Scheidegger & Spiess Catalogue Autumn 2022 by ACC Art Books

Scheidegger & Spiess Art I Photography I Architecture International New Titles Autumn 2022

Content

3 Paul Klee

4–5 Alfredo Häberli—Verbal Scribbles

6–7 HR Giger by Camille Vivier

8–9 Meret Oppenheim My Album

10 On Words Isabelle Cornaro

11 On Words Latifa Echakhch

11 On Words Silvie Defraoui

12–13 Pathways of Art

14–15 Evan Ifekoya

16–17 Open House

18–19 Forever Jade

20–21 The Never Taken Images

28–31 Key Titles 32 Contacts Distributors Representatives and Agents 22–23 Caroline Bachmann

24–25 Franz Bucher. Picture Fields

26 The Swiss National Bank in Zurich

27 Swiss Grand Award for Design 2022

Contributions by Francisco Jarauta, Juan Manuel Bonet, Achim Moeller, and a conversation between Sylvie and Jorge Helft and Tobia Bezzola

First book on an outstanding private collection of works by Paul Klee Features full-color plates of all of Klee’s works owned by collectors Sylvie and Jorge Helft, many of which have rarely been on public display and few published

Book design by Granit Communication, Design In cooperation with the Museo d’arte della Svizzera italiana MASI in Lugano

Exhibition: Paul Klee: The Sylvie and Jorge Helft Collection at the Museo d’arte della Svizzera italiana MASI in Lugano (September 4, 2022 to January 8, 2023)

Hardback approx. 224 pages, 95 color illustrations 21 × 27 cm 978-3-03942-107-7 English 978-3-03942-106-0 German sFr. 49.00 | € 48.00 | £ 42.00 | $ 50.00

An extraordinary collection of Paul Klee’s drawings, watercolors, and prints

OCTOBER 2022 (Europe) FEBRUARY 2023 (US) ISBN 978-3-03942-107-7

ISBN 978-3-03942-106-0

English

783039 421077

German

783039 421060

Paul Klee The Sylvie and Jorge Helft Collection

Drawing occupies a prominent place in the work of Paul Klee (1879–1940). Klee attached great importance to drawing, and in particular to the line as the principle from which the realization and visual generation of an idea emanates. This aspect is also a core interest of collectors Sylvie and Jorge Helft, who over almost five decades have assembled some seventy of Klee’s pencil, pen, and pastel drawings, as well as watercolors, etchings, and lithographs, created by the artist between 1914 and 1940. The Helfts’ Klee collection forms an extraordinarily coherent whole. This book, published in conjunction with an exhibition at the Museo d’arte della Svizzera italiana (MASI) in Lugano, features for the first time this unique selection from Klee’s oeuvre. A conversation between Sylvie and Jorge Helft and MASIS’s director Tobia Bezzola, as well as essays by philosopher Francisco Jarauta, art and literary critic Juan Manuel Bonet, and art dealer and curator Achim Moeller, complement the full color plates. Tobia Bezzola is an art historian and has been director of the Museo d’arte della Svizzera italiana MASI in Lugano since 2018. Previously, he served as director of the Museum Folkwang in Essen, Germany, from 2013 to 2017. Juan Manuel Bonet is an art and literary critic and former director of the lnstitut Valencià d’Art Modern in Valencia and the Museo Nacional Centro de Arte Reina Sofía in Madrid. Francisco Jarauta is a Spanish philosopher and professor at the University of Murcia and scientific director of the lstituto Europeo di Design in Madrid. Achim Moeller is an art dealer and curator and a distinguished international expert on nineteenth- and twentieth-century European art.

Scheidegger & Spiess Autumn 2022

Enzo Mari (27 April 1932 — 19 October 2020) was an Italian modernist artist and furniture designer who is known to have influenced many generations of industrial designers.

ENZO MARI,

DAS DESIGN GEWISSEN Meine Gewohnheit, aus dem Atelier von Bruno Munari im Quartier Buonarroti / Wagner ins Hotel Speronari zu laufen, wurde zum Ritual und half bei der Verarbeitung des gesichtetes Archiv–Materials. Einige Monate davor, so um 1993, hatte ich dem Museum für Gestaltung Zürich den Vorschlag unterbreitet, eine Ausstellung über Bruno Munari und Enzo Mari zu machen. Basierend auf der Sammlung von Bruno Danese und Jacqueline Vodoz, Besitzer von Danese aus Mailand, einer kleinen und wichtigen Firma für kleine Objekte und Accessoires des Wohnens. Renato Minetto, Herausgeber und Verleger u.a. von «Abitare», ein passionierter Tangotänzer und Kenner von Buenos Aires, den ich an einem Nachtessen der Familie Danese kennen gelernt

Swiss designer Alfredo Häberli’s personal tribute to the people and places that have forged his career

Alfredo Haberli — Verbal Gekritzelt

habe, bat Italo Lupi, den Direktor und Grafiker von «Abitare», mich zu fragen, was ich so mache als junger Designer und an was ich gerade arbeite. Beim nächsten Besuch in Mailand wurde ich eingeladen, meine Arbeit vorzustellen. So nahm ich einige Wochen später meine Dias mit, die ich im Kodak–Karussel (Design Gugelot) hatte, — in NYC war das eine übliche Art, sich vorzustellen — und ordnete sie in einer harten Kunststoff–Display–Mappe, die ich während meines Praktikums in New York im Pearl gekauft hatte, der grössten, fünfstöckigen Papeterie an der Canalstreet. In der Redaktion am Corso Monforte 15, wo heute der Flos Showroom und unmittelbar gegenüber, im gleichen Hof, der Kvadrat Showroom steht, den ich 2007 gestalten durfte — wurde ich sehr herzlich empfangen. Da waren Silvia Latis, Stefano Casciani, ich glaube sogar Marco Romanelli und Italo Lupi. Es wurde zuerst fertig telefoniert, dann wurde Kaffee bestellt, der aus der Bar gegenüber der Strasse kam, und dann wurde meine Arbeit angeschaut.

Enzo Mari (27 April 1932 — 19 October 2020) was an Italian modernist artist and furniture designer who is known to have influenced many generations of industrial designers.

Encounters and exchanges with Stephen Bayley, author, critic, curator, and design guru Riccardo Blumer, Alias Design Tyler Brûlé, Monocle Achille Castiglioni, industrial designer Sarah Douglas, Wallpaper Rolf Fehlbaum, chairman emeritus of Vitra

Enzo Mari

Die Dia–Mappe wurde zuerst rasch in die Luft gehalten und dann genauer auf dem Lichtpult angeschaut. Meine Arbeiten aus dem Studium waren okay, doch das Interesse von Italo Lupi galt meinen Arbeiten als Ausstellungsarchitekt für das Museum für Gestaltung. Es waren die Grafik und die Gestaltung, die ihn sofort faszinierten. Ein Thema, das Italo Lupi mit Achille Castiglioni in diversen Ausstellungen gemeinsam bearbeitete. Das Museum für Gestaltung Zürich hatte eine unglaubliche Tradition und war mit Martin Heller als leitender Kurator und später als Direktor in einem europaweiten Hoch. 1986, ein Jahr bevor Martin Heller anfing, wurde die berühmte Ausstellung von Achille Castiglioni in der Halle gezeigt. Davor war sie in Wien.

Konstantin Grcic, product designer

Was an Italian modernist artist and furniture designer who is known to have influenced many generations of industrial designers. Was an Italian modernist artist and furniture designer who is known to have influenced many generations of industrial designers.

Ross Lovegrove, product designer and one of the

Was an Italian modernist artist and furniture designer who is known to have influenced many generations of industrial designers.

Italo Lupi, graphic designer

fathers of Sony’s Walkman Enzo Mari, artist and designer

Was an Italian modernist artist and furniture designer who is known to have influenced many generations of industrial designers.

Jasper Morrison, industrial designer Bruno Munari, artist

Italo Lupi sah die unterschiedlichsten Ausstellungen, die ich als Ausstellungsarchitekt gestaltet hatte. Es war auch die Möglichkeit, einen Nebenverdienst zu haben, um mein Studium als Designer im gleichen Gebäude zu ermöglichen. Daraus entstand ein Artikel über acht Seiten, ges

Enzo Mari (27 April 1932 — 19 October 2020) was an Italian modernist artist and furniture designer who is known to have influenced many generations of industrial designers.

Valentina Raggi, Elle décor Was an Italian modernist artist and furniture designer who is known to have influenced many generations of industrial designers.

Enzo Mari

Das Design Gewissen

Nr. 1» mit viel Patina. Vermutlich der Originalstuhl aus dem Jahre 1973. Ich setzte mich nicht. Schliesslich kam Enzo Mari um die Ecke. Einen Süss–Stab in der Hand. Kord Hose, ein schlabberiges Jackett. Alternative Lederschuhe. Er sah mich ernst an. Leicht genervt, weil ich ihn vermutlich beim Arbeiten gestört hatte. Ich stellte mich vor, dass ich an einer Ausstellung und ein junger Designer sei. Sein Ausdruck wurde immer erster und dann bat er mich, ihm zu folgen. Wir gingen in seinen persönlichen Raum. Und dann passierte etwas, was meine Beziehung zu ihm tief formte. Er hielt mir einen Vortrag über Design und dass ich mich nicht so nennen kann und sollte! Dafür verstünde ich von der Welt zu wenig. Dafür wäre ich zu jung. Das war wie ein Hammer und mit einer Sichel wurde ich enthauptet. Auf seinem Pult lagen Zeichnungen, Blätter und Fächer, angeschrieben mit EIN und AUS und da standen einige Tiere aus dem Puzzle «16 Animali» und andere Gegenstände aus der Industrie als Papier–Gewicht. An der Wandtafel zeichnete Enzo Mari mir Diagramme, die ich

teilweise nicht verstand. Aber auch meine Italienischkenntnisse reichten nicht. Ich kannte seine Arbeit schon gut. Was er sofort bemerkte und ihm vielleicht auch schmeichelte, aber dies liess er erst viele Jahre später zu. Nach über zwei Stunden wurde ich abrupt zur Türe begleitet. Und dann fragte er: «Was hätten sie denn Persönliches abzugeben gehabt?» Ich gab ihm meine Toblerone aus der Tasche. Enzo Mari wollte gerade ausholen, um mich über die Schweiz und die Industrie der Schokolade zu informieren. Doch er liess es sein. Schön war, dass Enzo Mari, mich bat, mich beim nächsten Mal anzumelden, einen Termin abzumachen und nicht einfach reinzuplatzen. War dies eine Einladung? War es doch nicht so schlimm von mir gewesen?

