ERNESTO NETO, GAIAMOTHERTREE - FONDATION BEYELER
←
→
Page content transcription
If your browser does not render page correctly, please read the page content below
Media Release Ernesto Neto, GaiaMotherTree June 30 – July 29, 2018, Zurich Main station From June 30 to the end of July 2018, the Fondation Beyeler will be showing a project by the Brazilian artist Ernesto Neto (b. 1964 in Rio de Janeiro) in Zurich Main station. The monumental work GaiaMotherTree, a sculpture made of brightly colored hand-knotted cotton strips, resembles a tall tree, extending right up to the ceiling of the station concourse, which is twenty meters high. GaiaMotherTree is a walk-in structure that functions as a meeting place and a venue for interaction and meditation. A varied program of events for adults and children, with music, meditations, workshops, talks and guided introductions to the work, will take place inside the installation. Ernesto Neto is one of Brazil’s most important contemporary artists. His work has won worldwide recognition, with several presentations at the Venice Biennale and exhibitions in the world’s leading museums. It has been collected by, among others, the Museum of Modern Art and the Solomon R. Guggenheim Museum, New York; the Tate Modern, London; the Centre Pompidou, Paris; and the Hara Museum, Tokyo. Neto’s ideas have been influenced by the Brazilian Neo-Concrete movement of the 1960s and also by Minimal and Conceptual Art, and Arte Povera. Spirituality, humanism, and ecology are among his principal concerns. His work since the 1990s has been characterized by the use of materials and techniques that are unusual in art. His sculptures and installations often feature biomorphic forms and organic materials, with transparency, sensuality, and a spirit of community playing a major role. Viewers can touch the works and walk through them or set them in motion; in many cases, they also appeal to the sense of smell. The visitor is invited to concentrate on his or her own perception and interact with the work and its environment. Since 2013, Neto has been working in cooperation with the Huni Kuin, an indigenous community living in the Amazon region near the Brazilian border with Peru. The culture and customs of the Huni Kuin, their knowledge and craft skills, their aesthetic sense, their values, their world view, and their spiritual connection with nature, have transformed Neto’s conception of art and become integral elements of his artistic practice. The works inspired by this artistic and spiritual exchange invite the viewer to pause and reflect, but also to engage collectively with themes such as the relationship between humans and nature, issues of sustainability, and the preservation and dissemination of knowledge from other cultures. GaiaMotherTree was made entirely by hand. Strips of cotton were knotted together with a finger-crocheting technique to form a giant transparent structure. The upper part of the work, shaped like the crown of a tree, will cover the ceiling of the station concourse. At the base of the tree there is a large space where visitors can linger and rest on seats arranged in a circle. Drop-shaped elements hanging from the branches are filled with aromatic spices and seeds. In connection with this public art project, the Fondation Beyeler is showing a number of earlier sculptures by Neto in its central exhibition gallery. Major works from the 1980s and 1990s are supplemented by Altar for a plant (2017), presented in the grounds of the museum. Since 1997, when its activities began, the Fondation Beyeler has continually realized public art projects, with artists such as Jeff Koons, Jenny Holzer, Louise Bourgeois, Thomas Schütte, and Christo und Jeanne- Claude, whose project Wrapped Trees was executed in the grounds of the Foundation in 1998. Now, exactly twenty years later, Ernesto Neto’s GaiaMotherTree is a further work devised and created for a specific site – in this case the Main station in Zürich – whose dimensions alone make it especially demanding and ambitious.
