von Eintrittskarten. Reservierung & Verkauf unter: You are welcome to support the foundation Offerte a sostegno della Fondazione sono [email protected] with donations. benvenute. For more information: Maggiori informazioni all’indirizzo: Gerne können Sie die Stiftung auch mit [email protected] [email protected] Spenden unterstützen. Mehr Informationen unter: [email protected]

Ilya & Emilia Kabakov „Ship of Tolerance”, St. Moritzersee, 2010

Kerim Seiler „Relay“, Hotel Crystal, St. Moritz, 2012

Jacqueline Baum & Ursula Jakob „Spreading the Word”, Parkhaus Serletta, St. Moritz, 2011

Artist-in-Residence Gerald Machona & Li Li St. Moritz, 2013

37 536598 | AD | Ceremony | CH | Heritage | Art Masters | 210 x 297 mm | en | t 2, b 2, r 2, l 2 mm

Meisterstück Heritage Perpetual Calendar and Hugh Jackman

Crafted for New Heights Featuring one of the most delicate complications in fi ne watchmaking, the Montblanc Meisterstück Heritage Perpetual Calendar will require no adjustments until the year 2100, so long as its automatic Caliber MB 29.15 is kept sufficiently wound. Housed in a 39 mm 18K red gold case, this refi ned timepiece truly promises to be a lifetime companion. Visit Montblanc.com

38

536598_AD_Cerem_CH_Heritage_ArtMasters_210x297_en.indd 1 27.06.14 14:23 536598 | AD | Ceremony | CH | Heritage | Art Masters | 210 x 297 mm | en | t 2, b 2, r 2, l 2 mm

CURTIS ANDERSON

„Die eine Arbeit für einen bildenden Künst- The one work for the fine artist, the one „La sola opera per un artista figurativo, il ler, die eine Aufgabe beim Malen besteht in painting, is the painting of the one-size can- suo unico compito nel dipingere, sta nel riu- der wiederholten Benutzung der Leinwand vas, the single scheme, one formal device, tilizzo di un’unica tela: un solo schema, una in einer Grösse - des einzigen Schemas, der one color-monochrome, one linear-division sola monocromia, una sola partizione linea- einen Farb-Monochromie, der einen linea- in each direction, one symmetry, one tex- re in ogni direzione, una sola simmetria, una ren Teilung in jeder Richtung, der einen ture, one free-hand brushing, one rhythm, sola struttura, un solo abbozzo formale, una Symmetrie, der einen Textur, des einen for- one working everything into one dissoluti- sola pennellata a mano libera, un solo lavo- malen Entwurfs, des einen freihändigen on and one indivisibility, each painting into ro, finché tutto germina nella dissoluzione e Pinselstrichs, des einen Rhythmus, des ei- one over-all uniformity and non-irregularity. nell’indivisibilità, in un’uniformità e in una nen Arbeitens, bis alles in einer Auflösung Everything into irreducibility, unreproducibi- non-irregolarità che permeano l’atto stesso und einer Unteilbarkeit aufgeht, des einen lity, imperceptibility.1 del dipingere. Tutto diventa irriducibile, ir- Malens des Ganzen in eine allumfassende In this spirit Ad Reinhardt laid his blacks riproducibile, impercettibile.“1 Gleichförmigkeit und Nicht-Unregel-Mässig- down in threes, hoping to provoke: Black Con questa consapevolezza e nella spe- keit.“1 background, black stroke down, third stro- ranza di provocare, Ad Reinhardt stendeva il In diesem Bewusstsein und in der Hoff- ke cross. Nine squares and neither of these suo nero in tre movimenti: sfondo nero, nung zu provozieren, ordnete Ad Reinhardt is not one. It is exactly because everything pennellata nera verso il basso, terza pennel- sein Schwarz zu dritt an: schwarzer Hinter- here is perfectly intended, the works as- lata di traverso. Nove quadrati e nessuno di grund, schwarzer Pinselstrich nach unten, sembled record only the fall of chance upon essi è uno. Proprio perché qui tutto è inten- dritter Pinselstrich überkreuz. Neun Quad- themselves and not the forms which chan- zionale, le opere assemblate esprimono rate und keins von ihnen ist nicht eins. Ge- ce moves. solo la casualità della loro esistenza e non le rade weil hier alles völlig beabsichtigt ist, Malevich has just departed. He leaves be- forme che la casualità mette in moto. zeichnen die versammelten Werke nur den hind a tastefully-designed calling card. Malevic se n’è appena andato. Ha lasciato Fall ihrer eigenen Chance auf und nicht die James Lee Byars. Here begins the color- un raffinato biglietto da visita. James Lee Formen, die Chance bewegt. wheel of art. Backwards, round, unimpe- Byars. E qui inizia il colorato caleidoscopio Malewitsch ist gerade gegangen. Er hinter- ded, it penetrates the rock of ages. dell’arte. Avanti e indietro, tutt’intorno, att- lässt eine geschmackvoll gestaltete Visiten- Insert dynamite. Blow apart the Renaissan- raversa senza ostacoli la roccia dell’eternità. karte. James Lee Byars. Hier beginnt das ce: Discover the glowing center. Here, ex- Metterci della dinamite. Far saltare il Rinas- Farbrad der Kunst. Rückwärts, rund, unge- actly, is your map. This really happened. cimento: scoprire il nocciolo incandescen- hindert durchdringt es den Fels der Ewig- Wounds turned forms; forms unwound. te. E proprio qui sta la carta geografica. Tut- keit. Color was a bygone. Homer’s daughter to ciò è successo davvero. Le ferite sono Dynamit einführen. Die Renaissance ausei- chose not to differentiate wine from the diventate forme, le forme si sono fatte feri- nandersprengen: das glühenden Zentrum sea. te. Il colore era un artefatto. La figlia di entdecken. Genau hier ist die Landkarte. Omero decise di non fare differenze tra il Das ist wirklich passiert. Wunden wurden 1 Ad Reinhardt, “Unpublished notes, 1962–63” in vino e il mare. zu Formen; Formen haben sich aufgewun- Art As Art: The Selected Writings of Ad Reinhardt. den. Farbe war ein Artefakt. Homers Toch- Barbara Rose, ed. New York: Documents of 20th 1 Ad Reinhardt, Schriften und Gespräche (Scritti e ter entschied sich, nicht zwischen Wein Century of Art, Viking Press, 1975, p. 58. discorsi), Verlag Silke Schreiber, Monaco 1984, und dem Meer zu unterscheiden. S.138 Orig. Art-as-Art, in Art International (Zurigo) Vol. VI, No.10, dicembre 20, 1962, pp. 36-37 1 Ad Reinhardt, Schriften und Gespräche Verlag Silke Schreiber, München 1984, S.138 Orig. Art- as-Art, in Art International (Zürich) Vol. VI, No.10, December 20, 1962, pp. 36-37 Meisterstück Heritage Text: Mark von Schlegell Perpetual Calendar and Hugh Jackman

Crafted for New Heights Featuring one of the most delicate complications in fi ne watchmaking, the Montblanc Meisterstück Heritage Perpetual Calendar will require no adjustments until the year 2100, so long as its automatic Caliber MB 29.15 is kept sufficiently wound. Housed in a 39 mm Curtis Anderson Engadin Dream, 2014 18K red gold case, this refi ned Silk and Video Rear Projection System, 100 x 100 x 30 cm Courtesy: the artist and Galerie Brigitte Schenk, Cologne timepiece truly promises to be a lifetime companion. Visit Montblanc.com Walk of Art · 15

Palace Gallery Via Serlas · 7500 St. Moritz täglich · daily · tutti i giorni · 10 - 13 h & 14 - 18 h

39

536598_AD_Cerem_CH_Heritage_ArtMasters_210x297_en.indd 1 27.06.14 14:23 CHRISTOPH STEINMEYER

