Scheidegger & Spiess Art I Photography I Architecture International New Titles Spring 2021 - Scheidegger & Spiess
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Scheidegger & Spiess
Art I Photography I Architecture
International New Titles
Spring 2021
Scheidegger & Spiess
Spring 2021 1
Content
3 4/5 6/7 8/9
Angus Taylor Wild Thing Paul Klee Emma Kunz Cosmos
The Swiss Fashion Scene Ad Parnassum
10 / 11 12 / 13 14 / 15 16 / 17
Prix Elysée American Readers at Home Silvie & Chérif Defraoui Barbara Ellmerer
New Cut Archives du Futur Sense of Science
21–23
Key Titles
24
Contacts
Distributors
Representatives and Agents
18 / 19 20
Surrounded by Art The New Kunsthaus Zürich
Essays by Paul Harris and
First-ever monograph on South
Johan Myburg. With a conversation
African sculptor Angus Taylor,
between Angus Taylor and
offering a comprehensive survey
Johan Thom
of his entire work to date
Book design by Sabine Hahn Discusses Taylor’s oeuvre in the
context of his biography and South
Hardback Africa’s social conditions
approx. 224 pages
150 color illustrations Considers his methods, practices,
24 × 30 cm and philosophy
978-3-85881-870-6 English
sFr. 65.00 | € 58.00
£ 55.00 | $ 65.00
MAY 2021 (Europe)
AUGUST 2021 (US)
ISBN 978-3-85881-870-6
Monumental
9 783858 818706
sculptures that
unite traditional
South African
arts-and-crafts and
contemporary art
Angus Taylor
Mind Through Materials
South African sculptor Angus Taylor, born in Johannesburg in 1970 and an alumnus
of the University of Pretoria, is known mainly for his monumental works. For these,
in addition to the classic bronze, he uses a selection of materials that are native to his
immediate environment: black granite, red jasper, straw, and the red earth of the
Pretoria region. From a symbiosis of these materials and traditional artistic craft tech-
niques, distinctly contemporary works arise which Taylor pioneeringly positions as
figurative landmark sculptures.
This first-ever monograph on Angus Taylor offers a comprehensive survey of his
oeuvre to date. Key works from his entire career since the founding of his studio Dio-
nysus Sculpture Works in 1997 are featured in full-color illustrations throughout.
Accompanying essays discuss Taylor’s methods, practices, and personal philosophies
and put his work in context with South Africa’s social conditions as well as with his
own biography. The book offers a much-welcomed and comprehensive introduction to
Angus Taylor’s innovative and characteristic body of work.
Paul Harris is an art collector and owner of the Ellerman House Wine Gallery
in Cape Town, which was co-designed by Angus Taylor.
Johan Myburg is an art publicist and curator and works as a research associate
at the Institute of Fine Arts at North-West University in Johannesburg.
Johan Thom is an artist who works at the interface of video, installation,
performance, and sculpture. He is currently a lecturer at the University of
Pretoria’s Institute of Fine Arts.
Scheidegger & Spiess
Spring 2021 3
An insight into a vibrant scene: portraits of around fifty innovative modern Swiss fashion labels
Edited by Museum für Gestaltung
Highly attractive survey of
Zürich, Karin Gimmi, and
Switzerland’s vibrant and innovative
Christoph Hefti
fashion scene
Book design by Marietta Eugster Features some fifty designers
and labels and their current work
Paperback and collections
136 pages, 187 color
and 70 b/w illustrations Richly illustrated with fashion
23 × 28.5 cm photography and campaign images
978-3-03942-015-5 Embedded print-in-motion videos
English / German offer glimpses into the designers’
sFr. 29.00 | € 29.00 studios and present interviews
£ 25.00 | $ 35.00 with fashion experts
FEBRUARY 2021 (Europe) Exhibition: Wild Thing—The Swiss
JULY 2021 (US)
ISBN 978-3-03942-015-5 Fashion Scene at Museum für Ge-
staltung Zürich (Ausstellungs-
strasse site, until April 11, 2021)
9 783039 420155
Wild Thing —The Swiss Fashion Scene
What kind of fashion exists without mass production, without Hollywood and inter-
national fashion weeks? In Switzerland, far from the international spotlight and the
dictates of the major fashion hubs, small labels, collectives, and young graduates as
well as established brands test their potential for greatness. Creative designers take
initiative and position themselves in Berlin, join the fashion circus in Paris, or establish
clever business models at home in Switzerland.
Wild Thing—The Swiss Fashion Scene, published in conjunction with an exhibition
at Museum für Gestaltung Zürich, puts a spotlight on this development and the prod-
ucts resulting from it. The book picks up on current topics—such as minimalism and
the questioning of assigned gender identities—that shape designs, design concepts,
and processes. Lavishly illustrated, it features looks and creations by important labels,
selected outfits, textile inventions, and collection presentations. Together with brief
interviews, portraits of individual designers, and text contributions, Wild Thing—The
Swiss Fashion Scene is a highly attractive snapshot of Switzerland’s creative and vi-
brant fashion scene.
In addition, the book contains links to short print-in-motion videos, which can be
watched by pointing a smartphone camera at the corresponding image. The videos
offer portraits of designers, interviews with fashion experts, and contributions from
fashion schools.
Karin Gimmi is an art historian and curator at the Museum für Gestaltung Zürich.
Christoph Hefti is a designer and lives in Zurich and Brussels. In 2009 he was
awarded the Swiss Grand Prix of Design.
Scheidegger & Spiess
Spring 2021 5
Paul Klee’s studies on
polyphonic painting:
the beginning of a new period
Also available in the Landmarks of Swiss Art series:
Walburga Krupp Angelika Affentranger-Kirchrath
Sophie Taeuber-Arp—Equilibre Franz Gertsch—Rüschegg
978-3-85881-662-7 978-3-85881-663-4
English / German English / German
sFr. 29.00 | € 29.00 | £ 25.00 | $ 29.00
ISBN 978-3-85881-662-7 sFr. 29.00 | € 29.00 | £ 25.00 | $ 29.00
ISBN 978-3-85881-663-4
9 783858 816627 9 783858 816634
Oskar Bätschmann
A profound study of Paul Klee’s
painting Ad Parnassum, a key work
Edited by Angelika Affentranger-
in the painter’s oeuvre
Kirchrath
Examines the origins of Klee’s
Book design by Arturo Andreani search for polyphonic painting
analogous to polyphonic music
Hardback
approx. 96 pages
40 color illustrations
21.5 × 25 cm
978-3-03942-011-7
English / German
sFr. 29.00 | € 29.00
£ 25.00 | $ 29.00
APRIL 2021 (Europe)
JULY 2021 (US)
ISBN 978-3-03942-011-7
9 783039 420117
Paul Klee—Ad Parnassum
Landmarks of Swiss Art
In the 1920s, German-Swiss artist Paul Klee (1879–1940) began his long-lasting
engagement with polyphonic art—a multi-voiced way of painting analogous to music.