Francesca Molteni, art director

Zurück auf der Piazza Baracca, setzte ich meinen Spaziergang fort. Diesmal mit einem noch volleren Kopf. Auf dem Weg machte ich an der Bar Margenta zum Apéro einen Stopp. Wie in Italien üblich, gab es am Tresen feine Häppchen. Dies wurde auch zu meinem Ritual. Nach ein-

Alice Rawsthorn, design critic Robert Thiemann, Frame Magazine Patricia Urquiola, architect and designer

Book design by DelerueRoppel

Alfredo Häberli is one of the world’s most renowned product designers

2 volumes, paperback approx. 232 pages in total, 80 color illustrations 18 × 25.8 cm 978-3-03942-115-2 English 978-3-03942-114-5 German

In this book, Häberli introduces readers to his world of thought A tribute to the people, places, and objects that have shaped Häberli and his understanding of design

sFr. 49.00 | € 48.00 | £ 42.00 | $ 50.00

30 personalities of the design world ask questions that Häberli answers

NOVEMBER 2022 (Europe) MARCH 2023 (US) ISBN 978-3-03942-115-2

ISBN 978-3-03942-114-5

English

783039 421152

German

783039 421145

Alfredo Häberli—Verbal Scribbles People, Places, Objects—1980 to 2022 30 Years, 30 Questions, 30 Answers Alfredo Häberli, who was born in Buenos Aires in 1964 and has been working from Zurich since the 1980s, is one of the world’s most widely acclaimed product designers. Major international brands such as BMW, Camper, Georg Jensen, Iittala, Luceplan, Moroso, Schiffini, or Vitra are among his clients, for whom he has designed furniture, lamps, objects, tableware, or even entire interiors. Häberli’s work has been shown in numerous exhibitions throughout Europe and has earned him many awards over the years. In the first of this book’s two volumes, Häberli looks back at the people, places, and objects that have influenced him and shaped his ideas and creative process. He tells of his visits with the great Italian designers, the British and American role models influencing him, and about inspiring exchanges with colleagues such as Konstantin Grcic, Jasper Morrison, or Patricia Urquiola. Moreover, his encounters with visionary entrepreneurs, and the places, locations, and objects that forged his understanding of design come into focus through text and images. For the second volume, Häberli invited thirty personalities from his circle to ask him one question each, which he answers frankly and in good humor. These personalities include fellow designers, architects, critics, journalists, and creative directors such as Stephen Bayley, Tyler Brûlé, Francesca Molteni, and Alice Rawsthorn. Alfredo Häberli, born 1964 in Buenos Aires, moved to Switzerland in 1977 and graduated in 1991 with distinction in Industrial Design from Zurich’s Höhere Schule für Gestaltung (today Zurich University of the Arts). Today, he is an internationally established designer based in Zurich and is working for some of the leading companies of the international design industry such as Alias, BD Barcelona, BMW, Camper, FSB, Georg Jensen, Iittala, Kvadrat, Luceplan, Moroso, Schiffini and Vitra.

Scheidegger & Spiess Autumn 2022

A unique visual foray into the fantastic worlds of artist HR Giger

Edited by Beda Achermann

Features some 200 pictures taken by French photographer Camillie Vivier of Swiss artist and designer HR Giger’s private home, studio, and garden

With a text by Camille Vivier Book design by Studio Achermann Hardback approx. 256 pages, 206 color illustrations 25.5 × 34.5 cm 978-3-03942-116-9 English / French / German

Academy Award-winner HR Giger is the creator of the legendary movie monster Alien and arguably the most distinguished representative of Fantastic Realism This lavish large-format volume offers never-before-seen insights into HR Giger’s creative environment and conveys how Giger worked and continued to build his own visual cosmos

sFr. 99.00 | € 97.00 | £ 85.00 | $ 110.00 OCTOBER 2022 (Europe) MARCH 2023 (US)

ISBN 978-3-03942-116-9

783039 421169

HR Giger by Camille Vivier

The art of HR Giger (1940–2014), Swiss-born creator of the legendary monster in Ridley Scott’s movie Alien, is currently experiencing a renaissance and is featured in exhibitions as well as in magazines around the globe. This lavish large-format volume offers never-before-seen insights into Giger’s private house and garden, both of which are populated by biomechanical sculptures, airbrush paintings, Alien furniture, objects, prints, and self-portraits. French photographer Camille Vivier—best known for her work for Stella McCartney and Cartier—enjoyed exclusive access to the artist’s Zurich home and studio for this book, where she worked on her own as well as with models in a series of photo sessions. Vivier’s around 200 photographs form an atmospheric tribute to the arguably most distinguished representative of Fantastic Realism. In addition to images of Giger’s studio and his life-size sculptures, Vivier has also documented some hundred objects and artworks, as well as his famous Alien-style garden railroad. In a brief text, Vivier also speaks of the enduring fascination with Giger’s art. Camille Vivier, born in Paris in 1977, has been working at the inter section of art and fashion since the outset of her career as a photographer. Her images are published in magazines such as Purple Magazine, i-D, and Dazed & Confused. Her clients include international fashion designers and luxury brands such as Stella McCartney, Martin Margiela, Isabel Marant, and Cartier. Beda Achermann is a Zurich-based creative director, editor, and designer. His firm Studio Achermann works for major international architects, artists, cultural institutions, galleries, fashion brands, and trade and industrial corporations.

Scheidegger & Spiess Autumn 2022

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Bildunterschrift, Foto oben Caption, photo above

Photo Hardagg Hardayg? , jetzt USA Photo Hardagg Hardayg? , now USA

Unten Bottom

«Husch, husch, der schönste Vokal entleert sich» Paris 1934 Besitz M. Ernst. Verloren, im Krieg M. E. par M. O. Sehr zerstört wiedergefunden 1981 u. restauriert (nach der alten Photo von M. O.) “Husch, husch, der schönste Vokal entleert sich” Quick, Quick, the Most Beautiful Vowel is Voiding Paris 1934 Possession of M. Ernst. Lost in the war. M. E. by M. O. Recovered in a very damaged state in 1981 & restored (after an old photo by M. O.)

Bildunterschrift, Foto von Max Ernst Caption, photo of Max Ernst

Ausstellung M. E. Max Ernst 1935 Exhibition M. E. Max Ernst 1935 Text unten Text below

27 Okt.–26 nov 1933 (Giacometti kam in mein Atelier mit Arp. Daraufhin ↗ Pfeil, auf die Jahresangabe stellte ich zum ersten mal aus, im «Salon des Surindépendants» mit den Surré alisten die dort einen ExtraSaal hatten. Mit den Malern Dali, Ernst, V. Hugo, R. Magritte, Mirò, Man Ray, Tanguy. – Kandinsky Ich stellte dort 3 Bilder aus. Ausser «Nuit d’Eté» erinnere ich nicht um welche Bilder es sich handeln könnte. Eventuell «Ils essayent de descendre» illustriert mit kleiner Skizze sowie ↗ Pfeil, auf den deutschen Titel auf der Folgeseite zeigend «Eine Sommernacht» nächste Seite. Von diesem Zeitpunkt an ging ich oft zum Apéritif an die Place Blanche, wo die Surréalisten sich trafen. Bis 1937 Oct. 27–Nov. 26, 1933 (Giacometti visited my studio with Arp. Subsequently ↗ arrow, pointing to year 1933 , I exhibited for the first time, at the “Salon des Surindépendants,” together with the Surrealists who had a separate space there. With the painters Dali, Ernst, V. Hugo, R. Magritte, Mirò, Man Ray, Tanguy. – Kandinsky I presented 3 works there. Apart from “Nuit d’Eté” Summer Night I don’t remember which paintings these might have been. Perhaps “Ils essayent de descendre” They try to climb down, illustrated with tiny sketch as well as ↗ arrow, pointing to German title on next page “Eine Sommernacht” A Summer Night , next page. From then on, I often went to Place Blanche for an aperitif, where the Surrealists gathered. Until 1937 1933 zeigend

Husch-husch, der schönste Vokal entleert sich, M. E. par M. O., 1934, Öl auf Leinwand, 45,5 × 65 cm, A 11 Quick, Quick, the Most Beautiful Vowel Is Voiding, M. E. by M. O., 1934, oil on canvas, 45.5 × 65 cm, A 11

Kopf eines Ertrunkenen, dritter Zustand, 1933, Objekt: Holz, bemalt, mit eingeklebten weissen Zuckermandeln in eingeschnittenen Vertiefungen, ca. 27 × 20 × 5 cm, A 4 Head of a Drowned Man, Third State, 1933, object : painted wood, with glued white sugar almonds in incised depressions, ca. 27 × 20 × 5 cm, A 4

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cht» erna mm . e So «Ein ste Seite näch cht” erna . mm page e So , next in “E r Night

→ -

→ A Sum

Besitz Tanguy Possession of Tanguy

Bildunterschrift, Foto unten Caption, photo below

«Tête de noyé, troisième état» existiert wahrscheinlich nicht mehr “Tête de noyé, troisième état” Head of a Drowned Man, Third State probably no longer exists

(Carona 1934) (Carona 1934)

La nuit, son volume et ce qui lui est dangereux, 1934, Tusche, Öl, auf Graukarton, 81 × 65 cm, A 14 The Night, Its Volume and What Endangers It, 1934, India ink, oil, on gray cardboard, 81 × 65 cm, A 14

Spaziergänger hinter Zaun, 1933, Feder, Tinte, rosa Schminkstift, 2 Schnurstücke, 21 × 27 cm, A 4 Walkers Behind Fence, 1933, pen, ink, pink makeup pencil, 2 pieces of string, 21 × 27 cm, A 4

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Very intimate insights: Meret Oppenheim’s album and autobiography Also available:

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Simon Baur Meret Oppenheim Enigmas A Journey Through Her Life and Work 978-3-03942-063-6 English 978-3-03942-046-9 German sFr. 39.00 | € 38.00 | £ 30.00 | $ 39.00 ISBN 978-3-03942-063-6

ISBN 978-3-03942-046-9

English 282

German

283

783039 420636

783039 420469

Edited and with an introduction by Lisa Wenger and Martina Corgnati

First publication of Meret Oppenheim’s album From Childhood to 1943 and of another autobio graphical text with full English translation

Book design by Bonbon Paperback approx. 328 pages, 189 color illustrations 22 × 33 cm 978-3-03942-093-3 English / German

Features previously unpublished original material that is essential for art historical reception and allows a deeper understanding of Oppenheim’s art Offers entirely new perspectives on one of the most distinguished woman artists

sFr. 49.00 | € 48.00 | £ 42.00 | $ 50.00 JULY 2022 (Europe) OCTOBER 2022 (US)

Exhibition: Meret Oppenheim: My Exhibition at the Museum of Modern Art in New York (October 30, 2022 to March 4, 2023)

ISBN 978-3-03942-093-3

783039 420933

Meret Oppenheim—My Album The Autobiographical Album “From Childhood Till 1943” and a Handwritten Biography

The complex, enigmatic work of Meret Oppenheim (1913–85) has lost nothing of its allure in the present day. Much has been written about her career and her art. Yet very little is known about the real person, who always remained secretive about herself and banned publication of any personal documents until twenty years after her death. In 1958, Oppenheim put together an album that she titled Von der Kindheit bis 1943 (From Childhood to 1943). It has a dual identity of a diary and a work of art. It assembles photos, objects, notes, and brief texts, as well as ideas and concepts for artworks, and offers very personal insights into Oppenheim’s private life and thoughts. This book features the entire album in true-size color reproductions and, for the first time ever, translates the full text into English. The album is supplemented with a previously unpublished autobiographical text by Oppenheim, which she compiled in 1970–71. Rounded out with an introduction by editors Lisa Wenger and Martina Corgnati, this beautiful book offers entirely new perspectives on one of the most distinguished woman artists. Lisa Wenger, born 1949, is a niece of Meret Oppenheim. As one of the keepers of the artist’s estate, she has transcribed thousands of letters, notes and other documents by Oppenheim and her correspondents. Martina Corgnati, born 1963, is an art historian, curator and critic. She teaches as a professor of history of art at Milan’s Brera Academy of Fine Art and has curated numerous exhibitions on avant-garde and neo avant-garde art.

