Scheidegger & Spiess Art I Photography I Architecture - International New Titles - Park Books
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Scheidegger & Spiess
Art I Photography I Architecture
International New Titles
Autumn 2022
Content
3 4–5
Paul Klee Alfredo Häberli—Verbal Scribbles
6–7 8–9 10 11 11
HR Giger Meret Oppenheim On Words On Words On Words
by Camille Vivier My Album Isabelle Cornaro Latifa Echakhch Silvie Defraoui
12–13 14–15 16–17 18–19 20–21
Pathways of Art Evan Ifekoya Open House Forever Jade The Never Taken Images
28–31
Key Titles
32
Contacts
Distributors
Representatives and Agents
22–23 24–25 26 27
Caroline Bachmann Franz Bucher. Picture Fields The Swiss National Bank Swiss Grand Award
in Zurich for Design 2022
Contributions by Francisco Jarauta,
First book on an outstanding
Juan Manuel Bonet, Achim Moeller,
private collection of works
and a conversation between Sylvie
by Paul Klee
and Jorge Helft and Tobia Bezzola
Features full-color plates of all of
Book design by Granit Klee’s works owned by collectors
Communication, Design Sylvie and Jorge Helft, many of
which have rarely been on public
In cooperation with the Museo display and few published
d’arte della Svizzera italiana MASI
in Lugano Exhibition: Paul Klee: The Sylvie
and Jorge Helft Collection at the
Hardback Museo d’arte della Svizzera italiana
approx. 224 pages, 95 color MASI in Lugano (September 4,
illustrations 2022 to January 8, 2023)
21 × 27 cm
978-3-03942-107-7 English
978-3-03942-106-0 German
sFr. 49.00 | € 48.00 | £ 42.00 | $ 50.00
OCTOBER 2022 (Europe) An extraordinary
FEBRUARY 2023 (US)
collection of
Paul Klee’s drawings,
ISBN 978-3-03942-107-7 ISBN 978-3-03942-106-0
English German
watercolors,
9 783039 421077 9 783039 421060 and prints
Paul Klee
The Sylvie and Jorge Helft Collection
Drawing occupies a prominent place in the work of Paul Klee (1879–1940). Klee at-
tached 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 water-
colors, 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 direc-
tor 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 3
ENZO Swiss designer Alfredo Häberli’s
Enzo Mari Alfredo Haberli — Verbal Gekritzelt
(27 April 1932 — 19 October 2020)
was an Italian modernist artist and furniture
designer who is known to have influenced
habe, bat Italo Lupi, den Direktor und Grafiker
MARI,
many generations of industrial designers.
von «Abitare», mich zu fragen, was ich so mache
als junger Designer und an was ich gerade arbe-
personal tribute to the people and
ite. Beim nächsten Besuch in Mailand wurde ich
DAS DESIGN GEWISSEN eingeladen, meine Arbeit vorzustellen. So nahm
ich einige Wochen später meine Dias mit, die ich
im Kodak–Karussel (Design Gugelot) hatte, —
places that have forged his career
Meine Gewohnheit, aus dem Atelier von Bruno in NYC war das eine übliche Art, sich vorzustellen
Munari im Quartier Buonarroti / Wagner ins Ho- — und ordnete sie in einer harten Kunststoff–Dis-
tel Speronari zu laufen, wurde zum Ritual und half play–Mappe, die ich während meines Praktikums
bei der Verarbeitung des gesichtetes Archiv–Ma- in New York im Pearl gekauft hatte, der grössten,
terials. Einige Monate davor, so um 1993, hatte fünfstöckigen Papeterie an der Canalstreet.
ich dem Museum für Gestaltung Zürich den
Vorschlag unterbreitet, eine Ausstellung über In der Redaktion am Corso Monforte 15, wo
Bruno Munari und Enzo Mari zu machen. Ba- heute der Flos Showroom und unmittelbar ge-
sierend auf der Sammlung von Bruno Danese genüber, im gleichen Hof, der Kvadrat Show-
und Jacqueline Vodoz, Besitzer von Danese aus room steht, den ich 2007 gestalten durfte — Enzo Mari
(27 April 1932 —
Mailand, einer kleinen und wichtigen Firma für wurde ich sehr herzlich empfangen. Da waren 19 October 2020)
was an Italian modernist
artist and furniture designer
kleine Objekte und Accessoires des Wohnens. Silvia Latis, Stefano Casciani, ich glaube sog- who is known to have influ-
enced many generations of
Renato Minetto, Herausgeber und Verleger u.a. ar Marco Romanelli und Italo Lupi. Es wurde
Encounters and exchanges with
industrial designers.
von «Abitare», ein passionierter Tangotänzer zuerst fertig telefoniert, dann wurde Kaffee
und Kenner von Buenos Aires, den ich an einem bestellt, der aus der Bar gegenüber der Strasse Enzo Mari
(27 April 1932 —
19 October 2020)
Nachtessen der Familie Danese kennen gelernt kam, und dann wurde meine Arbeit angeschaut. was an Italian modernist
artist and furniture designer
who is known to have influ-
enced many generations of
Stephen Bayley, author, critic, curator, and design guru
industrial designers.