Der Künstler Christoph Steinmeyer wurde The artist Christoph Steinmeyer was born L’artista Christoph Steinmeyer è nato a 1967 in Düsseldorf geboren. Er lebt und in Dusseldorf in 1967. He lives and works in Düsseldorf nel 1967; vive e lavora a Berlino. arbeitet in Berlin. Aus seiner neuen Werk- Berlin. He will show three oil paintings from A St. Moritz presenta tre dipinti a olio che gruppe „Here Comes Everybody – Bilder his new series “Here Comes Everybody – appartengono al suo nuovo lavoro „Here für Alle und Keinen“ zeigt er drei Ölgemäl- Paintings for Everyone and Nobody“ (“Here Comes Everybody – Bilder für Alle und Kei- de, welche alle im Jahr 2014 entstanden Comes Everybody – Bilder für Alle und Kei- nen“, realizzati nel 2014: „Troy“, „Macht sind: „Troy“, „Macht des Willens- First nen“), which were all made in 2014: “Troy,“ des Willens – First Season, Volume One“ e Season, Volume One“ und „Augenblick“. “Power of Will - First Season, Volume One“ „Augenblick“. Steinmeyer vereint jeweils einzelne (“Macht des Willens- First Season, Volume Steinmeyer unisce, di volta in volta, singoli menschlichen Organe mit Ansichten des One“) and “Moment“ (“Augenblick“). organi umani a immagini dello spazio, cre- Weltalls und erschafft durch diese sur- Through a surreal combination of epheme- ando così, con questa combinazione sur- reale Kombination von Vergänglichen und ral and eternal motives that are largely con- reale di effimero ed eterno a motivi estre- Ewigen, grösstmöglich gegensätzlichen flicting--such organs of the human body and mamente contrastanti, un nuovo livello sim- Motiven eine neue symbolische Ebene. images of outer space--Steinmeyer creates bolico. Die Bilder oszillieren permanent zwischen a new symbolic level. I quadri oscillano continuamente tra fotorea- Fotorealismus, Sciencefiction, Fantasy und The paintings constantly oscillate between lismo, fantascienza e paesaggi degli antichi altmeisterlicher romantischer Landschafts- photo realism, science fiction, fantasy and pittori romantici. Essi fluttuano tra simbolis- malerei. Sie schwanken zwischen Symbo- old masters Romantic landscape painting. mo e surrealismo, pur non essendo né lismus und Surrealismus und sind weder They vary between Symbolism and Surrea- l’uno né l’altro. Né esclusivamente realisti das eine noch das andere. Weder aus- lism, and are neither the one nor the other. né surrealisti, né simbolici né puramente schliesslich real noch surreal, weder rein They are not entirely surreal real nor surre- filosofici o addirittura antroposofici o esote- symbolisch noch rein philosophisch oder al. They are not purely symbolic nor purely rici. Non sono kitsch, ma neppure arte gar anthroposophisch oder esoterisch. We- philosophical, but neither are they anthro- eccelsa, quanto di tutto un po’ e, in ogni der nur Kitsch noch Hohekunst, sondern posophic nor esoteric. They are not just caso, più della somma delle loro parti visibili. von allem etwas und in jedem Fall mehr als kitsch nor high art. They are bits of ever- die Summe Ihrer sichtbaren Teile. ything, more than the sum of their visible parts.

Christoph Steinmeyer Augenblick, 2014 Oil on canvas, 160 x 190 cm Courtesy: the artist and Galerie Michael Janssen, Berlin

Walk of Art · 16 A

Via Maistra 10 · 7500 St. Moritz täglich · daily · tutti i giorni · 10 - 18 h

40 LEIKO IKEMURA

Mit „Usagi Kannon“ hat Leiko Ikemura ein With “Usagi Kannon“ Leiko Ikemura crea- Con „Usagi Kannon“, Leiko Ikemura ha überlebensgrosses Wesen mit hasenähnli- ted a larger than life character with rabbit- dato vita a una gigantesca creatura, con chen Ohren und menschlichem Antlitz in like ears and a human face in tears as a orecchie da coniglio e sembianze umane, in Tränen geschaffen als Versinnbildlichung symbol of universal mourning. The Fukushi- lacrime come simbolo del lutto universale. universaler Trauer. Die Katastrophe von Fu- ma disaster in 2011 and a subsequent La catastrofe di Fukushima, nel 2011, e un kushima 2011 und eine nachfolgende Pres- press release about birth defects in animals successivo comunicato stampa su malfor- semeldung über Missbildungen bei Tieren inspired the artist to create this sculpture mazioni negli animali hanno spinto l’artista a hat die Künstlerin dazu bewegt, diese an that is reminiscent of temple sculptures and plasmare questa scultura, che ricorda certe Tempelfiguren erinnernde Skulptur zu whose walk-in bell-shaped skirt becomes a figure che si ritrovano nei templi, e la cui schaffen, deren begehbarer glockenförmi- protective temple. gonna a campana, accessibile al pubblico, si gen Rock gleichsam zu einem schützenden The Japanese-born artist Leiko Ikemura lives trasforma appunto in tempio e riparo. Tempel wird. and works in Berlin and Cologne. Painting, L’artista Leiko Ikemura, nata in Giappone, Die in Japan geborene Künstlerin Leiko sculpture, drawing, installation, photogra- vive e lavora a Berlino e a Colonia. I suoi Ikemura lebt und arbeitet in Berlin und Köln. phy and text are her media. Transgressing mezzi espressivi sono pittura, scultura, di- Malerei, Skulptur, Zeichnung sowie Installa- the borders between cultures, she combines segno come pure installazioni, fotografia e tion, Fotografie und Text sind ihre Medien. characteristics of European and Japanese testi. Quale artista di frontiera tra culture Als Grenzgängerin zwischen den Kulturen art. The central theme is the fusion of man diverse ama combinare peculiarità dell’arte verbindet sie Eigenheiten europäischer und and nature into hybrid beings that evoke europea e giapponese. Tema centrale è japanischer Kunst. Zentrales Thema ist die feelings of strangeness and familiarity at senz’altro la fusione di uomo e natura in Verschmelzung von Mensch und Natur zu the same time. creature ibride, che risvegliano al contempo hybriden Wesen, die Gefühle der Fremd- sentimenti di estraneità e di familiarità. heit und Vertrautheit zugleich erwecken.

Leiko Ikemura Usagi Kannon, 2014 © Leiko Ikemura, Photo: Ph. von Matt Courtesy: the artist and Galerie Karsten Greve St. Moritz

Walk of Art · 6

St. Moritzersee · Lake St. Moritz · Lago St. Moritz täglich · daily · tutti i giorni

41 Billy Childish

Mit Augenmerk auf einen berühmten Sohn With a nod to St Moritz famous son, the Con un accenno al famoso figlio di St. Moritz, von St. Moritz, den Maler Giovanni Segantini, painter Giovanni Segantini, Billy Childish il pittore Giovanni Segantini, Billy Childish ha hat Billy Childish eine Werkgruppe ge- has made a series of works that celebrate prodotto una serie di opere che glorificano la schaffen, die universelle Schönheit durch universal beauty through the subjugation of bellezza universale attraverso la repressione die Unterwerfung des Egos und das Ge- the ego and the mystery of the mark. dell’ego e il mistero della pennellata. heimnis der Zeichen zelebriert. Like Segantini, Childish is occupied with Al pari di Segantini, Childish si è occupato Wie auch Segantini, beschäftigt sich Childish the transformation of the earthbound into della trasformazione dal prosaico allo spiritua- mit der Transformation des Irdischen in das the spiritual, developing a pictorial language le, sviluppando un linguaggio pittorico che Geistige und entwickelt dabei ein Bildspra- that honours both the figurative form and onora sia la forma figurativa che la composizi- che, die sowohl der figurativen Form als elemental abstract make-up of his pain- one primaria astratta dei suoi dipinti: evocan- auch der elementar abstrakten Struktur sei- tings: Evoking the fragmentary vibrations of do le vibrazioni frammentarie della materia e ner Malerei gerecht wird: das Heraufbe- matter and man’s longing for the experien- la nostalgia dell’uomo per l’esperienza della schwören fragmentarischer Schwingungen ce of pure nature. natura allo stato puro. von Materie und der menschlichen Sehn- The eponymous work ”walking in gods Il quadro eponimo „Walking in God’s beauty” sucht nach der Erfahrung reiner Natur. buti“ is a large scale double portrait of the è un grande ritratto dell’artista – che pare Die namensgebende Arbeit „walking in artist – walking out of the painting – along uscire fuori dal quadro – e cammina lungo un gods buti“ ist ein gross angelegtes Doppel- a woodland path holding his young daugh- sentiero del bosco tenendo per mano la sua porträt des Künstlers – aus dem Bild heraus- ter’s hand. Directly opposite hangs a full bambina. Proprio sulla parete antistante è ap- tretend – auf einem Waldweg an der Hand portrait of Segantini stood like some mighty peso un ritratto intero di Segantini, che fa seiner kleinen Tochter. Direkt gegenüber Old Testament prophet with fearsome pensare a un potente profeta dell’Antico Tes- hängt ein Ganzkörper-Porträt Segantinis, beard and hunting eagle beneath his arm. tamento, con una magnifica barba e un’aquila der dasteht wie ein mächtiger Prophet des At ground level are paintings made in ho- sotto al braccio. Alten Testaments, mit furchterregendem mage to two other artists that Childish Al pianterreno si trovano dipinti fatti in omag- Bart und einem Jagdadler unter dem Arm. declares allegiance with. Above the altar gio ai due artisti ai quali Childish si sente piú In Bodennähe zeigt Childish Bilder, die als the dynamic L’Erection de la Croix after legato. Sopra l’altare il dinamico „L’érection Hommage an zwei weitere Künstler, denen Peter Paul Rubens, and opposite The Good de la croix“ (ispirato da Peter Paul Rubens) e er sich verbunden fühlt, entstanden sind. Samaritan by Eugene Delacroix; notably sulla parete opposta „The good Samaritan“ di Über dem Altar hängt das dynamische also painted by Vincent van Gogh. Through Eugène Delacroix (dipinto anche da Vincent L’Erection de la Croix nach Peter Paul these paintings and others in his oeuvre, van Gogh). Attraverso questi dipinti e altri suoi Rubens, gegenüber The Good Samaritan Childish engages with his own direct expe- lavori, Childish si relaziona con la propria von Eugene Delacroix – ein Motiv das be- rience and the spirit of those he feels in esperienza diretta e con lo spirito di coloro merkenswerterweise auch von Vincent van communion with. con cui si sente in comunione. Gogh gemalt wurde. Mit diesen und ande- ren Bildern seines oeuvres greift Childish seine eigenen unmittelbaren Erfahrungen auf und verknüpft sie mit dem Geist derer, denen er sich verbunden fühlt.