A relentless experimenter, Klee began these studies while teaching at the Bauhaus in
Dessau, developed them further during his tenure at the art academy in Düsseldorf,
and brought them to conclusion after his return to Switzerland in 1933. In this
book, distinguished art historian Oskar Bätschmann explores Klee’s seminal painting
Ad Parnassum (1932). Painted shortly after the artist’s departure from the Bauhaus, it
symbolizes a new era, also one of Klee’s own self-discovery. Bätschmann documents
how the artist strove for a connection of music and painting in his color hues and in
the rhythmic movement of colored dots.
Richly illustrated, this book places Klee’s polyphonic understanding of art in an art-
historical context by using this key work as an example and offers insight into the
synesthetic thinking that emerged in the art world during that time.
Oskar Bätschmann is professor emeritus of early modern art history at
the University of Bern. He was a member of the Paul Klee Foundation and
co-initiator of the artist’s Catologue raisonné, published from 1998 to 2004.
Scheidegger & Spiess
Spring 2021 7
Art and Healing: Emma Kunz’s fascinating oeuvre in the mirror of the present
Edited by Yasmin Afschar
Spirituality and alternative healing
are highly topical for contemporary
Essays by Lars Bang Larsen, Elise
artists and society alike
Lammer, Ingo Niermann, Marco
Pasi, Julia Voss, and Yasmin Afschar Emma Kunz’s art is widely recog-
nized around the world and has
Published in cooperation been on display at the Venice
with Aargauer Kunsthaus, Aarau Biennale Art (2013) and in recent
solo exhibitions in Munich, London,
Book design by Atlas Studio and Tel Aviv
Paperback Features works by and interviews
approx. 208 pages, with contemporary artists illustrat-
200 color illustrations ing their artistic positions in dia-
23 × 31 cm logue with the work and impact of
978-3-85881-682-5 Emma Kunz
English / German Exhibition: Emma Kunz Cosmos.
sFr. 49.00 | € 48.00 A Visionary in Dialogue with Con-
£ 45.00 | $ 55.00 temporary Art at Aargauer Kunst-
haus, Aarau (until May 24, 2021)
MARCH 2021 (Europe)
JULY 2021 (US)
ISBN 978-3-85881-682-5
9 783858 816825
Emma Kunz Cosmos
A Visionary in Dialogue with Contemporary Art
Emma Kunz (1892–1963) was a Swiss healer and artist. Born into a family of weavers,
her abilities of telepathy, prophecy, and healing became evident early in life and she
began to exercise her divining pendulum as a young adult. Although never formally
trained in art, in 1938 she also began to produce large-scale, delicate geometric draw-
ings using her divining pendulum. With her work based on the questions she encoun-
tered and the visions she had, Kunz proved to be an accomplished and even visionary
artist.
Fascination with Kunz’s art has never been greater than it is today. Living a secluded
life, far from any art scene, the works she created eighty years ago exemplify what we
now take for granted: an expanded concept of creativity that rejects the question of art
versus non-art and incorporates a wide range of topics: research, medicine, nature, as
well as supernatural, magical, animistic, and visionary elements.
Published to coincide with a major exhibition at Aargauer Kunsthaus in Switzerland,
where the first-ever public display of Emma Kunz’s drawings was staged in 1973, this
book sets her drawings and activities as a healer in dialogue with the work and posi-
tions of contemporary artists such as Agnieszka Brzeżańska, Joachim Koester, Goshka
Macuga, Shana Moulton, Rivane Neuenschwander, and Mai-Thu Perret. Alongside
some 120 illustrations, mostly in color, the book features essays on spirituality and
esotericism in contemporary art as well as interviews with the artists mentioned. An
innovative exhibition tour via 3-D laser scan technology completes the book.
Yasmin Afschar is an art historian and a curator
at Aargauer Kunsthaus, Aarau.
Scheidegger & Spiess
Spring 2021 9
IVAN ILLICH, LA CONVIVIALITÉ (1973).
« L’installation du fascisme techno-
02
bureaucratique n’est pas inscrite
dans les astres. Il y a une autre
LES LOTOPHAGES
possibilité (...) . »
D epuis longtemps, Ulysse avait cédé à l’hubris, s’entourant
de toutes les technologies que la Lotos Corporation revendait au
prix fort. Grâce à ces gadgets, il lui semblait possible de dépasser
sa condition par trop humaine et d’ainsi résister à l’angoisse de sa
propre obsolescence. Malgré tout, il pressentait confusément que
cette magie technicienne l’éloignait de sa véritable destinée, de
14
tout ce à quoi ses ancêtres avaient patiemment œuvré. Regardant
U
vaguement la ville à travers son hublot, il se souvenait des propos
que lui avait tenus la sorcière Nausicaa, fille d’Alkinoos roi des
Phéaciens : « La tâche dévolue à l’Homme moderne n’est plus lysse s’était grimé le visage afin d’échapper aux
celle de son auto-transformation par ses qualités intrinsèques ; algorithmes de reconnaissance faciale du cyclope. À la
son évolution est désormais dictée par la logique propre de tombée du jour, il embarqua furtivement sur son radeau.
l’appareillage cybernétique. » Il allait falloir ramer encore longtemps, mais Ithaque serait
bientôt en vue. Et avec elle, la liberté...
En moyenne, dans le monde, un individu passe 2 heures
et 24 minutes par jour sur les réseaux sociaux.
En France, 61% des personnes interrogées affirment VERS LA LIBÉRATION
regarder leur smartphone ou une tablette dès le réveil –
E
QU
HA
et près des deux tiers se jugent incapables de vivre
IT
sans ces appareils plus d’une journée. ÉVASION ET RETOUR
À ITHAQUE
rz-magali-elysee-2-vect.indd 6 10.09.20 09:40 rz-magali-elysee-2-vect.indd 7 10.09.20 09:40
Insights into the creative process
of the nominees for the 2020–2022
Prix Elysée for photo books
Aboubacar, rue Robespierre, Bagnolet, 2020
Aminata, rue Jules Ferry, Montreuil, 2019
Nyake, avenue de la Résistance, Montreuil, 2019
Boure, passage du Génie, Paris, 2019
moises_spreads_a.indd 12-13 29/08/2020 11:09
Higanbana - it does bloom when
its leaves shed, and wilts as its
leaves grow.
Two elves, Mañju and Saka were
asked to guard the flower’s petals
and leaves, respectively. However,
the two grew curious about each
other, and arranged a meeting. It
was love at first sight, but
Amaterasu, the sun goddess,
punished them for their
disobedience. They were fated to
never meet again.
