Scheidegger & Spiess Autumn International Catalogue 2023 by ACC Art Books

Scheidegger & Spiess

Art I Photography I Architecture

International New Titles Autumn 2023

6–7 Circle! Square! Progress! 14–15 Lang/Baumann. Models 10–11 Alberto Giacometti—Family Letters 18 Igniting Penguins 4–5 Hannah Höch 12–13 Quanta of Space 19 Deserted Boat Drifting Towards the Moon 8–9 Ernst Scheidegger 16–17 From Albrecht Dürer to Andy Warhol

Scheidegger & Spiess Autumn

2023

26–27 Les murs de Burhan Dog˘ançay

20 From Here

33 Swiss Grand Award for Design 2023 30–31 Gardiens du silence

34–35 Key Titles 36 Contacts Distributors Representatives and Agents

22–23 Alpine Passes of Switzerland 24–25 Magdalena Abakanowicz à Lausanne 32 Ladina Gaudenz 28–29 Markus Raetz 21 Print Art Now

Poetic, radical, and ironic: Hannah Höch’s montages and the visual culture of Modernism

Edited by Martin Waldmeier and Nina Zimmer

Book design by Bonbon, Zurich

In cooperation with the Zentrum Paul Klee, Bern

Paperback approx. 192 pages, 130 color and 20 b/w illustrations

17 × 23 cm

978-3-03942-172-5 English

978-3-03942-171-8 German

sFr. 39.00 | € 38.00 | £ 32.00 | $ 40.00

DECEMBER 2023 (Europe)

APRIL 2024 (US)

English German

Hannah Höch Assembled Worlds

A groundbreaking book on Hannah Höch’s montages in the context of film and the visual culture of Modernism

Sheds light for the first time on Hannah Höch’s significance as a pioneering artist to confront the industrial age’s flood of images Richly illustrated, featuring also numerous prints and other documents from Höch’s estate, and film stills

With a text-collage on the history of montage, assembling excerpts by Hannah Höch, Sergej Eisenstein, Raoul Hausmann, László MoholyNagy, Walter Ruttman, Kurt Schwitters, Theo van Doesburg, and Dsiga Wertow

Exhibition: Hannah Höch—Assembled Worlds at the Zentrum Paul Klee, Bern (November 10, 2023 to February 25, 2024)

Hannah Höch (1889–1978) moved between differing worlds: as an editorial assistant with a major Berlin-based magazine publisher, and as the only woman who could hold her own in the German capital’s vibrant Dada scene of the 1920s. Höch broke with the traditions of representation and vision. Her works dissected a world marked by the catastrophe of the Great War and an intense consumer culture, and reassembled it in revolutionary, poetic, and often ironic ways. Höch kept to her artistic means and her poetic-radical imagination, shimmering between social observation and dream world, even in the post-WWII period. Scissors and glue were the weapons of her art of montage, of which she was a co-inventor.

Cutting and montage also shaped film, still a new medium in the 1920s, which strongly influenced Höch’s art: she understood her assembled pictures as static films. This richly illustrated and expertly annotated book explores comprehensively for the first time Höch’s fascination with film and the visual culture of the modern industrial age. It demonstrates how montage evolved in a field of tension between artistic experimentation, commercial exploitation, and political appropriation. A text-collage on the history of montage, in which major protagonists of Modernism and Avant-garde such as Sergej Eisenstein, Raoul Hausmann, László Moholy-Nagy, Walter Ruttman, Kurt Schwitters, Theo van Doesburg, and Dsiga Wertow, have their say, rounds out the volume.

Martin Waldmeier is a curator at the Zentrum Paul Klee in Bern.

Scheidegger & Spiess Autumn 2023 5 9 783039 421718 ISBN 9783039421718 9 783039 421725 ISBN 9783039421725

Nina Zimmer is director of the Kunstmuseum Bern and its affiliate Zentrum Paul Klee.

Von Dora Imhof

m 29. November 1970 betrat der Maler Varlin das Helmhaus in Zürich. Wie jedes Jahr um diese Zeit hatte an der Limmat gerade die Weihnachtsausstellung eröffnet. Varlin war darin mit drei Gemälden vertreten. Zu sehen waren sein Porträt von Leida Feldpausch, der Inhaberin des gleichnamigen Modehauses, ein Bildnis des früheren Zürcher Stadtpräsidenten Emil Landolt sowie eines des Friedensaktivisten

Martin Heller, damaliger Direktor des Zürcher Museums für Gestaltung, Retter der Landesausstellung Expo 0.2 und Kulturunternehmer, rechnete 1995 mit den Konkreten ab. Seine Polemik war Höhepunkt einer Kritik, die mit den 68ern einsetzte. Beispielhaft steht sein 166 Skandal «Popanz Bill?» Rekonstruktion eines Streitfalls

Ein Bill-Katalog, der ohne Bills Text erscheint, ein Bill-Antipode, der im Zorn die eigenen Bilder zerstört, und Proteste gegen Bills «Geschmacksdiktatur» markieren 1970 den Höhepunkt im Showdown zwischen konkreter und figurativer Kunst.erscheint bizarr: Welcher Künstler bei Sinnen beschädigt mutwillig seine eigenen Werke? Doch betrachtet man die näheren Umstände, wird sein Handeln nachvollziehbar. Und dann geht es um mehr als einen Akt der Zerstörung oder eine Lokalposse. Bei Varlins Sachbeschädigung in eigener Sache und den Debatten, die auf sie folgten, geht es um grundsätzliche Auffassungen von Kunst, von ihrer Rolle in der Gesellschaft, um Modernität, Verantwortung – und nicht zuletzt um Macht. Der Mächtige ist hier Max Bill Er steht im Helmhaus quasi hinter den Bildern, gegen ihn richtete sich Varlins Zorn. Es war bereits die dritte Weihnachtsausstellung, bei der Max Bill den Juryvorsitz innehatte, und er war ihr Kurator. 1968 hatte er eine Ausstellung zur abstrakten Kunst zusammengestellt; 1969 folgte Konkrete und Phantastische Kunstrichtungen. Darin präsentierte Bill beide Malereitendenzen nebeneinander. 1970 war die Schau ganz der figurativen Malerei gewidmet. Dass der Konkrete Max Bill ihr eine eigene Ausstellung ausrichtete, könnte als grosszügige Geste interpretiert werden. Wäre da nicht sein Vorwort gewesen. 1969 hatte Bill in der Katalogeinleitung die beiden Kunstrichtungen noch ziemlich neutral beschrieben. 1970 verschärfte sich sein Ton: Figurative Kunst sei rückwärtsgewandt, selbstzufrieden und provinziell. Und er stellte ältere sowie jüngere Künstlerinnen und Künstler gleichermassen in den Senkel: «Von ihnen [der älteren Generation] hatte sicher niemand erwartet, dass sie ihr bewährtes, die Tradition hochhaltendes Schaffen in neue Bahnen lenken würden. Erstaunlich jedoch ist es, dass die junge Generation diese, an einer noch heilen Welt orientierte Kunst übernimmt, ohne sie mit den Elementen der Gegenwart zu konfrontieren. Es fehlt fast jede Andeutung auf die spezifischen Merkmale unserer Zeit, die Welt der Wissenschaft, der Technik, des Bauens, des Verkehrs.» Namentlich erwähnt wurde neben einer Skulptur von Alfred Huber auch ein Gemälde Varlins. Bills harscher Kommentar: «Das Portrait des Friedensapostels Max Daetwyler

und Industrieprodukten. Sie hat den Schweizer Lebensraum durchwirkt, hat sich die Wände der Grossraumbüros in Banken und Versicherungen ebenso erobert wie den Versandhandel, die Stuben der Aufgeklärten und die Regale der Warenhäuser mit Geschmack. Aus dem Nichts geformt bzw. aus der Endlosigkeit des mathematischen Raums ins Leben gerufen, ist die Konkrete Kunst das mittlerweile mehrheitsfähigste Projekt der Schweizer Kunstgeschichte. [...] Natürlich war dem nicht immer so. Auch diese Laufbahn hat einmal anfangen müssen. «[E]benso wie die klaren, sauberen musikalischen Formen dem Hörenden angenehm sind, dem Wissenden in ihrem Aufbau Freude bereiten, sollen die reinen, klaren Formen und Farben den Betrachter optisch erfreuen […]», schrieb Bill im Katalog zur Ausstellung Zeitprobleme in der Schweizer Malerei und Plastik. Sein Wunsch darf als werbende Rhetorik einem Publikum gegenüber gelesen werden, das für das geistige Anliegen solcher Konkretion noch nicht reif schien und deshalb einer harmlos griffigeren, irgendwie sinnlicheren Sinngebung bedurfte. Zumal Sache und Begriff auch in der Fachwelt Verwirrung stifteten. Zur Ausstellung der «Allianz. Vereinigung moderner Schweizer Künstler» – Bill hatte hier im Katalogvorwort kategorisch zwischen «konkreter» und «abstrakter» Kunst unterschieden – monierte ein Kritiker: «Von was ist blosse Form und Farbenauftrag noch Abstraktion? […] Keine noch so ‹konkrete Gestaltung› wird mehr als ein Artisten-Schnickschnack sein, wenn sie bloss zerebrale Konstruktion ist […]» Der übliche Vorwurf konservativer Verstocktheit trifft hier nicht. Dafür ist das Misstrauen zu präzise. Der Konkreten Kunst wird ihre reduktionistische Rationalität vorgehalten, ihre perfekt anonymisierte Machart, ihre egoistische Kälte und Künstlichkeit, die vom gelebten Leben nichts wissen will. Knapp sechzig Jahre später schildert Erwin Leiser als Filmemacher und Freund im Blick rundum positivere Erfahrungen. Fast wörtlich bestätigt seine Causerie die einstige frohe Botschaft. Bill erfreue «sich und sein Publikum, indem er das nach präzisen Strukturen geordnete