“GaiaMotherTree“ is being supported by: Beyeler-Stiftung Hansjörg Wyss, Wyss Foundation Lotteriefonds des Kantons Zürich Beitragsfonds des Finanzdepartements der Stadt Zürich Tarbaca Indigo Foundation Alexander S.C. Rower eBay Max Kohler Stiftung Georg und Bertha Schwyzer-Winiker-Stiftung And more than 50 private patrons Media partner: SonntagsBlick Press images: are available at www.fondationbeyeler.ch/en/media/press-images Further information: Silke Kellner-Mergenthaler Head of Communications Tel. + 41 (0)61 645 97 21, presse@fondationbeyeler.ch, www.fondationbeyeler.ch Fondation Beyeler, Beyeler Museum AG, Baselstrasse 77, CH-4125 Riehen Fondation Beyeler opening hours: 10 am – 6 pm daily, Wednesdays until 8 pm
Ernesto Neto – GaiaMotherTree Michiko Kono, Associate Curator, Fondation Beyeler GaiaMotherTree by Ernesto Neto forms a highlight in the series of public art projects realized by the Fondation Beyeler since its creation in 1997, including works by artists such as Christo and Jeanne- Claude, Louise Bourgeois, Jeff Koons, and Jenny Holzer. For Neto and for the Fondation Beyeler, this is a major, ambitious undertaking, requiring four years of preparation. GaiaMotherTree is a gigantic tree, 20 meters high, with a crown extending over an area of 40 x 28 meters. It is made from woven cotton fabric, supplied in bolts with a total length of 10 220 meters and cut into strips, which were dyed. In the next step, extending over several weeks, ten members of Neto’s staff and 17 helpers working under the artist’s supervision knotted the strips together with a finger-crocheting technique to form a giant sculpture. The work took a total of three months to produce and a further four weeks were needed to ship the sculpture across the Atlantic. The structure is shaped and stabilized by drop-shaped counterweights, suspended from the tree. These elements are filled with ground spices, weighing a total of 420 kilograms – 140 kilos of turmeric, 140 kilos of cloves, 70 kilos of cumin, and 70 kilos of black pepper. The central counterweight contains 70 kilos of plant seeds. At the exhibition venue – the magnificent concourse of Zürich’s Main station, dating back some 150 years – it was unnecessary to drill a single hole or hammer in a single nail to support the installation. The counterweights hang over the metal ceiling girders above the concourse. The work is also secured from below with 840 kilos of earth and anchored at points in the floor around the sculpture. Since Neto’s early works of the 1980s, this playful approach to the physical laws of gravity, combined with a striving for balance, has been characteristic of his artistic endeavors. With GaiaMotherTree, Neto establishes a connection to the story of creation. The work’s title refers to Greek mythology: Gaia, the personification of the Earth, emerges from chaos, the origin of all things. She is the Mother Earth goddess, bestowing the gift of life, but also the goddess of death, to whom the dead return. Neto places “Mother Earth” at the heart of his sculpture. First, the carpet inside GaiaMotherTree bears a woven image of a map of the world, with the Atlantic Ocean at its center. Second, the image of the tree alludes to the Biblical narrative of the Garden of Eden and the tree of knowledge. The benches inside the walk-in sculpture, with their snake-like appearance, and the snake’s head shape of the entrance tunnel to GaiaMotherTree, recall Adam and Eve and the fall from grace. These parallel evocations of the cosmogony of classical antiquity and the Old Testament story of Genesis correspond to Neto’s conception of a universal element common to all spiritual traditions. Ernesto Neto is committed to opposing the general loss of spirituality among civilizations in which material wealth is paramount. A counterpoint to this is found in the spiritual connection with nature cultivated by the Huni Kuin, the members of an indigenous community living in the Amazon region of Brazil, who have had a deep impact on Neto’s artistic practice. He has been working in close cooperation with the Huni Kuin since 2013. Their culture and customs of the Huni Kuin, their knowledge and craft skills, their aesthetic sense, their values, and their world view have become integral elements of his art. In the thinking of the Huni Kuin, the collective unit and the concern for common welfare play a decisive part. In a similar way, community is a characteristic of Neto’s art. His sculptures, exploring the senses of sight, touch, hearing and smell, invite active participation. Viewers can touch the work and walk through it or set it in motion; they are enjoined to concentrate on their own perception and interact with the work and its environment. GaiaMotherTree offers a place to meet and discuss, or linger and rest, and a space for meditation. In addition, Neto has created in advance an opportunity for personal involvement, asking members of the public to collect fruit pits and stones. These, together with dried pulses such as beans and chickpeas, are to be inserted in the drop-shaped containers that serve as counterweights. The contents will then be distributed at the end of the exhibition. In using these seeds as a further symbol of the life cycle, Neto also