Scheidegger & Spiess Autumn 2022

A series of interviews with contemporary female artists of international renown

By women artists for art students: Female artists give personal insight into their work, their experiences, and the meaning behind their art Each volume offers an interview in the artist’s native language along with a full English translation

On Words Edited by Julie Enckell Julliard, Federica Martini, and Sarah Burkhalter In cooperation with the Swiss Institute for Art Research (SIK-ISEA)

On Words is a collection of interviews with leading contemporary women artists. In conversation with Julie Enckell Julliard, Federica Martini, and Sarah Burkhalter, they speak about the sources from which they draw inspiration, themes in their work, and their view of the world. The series brings together a wide range of viewpoints and adds a new narrative to polyphonic art history as told by those who actively shape it.

Book design by Bonbon

Julie Enckell Julliard is an art historian and a director at HEAD—Genève, where she heads the Cultural Development Department. Federica Martini is an art historian and curator and heads the Visual Arts course at EDHEA in Sierre, Switzerland. Sarah Burkhalter is an art historian and head of the Antenne romande of the Swiss Institute for Art Research (SIK-ISEA) in Lausanne and a member of SIK-ISEA’s board.

Paperback approx. 92 pages, 2 color illustrations 10 × 15 cm 978-3-85881-871-3 English / French sFr. 15.00 | € 15.00 £ 12.00 | $ 18.00 DECEMBER 2022(Europe) APRIL 2023 (US)

The interview sheds light on many different aspects of Cornaro’s art and deepens the understanding of the different facets in her work Isabelle Cornaro’s work has been shown at major international art spaces, such as the Musée d’Art moderne and the Palais de Tokyo in Paris, and the Sculpture Center in New York

ISBN 978-3-85881-871-3

783858 818713

Isabelle Cornaro Fascination and Disgust of Matter

Isabelle Cornaro, born in 1974 and based in Paris and Geneva, holds degrees in art history and visual arts. She has a strong interest in experimental cinema and devotes herself to the narrative, symbolic, or economic origins of things. In her work she almost assumes an anthropologist’s manner to investigate people’s seemingly fixated attachment to often emotionally charged, even fetishized objects, creating large stage installations or short movies.

Scheidegger & Spiess Autumn 2022

Paperback approx. 92 pages, 12 color illustrations 10 × 15 cm 978-3-85881-872-0 English / French sFr. 15.00 | € 15.00 £ 12.00 | $ 18.00 DECEMBER 2022 (Europe) APRIL 2023 (US) ISBN 978-3-85881-872-0

783858 818720

The conversation offers profound insights into the artistic as well as sociopolitical driving forces behindf Latifa Echakhch’s art. Latifa Echakhch’s work has been shown in solo exhibitions at major venues such as London’s Tate Modern, the Swiss Institute in New York, and the Musée d’art contemporain in Lyon Latifa Echakhch has realized the Swiss Pavilion at the 2022 Biennale Arte in Venice

Latifa Echakhch A Finished, Resolved and Static Work Would Make No Sense to Me Latifa Echakhch, born in Morocco in 1974, studied at the art academies of Grenoble, ParisCergy, and Lyon. Now based in Switzerland, Eckakhch is concerned with the concept of culture as well as personal and collective memory in between the poles of social and political debate. Her often installative works make use of a wide variety of materials, such as brick and raw earth, which she mixes with ink.

Paperback approx. 92 pages, 12 color illustrations 10 × 15 cm 978-3-85881-873-7 English / French sFr. 15.00 | € 15.00 £ 12.00 | $ 18.00

In the interview, Silvie Defraoui talks not only about her projects and practice, but also about her experiences with the national and international art scene Complements the book Silvie & Chérif Defraoui – Archives du Futur (Scheidegger & Spiess, 2021)

DECEMBER 2022 (Europe) APRIL 2023 (US) ISBN 978-3-85881-873-7

783858 818737

Silvie Defraoui Often, It Is a Painting on a Wall in a Building within a Landscape and so on

Silvie Defraoui, born in 1935, is a pioneer of video art and art education in Switzerland. From 1975 onwards she worked in collaboration with her husband Chérif Defraoui (1932–1994). Together they developed the Archives du Futur, a reflection on images, their status and potential for memory and the future, and founded the legendary Atelier Médias Mixtes at Geneva’s École supérieure des Beaux-Arts (now HEAD—Genève). Since 1995, Defraoui pursues a practice using various forms of expression, including projection, installation, ceramics, and serigraphy. Scheidegger & Spiess Autumn 2022

Erwerben Auf Spurensuche kolonialen Unrechts 10 Elsy Leuzinger fotografierte in den 1950er Jahren in Benin City Ahnenaltare der Oba, wie sie auch bereits Eckart von Sydow in den 1930er Jahren aufgenommen hatte.

Erwerben

Sammeln

Michaela Oberhofer und Esther Tisa Francini

«Wilde Dinge» in der Villa

Sarah Csernay

Museum Rietberg, Schriftenarchiv, Akten Elsy Leuzinger

9 Brief von Eugen von Petersen an Sidney W. Brown vom 16. Juli 1892 aus Neapel. Es handelt sich um einen der zahlreichen Briefe, in denen von Petersen Sidney Brown darum bittet, ihm seine Besitztümer – darunter die Objekte aus dem Australian Museum – zukommen zu lassen. Die japanische Inschrift links oben ergibt transliteriert: Pe-te-re-se-n, 17,9 × 11,5 cm (geöffnet: 22,7 cm)

11 Katalogkarte mit Fotografie von Carl Fredrik Lindberg, die eine Ansicht der Allmänna etnografiska utställningen zeigt (1878–1879, organisiert von Hjalmar

10 Interieur mit Arrangement der Zeremonialpaddel von Sidney W. Brown, 1890er Jahre, Fotografie auf Karte, 13 × 18 cm

Stolpe und der Antropologiska sällskapet im Arvfurstens palats in Stockholm)

Museum Langmatt, Stiftung Langmatt Sidney und Jenny Brown, Baden, W.01.02.03.02.

Etnografiska Museet, Stockholm, 0004.0192.

Museum Langmatt, Stiftung Langmatt Sidney und Jenny Brown, Baden, W.03.03.

Sammeln

Vielfältige Verschiebungen

Esther Tisa Francini

Zeigen

«Schwebend vor weiss, existiere ich»

Nanina Guyer

Der Herrscher des Königreichs Bamum von 1894 bis 1933, Ibrahim Njoya, hat die Fotografie seit dem frühen 20. Jahrhundert eingesetzt, um seine Macht zu visualisieren und zu legitimieren 11.20 In solchen Bildern haben Objekte aus der königlichen Schatzkammer als Prestigeobjekte eine wichtige Rolle gespielt. Nach der Exilierung von Njoya wurde sein Cousin Mosé Yéyab der wichtigste Verbündete der französischen Kolonialverwaltung. Auch er benutzte die Fotografie, um seine Position als einflussreicher Mann zu untermauern. Als Beispiel dient uns eine Fotografie von George Goethe, der ursprünglich aus Sierra Leone stammte und ab 1931 in der Hafenstadt Duala das Studio Photo George betrieb.21 11 Im Bild lässt sich Yéyab inmitten von bemalten Schildern, Maskenträgern und hölzernen Maskenaufsätzen ablichten, die in drei horizontalen Ebenen arrangiert sind. Überragt wird die Komposition von sechs Maskenaufsätzen, die in ihrer Monumentalität mit Tsesah vergleichbar sind. Wie in den Fotografien von Evans und Co. hat Goethe die Objekte sorgfältig ins Bild gesetzt. Die fotografische Inszenierung der Objekte sollte auch hier nicht ihre wahre Bedeutung hervorbringen, sondern sie diente höheren Interessen, in diesem Falle der Visualisierung von Yéyab als legitimem Herrscher. Auch wenn wir dies in Objektfotografien aus dem Globalen Norden kaum wahrnehmen, so sind auch sie durchdrungen von Machtaspekten und Interessen wie etwa der möglichst vorteilhaften Inszenierung der eigenen Sammlung und der damit verbundenen Wertsteigerung.

5 Nell Walden mit ihrer Sammlung, Staatsbibliothek Berlin

Handeln

Die Schaffung eines Marktes für japanische Kunst

Brigitte Koyama-Richard

6 Kichizan Mincho (zugeschrieben), Der weiss gewandete Bodhisattva Avalokiteshvara (Byaku-e Kannon), Japan, Muromachi-Zeit, 1. Hälfte 15. Jh., Tusche auf Seide, 78x30,20cm, Museum für Asiatische Kunst, Berlin, Ident. Nr. 220, Schenkung Wilhelm von Bode, ehemals Sammlung Hayashi Tadamasa

Geary 2013, S. 215.

Vgl. Geary 2018.

8a/b Isoda Koryūsai, Mädchen und Fächerblatt-Verkäufer (Nachdruck), Edo-Zeit, spätes 18. Jh., Holzdruck, 25,5 × 19,2 cm, Museum Rietberg Zürich, RJP 2027, Geschenk Willy Boller

1 Rainer Wolfsberger, Aufnahme der Maske Tsesah, 2003

Museum Rietberg Zürich, Inv.-Nr. RAF 721, Geschenk Eduard von der Heydt

Bamileke-Meister von Bamendjo, Batcham-Region, tsesah, Kamerun, Bamileke, Bamendjo, 19. Jahrhundert, Holz, 72 × 51 × 37 cm

Provenienz: bis 1912/13, königliche Schatzkammer des Königreiches Batcham; 1912/13, deutsche Kolonialbeamte, Übergabe bei Bamendjo; spätestens 1914, J.F.G. Umlauff, Hamburg; 1920 – ca. 1923, Sally Falk, Mannheim; 1923/24, Karl Nierendorf, Berlin; ab 1924, Sammlung Eduard von der Heydt

Mit Detail: Stempel von Hayashi Tadamasa Provenienz: Hayashi Tadamasa, Paris; bis 1956, Willy Boller, Baden

An illustrated reader on the highly topical subject of tribal art in the museums of the Global North

Handeln

C. T. Loo

Alexandra von Przychowski

2 Anzeige von C. T. Loo & Co im Ausstellungskatalog Asiatische Kunst. Ausstellung der Vereinigung der Freunde ostasiatischer Kunst, Köln, Oktober– November 1926, o. S.