Being the daughter of a Kuomintang
General, Dongyu and her family had
to flee China as the Communist army
looked set to gain control. She was
onboard the SS Kiangyu heading to
Taiwan when she perished at sea.
However, death could not extinguish
Franklin’s love for her. He could
not bear the thought of her spirit
wandering for all eternity in the
afterworld alone.
Franklin would marry Dongyu through
a ghost marriage before fleeing
China himself.
Alys_Tomlinson_Prix.indd 6-7 13/09/2020 12:43Edited by Lydia Dorner
Documents the fourth edition of
the Prix Elysée for photo books
Published in cooperation with
Musée de l’Elysée, Lausanne Features the eight nominees and
the work they submitted, selected
Book design by Atelier Cana from 255 applicants from fifty
countries
Paperback
152 pages, 109 color and Published in the run-up to the
20 b/w illustrations award ceremony at Musée de
23,5 × 32 cm l’Elyséee in Lausanne in June 2021
978-3-03942-013-1
English / French
sFr. 39.00 | € 38.00
£ 35.00 | $ 45.00
FEBRUARY 2021 (Europe)
JULY 2021 (US)
ISBN 978-3-03942-013-1
9 783039 420131
Prix Elysée
The Nominees’ Book 2020–2022
The Musée de l’Elysée in Lausanne, one of the most renowned photography muse-
ums in Europe, has awarded the Prix Elysée biannually since 2014. Young photo
artists are invited to submit a photo book project with the prize being the realization
of the winning submission, which constitutes a major step in an artist-photographer’s
career.
This book documents the Prix Elysée’s fourth edition. It features the work submitted
by the eight nominees Alexa Brunet, Arguine Escandón & Yann Gross, Magali Koenig,
Thomas Mailaender, Moises Saman, Assaf Shoshan, Alys Tomlinson, and Kurt Tong.
Sketches, first drafts, and photographic studies illustrate the progress of their projects,
from initial concept to image selection and design. Conversations with the artists
published alongside reflect on their close collaboration with the museum and expand
on the visual portfolios. The individual creative process thus becomes visible, and at the
same time, a cross-section of contemporary art photography production emerges.
Lydia Dorner is an exhibition project manager
at Musée de l’Elysée, Lausanne.
Scheidegger & Spiess
Spring 2021 11SEPTEMBER 5, 2016, NEW YORK INTERVIEW SECTION
NEWS P 93
ELECTION P 107
CHARLIE SCHEIPS EXPERTISE P 122
FUTURE P 145
DREAMS P 156
I think there are
larger social forces
than the president
of the United States.
CULTURAL HISTORIAN
JESSE LEE JONES, NASHVILLE, TN LYDIA FAITHFULL, LAS VEGAS, NV
1
88 89
Fascinating insights
into the thoughts
and minds of
American citizens
and news readers
in these uncertain,
extraordinary times
168 169
social forces,
void
the antics
just a consumer.
revolutionary act
cornerstone
Darwinian
jukebox
pictures
policies?
Climate change
social control
and vote.
Blind trust, porno
it’s online,
common thread
ideology.
capture moments, weaker 47 176 177Edited by Ludovic Balland with
New selection and compilation of
Pauline Mayor
the material put together by Lu-
dovic Balland in 2016 for his inter-
Photographs and texts by Ludovic
nationally recognized Archive of
Balland. With prefaces by Julien
American Readers
Gester, Brice Matthieussent, and
Hilar Stadler The original first edition, American
Readers at Home, was awarded
Book design by Ludovic Balland the German Design Award 2019 in
Typography Cabinet gold and was also among the win-
ners of the 2018 Swiss and German
Paperback national book design competitions
276 pages, 69 color and
139 b/w illustrations
24 × 33 cm
978-3-85881-880-5 English
sFr. 39.00 | € 38.00
£ 35.00 | $ 40.00
AVAILABLE (Europe)
JULY 2021 (US)
ISBN 978-3-85881-880-5
9 783858 818805
American Readers at Home—New Cut
When American Readers at Home was published in early 2018, it was met with wide-
spread praise. The German weekly Die Zeit called it “a fascinating contemporary
document of contradictions.” The manager of a major London art bookshop tweeted
on April 10, 2018 that he had “checked ALL the books at London Book Fair today to
find the best one and this is it: American Readers at Home […] It’s incredible!” The
book soon sold out, no least because it won gold in the 2019 German Design Award
and was also among the winners of the 2018 Swiss and German national book design
competitions.
Swiss graphic designer and photographer Ludovic Balland has now put together a new
selection of the compelling material amassed on his road trip across the United States
during the 2016 presidential campaign. American Readers at Home—New Cut brings
together color photographs of cityscapes and black-and-white portraits of American
citizens with interviews about their use of news media, alongside facsimiles of news-
papers and collages with statements about the current state of the country. Four years
have passed, yet none of these stories have lost their power or urgency!
French journalist Julien Gester, who writes for the French daily Libération, and Swiss
curator Hilar Stadler have contributed new forewords.
Ludovic Balland lives and works in Basel as a graphic designer specializing
in entire editorial projects. He also teaches as a professor of typography
at HGB Hochschule für Grafik und Buchkunst in Leipzig and lectures
at various art schools and universities in Switzerland, Europe, and the US.
Scheidegger & Spiess
Spring 2021 13F
En 1975, c’est à dire 25 ans avant un changement de siècle, nous
avons commencé à réaliser certaines pièces en commun. C’est aussi
à cette date là que nous avons décidé qu’elles feraient partie d’une
construction appelée Archives du futur. Ce serait une œuvre const-
ruite dans la durée et la diversité. Avec le temps ce travail a pris la
forme d’une traversée dont les pièces constituent un moment
particulier et dont les titres sont les boîtes noires qui l’accompag-
nent. Chacune est une trajectoire à l’écoute de ses interférences.
Ce sont les chapitres d’une mémoire organique.
D
1975, das heisst mehr als 25 Jahre vor der Jahrhundertwende, haben
wir begonnen, gewisse Arbeiten gemeinsam zu realisieren. Zur
selben Zeit haben wir beschlossen, dass sie alle einem Projekt,
1 genannt Archives du Futur – Archive der Zukunft –, angehören
würden. Über die Zeit sollte daraus ein Werk der Dauer und Vielfalt
werden. Daraus ist eine Reise durch die Geschichte und der Ge-
schichten geworden. Jede Werkgruppe ist ein Anhaltspunkt, jeder
Titel eine Kapsel der Erinnerung, in der sich Sinn und Widersinn
treffen. Sie sind die Kapitel eines organischen Gedächtnisses.
E 12
In 1975, which is to say, twenty-five years before the turn of the
century, we began making certain works of art together. This is also
when we decided that they would be part of a construction we called
Archives of the Future. It would be a work of art constructed over
time in a variety of media. As time passed, the project took the form
of a journey whose pieces constitute a particular moment and
whose titles are the black boxes accompanying it. Each one is a
trajectory monitoring its interferences. They are the chapters of an
organic memory.