points to the rapid proliferation of transgenic seed strains and their disturbing implications for the environment and health, including the permanent loss of genetically unmodified strains, the monopoly position of giant multinational companies in the food industry, and the threat to biodiversity. The interior of GaiaMotherTree is designed as a community space to facilitate the exchange of ideas on topics of this kind. On the weekend of the opening, the space will be the venue for the Assembleia MotherTree, a forum open to the public for interdisciplinary and intercultural exchange between members of the Huni Kuin, Yawanawa and Tukano communities, and scientists, researchers, activists, and artists from across the globe. The assembleia (Portuguese for “general assembly”) is a type of meeting rooted in the traditions of Huni Kuin, but also corresponding in some respects to the district assemblies held in some parts of Switzerland. For two full days, the participants will address topics relating to the development and future of Planet Earth that are also central to Neto’s art. The aim is to foster a collective awareness of the dangers facing the environment and the possible means of mitigating them. The motif of the tree, employed in GaiaMotherTree, has a vast range of associations, extending into every area of cultural history. In all cultures – in popular superstition, in fairy tales, myths, poetry, religious writings, philosophy and mysticism – the tree has served as a symbol of majesty and power, of longevity, stability and fruitfulness, associated with shelter and security, but also with danger. In art, it has been depicted in innumerable works, as an embodiment of nature or as an image with a wider symbolic significance. In 1911 Gustav Klimt created a mosaic frieze for the dining room of the Palais Stoclet in Brussels, taking the Tree of Life as its central motif. For Piet Mondrian, the stylized depiction of trees marked an important step on the way toward abstract painting and constructivism. As part of the 1982 documenta in Kassel, Joseph Beuys planted the first of the oak trees for his work 7, 000 Oaks, as part of an ecologically motivated project with the title Stadtverwaldung statt Stadtverwaltung (“City Forestation Instead of City Administration”). Giuseppe Penone is well known for his works in which the tree, which he describes as the perfect sculpture, forms the basis for his reflections on sculpture as a medium. In the context of GaiaMotherTree, moreover, some interesting relationships emerge between Neto’s artistic tree and the tree in botanical terms. Neto’s early work Colonia – created in 1988, a few months after his first solo exhibition – which is being shown at the Fondation Beyeler in parallel with the presentation of GaiaMotherTree, comprises a series of thin, fragile nylon stockings, stuffed with hard, heavy lead pellets of the kind used as shotgun ammunition. Here, the female and the male directly collide. When held up, the filled stocking takes on the shape of male testicles; laid flat on the floor, it discloses an opening with a vulva-like appearance. These male and female principles of form, and the conjoining of the two sexes, are vividly illustrated in several works by Neto, corresponding to tree species, such as fruit or magnolia trees, that are bisexual, with flowers that contain both a male stamen and a female pistil. A further aspect that establishes a connection between GaiaMotherTree and the plant world is the communication among trees that has become the subject of scientific research, for example at the University of British Columbia in Vancouver. It has been revealed, for example, that the root systems of trees form a network for the exchange of carbon, nutrients, and information. A tree attacked by pests will send signals through its root system to other trees, instructing them to prepare defensive substances to ward off the threat. If a tree is weak, the surrounding trees will provide it with nutrients transferred through their roots. The oldest trees with the thickest trunks are especially well connected, and show particular concern for the welfare of the tree community. These “hub” trees have also been dubbed “mother trees,” a term with a special resonance. In our civilization, plants are not considered capable of intentional action, but the Huni Kuin take a very different view. Their shamans define themselves by their ability, inter alia, to communicate with plants.
The use of textile materials is typical of Neto’s oeuvre. Starting with synthetic fabrics and then increasingly favoring natural materials, he has devoted himself throughout his career to the creation of sculptures whose forms are biomorphic and whose surfaces are characteristically fragile, elastic, and transparent. In the mid- 1990s he extended his formal language by the introduction of powdered spices, with delightful aromas and powerful colors. The spices, like the textiles, have associations of fragility and impermanence. The aromas fade over time, and the consistency of the material makes it liable to disperse. Nevertheless, although his materials are frail, Neto insists that the viewer must be allowed to touch his works and experience them in direct physical terms. Thus he places his trust in the viewer, who in turn assumes a large measure of responsibility. But at the same time, his intention, with spaces such as GaiaMotherTree, is to provide the viewer with an enjoyable experience. The message, in his own words, is: “Take off your shoes and feel free to walk in, lie down, take a nap, dream.”