3 Votivstele mit Buddha Shakyamuni, China, Provinz Henan, Östliche WeiDynastie, 536, Kalkstein, 103,5 × 88 × 20 cm, Museum Rietberg Zürich, RCH 111, Geschenk Eduard von der Heydt

Wissen

Eine kunstethnologische Zusammenarbeit

Eberhard Fischer

Provenienz: 1920–1924, C.T. Loo, Paris; 1924–1952, Sammlung Eduard von der Heydt

6 «Mandavi potter: Ornamenting body and fixing neck», Indien, Gujarat, Mandavi, 1969, Cellulosenitrat, Museum Rietberg, Zürich, FEF 104-30, Dauerleihgabe Eberhard Fischer

7 «Terracottas of potters in Bajipura and Ambaben of Valod», Indien, Gujarat, Surat-District, 1969, Cellulosenitrat, Museum Rietberg, Zürich, FEF 113-09, Dauerleihgabe Eberhard Fischer

Edited by Esther Tisa Francini in collaboration with Sarah Csernay

Offers an important and multifaceted contribution to the current controversial debate around the colonial history of collections of art works from indigenous cultures and the loudly voiced claims for their restitution

Contributions by Annette Bhagwati, Johannes Beltz, David Blankenstein, Martin Brauen, Claire Brizon, Alice Yu Cheng, Sarah Csernay, Eberhard Fischer, Antje Grothe, Nanina Guyer, Mira Jossen, Kim Karlsson, Brigitte Koyama-Richard, Axel Langer, Michaela Oberhofer, Cecilia Pardo, Christian M. Prager, Alexandra von Przychowski, Esther Tisa Francini, Khanh Trinh, and Rosine Vuille

Demonstrates the importance of provenance research for a critical approach in the assessment of the complex biographies of artefacts Contributes to a higher awareness of colonial and postcolonial contexts of trading and collecting art created by indigenous people and to establishing new, more informed and just museum narratives

Book design by Bonbon Paperback approx. 440 pages, 241 color and 52 b/w illustrations 17 × 27 cm 978-3-03942-097-1 English 978-3-03942-096-4 German

Exhibition: Pathways of Art— How Objects Get to the Museum at Museum Rietberg in Zurich, (June 17, 2022 to June 25, 2023)

sFr. 39.00 | € 38.00 | £ 32.00 | $ 40.00 JULY 2022 (Europe) OCTOBER 2022 (US) ISBN 978-3-03942-097-1

ISBN 978-3-03942-096-4

English

783039 420971

German

783039 420964

Pathways of Art How Objects Get to the Museum

Non-European artworks in European and American museums have become the subject of controversial debate. How exactly these collections of art from Africa, North and South America, Asia, and Oceania have been amassed in the Global North over centuries, and how such works continue to be acquired and traded today, is under close scrutiny, and claims for their restitution to the places and people of their origin are voiced loudly. Zurich’s Museum Rietberg, one of Europe’s most renowned museums of non-Western art, has undertaken an extensive exhibition project to explore the thoroughly ambivalent history of its own collection. The essays in this illustrated reader published in conjunction with the exhibition investigate the pathways along which objects traveled to the museum. They shed light on how the meaning of these artifacts has shifted in the course of the transfers. And they demonstrate the importance of provenance research for learning comprehensively about, and taking a critical approach in, the assessment of the complex biographies of artifacts. Pathways of Art offers an important contribution to the current debate about the status and impact of non-European art in the Global North. It aims to foster awareness of the colonial and postcolonial contexts of trading and collecting such artworks and to help establish new museum narratives. Esther Tisa Francini, born 1972, is an historian and head of archives and provenance research at Zurich’s Museum Rietberg. Sarah Csernay, born 1984, studied art history and literary studies at the Universities of Zurich and Bern. She works as a research assistant in provenance research at the Museum Rietberg in Zurich.

Scheidegger & Spiess Autumn 2022

Postscript Quantum to Cosmic Black and Queer Embodied Liberation As Spiritual Practice Evan Ifekoya

as brushing teeth on camera. For the Migros Museum, they take this one step further by asking how rituals have changed in light of the global pandemic? As I wrote in “The Healing of America”: The events of 2020 ask us to question how those who seek to change the world—whether through activism, community, or artistic practice—will maintain their mental health, when just thinking about the future creates anxiety.22 And now I ask how Evan’s own interest in a type of “erotic activism” through gender and Blackness will be part of that change also. Will it be a pawn in what I have seen and witnessed? Which is to say: Conversely, many other organizations have been drawn to the glamorous work of promoting Black curators and administrators to positions of power and collecting Black artists’ work—important efforts, but that’s not strictly what’s meant by “anti-racist” work.23 Or will it be something entirely different? More specifically: Will it be through sheer willpower and adrenaline (and inevitable burnout)? [And possibly] through the type of “joyful militancy” that Federici writes about—in which “knowing ourselves and each other’s limits is increasingly important”?24 Afterall, isn’t that what real healing is about?

An examination of existence and knowledge inside and outside of visual perception

22 Ndiritu, “The Healing of America,” op. cit. 23 Ibid. 24 Ibid.

Kojo Abudu & Evan Ifekoya im Gespräch

Evan Ifekoya, Prophetic Map I: Toju Ba Farabale (as part of the group exhibition Transformer: A Rebirth Of Wonder), 180 The Strand, London, 2 October – 8 December 2019. All rights reserved, DACS / Artimage 2022. Photo: Evan Ifekoya, © 2022, ProLitteris, Zurich

Edited by Michael Birchall

Evan Ifekoya’s works featured in this book center around topics such as the God within, individual and collective healing on a cellular to cosmic level, and existence and knowledge outside of visual perception

Contributions by Kojo Abudu, Michael Birchall, Evan Ifekoya, and Grace Ndiritu Book design by Studio Marie Lusa In cooperation with Migros Museum für Gegenwartskunst

This is the first major book on the art of Evan Ifekoya

Hardback 144 pages, 55 color illustrations 17 × 23 cm 978-3-03942-092-6 English / German

The book expands on these topics and explores healing, sound, frequencies, collective healing, blackness in abundance, black and queer embodied liberation Evan Ifekoya have gained wide recognition for a body of work that combines sound, text, video, and performance, and addresses aspects of ethnical, cultural, and gender identities, and of spirituality

sFr. 39.00 | € 38.00 | £ 35.00 | $ 40.00 Available

ISBN 978-3-03942-092-6

783039 420926

Evan Ifekoya Resonant Frequencies

Evan Ifekoya is an artist and energy worker who, through sound, text, video, and performance, confronts existing systems and institutions of power in order to recenter and prioritize the experiences and voices of those previously marginalized. Their practice considers art as a site where resources can be both redistributed and renegotiated while challenging the implicit rules and hierarchies of public and social spaces. In an exhibition at Migros Museum für Gegenwartskunst in 2022, Ifekoya explores a cosmology of healing through sound, stillness, and the creation of intentional space— a site for reflection and contemplation as part of a large installation inside the museum. Through explorations with sonic and visual artists as well as instrument makers, the show focuses on self-care and healing. It also showcases Ifekoya’s ongoing investigation into the somatic experience of listening, the healing potential of sound, and the spiritual dimension of sexuality. This book, published in conjunction with the exhibition, features contributions from artists, curators, and writers, and by Ifekoya themselves. In an interview with the critic and researcher Kojo Abudu, the artist reflects on their journey to producing sound-led work, and their recent exploration of drumming and object making. Michael Birchall is an art historian and curator at Migros Museum für Gegenwartskunst in Zurich. Prior to this he has been curator of public practice at Tate Liverpool. He previously held curatorial appointments at museums in Canada and Germany, and has lectured at Zurich University of the Arts.

Scheidegger & Spiess Autumn 2022

ZURICH CH

sapernata verati volor as volut modiciis aliquia volorero que nim fugit voluptum aut etum nonserehenis namus andebit aciet re latur sam, tenihicae. Solores eaturio nseque ditis magnis apiciasped mi, ipite corenimagnam accabo. Itas dolupta tiatur aci volore sum hicabor iaspera tibuscil molorporrum restem labo. Ut ea nos est laturio consed erro bea volupta debitatur.

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FIBRE DE VERRE ISOLANTE RECOUVRANT U N E C H A R P E N T E M É TA L L I Q U E .

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FIBRE DE VERRE ISOLANTE RECOUVRANT U N E C H A R P E N T E M É TA L L I Q U E .

OPEN HOUSE

LAUSANNE CH

BECOMMING LEMA N, HOU SES GA R D ENS

LABORATOIRE ALICE DE L’EPFL ptatecto con cullaceped esecto cusciatur solores truptium reptatus exeres erovitate et faccatur, que con perum exerrovidi qui volorro volorecte quasit vel mi, ut faceprem es dolorerias eius sanda corepudae simaion ecepudicto eatiorrovit que diosam, ut inctur a cus mo eum reratiae parit aut qui consequis mod quibus aliquaectur aut landis dolut ventis conseque eruntur aut faccuptum voluptatem saped es earum alit qui occusda mentusdant incitaecusam faccuptio. Itat dolorument etus, quo officit es ad experae pa sundi ommodit, non exerspitem disciet molluptaquis magnis dem rem into minvento conem que alitat aut quia nonsectatae is nonet qui doluptatem quiat eaquos as quidendit pa sandici llupti veles assumqu atessum voluptatis. Nis plat a que dolupid elent, sequo cus aceaqui aturestiur, omnienimus et quo temolupta qui utem que nimusda voluptati nos consed magnis explias nulleni maxima quas ipsa de doluptate vit, sandam ad mossum di rate veliate mporpor as consectem. Ceaturem volloressita corro ea videllaut eum dolum fugia delest offic te rem quam, esto dolorectatia pro core sum quidusamus, optiam recta nihitat invenis

