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New Titles Cataloug 2019/20
New Titles Cataloug 2019/20
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<strong>Scheidegger</strong> & <strong>Spiess</strong><br />
Art I Photography I Architecture<br />
<strong>International</strong> <strong>New</strong> titles<br />
<strong><strong>20</strong>19</strong>–<strong>20</strong>
Content<br />
4 / 5<br />
Matisse—Metamorphoses<br />
6 / 7<br />
Joel Shapiro<br />
Sculpture and Works on<br />
Paper 1969–<strong><strong>20</strong>19</strong><br />
8 / 9<br />
René Burri<br />
Explosion of the View<br />
10 / 11<br />
Jan Groover, Photographer<br />
Laboratory of Forms<br />
12<br />
Stephen Willats<br />
Languages of Dissent<br />
13<br />
United by AIDS<br />
An Anthology on Art in<br />
Response to HIV / AIDS<br />
14 / 15<br />
Charlotte Perriand<br />
Complete Works. Volume<br />
4: 1969–1999<br />
16 / 17<br />
Soviet Design<br />
From Constructivism to<br />
Modernism. 19<strong>20</strong>–1980<br />
18 / 19<br />
Design from the Alps<br />
19<strong>20</strong>–<strong>20</strong><strong>20</strong><br />
Tyrol South Tyrol Trentino<br />
<strong>20</strong><br />
Doomed Paradise<br />
The Last Penan in the<br />
Borneo Rainforest<br />
21<br />
Congo as Fiction<br />
Art Worlds between Past and<br />
Present<br />
22 / 23<br />
Carole A. Feuerman<br />
Fifty Years of Looking Good<br />
24<br />
Leonor Fini<br />
Catalogue Raisonné<br />
of the Oil Paintings<br />
25<br />
Manon<br />
26<br />
Nives Widauer<br />
Villa Nix<br />
26<br />
Michael Kvium<br />
A Retrospective<br />
27<br />
Pavillon Le Corbusier<br />
Zurich<br />
Restoration of an<br />
Architectural Jewel
28<br />
Blossom<br />
28<br />
Light Scripture<br />
Analog Reflections in<br />
Photography<br />
29<br />
Architecture of Infinity<br />
A Film by Christoph Schaub<br />
30<br />
Documented Landscape<br />
The Photo Archives of Carl<br />
Schröter and Geobotanical<br />
Institute Rübel<br />
30<br />
Chestnut Journal<br />
31<br />
Sophie Taeuber-Arp<br />
Equilibre<br />
Landmarks of Swiss Art<br />
31<br />
Franz Gertsch—Rüschegg<br />
Landmarks of Swiss Art<br />
32<br />
Lawrence Weiner<br />
Attached by Ebb and Flow<br />
32<br />
Le Corbusier<br />
Lessons in Modernism<br />
33<br />
Silvia Buol<br />
Watercolors and Drawings<br />
33<br />
Existenz<br />
Brigitte Waldach<br />
Felix-Nussbaum-Haus<br />
34<br />
Anthony Cragg<br />
Endless Form<br />
34<br />
From Poland with Love<br />
Letters to Harald Szeemann<br />
35<br />
Manfred Wakolbinger<br />
Inhale—Exhale<br />
35<br />
Mask<br />
In Present-Day Art<br />
36<br />
The Glacier’s Essence<br />
Greenland—Glarus.<br />
Climate, Science, Art<br />
36<br />
111 Years Waldhaus Sils<br />
The Curious Tale and<br />
Incomplete History of an<br />
Alpine Grand Hotel and Its<br />
People
Henri Matisse, an exceptionally gifted<br />
sculptor: metamorphoses from and<br />
relations to his paintings and drawings
Edited by Kunsthaus Zürich<br />
Paperback<br />
232 pages, 169 color and<br />
37 b/w illustrations<br />
22 × 27 cm (8¾ × 10¾ in)<br />
978-3-85881-836-2 English<br />
978-3-85881-840-9 French<br />
978-3-85881-650-4 German<br />
CHF 49.00 | EUR 48.00<br />
GBP 45.00 | USD 49.00<br />
ART<br />
AVAILABLE (Europe)<br />
FEBRUARY <strong>20</strong><strong>20</strong> (US)<br />
ISBN 978-3-85881-836-2<br />
English<br />
Highlights Henri Matisse’s achievements<br />
as a sculptor, the least<br />
known part of his oeuvre, demonstrating<br />
parallels with his work in<br />
painting and drawing<br />
Shows his sources of inspiration<br />
and offers insights into his creative<br />
process<br />
Matisse is one of the most significant<br />
and most popular modern<br />
masters<br />
Matisse’s 150th anniversary on<br />
31 December <strong><strong>20</strong>19</strong><br />
Exhibitions: Kunsthaus Zürich (30<br />
August to 8 December <strong><strong>20</strong>19</strong>) and<br />
Musée Matisse, Nice (15 February<br />
to 15 May <strong>20</strong><strong>20</strong>)<br />
9 783858 818362<br />
ISBN 978-3-85881-840-9<br />
French<br />
9 783858 818409<br />
ISBN 978-3-85881-650-4<br />
German<br />
9 783858 816504<br />
Matisse—Metamorphoses<br />
Henri Matisse (1869–1954) is revered worldwide as a revolutionary painter and loved<br />
for his collages, or papiers découpés, the icons of his late work. His paintings and<br />
drawings for a long time overshadowed his achievements as a sculptor. Yet his Back<br />
Series, four bas-reliefs showing a nude, created between 1908 and 1930, are widely<br />
recognized as a milestone in modern sculpture. Starting out from the naturalistic depiction,<br />
Matisse gradually transformed it to reach a radically abstracted figure. Each<br />
of the four original plaster casts represents a decisive moment of this artistic process.<br />
This transformative process has parallels in Matisse’s painting and drawing. Published<br />
in conjunction with major exhibitions at Kunsthaus Zürich and Musée Matisse<br />
in Nice, marking the artist’s 150th anniversary, this is the first book to explore the<br />
relation between metamorphosis and feedback in both main fields of the artist’s work.<br />
Documents of his diverse sources of inspiration for his sculptures—photographs of<br />
nudes, examples from African and ancient art—as well as images featuring Matisse<br />
at work as sculptor, round out this volume. It is a welcome addition to any art library,<br />
highlighting the lesser known side of this modern master.<br />
Kunsthaus Zürich is one of Europe’s leading art museums. Its permanent<br />
collection comprises masterpieces from medieval to contemporary art with<br />
a focus on French impressionism, post-impressionism, and classical modernism.<br />
<strong>New</strong> titles<br />
<strong><strong>20</strong>19</strong>–<strong>20</strong><strong>20</strong> 5
The first-ever comprehensive monograph on this<br />
distinguished American artist, covering his entire<br />
career and manifold œuvre
By Richard Shiff<br />
Hardback<br />
224 pages, 274 color and<br />
27 b/w illustrations<br />
24 × 30 cm (9½ × 11¾ in)<br />
978-3-85881-829-4 English<br />
978-3-85881-830-0 French<br />
CHF 85.00 | EUR 77.00<br />
GBP 70.00 | USD 85.00<br />
ART<br />
AVAILABLE (Europe)<br />
DECEMBER <strong><strong>20</strong>19</strong> (US)<br />
The first-ever monograph on Joel<br />
Shapiro covering his entire career<br />
and all artistic media he uses<br />
First new book on Joel Shapiro in<br />
more than twenty years<br />
Joel Shapiro is one of the most<br />
distinguished American artists of<br />
his generation<br />
His work is exhibited in solo and<br />
group shows and represented in<br />
the permanent collections of many<br />
important museums worldwide<br />
ISBN 978-3-85881-829-4<br />
English<br />
9 783858 818294<br />
ISBN 978-3-85881-830-0<br />
French<br />
9 783858 818300<br />
Joel Shapiro<br />
Sculpture and Works on Paper 1969–<strong><strong>20</strong>19</strong><br />
Born in <strong>New</strong> York in 1941, Joel Shapiro is one of the most significant artists of his<br />
generation. Since the first public showing of his work in 1969 as part of the landmark<br />
Anti-Illusion: Procedures/Materials exhibition at the Whitney Museum of American<br />
Art, he has been the subject of numerous solo exhibitions in galleries and museums<br />
around the world.<br />
Shapiro is most renowned for the distinctive language of dynamic sculpture, blurring<br />
the lines between abstraction and figuration, that he developed in the 1980s and 90s.<br />
Yet he first gained wide recognition through his earliest <strong>New</strong> York shows in the 1970s<br />
for introducing common forms of often diminutive size. Since then he has continued<br />