”I feel myself joined with all the artists I admire. I also feel myself not one jot less but equal to them all. I am a radical traditionalist; past present and future worlds are collapsed into the ever present now. Far from tradition being limiting, tradition brings the freedom from ‘the little self’ from which the universal is known. I don’t reinvent the wheel. Segantini becomes my friend as Van Gogh is my friend, and as they loved Millet and Delacroix and celebrated that love, so they love and celebrate me. In this way an artist finds love in the creation and the creator: Each artist is everything and nothing, passing the torch ever on from the caves to now and back again.“

Billy Childish, June 2014

Walk of Art · 5

„Eglise Au Bois“ Französische Kirche · French Church · Chiesa Francese Plazza Paracelsus · 7500 St. Moritz täglich · daily · tutti i giorni · 10 - 18 h

42 Billy Childish Man with golden eagle, 2014, Oil and charcoal on linen, 274,5 x 183 cm Courtesy: Paolo Curti / Annamaria Gambuzzi, Milano, neugerriemschneider, Berlin

43 44 THE BILDERBERG COLLECTION curated by Christoph Steinmeyer

Die historischen Räume der Chesa Planta The historic rooms of the Chesa Planta Gli ambienti storici della Chesa Planta Samedan bilden die exklusive Kulisse Samedan provide an exclusive venue Samedan sono la cornice esclusiva della für die erste Ausstellung „The Bilderberg for the first exhibition of ”The Bilderberg prima esposizione della „The Bilderberg Collection“, die von dem Berliner Künst- Collection“, which is curated by Berlin ar- Collection“, curata dall’artista berlinese ler Christoph Steinmeyer kuratiert wird. tist Christoph Steinmeyer. Over 30 exhibits Christoph Steinmeyer. Steinmeyer presen- Steinmeyer geht mit über 30 Exponaten of different eras of the disciplines of pain- ta al pubblico più di 30 pezzi, creati in varie verschiedenster Epochen aus den Diszipli- ting, photography and sculpture have been epoche, tra dipinti, fotografie e sculture. nen Malerei, Fotografie und Skulptur an das selected by Steinmeyer to be shown to the Così come avviene nei convegni del Gruppo Licht der Öffentlichkeit. Ebenso wie die public. Just as the members of the Bilder- Bilderberg, dove tutti i relatori devono rima- Mitglieder der Bilderberg-Konferenz blei- berg conference, both the owners as well nere anonimi, anche in questa esposizione, ben sowohl Besitzer wie auch Künstler as the artists remain unnamed. This anony- i nomi dei proprietari e degli artisti non sa- mit Bedacht ungenannt um durch diese mity enables the focus on the essential— ranno rivelati, al fine di garantire ai visitatori, Anonymität eine Konzentration auf das We- namely, the works of art. con questa anonimità, la possibilità di con- sentliche zu garantieren – nämlich die Neither art history didactics nor famous na- centrarsi sull’essenziale, ossia sulle opere Kunstwerke. mes are overshadowing the reception of d’arte. Weder kunstgeschichtliche Didaktik noch the show. In this way, the exhibition’s aim In questo modo si salvaguarda l’autonomia berühmte Namen überschatten die Rezep- is to give the viewer the opportunity for an di giudizio dei visitatori che non sarà intac- tion der Schau, die auf diesem Wege ver- independent judgment that is free from the cata dalla fama dell’autore o dalle tendenze sucht dem Betrachter ein selbstbestimm- art world’s trends and personality cults and del mondo dell’arte. tes Urteil zu ermöglichen, dass sich frei von thus is solely dedicated to art itself. Moden und Personenkult des Kunstbetrie- bes ausschliesslich der Kunst verschreibt.

Walk of Art · 19

Museum Chesa Planta Plazzet 2 · 7503 Samedan täglich · daily · tutti i giorni · 10 - 13 h & 14 - 18 h

45 Easy to use, NEW hard to forget. The new Leica T-System.

Discover pure emotion at www.t.leica-camera.com

46

Anzeige Leica T_t_St. Moritz Art Masters 2014_en.indd 1 01.07.14 09:08 Didier Hagège

Bei Didier Hagège (geb. 1961 in Paris) über- If Didier Hagège (born 1961 in Paris) needs Per Didier Hagège (Parigi, 1961) il viaggiare nimmt das Reisen die Rolle eines Lebens- an elixir of life – he travels! The list of places assume il ruolo di un elisir vitale. La lista dei elexiers. Die Liste seiner Ateliers – und da- where he has set up his studio – and which suoi atelier – e così la fonte della sua ispira- mit die Quelle künstlerischer Inspiration – are therefore the sources of his inspiration – zione artistica – si espande in metà del zieht sich um die halbe Welt: von Italien extends halfway round the world: from Italy mondo: dall’Italia all’Africa, dal Medio nach Afrika, vom Mittleren Osten nach to Africa, from the Middle East to New Oriente a New York, e poi di ritorno in Francia, New York, dann zurück nach Frankreich, in York, then back to Marseille in the South of nel sud, a Marsiglia. den Süden, nach Marseille. France. Non vuole, né può sottrarsi all’influsso dei Er will, nein er kann sich dem Einfluss der He is neither willing nor able to resist the luoghi che lo affascinano e che diventano la Orte, die ihn faszinieren, nicht entziehen, influence of the places that fascinate him, linea su cui si sviluppano i suoi dipinti dove und so werden sie zu Signalen seiner Werk- and they have accordingly become the preminente è l’analisi dei vari aspetti della gruppen. Dort ist es jedoch das Alltägliche, signals identifying successive groups of his vita quotidiana. was sich in jedem seiner Bilder wiederfindet. work, though the everyday aspects of life Con questo retroscena è nata l’idea di Vor diesem Hintergrund entstand die Idee, are to be found in all his paintings. invitare Didier Hagège a S-chanf, per far di- Didier Hagège nach S-chanf einzuladen und It was this background that gave rise to the ventare l’Engadina la sua prossima fonte di das Engadin im Hier-und-Jetzt zur nächsten notion of inviting Didier Hagège to S-chanf, riflessione artistica. Quelle künstlerischer Auseinandersetzung so that the Engadine “here and now” could Nel novembre 2013 Hagège è venuto a werden zu lassen. act as a new field of artistic confrontation. S-chanf alla ricerca di „tracce“ a Zuoz, Es war im November 2013, Hagège kam In November 2013 Hagège came to S-chanf Samedan e St. Moritz. Ha fotografato graffi- nach S-chanf und machte sich von hier aus and used it as a base to “hunt for clues” in ti, fatto schizzi di vetrine di negozi, rovistato auf „Spurensuche” durch Zuoz, durch Zuoz, Samedan and St. Moritz. He photo- negli archivi storici e si è lasciato ispirare Samedan und St. Moritz. Er fotografierte graphed graffiti, sketched shop-window dall’eleganza attuale della metropoli alpina Graffitis, skizzierte Geschäftsauslagen, stö- displays, explored historical archives and St. Moritz. berte in historischen Archiven und liess sich responded to the “nouvau chic” that he Di ritorno a Parigi e con la valigia piena di inspirieren vom nouveau Chic der Alpen- encountered in St. Moritz, the metropolis idee, è cresciuta nel suo atelier una sor- Metrople St. Moritz. of the Alps. prendente interpretazione del viaggio nelle Zurück in Paris und den Koffer voller Ideen After returning to Paris with a suitcase full alpi svizzere: catturata in quadri su lino wuchs in seinem Atelier eine überraschen- of ideas, a surprising interpretation of this liscio, in un gioco di livelli opachi e lucidi, ha de Interpretation der Reise in die Schweizer journey among the Swiss mountains took dipinto quadri tra il sogno e la realtà, pieni di Berge: Eingefangen in Gemälden auf glat- shape: captured in paintings on smooth magia e di fascino. tem Leinen, in einem Spiel aus matten und linen with an interplay of matt and glossy glänzenden Ebenen entstanden Bilder zwi- surfaces, they are located between dream schen Traum und Wirklichkeit, voller Zauber and reality, full of magic and charm. und Charme.

Easy to use, NEW hard to forget. The new Leica T-System.