9
DEFRAOUI_Typo_Ver_1_8_Final_NJ.indd 8 08.10.20 14:33 DEFRAOUI_Typo_Ver_1_8_Final_NJ.indd 9 08.10.20 14:33 DEFRAOUI_Typo_Ver_1_8_Final_NJ.indd 21 08.10.20 14:33
Olivier Kaeser & Jean-Paul Felley
entretien lors de l’exposition sombras eléctricas
au centre culturel suisse à paris
Interview conducted during the exhibition Sombras Eléctricas
at the Swiss Cultural Centre in Paris
Olivier Kaeser et Jean-Paul Felley :
Est-ce qu’il y a un propos général à ton exposi-
tion ?
Silvie Defraoui :
Olivier Kaeser and Jean-Paul Felley:
Is there a general idea behind this exhibition?
Silvie Defraoui:
Like everything I’ve done since 1975, this ex
Partners in art, art
education, and life:
Cette exposition fait partie, comme tout ce que hibition is part of the Archives of the Future.
j’ai fait depuis 1975, des Archives du futur. Il est It’s best, I think, to read you part of a descrip
mieux, je crois, de vous lire partiellement un tion that Chérif Defraoui and I wrote about
fragment du texte que nous avons rédigé avec this project, which also appears in our most
Chérif Defraoui à propos de ce projet et qui figure recent retrospective catalogue:
aussi dans le dernier catalogue rétrospectif : “This is an artwork constructed in duration and
Silvie and Chérif
« C’est une œuvre construite dans la durée et la diver- diversity. Over time, this work has taken the
sité. Avec le temps, ce travail a pris la forme d’une form of a journey whose pieces constitute a
traversée dont les pièces constituent un moment parti- particular moment and whose titles are the
culier et dont les titres sont les boîtes noires qui les black boxes that accompany them. These are
accompagnent. Ce sont les chapitres d’une mémoire the chapters of an organic memory.”
organique. » The title of the exhibition, Sombras Eléctri-
Defraoui and their
Le titre de l’exposition : Sombras eléctricas cas (electric shadows), is the exact translation
(ombres électriques), est la traduction exacte du of the word the Chinese use for the cinema.
mot par lequel les chinois désignent le cinéma. I chose it because my work in general is based
Je l’ai choisi, car mon travail en général est on projection, in the various meanings of the
basé sur la projection, dans les différents sens term. We project by thought, and images
manifaceted work
du terme. On projette par la pensée, les images can be projected. But there is also the projec
peuvent être projetées. Mais il y a aussi la pro tion of several events, even if geographically
jection sur un même plan de plusieurs événe distant, onto the same surface. Our memory
ments mêmes géographiquement éloignés. Not functions in just this way.
re mémoire ne fonctionne pas autrement. Superimposed images are often present
11 in my pieces. They are found throughout the
22
DEFRAOUI_Typo_Ver_1_8_Final_NJ.indd 19 08.10.20 14:33 DEFRAOUI_Typo_Ver_1_8_Final_NJ.indd 22 08.10.20 14:33
Chérif Defraoui
titres des
la fiction en tant que moyen d’anticipation archives du futur : xx
Fiction As a Means of Anticipation
0 31
Autoportraits, 1973/1990 Bifurcation, 1985
1 32
Doma, Poétique, (Lieu de Mémoire II), 1975 Pavillon, 1985
2 33
Chronologie, 1975 Révolution, 1985
3 34
Jardins exotiques, 1975/1979 Croisement d’accords, 1985
4 35
Estuaire, 1975/1976 La querelle des images I, 1985
5 36
Table de matières, 1975 La querelle des images II, 1986
6 37
Parler de fiction aujourd’hui, à propos de la photo- Speaking of fiction today, in regards to photo Suerte en el tejado, 1976 Homme, femme, serpent, 1986
7 38
graphie, me ramène toujours à une histoire an- graphy, always brings me back to an old story Los misterios de Barcelona, 1976/1977 Cariatides, 1986
8 39
cienne venue du soufisme que raconte une amie. from Sufism that a friend told me. An elephant Lieux de mémoire, Rooms, 1976 Les taches du léopard, 1986
9 40
Dans une case obscure, on a enfermé un éléphant. was enclosed in a dark hut. Upon exiting, the Les naturalisations, 1977 Das Bild im Boden, 1986/2015
10 41
Les visiteurs, qui en sortent, échangent leurs im- visitors discussed their impressions. Some said Archétypes et artifices, 1976/1977 Conversation pardessus les eaux, 1986
11 42
pressions. Il y a ceux qui disent que, dans le noir, that in the darkness they touched a fan. And Perquisition « El Tango », 1977 Un cercle est toujours fermé, 1986
12 43
ils ont touché un éventail. Et il y a ceux qui disent others said they recognized an elephant’s ear. La Route des Indes, 1978 Et si la terre perdait son pouvoir
13
qu’ils ont reconnu une oreille d’éléphant. Evidem- Clearly, we could still ask ourselves who is 15 Les cours du temps, 1978 d’attraction ?, 1986
14 44
ment, on pourrait encore se demander qui a tort wrong and who is right. But it is more interest Soif de savoir, 1978 Orient/Occident, 1987
15 45
et qui a raison. Mais il est plus intéressant d’exa- ing to examine the construction of this dark Performances secrètes, 1978 La nuit les chambres sont plus grandes, 1987
16 46
miner la construction de cette chambre noire qui room that has the characteristic of making the Cartographie des contrées à venir, 1979 Bilderstreit, 1987
17 47
a la propriété de rendre aussi contradictoires les simplest interpretations contradict each other L’Europe après les pluies, 1979 La traversée du siècle, 1988
18 48
interprétations les plus simples. Notre hypothèse to such a point. Our hypothesis can be Les inscriptions, 1979 Métamorphoses, 1988
19 49
peut se résumer à dire que, sous sa forme com- summed up by saying that, in its complete Boîte à musique, 1980 Les frontières de l’ordre, 1988
20 50
plète, ce qu’on appelle camera obscura n’a jamais form, what we call a camera obscura never Les instruments de divination, 1980 Algèbre, 1988/1989
21 51
vraiment existé, même si elle donne l’impression really existed, even if it gives the impression of Aerolights, 1980 Cires, 1988/1989
22 52
de commander et l’histoire de la représentation et controlling both the history of representation Singsang, 1980/2019 Jardin suspendu, 1990
23 53
son développement industriel. Il y a cette boîte and its industrial development. There is the Indices de variations, 1981 Passages, 1990
24 54
avec la projection d’une image renversée sur un box with the projection of an upsidedown im Fragments (Indices de variations), 1981 Tables de multiplication, 1990
25 55
plan qu’on fabrique dans les ateliers de la Renais- age on a surface that was produced in Renais Les formes du récit, 1980/1983 Vocabulaire, 1990
26 56
sance; mais on a toujours fait comme si son in- sance workshops; but people have always La pagode africaine, 1982 Tragelaph, 1990