to push the material and conceptual boundaries of sculpture by working in a number<br />
of materials and employing various working methods.<br />
Joel Shapiro: Sculpture and Works on Paper 1969–<strong><strong>20</strong>19</strong> is the first book in over<br />
twenty years to survey the artist’s entire working career. In an extensive essay, art historian<br />
Richard Shiff provides a fresh and incisive examination of Shapiro’s oeuvre and<br />
working process. With more than two hundred striking full-color illustrations, this is<br />
a long-anticipated and much-needed survey of this vital and essential American artist.<br />
Richard Shiff is the Effie Marie Cain Regents Chair in Art and the director<br />
of the Center for the Study of Modernism at the University of Texas at<br />
Austin.<br />
<strong>New</strong> titles<br />
<strong><strong>20</strong>19</strong>–<strong>20</strong><strong>20</strong> 7
A new and concise<br />
monograph on celebrated<br />
Swiss photographer<br />
René Burri, featuring<br />
previously unpublished<br />
archival material
Edited by Tatyana Franck<br />
In cooperation with Musée de<br />
l’Elysée, Lausanne<br />
Hardback<br />
approx. 240 pages, 2<strong>20</strong> color and<br />
60 b/w illustrations<br />
21 × 27 cm (8¼ × 10¾ in)<br />
978-3-85881-845-4 English<br />
978-3-85881-661-0 German<br />
CHF 49.00 | EUR 48.00<br />
GBP 45.00 | USD 49.00<br />
PHOTOGRAPHY<br />
FEBRUARY <strong>20</strong><strong>20</strong> (Europe)<br />
MAY <strong>20</strong><strong>20</strong> (US)<br />
<strong>New</strong> concise monograph on celebrated<br />
Swiss photographer René<br />
Burri<br />
Features previously unpublished<br />
archival material<br />
Presents also Burri’s own book designs,<br />
exhibition projects, travel<br />
diaries, collages, and watercolors<br />
René Burri is one of the <strong>20</strong>th-century’s<br />
great photo reporters<br />
Exhibition: Musée de l’Elysée, Lausanne<br />
(29 January to 3 May <strong>20</strong><strong>20</strong>)<br />
ISBN 978-3-85881-845-4<br />
English<br />
9 783858 818454<br />
ISBN 978-3-85881-661-0<br />
German<br />
9 783858 816610<br />
René Burri—Explosions of Sight<br />
Explosion of the View<br />
Swiss photographer René Burri (1933–<strong>20</strong>14) has been wherever history happened. A<br />
member of Magnum Photos cooperative as of 1955, he photographed in the Middle<br />
East and South-East Asia, recording the Six-Day (1967) and Yom Kippur (1973) Wars,<br />
as well as the Vietnam War during the 1960s. His many travels took him to Japan<br />
and China, across Europe and the Americas to report many of <strong>20</strong>th century’s major<br />
events. His extraordinary sense for people, their personality and circumstances let<br />
him create portraits of celebrities and capture ordinary men and women alike. His<br />
iconic picture of Che Guevara with cigar, shot in 1963, is one of the world’s most<br />
famous and widely reproduced photographic portraits ever.<br />
Lausanne’s Musée de l’Elysée hosts the Fondation René Burri, established in <strong>20</strong>13 for<br />
the conservation of Burri’s archive. Published in conjunction with an exhibition in<br />
spring <strong>20</strong><strong>20</strong>, the book draws on this unique source. It brings together for the first time<br />
Burri’s entire body of work, photographic and non-photographic. Photographs feature<br />
alongside previously unpublished documents, book designs, exhibition projects, travel<br />
diaries, collages, watercolors, and other objects he collected. It offers a new, multifaceted<br />
and uniquely intimate view of one of the world’s greatest photo reporters.<br />
Tatyana Franck is director of Lausanne’s Musée de l’Elysée since <strong>20</strong>15.<br />
Prior to this she has directed the Archives Claude Picasso in Geneva as well<br />
as a number of important photography collections, and has curated various<br />
exhibitions.<br />
<strong>New</strong> titles<br />
<strong><strong>20</strong>19</strong>–<strong>20</strong><strong>20</strong> 9
A discovery: the first monograph<br />
exploring the entire body<br />
of American photographer<br />
Jan Groover’s highly original<br />
and experimental work
Edited by Tatyana Franck<br />
In cooperation with Musée de<br />
l’Elysée, Lausanne<br />
Hardback<br />
192 pages, 130 color and<br />
4 b/w illustrations<br />
21 × 27 cm (8¼ × 10¾ in)<br />
978-3-85881-838-6 English<br />
CHF 49.00 | EUR 48.00<br />
GBP 45.00 | USD 49.00<br />
PHOTOGRAPHY<br />
AVAILABLE (Europe)<br />
FEBRUARY <strong>20</strong><strong>20</strong> (US)<br />
First book exploring the entire career<br />
and achievements of American<br />
artist and photographer Jan<br />
Groover<br />
Richly illustrated with many never<br />
before published images<br />
Features Groover’s photography<br />
as well as her early work in painting<br />
and drawing<br />
Exhibition: Musée de l’Elysée, Lausanne<br />
(18 September <strong><strong>20</strong>19</strong> to 5<br />
January <strong>20</strong><strong>20</strong>)<br />
ISBN 978-3-85881-838-6<br />
9 783858 818386<br />
Jan Groover, Photographer<br />
Laboratory of Forms<br />
This book offers a discovery: for the first time, a comprehensive monograph explores<br />
the entire œuvre of photographic artist Jan Groover (1943–<strong>20</strong>12). Generously illustrated,<br />
it traces Groover’s career from the beginnings as a self-taught painter and<br />
draughtswoman in America to her late years in western France. Essays on her life<br />
and work, her significance as an artist, alongside a very personal contribution by her<br />
husband, French artist and critic Bruce Boice, complement the images.<br />
Groover obtained her formal education as an artist at <strong>New</strong> York’s Pratt Institute and<br />
Ohio State University. In the 1970s she turned to photography, without ever giving<br />
up painting and drawing entirely. She developed a distinct artistic attitude that let<br />
her amalgamate both disciplines. Especially for her carefully composed still-lifes she<br />
earned much recognition. Experiments with older photographic techniques, such as<br />
platinum print and early <strong>20</strong>th-century large-format cameras, are characteristic for the<br />
late work.<br />
Tatyana Franck is director of Lausanne’s Musée de l’Elysée since <strong>20</strong>15.<br />
Prior to this she has directed the Archives Claude Picasso in Geneva as well<br />
as a number of important photography collections, and has curated various<br />
exhibitions.<br />
<strong>New</strong> titles<br />
<strong><strong>20</strong>19</strong>–<strong>20</strong><strong>20</strong> 11
Edited by Heike Munder<br />
In cooperation with Migros Museum<br />
für Gegenwartskunst, Zurich<br />
Hardback<br />
230 pages, 89 color and<br />
158 b/w illustrations<br />
<strong>20</strong> × 27 cm (7¾ × 10¾ in)<br />
978-3-85881-648-1<br />
English / German<br />
CHF 49.00 | EUR 48.00<br />
GBP 45.00 | USD 55.00<br />
ART<br />
A new approach to the pioneering<br />
conceptual art of Stephen Willats,<br />
for the first time in the context of<br />
cybernetics, sub-culture and architecture<br />
Presents previously unpublished<br />
works by Willats<br />
AVAILABLE (Europe)<br />
FEBRUARY <strong>20</strong><strong>20</strong> (US)<br />
ISBN 978-3-85881-648-1<br />
9 783858 816481<br />
Stephen Willats<br />
Languages of Dissent<br />
A new encounter<br />
with Stephen<br />
Willats, pioneer<br />
of conceptual art<br />
Born in London in 1943, Stephen Willats is a pioneer of conceptual art and has, over<br />
the course of more than five decades, created a multi-faceted body of work. This<br />
new book, published in conjunction with an exhibition at Zurich’s Migros Museum<br />