OPEN HOUSE

OA S E N 0 7 1972

DONATELLA BERNARDI

OPEN HOUSE

HAUS–RUCKER–CO

2021

lice ou Atelier de la Conception de l’Espace – est un laboratoire d’architecture de l’École Polytechnique Fédérale de Lausanne constitué d’une équipe d’une trentaine d’architectes et de chercheur.e.s. ALICE prend en charge l’enseignement de projet en première année avec environ 250 étudiant.e.s. Depuis 6 ans, le laboratoire inscrit sa pédagogie dans une pratique concrète, les HOUSES, conduisant ses étudiants à parcourir toutes les phases de l’architecture: du relevé de terrain à l’emprise sur celui-ci, du choix des matériaux à leur organisation, de la construction au démontage. Les étudiant.e.s apprennent à manipuler les outils tant intellectuels que manuels de la conception architecturale, ainsi qu’à mobiliser et orchestrer des synergies pour réaliser des constructions collectives à taille réelle dans des espaces publics. Le bois s’est imposé comme matériau privilégié (provenance locale, manipulation aisée, légèreté) Le cycle d’enseignement des GARDENS/ HOUSES cherche à affiner et affirmer un dialogue avec le paysage, en considérant le sol, la topographie et la végétation. BECOMING LEMAN, autre cycle, s’intéresse aux bords du Lac Léman et au Rhône. Dans ce

BECOMMING LEMAN, HOUSES GARDENS

EMPOWERMENT ET PROMESSES Ne pas se moquer, ne pas se lamenter, ne pas détester, mais comprendre.

ette citation de Baruch Spinoza m’aidera sans doute à répondre à la demande de Simon Lamunière : qu’en est-il de l’empowerment que semblait nous promettre l’avènement d’Internet et de l’inter-connectivité économique de la mondialisation ? Voyager partout, physiquement et dans la tête, dans le savoir et les dimensions des un·e·s et des autres. Tout ceci était-il illusoire, comme une énième croyance en le progrès et ses dérives ? On pourrait ici citer JeanJacques Rousseau, ce « lanceur d’alerte » et autocritique des Lumières, comme le qualifient Guillaume Chenevière et Martin Rueff. « Ce n’est pas sans peine que nous sommes parvenus à nous rendre si malheureux. Quand d’un côté l’on considère les immenses travaux des hommes, tant de sciences approfondies,

OPEN HOUSE

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L A B O R AT O I R E A L I C E D E L’ E P F L

GROUND WORK G R O U N D WO R K

BECOMMING LEMAN, HOUSES GARDENS

2021

OPEN HOUSE

olesectatus int de optate videm int eum hiliaer atibea que omniantecat officiis nonsequiatis del ium adiae nonsenda vene prempel iantis iusam qui sitinveratas ea il molorer uptatus. Occullores volore vereperit eius esequam am ipit, ut expelit, omniam, ipiet ommoluptisim untiumeni berferuptin nos eiciet pe dollabo. Itatem faceprae con natur aut volutem quia nullabor se dolupiet aut latur. Bora ipient. Et occus, aut landestiur aut omnimpo repuda voloribus, que aut hicia veriatur, officip samusdant fugitatur aut fuga. Et et aut aribercia derovite verae inctur. Enisque voloreh enetur aruptaquam, oditate sime endem con cus sam, iumquatio optias resciiste perio omnis vellati animus abor mi, cusam velliam usanda cusam, sus que voluptatem aut magnam et eum rehendunt. Aximus aspid mo corionet id quiatur arum illuptas cullant dis dolupta pos dolut faccate mquam, quiae sita cus. Ut voluptio. Ut vid et volenti osamuscianit dolectum doluptatur sit autemod icidelitat is aut aute deliqui volupient. Sed es commolum alicae. Uciisto bero cori denis eos et ipsaepr eicipissunt. Ernati reiusam seque nisti

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n 1958 à Zurich s’est tenu la deuxième exposition nationale Schweizerische Ausstellung für Frauenarbeit (SAFFA) ou « Exposition Suisse du Travail des Femmes ». Deuxième exposition du genre, elle est organisée par des associations féminines, et vise à faire prendre conscience de l’importance du travail des femmes et encourage leur promotion. À cette occasion, l’architecte suisse Berta Rahm a réalisé la mise en œuvre du grand pavillon démontable du milanais Carlo Pagani et une petite annexe conçue par ellemême. Cette annexe a été redécouverte à Gossau (ZH) au printemps 2020 après une longue période d’oubli. C’est est l’une des rares pièces qui reste de l’exposition SAFFA 58 et du corpus d’œuvres d’une des premières femmes architectes suisses. Une campagne a été lancée pour son sauvetage et sa reconstruction permanente à Zurich par l’association ProSaffa1958-Pavillon composée de chercheuses, d’architectes, d’artisanes et d’étudiantes. De cette association et de méticuleuses analyses scientifiques est né un projet complémentaire mené par quatre femmes sous le nom de ANNEXE. Des propos essentiels sousjacents à l’annexe de Bertha Rahm.

ANNEXE ANNEXE

OPEN HOUSE

ANNEXE

cadre, ALICE souhaite concrétiser et donner vie à la phrase de Ramuz pour qui le Léman est « comme une vaste place publique qui invite au rassemblement de ceux qui habitent tout autour ». Se situant autant dans le processus que dans le résultat (le projet se réalise sur le semestre et surtout en mai). Le projet débute aux Bains du Saugy, par une descente vers le lac et un élément flottant mobile. L’objectif étant d’offrir ensuite une balade allant jusqu’aux rives du Rhône à Vernier par une succession de HOUSES.

Looking beyond the popular fascination with trendy tiny houses Features designs and installations by among others

Andrea Zittel Anupama Kundoo Atelier Van Lishout Carla Juaçaba EPFL Laboratoire ALICE Global Shelter Cluster Frida Escobedo Gramazio Kohler Research, ETH Zürich Jean Prouvé John Armleder Kengo Kuma Kerim Seiler Matti Suuronen Maurizio Cattelan und Philippe Parreno UNHCR

FIBRE DE VERRE ISOLANTE RECOUVRANT U N E C H A R P E N T E M É TA L L I Q U E .

G R O U N D WO R K

Edited by Simon Lamunière

Offers a much-needed substantial contribution to an international debate on temporary housing that is often superficial and driven by fantasies and lifestyle trends in rich countries

Contributions by Joseph Ashmore and Laura Keykoop, Vincent Barras, Donatella Bernardi, Gabriela Burkhalter, Elisabeth Chardon, Gilles Clément, Stephane Collet, Vilém Flüsser, Hans Hollein, Simon Lamunière, Fiona Meadows, Alessandro Mendini, Bruce Nauman, Charles Pictet, Evelyn Steiner, Daniel Zamarbide, and Andrea Zittel

Large migratory movements caused by armed conflicts, poverty, or climate change create an urgent demand for temporary housing in many places The phenomenon of tiny houses fascinates many people and is currently trending in various media

Book design by Niels Wehrspann Paperback 336 pages, 85 color and 16 b/w illustrations 16 × 23 cm 978-3-85881-885-0 English / French

Exhibition: Open House in Genthod, near Geneva, Switzerland (June 11 to August 28, 2022)

sFr. 39.00 | € 38.00 | £ 32.00 | $ 40.00 JULY 2022 (Europe) OCTOBER 2022 (US) ISBN 978-3-85881-885-0

783858 818850

Open House Designing Spaces for Living

The phenomenon of tiny houses fascinates as much as designing a home and is currently trending in various media. Yet interest in this architectural form is often superficial, driven by fantasies and lifestyle trends. In times of large migratory movements due to climate change, conflicts, or poverty and lack of economic prospects, however, there is an urgent demand for new types of temporary shelter. Open House discusses the topic of temporary housing in architecture, art, design, and humanitarian aid. Eighteen international authors explore the intentions behind such constructions, their underlying principles, and the lifestyle they convey. Their contributions reveal how these concepts relate to the very notion of habitat, to space, to pragmatic criteria, as well as to the time in which they are elaborated. Moreover, they address various issues of individual housing through the featured original installations and spatial experiments. Open House is published in conjunction with a two-year research project and an openair exhibition of the same title in Geneva in summer 2022. Together, the book and exhibition comprise around forty designs by artists, architects, designers, architecture schools, research institutions, and humanitarian organizations, such as Andrea Zittel, Anupama Kundoo, Atelier van Lishout, Carla Juaçaba, EPFL Laboratoire ALICE, Frida Escobedo, Gramazio Kohler Research at ETH Zurich, John Armleder, Kerim Seiler, Matti Suuronen, Maurizio Cattelan and Philippe Parreno, Shelter Projects, and others. Simon Lamunière is a curator based in Geneva and director of the Open House project and exhibition in 2021/22. His previous engagements include the Domaine du Muy (Le Muy, France, 2014–16), the Neon Parallax (Geneva, 2006–13), Art Unlimited art fair (Basel, 2000–11), the 11th Swiss sculpture exhibition Utopics (Biel/Bienne, 2009), the documenta X website (1997), and the Centre pour l’Image contemporaine (Geneva, 1992–2004).

Scheidegger & Spiess Autumn 2022

The magic and fascination of Chinese jade objects outstandingly presented in photographs

Edited by Alexandra von Przychowski

Showcases some sixty exquisite jade objects from the permanent collection of Museum Rietberg in Zurich, superbly photographed by Zurich-based photographer Felix Streuli

Photographs by Felix Streuli Texts by Alexandra von Przychowski and Markus Rottmann

The images in this carefully designed book make the objects shine in a unique way

Book design by Franziska Burkhardt In cooperation with the Museum Rietberg Zurich

Enlarged details of the objects highlight their creators’ fascinating craftsmanship

Paperback approx. 132 pages, 63 color illustrations 23.5 × 31 cm 978-3-03942-102-2 English / German

Exhibition: Forever Jade at the Museum Rietberg in Zurich (August 26, 2022 to January 22, 2023)

sFr. 39.00 | € 38.00 | £ 32.00 | $ 45.00 OCTOBER 2022 (Europe) FEBRUARY 2023 (US) ISBN 978-3-03942-102-2

783039 421022

Forever Jade Chinese Jade Miniatures from Four Millennia

Luminous, with a silken glow and soft to the touch, yet harder than steel, created by nature and shaped by human hand: no other material has been more highly valued in China for millennia than jade. Since humanity’s earliest days, magical properties have been attributed to the mineral. As a burial gift it confers immortality and is said to improve health when given as medicine, as a talisman it bestows good fortune and protection. It is hardly surprising that jade objects became sought-after collectibles as early as the 10th century. Zurich’s Museum Rietberg is home to an exquisite collection of Chinese jade objects spanning four millennia. In his striking images, Zurich-based photographer Felix Streuli brings them to life and makes them glow. The images reveal the most intricate details and make these works of art almost tangible to the viewer. This book features around sixty of Streuli’s outstanding photographs, supplemented with concise texts on the objects they show and an introduction to the history of Chinese jade art. Interspersed short stories and poems revolving around the mythical gemstone and a reflection on the photographer’s gaze round out this carefully designed picture book. Alexandra von Przychowski is a scholar of art history and sinology and curator of Chinese art at the Museum Rietberg in Zurich. Felix Streuli is a Zurich-based freelance photographer. The photographic staging of art objects is a special focus of his work, which has received numerous awards and has been shown in exhibitions internationally. Markus Rottmann is a freelance writer and creative director. He writes for film, theater, publishing houses, and museums, and also works as a scenographer for exhibitions.