27 57
vention était tombée du ciel. Or il est facile de acted as if its invention fell out of the sky. Yet it Conversations sur un radeau, 1982/1983 Le jour, les fenêtres sont plus petites, 1990
28 58
montrer que le modèle de cette boîte existait de- is easy to show that the model for this box had Mirador, 1983 Stations de l’océan, 1991
29 59
puis longtemps, mais pour un usage différent existed for a long time, but for a different and Rencontres élémentaires, 1983/1984 Marines et paysages, 1991
30 60
et très proche : celui de la projection des images very similar use: that of projecting mental La fable des membres, 1985 Acanthus, 1991
mentales et de leur enregistrement, à une époque images and recording them, at a time when
12 34
DEFRAOUI_Typo_Ver_1_8_Final_NJ.indd 12 08.10.20 14:33 DEFRAOUI_Typo_Ver_1_8_Final_NJ.indd 33 08.10.20 14:33 DEFRAOUI_Typo_Ver_1_8_Final_NJ.indd 34 08.10.20 14:33Contributions by Bigna Guyer,
Silvie and Chérif Defraoui are
Daniel Kurjaković, Marie-Louise
important pioneers of multi-disci-
Lienhard, Hans Rudolf Reust,
plinary and multi-media art and of
Corinne Schatz, Philip Ursprung,
art education in Switzerland
Anna Vetsch, and Denys Zacharo-
poulos. Interviews by Jean-Paul Their digital catalogue raisonné,
Felley / Olivier Kaeser and www.archives-du-futur.ch, will be
Christophe Kihm. Lecture texts available online as of spring 2021
by Silvie & Chérif Defraoui
This book supplements and
Book design by Katarina Lang expands on the digital catalogue
raisonné
Hardback All texts are offered in English
184 pages, 12 color translation as well as in their
and 3 b/w illustrations original French and German
18 × 24 cm
978-3-03942-004-9
English / French / German
sFr. 39.00 | € 38.00
£ 32.00 | $ 40.00
MARCH 2021 (Europe)
JULY 2021 (US)
ISBN 978-3-03942-004-9
9 783039 420049
Silvie & Chérif Defraoui—Archives du Futur
14 Comments 1984–2020
Swiss artist Silvie Defraoui realized a significant part of her work beginning in 1975
together with her husband Chérif (1932–1994). Silvie and Chérif Defraoui compiled
their photo and video works, installations, sculptures, and performances under the
title Archives du Futur. They taught together at Geneva’s École supérieure des Beaux-
Arts (today HEAD–Genève), where they founded the legendary studio Média Mixte
and counted a number of renowned artists among their students.
The Archives du Futur, to which Silvie Defraoui has continued adding works since
Chérif’s premature death, has been made available as a digital catalogue raisonné to
browse online. This book accompanies, supplements, and expands on the digital
documentation. It gathers fourteen commentaries on individual works of the two art-
ists by distinguished art theorists and curators, originally published from 1984 on-
wards in various art journals and exhibition catalogues or newly written for this book.
They reflect on the artists’ joint oeuvre as well as on work created independently by
Silvie Defraoui. Interviews with her and selected lecture texts from the couple’s shared
teaching activities shed light on their artistic stance and thematic focuses.
The volume invites an exploration of an artistic body of work that is highly topical
through its merging of dualities—memory and the present, Orient and Occident, man
and woman, tradition and invention.
Silvie Defraoui, born in 1935 in St. Gallen and educated as an artist in
Geneva and Algiers, exhibits her work in countries around the world. She
lives and works in in Vufflens-le-Chateau, near Lausanne, and in Spain.
Chérif Defraoui, born in 1932 in Geneva, spent his childhood in
Alexandria and Cairo and returned to Geneva for his studies,
where he began his collaboration with Silvie. He died in 1994
Scheidegger & Spiess
in Vufflens-le-Chateau, near Lausanne.
Spring 2021 15A dialogue between natural science and painting
Essays by Laura Corman
First major monograph on
and Nadine Olonetzky
Swiss painter Barbara Ellmerer
Book design by Katarina Lang and Presents Ellmerer’s work in painting
Rebecca de Bautista from 2010 to 2020
Hardback Features numerous large-format
approx. 128 pages plates as well as details from
approx. 90 color illustrations paintings that exemplify Ellmerer’s
24 × 34 cm representation of scientific
978-3-03942-007-0 processes in her paintings
English / German
sFr. 49.00 | € 48.00
£ 45.00 | $ 50.00
APRIL 2021 (Europe)
AUGUST 2021 (US)
ISBN 978-3-03942-007-0
9 783039 420070
Barbara Ellmerer—Sense of Science
Paintings
When an apple falls to the ground, we see the effect of gravity. Yet not all laws of na-
ture are as apparent. Swiss artist Barbara Ellmerer uses invisible principles of physics,
biology, and cosmology as her starting point and translates them into paintings. She
sends us into the realm of colors and shapes in which forces, movements, and pro-
cesses from nature are synonymously realized and palpable. Ellmerer thereby also
captures something inexplicable, which reminds us of how steeped in wonder the
world still is.
Barbara Ellmerer—Sense of Science presents a selection of oil paintings and works on
paper created by the artist between 2010 and 2020. Ellmerer’s sometimes large-format
pictures are shown both in full as well as in enlarged details to show the intricacies of
her brush stroke, color qualities, surfaces, depths, movements, and emphases. This
combination also makes productive use of the migration of media—from painting to
photography—and its reproduction in the book. In an accompanying essay, Laura
Corman, a quantum physicist, explains how Ellmerer’s art relates to natural science.
A contribution by Nadine Olonetzky, culture journalist and photo expert, describes
art’s capabilities of rendering invisible processes comprehensible.
Barbara Ellmerer, born in 1956, studied at the F+F School of Art and Design
in Zurich and at Berlin’s University of the Arts. After extended stays in Spain,
Italy, New York, and Delhi, she now lives and works in Zurich.
Scheidegger & Spiess
Spring 2021 17Miriam Cahn (*1949) Christian Marclay (*1955)
Die tiefen grossen Augen in den Gesichtern, Gestalten und Wesen beherrschen die Malerei von Seit Beginn seiner Karriere spielt Christian Marclay mit allen möglichen Erscheinungsformen der
Miriam Cahn unausweichlich. Wie gebannt sind wir mit ihrem Blick konfrontiert. Auch sie fixieren Musik sowie mit ihren Trägern und betätigt sich sowohl als DJ, Musiker und Musikproduzent als
uns, forschend, skeptisch … oder gar vertraut? auch als Performer und obsessiver Sammler. Seine Ausbildung erfolgte an diversen Kunstschulen.