für Gegenwartskunst in summer <strong><strong>20</strong>19</strong>, focuses on two key aspects of Willats’ art.<br />
Cybernetics, the control of dynamic systems, in which he has taken a keen interest,<br />
serves him as method, aesthetic vocabulary, as well as a formal model. Subcultures<br />
that promote non-conformism and self-determination constitute another focal point<br />
in his wide-ranging work.<br />
The book offers a new approach to Willats’ art from multiple different perspectives.<br />
A comprehensive selection of both earlier and more recent works, some of them published<br />
here for the first time, is complemented by essays. The authors investigate that<br />
particular creative sphere in between cybernetics, architecture, and subculture within<br />
which Willats questions normative, regulating power structures and aims to discover<br />
personal freedom and alternative thought patterns.<br />
Heike Munder is a curator and Director of Migros Museum für Gegenwartskunst<br />
in Zurich since <strong>20</strong>01.<br />
<strong>New</strong> titles<br />
<strong><strong>20</strong>19</strong>–<strong>20</strong><strong>20</strong> 12
Edited by Rahphael Gygax and<br />
Heike Munder<br />
In cooperation with Migros Museum<br />
für Gegenwartskunst, Zurich<br />
Hardback<br />
230 pages, 89 color and<br />
158 b/w illustrations<br />
14.5 × 23 cm (5¾ × 9 in)<br />
978-3-85881-839-3 English<br />
CHF 49.00 | EUR 48.00<br />
GBP 45.00 | USD 49.00<br />
ART<br />
An illustrated reader on art activism<br />
in response to HIV/AIDS<br />
Offers a wide-ranging survey of<br />
nearly forty years’ grapple with the<br />
disease<br />
Forty years after its first appearance<br />
in the Western World, HIV/AIDS remains<br />
a major challenge to society<br />
around the globe<br />
Exhibition: Migros Museum für Gegenwartskunst,<br />
Zurich (31 August<br />
to 10 November <strong><strong>20</strong>19</strong>)<br />
AVAILABLE (Europe)<br />
FEBRUARY <strong>20</strong><strong>20</strong> (US)<br />
Also available as e-book:<br />
978-3-85881-917-8 PDF<br />
978-3-85881-918-5 EPUB<br />
CHF 10.00 | EUR 9.00<br />
GBP 8.00 | USD 10.00<br />
ISBN 978-3-85881-839-3<br />
9 783858 818393<br />
United by AIDS<br />
An Anthology on Art in Response to HIV / AIDS<br />
A global survey of<br />
four decades’ art<br />
and activism<br />
in response to<br />
HIV / AIDS<br />
The appearance of the Human Immunodeficiency Virus and the Acquired Immune<br />
Deficiency Syndrome (HIV / AIDS) in the early 1980s and its subsequent rapid spread<br />
around the world has left deep marks in society. The illness and its effects on society<br />
have also caused manifold responses by artists and activists in many countries.<br />
United by AIDS, published in conjunction with a group show on the topic of loss,<br />
remembrance, activism and art in response to HIV / AIDS in summer <strong><strong>20</strong>19</strong> at Zurich’s<br />
Migros Museum für Gegenwartskunst, sheds light on the multifaceted and complex<br />
interrelation between art and HIV / AIDS from the 1980s to the present. It examines<br />
the blurred boundaries between art production and HIV / AIDS activism and<br />
showcases artists who played—and still play leading roles in this discourse. Alongside<br />
images of artworks and brief texts on the represented artists, the book features voices<br />
from the past and present. Essays by Douglas Crimp, Alexander García Düttmann,<br />
Raphael Gygax, Elsa Himmer, Theodore (Ted) Kerr, Elisabeth Lebovici, and Nurja<br />
Ritter broaden the view of the international discourse on HIV/AIDS and society’s<br />
confrontation with the disease.<br />
Raphael Gygax is a Zurich-based art historian, curator and writer, and director<br />
of the BA program in art and media at Zurich University of the Arts<br />
ZHdK since <strong><strong>20</strong>19</strong>. He has been a curator at Migros Museum für Gegenwartskunst<br />
in Zurich <strong>20</strong>03–19.<br />
Heike Munder is a curator and Director of Migros Museum für Gegenwartskunst<br />
in Zurich since <strong>20</strong>01.<br />
<strong>New</strong> titles<br />
<strong><strong>20</strong>19</strong>–<strong>20</strong><strong>20</strong> 13
Charlotte Perriand, Gaston Regairaz/AAM<br />
Arc 1600 site plan, detail, July 17, 1968.<br />
Print.<br />
AChP 67.256.<br />
Zone B, preliminary agreement, elevations,<br />
July 17, 1968.<br />
Print.<br />
AChP 67.258.<br />
Right-hand page<br />
Perspective drawing of the site, October 1970.<br />
Promotional document for the Cachette building.<br />
AChP.<br />
Site plan, 1972.<br />
Illustration reproduced in Jean-François Lyon-Caen,<br />
Catherine Salomon-Pelen, eds,<br />
Inventaire général du patrimoine culturel,<br />
Région Auvergne-Rhône-Alpes/Fonds AAM/<br />
Archives départementales de la Savoie.<br />
Le Corbusier, Pierre Jeanneret<br />
Durand subdivision in Oued Ouchaia in Algiers, 1933.<br />
Mockup of the project.<br />
FLC.<br />
Le Corbusier<br />
Maison de la culture in Firminy, 1953–61.<br />
Photograph Olivier Martin-Gambier/FLC.<br />
Georges Candilis, Alexis Josic, Charlotte Perriand,<br />
Henri Piot, Jean Prouvé,<br />
Ren Suzuki, Shadrach Woods<br />
Competition for the development of a winter<br />
sports resort in the Belleville Valley, 1962.<br />
Cells extended by terraces<br />
arranged in tiers on the slope.<br />
AChP.<br />
Charlotte Perriand, Alain Bardet, architecture<br />
Cachette residence, 1969–70. Arc 1600.<br />
Photograph Tom Mauron-Stéphane Ghez/Cinétévé.<br />
Charlotte Perriand, Gaston Regairaz, architecture<br />
Cascade residence, 1967–69. Arc 1600.<br />
Photograph Pernette Perriand-Barsac/AChP.<br />
Charlotte Perriand, Gaston Regairaz, architecture<br />
Versant Sud complex, 1969–75. Arc 1600.<br />
Photograph Pernette Perriand-Barsac/AChP.<br />
Charlotte Perriand<br />
Opposite, study mockup of a staircase with<br />
offset steps for the duplexes under the roof of<br />
the Belles Challes-Lauzières residences,<br />
October 1975.<br />
Photographs Pernette Perriand-Barsac/AChP.<br />
Below, study mockup of a standard cell<br />
of the Pierra Menta residence, 1979.<br />
Photograph Peter Myburgh/AChP.<br />
Right-hand page<br />
Study mockup of an apartment<br />
in the Miravidi residence, 1974.<br />
Photograph Pernette Perriand-Barsac/AChP.<br />
Study mockup of a duplex<br />
in the Miravidi residence, 1974.<br />
Upper floor, seen in profile, without the kitchen.<br />
Photograph Pernette Perriand-Barsac/AChP.<br />
Charlotte Perriand<br />
Cascade residence, 1967–69.<br />
Curved wooden partition inside the living room.<br />
Photograph Pernette Perriand-Barsac/AChP.<br />
Left-hand page<br />
Living room with two “breathing closets”<br />
connected by a countertop desk with lamp<br />
built into the upper rail.<br />
Adjustable table, cross-shaped metallic leg<br />
assembly with jackscrew and round enameled sheet<br />
metal top. Elephant stool by Sori Yanagi.<br />
Photograph Éric Dessert/<br />
Région Auvergne-Rhône-Alpes,<br />
Inventaire général du patrimoine culturel.<br />
Type 4 storage unit with plastic drawers,<br />
combined with a type 2 closet.<br />
Photograph Catherine Taillefer.<br />
ArC 1600<br />
ArC 1600<br />
ArC 1600<br />
ArC 1600<br />
Facilities, a new version of the site plan, the result of a compromise, was adopted on<br />
January 15, 1968. 137 It contained the first studies for building B1 (La Cascade) conducted<br />
in parallel by Perriand and Regairaz. The site plan was once again modified in February–<br />
March 1968. The capacity of the buildings in zone F (Versant Sud) was reduced from 1,000<br />
to 600 beds. Originally composed of closely packed, cascading chalets, Versant Sud was<br />