The Zurich Concretists: from difficult beginnings and struggles to triumphs and arrival in Switzerland’s art establishment 140 141 Streitschrift Unendliche Schleife des reinen Ausdrucks Das Projekt Die Schweiz, so lesen wir in der einschlägigen Literatur sinngemäss, sei das Land der artistischen Individualistinnen und Eigenbrötler. (Harald Szeemanns selbstlos eigenwillige und hartnäckige Arbeit am Mythos der Individuellen Mythologien nährt diese Interpretation durch passende Manifeste in Ausstellungsform. Darüber hinaus aber, so lesen wir weiter, habe unser Land der internationalen Kunst ein einzigartiges Geschenk gemacht: die Konkrete Kunst. Oder familiärer: die Kunst der Zürcher Konkreten. Was ist damit gemeint? Entlastet durch allerlei gewichtige und kompetente Definitionsversuche erlaube ich mir einen zumindest für die folgenden Überlegungen dienlichen Vorschlag: Die Kunst der Zürcher Konkreten bis ins dritte oder vierte Glied ist jene Kunst, die es verstanden hat, ihr ästhetisches Programm samt Ideologie zum potenziellen Reduit aller werden zu lassen, die da unsicher sind und beladen. Oder kürzer: Diese Kunst ist ein sicherer Wert. Materialisiert hat sie sich seit den dreissiger Jahren in einem kontinuierlichen Strom von Gemälden, Skulpturen, Serigrafien, Multiples,

Postern

Von Martin Heller Text für eine spezifisch zürcherische Abneigung, die härter, eleganter und böser nie formuliert wurde und zur Wirkungsgeschichte gehört. Mark Divo & Sonja Vectomov: Nie wieder Max Bill, 20x25cm. Foto auf Alu. Sammlung Haemmerli

Max Daetwyler. Doch war Varlin nicht nach Feiern zumute. Im Gegenteil: Er schlitzte die Leinwand seiner Bildnisse von Feldpausch und Landolt mit einer Rasierklinge auf. Nur das Gemälde des Pazifisten Daetwyler liess er intakt. Der Vorfall im Helmhaus ist als Zürcher Kunstskandal in die Annalen eingegangen. Varlins Tat, bei der er sich an der Hand verletzte hatte und blutend heimkehrte,

Edited by Thomas Haemmerli and Brigitte Ulmer Book design by Adrian Hablützel, Zurich

Hardback approx. 304 pages, 120 color and 30 b/w illustrations

22.4 × 28 cm

978-3-03942-164-0 English

978-3-03942-163-3 German

sFr. 49.00 | € 48.00 | £ 45.00 | $ 55.00

NOVEMBER 2023 (Europe)

APRIL 2024 (US)

English German

Circle! Square! Progress!

The first comprehensive survey of the Zurich Concretists, Switzerland’s legendary Modernist art movement Explores the Zurich Concretists’ roots in the Bauhaus and their relations to the art theories of Theo van Doesburg, Johannes Itten, and Piet Mondrian, as well as influences from mathematics and music

Traces the struggles of the Zurich avant-garde of the 1930s and 1940s against the anti-modernism of the period

Lavishly illustrated with key works by all artists that belonged to the movement and with rich material from archives, some of which is previously unpublished

Zurich’s Concrete Avant-garde. Max Bill, Camille Graeser, Verena Loewensberg, Richard Paul Lohse and Their Times

They were reviled, ridiculed, and ignored. Today, the Zurich Concretists—along with Dada—are considered the most important art movement originating from Switzerland. Circle! Square! Progress! tells the story of the city’s avant-garde movement, which is rooted in the Bauhaus and renewed the formal language of art, shaped design and architecture, and also positioned itself politically. It traces its relations to the heroes of Constructivist–Concrete art, such as Johannes Itten, Piet Mondrian, Sophie Taeuber-Arp, Theo van Doesburg, and Georges Vantongerloo, and looks at the influences that came from graphic art and advertising, jazz music and dance, color theory, and mathematics.

Max Bill, Camille Graeser, Verena Loewensberg, and Richard Paul Lohse—a group incidentally thrown together rather than true conspirators—formed the center of gravity of a milieu that wrestled with critics, institutions, and authorities. Lavishly illustrated, the book explores Zurich as the habitat of highly gifted people engaged in lively debates at bohemian cafés, drifting in jazz clubs, celebrating excessively at the legendary annual artists’ fancy dress ball, achieving fame and artistic triumphs with creative power and a sense of mission. It illuminates the Zurich Concretists’ successes of the 1960s, their at times extremely violent quarrels of the 1970s, and their disputes about the beauty of form.

Thomas Haemmerli is a Zurich-based director of film documentaries, journalist, and writer.

Scheidegger & Spiess Autumn 2023 7 9 783039 421633 ISBN 9783039421633 9 783039 421640 ISBN 9783039421640

Brigitte Ulmer is a scholar of history based in Zurich and London who works as a cultural publicist and writer.

Ernst Scheidegger at 100: a fresh look at an unconventional Swiss photographer Edited by the Ernst Scheidegger Archive Foundation

Book design by Clemens Widmer, Zurich

Hardback approx. 196 pages, 150 b/w illustrations

24 × 30 cm

978-3-03942-178-7 English

978-3-03942-173-2 German

sFr. 59.00 | € 58.00 | £ 50.00 | $ 65.00

NOVEMBER 2023 (Europe)

APRIL 2024 (US)

The Italian edition is being published by Edizioni Casagrande, Bellinzona

English German

Ernst Scheidegger Photographer

Ernst Scheidegger (1923–2016) ranks among the most distinguished Swiss photographers of the 20th century

Ernst Scheidegger is revered internationally for his portraits of famous artists such as Alberto Giacometti, Joan Miró, and Hans Arp

This book offers the first-ever comprehensive survey of Scheidegger’s largely unknown early work, featuring numerous previously unpublished photographs

Takes a fresh look at Scheidegger as a photographer and revaluates his oeuvre from a contemporary perspective

Marks Ernst Scheidegger’s centenary on November 30, 2023

Exhibitions: Ernst Scheidegger— Photographer at Kunsthaus Zürich (October 27, 2023 to January 21, 2024) and at MASI Lugano (2024)

Ernst Scheidegger (1923–2016) ranks among Switzerland’s most distinguished 20th-century photographers. His portraits of artists made his name internationally. Scheidegger’s photographs of Alberto Giacometti at his Paris studio or in his native Val Bregaglia in Switzerland continue to shape the public image of this celebrated artist today.

Marking the centenary of Ernst Scheidegger, who was also the founder of our publishing house, this book offers a fresh and contemporary look at his multifaceted body of work. It is based on an extensive reappraisal of his estate and features a concise selection of iconic and lesser-known images that demonstrated Scheidegger’s prowess as a portraitist. More importantly, however, the volume enables an encounter with Scheidegger’s hitherto little-published early work and thus undertakes a reassessment of his entire oeuvre. Essays by Tobia Bezzola, art historian and director of the MASI Lugano, Alessa Widmer, curator and artistic director of Photo Basel art fair, and Helen Grob, Scheidegger’s long-time companion, trace his career and self-concept as a photographer. A biography and brief texts on a selection of key examples of Scheidegger’s art round off this beautifully designed photo book.

The Zurich-based Ernst Scheidegger Archive Foundation was established in 2010 with the aim of preserving the legacy of distinguished Swiss photographer Ernst Scheidegger (1923–2016) and to make his estate accessible to the public. The archive holdings comprise some 80,000 negatives and 50,000 slides, the originals of Scheidegger’s numerous film documentaries on artists and travel reportage.

Scheidegger & Spiess Autumn 2023 9 9 783039 421732 ISBN 9783039421732 9 783039 421787 ISBN 9783039421787

The previously unpublished correspondence between Alberto Giacometti and his family

Edited by Casimiro Di Crescenzo Book design by Barbara Solari, Bellinzona

In cooperation with the Alberto Giacometti-Stiftung, Zurich

Paperback

approx. 320 pages, 20 color and 20 b/w illustrations

14.7 × 22 cm

978-3-03942-169-5 English

978-3-03942-168-8 German

sFr. 39.00 | € 38.00 | £ 32.00 | $ 40.00

NOVEMBER 2023 (Europe)

APRIL 2024 (US)

The Italian edition is being published by Edizioni Casagrande, Bellinzona

English German

First publication of Alberto Giacometti’s family letters

Features also many of the neverbefore published replies by Albertos’s parents, Giovanni and Annetta Giacometti

Offers fascinating new insights into the personal and artistic evolution of one of Modernity’s greatest artists and brings to life the vibrant Paris art scene of the 1920s and 1930s

Illustrated with facsimiles of letters, reproductions of works discussed, and photographs

Alberto Giacometti—Family Letters

Time Passes Too Soon

Alberto Giacometti (1901–1966), one of the most significant figures in 20th-century art, was throughout his life closely attached to his family, and in particular to his parents Giovanni and Annetta Giacometti, in their native Swiss village of Stampa. At least once a week he wrote to his parents to keep them up-to-date on everything important to him, maintaining this routine even when a telephone was installed at their house in the remote Val Bregaglia. Their entire correspondence comprises more than 1,000 letters.

For the first time ever, excerpts from this body of documents are now published in this volume. They reveal fascinating insights into this close family relationship and the manifold exchanges about core issues of Alberto’s life and work as an artist. The letters tell of his artistic education in Switzerland and the early years in Paris—his studies at the art academy and encounters with the avant-garde, his joining with and later turning away from the Surrealist movement—as well as of his search for a new figuration between 1935 and 1946. Thus, the book provides entirely new knowledge about the evolution and circumstances of one of Modernity’s greatest artists.

