Page 1

2018

ENGLISH


WELCOME TO THE KUNSTHAUS!

Open Fri – Sun / Tues 10 a. m. – 6 p. m. Wed – Thu 10 a. m. – 8 p. m. Public Holidays 10 a. m. – 6 p. m. 24 / 26 December 2017 31 December 2017 1 / 2 January 2018 Easter 30 March – 2 April 2018 1 May 2018 Ascension 10 May 2018 Whitsun 19 – 21 May 2018 1 August 2018 26 December 2018 1 / 2 January 2019 Closed Mondays (exceptions see above) 25 December 2017 24 / 25 December 2018 31 December 2018 Admission From CHF 16 / 11 (concessions and groups) to CHF 23 / 18 (concessions and groups) Members and up to 16 years old free of charge

Directions From Zurich main station tram no. 3 or bus no. 31 to the ‘Kunsthaus’ stop Address and Information Heimplatz 1, CH-8001 Zurich www.kunsthaus.ch info@kunsthaus.ch Directorate and administration Tel. + 41 (0)44 253 84 84 Fax + 41 (0)44 253 84 33 Collection of Prints and Drawings Study room Mon – Fri by appointment Tel. + 41 (0)44 253 85 36 / 39 Library Rämistrasse 45, 8001 Zurich Mon – Fri 1 p. m. – 6 p. m. Tel. + 41 (0)44 253 85 31 Fax + 41 (0)44 253 86 51 Published by Zürcher Kunstgesellschaft Postfach, 8024 Zurich Print run: 130,000 copies Subject to change without notice

Cover photo: Wolfgang Tillmans Smokin’ Jo, 1995 (detail) Kunsthaus Zürich Courtesy of Galerie Buchholz, Berlin / Cologne


2018

29. 9.17 – 14. 1. PICTURE BALLOT! REFORMATION Late medieval religious imagery, Counter-Reformation Baroque paintings, 19th-century history paintings and Concrete Art

10. 11.17 – 28. 1. PRAISED AND RIDICULED. FRENCH PAINTING 1820 – 1880 100 paintings and a parting of the ways at the dawn of modernity


16. 2. – 25. 3. ABRAHAM CRUZVILLEGAS Art as expression and mirror of society

: 5 May n o i h s Fa Pa r t y

9. 3. – 8. 7. MAGRITTE –  DIETRICH –  VALLOTTON Visionary objectivity

20. 4. – 15. 7. FASHION DRIVE What are codpieces, slashed clothing, crinolines and suits doing in pictures?


31. 8. – 18. 11. ROBERT DELAUNAY AND THE CITY OF LIGHT Switzerland’s most comprehensive exhibition of the French avant-garde artist’s work

14. 12. – 10. 3.19 OSKAR KOKOSCHKA: A RETROSPECTIVE An expressionistic painter of unmistakeable brushwork Art Education Recognize and experience – never the same way twice

The Collection Highlights from the 13th to the 21st centuries. A constant presence.

Membership Join now!


29. 9.17 – 14. 1.

PICTURE BALLOT! REFORMATION This collection presentation on the Reformation unites some 60 works from the 16th to the 20th centuries At its centre is Ferdinand Hodler’s ‘Unanimity’ in the stairwell of the Moser building. The monumental Reformation image is admirably documented, with numerous original sketches that rarely see the light of day. Selected works by Old Masters retrace the crisis of the religious image in the Reformation, while Italian Baroque paintings offer an insight into the religious art of the Counter-Reformation. At the beginning of the 19th century Zurich offers up some of the Nazarenes – a group of artists working in Rome who looked back to the pre-Reformation church and art. Finally, the innovators of ­Concrete Art sought universal truths through their pure, almost Reformation-style painting. Supported by Albers & Co AG

Ferdinand Hodler, Unanimity, 1912 –1913 (detail) Kunsthaus Zürich, donated by Alfred Rütschi, 1919


10. 11.17 – 28. 1.

PRAISED AND RIDICULED. FRENCH PAINTING 1820 – 1880 Are today’s losers the stars of tomorrow? Romanticism, Realism, Naturalism, ‘plein air’ painting, Impressionism – these are still the main stylistic labels attached in the German-speaking world to French painting of the 19th century. The artists working in those styles – figures such as Géricault, Delacroix, Corot, Daumier, Millet, Courbet, Manet, Sisley, Monet and


10. 11.17 – 28. 1.