Scheidegger & Spiess Autumn 2022

Musée d’art de Pully/VD, Suisse Evidences du réel. La photographie face à ses lacunes. F&D Cartier, Wait and See, lumière de Pully, 15.02 - 30.04.2017, unfixed Wall right: coïncidences opening date 15.02.2017 and paper expiration date 15.02.1944 A.M. (Air Ministry) R.A.F. (Royal Air Force), UK. War surplus, Bromide, 9 x7 1/2 in. Expired, 15.02.44 Book, Edition Ithaque Paris, 2017, Pauline Martin

A unique long-term project of photographic art without camera

5 > Exemples 8 pages du livre • •

Tests Index stock matériaux photosensibles

TESTS, 2015 #633 Société Lumière, J. Jougla, Paris/Lyon Plaques de verre à l’iodo-bromure d’argent 8 x 14 cm ca. 1910

#635 Société Lumière, A. Lumière et ses Fils, Paris/Lyon Plaques de verre SE 6 x 13 cm ca. 1910

#636 Société Lumière, Paris/Lyon Plaques de verre diapositives pour tons chauds 6 x 13 cm ca. 1920

TESTS 2015 >après une heure

Edited by Daniel and Françoise Cartier

Documents a unique long-term artistic project using photosensitive media

Contributions by Kathrin Schönegg and Thilo Koenig

Artists Françoise and Daniel Cartier have put together the world’s largest collection of unfixed photo graphic papers, glass negatives, and films

Book design by Balmer Hählen Paperback approx. 244 pages, 202 color and 4 b/w illustrations 24 × 30.5 cm 978-3-03942-091-9 English / French / German

Essays by distinguished experts on the history and technology of photography supplement beautifully reproduced facsimiles of the test catalog complied by Françoise and Daniel Cartier

sFr. 49.00 | € 48.00 | £ 45.00 | $ 55.00 OCTOBER 2022 (Europe) JANUARY 2022 (US) ISBN 978-3-03942-091-9

783039 420919

The Never Taken Images Photographic Paper Archive 1880–1990

The Never Taken Images documents a unique long-term project that Swiss photographers Françoise and Daniel Cartier have been pursuing since 1998. They have put together a vast collection of unfixed photographic papers, glass negatives, and films, mostly dating from 1880 to 1990. Samples of these are mounted and displayed, and, over the course of several exhibitions, exposed to light, causing them to evolve towards color saturation. Instead of looking at still images, the Cartiers’ installations, titled Wait and See, allow viewers to perceive a kind of reality for themselves. This book features the entire test catalog that the Cartiers have put together to date, showing some 900 different papers and photosensitive supports. These facsimiles offer an almost real impression of their formats, colors, and materiality. Essays by photo historian and curator Kathrin Schönegg and scholar of art history and critic Thilo Koenig supplement the images and place the Wait and See project in the art historical and technological context of abstract media art. The Never Taken Images also celebrates the industrially manufactured photosensitive support, representing the centrality of the long pre-digital period in the history of photography. Daniel and Françoise Cartier, freelance photographer and visual artist respectively, form the artist duo F+D Cartier, based in Biel/Bienne, Switzerland. Their experimental work has been shown in solo and group exhibitions internationally, including museums and galleries such as Musée de l‘Elysée, Lausanne (Switzerland), Musée de la Photographie, Charleroi (Belgium), Museet for Fotokunst, Odense (Denmark), Rencontres Internationales de la Photographie, Arles (France), Kunstbezirk, Stuttgart (Germany), Cinema Avorio, Rome (Italy), Cornerhouse, Manchester (United Kingdom), Yossi Milo Gallery, New York (US), Houston Center for Photography (US), H Gallery, New York (US), and Minnesota Center for Photography, Minneapolis (US).

Scheidegger & Spiess Autumn 2022

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fig 4 - Louis Michel Eilshemius Trois nues, 1908-09 Huile sur carton, 21 x 44cm Collection Caroline Bachmann / Stefan Banz fig 4 − Louis Michel Eilshemius Three Nudes, 1908-09 Oil on cardboard, 21 x 44cm Collection Caroline Bachmann / Stefan Banz

fig. 2 − Konrad Wirtz La pêche miraculeuse, 1444 Détrempe sur bois, 132 × 154 cm Musée d'Art et d'Histoire, Genève

fig 3 − Marcel Duchamp Étant donnés: 1° la chute d'eau, 2° le gaz d'éclairage..., 1946-1966 Assemblage mixte, 242.6 x 177.8 cm Musée d'art de Philadelphie, don de la Fondation Cassandra, 1969

fig 2 − Konrad Wirtz The Miraculous Fish, 1444 Tempera on wood, 132 × 154 cm Museum of Art and History, Geneva

fig 3 − Marcel Duchamp Given: 1. The Waterfall, 2. The Illuminating Gas..., 1946-1966 Mixed-media assemblage, 242.6 x 177.8 cm Philadelphia Museum of Art, gift ot the Cassandra Foundation, 1969

exposition intitulée Lémancolia au catalogue richement documenté3. Tout un chapitre y est notamment consacré à Marcel Duchamp. L’ultime œuvre de l’artiste, Etant donnés : 1° la chute d’eau 2° le gaz d’éclairage… (1944-1966) contient en effet une reproduction miniature de la chute d’eau du Forestay, située dans le Lavaux et qui plonge dans le lac Léman [ FIG 3 ]. On doit à Bachmann et à son compagnon Stefan Banz un impressionnant travail de recherche sur les origines de cette citation qui a abouti à l’organisation d’un colloque international4. Fascinés par cette découverte, Banz et

carried out impressive research into the origins of this quotation, which led to the organisation of an international4 symposium. Fascinated by this discovery, Banz and Bachmann produced a series of photographs entitled What Duchamp Abandoned for the Waterfall (20082009), showing the thousand chromatic variations of the landscape to which Duchamp turns his back and fixes his attention on the waterfall. It is this landscape, this spectacular view of Lake Geneva from Chexbres, painted by Turner, Hodler, Kokoschka or Valloton, among others, that we find fragmented in Bachmann’s painting. One can recognize the twin reefs, the Mayen Tower and the Tour d’Aï,

Lemancolia Traité artistique du Léman, musée Jenisch, Vevey, 21 juin – 13 octobre 2013 ; Dominique Radrizzani, Lemancolia, Paris, Lausanne, éd. Noir sur blanc, 2013

Le colloque s’est tenu du 7 au 9 mai 2010, Salle Davel à Cully. L’ensemble des communications a été repris dans Stefan Banz (éd.), Marcel Duchamp and the Forestay waterfall, Zurich, JRP/Ringier, 2010.

Bachmann ont produit notamment une série de photographies intitulé What Duchamp abandonned for the Waterfall (2008-2009) donnant à voir les mille variations chromatiques du paysage auquel Duchamp tourne le dos en fixant son attention sur la chute. C’est ce paysage, cette spectaculaire vue du Léman depuis Chexbres, peinte entre autres par Turner, Hodler, Kokoschka ou Valloton, que l’on retrouve fragmenté dans le tableau de Bachmann. On y reconnaît les deux récifs jumeaux, la tour de Mayen et la Tour d’Aï « qui se dressent dans le ciel, de manière ostensible et provocante, comme deux seins5 » ainsi que les décrivaient Banz, établissant, là encore, une correspondance formelle entre ce que propose le paysage et le sujet féminin de Etants donnés.

“rising ostentatiously and provocatively into the sky like two breasts5”, as Banz described them, establishing, here again, a formal correspondence between the landscape and the female subject of Etants donnés. This disguised allusion to Duchamp’s work becomes even more apparent if we pay attention to the frame that surrounds the view of Bachmann’s landscape. It is reminiscent of the door with holes through which we enter Duchamp’s diorama. Banz has meticulously studied what this Duchampian setting owes to the work of the New York painter Louis Michel Eilshemius (1864-1941 )6. Indeed, from 1909 onwards, Eilshemius’ pastoral compositions show quite atypical frames [ FIG 4 ]. Their shape is less reminiscent of classical trompe l’oeil than of “voyeuristic7 spy eyes”. Some of the paint-

Cette allusion déguisée à l’œuvre de Duchamp se manifeste davantage si l’on porte atten-

The colloquium took place from 7 to 9 May 2010, Salle Davel in Cully. All the papers have been published in Stefan Banz (ed.), Marcel Duchamp and the Forestay waterfall, Zurich,

JRP/Ringier, 2010.

Stefan Banz, « Marcel Duchamp et la cascade du Forestay près de Chexbres, au-dessus du Léman », plaquette de présentation du colloque de Cully

Stefan Banz, «Marcel Duchamp and the Forestay waterfall near Chexbres, above Lake Geneva», presentation brochure for the Cully symposium Stefan Banz, Eilshemius: Peer of Poet-Painters, Cully, KMD; Zurich, JRP|Ringier, 2016. idem, p. XX

Arc en ciel | Rainbow

Bise noire | Black wind

huile sur toile | oil on canvas

30 x 24 cm, 2017

40 x 30 cm, 2018

Caroline Bachmann: 2022 laureate of Switzerland’s Prix Meret Oppenheim for art 152

153

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Caroline Bachmann, Stefan Banz What Duchamp Abandoned for the Waterfall 978-3-85881-261-2 English / French / German sFr. 49.00 | € 48.00 | £ 35.00 | $ 59.00

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Edited by Julie Enckell Julliard

First monograph on Caroline Bachmann, one of Switzerland’s foremost contemporary artists

Contributions by Paul Bernard and Marta Dziewańska; conversation with Caroline Bachmann by Julie Enckell Julliard

Features a wide-ranging selection from Bachmann’s oeuvre in painting and drawing, including numerous previously unpublished works

Book design by Anne Hogge Duc

Caroline Bachmann is the 2022 laureate of the Swiss Grand Prix Art / Prix Meret Oppenheim

Paperback approx. 192 pages, 150 color illustrations 25 × 29.5 cm 978-3-85881-886-7 English / French sFr. 49.00 | € 48.00 | £ 45.00 | $ 55.00 NOVEMBER 2022 (Europe) MARCH 2023 (US) ISBN 978-3-85881-886-7

783858 818867

Caroline Bachmann 2013–2021

Caroline Bachmann is one of Switzerland’s foremost contemporary artists. Alongside her independent work in painting and drawing, she has also formed one half of the artist duo Bachmann Banz, together with Stefan Banz, since 2004. Together, the two founded the Kunsthalle Marcel Duchamp—The Forestay Museum of Art in Cully, Switzerland, in 2009. In 2013, Bachmann reinvented herself as an artist and turned to classical themes of painting. She engages deeply with the genres of portraiture, still life, and history painting and takes up existential questions of the metaphysical and the sacred, creating compositions that strive not for a materialistic grasp of reality, but for a depiction of the spiritual dimension of existence. This first comprehensive and richly illustrated monograph traces Caroline Bachmann’s extraordinary journey through the medium of painting. Essays by renowned experts on Bachmann’s work and on contemporary Swiss art, as well as a conversation with the artist, reveal a creative self-discovery that is shaped by the ideals of artistic idols such as Marcel Duchamp, Louis Michel Eilshemius, and Arthur Dove, and set in motion by the courage to reinvent herself through subject, technique, and material. Caroline Bachmann, born in 1963, studied graphic design at the École des arts décoratifs in Geneva. She lives and works as a freelance artist in Cully and Berlin. In 2007 she has been appointed professor and head of the department of painting and drawing at HEAD—Genève. Julie Enckell Julliard is an art historian and a director at HEAD—Genève, where she has been head of the Cultural Development Department since 2018. Prior to this, she served as curator and from 2013 to 2018 as director of the Musée Jenisch in Vevey, Switzerland.