Scheidegger & Spiess Autumn 2023 11 9 783039 421688 ISBN 9783039421688 9 783039 421695 ISBN 9783039421695

Casimiro Di Crescenzo is a Venice-based art historian, writer, and curator, and a renowned specialist on Alberto Giacometti and his art.

A new study of

Ibram Lassaw’s wearable sculptures

Edited by Andrew Wallace Book design by Antonio Alcala / Studio A, Alexandria, Virginia

In cooperation with Figge Art Museum in Davenport, Iowa

Hardback approx. 120 pages, 81 color and 2 b/w illustrations

24.5 × 28.5 cm

978-3-85881-890-4 English

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

AUGUST 2023 (Europe)

SEPTEMBER 2023 (US)

Quanta of Space

The Bosom Sculpture of Ibram Lassaw

First-ever book on the jewelry designs of Ibram Lassaw (1919–2003)

Offers a new and comprehensive introduction to this lesser-known part of the oeuvre of one of America’s most distinguished exponents of Abstract Expressionism

Ibram Lassaw’s wearable sculptures are inspired by his extensive and wide-ranging reading on topics as varied as Zen Buddhism, cosmology, and quantum physics

Exhibition: Quanta of Space: The Bosom Sculpture of Ibram Lassaw at Figge Art Museum, Davenport, Iowa (September 9 to December 3, 2023)

Remembered as a pioneering and prolific Abstract Expressionist artist of otherworldly sculptures, Ibram Lassaw (1913–2003) is less known for his wearable sculptures. Like his large-scale works, the “Bosom Sculptures,” with their innovative use of alloys, were inspired by Lassaw’s readings on such varied topics as Zen Buddhism, cosmology, and quantum physics. Lassaw’s welded and braised necklaces, though simple in design, remind us of everything from sea anemones to nebulae, with their elaborate biomorphic tendrils and interconnected clusters.

Published to coincide with an exhibition at Figge Art Museum in Davenport, Iowa, Quanta of Space: The Bosom Sculpture of Ibram Lassaw features 37 unique pendants and necklaces alongside nine full-sized sculptures that Lassaw created between 1938 and 1996. Supplemental essays by Nancy G. Heller, professor emerita at the University of the Arts in Philadelphia; Denise Lassaw, the artist’s daughter, collaborator, and archivist; and Marin R. Sullivan, scholar of art history and curator, offer insight into his life and times and illustrate Lassaw’s contribution to Modernist studio jewelry.

13 9

Andrew Wallace is the Director of Collections and Exhibitions at Figge Art Museum in Davenport, Iowa. Scheidegger & Spiess

Autumn 2023

783858 818904 ISBN 9783858818904

Swiss artist duo Sabina Lang and Daniel Baumann’s catalog of models Edited by Zeughaus Teufen, Lilia and David Glanzmann

Book design by Norm, Zurich

Paperback

112 pages, 119 color and 3 b/w illustrations

16 × 24 cm

978-3-03942-166-4 English / German

sFr. 29.00 | € 29.00 | £ 25.00 | $ 35.00

AUGUST 2023 (Europe)

FEBRUARY 2024 (US)

Lang/Baumann. Models

An unusual catalog of renowned Swiss artist duo Lang/Baumann’s collaborative work

Presents for the first time the complete models that Lang/Baumann have made for their joint projects since 1990, including the neverrealized ones

Exhibition: 96 Modelle—Lang/Baumann at Zeughaus Teufen, Switzerland (until October 1, 2023)

Swiss artists Sabina Lang and Daniel Baumann have been collaborating since 1990, gaining much international recognition as Lang/Baumann (or L/B). Their collaborative work comprises installations, sculptures, murals, and floor paintings, as well as architectural interventions. Models play a key role in their creative process. This book brings together for the first time all the models that L/B have made for the projects they have pursued over 33 years. It thus forms a complete catalog of their oeuvre to date in miniature format, featuring also those projects that were never developed beyond the model stage.

A model can serve three purposes: three-dimensional sketch, test of a concept, or presentation. L/B use all three types. The sketch model is quickly made, fragile, and merely manifests a thought. The working model is used to try to test formal or technical details. The presentation model is made to show the result once the design process is complete, and this is usually elaborately built.

Some 120 color illustrations are supplemented by two essays on iconography in Lang/Baumann’s work and on the playful aspect of model making. A conversation with Sabina Lang and Daniel Baumann rounds off the book.

15 9

Lilia and David Glanzmann are joint directors of Museum Zeughaus Teufen in Switzerland.

Scheidegger & Spiess Autumn 2023

783039 421664 ISBN 9783039421664

A fascinating journey across six centuries of art history: outstanding works from ETH Zürich’s vast collection of prints and drawings

Edited by Arianna Quaglio, Linda Schädler, and Patrizia Keller

Book design by Granit communication, design, Zurich / Merano

Paperback approx. 312 pages, 300 color

illustrations

24 × 28 cm

978-3-03942-155-8 English

978-3-03942-154-1 German

sFr. 49.00 | € 48.00 | £ 50.00 | $ 55.00

OCTOBER 2023 (Europe)

MARCH 2024 (US)

The Italian edition is being published by Edizioni Casagrande, Bellinzona

English German

A large-format, beautifully designed and lavishly illustrated portrait of ETH Zürich’s vast collection of prints and drawings

Features some 300 outstanding works held in the Graphische Sammlung ETH Zürich

Explores the collection’s history and evolution from today’s perspective

Exhibition: From Albrecht Dürer to Andy Warhol: Highlights from the Graphische Sammlung ETH Zürich at MASI Lugano (September 10, 2023 to January 7, 2024)

From Albrecht Dürer to Andy Warhol

Highlights from the Graphische Sammlung ETH Zürich

Whether Old Masters or young Swiss art, whether printed or drawn: with holdings of more than 160,000 works on paper, the Graphische Sammlung ETH Zürich, the famous university’s collection of prints and drawings, is one of the largest and finest of its kind in Switzerland and internationally. Albrecht Dürer, Maria Sibylla Merian, Rembrandt van Rijn, and Pablo Picasso are represented alongside contemporary greats such as Louise Bourgeois, Miriam Cahn, Fischli/Weiss, Urs Lüthi, and Shirana Shahbazi. Founded in 1867 as a classical academic study collection, the archive serves today as a focal point for scholars and art-lovers alike, and as the means for exchange between the university and the public.

This lavishly illustrated book takes readers on a fascinating journey across six centuries of art history, featuring some 300 of the collection’s highlights. An introductory essay on the history and evolution of the Graphische Sammlung ETH Zürich and brief texts on 40 selected works accompany the illustrations. The volume is rounded off by personal statements by contemporary artists and researchers from various disciplines, who testify to and comment on the significance and topicality of the collection’s holdings.

Arianna Quaglio is an art historian and junior curator at MASI Lugano. Linda Schädler is an art historian and head of the Graphische Sammlung ETH Zürich.

Patrizia Keller is a Swiss-based scholar of art history and freelance curator.

Scheidegger & Spiess Autumn 2023 17 9 783039 421541 ISBN 9783039421541 9 783039 421558 ISBN 9783039421558

Book design by Katrina Wiedner, Vienna

Hardback

204 pages

11 × 21 cm

978-3-03942-146-6 English

978-3-03942-145-9 German

sFr. 29.00 | € 29.00 | £ 25.00 | $ 35.00

AUGUST 2023 (Europe)

OCTOBER 2023 (US)

English German

Rachel Lumsden

Igniting Penguins

A Manifesto for Painting

through

Rachel Lumsden

A unique, personal reflection on painting as an artistic expression in the 21st century

An entertaining excursion into the art world and to the core of painting itself

British-born artist Rachel Lumsden creates primarily large-format figurative paintings characterized by intensely atmospheric, pictorial spaces. Her imagery coalesces on the canvas through a virtuoso handling of paint, evoking visual narratives that come unexpectedly close and yet cannot be entirely grasped.

In her book Igniting Penguins, Lumsden invites the reader on an entertaining excursion into the art world and to the core of painting itself. Along the way we are introduced to some of its powerful and quirky gatekeepers, we are baffled by art’s apparently unshakeable gender roles, and we discover what makes figurative painting a sexy form of quantum physics. Lumsden’s essay is both a personal manifesto and a survey of today’s art scene. Above all, it is a blazing confession to the art of painting.

Rachel Lumsden is a British-born, Swiss-based artist. She studied visual art at Nottingham Trent University and the Royal Academy Schools in London, and taught painting at HSLU School of Art and Design in Lucerne between 2007 and 2019.

A glimpse into the art world

the mind of painter

Scheidegger & Spiess Autumn 2023 18 9 783039 421459 ISBN 9783039421459 9 783039 421466 ISBN 9783039421466

Edited by Mirjam Fischer Translated from German by Catherine Schelbert Book

design by Martina Brassel, Zurich

Paperback

176 pages, 53 duotone illustrations

12 × 19 cm

978-3-03942-132-9 English / German

sFr. 29.00 | € 29.00 | £ 28.00 | $ 35.00

AVAILABLE (Europe)

OCTOBER 2023 (US)

Jürg Halter, Uwe Wittwer

In a lyrical-picturesque manner, the book explores questions of one’s self in the foreign, humanity and inhumanity, and the comfort that may be found in art

Jürg Halter is one of the best-known contemporary Swiss writers and spoken-word artists

Deserted Boat Drifting Towards the Moon

Deserted Boat Drifting Towards the Moon brings together artist Uwe Wittwer’s inkjet prints and poet Jürg Halter’s writing in a multilayered dialogue. Inspired by Japanese director Kenji Mizoguchi’s legendary movie Ugetsu Monogatari (Rain Moon Tales), they intend to trigger a new, imaginary film in the mind of the reader. Artist and poet have created a subtle play with hints, fragments, comments, and further narratives. Some of Wittwer’s images are illustrative. Others reject a direct reading. Likewise, Halter’s short poems in some cases are unambiguous and simple, and in some cases are equivocal and elude immediate access. This book explores questions such as, “When does humanity turn into inhumanity?” and “Is comfort to be found in art?”