Biography Ernesto Neto Ernesto Neto was born in 1964 in Rio de Janeiro. From 1994 to 1997 he studied at Rio’s Escola de Artes Visuais do Parque Lage and took courses at the Museu de Arte Moderna do Rio de Janeiro. In 1988 he had his first solo show in his hometown at the Petite Galerie. His works were presented abroad for the first time in 1996. Today Ernesto Neto is one of Brazil’s most important contemporary artists. In addition to taking part in the Venice Biennale several times and in exhibitions at renowned museums worldwide, his works have found their way into the collections of the Museum of Modern Art and the Solomon R. Guggenheim Museum in New York, the Tate in London, the Centre Pompidou in Paris and the Hara Museum in Tokyo, among others. Neto’s art is influenced by the Brazilian Neo-Concrete movement of the 1960s and also by minimal art, conceptual art and Arte povera. Spirituality, humanism and ecology are central aspects in his work. Since the 1990s, his works have been distinguished by the use of unusual materials and techniques. Biomorphic forms and organic materials are characteristic of his sculptures, in which the dimensions of sensuality, transparency, and community also regularly play a major role. His works can be touched, walked into and through, set in motion, and in most cases engage several of our senses at once. By using aromatic spices, the artist appeals not only to our sense of sight and touch, but also to our sense of smell. Visitors are invited to concentrate on their perception and to open themselves fully to their surroundings and the work. The result is a new kind of interaction, which explores and redefines the boundaries between artwork and viewer, organic and artificial, but also between the natural, spiritual and social worlds. Since 2013 Neto has been working closely with the Huni Kuin, an indigenous community living in the Amazon region near the Brazilian border with Peru. The culture and customs of the Huni Kuin, their knowledge and their connection with nature, have transformed Neto's conception of art and become integral elements of his practice. The works that proceed from this artistic and spiritual exchange invite us to pause and to go within, but also to discuss and collectively debate topics such as the relationship between humankind and nature, as well as questions of sustainability and the preservation and sharing of knowledge from other cultures. Exhibitions (selection): 2017 Um Sagrado Lugar (A Sacred Place), 57th Venice Biennale, Arsenale, Venice, Italy 2016 Boa, Museum of Contemporary Art Kiasma, Helsinki, Finland Rui Ni / Voices of the Forest, KUNSTEN Museum of Modern Art, Aalborg, Denmark 2015 Ernesto Neto, Kunsthalle Krems, Krems an der Donau, Austria Aru Kuxipa | Sacred Secret, Thyssen-Bornemisza Art Contemporary (TBA 21), Augarten, Vienna, Austria Haux Haux, Arp Museum Bahnhof Rolandseck, Remagen, Germany 2014 Gratitude, Aspen Art Museum, Aspen, Colorado, USA The Body that Carries Me, Museo Guggenheim Bilbao, Bilbao, Spain 2012 Cuddle on the Tightrope, Nasher Sculpture Center, Dallas, Texas, USA
2011 O Bicho SusPenso na PaisaGen, Faena Art Center, Buenos Aires, Argentina 2010 Navedenga, The Museum of Modern Art, New York, USA 2009 Anthropodino, Park Avenue Armory, New York, USA 2006 The Malmö Experience, Malmö Konsthall, Malmö, Sweden Léviathan Thot, 35th Festival d’Automne à Paris, Panthéon, Paris, France 2002 Ernesto Neto, Kunsthalle Basel, Basel, Switzerland
Facts & Figures
Ernesto Neto – GaiaMotherTree
• It is the most ambitious undertaking of the Fondation Beyeler in public space.
• The project required over four years of preparation.
• The installation is 20 meters high, with a crown extending over an area of 40 x 28 meters.
• It is made from woven cotton fabric, supplied in bolts with a total length of 10 220 meters.
• Extending over several weeks, 27 people knotted the strips together only by hand with a finger-
crocheting technique to form a giant sculpture.
• It was unnecessary to drill a single hole or hammer in a single nail to support the installation.
• Drop-shaped counterweights, suspended from the tree, are filled with spices, weighing a total of 420
kilograms – including 140 kilos of turmeric, 70 kilos of cumin, and 70 kilos of black pepper.