2 3
Riccardo Blumer, Alias Design
Tyler Brûlé, Monocle
Achille Castiglioni, industrial designer
Sarah Douglas, Wallpaper
Rolf Fehlbaum, chairman emeritus of Vitra
Enzo Mari
Konstantin Grcic, product designer
Was an Italian modernist artist and furniture
designer who is known to have influenced
Die Dia–Mappe wurde zuerst rasch in die Luft many generations of industrial designers.
gehalten und dann genauer auf dem Lichtpult Was an Italian modernist
artist and furniture designer
angeschaut. Meine Arbeiten aus dem Studium who is known to have influ-
enced many generations of Ross Lovegrove, product designer and one of the
waren okay, doch das Interesse von Italo Lupi industrial designers.
galt meinen Arbeiten als Ausstellungsarchitekt
für das Museum für Gestaltung. Es waren die
fathers of Sony’s Walkman
Grafik und die Gestaltung, die ihn sofort fasz- Was an Italian modernist
Italo Lupi, graphic designer
artist and furniture designer
inierten. Ein Thema, das Italo Lupi mit Achille who is known to have influ-
enced many generations of
Castiglioni in diversen Ausstellungen gemeinsam industrial designers.
bearbeitete. Das Museum für Gestaltung Zürich Enzo Mari, artist and designer
hatte eine unglaubliche Tradition und war mit Was an Italian modernist artist and furniture
designer who is known to have influenced
Martin Heller als leitender Kurator und später Was an Italian modernist
Francesca Molteni, art director
many generations of industrial designers.
artist and furniture designer
als Direktor in einem europaweiten Hoch. 1986, who is known to have influ-
enced many generations of
ein Jahr bevor Martin Heller anfing, wurde die industrial designers.
berühmte Ausstellung von Achille Castiglioni Jasper Morrison, industrial designer
in der Halle gezeigt. Davor war sie in Wien.
Italo Lupi sah die unterschiedlichsten Ausstel-
Bruno Munari, artist
lungen, die ich als Ausstellungsarchitekt gestaltet
hatte. Es war auch die Möglichkeit, einen Ne- Valentina Raggi, Elle décor
benverdienst zu haben, um mein Studium als
Alice Rawsthorn, design critic
Was an Italian modernist
Designer im gleichen Gebäude zu ermöglichen. artist and furniture designer
who is known to have influ-
Daraus entstand ein Artikel über acht Seiten, ges enced many generations of
industrial designers.
Robert Thiemann, Frame Magazine
Patricia Urquiola, architect and designer
4 5
Enzo Mari Das Design Gewissen
Enzo Mari
(27 April 1932 —
19 October 2020)
was an Italian modernist
artist and furniture designer
Nr. 1» mit viel Patina. Vermutlich der Originals- teilweise nicht verstand. Aber auch meine Italie-
who is known to have influ-
enced many generations of tuhl aus dem Jahre 1973. Ich setzte mich nicht. nischkenntnisse reichten nicht. Ich kannte seine
industrial designers.
Schliesslich kam Enzo Mari um die Ecke. Einen Arbeit schon gut. Was er sofort bemerkte und
Süss–Stab in der Hand. Kord Hose, ein schlab- ihm vielleicht auch schmeichelte, aber dies liess
beriges Jackett. Alternative Lederschuhe. Er sah er erst viele Jahre später zu. Nach über zwei Stun-
mich ernst an. Leicht genervt, weil ich ihn ver- den wurde ich abrupt zur Türe begleitet. Und
mutlich beim Arbeiten gestört hatte. Ich stellte dann fragte er: «Was hätten sie denn Persönli-
mich vor, dass ich an einer Ausstellung und ein ches abzugeben gehabt?» Ich gab ihm meine
junger Designer sei. Sein Ausdruck wurde im- Toblerone aus der Tasche. Enzo Mari wollte
mer erster und dann bat er mich, ihm zu folgen. gerade ausholen, um mich über die Schweiz
Wir gingen in seinen persönlichen Raum. Und und die Industrie der Schokolade zu informie-
dann passierte etwas, was meine Beziehung zu ren. Doch er liess es sein. Schön war, dass Enzo
ihm tief formte. Er hielt mir einen Vortrag über Mari, mich bat, mich beim nächsten Mal anzu-
Design und dass ich mich nicht so nennen kann melden, einen Termin abzumachen und nicht
und sollte! Dafür verstünde ich von der Welt einfach reinzuplatzen. War dies eine Einladung?
zu wenig. Dafür wäre ich zu jung. Das war wie War es doch nicht so schlimm von mir gewesen?