now grouped into small buildings of varying sizes arranged in four tiers down the slope.<br />
The composition was similar to a sort of subdivision on the outskirts of the resort. To meet<br />
the various constraints on the center of Pierre Blanche in front of La Cascade, Perriand<br />
proposed a group of buildings with a ground floor and three upper stories arranged in six<br />
tiers down the slope. Straddling each other, these were to be off-centered so as to create<br />
large terraces facing south and west. The height of the buildings and their position on<br />
the terrain would ensure that they could not be seen from the balconies of La Cascade.<br />
During the general meeting of the SMA with Perriand and Regairaz on March 4, 1968, an<br />
agreement reconciling “the different interests was finally reached” 138 ready to present to<br />
the Higher Council of Architecture. The site plan was updated accordingly in July 1968. 139<br />
Withiin just a few months, the project’s parameters had changed three times. Godino was<br />
able to advance only one step at a time, constantly improvising in the fog of financing and the<br />
injunctions of the regulatory authorities. Perriand asked him for detailed programs for each<br />
building so that she could draw up the urban development plan and keep to the schedule.<br />
could not handle the melting snow and the runoff infiltrated the foundations of the B2 building. 304<br />
The glass doors of the entrances broke three months after the opening 305 and the repairs of La<br />
Cascade had still not been completed by the summer vacation of 1970. Several owners complained<br />
about missing parts and fittings in the studios or apartments and refused to pay the last installments.<br />
“This state of affairs is extremely harmful for the resort,” 306 the real-estate department warned.<br />
The sales director complained to his counterpart at the developer’s: “As of today, nothing has been<br />
done. I find this particularly shocking and unacceptable considering the sales situation.… In a<br />
large number of apartments it is still raining in. There is no doubt that this will most definitely not<br />
facilitate the sales that could otherwise have been made in the July–August period. I must ask you<br />
to intervene once again, and very energetically, with Monsieur Rey-Millet that he might deign to<br />
assume his responsibilities as architect.” 307 The design of the interior architecture was not spared<br />
criticism. “As a saleswoman, I can assure you that the curved Seguet panels are not liked and<br />
that most buyers ask that they be replaced by rectangles. The corner as it stands is considered an<br />
unaesthetic dust trap, impossible to furnish and a waste of space. On several occasions, I personally<br />
have been asked to have these curved partitions modified.” 308<br />
Today, La Cascade is considered a model of originality among the other buildings at Les<br />
Arcs. Its design would make a strong impression. The main buildings of Arc 1600, the<br />
Cascade and Cachette hotels, the Cascade and Versant Sud residences, would reference<br />
many of its features, including the terraces, slanting façades, tiered levels, staggered cells,<br />
interior architecture, and the furniture and fittings.<br />
50 51<br />
108 109<br />
ArC 1600<br />
ArC 1600<br />
ArC 1800<br />
ArC 1800<br />
68 69<br />
198 199<br />
Now complete: The definitive monograph<br />
on Charlotte Perriand, one of the most eminent<br />
protagonists of modern architecture and design.<br />
Previous volumes:<br />
Volume 1: 1903–1940<br />
978-3-85881-746-4 English<br />
CHF 1<strong>20</strong>.00 | EUR 1<strong>20</strong>.00<br />
GBP ISBN 978-3-85881-746-4 100.00 | USD 130.00<br />
Volume 2: 1940 –1955<br />
978-3-85881-747-1 English<br />
CHF 1<strong>20</strong>.00 | EUR 1<strong>20</strong>.00<br />
GBP ISBN 978-3-85881-747-1 100.00 | USD 130.00<br />
Volume 3: 1956–1968<br />
978-3-85881-748-8 English<br />
CHF 1<strong>20</strong>.00 | EUR 1<strong>20</strong>.00<br />
GBP ISBN 978-3-85881-748-8 100.00 | USD 130.00<br />
9 783858 817464<br />
9 783858 817471<br />
9 783858 817488
By Jacques Barsac<br />
With a preface by Michelle Perrot<br />
Hardback<br />
528 pages, 446 color<br />
and <strong>20</strong>4 b/w illustrations<br />
23 × 30.5 cm (9 × 12 in)<br />
978-3-85881-778-5 English<br />
CHF 1<strong>20</strong>.00 | EUR 1<strong>20</strong>.00<br />
GBP 100.00 | USD 130.00<br />
DESIGN<br />
OCTOBER <strong><strong>20</strong>19</strong> (Europe)<br />
FEBRUARY <strong>20</strong><strong>20</strong> (US)<br />
ISBN 978-3-85881-778-5<br />
The concluding volume of the definitive<br />
monograph on Charlotte<br />
Perriand in English<br />
Lavishly illustrated with a wealth of<br />
previously unpublished material<br />
Documents in detail Perriand’s role<br />
in and vast contribution to the development<br />
and design of the Les<br />
Arcs skiing resort in the French<br />
Alps<br />
An invaluable source for scholars,<br />
dealers and collectors<br />
9 783858 817785<br />
Charlotte Perriand<br />
Complete Works. Volume 4: 1969–1999<br />
The concluding fourth volume of this most comprehensive monograph ever on Charlotte<br />
Perriand (1903–1999) covers the last three decades of her long career. At the core<br />
is the Les Arcs skiing resort in the French Alps, where Perriand played a key role in<br />
all aspects of the project. A pioneer of bioclimatic architecture, she oversaw the urban<br />
and architectural design of Arc 1600 and Arc 1800 and created the interiors and entire<br />
outfitting down to cutlery and china for the more than 4,500 apartments. Les Arcs,<br />
an extraordinary undertaking both in sheer size and the extent of Perriand’s contribution,<br />
marks the culmination of her research on alpine housing in unison with nature.<br />
The book also features number of projects—housing and art spaces—between Paris<br />
and Tokyo, in which Perriand aimed once more to push the borders of a specific modern,<br />
cultivated way of living. Moreover, it offers a comprehensive appraisal of seventy<br />
years’ work that manifests the creative force and vision of this extraordinary woman,<br />
one of the most eminent protagonists of modern architecture and design. a preface by<br />
Michelle Perrot, French historian and pioneer of gender studies. The books’ preface is<br />
contributed by French historian and pioneer of gender studies Michelle Perrot.<br />
Jacques Barsac has directed a number of internationally successful documentary<br />
films on historic personalities, such as Charlotte Perriand, Le Corbusier,<br />
Jean Cocteau, and Winston Churchill. Since <strong>20</strong>01 he has been carrying<br />
out extensive research on Perriand’s life and work.<br />
<strong>New</strong> titles<br />
<strong><strong>20</strong>19</strong>–<strong>20</strong><strong>20</strong> 15
“The furniture is to serve as a simplified set<br />
for different performances. Figure 1 shows<br />
a chair, its sides made up of two frames<br />
joined by two hinges that are also attached<br />
to the seat. The chair can be folded when<br />
required; the sides fold in and the seat lifts<br />
up against the back of the chair. When<br />
folded the chair is flat, making it easy to<br />
transport when the theatre is on tour and<br />
when there are a number of chairs on stage,<br />
usually a small stage, they can be folded<br />
and stored in the wings, thus saving space.<br />
Figures 4 and 5 show possible combinations<br />
for the folding chair: a sofa, carriage seat,<br />
etc. If required, the shape of the chair can<br />
be changed or given a particular style; a<br />
canvas cover can be sewn to fit the chair,<br />
and then painted in a particular style to give<br />