Scheidegger & Spiess Autumn 2022

Inhalt

Einführung I Introduction Bildfelder I Picture Fields Über mein Werk heute I About my work today FrAnz BuCher

Energiefelder I Energy fields

Bildfeld: Schöpfung I Picture Field: Genesis

Bildfeld: Wasser, Erde I Picture Field: Water, Earth

Bildfelder: Wolken, Himmel I Picture Fields: Clouds, Sky

Nordlicht I Northers Lights

104

105

Spiegelungen I Reflections

125

Bildfelder: Berge, Eis I Picture Fields: Mountain, Ice

135

Wald I Forest

159

Schilf I Reed

168

Biografie I Biographie

167 169

169

170

Auszeichnungen I Awards Werke in öffentlichen Sammlungen I Works in public collections Werke im öffentlichen Raum I Works in public space

171

Einzelausstellungen (Auswahl) I Solo exhibitions (selection)

172

Gruppenausstellungen (Auswahl) I Group exhibitions (selection)

174

Literatur (Auswahl) I Bibliography (selection)

Feld, L.C.V. (Lavendel), 2019, Acryl, Sand und Pigmente auf Baumwolle, 80 × 80 cm, Privatbesitz

Lichtraum, 2020, Acryl, Pigment, Öl und Sand auf Leinwand, 185 × 240 cm

Quellgebiet energiefeld, 1979, Bleistift und Kreide auf Karton, 90 × 70 cm

Lichtungen, 2006, Farbholzschnitt, je 40 × 40 cm

Werkreihe Schöpfung, 1987, Acryl auf Karton, 70 × 90 cm. Sammlung Stadt zug

Feld (Mohn), 2019/2020, Acryl, Sand und Öl auf Leinwand, 160 × 160 cm

Waldzeichen, 1989, Öl auf Baumwolle, 140 × 102 cm, Privatbesitz

Flower fields, energy fields, pictorial fields: new works by Swiss painter Franz Bucher

With a contribution by Franz Bucher

First new monograph on Swiss painter Franz Bucher in three decades

Book design by Guido Widmer Hardback approx. 192 pages, 163 color and 1 b/w illustrations 22 × 28 cm 978-3-03942-053-7 English / German

Illuminates and analyzes Franz Bucher’s oeuvre as a whole against the backdrop of his recent works Richly illustrated, featuring numerous previously unpublished works

sFr. 59.00 | € 58.00 | £ 55.00 | $ 65.00 OCTOBER 2022 (Europe) MARCH 2023 (US) ISBN 978-3-03942-053-7

783039 420537

Beat Stutzer

Franz Bucher. Picture Fields In recent years, Swiss artist Franz Bucher, born in 1940, has produced an extensive series of paintings which he simply titles Fields: lavender, dandelion, rapeseed, and poppy fields congruent with the canvas to form a pictorial field. Yet Bucher’s objective is not primarily the pictorial. Rather, it is more about the two-dimensional space which is given an inherent structure by the largely monochromatic primary colors he uses, as well as his dynamic brushstroke. It becomes apparent that most of the artist’s oeuvre since the early 1970s has been determined by the metrical rhythm in his use of color. Bucher’s paintings constitute actual energy fields. This new monograph offers a retrospective of Bucher’s entire body of work from the vantage point of his recent pictorial fields. It thus illustrates his true artistic intentions independently of the context of his chosen motifs. Beat Stutzer is a Lucerne-based art historian, writer, and curator. He served as director of the Bündner Kunstmuseum Chur from 1982–2011 and as curator of the Segantini Museum in St. Moritz from 1998–2016.

Scheidegger & Spiess Autumn 2022

Edited by the Swiss National Bank

The official book marking the centenary of the Swiss National Bank’s headquarters building in Zurich

Contributions by Adam Caruso, Dominique Baumann, Patrick Halbeisen, Daniel Kurz, Bruno Maurer, Anna Minta, Thomas Müller, Dennis Neu, Susanne Rock, Sabine Sträuli, and Ursula Suter. Photo-inserts by Leo Fabrizio and Maurice K. Grünig

Offers a detailed description of the building’s history and architecture, lavishly illustrated with historic and new photographs, original plans, and other documents Places the building in the history of international bank architecture and of Zurich’s urban formation and development into a financial center in the late nineteenth century

Book design by C2F, Fabienne Burri, and Cybu Richli Hardback approx. 412 pages, 127 color and 181 b/w illustrations 20 × 28 cm 978-3-03942-095-7 English 978-3-03942-094-0 German sFr. 85.00 | € 77.00 £ 65.00 | $ 95.00 NOVEMBER 2022 (Europe) JANUARY 2022 (US) ISBN 978-3-03942-095-7

ISBN 978-3-03942-094-0

English

783039 420957

The home of Switzerland’s monetary policy

German

783039 420940

The Swiss National Bank in Zurich The Pfister Building 1922–2022

In 1922, a decade after the Swiss National Bank had opened its neo-baroque building in Berne, the bank’s Zurich-based governing board moved into its own grand office building. This major work of the local firm of Otto and Werner Pfister is a key example of neoclassicism in Switzerland and provided Zurich with an architectural landmark at the top end of its famous Bahnhofstrasse. Marking the building’s centenary, this book celebrates the Zurich home of the Swiss Franc. It describes in detailed and lavish illustrations the architecture and building history from the planning stage until today. This is supplemented by essays on bank architecture since the Middle Ages, the urban formation of Zurich, and the city’s development into a financial center in the late nineteenth century. In his contribution, the renowned Canadian British architect Adam Caruso compares it—from today’s perspective—with other central bank buildings and places it in the context of the Pfister brothers’ other public commissions, many of which occupy prominent locations in Zurich’s cityscape. Richly illustrated with historical and new photographs, original plans, and other documents, this book pays tribute to a piece of public architecture that combines monumentality with pragmatism and republican modesty. The Swiss National Bank, with its dual headquarters in Bern and Zurich, is in charge of Switzerland’s monetary policy and the guardian of the Swiss Franc.

Scheidegger & Spiess Autumn 2022

Edited by the Federal Office of Culture

Swiss design and designers in all fields are highly regarded throughout the world

Contributions by Sabine von Fischer, Anna Niederhäuser, Kareem Rashed, and Dorothea Strauss

Second volume in the annual series of books on the Swiss Grand Prix of Design, tracing the history and development of contemporary design in Switzerland

Book design by Studio Ard

The series forms a continuously growing collection of illustrated portraits of Swiss designers

3 booklets in box 132 pages, 72 color and 22 b/w illustrations 23 × 31.5 cm 978-3-03942-118-3 English / French / German / Italian sFr. 35.00 | € 35.00 £ 30.00 | $ 40.00 JULY (Europe) FEBRUARY 2023 (US) ISBN 978-3-03942-118-3

The 2022 laureates of Switzerland’s national design award

783039 421183

Swiss Grand Award for Design 2022 Susanne Bartsch, Verena Huber, Beat Streuli

Also available:

Swiss Grand Award for Design 2021 978-3-03942-054-4 English / French / German / Italian ISBN 978-3-03942-054-4 sFr. 35.00 | € 29.00 | £ 25.00 | $ 35.00

Susanne Bartsch has been living in New York since 1981, where she has created a dazzling Gesamtkunstwerk through the creation of her iconic looks and legendary parties. As an impresaria, artist-agent, and big-hearted, open-minded hostess, she moves virtuosically at the intersection of fashion, make-up, activism, art, music, and performance. In a career as interior designer, researcher, author, and teacher that has spanned more than five decades, Verena Huber has engaged profoundly with the issues of living and staying. To this day, she continues encouraging people to question spaces and objects and to put them in new contexts. Uncompromising in her approach and always looking beyond national borders, she has been hugely influential in contemporary Swiss interior design. Since the early 1980s, artist Beat Streuli has used photography and video to create works of strong visual force. Although cityscapes form the backdrop of his images, it is always people rather than architectural or structural elements that are in his focus. Streuli’s images have made him one of the world’s foremost exponents of street portraiture. Switzerland’s Federal Office of Culture has awarded the 2022 Swiss Grand Award for Design to Susanne Bartsch, Verena Huber, and Beat Streuli. This book introduces each of them through a concise text and interview as well as a brief biography, illustrated with images from their archives. The Federal Office of Culture in Bern is part of Switzerland’s Federal Department of Home Affairs. Its responsibility is to promote Swiss culture in the fields of literature, performance arts, film, visual arts, and design, and to preserve the country’s cultural heritage

Scheidegger & Spiess 9

783039 420544

Autumn 2022

Sophie Taeuber-Arp’s letters and postcards to her most important collectors

Equilibre: Sophie Taeuber-Arp’s defining work as a painter Sophie Taeuber-Arp—Equilibre Landmarks of Swiss Art

Sophie Taeuber-Arp’s Letters to Annie and Oskar Müller-Widmann

978-3-85881-662-7 English / German sFr. 29.00 | € 29.00 | £ 25.00 | $ 29.00 ISBN 978-3-85881-662-7

978-3-03942-068-1 English 978-3-03942-017-9 German sFr. 25.00 | € 25.00 | £ 22.00 | $ 30.00

ISBN 978-3-03942-068-1

ISBN 978-3-03942-017-9

English

German

783039 420681

783039 420179

Paul Klee’s studies on polyphonic painting: the beginning of a new period

Rüschegg: Turning-point in choice of motif and medium in the oeuvre of this master of photorealism