ein Hammer und mit einer Sichel wurde ich en-
thauptet. Auf seinem Pult lagen Zeichnungen, Zurück auf der Piazza Baracca, setzte ich mein-
Blätter und Fächer, angeschrieben mit EIN und en Spaziergang fort. Diesmal mit einem noch
AUS und da standen einige Tiere aus dem Puzzle volleren Kopf. Auf dem Weg machte ich an der
«16 Animali» und andere Gegenstände aus der Bar Margenta zum Apéro einen Stopp. Wie in
Industrie als Papier–Gewicht. An der Wandtafel Italien üblich, gab es am Tresen feine Häppchen.
zeichnete Enzo Mari mir Diagramme, die ich Dies wurde auch zu meinem Ritual. Nach ein-
6 7
Book design by DelerueRoppel
Alfredo Häberli is one of the world’s
most renowned product designers
2 volumes, paperback
approx. 232 pages in total, In this book, Häberli introduces
80 color illustrations readers to his world of thought
18 × 25.8 cm
978-3-03942-115-2 English A tribute to the people, places, and
978-3-03942-114-5 German 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 German
9 783039 421152 9 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 influ-
encing him, and about inspiring exchanges with colleagues such as Konstantin Grcic,
Jasper Morrison, or Patricia Urquiola. Moreover, his encounters with visionary entre-
preneurs, 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 5
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
With a text by Camille Vivier
Vivier of Swiss artist and designer
HR Giger’s private home, studio,
Book design by Studio Achermann
and garden
Hardback Academy Award-winner HR Giger
approx. 256 pages, is the creator of the legendary
206 color illustrations movie monster Alien and arguably
25.5 × 34.5 cm the most distinguished representa-
978-3-03942-116-9 tive of Fantastic Realism
English / French / German
This lavish large-format volume
sFr. 99.00 | € 97.00 | £ 85.00 | $ offers never-before-seen insights
110.00 into HR Giger’s creative environ-
ment and conveys how Giger
OCTOBER 2022 (Europe) worked and continued to build his
MARCH 2023 (US)
ISBN 978-3-03942-116-9
own visual cosmos
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, ob-
jects, 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 7
134 135 136 Bildunterschrift, Foto oben
Caption, photo above
137
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
1933 zeigend stellte ich zum ersten mal aus, im «Salon des Surindépendants» mit den Surré cht»
alisten die dort einen ExtraSaal hatten. Mit den Malern Dali, Ernst, V. Hugo, R. Magritte, → erna
- mm .
Mirò, Man Ray, Tanguy. – Kandinsky e So
«Ein ste Seite
Ich stellte dort 3 Bilder aus. Ausser «Nuit d’Eté» erinnere ich nicht um welche Bilder es näch
sich handeln könnte. Eventuell «Ils essayent de descendre» illustriert mit kleiner Skizze sowie ↗ Pfeil, auf cht”
→ erna .
den deutschen Titel auf der Folgeseite zeigend «Eine Sommernacht» nächste Seite. Von diesem Zeitpunkt an
- mm page
in e So , next
ging ich oft zum Apéritif an die Place Blanche, wo die Surréalisten sich trafen. Bis 1937 “E r Night Besitz Tanguy
me
Oct. 27–Nov. 26, 1933 (Giacometti visited my studio with Arp. Subsequently ↗ arrow, pointing A Sum Possession of Tanguy
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 Bildunterschrift, Foto unten
Caption, photo below
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, illustra- «Tête de noyé, troisième état» (Carona 1934)
ted with tiny sketch as well as ↗ arrow, pointing to German title on next page “Eine Sommernacht” A Summer Night , next
existiert wahrscheinlich nicht mehr
page. From then on, I often went to Place Blanche for an aperitif, where the Surrealists “Tête de noyé, troisième état” Head of a Drowned Man, Third State (Carona 1934)
gathered. Until 1937 probably no longer exists
Husch-husch, der schönste Vokal entleert sich, M. E. par M. O., 1934, Öl auf Leinwand, 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 Spaziergänger hinter Zaun, 1933, Feder, Tinte, rosa Schminkstift, 2 Schnurstücke, 21 × 27 cm, A 4 La nuit, son volume et ce qui lui est dangereux, 1934, Tusche, Öl, auf Graukarton, 81 × 65 cm, A 14
Quick, Quick, the Most Beautiful Vowel Is Voiding, M. E. by M. O., 1934, oil on canvas, 45.5 × 65 cm, A 11 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 Walkers Behind Fence, 1933, pen, ink, pink makeup pencil, 2 pieces of string, 21 × 27 cm, A 4 The Night, Its Volume and What Endangers It, 1934, India ink, oil, on gray cardboard, 81 × 65 cm, A 14
140 141 146 147
Very intimate insights:
Meret Oppenheim’s album
and autobiography
Also available:
278 279
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 German
282 283
9 783039 420636 9 783039 420469
Edited and with an introduction by
First publication of Meret Oppen-
Lisa Wenger and Martina Corgnati
heim’s album From Childhood to
1943 and of another autobio
Book design by Bonbon
graphical text with full English
translation
Paperback
approx. 328 pages, Features previously unpublished
189 color illustrations original material that is essential