Renoir – turned their backs on the officially sanctioned painting of the era, with its academic and neoclassicist style. Yet despite their revolutionary approaches, many of them still adhered to tradition. Highly controversial in their day, these artists are now hailed worldwide as the ‘precursors of Modernism’. But 19th-century French painting offers a profusion of other equally important artists who, at that time, enjoyed greater recognition and the plaudits of art critics and audiences alike. Although indebted to traditional painting techniques, artists such as Delaroche, Couture, Meissonier, Cabanel, Gérôme and Bouguereau were in some cases highly innovative. In the canon of French painting from that period laid down in the German-speaking countries at the beginning of the 20th century, however, these outstanding artists came to be sidelined.


For the first time in Switzerland, the exhibition brings together these various and hotly debated approaches in French painting to create a rich and diverse panorama of the era’s genres.

James Tissot, Portrait of Mademoiselle L. L., 1864 Musée d’Orsay, Paris Camille Corot, Repose or Reclining Nymph in a Landscape, 1857 / 1859 Collection des Musées d’art et d’histoire de la Ville de Genève, dépôt de la République et Canton de Genève


16. 2. – 25. 3.


ABRAHAM CRUZVILLEGAS Art in transformation. Space-filling sculptures and installations Abraham Cruzvillegas (b. 1968) had his works featured in a major project in the Turbine Hall of Tate Modern in 2015 –16 and in extensive solo shows in the US, France and Germany. The Kunsthaus Zürich now presents the first exhibition in Switzerland by the Mexican artist. In his sculptures and space-filling installations, Cruzvillegas investigates architecture as the expression


16. 2. – 25. 3. of social conditions. Cruzvillegas grew up in Ajusco, a volcanic landscape south of the Mexican capital. In the wake of a rural exodus in the 1960s, it became a centre of makeshift, self-built housing constructed from materials found nearby, without foundations or construction plans. The entire ­community of family members and neighbours was involved in building them. Drawing on this experience, Cruzvillegas sees the sculptural form as a process of transformation, action and solidarity. His works are imbued with a sense of constant becoming. Improvisation, working with found materials and collaborating with others play a key role. In Zurich, Cruzvillegas will also be working with people locally. He will be transforming the large exhibition gallery into a workshop, in which new works will take shape during the exhibition and a range of events will be held. At the end, the new creations will finally be assembled into a complete installation, transposing the concept of dynamic process that is key to Cruzvillegas’s work into the exhibition format itself.

Abraham Cruzvillegas The Autoconstrucción Suites, 2013 Installation view Walker Art Center, Minneapolis © Abraham Cruzvillegas Abraham Cruzvillegas Installation view Agustina Ferreyra Gallery, San Juan, Puerto Rico, 2016 © Abraham Cruzvillegas Abraham Cruzvillegas The Autoconstrucción Suites, 2013 Installation view Walker Art Center, Minneapolis © Abraham Cruzvillegas


9. 3. – 8. 7.

MAGRITTE –  DIETRICH – VALLOTTON Visionary objectivity The emergence of abstraction was a key process in the development of modern art. Yet artists deploying the stylistic resources of representation were also a major influence – as this exhibition demonstrates through a series of masterful works from the collection, some of which are rarely shown. In the late 19th century, for example, Félix Vallotton captured the visible world with a precision worthy of the Old Masters, but also laid bare its fragility with the acuity of a psychologist. At the same time, the ‘naive’ autodidact Henri Rousseau depicted exquisitely neat, visionary worlds of the imagination (also represented in the ex­hibition are the late ‘naive’ artists André Bauchant, Camille Bombois, Élie Lascaux and Grandma Moses). After the First World War, ­representational description of the world took a different turn with ‘New Objectivity’ (examples include Niklaus Stoecklin and Adolf ­Dietrich). And even Surrealism (René Magritte, Salvador Dalí) ­repeatedly drew on the resources of representational art to depict the unconscious. Supported by Albers & Co AG Élie Lascaux, The Church in Front of the Sea, 1927 Kunsthaus Zürich, © 2017 ProLitteris, Zurich


20. 4. – 15. 7.