Uwe Wittwer, born in 1954, is a Zurich-based Swiss artist who uses in his work a range of media and techniques, such as watercolor, oil, inkjet print, and video.

Jü rg Halter, born in 1980, is a Bern-based Swiss author and spoken-word and visual artist. One of the best-known contemporary Swiss writers, he has published numerous books, plays, and music albums.

Inkjet prints by artist Uwe Wittwer and poems by writer and artist Jürg Halter in a multilayered dialogue

Scheidegger & Spiess Autumn 2023 19 9 783039 421329 ISBN 9783039421329

A multilayered dialogue between visual and written art

Book design by sofies Kommunikationsdesign, Zurich

Hardback

approx. 100 pages, 50 color

illustrations

34 × 24 cm

978-3-03942-161-9 English

978-3-03942-160-2 German

sFr. 59.00 | € 58.00 | £ 55.00 | $ 65.00

NOVEMBER 2023 (Europe)

APRIL 2024 (US)

English German

From Here

A

Photographic-Literary

Bern- and Geneva-based Aebi & Vincent Architects have made a name for themselves with housing designs as well as with the restoration and reconstruction of major historic public buildings in Bern and Zurich

The book offers an unusual literary–photographic encounter with the works of Aebi & Vincent Architects

Encounter with Buildings by Aebi & Vincent Architekten

For more than 25 years, Swiss architects Bernhard Aebi and Pascal Vincent have been running their practice with offices in Bern and Geneva. Housing is one of the firm’s main fields of activity, yet it has also won a number of high-profile public commissions, such as the restoration and reconstruction of Switzerland’s national parliament building in Bern, the renovation of the Swiss National Bank’s Bern headquarters, and the south wing of Zurich’s main train station.

The images by photographers Adrian Scheidegger and Alexander Jaquemet, both longtime companions of the architects, demonstrate how the spaces they created gradually and naturally integrate with their environment. Writer Gianna Molinari joined Scheidegger and Jaquemet on their expeditions to Aebi & Vincent’s buildings. Her literary snapshots supplement the images in this volume, stimulating our imagination of the inner life of these structures and their occupants.

Photographs by Alexander Jaquemet and Adrian Scheidegger, texts by Gianna Molinari Alexander Jaquemet is a Swiss photographer best known for his atmospheric black-and-white landscape images. Adrian Scheidegger is a Bern-based artist and photographer, working also as a consultant for color and material concepts for Swiss architecture firm Aebi & Vincent.

photographic

& Vincent supplemented by literary snapshots Scheidegger & Spiess Autumn 2023 20 9 783039 421602 ISBN 9783039421602 9 783039 421619 ISBN 9783039421619

Gianna Molinari is a Swiss writer based in Zurich.

lively

encounter with buildings by Swiss architecture firm Aebi

Edited by David Khalat Book design by Bruno Margreth, Zurich Hardback

196 pages, 84 color illustrations

20 × 27 cm

978-3-03942-149-7

English / French / German / Italian

sFr. 49.00 | € 48.00 | £ 45.00 | $ 55.00

AVAILABLE (Europe)

FEBRUARY 2024 (US)

Print Art Now

Edition VFO 1948–2023

An up-to-date survey of contemporary printmaking in Switzerland

Explores the topics of collecting prints today, technical and artistic challenges of printmaking, and the emancipation of print as a genre withing the traditional hierarchy of visual art

Includes an essay on printmaking as a collaborative art practice and its political component

Edition VFO, founded in 1948, is Switzerland’s most significant publisher of original print editions

Exhibitions: Print is a Battlefield at the Museo Civico Villa dei Cedri in Bellinzona (until August 20, 2023), and Ein Unikat in Serie at the Kunsthaus Grenchen (September 10, 2023 to January 28, 2024)

Edition VFO, Verein für Originalgraphik (Association for Original Prints) was established in 1948 to pursue the goals of publishing contemporary art and making collecting affordable to broader audiences. The Zurich-based, much-recognized non-profit institution remains committed to the dissemination of contemporary art, and is now the largest of the few remaining publishers of original printed editions in Switzerland.

Print Art Now marks Edition VFO’s 75th anniversary. It brings together three exhibitions in Switzerland, at the Musée Jenisch in Vevey, the Museo Civico Villa dei Cedri in Bellinzona, and the Kunsthaus Grenchen, all curated on the occasion of the jubilee. They respectively explore the topics of collecting prints today, the technical and artistic challenges of printmaking, and the emancipation of print as a medium within the traditional hierarchy of visual art. The featured artworks demonstrate how print is constantly evolving as an artistic technique and has become equal to painting, photography, sculpture, or video. The beautiful volume also offers an up-to-date survey of printmaking in Switzerland and highlights its relevance in contemporary art practice.

David Khalat is a curator and cultural sociologist serving as director of Edition VFO, Verein für Originalgraphik, in Zurich since 2018.

Scheidegger & Spiess Autumn 2023 21

Edition VFO: 75 years of affordable art in Switzerland

9 783039 421497 ISBN 9783039421497

ment der in den engsten Kurven gerade einmal sieben Meter breiten Fahrbahn – und damit auch die Sicherheit der auf ihr verkehrenden Gespanne gewährleistet werden. Die Chaussee verdankt ihre Festigkeit und Langlebigkeit dem bis heute erhaltenen Granitpflaster. Dank der neuen Infrastrukturen konnten im Sommer ein täglicher Postkutschendienst und im Winter ein regelmässiger Postschlittendienst betrieben werden. Mit dem Durchbruch der Axenstrasse im Jahr 1865 war

liche Transit-Art als Kriterien zugrunde, so bildete die

der Alpenpässe. Von 1860-1880 spielten Pässe die Rolle, die sie seit Urzeiten gespielt hatten, in einem neuen Ausmass und sie regelrechte Pässe-Kultur entstehen. Doch wie oft folgt

der Niedergang kurz nach dem Höhepunkt. Sieg über den Pass: Alfred Escher und sein Werk

bahnverbindung. Das erste Projekt über den Gotthard weiter modernisiert, doch weitsichtige Planer halten sie grundsätzlich bereits für veraltet, weil sie nur von Pferdewagen befahren werden können. Alfred Escher (1819-1882) hatte dies deutlicher erkannt als alle anderen: Langsam aber sicher baute er das «System Escher» auf, das wichtige Ämter und Funktionen, Politik und Wirtschaft zusammenschloss.

29 28 Route du Simplon, Kaltwassergallerie sich das Kräfteverhältnis zwischen Mensch und Pass um; allerdings verloren auch zwei Arbeiter dabei ihr Leben. Doch zum ersten Mal hatte der Mensch die Mittel, das Herzstück des Berges

erobern und ihm seine Route aufzuzwingen. Das berühmte «Urnerloch» – 64 Meter lang, 2 Meter breit und 2,50 Meter hoch er-Brücke

und Göschenen in den Felsen gehauenen Fahr

weg. Zudem liess er den Hospental-Weg, der sich zwi

schen den Felsblöcken bis zur Passhöhe schlängelt und die Tremola-Strasse am Südhang ausbauen. Letztere ist zu Recht legendär, überwindet sie doch auf einer Länge jede einen Namen trägt und von bis zu acht Meter hohen Mauern abgestützt wird – insgesamt 300 Höhenmeter.

Eisenbahntunnels jährlich etwa 70’000 Passagiere und 20’000 Tonnen Güter den Pass. Legt man die Anzahl--

Mit der Bohrung des ersten alpenquerenden Eisenbahntunnels unter dem Gotthardpass verwirklichte er zudem eine alpenquerende Verbindung die Gotthardbahn war in der Folge die erste wintersichere Verbindung durch die Schweizer Alpen. Alfred Escher, ein Angehöriger des Zürcher Grossbürg-von landesweiter Bedeutung (spätere Swiss Life). Er nahm persönlich die Präsidentschaft und die Aufsichtreich die Tunnelbauarbeiten am Mont Cenis in Angriff genommen. Escher erkannte, dass der Schweizer Tunmit Italien verbinden musste. Er hatte massgeblichen Anteil an der Gründung der Eidgenössischen Technischen Hochschule Zürich, heute kurz ETH Zürich. Er leitete die grösste Eisenbahngesellschaft des Landes und gründete die Vereinigten Schweizerbahnen, die sämtliThe Swiss Alpine passes: international transit routes, places of encounter, and a core part of Switzerland’s national identity 193 Mémorial au conflit 1914-1918 Umbrailpass (GR) 109189 Premiers flocons - Oberalppass (GR) Maison des Cantonniers et des Douanes - Stelvio Pass, Italien En compagnie de Cairns - San Bernardino-Pass (GR) San Bernardino - San Bernardino-Pass (GR) 87 86 Vue sur le Grimsel avec Finsteraarhorn (4274 m) - Furkapass (VS)

Bereits zu Beginn des Jahrzehnts zeigt sich für alle die deutliche Notwendigkeit einer alpenquerenden Eisen

Edited and with photographs by Richard von Tscharner Book design by Bernard Stackelberg, Sixty Six Communication Design, Carouge

Hardback approx. 264 pages, 50 color and 84 b/w illustrations

32 × 32 cm

978-3-03942-162-6 English

978-3-03942-156-5 German

sFr. 79.00 | € 77.00 | £ 75.00 | $ 85.00

OCTOBER 2023 (Europe)

MARCH 2024 (US)

The French edition is being published by Infolio editions, Gollion

English German

Alpine Passes of Switzerland Journey to Modernity

A beautifully illustrated book for anyone with an interest in Switzerland and the fascinating history and present of the country’s Alpine passes and transit infrastructure Features newly taken large-format color and black-and-white photographs as well as historic images and maps

Essays illuminate the cultural, military, economic, and social history and importance of Switzerland’s Alpine passes

For centuries, the Alps were an almost insurmountable barrier on the way from Europe’s north to the south, and vice versa. The Romans replaced some of the ancient narrow transalpine mule tracks with their famous roadways. Paved roads were introduced in the 19th century, soon followed by railroads with impressive bridges, viaducts, and tunnels. Today, 120 safe and comfortable highways and roads, as well as high-capacity railroad lines, serve as indispensable transit routes for Europe’s people and economies. Without these passages, Switzerland would be an entirely different country: socially, culturally, economically, and militarily.