22 × 33 cm for art historical reception and
978-3-03942-093-3 allows a deeper understanding of
English / German Oppenheim’s art
sFr. 49.00 | € 48.00 | £ 42.00 | $ 50.00 Offers entirely new perspectives
on one of the most distinguished
JULY 2022 (Europe) woman artists
OCTOBER 2022 (US) Exhibition: Meret Oppenheim:
ISBN 978-3-03942-093-3
My Exhibition at the Museum of
Modern Art in New York (October
30, 2022 to March 4, 2023)
9 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 as-
sembles photos, objects, notes, and brief texts, as well as ideas and concepts for art-
works, 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 dis-
tinguished 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 9
A series of interviews with By women artists for art students:
Female artists give personal
contemporary female artists insight into their work, their expe-
riences, and the meaning behind
their art
of international renown Each volume offers an interview in
the artist’s native language along
with a full English translation
On Words
Edited by Julie Enckell Julliard, On Words is a collection of interviews with leading contemporary women artists. In
Federica Martini, and Sarah
Burkhalter 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
In cooperation with the
Swiss Institute for Art Research
their view of the world. The series brings together a wide range of viewpoints and adds
(SIK-ISEA) 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
The interview sheds light on many
approx. 92 pages,
different aspects of Cornaro’s art
2 color illustrations
and deepens the understanding of
10 × 15 cm
the different facets in her work
978-3-85881-871-3
English / French Isabelle Cornaro’s work has been
shown at major international art
sFr. 15.00 | € 15.00 spaces, such as the Musée d’Art
£ 12.00 | $ 18.00 moderne and the Palais de Tokyo
in Paris, and the Sculpture Center
DECEMBER 2022(Europe) in New York
APRIL 2023 (US)
ISBN 978-3-85881-871-3
9 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 narra-
tive, symbolic, or economic origins of things. In her work she almost assumes an anthropolo-
gist’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 10Paperback
The conversation offers profound
approx. 92 pages,
insights into the artistic as well
12 color illustrations
as sociopolitical driving forces
10 × 15 cm
behindf Latifa Echakhch’s art.
978-3-85881-872-0
English / French Latifa Echakhch’s work has been
shown in solo exhibitions at major
sFr. 15.00 | € 15.00 venues such as London’s Tate
£ 12.00 | $ 18.00 Modern, the Swiss Institute in
New York, and the Musée d’art
DECEMBER 2022 (Europe) contemporain in Lyon
APRIL 2023 (US)
ISBN 978-3-85881-872-0
Latifa Echakhch has realized the
Swiss Pavilion at the 2022 Biennale
Arte in Venice
9 783858 818720
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, Paris-
Cergy, 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
In the interview, Silvie Defraoui
approx. 92 pages,
talks not only about her projects
12 color illustrations
and practice, but also about her
10 × 15 cm
experiences with the national and
978-3-85881-873-7
international art scene
English / French
Complements the book Silvie &
sFr. 15.00 | € 15.00 Chérif Defraoui – Archives du Futur
£ 12.00 | $ 18.00 (Scheidegger & Spiess, 2021)
DECEMBER 2022 (Europe)
APRIL 2023 (US)
ISBN 978-3-85881-873-7
9 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). To-
gether 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 us-
ing various forms of expression, including projection, installation, ceramics, and serigraphy.
Scheidegger & Spiess
Autumn 2022 11Erwerben Erwerben Sammeln Sammeln
Auf Spurensuche kolonialen Unrechts Michaela Oberhofer und Esther Tisa Francini «Wilde Dinge» in der Villa Sarah Csernay
10 Elsy Leuzinger fotografierte in den Museum Rietberg, Schriftenarchiv, Akten 9 Brief von Eugen von Petersen an Sidney 11 Katalogkarte mit Fotografie von Carl 10 Interieur mit Arrangement der
1950er Jahren in Benin City Ahnenaltare Elsy Leuzinger W. Brown vom 16. Juli 1892 aus Neapel. Fredrik Lindberg, die eine Ansicht der Zeremonialpaddel von Sidney W. Brown,
der Oba, wie sie auch bereits Eckart von Es handelt sich um einen der zahlreichen Allmänna etnografiska utställningen zeigt 1890er Jahre, Fotografie auf Karte,
Sydow in den 1930er Jahren aufgenommen Briefe, in denen von Petersen Sidney Brown (1878–1879, organisiert von Hjalmar 13 × 18 cm
hatte. darum bittet, ihm seine Besitztümer –
darunter die Objekte aus dem Australian Stolpe und der Antropologiska sällskapet Museum Langmatt, Stiftung Langmatt
Museum – zukommen zu lassen. Die im Arvfurstens palats in Stockholm) Sidney und Jenny Brown, Baden,
japanische Inschrift links oben ergibt W.01.02.03.02.
transliteriert: Pe-te-re-se-n, 17,9 × 11,5 cm Etnografiska Museet, Stockholm,
(geöffnet: 22,7 cm) 0004.0192.
Museum Langmatt, Stiftung Langmatt
Sidney und Jenny Brown, Baden, W.03.03.