• 70 kilos of plant seeds constitute the central counterweight.
• The work is also secured from below with 840 kilos of earth and anchored at points in the floor
around the sculpture.Ernesto Neto spricht über… …seine Installation GaiaMotherTree im Hauptbahnhof Zürich: «GaiaMotherTree ist eine Hommage an Mutter Erde als ein Ort, der uns pflegt und unsere Beziehungen nährt. Die Installation möchte Passanten für einen Augenblick innehalten lassen und einen Samen in ihrem Inneren säen. Es ist ein Ort zum Sein, zum Atmen, zum Träumen. Wir sollen uns lebendig fühlen und erkennen, wie göttlich es ist, am Leben zu sein. So ist es ein Ort, um diese Freude zu teilen – um Ideen und Träume zu teilen, zu denken, zu meditieren, sogar um zu tanzen. Es ist ein Ort zum Sein, um unsere eigene Spiritualität zu fühlen, in Verbindung mit der Natur und unseren Mitmenschen.» «Ein Bahnhof ist ein interessanter Ort, denn an einem Bahnhof kommen wir immer entweder an oder wir brechen auf – es ist ein Ort des ‹irgendwohin Gehens› und des ‹von irgendwoher Kommens›. Unsere Gedanken sind entweder in der Zukunft oder in der Vergangenheit. Wir verbringen kaum Zeit damit, uns bewusst zu werden, dass wir tatsächlich am Bahnhof sind. Ich mag diese Vorstellung des ‹Dazwischen›. Vielleicht kann GaiaMotherTree diesen Raum füllen.» …die tiefere Bedeutung seiner begehbaren Skulpturen: «Es geht darum, Freiheit zu geben, aber auch darum, die Wahrnehmung der Menschen so zu schulen, dass wirkliches ‹frei sein› auch heisst, Verantwortung für unsere Entscheidungen und unsere Handlungen auf diesem Planeten zu übernehmen – sozial wie auch ökologisch. Meine begehbaren Skulpturen sind nicht nur Treffpunkte, sie sind auch eine Erinnerung daran, dass es wichtig ist, vorsichtig vorzugehen und behutsam miteinander zu sein. Wenn man nicht behutsam mit sich selbst und den anderen ist, können Dinge reissen, herunterfallen oder zerbrechen. Indem wir aufmerksamer mit unseren Handlungen und den Auswirkungen auf andere umgehen, können wir hoffentlich eine grössere Ausgeglichenheit und Rücksichtnahme in unserer Gesellschaft erreichen. Es beginnt in uns selbst.» «Es ist wichtig, langsamer zu werden, zu atmen und in unser Inneres zu fühlen. Menschen haben in ihrem hastigen, kompetitiven Alltag selten die Möglichkeit dazu. Ich möchte den Besuchern ermöglichen, ihre Angst zu verlieren, um sich auf sich selbst konzentrieren zu können, in diesem einen Moment. Ich möchte, dass sie sich ihrer Existenz bewusst werden, dass sie mit ihren Händen, ihrem Hirn und ihrem Herzen fühlen – und dass sie von dort aus auch die anderen und die Poesie des Lebendigseins fühlen!» …die Einladung zu berühren: «In einer idealen Welt wäre alles ertastbar. Aber unsere Welt ist nicht so. Normalerweise werden Dinge, die als wertvoll erachtet werden, unberührbar, unantastbar – Kunst mit eingeschlossen. Aber aufgrund ihres Wohlstands, ihrem gesellschaftlichen Status, ihrer Macht oder aus anderen Gründen sind sogar Menschen unantastbar geworden. Ich weiss nicht, ob so etwas wirklich gesund ist für eine Gesellschaft. Das heisst, der taktile Aspekt meines Werkes kann verstanden werden als eine Kritik dieser Unantastbarkeit.»