Paul Klee—Ad Parnassum Landmarks of Swiss Art

Franz Gertsch—Rüschegg Landmarks of Swiss Art

978-3-03942-011-7 English / German ISBN 978-3-03942-011-7 sFr. 29.00 | € 29.00 | £ 25.00 | $ 29.00

978-3-85881-663-4 English / German ISBN 978-3-85881-663-4 | $ 29.00 sFr. 29.00 | € 29.00 | £ 25.00

783039 420117

783858 816634

A new study of Segantini’s Alpine triptych

Swiss graphic design: new perspectives on the history of an internationally acclaimed discipline

Aenne Biermann: one of the most significant European avant-garde photographers of the 20th century

Giovanni Segantini. La Vita—La Natura—La Morte Landmarks of Swiss Art

Aenne Biermann Up Close and Personal

978-3-03942-072-8 English / German sFr. 39.00 | € 38.00 | £ 35.00 | $ 45.00 ISBN 978-3-03942-072-8

978-3-85881-882-9 English / Hebrew sFr. 49.00 | € 48.00 | £ 42.00 | $ 50.00 ISBN 978-3-85881-882-9

783039 420728

Swiss Graphic Design Histories

A unique sourcebook that combines a cultural history, a practical step-by-step building manual, and a guide to dry stone walls as habitat for plants and animals

978-3-85881-868-3 English ISBN 978-3-85881-868-3 sFr. 99.00 | € 97.00 | £ 80.00 | $ 99.00

Dry Stone Walls Basics, Construction, Significance

783858 818683

783858 816627

783858 818829

978-3-85881-813-3 English | $ 95.00 ISBN 978-3-85881-813-3 sFr. 110.00 | € 97.00 | £ 85.00

783858 818133

Scheidegger & Spiess Key Titles

A unique insight into Marina Abramovićs biography and art and what connects the two

Wolfgang Beltracchi: emotional prodigy—and brilliant art forger Psychoanalyst Meets Helene and Wolfgang Beltracchi Artist Couple Meets Jeannette Fischer

Psychoanalyst meets Marina Abramović Artist meets Jeannette Fischer

978-3-03942-071-1 English 978-3-03942-070-4 German sFr. 25.00 | € 19.00 | £ 20.00 | $ 25.00

978-3-85881-794-5 English 978-3-85881-546-0 German sFr. 19.00 | € 19.00 | £ 18.00 | $ 20.00 ISBN 978-3-85881-794-5

ISBN 978-3-85881-546-0

English

German 9

783858 817945

German

783858 818775

783858 816979

783039 420575

Art nouveau from the Swiss Jura mountains: le Style sapin Le Style sapin Une expérience de l’art nouveau

Le Corbusier Lessons in Modernism

978-3-85881-884-3 French sFr. 49.00 | € 48.00 | £ 45.00 | $ 55.00

ISBN 978-3-85881-884-3

978-3-85881-848-5 English 978-3-85881-853-9 Italian sFr. 39.00 | € 38.00 | £ 30.00 | $ 39.00

ISBN 978-3-85881-848-5

ISBN 978-3-85881-853-9

English

Italian

783858 818485

In conversation, Peter Zumthor explores his own and his guests’ passions Dear to Me Peter Zumthor in Conversation

A Feeling of History 978-3-85881-805-8 English 978-3-85881-812-6 French 978-3-85881-558-3 German | $ 29.00 sFr. 29.00 | € 29.00 | £ 25.00 ISBN 978-3-85881-805-8 ISBN 978-3-85881-812-6

978-3-03942-010-0 English 978-3-03942-009-4 German sFr. 160.00 | € 150.00 | £ 140.00 | $ 180.00 ISBN 978-3-03942-010-0

ISBN 978-3-03942-009-4

English

German

French

783858 818843

783858 818539

Peter Zumthor’s surprising and revealing reflections on time and history in conversation with architectural historian Mari Lending

783858 818058

783039 420704

978-3-03942-057-5 English / German ISBN| 978-3-03942-057-5 sFr. 39.00 | € 38.00 | £ 35.00 $ 45.00

Exploration of a friendship: Costantino Nivola, Le Corbusier, and the development of Le Corbusier’s visual art

Lill Tschudi The Excitement of the Modern Linocut 1930–1950

978-3-85881-877-5 English 978-3-85881-697-9 German sFr. 49.00 | € 48.00 | £ 42.00 | $ 50.00 English

783039 420711

Vibrant metropolis and placid Switzerland: Lill Tschudi’s modernist linocuts

Max Bill Global An Artist Building Bridges

ISBN 978-3-85881-697-9

ISBN 978-3-03942-070-4

German

783858 815460

A key figure of modernism in Europe and globally connected renaissance man

ISBN 978-3-85881-877-5

ISBN 978-3-03942-071-1

English

783858 818126

783039 420100

783039 420094

Scheidegger & Spiess Key Titles

Telling stories through images: Japan’s multifaceted narrative art across eight centuries

The human body in focus - a sensual approach to our material being Kiki Smith Hearing You with My Eyes

Love, Fight, Feast The Multifaceted World of Japanese Narrative Art

978-3-85881-867-6 English / French | € 38.00 | £ 32.00 | $ 40.00 sFr.39.00 ISBN 978-3-85881-867-6

978-3-03942-024-7 English 978-3-03942-023-0 German sFr. 49.00 | € 48.00 | £ 45.00 | $ 50.00

ISBN 978-3-03942-024-7

ISBN 978-3-03942-023-0

English

German

783039 420247

783858 818676

783039 420230

The entire Burri: this book presents for the first time the full range of René Burri’s creative force and interests

A discovery: the first monograph exploring the entire body of American photographer Jan Groover’s highly original and experimental work

René Burri—Explosions of Sight Jan Groover, Photographer Laboratory of Forms

978-3-85881-845-4 English 978-3-85881-661-0 German sFr. 49.00 | € 48.00 | £ 45.00 | $ 49.00

ISBN 978-3-85881-845-4

ISBN 978-3-85881-661-0

English

German

783858 818454

978-3-85881-838-6 English sFr. 49.00 | € 48.00 | £ 45.00ISBN| $978-3-85881-838-6 49.00

783858 816610

783858 818386

From Constructivism to Art Deco and back to avant-garde and the Bauhaus: a unique survey of transformations of Soviet interior design across six decades

The first comprehensive survey of modern design from the transnational and multilingual Alpine region Tyrol—South Tyrol—Trentino

Kristina Krasnyanskaya, Alexander Semenov Soviet Design From Constructivism to Modernism. 1920–1980

Design from the Alps 1920–2020 Tyrol South Tyrol Trentino 978-3-85881-649-8 English / German / Italian ISBN 978-3-85881-649-8 sFr. 49.00 | € 48.00 | £ 45.00 | $ 55.00

978-3-85881-846-1 English ISBN 978-3-85881-846-1 sFr. 99.00 | € 77.00 | £ 65.00 | $ 85.00

783858 818461

A highly enjoyable history of the Bauhaus from an unconventional perspective “A difficult defense of the Bauhaus against its worshippers” (Philipp Oswalt)

An intellectual panorama of the significance and lasting effect of Learning from Las Vegas in architecture and urban design as well as in the visual arts Eyes That Saw Architecture after Las Vegas

Philipp Oswalt The Bauhaus Brand 1919–2019 The Victory of Iconic Form over Use

978-3-85881-820-1 English sFr. 49.00 | € 48.00 | £ 45.00 | $ 49.00 ISBN 978-3-85881-820-1

783858 816498

978-3-85881-856-0 English 978-3-85881-620-7 German sFr. 39.00 | € 38.00 | £ 35.00 | $ 39.00

783858 818201

ISBN 978-3-85881-856-0

ISBN 978-3-85881-620-7

English

German

Scheidegger & Spiess 9

783858 818560

783858 816207

Backlist

Nicolas Party—Rovine

The first book ever to thoroughly explore Sam Francis’s deep involvement with Japan and Japanese culture, and with Asian art in general

978-3-03942-035-3 English / German / Italian sFr. 49.00 | € 48.00 | £ 45.00 | $ 50.00 ISBN 978-3-03942-035-3

Richard Speer The Space of Effusion Sam Francis in Japan

The first survey of New York-based Swiss artist Nicolas Party’s work

978-3-85881-861-4 English ISBN 978-3-85881-861-4 sFr. 75.00 | € 68.00 | £ 60.00 | $ 65.00

783039 420353

Charlie Koolhaas’s timely dialogue between words and images about a crucial moment in our recent history: the apotheosis of globalization and its current unraveling

The constant flux of landscapes and cities in Swiss photographer Georg Aerni’s recent work Georg Aerni—Silent Transition New Works

Charlie Koolhaas City Lust London Guangzhou Lagos Dubai Houston

978-3-03942-074-2 English / German | 978-3-03942-074-2 ISBN sFr. 49.00 | € 48.00 | £ 45.00 $ 50.00

978-3-85881-804-1 English ISBN 978-3-85881-804-1 sFr. 59.00 | € 58.00 | £ 50.00 | $ 59.00

783039 420742

783858 818041

An extraordinary artist and designer: a fresh view of Harry Bertoia’s entire body of work

The cheerful style of Atelier Zanolli in Zurich Atelier Zanolli Fabrics, Fashion, Craft 1905–1939

Harry Bertoia Sculpting Mid-Century Modern Life

978-3-03942-082-7 English 978-3-03942-081-0 German sFr. 49.00 | € 48.00 | £ 45.00 | $ 55.00

978-3-85881-862-1 English sFr.978-3-85881-862-1 65.00 | € 58.00 | £ 52.00 | $ 59.00 ISBN

ISBN 978-3-03942-082-7

ISBN 978-3-03942-081-0

English

German

783858 818621 9

783858 818614

An architect and a trailblazer across cultural boundaries

David Chipperfield’s masterful extension of Kunsthaus Zürich

Max Alioth Architect Draughtsman Trailblazer

David Chipperfield Architects Berlin and the Kunsthaus Zürich

978-3-03942-089-6 English / German | € 38.00 | £ 35.00 | $ 45.00 sFr.39.00 ISBN 978-3-03942-089-6

978-3-03942-027-8 English 978-3-03942-028-5 French 978-3-03942-026-1 German sFr.19.00 | € 19.00 | £ 20.00 | $ 25.00

783039 420896

ISBN 978-3-03942-027-8

ISBN 978-3-03942-028-5

English

French

783039 420278

783039 420827

783039 420810

783039 420285

Scheidegger & Spiess Backlist

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Cover image: © Felix Streuli. From the book Forver Jade (see pages 18/19) Scheidegger & Spiess is being supported by the Swiss Federal Office of Culture with a general subsidy for the years 2021–2024. June 2022. Prices quoted in Euro are valid in Germany only including VAT. For all other countries prices quoted in Euro, Pounds Sterling, and US-Dollars are recommended retail prices and may vary subject to local duty and taxes. All prices, dates, and descriptions are subject to change without notice.