FASHION DRIVE. EXTREME CLOTHING IN THE VISUAL ARTS Why ‘fashion drive’? Fashion is both drive and dilemma; but first and foremost it is a barometer of changing times. This exhibition looks at 500 years of vestimentary expression through the prism of art, and asks: how did artists react to extreme phenomena such as slashed clothing, codpieces, crinolines and the dinner jacket? Georg Simmel, in his ‘Philosophy of Fashion’, describes it as follows: ‘Considered objectively, living in accordance with fashion is a mixture of destruction and creation.’ Fashion is both an economic factor and a seismograph of social sensitivities, the expression of longing and an instrument for mechanisms of inclusion and exclusion. The exhibition, which focuses on the period from the end of the 18th century to the start of the 20th with digressions into the Renaissance and the present day, considers the manifestations of fashion at the tipping points where it is extreme, vibrating, loud, disguised or prohibited. In a modern age of globalization and homogenization through ‘fast fashion’, this show attempts an overview of the critical and sensory observation of clothing in art, the problematic and subversive turns in fashion history, through the techniques of painting, drawing, sculpture, installation, photography and video art. With 50 artists, including Joseph Beuys, Giovanni Boldini, Leigh Bowery, Daniele Buetti, Salvador Dalí, Honoré Daumier, Albrecht Dürer, Esther Eppstein, Sylvie Fleury, Emilie Flöge & Gustav Klimt, Natalia Goncharova, K8 Hardy, Herlinde Koelbl, Peter Lindbergh, Manon,


20. 4. – 15. 7. Malcolm McLaren & Vivienne Westwood, Mai-Thu Perret, Tula Roy and Christoph Wirsing, Wolfgang Tillmans, Félix Vallotton and Andy Warhol. A co-production with the Festspiele Zürich Supported by the Zürcherische Seidenindustrie Gesellschaft

William Larkin, Portrait of Diana Cecil, later Countess of Oxford, c. 1614 − 1618 Suffolk Collection, Kenwood House Folded skirt armour, around 1526 Kunsthistorisches Museum, Vienna, Imperial Armoury


31. 8. – 18. 11.

ROBERT DELAUNAY AND THE CITY OF LIGHT Light, colour and new forms With this comprehensive exhibition, the largest ever to be mounted in Switzerland, the Kunsthaus Zürich will pay homage to the work of Robert Delaunay (1885 –1941), one of the foremost pioneers of early 20th-century art. This visually engaging exhibition will showcase two major paintings from the Kunsthaus’s rich collection –  ‘Circular Forms (Sun and Moon)’, 1913 –1931 and the monumental ‘Circular Forms’, 1930 – and will allow the public to experience the wide-ranging and innovative nature of Delaunay’s work, exploring the significant themes that were to preoccupy him throughout his career: light, colour and the pictorial expression of the process of vision. It will also show how, as a passionate advocate and ­practitioner of abstract art, he became a central figure within the Parisian avant-garde. Including some eighty paintings and works on paper, the exhibition will emphasize Delaunay’s commitment to colour painting


31. 8. – 18. 11.


and his interest in optics, while highlighting how the metropolis of Paris often provided the stimulus for his imagery and pictorial research. Works by early 20th-century photographers and filmmakers, who were also inspired by the fabric of the city, will complement the display.

Robert Delaunay, Eiffel Tower and Gardens, Champ de Mars, 1922 The Joseph H. Hirshhorn Bequest, 1981, Hirshhorn Museum and Sculpture Garden, Smithsonian Institution Robert Delaunay, The Poet Philippe Soupault, 1922 Centre Pompidou, Musée national d'art moderne – Centre de création industrielle, Paris Robert Delaunay, Circular Forms (Sun and Moon), 1913 – 1931 Kunsthaus Zürich


14. 12. – 10. 3.19

OSKAR KOKOSCHKA: A RETROSPECTIVE The first retrospective in Switzerland for 30 years


Oskar Kokoschka (1886 –1980) is regarded today as one of the most important artists of the 20th century. His enduring legacy for artistic production from the post-war period to the present day is beyond dispute and yet enigmatic: on a continent riven by two world wars, in which realistic art had become discredited, here was someone unashamedly arguing for the recognition of figurative art.