…die Erfahrung des Geruchs: «Die olfaktorischen Eindrücke vertiefen die Erfahrung einer Skulptur, steigern das Bewusstsein für sich selbst und für die Umgebung, den Lebensraum – Planet Erde. Aber ich war nicht auf der Suche nach Geruch; es waren die Gewürze die mich packten – mit ihren Farben, ihrer Textur, ihrem Duft… ihrem Geist.» …das Ausziehen der Schuhe: «Die Wirkung des Ausziehens der Schuhe hat einen rituellen wie auch praktischen Aspekt: Wir halten an und fühlen, ob wir wirklich eintreten wollen. Wenn wir die Schuhe ausziehen, gibt es uns Behaglichkeit und verbindet uns stärker mit dem Boden, auf den wir treten. Diese sofortige Beziehung mit Mutter Erde macht uns unsere eigene Existenz stärker bewusst.»
Public Program: Ernesto Neto, GaiaMotherTree
June 29 to July 29, 2018, Zurich Main Station
The monumental work GaiaMotherTree is a walk-in structure and a meeting place and venue for interaction
and meditation. A varied program of events for adults and children, featuring music, workshops, guided
tours and talks, is taking place inside the installation.
Concerts / Performances
Friday, June 29 Opening ceremony
8 pm – 10 pm
Saturday, June 30 / Sunday, July 1 Assembleia MotherTree
12 noon – 3 pm, Zurich Main Station The Assembleia MotherTree is a forum for interdisciplinary
and intercultural exchange between representatives of the
As from 3.30 pm, further events at Huni Kuin, Yawanawa and Tukano indigenous families as well
the Oncurating Project Space as scientists, researchers, activists and artists from around
Ausstellungstrasse 16 (Sihlqai 55) the world. Participants address themes which relate to the
8005 Zurich development and future of Planet Earth and which also lie at
http://oncurating-space.org/ the heart of Neto’s art. The forum is open to the public and is
organized by Damian Christinger and Daniela Zyman, in
collaboration with the Museum für Gestaltung.
http://www.curating.org/
Tuesday, July 10 Mellingen Yodeling Choir
4.30 pm / 5.30 pm / 6.30 pm Yodeling is a way of communicating with nature, plants,
animals and the soil. 25 singers from the mixed-voice
Mellingen Yodeling Choir perform short sets featuring original
Swiss yodeling.
https://www.jodelchor-mellingen.ch
Tuesday, July 17 Svetlana Spajic
3 pm / 5 pm / 7 pm Serbian traditional singer, performer, educator, cultural
activist and translator. Alongside her performances and
recordings of Serbian traditional music, Svetlana Spajic has
collaborated with leading figures in the sphere of the arts,
including Marina Abramović and Robert Wilson.
Friday, July 20 Jil Gnawa
3 pm / 5 pm / 7 pm Deep melodies, rousing rhythms and powerful songs: Jil
Gnawa’s mystical music plunges us into the colorful world of
Tagnawite – a music inherited from the Moroccan tradition of
Gnawa.
http://www.jilgnawa.com/
Friday, July 27 Brazilian sounds with Fabio Freire
3 pm / 5 pm / 7 pm Three musicians perform in and outside of GaiaMotherTree
on traditional percussion instruments, including the surdo,
pandeiro (maranhão), caixa, timba, atabaque, djembe, agogô
and caxixi.
http://www.fabiofreire.ch/Talks / Readings
Wednesday, July 4 Talk by Jeremy Narby
7 pm Jeremy Narby studied history at the University of Kent in
Canterbury and obtained his Ph.D. in anthropology at
Stanford University. For the past 28 years he has worked with
the Swiss NGO “Nouvelle Planète”, coordinating projects for
Amazonian indigenous peoples involving land rights, bilingual
education and sustainable forestry. He has published several
books, including The Cosmic Serpent. DNA and the Origins of
Knowledge (1998) and Intelligence in Nature. An Inquiry into
Knowledge (2005). He was also co-editor with Francis Huxley
of Shamans through Time. 500 Years on the Path to
Knowledge (2001).