it a different appearance or character, as<br />
shown in Figure 2. Figures 6 and 7 show<br />
stool covers painted in a variety of ways.<br />
Figure 8 shows the transformation of the<br />
table into an orator’s podium. The table is<br />
made in the same way as the chair, with two<br />
side frames that fold inwards, and crosswise<br />
folding frames fixed with loops on the upper<br />
horizontal bars of the main frame of the<br />
table. The crosswise hinged frames assume<br />
the position shown by the dotted lines when<br />
the table is required, whilst when the podium<br />
is required, they assume the position<br />
indicated in the drawing (a bar fastening on<br />
one side). The table top is made separately.<br />
In order to climb up to the podium there is<br />
a small set of steps attached at one side of<br />
the table.” 59<br />
Museum of history of the city of Sochi.<br />
(MOMus, Thessaloniki).<br />
Schusev State Museum of Architecture.<br />
The complex consisted of 3 separate<br />
buildings: a 6-storey building<br />
with residential individual “cells” for<br />
one person, a 7-storey building with<br />
2-3 room apartments for families and<br />
a communal unit with the laundry<br />
room, gym and public canteen. On<br />
the roofs of the 1st and 2nd buildings,<br />
connected by a bridge-crossing,<br />
it was planned to place the solariums<br />
and playschool.<br />
Schusev State Museum of Architecture.<br />
Suprematism I arkhitektura.<br />
(Suprematism and Architecture). <strong>20</strong>07.<br />
Schusev State Museum of<br />
Architecture collection.<br />
PROPAGANDA FURNITURE<br />
Khleba Kommunizma<br />
(Breads of Communism).<br />
The furniture set Breads of Communim<br />
was created for Mikhail Kalinin<br />
housing commune in the city of<br />
Smolensk by Igor Krestovsky, the<br />
prominent sculptor and professor at<br />
the Academy of Fine Arts in Leningrad<br />
(now Saint-Petersburg). The creation<br />
of housing commune was a unique<br />
architectural and social movement<br />
in the Soviet Union of the 19<strong>20</strong>s -<br />
1930s, which displayed a new fashion<br />
of collective living, propagated by<br />
French philosopher Charles Fourier.<br />
The apartments of the Mikhail Kalinin<br />
housing commune in Smolensk were<br />
assigned to department officers of<br />
the Academy of Agriculture, which<br />
determined the title of the furniture<br />
group as Khleba Kommunizma (Breads<br />
of Communism). The furniture<br />
created for the public areas of<br />
communal houses are almost totally<br />
lost, thus the set of furniture Khleba<br />
Kommunizma is considered to be the<br />
only full surviving set of such interiors.<br />
Private collection<br />
HOUSING COMMUNES<br />
by Elizaveta Likhacheva<br />
&<br />
“ COMMUNA 33 ” — a<br />
compact multifuctional flat<br />
by Studio Bazi.<br />
Zone of the living room.<br />
Museum of Modern Art – Costakis<br />
collection (MOMus, Thessaloniki).<br />
State Museum of Architecture collection.<br />
Arkhitektura SSSR (Architecture of<br />
USSR) Magazine No. 11. 1976.<br />
The oak block contains kitchen, hidden<br />
behind folding doors and a wardrobe<br />
with washing machine and cleaning<br />
storage. A curtain embedded in this<br />
block separates the bedroom and<br />
bathroom from the living zone making<br />
them more cosy and private.<br />
A round window in the small<br />
bathroom gives a view to the street<br />
making it more open.<br />
Built-in wardrobe, integrated<br />
From the book of Selim Khan-<br />
Magomedov Suprematism i arkhitektura.<br />
(Suprematism and Architecture). <strong>20</strong>07.<br />
State Museum of Architecture collection.<br />
TASS photographic archive.<br />
were developing. It valued the “supremacy of pure artistic<br />
feeling” over the visual depiction of objects. Constructivists<br />
such as Nikolai Suetin and a number of other industrial<br />
artists borrowed little from Suprematism’s theory, but<br />
they adapted its visual motifs in their furniture projects:<br />
its characteristic patterns, simple geometry of forms and<br />
spatial organization. Occasionally this resulted in rather<br />
basic interpretations of Suprematism in simple household<br />
objects, such as decorative furniture covers made of fabrics<br />
whose patterns were based on Suprematist paintings.<br />
Futurism, with its origins in Italy, Cubism (mostly its<br />
painting and sculpture) and other artistic currents of the<br />
early <strong>20</strong>th century also had considerable influence on the<br />
formation of Constructivism.<br />
In 1925, members of the creative association LEF (Left<br />
Front of the Arts) set up the official creative organization<br />
of Constructivists, OSA (Organization of Modern Architects);<br />
its members included Alexander Rodchenko, Varvara<br />
Stepanova, Kazimir Malevich, the Vesnin brothers,<br />
Ivan Leonidov, Moisei Ginzburg, and others. OSA members<br />
developed a functional design method based on the<br />
scientific analysis of how structures worked. 6<br />
The stellar roll-call of OSA members and the uniqueness<br />
of the projects developed under its banner guaranteed<br />
OSA an important role in the development of Soviet and<br />
international design. The ideas of these avant-garde artists<br />
influenced art throughout the <strong>20</strong>th century, and their<br />
importance continues today.<br />
19<strong>20</strong> is generally regarded as the year when the first advocates<br />
of Constructivism began their search for new art<br />
forms. Central to the movement was the idea of abandoning<br />
the “metaphysical essence of idealistic aesthet-<br />
LYUBOV POPOVA.<br />
Fabric Design Sketch. Ca. 1923–1924.<br />
Museum of Modern Art – Costakis collection<br />
11<br />
by their immediate purpose, with no element performing a purely decorative<br />
function. The planners worked with the form of the object as though it were<br />
a mechanism to serve the user.<br />
One may conclude that furniture projects became more utilitarian as planners<br />
moved further away from the realm of art; their expressive qualities came to<br />
depend more on the construction and technical connection between their<br />
parts than on either their aesthetic correlation or their colour and tonal combinations.<br />
Therefore, it makes sense to reflect on the work of the avant-garde figures through<br />
both the prism of art and function. In this context, art should be understood as the<br />
sphere of experiment, the search for new forms, with no utilitarian goals at its foundation,<br />
whereas function is always about the utilitarian, the serial and the mass.<br />
Large Coffee Pot. 1923.<br />
Painting on porcelain according to<br />
the design project of Nikolai Suetin.<br />
State Porcelain Factory, Petrograd.<br />
42<br />
1. FURNITURE AS ART<br />
The artist-planners who designed furniture and interiors<br />
in the 19<strong>20</strong>s had more artistic skill than technical<br />
mastery. In their works, utilitarian purpose and functional<br />
development were superseded by experiments<br />
with form and the search for the new.<br />
Nikolai Suetin, a student of Kazimir Malevich, is known<br />
primarily as an outstanding master of artistic porcelain,<br />
but his interests as an artist extended much further. He<br />
developed his own language of design, notable for its focus<br />
on the correlation of shapes and on the harmony of<br />
tone and colour among them. Suetin looked for forms and<br />
new solutions for his furniture projects; in his drawings<br />
and draughts, he solved issues more closely related to art<br />
than to engineering and construction. His sketches reference<br />
the Suprematist works and sculptural architectonics<br />