Miriam Cahn hielt sich stets von der langjährigen Dominanz einer rein formalen, medien- Symbolische Räume, die Kunstschaffende in unterschiedlichen Zeiten zwischen Musik, Perfor-
spezifischen und institutionskritischen Selbstbefragung der Kunst fern. Stattdessen lotete sie malend mance, Konzert und Ausstellung eröffnet haben, faszinieren ihn. Fotografie, Assemblage, Collage
ihr Selbstverständnis aus, ihre Erfahrungen als Frau, als politisch informierte Zeitgenossin: «Ich, und Video machen nur einen Teil seiner künstlerischen Kompositionsmittel aus. Denn an Musik
Mensch.» ist Christian Marclay interessiert und ergründet mittels Bildern synergetische Verknüpfungen von
Die frühen schwarz-weissen Zeichnungen in Kohle auf fragilem Papier enthalten noch expli- Tönen, Klängen und Geräuschen mit visuellen Medien.
zite Hinweise auf gesellschaftliche Verhältnisse. Einige Motive haben als Graffiti sogar direkt den Stets mit einem Augenzwinkern versehen, bieten ihm Klang und Musik eine grosse Band-
öffentlichen Raum infiltriert. Die farbigen Gesichter und Körper von Menschen und Tieren aus den breite möglicher Metaphern für die künstlerische Praxis. So macht er sich etwa mit einer Reihe
Werken der Julius Bär Kunstsammlung zeigen Wesen in ihrer nackten Verwundbarkeit, ausgesetzt von Plakaten über den Begriff der Urheberschaft lustig und unterläuft unsere Erwartungen. Der
in ortlosen, weit ausufernden Sphären – aber auch in ihrer Selbstbehauptung gegenüber den zerzauste, energische Rockmusiker Christian Marclay ist als romantischer Chansonnier mit Gitarre
zudringlichen Blicken. Die leuchtende Farbigkeit dieser stilisierten Gestalten erinnert an die heraus- fast nicht mehr wiederzuerkennen. Die Serie ‹False Advertising› (1994) offenbart auf humorvolle
fordernd intensiven Kontraste des Expressionismus. Zugleich sind die verschwimmenden Konturen Weise, welche Bedeutung das Publikum dem Bild des Urhebers zuschreibt und welche Erwartungen
von einem unfassbaren Licht durchsetzt, als könnten sie sich jederzeit auch wieder auflösen. an den Stil sich daran knüpfen, sei es in der Musik oder der Kunst. In Actions: Splat Splooch Whap
Ölbilder wie Tier (1995) oder die dreiteilige Serie ‹Ohne Titel› (1993) mit Pigmenten und Leim Blub Squich (2014), einer Malerei in Kombination mit Siebdruck auf Papier, kehrt er die Idee einer
auf Papier zeigen die Spuren ihres unmittelbaren Farbauftrags. Das volle Risiko des Moments soll etwas vagen modernistischen Vorstellungswelt um, dass die Abstraktion zur Harmonie führe. In
immer spürbar bleiben. Miriam Cahn ist es wichtig, dass sie ihre Bilder nur selten noch überarbeitet. dieser Serie von Gemälden, die bespritzt sind mit Lautmalereien, erklingt der Akt des Malens.
Indem sich die Geste des Malens nicht verbirgt und nicht angezweifelt wird, tritt sie ungeschützt In den Videoarbeiten offenbart sich seine Virtuosität vielleicht am deutlichsten. Telephones
auf wie eine direkte Anrede, die kein Wort scheut, nicht die Verletzlichkeit, nicht die Sinnlichkeit (1995) besteht aus Fragmenten von Hollywoodszenen, in denen Schauspieler*innen telefonieren.
und kein Tabu. Alle diese Sequenzen folgen in einer sorgfältig choreografierten, charakteristischen Ästhetik auf-
einander, um sich dann in ein fantastisches Konzert zu verwandeln. Christian Marclay erfindet hier
Hans Rudolf Reust eine Form, die sich über die Definitionen und Werkzeuge musikalischer Komposition hinwegsetzt.
Kunstkritiker, Dozent an der Hochschule der Künste Bern
und Präsident der Kunstkommission Parlamentsgebäude Samuel Gross
Freier Kurator, Genf
Christian Marclay (*1955), Actions: Splat Splooch Whap Blub Squich (2014),
Miriam Cahn 60 Miriam Cahn (*1949), Tier (6.7.1995), Öl auf Leinwand, 50 × 36 cm 61 Christian Marclay 206 Siebdrucktinte und handgemaltes Acryl auf Papier, 213,5 × 148,2 cm 207
Ausweitung
und Vielfalt –
Gedanken
zur aktuellen
Schweizer
248 Kunstszene 249 Klodin Erb (*1963), Schafspelz (2008), Öl auf Leinwand, 150 × 200 cm 89
An extraordinary corporate
collection with a focus on
contemporary Swiss Art
Marc-Antoine Fehr (*1953), La pièce d’eau et faisanderie à Pressy (1999),
Camillo Paravicini (*1987), Untitled Portraits (2014),
Gouache auf Papier, 15 × 50 cm 93
Silbergelatine-Print auf Barytpapier, 9-teilig (Detail), je 18 × 24 cm, Edition von 5 268 Nicolas Party (*1980), Still Life (2014), Kreide auf Leinwand, 120 × 100 cm 269
Marion Tampon-Lajarriette (*1982), Camera 1, Plan 8 (2008),
3D-Videoanimation, Loop, 5’ 20’’, Edition von 8 + 2 AP 368 André Thomkins (1930–1985), G’ heuet (1985), Öl auf Leinwand, 61 × 61 cm 369 130 131Edited by Barbara Staubli and
A comprehensive survey of the
Barbara Hatebur
Julius Baer Art Collection and the
story of its origins
Essays by Alexandra Blättler,
Giovanni Carmine, Samuel Gross, A dynamic mix of works by estab-
Barbara Hatebur, Daniel Morgen- lished Swiss artists and emerging
thaler, Hans Rudolf Reust, Kristin talents reflects the ongoing pas-
Schmidt, Barbara Staubli, Nadine sion that has driven Julius Baer’s
Wietlisbach, and Isabel Zürcher forty-plus years of collecting
Book design by Bonbon Features thirty-five artists repre-
sented in the collection through
Hardback concise illustrated texts, including
404 pages, 333 color and John M Armleder, Silvia Bächli,
25 b/w illustrations Miriam Cahn, Lutz & Guggisberg,
22 × 29 cm Markus Raetz, Shirana Shahbazi,
978-3-85881-874-4 English and Roman Signer
978-3-85881-694-8 German
sFr. 99.00 | € 97.00
£ 80.00 | $ 100.00
AVAILABLE (Europe)
JULY 2021 (US)
ISBN 978-3-85881-874-4 ISBN 978-3-85881-694-8
English German
9 783858 818744 9 783858 816948
Surrounded by Art
The Julius Baer Art Collection
Julius Baer, established in Zurich in 1890, is a leading Swiss wealth management
group. For nearly as long, the founding family has been engaged in supporting the
visual and performing arts. In 1981, on the initiative of its then chief executive Hans
J. Bär (1927–2011), the company lay the foundations to its own collection of contem-
porary art, guided by the belief that art in a business environment enhances a culture
of communication and is inspirational to employees and clients alike. Today, the Julius
Baer Art Collection comprises more than 5,000 works across a range of media—
painting, drawing, sculpture, photography, and video—by Swiss artists, both interna-
tionally renowned and emerging talents.