Wednesday, July 18 Talk by Maurice Maggi
7 pm The Swiss landscape gardener and cook Maurice Maggi talks
about his projects in the public space, which revolve around
connecting nature and people. They include his 1984 Flower
Graffiti project, in which he sowed wild flowers in Zurich’s
public spaces, Basis Lager Binz (2008), an edible housing
concept in Zurich (2012), designs for green spaces in various
cities, and his Essbare Stadt (“Edible City”) cookbook,
published in 2014.
http://maurice-maggi.ch/news/
Sunday, July 22 Myths and Fairy Tales: Reading with Elisa Hilty
4 pm All over the world, wherever trees grow, myths and stories
spring up around these tolerant companions and friends of
humankind. Sometimes there is a parallel world to be
discovered among their roots; sometimes the boughs of a
giant tree reach high into the sky and let us ascend into the
realms of light. Elisa Hilty is a professional story-teller and also
teaches her craft in courses and seminars. The stories she
tells are drawn from around the world and are aimed at adults
and children alike.
http://favola.ch/
Wednesday, July 25 Talk by Peter Fux
7 pm Life, death and reality in the ancient cultures of the Andes.
Ancestor worship: where do the ancestors dwell, what do they
do and how do the influence the living? An archaeological
journey to the Andes through time and the spirit realm.
Peter Fux is an archaeologist and curator of Ancient American
art at the Museum Rietberg in Zurich.
Regular events, June 30 – July 29
Daily as from July 2 Art Education / Commentated Viewings
12 noon – 12.30 pm Introduction to the GaiaMotherTree installation. Daily at noon,
starting July 2, students from the Art Education masters course
at Zurich University of the Arts offer commentated viewings for
the general public.
https://www.zhdk.ch/en/news/1541
Saturdays Knotting Workshops
2 pm – 4.30 pm Knotting and macramé workshops for children, families andadults, offered by Anna & Juan, the trend-conscious and
environmentally aware Zurich-based studio, which works
exclusively with natural dyes. The workshops focus on the
experience of using your hands and creating something to take
home. The number of participants is limited and places cannot
be reserved in advance. But visitors are also welcome to come
and watch.
http://www.annajuan.ch
Daily from Monday to Friday Meditation Sessions
7 am / 7.30 am (20 minutes each) Mondays to Fridays: Drop-in meditation inside the artwork, in
order to connect with art, nature, and the people around us, as
Sundays well as to reconnect with ourselves. A short introduction is
10 am (ca. 1 hour) followed by a guided meditation and a sitting together in
silence. Sundays: Longer meditation with a Zen monk, a gong
master, mantra chanting and much more besides.
Organized in collaboration with MIND IN Studio:
https://www.mind-in.studio
Wednesdays Art Lab @ GaiaMotherTree
11 am – 4 pm The Fondation Beyeler’s Art Lab is offering a project in which
young people can exchange their thoughts on themes relating
to GaiaMotherTree in a relaxed atmosphere with others of the
same age. Participants are invited to answer, in writing or
drawing, philosophical or poetic questions. The knowledge,
ideas and thoughts contributed by different participants
contribute to a constantly growing “encyclopedia”, which –
similar to the Huni Kuin’s Book of Healing – collects and
communicates our society’s knowledge and thus at the same