48 49 26 27
Sammeln Sammeln Zeigen Zeigen
Vielfältige Verschiebungen Esther Tisa Francini «Schwebend vor weiss, existiere ich» Nanina Guyer
5 Nell Walden mit ihrer Sammlung,
Staatsbibliothek Berlin
Der Herrscher des Königreichs Bamum von 1894 bis 1933, Ibrahim 1 Rainer Wolfsberger, Aufnahme der
Maske Tsesah, 2003
Museum Rietberg Zürich, Inv.-Nr. RAF
721, Geschenk Eduard von der Heydt
Njoya, hat die Fotografie seit dem frühen 20. Jahrhundert eingesetzt, um
Bamileke-Meister von Bamendjo, Provenienz: bis 1912/13, königliche Schatz-
seine Macht zu visualisieren und zu legitimieren 11.20 In solchen Bildern Batcham-Region, tsesah, Kamerun, kammer des Königreiches Batcham;
haben Objekte aus der königlichen Schatzkammer als Prestigeobjekte Bamileke, Bamendjo, 19. Jahrhundert,
Holz, 72 × 51 × 37 cm
1912/13, deutsche Kolonialbeamte, Übergabe
bei Bamendjo; spätestens 1914, J.F.G.
eine wichtige Rolle gespielt. Nach der Exilierung von Njoya wurde sein Umlauff, Hamburg; 1920 – ca. 1923, Sally
Cousin Mosé Yéyab der wichtigste Verbündete der französischen Kolonial- Falk, Mannheim; 1923/24, Karl Nierendorf,
Berlin; ab 1924, Sammlung Eduard von
verwaltung. Auch er benutzte die Fotografie, um seine Position als ein- der Heydt
flussreicher 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 Ebe-
nen arrangiert sind. Überragt wird die Komposition von sechs Masken-
aufsätzen, 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 Wert-
steigerung.
20 Geary 2013, S. 215.
21 Vgl. Geary 2018.
36 37 60 61
Handeln Handeln
Die Schaffung eines Marktes für japanische Kunst Brigitte Koyama-Richard
6 Kichizan Mincho (zugeschrieben), 8a/b Isoda Koryūsai, Mädchen und
Der weiss gewandete Bodhisattva Avaloki- Fächerblatt-Verkäufer (Nachdruck), Mit Detail: Stempel von Hayashi Tadamasa
teshvara (Byaku-e Kannon), Japan,
Muromachi-Zeit, 1. Hälfte 15. Jh., Tusche Edo-Zeit, spätes 18. Jh., Holzdruck, Provenienz: Hayashi Tadamasa, Paris;
auf Seide, 78x30,20cm, Museum für 25,5 × 19,2 cm, Museum Rietberg Zürich, bis 1956, Willy Boller, Baden
Asiatische Kunst, Berlin, Ident. Nr. 220, RJP 2027, Geschenk Willy Boller
Schenkung Wilhelm von Bode, ehemals
Sammlung Hayashi Tadamasa
An illustrated reader on
the highly topical subject
of tribal art in the museums
of the Global North
16 17
Handeln Handeln Wissen Wissen
C. T. Loo Alexandra von Przychowski Eine kunstethnologische Zusammenarbeit Eberhard Fischer
2 Anzeige von C. T. Loo & Co im 3 Votivstele mit Buddha Shakyamuni, Provenienz: 1920–1924, C.T. Loo, Paris; 6 «Mandavi potter: Ornamenting body 7 «Terracottas of potters in Bajipura and
Ausstellungskatalog Asiatische Kunst. China, Provinz Henan, Östliche Wei- 1924–1952, Sammlung Eduard von der and fixing neck», Indien, Gujarat, Mandavi, Ambaben of Valod», Indien, Gujarat,
Ausstellung der Vereinigung der Freunde Dynastie, 536, Kalkstein, 103,5 × 88 × 20 cm, Heydt 1969, Cellulosenitrat, Museum Rietberg, Surat-District, 1969, Cellulosenitrat, Museum
ostasiatischer Kunst, Köln, Oktober– Museum Rietberg Zürich, RCH 111, Geschenk Zürich, FEF 104-30, Dauerleihgabe Eberhard Rietberg, Zürich, FEF 113-09, Dauerleihgabe
November 1926, o. S. Eduard von der Heydt Fischer Eberhard Fischer
26 27 60 61Edited by Esther Tisa Francini in
Offers an important and multifac-
collaboration with Sarah Csernay
eted contribution to the current
controversial debate around the
Contributions by Annette Bhagwati,
colonial history of collections of
Johannes Beltz, David Blankenstein,
art works from indigenous cultures
Martin Brauen, Claire Brizon, Alice
and the loudly voiced claims for
Yu Cheng, Sarah Csernay, Eberhard
their restitution
Fischer, Antje Grothe, Nanina Guyer,
Mira Jossen, Kim Karlsson, Brigitte Demonstrates the importance of
Koyama-Richard, Axel Langer, provenance research for a critical
Michaela Oberhofer, Cecilia Pardo, approach in the assessment of the
Christian M. Prager, Alexandra von complex biographies of artefacts
Przychowski, Esther Tisa Francini,
Khanh Trinh, and Rosine Vuille Contributes to a higher awareness
of colonial and postcolonial
Book design by Bonbon contexts of trading and collecting
art created by indigenous people
Paperback and to establishing new, more in-
approx. 440 pages, 241 color and formed and just museum narratives
52 b/w illustrations Exhibition: Pathways of Art—
17 × 27 cm How Objects Get to the Museum
978-3-03942-097-1 English at Museum Rietberg in Zurich,
978-3-03942-096-4 German (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 German
9 783039 420971 9 783039 420964
Pathways of Art
How Objects Get to the Museum
Non-European artworks in European and American museums have become the sub-
ject 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 ambiva-
lent 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 re-
search for learning comprehensively about, and taking a critical approach in, the as-
sessment 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 13Evan Ifekoya, Ritual Without Belief, Gasworks, London,
5 July – 2 September 2018. All rights reserved, DACS /
Artimage 2022. Photo: Andy Keate, © 2022, ProLitteris,
Zurich
Postscript as brushing teeth on camera. For the Migros Museum, they take
this one step further by asking how rituals have changed in light
An examination of existence
Quantum to of the global pandemic?