Didier Hagège Chalandamarz, 2013 mixed technique on canvas, 155 x 123 cm

Walk of Art · 28

Galerie Peter Vann Somvih 24 · 7525 S-chanf Discover pure emotion at www.t.leica-camera.com täglich · daily · tutti i giorni · 14 - 18 h

47

Anzeige Leica T_t_St. Moritz Art Masters 2014_en.indd 1 01.07.14 09:08 LORI HERSBERGER

„Möge sich erfüllen, was begonnen wurde. ”What has been begun may be fulfilled. „Che si avverino i loro desideri, che possano Mögen sie daran glauben und ihre Leiden- May they believe in it and have a laugh at crederci, e che possano ridere delle loro schaften verlachen. Denn das, was sie Lei- their passions. For what they call passion passioni. Infatti ciò che chiamiamo passio- denschaft nennen, ist in Wahrheit nicht is, in truth, not some emotional energy but ne in realtà non è energia spirituale, ma solo seelische Kraft sondern die Reibung zwi- just the friction between the soul and the attrito tra l’animo e il mondo esterno“ viene schen der Seele und der äusseren Welt“ outside world,” proclaims the main charac- annunciato nel film „Stalker“ di Andrei wird in Andrei Tarkowskis Film „Stalker“ ter in Andrei Tarkowski’s 1979 film ”Stalker“. Tarkowski nel 1979. Lori Hersberger, nella von 1979 verkündet. Lori Hersberger Lori Hersberger may have envisaged a so- sua installazione „Dystopia Stalker No. 2“, könnte bei seiner Installation „Dystopia ciety set in an indefinite future and characte- potrebbe avere pensato a una società futu- Stalker No. 2“ an eine in unbestimmter Zu- rized by repressive control when he con- ra caratterizzata da un controllo repressivo. kunft sich abspielende und durch repressi- ceived his installation ”Dystopia Stalker L’artista però non vuole evocare una lettura ve Kontrolle charakterisierte Gesellschaft No. 2“. Yet, the artist does not want to elicit univoca attraverso il titolo, ma anzi provoca- gedacht haben. Dennoch möchte der an unequivocal reading with the title he re una cascata di associazioni nell’osserva- Künstler keine eindeutige Lesart durch den chose but rather aims at triggering a cascade tore, cosa cui già miravano lavori precedenti Titel evozieren, sondern vielmehr eine Kas- of associations on the part of the viewer – come „Optimize Your Feng-Shui” (2008), kade von Assoziationen beim Betrachter an objective already evident in former com- „Geist” (2009), o „Dystopia Stalker” (2013). auslösen, worauf schon frühere, vergleich- parable works such as ”Optimize Your La disposizione a paravento delle pareti in bare Arbeiten wie „Optimize Your Feng-Shui“ Feng-Shui“ (2008), ”Geist“ (2009), or ”Dys- vetro blindato è stata infranta da Hersberger (2008), „Geist“ (2009) oder „Dystopia Stalker“ topia Stalker“ (2013). With a painter’s vital con gesto vitale di pittore, riuscendo a (2013) abzielten. Die paraventartige Anord- gesture, Hersberger decided on a screen- svegliare la nostra soppressa, latente fasci- nung der Panzerglaswände wurde von like arrangement of the bulletproof glass nazione per la distruzione. L’agibilità dell’in- Hersberger mit der vitalen Geste eines walls, which may arouse our suppressed stallazione rende l’osservatore parte del Malers eingeschlagen, was unsere unter- latent fascination with the beauty of de- quadro completo, in un continuo gioco di drückte, latente Faszination für die Schön- struction. The installation’s accessibility turns alternanza tra interno ed esterno, inclusione heit der Zerstörung wecken mag. Durch die the viewer into an integral part of the over- ed esclusione. Dove c’è distruzione, si crea Begehbarkeit der Installation wird der Be- all tableau, which continuously oscillates anche del nuovo. trachter Bestandteil des sich im steten between inside and outside, inclusion and Wechselspiel von Innen und Aussen, Inklu- exclusion. New things may come about sion und Ausgrenzung befindenden Ge- where destruction reigns. samttableaus. Wo Zerstörung ist, entsteht auch Neues.

Text: Cathérine Hug, Kuratorin Kunsthaus Zürich

Loris Hersberger Dystopia Stalker, 2013, Paradeplatz Zürich, Gasträume ‘13 - Kunst auf öffentlichen Plätzen Zürichs Courtesy: Galerie Clemens Gunzer, Zürich (Photo: Elias Ulli)

Walk of Art · 10

Fussgängerzone · Pedestrian Zone · Zona Pedonale 7500 St. Moritz täglich · daily · tutti i giorni

48 Philipp Keel

Der Künstler, Autor und Verleger (Diogenes) The artist, author and publisher (Diogenes) L’artista, autore ed editore (Diogenes) Philipp Keel wurde in Zürich geboren. Er Philipp Keel was born in Zurich. He studied Philipp Keel è nato a Zurigo. Ha studiato absolvierte ein Klavierstudium am Berklee piano at Berklee College of Music in Boston pianoforte al Berklee College of Music a College of Music in Boston, bevor er an der before going to the University of Television Boston, prima di studiare regia alla Hoch- Hochschule für Fernsehen und Film in and Film Munich to study direction. In the schule für Fernsehen und Film a Monaco di München Regie studierte. Während der course of the past twenty years he engaged Baviera. Durante gli ultimi venti anni è stato letzten zwanzig Jahre war er in einer Viel- in a variety of creative media producing attivo in svariati campi creativi, realizzando zahl von bildnerischen Medien tätig und works in photography, painting, drawing fotografie, dipinti, disegni e serigrafie. I suoi schuf Fotografien, Malereien, Zeichnungen and silkscreen printing. His works have lavori sono stati presentati in numerose es- und Siebdrucke. Seine Arbeiten wurden in- been shown in numerous exhibitions and posizioni internazionali e si trovano nelle ternational in zahlreichen Ausstellungen are represented in leading collections. principali collezioni. präsentiert und sind in führenden Samm- The exhibition at Villa Flor shows a selection La mostra presenta una scelta di lavori su lungen vertreten. of Keel’s works on paper. His drawings carta di Keel. I suoi disegni nascono tra Die Ausstellung in der Villa Flor zeigt eine come to life, among other media, also on l’altro anche su menù di ristoranti, su tovaglie Auswahl von Keels Arbeiten auf Papier. Seine menu cards, table cloths or maculation paper, o bozze di stampa da cestinare quando, per Zeichnungen entstehen u.a. auch auf Speise- for example when he spontaneously strives esempio, vuole captare spontaneamente karten, Tischdecken oder Makulaturpapier, to retain the mood of a conversation. Philipp l’atmosfera di una conversazione. Gli acque- etwa, wenn er spontan die Stimmung eines Keel’s watercolours and silkscreen prints relli e le serigrafie di Philipp Keel sono ispirati Gesprächs festhält. Die Aquarelle und Sieb- are inspired by his extensive travels. En- dai suoi lunghi viaggi. Incontri e paesaggi drucke sind von Philipp Keels ausgiebigen counters as well as landscapes are expressed trovano la loro espressione in colori intensi Reisen inspiriert. Begegnungen und Land- in powerful colours, which are used with adottati con tanta precisione da conferire a schaften finden ihren Ausdruck in eindring- such precision that many of these works molte delle opere contemporaneamente lichen Farben, die so präzis gesetzt sind, also portray an abstract quality. delle qualità astratte. dass viele seiner Werke gleichzeitig eine abstrakte Qualität aufzeigen.

Philipp Keel Six Palm Trees in Red and Blue, 2009 Color pencil on paper, 29.7 x 21 cm · 11 3/4 x 8 1/4 inch Signed and dated on recto, titled on verso

Walk of Art · 27

Villa Flor Somvih 19 · 7525 S-chanf täglich · daily · tutti i giorni · 16 - 19 h oder nach Vereinbarung · or upon request · e su accordi

49 ART PUBLIC ENGADIN

Martin Kippenberger Transportabler U-Bahn-Eingang, 1997 Walk of Art · 26 Eisen, Lack, 343 x 740 x 245 cm, Seit 2014 in Zuoz Copyright: Estate of Martin Kippenberger, Galerie Gisela Capitain, Cologne und Walter A. Bechtler Stiftung