This book offers a survey of the collection that is on rotating display at the bank’s
offices around the world and highlights its origins and evolution over the past four
decades. Artistic positions of thirty-five contemporary Swiss artists, such as John M.
Armleder, Silvia Bächli, Miriam Cahn, Lutz & Guggisberg, Markus Raetz, Shirana
Shahbazi, and Roman Signer, are introduced through brief texts and illustrations of
some 350 works from the collection.
Barbara Staubli is an art historian and curator
of the Julius Baer Art Collection.
Barbara Hatebur is an art historian and a research associate
at the Julius Baer Art Collection.
Scheidegger & Spiess
Spring 2021 19Edited by Kunsthaus Zürich
Published to coincide with the
completion and opening to
Published in cooperation with
the public of British architect
Einfache Gesellschaft Kunsthaus-
David Chipperfield’s new building
Erweiterung
for the Kunsthaus Zürich
Book design by Stefan Hunziker The completion of the new
Corti, Büro4 building marks the most significant
step in the museum’s history and
Paperback evolution
52 pages, 57 color
and 5 b/w illustration
19 × 23 cm
978-3-85881-875-1 English
978-3-85881-876-8 French
978-3-85881-696-2 German
sFr. 15.00 | € 15.00
£ 18.00 | $ 20.00
AVAILABLE (Europe)
MARCH 2021 (US)
ISBN 978-3-85881-875-1 ISBN 978-3-85881-876-8 Kunsthaus Zürich:
English French
an Art Museum
for the 21 st Century
9 783858 818751 9 783858 818768
ISBN 978-3-85881-696-2
German
9 783858 816962
The New Kunsthaus Zürich
Museum for Art and Public
The completion of David Chipperfield’s distinctive new building for Kunsthaus Zürich
in December 2020 has nearly doubled the museum’s overall space. In combination
with the preceding refurbishments of the earlier buildings, this has made it more than
able to meet the demands of an art museum of the 21 st century.
Also available:
A sequel to The Architectural History of the Kunsthaus Zürich 1910–2020, this book
comprehensively introduces the new Kunsthaus Zürich, demonstrating how the task
of building an art museum in the 21 st century can be fulfilled. Concise texts, state-
ments by protagonists and by future users and visitors, along with numerous illustra-
tions trace the project’s evolution and construction process and look at the completed
building from various perspectives. The book also highlights the features that contem-
porary museum infrastructure has to offer and the architectural and urban design
qualities it requires, and shows what financial and organizational challenges the entire
undertaking implied. A conversation between experts exploring the expanded mu
seum’s impact on its immediate neighborhood and Zurich’s urban fabric as a whole
The Architectural History
rounds out the volume.
of the Kunsthaus Zürich
1910–2020
Kunsthaus Zürich is one of Europe’s leading art museums and will be-
978-3-85881-859-1 English
come Switzerland’s largest art institution in 2021. Its permanent collec-
978-3-85881-860-7 French
tion comprises masterpieces ranging from medieval to contemporary art,
978-3-85881-676-4 German
sFr. 19.00 | € 19.00 | £ 20.00 | $ 25.00 with a focus on French impressionism, postimpressionism, and classical
ISBN 978-3-85881-859-1 ISBN 978-3-85881-860-7
modernism.
Englisch French
9 783858 818591 9 783858 818607
ISBN 978-3-85881-676-4
German
Scheidegger & Spiess
9 783858 816764 Spring 2021 20The first book ever to thoroughly An overdue tribute: the catalogue
explore Sam Francis’s deep raisonné of Leonor Fini’s oil paintings,
involvement with Japan and marking the 25 th anniversary of her
Japanese culture, and with Asian death in 1996
art more generally
Leonor Fini
Richard Speer Catalogue Raisonné of the Oil Paintings
The Space of Effusion
Sam Francis in Japan 978-3-85881-843-0 English
sFr. 350.00 | € 350.00
978-3-85881-861-4 English £ 320.00 | $ 400.00
ISBN 978-3-85881-861-4 sFr. 75.00 | € 68.00 | £ 60.00 | $ 65.00 ISBN 978-3-85881-843-0
9 783858 818614 9 783858 818430
An examination of not only the works The World of René Burri: this book
of American artist Kiki Smith, but of presents for the first time the
the human body itself full range of the celebrated Swiss
photographer’s creative force
Kiki Smith and interests
Hearing You with My Eyes
René Burri
978-3-85881-867-6 Explosions of Sight
English / French
sFr. 39.00 | € 38.00 | £ 32.00 | $ 40.00 978-3-85881-845-4 English
978-3-85881-661-0 German
ISBN 978-3-85881-867-6
sFr. 49.00 | € 48.00 | £ 45.00 | $ 49.00
ISBN 978-3-85881-845-4 ISBN 978-3-85881-661-0
English German
9 783858 818676
9 783858 818454 9 783858 816610
Charlie Koolhaas’s timely dialogue A hilarious, cool, and unexpected
between words and images about a look at the role of POTUS
crucial moment in our recent history:
the apotheosis of globalization and Lea N. Michel
its current unraveling The President of the United States
on Screen
Charlie Koolhaas 164 Presidents, 1877 Illustrations,
City Lust 240 Categories
London Guangzhou Lagos
Dubai Houston 978-3-85881-858-4 English
sFr. 39.00 | € 38.00 | £ 35.00 | $ 39.00
978-3-85881-804-1 English ISBN 978-3-85881-858-4
ISBN 978-3-85881-804-1
sFr. 59.00 | € 58.00 | £ 50.00 | $ 59.00
9 783858 818584
9 783858 818041
From Constructivism to Art Deco An intellectual panorama of
and back to Avant-garde and Bauhaus: the significance and lasting effect
a unique survey of transformations of Learning from Las Vegas in
of Soviet interior design through architecture and urban design
six decades as well as in the visual arts
Kristina Krasnyanskaya and Eyes That Saw