14. 12. – 10. 3.19 Throughout his life, he believed in the inclusive power of an art far removed from state propaganda, and this is reflected in all his oeuvre. In Kokoschka’s own words: ‘Official art is always kitsch, because it serves the anonymous customer, and thus the experience is eliminated.’ – ‘It may be that the contemporary flight from representation has less to do with the inability to design than a shrivelling of the capacity for experience.’ The exhibition is designed as a retrospective, with around 150 works covering all phases of Kokoschka’s artistic career. It also ­presents the techniques Kokoschka used, such as oil painting, pastel, drawing, watercolour and print, as well as his plays, stage and ­costume designs. The Kunsthaus Zürich played an important role in Kokoschka’s career from an early stage and he is correspondingly well represented in the collection, with around ten oil paintings including masterpieces such as ‘Amorous Couple with a Cat’ (1917). He spent the last 27 years of his life in Switzerland, and large parts of his artistic estate are to be found in Vevey and Zurich as well as Vienna. The last Kokoschka retrospective in Switzerland was at the ­Kunsthaus Zürich in 1986. It is high time, therefore, to reacquaint both a younger generation and some long-standing admirers with the spectacular originals of this expressionistic painter and his unique brushwork. Supported by UNIQA Fine Art Insurance Switzerland

Oskar Kokoschka, The Red Egg, 1940 – 1941 National Gallery in Prague, © Fondation Oskar Kokoschka, Vevey / 2017 ProLitteris, Zurich Oskar Kokoschka, Amorous Couple with a Cat, 1917 Kunsthaus Zürich, © Fondation Oskar Kokoschka, Vevey / 2017 ProLitteris, Zurich


EXPERIENCE ART

ART EDUCATION Recognize and experience – never the same way twice At the Kunsthaus Zürich, visitors of all ages, individually and in groups, will find numerous ways to engage with art in the collection and the temporary exhibitions. Join a guided tour to learn about art-historical contexts, attend an art talk for an in-depth exploration of a topic, or let the artworks inspire you to create something of your own. We are happy to adapt our offering to your requirements, be it a company outing, a training course or a children’s birthday party. We look forward to seeing you at the Kunsthaus. We also offer a regular programme of workshops for children of all ages, while in our children’s club and during the holidays schoolchildren can immerse themselves in the world of art in one of our day workshops. Our programme for schools includes workshops and educational guided tours for groups from kindergarten to schoolleavers. Visit the Didactic Forum on our website for more ideas for your visit. Supported by the Vontobel Foundation

Photo © Caroline Minjolle


THE COLLECTION Highlights from the 13th to the 21st centuries. A constant presence. Opened in 1910, the Kunsthaus Zßrich is structured as both museum and art gallery, and offers an important collection of paintings, sculptures and site-specific installations. It includes works of Western art from the 13th century to the present day. Its extensive holdings of drawings and prints, photography and video art are exhibited in changing presentations. Old Masters Medieval sculptures and the late Gothic panels of the Carnation Masters provide the chronological opening to the collection ­presentation. 17th-century Dutch painting is comprehensively ­represented, with outstanding works by Rembrandt, Rubens and Ruisdael. A small number of important paintings in the collection were created at the same time in Rome by artists such as Claude Lorrain, Domenichino, Lanfranco and many more besides. They are followed by works of equal quality by masters from Tiepolo to Guardi,


representing the Venetian Settecento. More unusual are the paintings by Post-Reformation artists in Zurich – from the portraitist Hans Aspers to Henry Fuseli, the latter an eccentric genius and leading light of European Classicism. Swiss Artists The Kunsthaus holds a representative collection of 19th- and 20th-century Swiss painting, from landscapes by Koller and Zünd and the fantasy worlds of Böcklin and Welti through the Jugendstil art of Augusto Giacometti and Vallotton to the Realism and avantgarde art of the 20th century and the very latest trends in our own time. Of particular note are the groups of works by Ferdinand Hodler and Giovanni Segantini. There is also no better place to study the sculptures and paintings of Alberto Giacometti – dozens of his works are on permanent display. From Impressionism to Classical Modernism The collection of French paintings starts with Géricault, Corot, ­Delacroix, Courbet and Manet and culminates in a large group of works by Claude Monet. One particular highlight is the gallery of Monet’s unique water lily paintings. They are testimony to