Die Region des Engadins besticht nicht nur Betonskulptur „Reise nach…“, die sich gehört. Das erste Mal wurde der mobile durch die Landschaft, sondern auch durch durch Klarheit und scheinbare Selbstver- U-Bahn-Eingang 1997 auf der Documenta in das vielfältige Kulturangebot. Im öffentli- ständlichkeit auszeichnet. Kiecol hat drei Kassel gezeigt. Der deutsche Künstler be- chen Raum sind viele Kunstwerke frei zu- Treppen in drei Himmelsrichtungen positio- schäftigte sich in seinen letzten vier Lebens- gänglich. Am St. Moritzer See steht eine niert, welche im ersten Moment ins Nichts jahren mit dem Metro-Net, einem imaginä- ungewöhnliche Figur. „Usagi Kannon“ – zu führen scheinen. Der Künstler bietet den ren, weltumspannenden U-Bahn-System. eine begehbare Skulptur von Leiko Ikemura Kunstsuchenden eine veränderte Perzeption Auch die „Sky Spaces“ von James Turrell – ein Fabelwesen halb Mensch, halb Tier. der Umgebung an. Ebenso setzt der in Sent sind an verschiedenen Plätzen dieser Welt Das Sujet von in sich versunkenen anony- geborene Künstler Not Vital ein Zeichen in zu finden: Einer davon wurde auf dem Ge- men Gestalten und schemenhaften weibli- seiner Heimat. Vor dem Gasthaus Krone in lände des Hotel Castells in Zuoz installiert. chen Wesen zieht sich durch das Werk der La Punt steht eine nadelförmige Alumini- Der Rundbau mit der Dachöffnung ermög- Künstlerin. Der Bildhauer Joel Shapiro hinge- um-Skulptur, die einen überdimensionierten licht sowohl bei Tag als auch in der Nacht gen verfolgt klare Abstraktion: seine geome- Dirigenten-Stab darstellt. In Sent hat er mit aussergewöhnliche Wahrnehmungen von trische Skulptur „Untitled“ befindet sich seinem Bruder, dem Architekten Duri Vital, Licht- und Farbphänomenen. Ausserdem mitten im Dorfkern von St. Moritz. Der Ame- einen Skulpturen-Park angelegt, den Parkin befindet sich hinter dem Hotel das „Felsen- rikaner beschäftigt sich mit der Wahrneh- „Not dal Mot“. Angemeldete Führungen fin- bad“ des japanischen Künstlers Tadashi mung von Raumerlebnissen und Sinnesein- den dort von Juni bis Oktober statt. Kawamata, an der Stelle, wo das erste be- drücken. Auf den ersten Blick erscheint die Nicht nur Not Vital’s Interventionen, sondern heizbare Schwimmbad des Engadins erbaut Konstruktion leicht und schwerelos, doch auch das Kunstprojekt ART PUBLIC PLAIV worden war. Kawamata hat das Motiv des bei genauer Betrachtung erkennt man, dass prägt die kulturelle Landschaft des Engadins. Badeorts aufgegriffen und es in seine eigene die Skulptur aus dem massiven Material Zu den Ausstellungsorten von ART PUBLIC architektonische Sprache übertragen. „Erin- Bronze hergestellt wurde. Die Form der PLAIV zählen La Punt Chamues-ch, Madulain, nerungen und Sehnsüchte“ sind ebenfalls Skulptur greift in die Dorfarchitektur ein und Zuoz und S-chanf. In Zuoz steht am Eingang der treibende Faktor der Triennale „Kunst- erweitert sie um neue Perspektiven. Auch des Golfgeländes der in diesem Jahr neu- wege Pontresina“: Die Ausstellung zeigt Hubert Kiecol setzt sich mit der Erfahrung positionierte „Transportabler U-Bahn-Ein- 26 Interventionen und Objekte entlang der von Raum auseinander. Etwas ausserhalb gang“ von Martin Kippenberger der zum Via Maistra. von St. Moritz befindet sich seine begehbare Werkkomplex der „unsinnigen Bauvorhaben“

www.artpublicplaiv.ch | www.kunstwege-pontresina.ch | www.sent-online.ch

50 The region of the Engadine is impressive to ...,“ which is characterized by clarity and and was first presented at the 1997 Docu- not only due to its landscape, but also due an apparent naturalness. Kiecol positioned menta in Kassel. During his last four years to its variety of cultural activities. In public three flights of stairs in three directions and of life, the German artist’s work was dea- space, many works of art are freely acces- they seem to lead nowhere at first. The ar- ling with the Metro-Net, an imaginary global sible. At the St. Moritz lake, one can find an tist offers a changed perception of the en- subway system. James Turrell’s ”Sky Spa- unusual figure: ”Usagi Kannon“. This walk- vironment. Likewise, the artist Not Vital, ces“ can also be found at various places in in sculpture by Leiko Ikemura is a mythical who was born in Sent, leaves a mark in his the world: one of them has been installed creature–half human, half animal. The sub- homeland. In front of Gasthaus Krone in La on the site of Hotel Castell in Zuoz. The cir- ject of self-engrossed anonymous figures Punt, a needle-shaped aluminum sculpture cular building with its roof opening allows and shadowy female creatures pervades in embodies an oversized conductor rod. With extraordinary perceptions of light and color this artist’s work. The sculptor Joel Shapiro, his brother, the architect Duri Vital, he has phenomena–during the day as well as at however, has a vision of clear abstraction: created the sculpture park ”Not dal Mot“ in night. In addition, the ”rock pool“ by Japa- his geometric sculpture ”Untitled“ is loca- Sent. Guided tours (registration required) nese artist Tadashi Kawamata is located ted in the village center of St. Moritz. The are offered there from June to October. behind the hotel – exactly where the first American artist is concerned with the Not only Not Vital’s interventions, but also heated swimming pool was built in the perception of spatial experiences and sen- the art project ART PUBLIC PLAIV shapes Engadine. Kawamata has taken up the sations. At first glance, the sculpture’s the Engadine’s cultural landscape. The exhi- subject of the resort and transferred it into structure appears light and weightless, yet bition venues of ART PUBLIC PLAIV inclu- his own architectural language. ”Memories upon closer inspection, one realizes that it de La Punt Chamues-ch, Madulain, Zuoz and longings“ are also the driving factor of was made from solid bronze. Its shape en- and S-chanf. In Zuoz, Martin Kippenberger’s the Triennale ”Kunstwege Pontresina“: this gages with the village’s architecture and ”Transportable Subway Entrance“ has exhibition presents 26 interventions and extends it to new perspectives. Hubert been re-positioned this year and is now objects along the Via Maistra. Kiecol also deals with the experience of located at the entrance of the golf course. space. Just outside of St. Moritz, one can The piece is part of his group of works access his concrete sculpture ”Journey called ”nonsensical construction projects“

Joel Shapiro Untitled Walk of Art · 8 Courtesy: Galerie Karsten Greve

51 ART PUBLIC ENGADIN

La regione dell’Engadina non affascina sol- distingue per chiarezza e naturalezza. Kiecol costruzione insensati“. Nel 1997 l’opera tanto per il suo paesaggio, ma anche per la ha posizionato tre scale rivolte a tre punti U-Bahn-Eingang è stata presentata alla sua molteplice offerta culturale. Diverse cardinali, che paiono in un primo momento Dokumenta a Kassel. Durante i suoi ultimi opere d’arte sono esposte in luoghi pubblici. condurre nel nulla. L’artista offre a chi si in- quattro anni di vita l’artista tedesco si era Al lago di St. Moritz si trova un’opera insolita teressa di arte una percezione modificata occupato del Metro-Net, un sistema im- „Usagi Kannon“. Si tratta di una scultura delle zone circostanti. Anche l’artista Not maginario di metropolitana mondiale. Anche accessibile di Leiko Ikemura, una figura fan- Vital, nato a Sent, ha lasciato un segno nel gli „Sky spaces“ di James Turrell si trovano tastica, metá uomo e metá animale. Il tema suo Paese. Davanti alla Gasthaus Krone, a in diverse localitá sparse per il mondo: uno di persone anonime, ripiegate su loro stesse, La Punt, si erge una sua scultura aguzza in di questi lavori è stato installato sul terreno e figure femminili spettrali viene sviluppato alluminio, che rappresenta una bacchetta dell’Hotel Castells a Zuoz. La costruzione in tutto il lavoro dell’artista. Al contrario, da direttore d’orchestra sovradimensionata. rotonda, con tetto apribile, permette sia di lo scultore Joel Shapiro segue una chiara Con suo fratello, l’architetto Duri Vital, Not giorno che di notte una straordinaria perce- astrazione: la sua scultura geometrica „Un- ha progettato un parco di sculture chiama- zione di fenomeni di luce e colori. Inoltre, titled“ si trova nel cuore di St. Moritz. L’ar- to: „Not dal Mot“. Visite guidate del parco dietro l’albergo, è esposta l’opera „Felsenbad“ tista americano si occupa della percezione sono effettuate da giugno a ottobre, su pre- dell’artista giapponese Tadashi Kawamata. di esperienze di spazio e di impressioni sen- notazione. „Felsenbad“ si trova dove era stata costruita soriali. Di primo acchito la costruzione appa- Non soltanto le realizzazioni di Not Vital, ma la prima piscina riscaldabile dell’Engadina. re leggera e senza peso, però, dopo un’os- anche il progetto artistico ART PUBLIC Kawamata ha ripreso il motivo della piscina servazione più attenta, ci si accorge che la PLAIV caratterizzano il panorama culturale e lo ha trasportato nella sua espressione scultura è stata fatta in bronzo massiccio. dell’Engadina. Tra i luoghi di esposizione architettonica. Il tema „Erinnerungen und La forma della scultura si innesta nell’archi- di ART PUBLIC PLAIV si contano La Punt Sehnsüchte“ è altresí la forza motrice della tettura locale e si espande con nuove pros- Chamues-ch, Madulain, Zuoz e S-chanf. Triennale „Kunstwege Pontresina“: l’espo- pettive. Anche Hubert Kiecol si confronta All’ingresso del campo da golf di Zuoz si tro- sizione presenta lungo la Via Maistra 26 con l’esperienza dello spazio. Poco lontano va da quest’anno „Transportabler U-Bahn interventi e oggetti. da St. Moritz si trova la sua scultura acces- Eingang“ di Martin Kippenberger che sibile in cemento „Reise nach.....“ che si appartiene al gruppo di opere „progetti di

Olaf Breuning Life Walk of Art · 24 Courtesy: the artist

www.artpublicplaiv.ch | www.kunstwege-pontresina.ch | www.sent-online.ch

52 James Turrell Sky Spaces, Piz Uter Walk of Art · 22 Courtesy: Walter A. Bechtler Stiftung

Tadashi Kawamata Felsenbad Walk of Art · 22 Courtesy: Walter A. Bechtler Stiftung