Through some 80 large-format color and black-and-white images, Alpine Passes of Switzerland demonstrates the boldness of the country’s modern Alpine crossings, their infrastructure and beautiful landscapes. Additional historic photographs convey earlier generations’ courage and pioneering efforts to build the roads and railtracks that connect Europe’s nations. Supplementary essays trace the history of the Alpine passes and highlight their significance for Swiss national identity, explain their military importance, and describe the vision that preceded the construction of new base tunnels across the St. Gotthard and Lötschberg massifs between 1994 and 2016: the future of rail transit across the Alps lies deep underground.

2023 23

Richard von Tscharner, born in 1947, has made a 34-year career in Swiss private banking. Now based in Switzerland and Dubai, he has been working as a freelance photographer since 2007, with a special interest in landscape photography.

Scheidegger & Spiess Autumn

9 783039 421565 ISBN 9783039421565 9 783039 421626 ISBN 9783039421626

lausannoise des années 1960 ; c’est à Lausanne, lors des Biennales internationales de la tapisserie (1962-1995), que son œuvre novateur et inclassable sera découvert par le monde de l’art et que sa carrière internationale sera lancée.

Nombreuses sont les empreintes laissées dans notre région par Abakanowicz. Accueillie à Lausanne dès 1962 et soutenue pendant vingt-cinq ans par la galerie Alice Pauli, l’artiste est entrée dans de nombreuses collections privées et publiques, régionales et nationales. C’est ainsi que, grâce à de généreuses donations, dont celles d’Alice Pauli elle-même et celle des collectionneurs et mécènes Pierre et Marguerite Magnenat, notre Fondation compte aujourd’hui dans ses réserves cinquante œuvres de la créatrice, ce qui constitue le fonds le plus riche hors de Pologne.

Les détails, parfois intimes, de cette page d’histoire lausannoise n’ont jamais été publiés en français. Magali Junet, conservatrice de la Fondation Toms Pauli, les révèle aujourd’hui dans le présent ouvrage. Marta Kowalewska, conservatrice en chef du Musée central des textiles de Łódź, retrace pour sa part la formation, les influences et la carrière de l’artiste dans une Pologne à l’époque derrière le rideau de fer.

Sculpter l�espace

Lorsque nous examinons les deux premières décennies de l’œuvre de Magdalena Abakanowicz (1960-1980), nous découvrons un ferment créatif, une force capable de transcender le cadre traditionnel des disciplines artistiques. Il s’agit de la période la plus avant-gardiste du parcours de l’artiste, mais aussi de la moins étudiée. L’attitude d’Abakanowicz elle-même n’est pas ici sans importance, tant elle rechignait par la suite à revenir vers ses premiers travaux. Cette période extrêmement passionnante permet d’avoir une vision plus large, de pénétrer dans l’espace des problèmes artistiques complexes, de ses dépendances et de ses connexions.

Magdalena Abakanowicz a été façonnée par la dure réalité de la guerre, mais aussi par les difficiles années d’après-guerre, une période de pauvreté, d’effondrement de valeurs, de questionnements de l’humanisme et de la foi en l’homme. De plus, l’époque communiste interrogeait le rôle de l’art. Le quotidien de nombreux artistes était, comme pour elle, de trouver de nouvelles voies d’expression – chacun à sa manière et à la mesure de sa sensibilité. Magdalena Abakanowicz cherchait son propre espace.

Magdalena Abakanowicz and

of Lausanne Fig. 7 Magdalena Abakanowicz Metamorphizm Musée central des textiles de Łódź, 2018 Rectangle avec ouverture ronde 1973 → N° 35 Fig. 8 Magdalena Abakanowicz Metamorphizm Musée central des textiles de Łódź, 2018 Abakan étroit et Abakan 29 1967-1968 → N° 18, → N° 21 Fig. 9 M. Abakanowicz, C. Bolle, A. Kierzkowska, J. Owidzka, D. Voïta (de gauche à droite) Biennale de la tapisserie de Lausanne, 1962, visite à Romainmôtier Fig. 10 Biennale de la tapisserie de Lausanne, 1962 Tapisseries de J. Owidzka, M. Abakanowicz et W. Sadley 7

Quel meilleur choix que Magdalena Abakanowicz (1930-2017) pour inaugurer, sur le site de Plateforme 10, notre première collaboration avec le Musée cantonal des Beaux-Arts ? En effet, les premiers succès de l’artiste hors de sa Pologne natale sont intimement liés à l’histoire

The fruitful

relationship between Polish artist

the Swiss city

Préface

Je cherche mon propre espace. Magdalena Abakanowicz 84 85 Fig. 47 Magdalena Abakanowicz travaillant Abakan jaune Varsovie, 1967-1968 Fig. 48 Tournage du documentaire Abakany 1969 Łeba, côte de la mer Baltique, Pologne Fig. 49 Abakan noir en trois parties 1972 Musée central des textiles de Łódź

Edited by the Fondation Toms Pauli, Magali Junet, and Giselle Eberhard Cotton

Book design by Atelier Valenthier, Lausanne

Paperback

128 pages, 34 color and 27 b/w illustrations

17 × 23.5 cm

978-3-85881-891-1 French

sFr. 39.00 | € 38.00 | £ 32.00 | $ 45.00

AVAILABLE (Europe)

First book in French since 2004 on the work of Magdalena Abakanowicz (1930–2017), one of the most distinguished international textile artists.

Highlights the early period of Abakanowicz’s career until 1985, in which her stays in Lausanne and her participation in the Biennale of Tapestry there were of great importance

Exhibition: Magdalena Abakanowicz: Territoires textiles at the MCBA in Lausanne (June 23 to September 24, 2023)

Magdalena Abakanowicz à Lausanne

A pioneer of the Nouvelle Tapisserie (New Tapestry) movement, Polish artist Magdalena Abakanowicz (1930–2017) revolutionized the practice of weaving in the 1960s. She elevated this craft to the status of sculptural expression, using the possibilities of organic fibers such as wool, sisal, and linen as living, malleable materials to realize her artistic vision based on the observation of nature and man. Her spectacular wall-mounted and spatial woven works made her name internationally and marked several editions of the Biennale of Tapestry, held in the Swiss city of Lausanne between 1962 and 1995. This French-language book illuminates the crucial role that Lausanne played at the beginning of Abakanowicz’s international career and in her artistic explorations. Her reflections and creative paths are juxtaposed with places and encounters in Lausanne and the rest of Switzerland: the Bienniale of Tapestry and the Alice Pauli Gallery, local patrons and collectors of art, scholars, and friends.

The Fondation Toms Pauli is entrusted with the preservation of the Swiss Canton of Vaud’s collection of textile art, making it accessible to the public through exhibitions in Switzerland and internationally.

Magali Junet is an art historian and curator at the Fondation Toms Pauli in Lausanne.

Giselle Eberhard Cotton is an art historian and the founding director of Fondation Toms Pauli in Lausanne. Scheidegger & Spiess

Autumn 2023

9 783858 818911

ISBN 9783858818911

Les fausses affiches déchirées de Doğançay ont été exposées en 2008 au Pera Museum d’Istanbul et en 2009 au Centre d’art Pasquart en Suisse, en regard de « décollages » de Jacques Villeglé.

Urban walls as projection surfaces of public debate: the paintings of Burhan Dog˘ançay

MURS DE PEINTURE GEMALTE WÄNDE Pour Burhan Doğançay, le tableau est un dispositif complexe, qui comporte non seulement des qualitout en jouant dans l’espace à la manière d’une illusion. L’œuvre artistique de Doğançay débute vérita

blement en 1963 à New York, et elle est étroitement liée à cette métropole. Elle puise son inspiration dans l’observation des murs et façades, dont les traces graffitis, affiches arrachées, dans la rue comme dans le métro racontent le quotidien de l’espace public urbain. Pour l’artiste, ces vestiges représentent en eux-mêmes des œuvres d’art abstraites, dont la valeur esthétique est évidente. Déjà Léonard de Vinci attribuait une qualité esthétique aux murs et aux parois délabrés, et, dans l’art moderne du XXe siècle, des artistes comme Jean Dubuffet ont insisté sur la dimension murale de la pein

Burhan Dogançay versteht das Tafelbild als komplexes vielschichtiges System, das faktisch flächige, taktil materielle sowie illusionistisch räumliche Qualitäten in sich trägt. Dogançays künstlerisches Hauptwerk setzt 1963 in New York ein, und ist eng mit der Metropole verbunden. Mauern und Wände im öffentlichen Raum der Stadt fungieren hierbei als Inspirationsfelder. Es sind die Spuren des Alltags, die die Bilder der Stadt markieren: Graffitis, abgerissene Plakatwände auf den Straßen und in

ler Ästhetik dar, und schon Leonardo da Vinci hatte den verwitterten Mauern und Wänden eine künstlerische Qualität zugesprochen. In der Moderne des 20. Jahrhunderts legen Künstler wie etwa Jean

Cette figure du Nouveau Réalisme, avait pour programme destruction et réalité versus création et virtualité. Au début des années 1970, les tableaux de Doğançay montrent des fragments de logos, de chiffres et de lettres aux couleurs vives, dont la sur

face lisse et séduisante rappelle la carrosserie d’une voiture de course criblée d’autocollants publici-té et la centralité de certains glyphes leur confèrent une esthétique hard edge, abstraite et minimaliste. Parfois, les lambeaux d’affiches apparemment ar