of his teacher Malevich. Interestingly, the coffin in which<br />
Malevich was buried in 1935 was made after drawings<br />
by Suetin; it took the form of a Suprematist architecton.<br />
Unlike many students and teachers at VKhUTEMAS–<br />
VKhUTEIN, who concentrated on the interaction of form<br />
and function in the object, Suetin pursued a more formal<br />
and decorative approach in his projects.<br />
Alexander Rodchenko, one of the masters of the Soviet<br />
avant-garde, is known above all for his photography and<br />
graphic accomplishments. His work had a huge impact on<br />
the formation of new ideas in art and design, but his pivotal<br />
role in Soviet furniture design is much less well known.<br />
Working with Varvara Stepanova, Rodchenko carried out<br />
a ground-breaking experiment with the creation of expressionist<br />
stage sets for the Meyerhold Theatre production<br />
of Tarelkin’s Death. The play was the third in a trilogy<br />
NIKOLAI SUETIN.<br />
Project of an armchair. 1927.<br />
43<br />
ics”. 7 The Constructivists were determined to give all art<br />
by Alexander Sukhovo-Kobylin. Written in 1869, it made<br />
a material purpose and they set themselves the following<br />
a mockery of tsarist bureaucracy and became an iconic<br />
tasks: the destruction of abstract and old forms of art and<br />
production when staged by Vsevolod Meyerhold in 1922.<br />
the development of a rational structure of the artwork.<br />
Theatrical stage props constitute a completely separate<br />
Their programme, written by Alexei Gan, was presented<br />
sphere of furniture design. Because they are designed as<br />
on 1 April 1921 at the plenary session of the GINKhUK<br />
part of the set for a particular performance, their form<br />
50 51<br />
86 87<br />
\<br />
\<br />
Communa 33 flat. Kitchen unit.<br />
85<br />
KONSTANTIN MELNIKOV<br />
and V. KUROCHKIN.<br />
Gosplan garage in Moscow (1934-1936).<br />
Photograph late 1930s.<br />
74<br />
Communa 33 flat.<br />
Zone of the living room. 83<br />
Communa 33 flat. Bedroom.<br />
86<br />
different piece, with different visual characteristics; but the person who sits on<br />
it still uses it as a chair—in other words, still uses it for its designated purpose.<br />
A comparison of these two projects, which were created in the same year,<br />
shows that a number of different concepts coexisted and interacted with one<br />
another in furniture design of the 19<strong>20</strong>s. On the one hand, both Suetin and<br />
Morozov emphasized the construction of the object, but on the other, they<br />
used different techniques to the same end. In the case of Suetin’s suite, for-<br />
Communa 33 flat.<br />
84<br />
View on the stairs.<br />
mal function matters—that is, the various parts of the object are held together<br />
by their colour and shape, which are determined by their function,<br />
but their proportions are based more on the compositional-decorative idea<br />
than on constructive need. On the contrary, with Morozov’s table construction<br />
takes precedence over form: the transforming structure is dictated by<br />
its technical requirements and consists of many constructional intricacies.<br />
The concepts behind these two projects can be seen as the two poles of Soviet<br />
furniture design of the 19<strong>20</strong>s to the beginning of the 1930s, and it was by<br />
oscillating between the two that the search for new furniture forms would<br />
continue: from Suprematism’s expressionist approach to object design to<br />
Constructivism and Rationalism.<br />
MIKHAIL BARSHCH, IGNATY MILINIS,<br />
VLADIMIR VLADIMIROV, MIKHAIL<br />
SINYAVSKY, ALEXANDER PASTERNAK, S.<br />
V. ORLOVSKY, LYUBOV SLAVINA.<br />
Project of the housing commune on Gogolevsky<br />
Boulevard in Moscow (1929-1931).<br />
75<br />
Communa 33 flat.<br />
87<br />
under the stairs.<br />
114 115<br />
122 123<br />
\<br />
EL LISSITZKY (Lazar Lisitsky).<br />
The “combination furniture”. 1929. From<br />
the book of Selim Khan-Magomedov<br />
102<br />
also be effectively adapted for everyday life, whereby<br />
individual objects in different combinations performed<br />
various functions. El Lissitzky’s “combination furniture”,<br />
for example, was derived from a similar conceptual<br />
approach, as were different furniture projects by var-<br />
MOISEI GINZBURG,<br />
IGNATY MILINIS.<br />
Residential house on<br />
Novinsky Boulevard in<br />
Moscow (Narkomfin House,<br />
1928-1930). Architectural<br />
Model of N. A. Yunusov, 1988.<br />
103<br />
First-ever comprehensive<br />
survey of Soviet interior design<br />
ious designers of the 1930s right through to the 1980s.<br />
I. Lobov’s model for a cabinet-display case for displaying<br />
and keeping books and illustrated magazines and brochures<br />
fits into the categories of both furniture and exhibition<br />
equipment. The Red Niva magazine supplement<br />
again published a detailed description of this piece:<br />
The club cabinet-cum-display case is mostly intended<br />
for books. The upper part of the cabinet comprises four<br />
shelves designed to hold <strong>20</strong>0 books. The double doors are<br />
to be used for the display of photographs or photo-montages,<br />
which can be inserted on two different planes on<br />
both sides of the doors. The first is attached with hinges to<br />
the body, while the second is inserted in slots into the first:<br />
136<br />
137<br />
VLADIMIR MESHCHERIN.<br />
Sketch of an armchair for<br />
the twin-hulled catamaran<br />
hydroplane Express<br />
(OSGA-25). 1937<br />
180<br />
S. AIRAPETOV, V. UTKIN, K.<br />
SHEKHOYAN, S. TIKHOMIROV, O.<br />
VELIKORETSKY.<br />
Interior of the Berezka store in Moscow.<br />
Photograph by Mikhail Churakov, 1962.<br />
276<br />
for the hydroplane had different forms: some were very<br />
dynamic in appearance, their frames made from curved<br />
lines of tubular metal that seemed to bend as it rose along<br />
the seat and its back, simultaneously creating a feeling of<br />
Twin-hulled catamaran hydroplane<br />
Express (OSGA-25). Exterior and<br />
Interior. Sochi, 1930s.<br />
182<br />
safety and security. 25<br />
are smooth and the suspended tables of the sideboard, with their expressive<br />
ceiling fastenings, resemble the natural organic forms of plants. The<br />
table-top is suspended on a cylindrical rod fixed to a point on the floor and<br />
attached to the ceiling; this allows for a significant increase in the usable area<br />
of the cabin and facilitates the easy movement of passengers and the rearrangement<br />
of the seats. The look of the fittings is complemented by the shiny<br />
material used for the wide cylindrical supports and table-tops. The chairs<br />
During the construction of the watercraft, limited serial<br />
production was set up for individual elements—chairs,<br />
tables, windows, and the stylish hooks and handles inspired<br />
by the teardrop shape of the vessel’s own aerodynamic<br />
silhouette. To create these elements, a volumetric<br />
method of moulding from metal or plastic was used, a<br />
production technique not yet widely used in the field of<br />
transportation.<br />
The hydroplane ran the passenger line between Yalta<br />
VLADIMIR MESHCHERIN.<br />
Sketches of interiors for the twinhulled<br />
catamaran hydroplane<br />
Express (OSGA-25). Sochi. 1937.<br />
181<br />
and Sevastopol in the Crimea, and also made regular<br />
trips on the high-speed line from Sochi to Sukhumi on<br />
the Black Sea. It could carry up to 150 passengers at a<br />
speed of 80 km/hour.26 It was destroyed in 1941, during<br />
the German occupation of Odessa.<br />
The furniture of the 1930s made far greater use of the<br />