53 APPENZELLER & SCHMIDLIN Im Herzen von Madulain steht ein histori- The centuries-old barn stands in the heart Una stalla storica dell’Engadina sita nel scher Engadiner Stall. Die im Engadin of Madulain. The artists Gian Tumasch cuore di Madulain. Con lo spazio esterno, verwurzelten Künstler Gian Tumasch Appenzeller and Chasper Linard Schmidlin tra la stalla e il fiume si confronteranno gli Appenzeller und Chasper Linard Schmidlin whose roots lie firmly in the Engadine, artisti originari dell’Engadina Gian Tumasch werden sich mit dem Aussenraum zwi- work with the outer space between the Appenzeller e Chasper Linard Schmidlin. schen Stall und Fluss befassen. barn and the river. Nastri colorati tesi verso una scultura Sie arbeiten mit farbigen Bändern, die zu The installation is made up of coloured sospesa. Forma, accurata composizione einer schwebenden Skulptur aufgespannt ribbons that span into a floating sculpture, cromatica e gioco di luci ispirati dal luogo werden und im Dialog zur Umgebung ste- creating a dialogue between the building e in armonioso dialogo con l’ambiente hen. Die Form, die genaue Farbzusammen- and its surroundings. The decision as to the circostante. Nastri colorati che leggeri stellung sowie die Inszenierung mit Licht exact form, colour scheme and lighting will si librano nel vento contro l’azzurro del entstehen durch die Inspiration vor Ort. stem from the inspiration of the place itself. cielo dell’Engadina accanto al mormorare Leicht flatternde Farbbänder – im Winde – Lightly fluttering ribbons – in the wind – the dell’Inn – giocoso – gaio – sognante… unter blauem Engadiner Himmel - beim ruhig blue skies of the Engadine – the quietly rauschenden Inn – verspielt – heiter – träu- flowing Inn – playful – cheerful – dreamy… mend…

Walk of Art · 20

Stalla Madulain Via Principela 15 · 7523 Madulain täglich · daily · tutti i giorni

Ophelia Finke & Charlie Billingham Free Time Free Time Free Time

Einen Monat vor ihrem Abriss wird die A month before its demolition the Bellaria Un mese prima della sua demolizione, Bellaria ein letztes Mal bewohnt – diesmal will host the work of young, London-based la Bellaria ospita i nuovi lavori di Charlie von den Arbeiten zweier junger Londoner artists Charlie Billingham and Ophelia Finke. Billingham e Ophelia Finke, due giovani Künstler: Charlie Billingham und Ophelia The exhibition’s title evolved from the notion artisti basati a Londra. Il titolo della mostra Finke. Der Name der Ausstellung geht auf of leisure, a word that has no direct trans- è una riflessione sulla parola inglese leisure, die Auffassung des englischen Wortes lation into the German language, the closest la quale non trova una traduzione adeguata Leisure zurück, welches als solches im being Freizeit, or Free Time. The evasive- in italiano, diventando quindi tempo libero – Deutschen keine direkte Übersetzung findet ness of the term is suited to the new Free Time. La volatilità del termine è in linea und dadurch notgedrungen zu Freizeit, Free bodies of work made for the exhibition in con i lavori in mostra: Il Jazz e il cricket Time wird. Die Flüchtigkeit des Begriffs ist which the artists explore jazz music and sono esplorati nonostante nessuno dei due für die neu gezeigten Arbeiten geeignet: cricket respectively. As neither jazz musi- eseguono le due pratiche. Facendo uso di Weder Billingham noch Finke praktizieren cians nor cricketers, they have drawn upon elementi formali dei due temi, gli artisti Jazz-Musik oder Cricket, dennoch erfor- the formal elements of these pursuits, subtly giocano con le strutture che dividono l’osser- schen sie die jeweiligen Gebiete, indem sie playing with the structures that divide vazione e la partecipazione, il lavoro e il formale Elemente aufgreifen und subtil mit observation and participation, work and tempo libero. den Strukturen spielen, die Beobachtung play, profession and hobby. und Teilnahme, Arbeit und Hobby unter- scheiden.

Walk of Art · 25

Bellaria Via Chöntschet · 7524 Zuoz Dienstag - Samstag · Tuesday - Saturday · Martedì - Sabato 14 - 19.30 h

54 AMshu Chukki Der junge Künstler (*1991) lebt und ar- The young artist (born in 1991) lives and Il giovane artista (nato nel 1991) vive e lavora beitet in Baroda. Schon während seines works in Baroda. He started with his video a Baroda. Ha iniziato i suoi video abbas- Bachelor-Studiums in Baroda begann er mit works quite early during his Bachelors in tanza presto mentre si stava laureando seinen Videoarbeiten. Zuvor malte er mit Baroda. Before that he was preoccupied all’università di Baroda. Prima di ciò, aveva Ölfarben, die Vorlagen stammten aus ein- with oil painted compositions of frozen realizzato lavori a olio composti da foto- gefrorenen Rahmen von gesehenen Filmen frames from watched movies and his grammi di film fatti da altri e propri. E‘ sempre und aus seinem eigenen gedrehten Film- own shot footages. Films with uncanny stato attirato da film con una luce inusuale, material. Ihn haben schon immer Filme mit lightings, uneven narratives and unfamiliar racconti senza una chiara trama e con logi- unheimlicher Beleuchtung, ungleichmässi- visual logics have always attracted him. che visive insolite. Appassionato di teatro ger Erzählung und ungewohnter visueller Being an avid theatre-goer since childhood fin dall‘infanzia e amante dei video fin Logik fasziniert. Seit seiner Kindheit ist er and a video capturer since his teens, Amshu dall‘adolescenza, Amshu Chukki ha una ein begeisterter Theaterbesucher und in Chukki has a mind’s drawer full of visual mente piena di ricordi visivi e un hard disk seiner Jugend hat er alles mit dem Video memories and hard disks full of digital foot- pieno di filmati digitali, per non parlare delle eingefangen. Amshu Chukki kann aus einer ages, not to mention odds and ends collec- tante cianfrusaglie raccolte durante i suoi geistigen Schublade voller visueller Erinne- ted across his many strolls and treks near molti viaggi. rungen und einer Festplatte voll von digitalen and far. Aufnahmen schöpfen. Ganz zu schweigen von den Kleinigkeiten die er bei seinen vielen Spaziergängen und Wanderungen nah und fern gesammelt hat.

BILD!!!!

Walk of Art · 14

Chateau Papillon Via Foppas 15 · 7500 St. Moritz · unterhalb des Dracula Clubs täglich · daily · tutti i giorni · 16 - 19 h

Mixed Four Fokidos in St. Moritz, Schweiz Fokidos in St. Moritz, Switzerland Fokidos a St. Moritz, Svizzera

Ein Off-Space-Projekt des Athener Künst- An off-site project by Athens based artist- Un progetto off-space di giovani leve dello lerprojektraumes Fokidos. Die vier, aus run project space Fokidos. Four emerging spazio artistico Fokidos di Atene. I quattro London und Athen stammenden Nach- artists from London and Athens: Bobby artisti, provenienti da Londra ed Atene, wuchskünstler Bobby Dowler, Camilla Emson, Dowler, Camilla Emson, Christopher Green, Bobby Dowler, Camilla Emson, Christopher Christopher Green und Sofia Steve, präsen- Sofia Stevi, will present recent works com- Green e Sofia Steve, presentano i loro nuovi tieren ihre neuen Arbeiten, darunter Gemälde, prising painting, sculpture and installation lavori, comprensivi di quadri, sculture ed Skulpturen und Installationen im Steffani at the Steffani Hotel in St. Moritz. installazioni, all‘Hotel Steffani di St. Moritz. Hotel in St. Moritz. London based artist Camilla Emson will L‘artista Camilla Emson, che crea i suoi Die in London schaffende Künstlerin Camilla also be displaying her social sculpture lavori a Londra, presenta inoltre la sua scul- Emson zeigt ausserdem ihre Soziale Skulp- “Group Process” in the Plazza Paracelsus tura a sfondo sociale „Group Process“ in tur „Group Process“ im Plazza Paracelsus outside the Heilbad in St. Mortiz-Bad and Piazza Paracelsus di fronte alle Terme di vor dem Heilbad in St. Mortiz-Bad und ihre her installation “Life Is Never Completely St. Moritz Bad, mentre la sua installazione Installation „Life Is Never Completely Seen Seen Up“ at Stalla in Bever. „Life is never completely seen up“ è es- Up“ in der Stalla in Bever. posta nella Stalla a Bever.