and knowledge inside and
As I wrote in “The Healing of America”:
The events of 2020 ask us to question how those who seek to
Cosmic Black 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 Queer outside of visual perception
And now I ask how Evan’s own interest in a type of “erotic activ-
ism” 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
Embodied
to say:
Conversely, many other organizations have been drawn to
the glamorous work of promoting Black curators and admin-
Liberation
istrators to positions of power and collecting Black artists’
work—important efforts, but that’s not strictly what’s meant
by “anti-racist” work.23
As Spiritual
Or will it be something entirely different? More specifically:
Will it be through sheer willpower and adrenaline (and inev-
itable burnout)? [And possibly] through the type of “joyful
militancy” that Federici writes about—in which “knowing
Practice ourselves and each other’s limits is increasingly important”?24
Afterall, isn’t that what real healing is about?
Evan Ifekoya 22 Ndiritu, “The Healing of America,” op. cit.
23 Ibid.
24 Ibid.
46
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, ZurichEdited by Michael Birchall
Evan Ifekoya’s works featured in
this book center around topics
Contributions by Kojo Abudu,
such as the God within, individual
Michael Birchall, Evan Ifekoya,
and collective healing on a cellular
and Grace Ndiritu
to cosmic level, and existence
and knowledge outside of visual
Book design by Studio Marie Lusa
perception
In cooperation with Migros This is the first major book on the
Museum für Gegenwartskunst art of Evan Ifekoya
Hardback The book expands on these topics
144 pages, 55 color illustrations and explores healing, sound,
17 × 23 cm frequencies, collective healing,
978-3-03942-092-6 blackness in abundance, black
English / German and queer embodied liberation
Evan Ifekoya have gained wide
sFr. 39.00 | € 38.00 | £ 35.00 | $ 40.00 recognition for a body of work that
combines sound, text, video, and
Available performance, and addresses as-
ISBN 978-3-03942-092-6
pects of ethnical, cultural, and gen-
der identities, and of spirituality
9 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 prac-
tice 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 investiga-
tion 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 15G R O U N D WO R K ZURICH cadre, ALICE souhaite concrétiser sapernata verati volor as volut mo-
CH
et donner vie à la phrase de Ramuz diciis aliquia volorero que nim fugit
pour qui le Léman est « comme une voluptum aut etum nonserehenis
vaste place publique qui invite au namus andebit aciet re latur sam,
rassemblement de ceux qui habitent tenihicae.
ANNEXE tout autour ». Solores eaturio nseque ditis
32
38
Se situant autant dans le proces- magnis apiciasped mi, ipite coreni-
sus que dans le résultat (le projet se magnam accabo. Itas dolupta tiatur
réalise sur le semestre et surtout en aci volore sum hicabor iaspera ti-
mai). Le projet débute aux Bains du buscil molorporrum restem labo. Ut
Saugy, par une descente vers le lac ea nos est laturio consed erro bea
et un élément flottant mobile. L’ob- volupta debitatur.
jectif étant d’offrir ensuite une ba-
E n 1958 à Zurich s’est tenu la
V olesectatus int de optate lade allant jusqu’aux rives du Rhô-
OPEN HOUSE
OPEN HOUSE
deuxième exposition natio- videm int eum hiliaer atibea ne à Vernier par une succession de
nale Schweizerische Ausstellung que omniantecat officiis nonse- HOUSES.
für Frauenarbeit (SAFFA) ou quiatis del ium adiae nonsenda
« Exposition Suisse du Travail des vene prempel iantis iusam qui
Femmes ». Deuxième exposition sitinveratas ea il molorer uptatus.
du genre, elle est organisée par des Occullores volore vereperit
associations féminines, et vise à eius esequam am ipit, ut expelit,
faire prendre conscience de l’im- omniam, ipiet ommoluptisim
portance du travail des femmes et untiumeni berferuptin nos eiciet
encourage leur promotion. pe dollabo. Itatem faceprae con
2021
À cette occasion, l’architecte natur aut volutem quia nullabor
suisse Berta Rahm a réalisé la mise se dolupiet aut latur. Bora
en œuvre du grand pavillon démon- ipient. Et occus, aut landestiur
table du milanais Carlo Pagani et aut omnimpo repuda voloribus,
une petite annexe conçue par elle- que aut hicia veriatur, officip
BECOMMING LEMAN,
même. Cette annexe a été redécou- samusdant fugitatur aut fuga.