Dogançays fiktive Abriss-Plakatbilder wurden 2008 d›art Pasquart in der Schweiz in einer Ausstellung mit den Décollagen von Jacques Villeglé, Protagonist des Nouveau Realisme, gegenübergestellt: Destruktion und Realität versus Kreation und Virtualität als Bild. Abrisse von Logos, Zahlen und Schriften in kräftigen Farben geraten in von Dogançay, in verführerischer Oberflächenpolitur, der Karosserie eines Rennwagens mit Werbeaufklebern und Rennnummern ähnlich. Durch deren Monumentalität und Konzentration auf wenige Schriftzeichen erhalten sie eine abstrakt minimalistische Hard Edge-Ästhetik. Manchmal rollen sich die scheinbar abgerissenen Plakatfetzen

taux ou des formes coniques en trompe-l’œil, qui semblent s’incurver dans l’espace. C’est alors que le tableau se mue en objet fictif. Souvent – notamment dans les Cones des années 1980 – Doğançay applique sur la surface du tableau de petits morceaux d’affiches qu’il fait lui-même

FLORIAN

10 11 La traditionnelle « fenêtre sur le monde » que constituait le tableau se trouve ici refermée l’illusion est refusée au profit d’une qualité tactile et d’une inscription apparemment anonyme de l’œuvre – comme si le vent, les intempéries et les interventions extérieures avaient créé le tableau. Des photographes tels qu’Aaron Siskind et Brassaï ont immortalisé les murs et les graffitis et transformé des situations quotidiennes en impressions photographiques. Les œuvres de Doğançay s’inscrivant dans la série des Urban Walls sont des dispositifs hybrides dans lesquels se côtoient matériaux préexistants (affiches déchirées utilisées pour les collages) et artefact (faux murs peints sur toile, panneau de bois ou papier). Billboard (1964) est l’un des premiers exemples de cette période. L’œuvre se trouve depuis l’année de sa création au Solomon R. Guggenheim Museum (New York). L’embrasure de la porte ou de la fenêtre semble recouverte de lattes de bois brun, la

plutôt des inscriptions fragmentaires, qui deviennent centraux dans des compositions picturales au style maniériste. Le tableau de Doğançay semble procéder du « décollage », comme un panneau d’affichage dont les multiples Mais la complexité de cet enchevêtrement est recréée de toute pièce, avec de la peinture à l’huile et des pinceaux, formant un véritable trompe-l’œil. Les ombres et les matières sont simulées le tableau redevient l’écran de projection d’une illusion il accueille en lui tout un univers spatial, et non simplement une surface matérielle factice. illusionistische Blick verwehrt zugunsten einer takscheinbar anonymen Handschrift der Arbeit – so als ob Wind, Wetter und Fremdeingriffe das Bild geschaffen hätten. Die Künstlerfotografen Aaron Siskind sowie Brassaï dokumentierten mit der Kamera Mauerstrukturen und Graffitis und transformierten die alltäglichen Situationen in Lichtbilder. Dogançays Werke der Urban Walls sind hybride Systeme zwischen real Materiellem, wie Plakatabrisse in Form von Collagen und gemalt fingierten Wänden auf Leinwand, Holztafeln oder Papier.plare aus dieser Phase und befindet sich seit dem Entstehungsjahr im Solomon R. Guggenheim Museum, New York. Eine Tür- oder Fensterausnehmung scheint mit braunen Holzlatten beplankt zu sein, den Blick in die Tiefe versperrt zugunsten der Bildfläche und materiellen Stofflichkeit des Bildes. Auf dieser Oberfläche flottieren graffitiartige Kürzel und Plakatabrisse. Diese Werke sind von einer gewissen Rohheit bestimmt, die im Laufe des Jahrzehnts von einer poppigen Farbgebung und glänzenden Glätte der Bildoberfläche abgelöst werden. Die Schrift, bzw. die fragmentierte Schrift, tritt mehr in das Zentrum der Bildgestaltung, die in einer malerisch manieristischen Art umgesetzt wird. Man hat das Gefühl als wäre Dogançays Bild eine Décollage, eine vielschichtige Plakatwand, die an unterschiedlichen Stellen zerr- und abgerissen wurde. Diese Vielschichtigkeit fingiert nun der Künstler mit Ölfarbe und Pinsel ein gemaltes Trompe-l›œil-Bild. Schatten und Materie werden

Bild wird wieder Projektionsfläche der Illusion undriellen Oberfläche.

STEININGER

perspective se trouvant comme entravée par la surface du tableau et sa dimension matérielle. Sur cette surface semblent se mouvoir des genres de graffiti et des lambeaux d’affiches. De telles œuvres se caractérisent par une certaine rudesse, qui laissera place, au cours de la décennie, une palette plus pop et à un polissage de la surface du tableau. C’est alors l’écriture, ou

vorgetäuscht, das

rebiquer, et les com-

zusammen und bilden ornamentale Strukturen, sowie optisch illusionistische Trichterformen, die sich imaginativ in den Raum wölben. Das Bild mutiert zum fiktiven Objekt. Des Öfteren – in den Cone-Bildern der 1980er-Jahre – appliziert aber Dogançay die Bildfläche mit einer Reihe von faktisch gerollten Plakatstückchen – in Verbindung mit bildlichem oder zeichenhaften Plakatmaterial. Ein spannungsreiches Wechselverhältnis im musterastigem All over. Eine ornamentale Note weisen ebenso die Gemälde der Ribbon-Serie auf, die Figuration und Text tritt zugunsten einer abstrakten Komposition in den Hintergrund. Aus monochromen Bildgründen schälen sich komplexe Schleifensysteme heraus, die deutlich an kalligrafische Strukturen erinnern. Die Kalligrafie wird zum monumentalen Image, zum scheinbar gestischen Zeichen. Hierbei zeigen sich Parallelen zu US-amerikanischen absBurhan Dogançay (1964) Presented by Benjamin Kaufmann in memory of the Dévidoirenregistreur(1978) Albright-Knox Art Gallery, Buffalo George B. and Jenny R. Mathews (1964) Solomon R. Guggenheim Museum, New York Gift, Consular Corps Committee of the City of New York, Department of Public Events Jacques Villeglé (1964) Museu Coleção Berardo, Lisboa 14 15 Burhan Dogançay Yankees and Beatles (1964) Tate, London Presented by Benjamin Kaufmann in memory of the artist and in honour of his wife Angela Dogançay Burhan Dogançay Yankees and Beatles (1964) Tate, London Presented by Benjamin Kaufmann in memory of the artist and in honour of his wife Angela Dogançay 17 BURHAN DOĞANÇAYS VERPASSTE BEGEGNUNGEN MIT DER KUNSTSZENE SEINER ZEIT “When visited the State of Israel in 1975, it was destined to be the first country featured in what has since become my monumental photographic documentation Walls of the Armed with a letter of recommendation penned by Thomas M. Messer, the Director of The Guggenheim Museum in New York, Burhan Doğançay arrived in Israel in 1975. The multilayered social and architectural fabric there, coupled with the tumultuous socio-political landscape, would have a lasting impact on his artistic practice. Beginning with his explorations of the walls of New York in the 1960s, he made the decision to focus on neighborhoods that were largely associated with disenfranchised segments of society. This strategic intentionality in search of “hunting grounds,” as he put it, combined with a great deal of serendipity, took him to areas that reflected the dynamic and shifting nature of urban life in Jerusalem and Tel Aviv. The walls, doors, and signage that he encountered were laden with rich and evocative imagery and featured at least three languages—Arabic, Hebrew, and English. “When visited the State of Israel in 1975, it was destined to be the first country featured in what has since become my monumental photographic documentation Walls of the Armed with letter of recommendation penned by Thomas M. Messer, the Director of The Guggenheim Museum in New York, Burhan Doğançay arrived in Israel in 1975. The multilayered social and architectural fabric there, coupled with the tumultuous socio-political landscape, would have a lasting impact on his artistic practice. Beginning with his explorations of the walls of New York in the 1960s, he made the decision to focus on neighborhoods that were largely associated with disenfranchised segments of society. This strategic intentionality in search of “hunting grounds,” as he put it, combined with a great deal of serendipity, took him to areas that reflected the dynamic and shifting nature of urban life in Jerusalem and Tel Aviv. The walls, doors, and signage that he encountered were laden with rich and evocative imagery and featured at least three languages—Arabic, Hebrew, and English. LES RENDEZ-VOUS MANQUÉS DE BURHAN DOĞANÇAY AVEC LA SCÈNE ARTISTIQUE DE SON ÉPOQUE 21 Burhan Doğançay kommt am 11. September als erstes der drei Kinder von Adil Doğançay, Maler und Vermessungsoffizier der türkischen Armee, und seiner Frau Hediye in Istanbul zur Welt. Seine Kindheit verbringt er in der Türkei, wo er bereits mit vier Jahren zu zeichnen beginnt, ermutigt von seinem Vater, den er auf Reisen begleitet. Als Heranwachsender wird er vom Maler Arif Kaptan unterrichtet. In Ankara studiert er, spielt in der Fussballmannschaft von Gençlerbirliği und schliesst 1948 sein Jurastudium ab. Er reist nach Paris, um Ökonomie zu studieren undmière zu besuchen. Zu Beginn seines Aufenthalts lebt er mehrere Monate in Honfleur, um Französisch zu lernen. Er spielt in der lokalen Fussballmannschaft und stellt seine Werke in einem Fischgeschäft aus. 1953 promoviert er über «Die Rolle der Genos-wirtschaft», was ihn zu einer Forschungsreise nach Dänemark veranlasst. Er reist auch nach Schweden, Deutschland, in die Schweiz und nach Italien und nimmt an Gruppenausstellungen in der Maison américaine der Cité Er kehrt nach Ankara zurück, nimmt eine Stelle im Handelsministerium an und zeigt die erste von drei gemeinsamen Ausstellungen mit seinem Vater (1957, 1959) im Club der Kunstliebhaber in Ankara. Burhan Doğançay kommt am 11. September als erstes der drei Kinder von Adil Doğançay, Maler und Vermessungsoffizier der türkischen Armee, und seiner Frau Hediye in Istanbul zur Welt. Seine Kindheit verbringt er in der Türkei, wo er bereits mit vier Jahren zu zeichnen beginnt, ermutigt von seinem Vater, den er auf Reisen begleitet. Als Heranwachsender wird er vom Maler Arif Kaptan unterrichtet. In Ankara studiert er, spielt in der Fussballmannschaft von Gençlerbirliği und schliesst 1948 sein Jurastudium ab. Er reist nach Paris, um Ökonomie zu studieren undmière zu besuchen. Zu Beginn seines Aufenthalts lebt er mehrere Monate in Honfleur, um Französisch zu lernen. Er spielt in der lokalen Fussballmannschaft und stellt seine Werke in einem Fischgeschäft aus. 1953 promoviert er über «Die Rolle der Genos-wirtschaft», was ihn zu einer Forschungsreise nach Dänemark veranlasst. Er reist auch nach Schweden, Deutschland, in die Schweiz und nach Italien und nimmt an Gruppenausstellungen in der Maison américaine der Cité universitaire de Paris teil. Er kehrt nach Ankara zurück, nimmt eine Stelle im Handelsministerium an und zeigt die erste von drei gemeinsamen Ausstellungen mit seinem Vater (1957, 1959) im Club der Kunstliebhaber in Ankara. CHRONOLOGIE 1929 1933–1948 1950–1955 1955 25