Walk of Art · 29

Hotel Steffani Sonnenplatz · 7500 St. Moritz täglich · daily · tutti i giorni

Stalla Culögnas 9 · 7502 Bever Dienstag - Samstag · Tuesday - Saturday · Martedi - Sabato · 10 - 14 h

Heilbad Plazza Paracelsus 2 · 7500 St. Moritz Camilla Emson re-Constellating 2013, bleach linen täglich · daily · tutti i giorni cotton, 180 x 130 cm · Nagel Collection

55 56 Kultur im Engadin - Culture Engadin - Cultura Engiadina

ST. MORITZ Galerie Karsten Greve Segantini Museum Montag - Samstag / Monday - Dienstag - Sonntag / Tuesday - Saturday / Lunedì - Sabato Sunday / Martedì - Domenica Berry Museum 11 - 13h / 14 - 18.30h 10 - 12h / 14 - 18h Mittwoch - Freitag / Wednesday - sowie nach Vereinbarung / or upon Via Somplaz 30 Friday / Mercoledì - Venerdì request / o su richiesta 7500 St. Moritz 10 - 13h / 16 – 19h Via Maistra 4 T: +41 81 833 44 54 Via Arona 32 7500 St. Moritz E: [email protected]. 7500 St. Moritz T: +41 81 834 90 34 W: www.segantini-museum.ch T: +41 81 833 30 18 E: [email protected] E: [email protected] W: www.galerie-karsten-greve.com The St. Moritz Design Gallery W: www.berrymuseum.com 24 Stunden / 24 - 7 / 24 sul 7 Galerie Kunsthalle Parkhaus Serletta Dokumentationsbibliothek Dienstag - Freitag / Tuesday - Friday / 7500 St. Moritz St. Moritz, St. Moritz Martedì - Venerdì 12 - 18h T: +41 81 834 40 02 Montag · Dienstag · Freitag / Monday · Samstag / Saturday / Sabato 12 - 17h E: [email protected] Tuesday · Friday / Lunedì · Martedì · sowie nach Vereinbarung / or upon W: www.design-gallery.ch Venerdì 15 - 18.30h request / o su richiesta Mittwoch / Wednesday / Mercoledì Via dal Bagn 52 09 - 11h / 15 - 18.30h 7500 St. Moritz Sils Maria Donnerstag / Thursday / Giovedì T: +41 81 833 67 75 15 - 19.30h M: +41 79 920 80 41 Plazza da Scoula E: [email protected] Andrea Robbi Museum 7500 St. Moritz W: www.kunsthallestmoritz.ch Dienstag - Sonntag / Tuesday - Sunday / T: +41 81 834 40 02 Martedì - Domenica E: [email protected] Galerie Robilant + Voena 16 - 18h W: www.biblio-stmoritz.ch Montag - Samstag / Monday - Via da Marias 110 Saturday / Lunedì - Sabato 7514 Sils Maria Engadiner Museum 14 – 19h T +41 (0)44 242 37 27 Sonntag - Freitag / Sunday - Friday / Via Serlas 35 www.stephanwitschi.ch Domenica - Venerdì 7500 St Moritz [email protected] 10 - 12h / 14 - 17h T: +41 81 833 24 69 Via dal Bagn 39 E: [email protected] Biblioteca Engiadinaisa 7500 St. Moritz W: www.robilantvoena.com Montag - Freitag / Montag - Freitag / T: +41 81 833 43 33 Lunedì - Venerdì E: [email protected] Galerie Stefan Hildebrandt 10 - 11.30h / 15 - 18h (Donnerstag / W: www.engadiner-museum.ch Dienstag - Samstag / Martedì - Sabato / Thursday / Giovedì 15 - 21h) Tuesday - Saturday Via da Baselgia 46 Galerie Andrea Caratsch 15 - 19h sowie nach Vereinbarung / 7515 Sils Baselgia Montag - Samstag / Monday - Saturday / or upon request / o su richiesta T: +41 81 826 53 77 Lunedì - Sabato Während / During / Durante St. Moritz E: [email protected] 14 - 19h Art Masters 2014 sowie nach Vereinbarung / or upon Täglich / Daily / ogni giorni 10 - 12h / Nietzsche Museum request / o su richiesta 14 - 19h Dienstag - Sonntag / Tuesday - Sunday / Via Serlas 12 Via Somplaz 7 Martedì - Domenica 7500 St. Moritz 7500 St. Moritz 15 - 18h T: +41 81 734 00 00 T: +41 81 833 39 39 Via da Marias 67 E: [email protected] M: +41 79 754 63 68 7514 Sils/Segl Maria W: www.galeriecaratsch.com E: [email protected] T: +41 81 826 53 69 W: www.stefanhildebrandt.com E: [email protected] Galerie Bruno Bischofberger W: www.nietzschehaus.ch Montag - Samstag / Monday - Saturday / Galleria Curtins Lunedì - Sabato Montag - Freitag / Monday - Friday / 11 - 13h / 15 - 18.30h Lunedì - Venerdì Maloja sowie nach Vereinbarung / or upon 16 - 18.30h request / o su richiesta sowie nach Vereinbarung / or upon Via Maistra 37 request / o su richiesta Atelier Segantini 7500 St. Moritz Via Stredas 5 Mittwoch · Samstag · Sonntag / T: +41 81 833 50 00 7500 St. Moritz Wednesday · Saturday · Sunday / E: [email protected] T: +41 81 833 28 24 Mercoledì · Sabato · Domenica W: www.brunobischofberger.com M:+41 79 431 86 63 15 - 18h E: [email protected] sowie nach Vereinbarung / Galerie Gmurzynska W: www.galerie-curtins.ch or upon request / o su richiesta Dienstag - Samstag / Tuesday - Hauptstrasse Saturday / Martedì - Sabato Mili Weber-Haus 7516 Maloja 11 - 19h Anmeldung erforderlich / Please make T: +41 81 824 33 54 sowie nach Vereinbarung / a reservation / Si prega di fare una E: [email protected] or upon request / o su richiesta prenotazione W: www.segantini.org Via Serlas 22 Via Dimlej 35 7500 St. Moritz 7500 St. Moritz T: +41 81 833 36 51 T: +41 79 539 97 77 E: [email protected] E: [email protected] W: www.gmurzynska.com W: www.miliweber.ch

57 Partner Hotels 2014

Das St. Moritz Art Masters wird grosszügig The St. Moritz Art Masters is generously Gli Hotel di lusso di St. Moritz sostengono unterstützt von den St. Moritzer Luxus- supported by the St. Moritz Luxury Hotels. generosamente St. Moritz Art Masters. Hotels. Spezielle Packages werden angebo- Special hospitality packages are offered. Per conoscere l’offerta di pacchetti turistici ten. Mehr Informationen erhalten Sie direkt Please contact the hotel for more information. speciali, si prega di contattare direttamente bei den Hotels. gli alberghi.

Badrutt’s Palace Hotel Via Serlas 27 7500 St. Moritz Tel +41 (0)81 837 1000 Fax +41 (0)81 837 2999 www.badruttspalace.com

Kempinski Grand Hotel des Bains Via Mezdi 27 7500 St. Moritz Tel +41 (0)81 838 3838 Fax +41 (0)81 838 3000 www.kempinski.com/stmoritz

Kulm Hotel St. Moritz Via Veglia 18 7500 St. Moritz Tel +41 (0)81 836 8000 Fax +41 (0)81 836 8001 www.kulm.com

Suvretta House Via Chasellas 1 7500 St. Moritz Tel +41 (0)81 836 3636 Fax +41 (0)81 836 3737 www.suvrettahouse.ch

58 Kultur im Engadin - Culture Engadin - Cultura Engiadina

Celerina Chesa Planta Museum Zuoz Donnerstag / Thursday / Giovedì 15 - 18h Besichtigung ohne Führung / Atelier Turo Pedretti visit without guide / visite senza visite Galerie Manuela Gadient (1896 - 1964) & Giuliano Pedretti guidate Dienstag - Samstag / Tuesday - (1924 - 2012) Dienstag und Freitag / Tuesday and Saturday / Martedì - Sabato Geöffnet / Open / Aperto Friday / Martedì e Venerdì 15 - 18.30h 08.08. / 22.08. / 12.09. / 26.09. / 03.10.14 16.30h Besichtigung mit Führung / San Bastiaun 17 15 - 18h Guided tours / visite guidate 7524 Zuoz sowie nach Vereinbarung / or upon Plazzet 2 T: +41 79 666 76 17 request / o su richiesta 7503 Samedan E: [email protected] Via Maistra 36 T: +41 81 852 12 72 W: www.manuelagadient.ch 7505 Celerina E: [email protected] T: +41 81 832 15 83 / +41 81 833 46 25 W: www.chesaplanta.ch Galerie Pace M: 41 79 635 28 48 Dienstag - Samstag / Tuesday - E: [email protected] Kunstraum Riss Saturday / Martedì - Sabato W: www.turopedretti.ch Montag - Freitag / Monday - Friday / 15 - 19h Lunedì - Venerdì Straglia Pezzi 34 10 - 12h / 16 - 18h 7524 Zuoz Pontresina Via San Bastiaun 6 T: +41 81 850 11 03 7503 Samedan E: [email protected] T: +41 81 852 55 58 W: www.pacegallery.com Gallery Palü E: [email protected] Montag - Samstag / Monday - W: www.riss.ws Galerie Tschudi Saturday / Lunedì - Sabato Dienstag - Samstag / Tuesday - 15.30 - 18.30h La Tuor Saturday / Martedì - Sabato sowie nach Vereinbarung / Mittwoch - Sonntag / Wednesday - 15 - 18.30h or upon request / o su richiesta Sunday / Mercoledì - Domenica Chesa Madalena Via Maistra 111 15 - 18h 7524 Zuoz 7504 Pontresina Surtuor 10 T: +41 81 850 13 90 T: +41 81 842 76 35 7503 Samedan E: [email protected] M: +41 79 267 04 92 T: +41 81 852 18 03 W: www.galerie-tschudi.ch E: [email protected] E: [email protected] W: www.vogel-gp.ch W: www.latuor.ch Galleria Monica de Cardenas Dienstag - Samstag / Tuesday - Kunstwege / Vias d’art Saturday / Martedì - Sabato Pontresina 2014 S-chanf 15 - 19h 24 Stunden / 24 - 7 / 24 sul 7 Chesa Albertini Via Maistra Via Maistra 41 7504 Pontresina Galerie Jablonka 7524 Zuoz T: +41 81 838 83 02 Bugl Suot 107 T: +41 81 868 80 80 E: [email protected] 7525 S-chanf E: [email protected] W: www.kunstwege-pontresina.ch T: +41 81 854 04 75 W: www.monicadecardenas.com E: [email protected] Museum Alpin W: www.jablonka.ch Montag - Samstag / Monday - Ardez Saturday / Lunedì - Sabato Galerie von Bartha 16 – 18h Dienstag - Samstag / Tuesday - Via Maistra 199 Saturday / Martedì - Sabato Fundaziun Not Vital 7504 Pontresina 16 - 18h Mittwoch - Sonntag / Wednesday - T: +41 81 842 72 73 sowie nach Vereinbarung / Sunday / Mercoledi - Domenica E: [email protected] or upon request / o su richiesta 15 - 18h W: www.pontresina.ch/museumalpin Somvih 46a Paramuvel 7525 S-chanf 7546 Ardez T: +41 79 320 76 84 T: +41 81 860 08 37 Samedan M: +41 76 317 84 63 E: [email protected] E: [email protected] W: www.fundaziun.notvital.com W: www.vonbartha.com Biblioteca da Samedan Montag & Mittwoch / Monday & Gallery Peter Vann Wednesday / Lunedì & Mercoledì Mittwoch - Samstag / Wednesday - 16 - 18h Saturday / Mercoledì - Sabato Dienstag / Tuesday / Martedì 16 - 19h 09 - 11h während / during / durante St. Moritz Freitag / Friday / Venerdì Art Masters 2014 18 - 20h täglich / daily / ogni giorni 14 - 18h Schulanlage Puoz Somvih 24 7503 Samedan 7525 S-chanf T: +41 81 851 10 17 T: +41 81 850 16 22 E: [email protected] E: [email protected] W: www.biblioteca-samedan.ch W: www.galeriepetervann.ch