HOUSES GARDENS
verte à Gossau (ZH) au printemps Et et aut aribercia derovite verae
G R O U N D WO R K
GROUND WORK
2020 après une longue période d’ou- inctur. Enisque voloreh enetur
bli. C’est est l’une des rares pièces aruptaquam, oditate sime endem
qui reste de l’exposition SAFFA 58 con cus sam, iumquatio optias
et du corpus d’œuvres d’une des pre- resciiste perio omnis vellati
mières femmes architectes suisses. animus abor mi, cusam velliam
Une campagne a été lancée pour son usanda cusam, sus que voluptatem
sauvetage et sa reconstruction per- aut magnam et eum rehendunt.
manente à Zurich par l’association Aximus aspid mo corionet id
ProSaffa1958-Pavillon composée de quiatur arum illuptas cullant dis
chercheuses, d’architectes, d’arti- dolupta pos dolut faccate mquam,
L A B O R AT O I R E A L I C E
sanes et d’étudiantes. quiae sita cus. Ut voluptio. Ut vid
De cette association et de méticu- et volenti osamuscianit dolectum
leuses analyses scientifiques est né doluptatur sit autemod icidelitat is
un projet complémentaire mené par aut aute deliqui volupient. Sed es
D E L’ E P F L
ANNEXE
quatre femmes sous le nom de AN- commolum alicae. Uciisto bero cori
ANNEXE
NEXE. Des propos essentiels sous- denis eos et ipsaepr eicipissunt.
jacents à l’annexe de Bertha Rahm. Ernati reiusam seque nisti OPEN HOUSE 33 OPEN HOUSE 39
125
↔ 2,50 M
↔ 2,50 M
42
46
↕ 2,20 M
↕ 2,20 M
↔ 4,67 M
↔ 4,67 M
OPEN HOUSE
OPEN HOUSE
FIBRE DE VERRE ISOLANTE RECOUVRANT
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 .
U N E C H A R P E N T E M É TA L L I Q U E .
FIBRE DE VERRE ISOLANTE RECOUVRANT
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 .
U N E C H A R P E N T E M É TA L L I Q U E .
OPEN HOUSE 43 OPEN HOUSE 47
BECOMMING LEMA N, LAUSANNE
HOU SES GA R D ENS CH
LABORATOIRE ALICE
36
DE L’EPFL
A lice ou Atelier de la Conception
O ptatecto con cullaceped
Looking beyond the
OPEN HOUSE
de l’Espace – est un laboratoire esecto cusciatur solores trup-
d’architecture de l’École Polytech- tium reptatus exeres erovitate et
nique Fédérale de Lausanne consti- faccatur, que con perum exerrovidi
tué d’une équipe d’une trentaine qui volorro volorecte quasit vel
d’architectes et de chercheur.e.s. mi, ut faceprem es dolorerias eius
ALICE prend en charge l’enseigne- sanda corepudae simaion ecepu-
ment de projet en première année dicto eatiorrovit que diosam, ut
popular fascination with
avec environ 250 étudiant.e.s. inctur a cus mo eum reratiae parit
Depuis 6 ans, le laboratoire ins- aut qui consequis mod quibus ali-
crit sa pédagogie dans une pratique quaectur aut landis dolut ventis
2021
concrète, les HOUSES, conduisant conseque eruntur aut faccuptum
ses étudiants à parcourir toutes les voluptatem saped es earum alit qui
phases de l’architecture: du relevé de occusda mentusdant incitaecusam
terrain à l’emprise sur celui-ci, du faccuptio. Itat dolorument etus,
trendy tiny houses
choix des matériaux à leur organi- quo officit es ad experae pa sundi
BECOMMING LEMAN,
sation, de la construction au démon- ommodit, non exerspitem disciet
HOUSES GARDENS
tage. Les étudiant.e.s apprennent à molluptaquis magnis dem rem into
manipuler les outils tant intellec- minvento conem que alitat aut quia
tuels que manuels de la conception nonsectatae is nonet qui dolupta-
architecturale, ainsi qu’à mobiliser tem quiat eaquos as quidendit pa
et orchestrer des synergies pour ré- sandici llupti veles assumqu ates-
aliser des constructions collectives sum voluptatis.