Edited by Bénédicte De Donker Book design by Atelier Valenthier, Lausanne

Hardback

approx. 168 pages, 120 color

illustrations

21 × 30 cm

978-3-03942-180-0 French / German

sFr. 49.00 | € 48.00 | £ 45.00 | $ 55.00

OCTOBER 2023 (Europe)

MARCH 2024 (US)

Les murs de Burhan Dog˘ançay

First new book on Turkish American artist Burhan Dog˘ançay (1929–2013) in ten years

Burhan Dog˘ançay’s work is widely acclaimed and is represented in the collections of major international museums, such as the Guggenheim, Metropolitan Museum of Art, and MoMA (New York); the British Museum, Tate Modern, and V&A (London); LACMA (Los Angeles); and Moderna Museet (Stockholm)

Exhibition: Les murs de Burhan Dog˘ançay at the Musée d’art et d’histoire in Geneva (September 23, 2023 to February 11, 2024) and the Kunst Museum Winterthur (spring 2024)

Upon his arrival in New York in the 1960s, Istanbul-born artist Burhan Dog˘ançay (1929–2013) became deeply fascinated by the visual aesthetics of urban walls and murals. His interest focused on exploring public space and its significance as a forum for the debate of social and political as well as artistic norms. He continuously sketched and photographed walls and doorways, transferring many of the captured motifs into paintings. Over more than four decades, Dog˘ançay compiled a vast body of photographic testimonials of urban life and discourse which he titled Walls of the World: a unique archive comprising some 30,000 images from 114 countries.

This bilingual French–German book features a selection of Dog˘ançay’s paintings and photographs from various series within the entire Walls of the World collection. The pictures—like the walls themselves—are the result of superimposed layers and techniques. Through this use of different painting and collage techniques, they reflect the temporal dimension of these surfaces with the scribbles, posters, scraps, and graffiti accumulated on them. The essays that supplement the images investigate Dog˘ançay’s ongoing engagement with the urban wall as a projection surface as well as his method of combining photography and sketching as the basis for his remarkable graphic and painted art.

Autumn

27 9 783039 421800 ISBN 9783039421800

Bénédicte De Donker is the curator of prints and drawings at the Musée d’art et d’histoire in Geneva.

Scheidegger & Spiess

2023

Markus Raetz three-dimensional: the objects and mobiles

Edited by Kunstmuseum Bern, Stephan Kunz, and Nina Zimmer Book design by Thomas Rhyner, Zurich / Vienna

Paperback approx. 128 pages, 50 color

illustrations

20 × 27 cm

978-3-03942-152-7 French / German

sFr. 39.00 | € 38.00 | £ 40.00 | $ 45.00

OCTOBER 2023 (Europe)

ISBN 9783039421527

9 783039 421527

Markus Raetz

Atelier

Markus Raetz (1941–2020) ranks among the most significant contemporary Swiss artists, whose work is highly regarded internationally

This is the first book to focus on Markus Raetz’s three-dimensional objects and mobiles, most of which have only rarely been on public display and are so far little published

Illustrated with photographs newly taken at Markus Raetz’s preserved studio in Switzerland

Exhibition: MARKUS RAETZ. oui non si no yes no at the Kunstmuseum Bern (September 8, 2023 to February 25, 2024)

Markus Raetz (1941–2020) is widely recognized as one of Switzerland’s most significant contemporary artists. His multifaceted oeuvre includes some 1,500 sculptures, installations, and objects. They are works that make us playfully aware of how strongly our perception of the world depends on the point of view we take.

This bilingual French–German book, published in conjunction with a major Markus Raetz retrospective at the Kunstmuseum Bern in summer 2023, focuses on the artist’s objects and mobiles, most of which have only so far been sporadically on public display. Essays by curator Stephan Kunz and French art historian and curator Didier Semin explore this part of Raetz’s work and place it within the overall context of his art. These are complemented by images newly taken by Swiss photographer Alexander Jaquemet in Raetz’s preserved studio, thus providing a direct insight into the artist’s former working environment.

Stephan Kunz is artistic director of Bündner Kunstmuseums Chur and curator of the 2023 exhibition MARKUS RAETZ. oui non si no yes no at the Kunstmuseum Bern.

Nina Zimmer is director of the Kunstmuseum Bern and its affiliate Zentrum Paul Klee.

Didier Semin is a professor emeritus of art history at the École Nationale Supérieure des Beaux-arts in Paris and a former curator of contemporary art at Paris’s Centre Pompidou.

Alexander Jaquemet is a Swiss photographer best known for his atmospheric black-and-white landscape images.

Scheidegger & Spiess Autumn 2023

Guardians of silence: a visual and poetic approach to trees and forests in art

Features art by

Alexandre Calame

Paul Cézanne

Jean-Baptiste Camille Corot

Gustave Doré

Albrecht Dürer

Valérie Favre

Ferdinand Hodler

Barthélemy Menn

Rembrandt Harmenszoon van Rijn

Paul Signac

Victor Surbek

Félix Vallotton

Uwe Wittwer

Robert Zünd and others

Edited by Nathalie Chaix and Laura Salvadori Book design by Dimitri Jeannottat, Biel/Bienne

In cooperation with the Musée Jenisch Vevey

Hardback

256 pages, 142 color illustrations

14.5 × 21 cm

978-3-85881-892-8 French

sFr. 35.00 | € 35.00 | £ 35.00 | $ 40.00

AVAILABLE (Europe)

ISBN 9783858818928

Gardiens du silence

A beautifully designed and inspiring, visual-poetic walk into the world of trees and forests in art Artistic representations of trees from the 16th to the 21st century are complemented by poems written especially for this book

Exhibition: Gardiens du silence : évocation poétique des arbres at the Musée Jenisch in Vevey, Switzerland (June 21 to October 29, 2023)

Trees and forests are often described as guardians of silence, sentinels of humanity, and wonderful representatives of the plant world. What makes the fascination of trees? How have artists of the past depicted them, and how do women artists represent them today?

This French-language book takes an unusual look at these indispensable creatures of nature. Artistic representations from six centuries—including paintings, drawings, prints, sculptures, and photographs—demonstrate their beauty and magic. The images are complemented by poems written especially for an exhibition at the Musée Jenisch in Vevey, Switzerland, and for this coinciding, beautifully designed volume. Together they form a visual-poetic walk, enabling the reader to experience the forest as a mirror, a refuge, and a source of almost unlimited material and metaphorical inspiration.

Nathalie Chaix is an art historian and director of Musée Jenisch in Vevey, Switzerland, where Laura Salvadori serves as an assistant curator of fine arts.

Scheidegger & Spiess Autumn 2023

9 783858 818928

Edited by Beat Stutzer Book design by Benoit Chevallier, Geneva

Hardback

216 pages, 182 color illustrations

21.5 × 28 cm

978-3-03942-148-0 French / German

sFr. 49.00 | € 48.00 | £ 50.00 | $ 55.00

AVAILABLE (Europe)

ISBN 9783039421480

First monograph on Swiss artist Ladina Gaudenz, featuring her work of more than three decades

Highlights the painterly finesse, poetry, and empathy that characterize Ladina Gaudenz’s art

Illustrates how Gaudenz’s work is shaped by the poles of periphery (her native Engadine valley) and center (her residential city of Geneva)

Ladina Gaudenz

La face cachée de l’instant

From the outset of her career, Swiss artist Ladina Gaudenz, born in 1962, has been dealing with the close yet fragile relationships between mankind and nature, the environment, and technology. She explores facets and states of these relationships via convincing creative means, resulting in sensual, densely atmospheric paintings, while the boundaries between individual memory, references to tradition, and social commitment remain fluid.

This bilingual French–German book is the first comprehensive survey of Ladina Gaudenz’s work of more than three decades. While painting is at its core, she has also created drawings, murals, and installations. Five essays by Françoise Jaunin, writer and art critic, Rainer Michael Mason, scholar of art history, Seraina Peer, art historian and researcher, Karine Tissot, art historian and educator, and the book’s editor Beat Stutzer discuss the evolution of Gaudenz’s artistic themes, the techniques she employs, her public displays, and the reception of her oeuvre as a whole, placing it in the context of contemporary Swiss art.