time bears witness to our culture.
https://www.fondationbeyeler.ch/blog/art-lab/
All events are free of charge. No booking required.
Press images: are available at www.fondationbeyeler.ch/pressebilder
Further information:
Silke Kellner-Mergenthaler
Head of Communications
Tel. + 41 (0)61 645 97 21, presse@fondationbeyeler.ch, www.fondationbeyeler.ch
Fondation Beyeler, Beyeler Museum AG, Baselstrasse 77, CH-4125 Riehen
Fondation Beyeler opening hours: 10 am – 6 pm daily, Wednesdays until 8 pmPartners, foundations and patrons 2017 / 2018
Public Funds
Main Partners
Partners
Foundations and Patrons
BEYELER-STIFTUNG
HANSJÖRG WYSS, WYSS FOUNDATION
ALEXANDER S. C. ROWER GEORG UND BERTHA SCHWYZER-WINIKER-STIFTUNG
AMERICAN FRIENDS OF FOUNDATION BEYELER IRMA MERK STIFTUNG
ANNETTA GRISARD LUMA FOUNDATION
ARS RHENIA L. + TH. LA ROCHE STIFTUNG
ART MENTOR FOUNDATION LUCERNE MAX KOHLER STIFTUNG
AVINA STIFTUNG SIMONE AND PETER FORCART-STAEHELIN
DR. CHRISTOPH M. MÜLLER AND SIBYLLA M. MÜLLER STEVEN A. AND ALEXANDRA M. COHEN FOUNDATION
ERNST GÖHNER STIFTUNG TARBACA INDIGO FOUNDATION
FONDATION COROMANDEL WALTER HAEFNER STIFTUNG
FREUNDE DER FONDATION BEYELERErnesto Neto: GaiaMotherTree
Sponsoren und Förderer / Sponsors et soutiens institutionnels / Sponsors and supporters
Kanton Zürich
Lotteriefonds BEYELER-STIFTUNG
TARBACA INDIGO FOUNDATION WYSS FOUNDATION
GEORG UND BERTHA
SCHWYZER-WINIKER ERICA STIFTUNG
STIFTUNG
GEORG UND BERTHA
SCHWYZER-WINIKER
STIFTUNG
Gaia Circle Gaia Benefactors
GEORG UND BERTHA
SCHWYZER-WINIKER
ALEXANDER S. C. ROWER ULLA DREYFUS-BEST FORTES D’ALOIA & GABRIEL
STIFTUNG
HANSJÖRG WYSS EY SCHWEIZ FAMILIE GRISARD
ROBERT
GEORG & PAULA
UND FENTENER
BERTHA FRANCES REYNOLDS
SCHWYZER
VAN VLISSINGEN
-WINIKER
STIFTUNG
GEORG UND BERTHA
Tree Patrons SCHWYZER-WINIKER
STIFTUNG
TANYA BONAKDAR GALLERY CARYL & ISRAEL ENGLANDER FONDATION HUBERT LOOSER, ZÜRICH
RENATO & VANIA BROMFMAN GEORG UND
MARA BERTHA
& MARCIO FAINZILIBER MARTIN Z. MARGULIES
LESLIE & BRAD BUCHER SCHWYZER
JAN & CHRISTINE
-WINIKER FISCHER FERNANDA FEITOSA & HEITOR MARTINS
BURGER COLLECTION, HONG KONG GALERÍA ELVIRA GONZÁLEZ CAROLINA OVERMEER & LUIZ PASTORE
BRUNO CHIOMENTO
STIFTUNG
GALERIA ESTAÇÃO SAMANTHA & ERNST PFENNINGER
MARIANA & ADAM CLAYTON CLEUSA GARFINKEL SAMIA SAOUMA-HETZLER
CARLA COMELLI TRUDIE GÖTZ ROBERT & ANNA MARIE SHAPIRO
REGULA & BEAT CURTI MAX HETZLER JERRY SPEYER & KATHERINE FARLEY
PIERRE & CHRISTINA DE LABOUCHERE URSULA HODEL ISAAC & CARITO SREDNI
MARIANNE DENZ ROBERTA & MICHAEL JOSEPH IVANA & THOMAS STÄMPFLI
FLORENCE DRAKE DEL CASTILLO-BALL MARLIES KORNFELD MICHAEL STERNBERG
RICHARD EDWARDS TOMIO KOYAMA STEFAN VILSMEIER
RUTH & WILLIAM EHRLICH VIVIAN LANDAU-WIPF & BEAT WIPF SUSANNE VON MEISS
Sowie zahlreiche Gönner die ungenannt bleiben möchten / Ainsi que de nombreux donateurs qui souhaitent rester anonymes /
As well as numerous patrons who prefer to remain anonymous
Partner / Partnenaires / Partners Medienpartner / Partenaire média /
Media Partner
MASTER ART EDUCATION
CURATORIAL STUDIES, ZÜRCHER
HOCHSCHULE DER KÜNSTE
Patronatskomitee / Comité de patronage / Committee of Patrons
DR. JACQUELINE BURCKHARDT VIVIAN LANDAU-WIPF & BEAT WIPF CONRAD P. & CAROLE SCHWYZER
PIERRE & CHRISTINA DE LABOUCHERE DR. CHRISTOPH M. MÜLLER & DR. ULI & DR. RITA SIGG
JAN & CHRISTINE FISCHER SIBYLLA M. MÜLLER SUSANNE VON MEISS
TRUDIE GÖTZ ANDRÉ NAUER DR. THOMAS WAGNER
FAMILIE GRISARD PROF. DR. PETER NOBEL
GITTI HUG & MARTIN BÖLSTERLI MICHAEL RINGIERYou can also read