Alexander Semenov Architecture after Las Vegas
Soviet Design
From Constructivism to Modernism 978-3-85881-820-1 English
1920 –1980 sFr. 49.00 | € 48.00 | £ 45.00 | $ 49.00
ISBN 978-3-85881-846-1
ISBN 978-3-85881-820-1
978-3-85881-846-1 English
sFr. 99.00 | € 77.00 | £ 65.00 | $ 85.00
9 783858 818461
9 783858 818201
Scheidegger & Spiess
Key Titles 21Matisse as a gifted sculptor: Elegant, dreamy swimmers:
an exploration of metamorphoses Carole A. Feuerman’s lifelike figures
in his paintings and drawings as precisely captured snapshots
Matisse Carole A. Feuerman
Metamorphoses Fifty Years of Looking Good
978-3-85881-836-2 English 978-3-85881-844-7 English
978-3-85881-840-9 French sFr. 65.00 | € 58.00 | £ 50.00 | $ 65.00
978-3-85881-650-4 German
sFr. 49.00 | € 48.00 | £ 45.00 | $ 49.00
ISBN 978-3-85881-836-2 ISBN 978-3-85881-840-9 ISBN 978-3-85881-650-4 ISBN 9783858818447
English French German
9 783858 818362 9 783858 818409 9 783858 816504 9 783858 818447
The first survey of distinguished A pioneer of conceptual art:
Korean artist Hong Seung-Hye’s work a new encounter with Stephen Willats
that oscillates between the figurative
and the abstract Stephen Willats
Languages of Dissent
Hong Seung-Hye
Organic Geometry 978-3-85881-648-1
English / German
978-3-85881-866-9 English sFr. 49.00 | € 48.00 | £ 45.00 | $ 55.00
sFr. 75.00 | € 68.00 | £ 65.00 | $ 70.00
ISBN 978-3-85881-866-9 ISBN 978-3-85881-648-1
9 783858 818669 9 783858 816481
The first-ever comprehensive The authoritative critical survey of
monograph on New York-based Jun Kaneko’s life and work, exploring
artist Joel Shapiro, covering his entire what has shaped his oeuvre and
career across various artistic media offering fascinating insights into
Kaneko’s unique, relentlessly
Richard Shiff self-sustaining creative process
Joel Shapiro
Sculpture and Works on Paper Glen R. Brown
1969–2019 Jun Kaneko
The Space Between
978-3-85881-829-4 English
978-3-85881-830-0 French 978-3-85881-865-2 English
sFr. 85.00 | € 77.00 | £ 70.00 | $ 85.00 sFr. 75.00 | € 68.00 | £ 65.00 | $ 70.00
ISBN 978-3-85881-829-4 ISBN 978-3-85881-830-0 ISBN 978-3-85881-865-2
English French
9 783858 818294 9 783858 818300 9 783858 818652
Congolese artists reflect on Radical positions in photography: 35
globalized trade, colonialism, emerging international photographic
proselytization, and virtual artists in focus
boundaries
reGeneration 4
Congo as Fiction The Challenges for Photography and
Art Worlds between Past and Present Its Museum of Tomorrow
978-3-85881-835-5 English 978-3-85881-857-7
978-3-85881-643-6 German English / French
sFr. 49.00 | € 48.00 | £ 45.00 | $ 55.00 sFr. 59.00 | € 58.00 | £ 50.00 | $ 59.00
ISBN 978-3-85881-835-5 ISBN 978-3-85881-643-6
ISBN 978-3-85881-857-7
English German
9 783858 818355 9 783858 816436
9 783858 818577
Scheidegger & Spiess
Key Titles 22A unique insight into Marina New York-based artist duo
Abramović’s biography and art Kuzma Vostrikov and Ajuan Song
and what connects the two invite a dialogue about technology,
authorship, beauty, and the role
Jeannette Fischer of photography in contemporary
Psychoanalyst meets visual culture
Marina Abramović
Artist meets Jeannette Fischer Kuzma Vostrikov and Ajuan Song
Absolutely Augmented Reality
978-3-85881-794-5 English
978-3-85881-546-0 German 978-3-85881-863-8 English
sFr. 19.00 | € 19.00 | £ 18.00 | $ 20.00 ISBN 978-3-85881-863-8
sFr. 49.00 | € 48.00 | £ 42.00 | $ 50.00
ISBN 978-3-85881-794-5 ISBN 978-3-85881-546-0
English German
9 783858 818638
9 783858 817945 9 783858 815460
One of Americas most distinguished Mankind and nature in alliance:
artists: Jacob Lawrence, chronicler an inspiring reader on ecology and
of African American life in the post-humanism in art
20 th century
Potential Worlds
Jacob Lawrence Planetary Memories
Lines of Influence and Eco-Fictions
978-3-85881-825-6 English 978-3-85881-864-5 English
sFr. 65.00 | € 58.00 | £ 55.00 | $ 59.00 sFr. 45.00 | € 38.00 | £ 35.00 | $ 40.00
ISBN 978-3-85881-825-6
ISBN 978-3-85881-864-5
9 783858 818256
9 783858 818645
Photographic experiment An artist to rediscover: the first
and personal liberation: monograph to explore the entire
Swiss photographer body of American photographer
Simone Kappeler’s road trip Jan Groover’s highly original and
across America experimental work
Simone Kappeler Jan Groover, Photographer
America 1981 Laboratory of Forms
978-3-85881-679-5 978-3-85881-838-6 English
English / German sFr. 49.00 | € 48.00 | £ 45.00 | $ 49.00
sFr. 69.00 | € 68.00 | £ 60.00 | $ 75.00
ISBN 978-3-85881-679-5
ISBN 978-3-85881-838-6
9 783858 816795
9 783858 818386
A highly enjoyable history of the The first comprehensive
Bauhaus from an unconventional survey of modern design
perspective from the transnational and
“A difficult defence of the Bauhaus multilingual Alpine region
against its worshippers” Tyrol – South Tyrol – Trentino
(Philipp Oswalt)
Design from the Alps
Philipp Oswalt 1920–2020
Bauhaus Brand Tyrol South Tyrol Trentino
1919–2019
The Victory of Iconic Form over Use 978-3-85881-649-8
English / German / Italian ISBN 978-3-85881-649-8
978-3-85881-856-0 English sFr. 49.00 | € 48.00 | £ 45.00 | $ 55.00
ISBN 978-3-85881-856-0 ISBN 978-3-85881-620-7
978-3-85881-620-7 German
sFr. 39.00 | € 38.00 | £ 35.00 | $ 39.00 English German
9 783858 816498
9 783858 818560 9 783858 816207
Scheidegger & Spiess
Key Titles 23Scheidegger & Spiess
Art I Photography I Architecture
Scheidegger & Spiess REPRESENTATIVES AND AGENTS
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