Beat Stutzer is an art historian, writer, and curator based in Lucerne.

& Spiess Autumn 2023 32

Our relation to nature, the environment, and technology: the art of Ladina Gaudenz

Scheidegger

783039 421480

Edited by the Federal Office of Culture FOC

Book design by Ard.works, Lausanne /

London

3 booklets in box

144 pages, 49 color and 48 b/w illustrations

22 × 30 cm

978-3-03942-157-2

English / French / German / Italian

sFr. 35.00 | € 35.00 | £ 30.00 | $ 40.00

AVAILABLE (Europe)

FEBRUARY 2024 (US)

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

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

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

Swiss Grand Award for Design 2023

Etienne Delessert, Eleonore Peduzzi Riva, Chantal Prod’Hom

Etienne Delessert, born in Lausanne in 1941 and based in Lakeville, Connecticut, made his name as a graphic designer and illustrator in Paris and New York with advertising campaigns and posters, and later gained wide renown for his illustrations, animated films, and paintings. He has illustrated more than 80 books, all of which have become worldwide successes.

Eleonore Peduzzi Riva, born in Basel in 1936, worked as a designer and design consultant for major brands such as Cassina, Artemide, and De Sede. The DS-600 modular sofa of 1972, created in collaboration with Ueli Berger, Heinz Ulrich, and Klaus Vogt, is an expression of her goal to enable people to design their personal habitat.

Chantal Prod’Hom, also born in Lausanne in 1957, founded the Asher Edelman Foundation in the 1990s, where she staged visionary exhibitions featuring little-known artists, and traveled the world in search of design talent for Benetton’s famous Fabrica. Between 2000 and 2022, she directed her native city’s Musée cantonal de design et d’arts appliqués contemporains (mudac). Through her tireless commitment, she shapes and fosters public perception of design.

Switzerland’s Federal Office of Culture has awarded the 2023 Swiss Grand Award for Design to Etienne Delessert, Eleonore Peduzzi Riva, and Chantal Prod’Hom. This book introduces each of them through a concise text and an 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 Autumn 2023 33 9 783039 421572 ISBN 9783039421572

The 2023 laureates of Switzerland’s national design award

Between abstraction and tradition: Sam Francis’s fruitful encounters with Japanese culture

The Space of Effusion Sam Francis in Japan

978-3-85881-861-4 English

sFr. 75.00 | € 68.00 | £ 60.00 | $ 65.00

Vibrant metropolis and placid

Switzerland: Lill Tschudi’s modernist linocuts

Lill Tschudi

The Excitement of the Modern Linocut 1930–1950

978-3-03942-057-5 English / German

sFr. 39.00 | € 38.00 | £ 35.00 | $ 45.00

The monotype is a print and one-of-a-kind at the same time—Marguerite Saegesser was a master of this technique

Marguerite Saegesser American Monotypes

978-3-03942-133-6 English / German

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

A unique insight into Marina Abramovic´s biography and art and what connects the two Psychoanalyst meets Marina Abramovic´ Artist meets Jeannette Fischer

978-3-85881-794-5 English

978-3-85881-546-0 German

sFr. 19.00 | € 19.00 | £ 18.00 | $ 20.00

A unique visual study of spatial change in Switzerland since 2005

Urban Change Over Time

The Photographic Observation of Schlieren 2005–2020 Reveals How Switzerland Is Changing

978-3-03942-140-4 English

978-3-03942-139-8 German

sFr. 79.00 | € 77.00 | £ 70.00 | $ 85.00

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

Paul Klee

The Sylvie and Jorge Helft Collection

978-3-03942-107-7 English

978-3-03942-106-0 German

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

An entirely new artistic approach to Le Corbusier’s iconic chapel of Notre-Dame-du-Haut in Ronchamp

Le Corbusier Ronchamp Siegrun Appelt 978-3-85881-695-5

An illustrated reader on the highly topical subject of tribal art in the museums of the Global North Pathways of Art How Objects Get to the Museum

978-3-03942-097-1 English

978-3-03942-096-4 German sFr. 39.00 | € 38.00 | £ 32.00 | $ 40.00

English

German sFr. 39.00 | € 38.00

£ 35.00

40.00 Scheidegger & Spiess Key Titles 34 9 783039 420575 ISBN 978-3-03942-057-5 English German 9 783858 817945 ISBN 978-3-85881-794-5 9 783858 815460 ISBN 978-3-85881-546-0 English German 9 783039 421077 ISBN 978-3-03942-107-7 9 783039 421060 ISBN 978-3-03942-106-0 9 783858 818614 ISBN 9783858818614 English German 9 783039 420971 ISBN 978-3-03942-097-1 9 783039 420964 ISBN 978-3-03942-096-4 9 783858 816955 ISBN 978-3-85881-695-5 9 783039 421336 ISBN 9783039421336 English German 9 783039 421404 ISBN 9783039421404 9 783039 421398 ISBN 9783039421398

| $

The life and work of Meret Oppenheim: insights, interpretations, and indications

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

New works by painter and former art forger Wolfgang Beltracchi alongside texts by distinguished authors

Wolfgang Beltracchi

The Return of Salvator Mundi

978-3-03942-142-8 English

978-3-03942-138-1 German

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

Very intimate insights: Meret Oppenheim’s album and autobiography

Meret Oppenheim—My Album

The autobiographical Album “From Childhood until 1943” and her handwritten biography

978-3-03942-093-3 English / German

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

Emotional prodigy—and brilliant art forger: Wolfgang Beltracchi

Psychoanalyst Meets Helene and Wolfgang Beltracchi

Artist Couple Meets Jeannette Fischer

978-3-03942-071-1 English

978-3-03942-070-4 German

sFr. 25.00 | € 19.00 | £ 20.00 | $ 25.00

The entertaining album of a journey with design objects by Italian architect and designer Matteo Thun

In the Summer of 2009

Photographs by Walter Pfeiffer, Design by Matteo Thun

978-3-03942-137-4 English

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

The multifaceted, always surprising early work of Swiss artist and designer HR Giger

HR Giger

The Oeuvre Before Alien 1961–1976

978-3-03942-136-7 English

sFr. 49.00 | € 48.00 | £ 42.00 | $ 50.00 OCTOBER 2023 (Europe) JANUARY 2024 (US)

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

Soviet Design

From Constructivism to Modernism. 1920–1980

978-3-85881-846-1

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

HR Giger by Camille Vivier

978-3-03942-116-9 English / German

sFr. 99.00 | € 97.00 | £ 85.00 | $ 110.00

English sFr.

65.00

85.00 Scheidegger & Spiess Key Titles 35 English German 9 783039 420711 ISBN 978-3-03942-071-1 9 783039 420704 ISBN 978-3-03942-070-4 English German 9 783039 420636 ISBN 978-3-03942-063-6 9 783039 420469 ISBN 978-3-03942-046-9 9 783039 420933 ISBN 978-3-03942-093-3 9 783858 818461 ISBN 978-3-85881-846-1 English German 9 783039 421428 ISBN 9783039421428 9 783039 421381 ISBN 9783039421381 9 783039 421367 ISBN 9783039421367 9 783039 421169 ISBN 978-3-03942-116-9 9 783039 421374 ISBN 9783039421374

99.00 | € 77.00 | £

| $

Scheide gger & Spiess

Art I Photography I Architecture

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Cover image: Children in Czechoslovakia, ca. 1946 © 2023 Ernst Scheidegger Archive Foundation, Zurich. From the book Ernst Scheidegger. Photographer (see pages 8/9) Scheidegger & Spiess is being supported by the Swiss Federal Office of Culture with a general subsidy for the years 2021–2024.

July 2023. 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.

Scheidegger & Spiess Autumn International Catalogue 2023

Scheidegger & Spiess

Art I Photography I Architecture

Contents

Hannah Höch Assembled Worlds

Circle! Square! Progress!

Zurich’s Concrete Avant-garde. Max Bill, Camille Graeser, Verena Loewensberg, Richard Paul Lohse and Their Times

Ernst Scheidegger Photographer

First publication of Alberto Giacometti’s family letters

Alberto Giacometti—Family Letters

Ibram Lassaw’s wearable sculptures

Quanta of Space

The Bosom Sculpture of Ibram Lassaw

Lang/Baumann. Models

From Albrecht Dürer to Andy Warhol

Highlights from the Graphische Sammlung ETH Zürich

Igniting Penguins

A Manifesto for Painting

through

Jürg Halter, Uwe Wittwer

Deserted Boat Drifting Towards the Moon

From Here

A

Photographic-Literary

Encounter with Buildings by Aebi & Vincent Architekten

Print Art Now

Alpine Passes of Switzerland Journey to Modernity

Sculpter l�espace

Magdalena Abakanowicz à Lausanne

Urban walls as projection surfaces of public debate: the paintings of Burhan Dog˘ançay

Les murs de Burhan Dog˘ançay

Markus Raetz three-dimensional: the objects and mobiles

Markus Raetz

Guardians of silence: a visual and poetic approach to trees and forests in art

Features art by

Gardiens du silence

Ladina Gaudenz

Swiss Grand Award for Design 2023

Scheide gger & Spiess

REPRESENTATIVES AND AGENTS

Articles inside

Swiss Grand Award for Design 2023

Gardiens du silence

Les murs de Burhan Dog˘ançay

Magdalena Abakanowicz à Lausanne

Sculpter l�espace

Alpine Passes of Switzerland Journey to Modernity

Photographic-Literary

Deserted Boat Drifting Towards the Moon

From Albrecht Dürer to Andy Warhol

Lang/Baumann. Models

Quanta of Space

Alberto Giacometti—Family Letters

Ernst Scheidegger Photographer

Circle! Square! Progress!