59 60 www.stmoritz.ch www.stmoritz.ch 62 63 Friend of St. Moritz Art Masters

Aussergewöhnliche Entdeckungen Exceptional Discoveries Scoperte straordinarie Das St. Moritzer Art Masters verwandelt das St. Moritz Art Masters transforms the D‘estate St. Moritz Art Masters trasforma Oberengadin im Sommer in das Zentrum der famous alpine destination St. Moritz as well l’Alta Engadina nel centro della scena artisti- Kunst- und Kulturszene. as the surrounding Engadin region into the ca e culturale. centre of the arts and culture scene. Unterstützen Sie diesen einzigartigen Anlass, Sostenete questa singolare iniziativa, che welcher sich zum Ziel gesetzt hat, zur festen Support this unique platform with the aim of si è posta come fine quello di diventare Institution für Connaisseure der Kunst und establishing it as a permanent fixture for art un’istituzione di riferimento per conoscitori Kunstinteressierte im Engadin zu wer- enthausiast in the Engadin. dell’arte e curiosi in Engadina. Come FRIEND den. Als FRIEND OF SAM unterstützen Sie As FRIEND OF SAM you not only support OF SAM non sosterrete solo questo progetto, nicht nur den Anlass, sondern profitieren this unique event but also benefit: ma avrete diritto anche a: auch: · 2 tickets for a SAM evening event during · 2 ingressi per una serata-evento durante · 2 Eintritte für SAM Abendanlass während St. Moritz Art Masters i St. Moritz Art Masters St. Moritz Art Masters (end of August / beginning of September) (fine agosto / inizio settembre) (Ende August / Anfang September) · Invitation to an artist talk for 2 persons · Invito alla conversazione con un artista · Einladung zu einem Künstlergespräch · Regular information on SAM activities per 2 persone für 2 Personen by email · Regolari informazioni (e-mail) · Regelmässige Information (Email) · Information on seasonal program sulle attività di SAM über SAM Aktivitäten before the official program is published · Informazioni sul nuovo programma · Information zum neuen Programm prima della sua presentazione ufficiale bevor das offizielle Programm bekannt Annual Fee CHF 1’000 (excl. VAT) gegeben wird Quota annuale: CHF 1’000 (IVA escl.) To apply, please send an email to: Jahresbeitrag: CHF 1’000 (exkl. MWST) [email protected] or call Se siete interessati vi preghiamo di inviarci +41 81 833 10 28 to receive the una mail: [email protected] Bitte senden Sie uns bei Interesse eine Email application form. o di telefonarci (+41 81 833 10 28) an: [email protected] per richiedere il modulo d’iscrizione. oder rufen Sie uns an (+41 81 833 10 28) um das Anmeldeformular zu bestellen.

Donor of St. Moritz Art Masters Foundation

Die St. Moritz Art Masters Stiftung freut sich The St. Moritz Art Masters Foundation La Fondazione St. Moritz Art Masters è lieta über Gönner, um die Stiftung und ihre Vision, welcomes donors to further establish and di accettare il contributo dei suoi benefattori, Ziele und Projekte zu unterstützen und die develop the objectives and projects of the che sostengono la visione, gli scopi e i progetti Stiftung weiter zu entwickeln. Die Stiftung ist foundation. The foundation is closely linked della Fondazione permettendole di continuare eng mit dem jährlich stattfindenden Anlass to the annual event St. Moritz Art Masters in a svilupparsi. La Fondazione è strettamente St. Moritz Art Masters verbunden. the Engadin. legata all’annuale manifestazione di St. Moritz Art Masters.

Impressum

Herausgeber / Editor / Editore Copyright Programm / Program / Programma St. Moritz Art Masters International AG Text oder Fotos dürfen ohne vorherige Version Juli 2014 – Änderungen vorbehalten Konzeption / Concept / Concetto schriftliche Bewilligung weder verwendet noch Version July 2014 – All information subject LATESTA AG, St. Moritz reproduziert werden. to change Bitte senden Sie Anfragen an: Versione luglio 2014 – Non si escludono Artwork St. Moritz Art Masters cambiamenti Tati’s Design Keller AG, St. Moritz [email protected] St. Moritz Art Masters Druck / Print / Druck Text or photos may not be used or reproduced Office St. Moritz: Gammeter Druck & Verlag St. Moritz AG in any form without prior written permission. Postfach 82 Please send requests to: Übersetzung / Translation / Traduzione CH - 7500 St. Moritz Lektorat / Proofreading / Correzione bozze St. Moritz Art Masters Tel +41 81 833 10 28 Brigitta Klingler, Lavin [email protected] Fax +41 86 081 833 10 28 Claudia Marinelli, Pavia (I) Con divieto di ripodurre testi o foto, integralmente [email protected] Sonja Engelhardt o parzialmente, se non previo permesso scritto. Maria-Teresa Latz Inviare le richieste a: www.stmoritzartmasters.com Luca Melloni St. Moritz Art Masters Marta Paini, Milano [email protected]

Cover page Subodh Gupta, Untitled, 2008, stainless steel utensils, diameter: 115 cm, depth: 31 cm Courtesy: the artist and Hauser & Wirth

64 Design, illuminated. C 218 DesignC 218 The new generation CLS Coupé. Kunde: Mercedes-Benz Produkt: ArtSt.Moritz Masters Titel/Objekt:

Some of the best designs simply radiate sensuousness – and never more so than in the new generation CLS. That’s because the new integrated MULTIBEAM LED headlamps are a central part of the car’s aesthetic character – illuminating its design

in a way befitting a contemporary icon. www.mercedes-benz.com/cls 210 x 297 mm x 297 210 4c Jung Matt v. 13404/18/14003/10 DTP Thomas -1144 1/1 A Daimler Brand

Fuel consumption combined: 10.4–4.6 l/100 km, combined CO₂ emissions: 243–122 g/km. 65 Provider: Daimler AG, Mercedesstraße 137, 70327 Stuttgart

210x297_C218_7-8Seite_Design_EN.indd 1 15.07.14 17:15 StMoritzArtMaster_210x297_PUWA1593_FR.indd 1

cartier.ch STANDARD WITH THE ASSERTIVE AESTHETICS OF THE CALIBRE DE CARTIER WATCH. ESTABLISHED IN 1847, CARTIER CARTIER 1847, IN ESTABLISHED WATCH. CARTIER DE CALIBRE THE 1996 OF 6425: ISO THE OF AESTHETICS REQUIREMENTS ASSERTIVE TECHNICAL THE HIGH WITH THE COMBINES STANDARD IT WATCH. MOVEMENT, MC DIVING 1904 AUTHENTIC THE AN IS WITH WATCH DIVER FITTED CARTIER DE CALIBRE THE METRES, 300 TO WATER-RESISTANT CREATES EXCEPTIONAL WATCHES THAT COMBINE DARING DESIGN AND WATCHMAKING SAVOIR-FAIRE. WATCHMAKING AND DESIGN DARING WATCHES THAT COMBINE EXCEPTIONAL CREATES CALIBRE DE CARTIER DIVER CARTIER DE CALIBRE MANUFACTURE MOVEMENT 1904 MC 1904 MOVEMENT MANUFACTURE St. Moritz -Palace-Galerie -081 8331855

17.06.14 10:17