THE COLLECTION Monet’s vision of a novel, ‘all-over' painting that exploits the entire surface of the vast panel. Zurich is perhaps the only place where they can be appreciated in both their figuratively lyrical and their virtually abstract manifestations. Important pieces by Gauguin, Cézanne and van Gogh prepare the ground for the artistic upheavals of the early 1900s. Besides the work of ground-breaking artists – from Bonnard and Vuillard to Matisse, Picasso, Léger and Chagall – there are also numerous paintings by Edvard Munch and Oskar Kokoschka. Ever unsettling and entertaining are the vestiges of the Dada movement that erupted in Zurich in 1916 and paved the way for the Surrealists – Ernst, Miró, Dalí and Magritte. Finally, there are the representatives of Zurich Concrete Art – Glarner, Bill and Lohse – who developed and advanced the geometric Constructivism of Mondrian and De Stijl. From 1945 to the Present The post-war New York School is represented by major artists –  Pollock, Rothko, Newman – as are European and American Pop Art (Hockney, Hamilton; Rauschenberg, Johns, Warhol, Lichtenstein). The expressive turn in painting of the 1980s is represented by Georg Baselitz, Anselm Kiefer and Sigmar Polke – who will be temporarily joined from July by large installations from Bruce Nauman and others. Further highlights include paintings and rare original sculptures by Cy Twombly. Photographs, video and other installations lead the way into the 21st century, with works by artists such as Jeff Wall, Pipilotti Rist and – thanks to a long-term loan from the Walter A. Bechtler Foundation – Peter Fischli / David Weiss. The Kunsthaus Collection is constantly growing, particularly with the purchase of new art – so visitors can always expect to be ­surprised by new contemporary acquisitions. Smaller, temporary hangings with a thematic focus complement the collection presentation. ­Audioguides provide visitors with in-depth information on over 200 works, as well as on the architecture of the Kunsthaus.

Old Masters: Photo © www.jpg-factory.com Swiss Art: Photo © Dominic Büttner Impressionism: Photo © Dominic Büttner Bruce Nauman, Model for Tunnel. Square to Triangle, 1981 Kunsthaus Zürich, © Bruce Nauman / 2017 ProLitteris, Zurich This and other large installations will be on show from July.


Your

passion

Our

support

Inspiration for everyone

Kunsthaus Zürich and Swiss Re – an inspiring partnership. Exciting perspectives, new horizons and innovative ideas – that’s what drives us at Swiss Re. We thrive on working together with people all over the world – including in art and culture. Our engagement aims to open eyes, to touch hearts and minds. And to foster dialogue, helping to innovate and shape the future. After all: We’re smarter together. swissre.com/sponsoring

Sculptur: © 2015 Danh Vo. All rights reserved.


MEMBERSHIP OF THE ZÜRCHER KUNSTGESELLSCHAFT BRINGS NUMEROUS BENEFITS – Free, year-round admission to the collection and exhibitions – Discounts on selected items from the museum shop – The quarterly Kunsthaus magazine delivered free to your home – Invitations to all openings and events – Reduced admission to special events (such as concerts and readings) – Borrowing rights in the library I am the new member / We are the new members   Individual membership CHF 115   Joint membership CHF 195   Junior membership CHF 30 (born 1993 or later)  Mr 

 Ms

Last name /s   First name /s Date of birth Occupation Street Post code, town Phone E-mail Date, signature

Completed applications can be – handed in and paid for at the museum cash desk. – posted to the members’ secretary at Kunsthaus Zürich, Mitgliedersekretariat, 8024 Zurich. Alternatively, you can register at www.kunsthaus.ch. The members’ secretary will send you a paying-in slip. Your personal membership card will be issued to you following payment. Existing members who introduce new members receive a voucher redeemable in the Kunsthaus shop or at the cash desk. Membership may also be given as a gift. Introductory offer Join the Zürcher Kunstgesellschaft for 2018 between October and December 2017 and your membership will run until the end of 2017 at no extra cost.


What color is commitment? Observing art first hand inspires us and broadens our horizons. This is why Credit Suisse has nurtured close partnerships with art institutions throughout Switzerland and supported the Kunsthaus ZĂźrich as a partner since 1991.

credit-suisse.com/sponsorship Copyright Š 2017 Credit Suisse Group AG and/or its affiliates. All rights reserved.

2018 Annual Programme