expressive characteristics of metal, responding both to<br />
fashion and developments in industry, while Western Art<br />
Deco used a great many glass and metallic elements. In<br />
the decade, mass-production furniture developed very<br />
slowly; production was more often undertaken as limited<br />
quantity serial orders or as single items.<br />
A. ANISIMOV, A. KONSTANTINOV, M.<br />
BASKAEV, M. KUTSEVOL, N. ORLOVA.<br />
Interior of Aelita cafe at Oruzheiny Lane in<br />
Moscow. Photograph by Alexey Alexandrov, 1961.<br />
277<br />
2<strong>20</strong> 221<br />
306 307<br />
\<br />
ALEXANDER SHIPKOV.<br />
Interior project of t<br />
wo-level apartment.<br />
303<br />
tion, which had been such a feature of the tapered-leg<br />
furniture of the 1950s and ’60s, completely disappeared.<br />
As part of its developing international relations, the Soviet<br />
Union in the 1970s began to export an array of goods<br />
to socialist bloc countries and Western Europe (Zenit<br />
cameras, various wrist watches such as the Glory, Flight,<br />
Ray and Rocket, VEF radios, Zil refrigerators, Moskva<br />
and Lada cars). Furniture, however, was not suited to the<br />
export market—on the contrary, it was imported in large<br />
quantities from the countries of Eastern Europe.<br />
A landmark event was the foundation in 1987, on the initiative<br />
of Yuri Solovyev, of the Union of Designers. The<br />
A set of new upholstered<br />
furniture. Estonian SSR Tallinn<br />
Research and Production<br />
Furniture Association<br />
“Standard”. Photograph by Endel<br />
Tarkpea, 1976.<br />
304<br />
taboo, which had lasted so many years, against the very<br />
word “design”, was finally lifted. Designers were now given<br />
the opportunity to open their own studios and to work<br />
the hours they wanted. 29 This undoubtedly encouraged<br />
greater freedom of expression, despite the Union of Designers’<br />
position as a State organization under the auspices<br />
of Gosplan. By the end of the 1980s, there were around<br />
IGOR KRESTOVSKY.<br />
Sketches for Khleba Kommunizma (Breads<br />
of Communism) furniture set. 1937.<br />
187<br />
eighty individual studios in the USSR. The inauguration<br />
of the Union of Designers had little direct effect on furniture<br />
production in the USSR, but it was undoubtedly very<br />
significant in a broader sense, because it stimulated the<br />
growth of individual project designs that were not aimed<br />
226 227<br />
334 335
Edited by Kristina Krasnyanskaya<br />
and Alexander Semenov<br />
Hardback<br />
approx. 448 pages, 302 color and<br />
115 b/w illustrations<br />
24 × 30 cm (9½ × 11¾ in)<br />
978-3-85881-846-1 English<br />
CHF 99.00 | EUR 77.00<br />
GBP 65.00 | USD 85.00<br />
DESIGN<br />
JANUARY <strong>20</strong><strong>20</strong> (Europe)<br />
MARCH <strong>20</strong><strong>20</strong> (US)<br />
ISBN 978-3-85881-846-1<br />
First-ever comprehensive survey of<br />
Soviet interior design across seven<br />
decades, drawing on archives that<br />
were inaccessible until recently<br />
Features a wealth of previously<br />
unpublished images and documents<br />
alongside essays by expert<br />
authors<br />
A reference book and unique<br />
source for scholars, dealers, collectors,<br />
and design-lovers<br />
9 783858 818461<br />
Soviet Design<br />
From Constructivism to Modernism. 19<strong>20</strong>–1980<br />
The former Soviet Union has left a vast heritage in interior design that is largely unknow<br />
in the West. For the first time ever, this book offers a comprehensive survey<br />
of the country’s interior design culture between revolutionary Avant-Garde and late<br />
socialist Modernism. Drawing on archives that were inaccessible until recently and<br />
featuring a wealth of previously unpublished material, it documents the achievements<br />
of seven decades in the former socialist empire.<br />
Soviet design is often discredited as massive, non-ergonomic, and monotonous. Yet a<br />
remarkable variety of original styles have emerged behind the iron curtain. The 19<strong>20</strong>s<br />
were marked by Constructivism, Rationalism, and Suprematism. Early in Stalin’s<br />
reign, a distinct variety of Neo-Classicism appeared alongside what became known as<br />
Agitational Furniture, inspired by the regime’s propaganda. The 1930s brought Soviet<br />
Art Deco and eventually Stalinist Empire with some of the Soviet Union’s most iconic<br />
buildings. Mass-produced modernist and functional furniture prevailed in the 1950s<br />
before the Golden Age of Soviet interior design during the 1960s, when clearly visible<br />
influences by early Avant-Garde and the Bauhaus returned. The country’s stagnation<br />
and eventual decline in the 1970s and 1980s lead to the visionary work of a new<br />
generation of designers remaining largely unrealized.<br />
Kristina Krasnyanskaya is an art historian founder of Heritage Gallery in<br />
Moscow. She has been curator of the <strong>20</strong>15 exhibition Soviet Design: From<br />
Constructivism to Modernism: 19<strong>20</strong>s – 1960s in collaboration with Moscow’s<br />
Shchusev State Museum of Architecture in Moscow.<br />
Alexander Semenov is an expert in the field of Soviet design and a research<br />
associate at Saint-Petersburg Stieglitz State Academy of Art and Design. He<br />
has written extensively on Soviet furniture and interior design.<br />
<strong>New</strong> titles<br />
<strong><strong>20</strong>19</strong>–<strong>20</strong><strong>20</strong> 17
A survey of a century’s<br />
design production<br />
in the multi-lingual,<br />
transnational Alpine<br />
region Tyrol—South<br />
Tyrol—Trentino
Edited by Claudio Larcher,<br />
Massimo Martignoni, and<br />
Ursula Schnitzer<br />
In Cooperation with Merano Arte<br />
Hardback<br />
approx. 460 pages, 326 color and<br />
37 b/w illustrations<br />
23 × 29 cm (9 × 11½ in)<br />
978-3-85881-649-8<br />
English / German / Italian<br />
CHF 49.00 | EUR 48.00<br />
GBP 45.00 | USD 55.00<br />
DESIGN<br />
The first-ever comprehensive survey<br />
of design from the Alpine region<br />
Tyrol—South Tyrol—Trentino<br />
The region is a dynamic cultural<br />
space with rich tradition in craft<br />
and a very productive laboratory<br />
for technical and formal exploration<br />
also in product design<br />
Exhibition: Merano Arte, Merano<br />
(11 October <strong><strong>20</strong>19</strong> to 12 January<br />
<strong>20</strong><strong>20</strong>)<br />
NOVEMBER <strong><strong>20</strong>19</strong> (Europe)<br />
FEBRUARY <strong>20</strong><strong>20</strong> (US)<br />
ISBN 978-3-85881-649-8<br />
9 783858 816498<br />
Design from the Alps 19<strong>20</strong>–<strong>20</strong><strong>20</strong><br />
Tyrol South Tyrol Trentino<br />
Over centuries, the transnational Alpine region Tyrol—South Tyrol—Trentino (Alto Adige)<br />
has developed along ancient trade routes between Germany and Austria on one and<br />
northern Italy on the other side of the Alps. Similar to the region’s modern and contemporary<br />
architecture, its product design in many cases is rooted in a rich local tradition<br />
of craftsmanship. Yet since the 19<strong>20</strong>s, this multilingual region has also proven<br />
its remarkable openness to European modernism’s most progressive movements and<br />
become an unexpected laboratory for technical and formal exploration in the middle<br />
of the continent.<br />
Design from the Alps, published to coincide with an exhibition at Merano Arte in<br />
autumn <strong><strong>20</strong>19</strong>, tells the story of a century of product design from Tyrol—South Tyrol—<br />
Trentino. Featured artists include, among others, Fortunato Depero (1892–1960), whose<br />