à taille réelle dans des espaces pu- Nis plat a que dolupid elent, se-
blics. quo cus aceaqui aturestiur, omnie-
Le bois s’est imposé comme ma- nimus et quo temolupta qui utem
tériau privilégié (provenance locale, que nimusda voluptati nos consed
manipulation aisée, légèreté) Le cy- magnis explias nulleni maxima
L A B O R AT O I R E A L I C E
cle d’enseignement des GARDENS/ quas ipsa de doluptate vit, sandam
HOUSES cherche à affiner et affir- ad mossum di rate veliate mporpor
mer un dialogue avec le paysage, en as consectem. Ceaturem vollores-
considérant le sol, la topographie et sita corro ea videllaut eum dolum
Features designs and installations
D E L’ E P F L
la végétation. BECOMING LEMAN, fugia delest offic te rem quam, esto
autre cycle, s’intéresse aux bords dolorectatia pro core sum quidusa-
du Lac Léman et au Rhône. Dans ce mus, optiam recta nihitat invenis OPEN HOUSE 37
by among others
Andrea Zittel
HAUS–RUCKER–CO OA S E N 0 7
1972
Anupama Kundoo
Atelier Van Lishout
DONATELLA BERNARDI
62
Carla Juaçaba
EPFL Laboratoire ALICE
EMPOWERMENT Global Shelter Cluster
OPEN HOUSE
ET PROMESSES
Frida Escobedo
Ne pas se moquer, ne pas se lamenter,
ne pas détester, mais comprendre. Gramazio Kohler Research, ETH Zürich
C ette citation de Baruch Spinoza m’aidera sans
doute à répondre à la demande de Simon Lamu-
nière : qu’en est-il de l’empowerment que semblait Jean Prouvé
nous promettre l’avènement d’Internet et de l’in-
John Armleder
ter-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 Jean-
Jacques Rousseau, ce « lanceur d’alerte » et autocri-
tique des Lumières, comme le qualifient Guillaume
Kengo Kuma
Chenevière et Martin Rueff.
« Ce n’est pas sans peine que nous sommes Kerim Seiler
parvenus à nous rendre si malheureux. Quand
d’un côté l’on considère les immenses travaux
des hommes, tant de sciences approfondies,
Matti Suuronen
Maurizio Cattelan und Philippe Parreno
OPEN HOUSE 63
UNHCREdited by Simon Lamunière
Offers a much-needed substantial
contribution to an international
Contributions by Joseph Ashmore
debate on temporary housing that
and Laura Keykoop, Vincent Barras,
is often superficial and driven by
Donatella Bernardi, Gabriela
fantasies and lifestyle trends in rich
Burkhalter, Elisabeth Chardon,
countries
Gilles Clément, Stephane Collet,
Vilém Flüsser, Hans Hollein, Large migratory movements
Simon Lamunière, Fiona Meadows, caused by armed conflicts, poverty,
Alessandro Mendini, Bruce Nauman, or climate change create an urgent
Charles Pictet, Evelyn Steiner, demand for temporary housing in
Daniel Zamarbide, and Andrea Zittel many places
Book design by Niels Wehrspann The phenomenon of tiny houses
fascinates many people and is cur-
Paperback rently trending in various media
336 pages, 85 color and Exhibition: Open House in
16 b/w illustrations Genthod, near Geneva, Switzer-
16 × 23 cm land (June 11 to August 28, 2022)
978-3-85881-885-0 English / French
sFr. 39.00 | € 38.00 | £ 32.00 | $ 40.00
JULY 2022 (Europe)
OCTOBER 2022 (US)
ISBN 978-3-85881-885-0
9 783858 818850
Open House
Designing Spaces for Living
The phenomenon of tiny houses fascinates as much as designing a home and is cur-
rently trending in various media. Yet interest in this architectural form is often superfi-
cial, 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 hous-
ing through the featured original installations and spatial experiments.
Open House is published in conjunction with a two-year research project and an open-
air exhibition of the same title in Geneva in summer 2022. Together, the book and ex-
hibition 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 engage-
ments 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 17The magic and fascination of Chinese jade objects outstandingly presented in photographs
Edited by Alexandra von
Showcases some sixty exquisite
Przychowski
jade objects from the permanent
collection of Museum Rietberg in
Photographs by Felix Streuli
Zurich, superbly photographed
by Zurich-based photographer
Texts by Alexandra von
Felix Streuli
Przychowski and Markus Rottmann
The images in this carefully
Book design by Franziska designed book make the objects
Burkhardt shine in a unique way
In cooperation with the Museum Enlarged details of the objects
Rietberg Zurich highlight their creators’ fascinating
craftsmanship
Paperback Exhibition: Forever Jade at the
approx. 132 pages, Museum Rietberg in Zurich
63 color illustrations (August 26, 2022 to January 22,
23.5 × 31 cm 2023)
978-3-03942-102-2
English / German
sFr. 39.00 | € 38.00 | £ 32.00 | $ 45.00
OCTOBER 2022 (Europe)
FEBRUARY 2023 (US)
ISBN 978-3-03942-102-2
9 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. Inter-
spersed short stories and poems revolving around the mythical gemstone and a reflec-
tion 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 19Sie können auch lesen