experiments were inspired by the Secondo Futurismo, Gino Pollini (1903–91), a pioneer<br />
of the interwar period, as well as the celebrated architects and designers Lois Welzenbacher<br />
(1889–1955), Clemens Holzmeister (1886–1983), and Ettore Sottsas (1917–<strong>20</strong>07).<br />
Lavishly illustrated, the book follows the many protagonists of this at the same time<br />
heterogenous and collectively strong scene and offers an insightful tour d’horizon of the<br />
manifaceted original design culture of western Austria and northern Italy.<br />
Claudio Larcher is an architect and partner with Milan-based design firm<br />
Modoloco. He also teaches at Nuova Academia di Belle Arti in Milan.<br />
Massimo Martignoni is an art historian and writer, and a professor of<br />
history of design at Nuova Academia dei Belle Arti in Milan.<br />
Ursula Schnitzer is an art historian and project co-ordinator with<br />
Merano Arte.<br />
<strong>New</strong> titles<br />
<strong><strong>20</strong>19</strong>–<strong>20</strong><strong>20</strong> 19
Photographs by Tomas Wüthrich<br />
Texts by Ian B.G. Mackenzie and<br />
Lukas Straumann<br />
Paperback<br />
160 pages, <strong>20</strong>0 color illustrations<br />
22 × 29.7 cm (8½ × 11½ in)<br />
978-3-85881-642-9<br />
English / German<br />
CHF 49.00 | EUR 48.00<br />
GBP 45.00 | USD 55.00<br />
PHOTOGRAPHY<br />
A unique photographic documentation<br />
of the Penans’ way of life on<br />
Borneo<br />
The Penan and their fight to<br />
preserve their culture has gained<br />
much international attention<br />
The threat political and business<br />
interests pose to indigenous<br />
cultures is highly topical in many<br />
countries<br />
AVAILABLE (Europe)<br />
FEBRUARY <strong>20</strong><strong>20</strong> (US)<br />
ISBN 978-3-85881-642-9<br />
9 783858 816429<br />
Doomed Paradise<br />
The Last Penan in the Borneo Rainforest<br />
A manifesto<br />
against politics<br />
and business interests<br />
that endanger<br />
the Penan culture<br />
on Borneo<br />
Over many years, Swiss photographer Tomas Wüthrich has visited Borneo many<br />
times to document the daily life of the Penan, a partially nomadic indigenous people<br />
living in the rainforest of Borneo. The way of life that these hunter-gatherers lead in<br />
the Sarawak state of Malaysia is critically threatened by illegal logging and oil palm<br />
plantations.<br />
The Penan people came to the world’s attention thanks to Swiss-born environmental<br />
activist Bruno Manser, who disappeared in the jungle without trace in the year <strong>20</strong>00<br />
while campaigning for the Penan cause.<br />
In this book, Wüthrich paints a nuanced portrait of this unique culture. A selection<br />
of Penan myths, collected by Ian B.G. Mackenzie, are published for the first time<br />
alongside Wüthirch’s photographs. An essay on Bruno Manser and his mission for the<br />
Penans’ case completes the book.<br />
Tomas Wüthrich is a freelance photographer living in and working from<br />
Switzerland. His award-winning reportages and portraits are published<br />
internationally.<br />
Ian B.G. Mackenzie is a Vancouver-based linguist, anthropologist, documentary<br />
filmmaker and author. Since 1991 he has been researching the language<br />
and culture of the Penan and has published the first comprehensive<br />
dictionary of the Penan language.<br />
Lukas Straumann has been heading the Bruno Manser Fund in Basel since<br />
<strong>20</strong>04.<br />
<strong>New</strong> titles<br />
<strong><strong>20</strong>19</strong>–<strong>20</strong><strong>20</strong> <strong>20</strong>
Edited by Nanina Guyer and<br />
Michaela Oberhofer<br />
In cooperation with Museum<br />
Rietberg, Zurich<br />
Hardback<br />
approx. 324 pages, 400 color<br />
illustrations<br />
23 × 28 cm (9 × 11 in)<br />
978-3-85881-835-5 English<br />
978-3-85881-643-6 German<br />
CHF 49.00 | EUR 48.00<br />
GBP 45.00 | USD 55.00<br />
ART<br />
DECEMBER <strong><strong>20</strong>19</strong> (Europe)<br />
APRIL <strong>20</strong><strong>20</strong> (US)<br />
Congo’s vibrant art scene attracts<br />
great interest worldwide<br />
Investigates how Congolese artists<br />
have been exploring and reflecting<br />
upon the effects of globalized<br />
trade, colonialism, proselytization,<br />
and virtual boundaries<br />
Features many previously unpublished<br />
works by Congolese artists<br />
both contemporary and from the<br />
19th and early <strong>20</strong>th centuries<br />
Exhibition: Museum Rietberg,<br />
Zurich (22 November <strong><strong>20</strong>19</strong> to<br />
15 March <strong>20</strong><strong>20</strong>)<br />
ISBN 978-3-85881-835-5<br />
English<br />
9 783858 818355<br />
ISBN 978-3-85881-643-6<br />
German<br />
9 783858 816436<br />
Congo as Fiction<br />
Art Worlds Between Past and Present<br />
Congolese artists<br />
reflecting upon<br />
globalized trade,<br />
colonialism, proselytization,<br />
and<br />
virtual boundaries<br />
A single Congo does not exist—or is in any case fictitious. Yet the Democratic Republic<br />
of Congo has an extraordinarily vibrant art scene that attracts great interest<br />
from around the world. Nowhere else in Africa art production is as manifold in form,<br />
media, and materials used. For many years, Congolese artists have been exploring<br />
and reflecting upon the effects of globalized trade, colonialism, proselytization, and<br />
virtual boundaries.<br />
For the first time, this book, published in conjunction with an exhibition at Zurich’s<br />
Museum Rietberg, features art works and photographs collected by German anthropologist<br />
Hans Himmelheber during his journey to the Congo in 1938–39. They bear<br />
witness of the period’s extraordinary creativity and innovativeness as well as of the<br />
collector’s own idea of Congo. They are juxtaposed with works by contemporary<br />
Congolese artists and complemented by essays that investigate the fiction of Congo<br />
both as an African and Western World imagination. Thus, the book links the past<br />
with the utopia of contemporary artistic production in central Africa.<br />
Nanina Guyer is curator of photography at Museum Rietberg in Zurich.<br />
She is currently pursuing a research project on photography in Congo during<br />
the 1930s.<br />
Michaela Oberhofer is curator of African art at Museum Rietberg in Zurich.<br />
She directs a research project on Hans Himmelheber and African art in<br />
collaboration with University of Zurich.<br />
<strong>New</strong> titles<br />
<strong><strong>20</strong>19</strong>–<strong>20</strong><strong>20</strong> 21
14<br />
12<br />
Keep your nose to the<br />
grindstone<br />
Carole painting<br />
Grande Catalina, 1981<br />
Chrysalis - Detail, <strong>20</strong>17<br />
15<br />
13<br />
118 119<br />
168<br />
169<br />
4<br />
46<br />
70<br />
Caption<br />
60 Zaros_99 (2).jpg<br />
5<br />
47<br />
71<br />
Carole A.<br />
FEUERMAN<br />
Fifty Years of Looking Good<br />
<strong>Scheidegger</strong> & <strong>Spiess</strong><br />
(both too numerous to count), the selection aims at decisions made by<br />
Feuerman that, in this friend’s opinion, are revealing of her committed,<br />
deliberate and self-confident way of thinking. Few artists are so closely<br />
identified with their own works as this courageous modern sculptor.<br />
1. In November 1975, Feuerman received a coveted<br />
commission to design a cover for National Lampoon<br />
magazine<br />
Famous for its attention-grabbing covers, the avant-garde Lampoon<br />
knew Feuerman’s designs for record covers and rock concert publicity,<br />
including the Rolling Stones. Since the theme was “Work,” she<br />
illustrated the saying, “Keep your nose to the grindstone.” But rather<br />
than a painting in her usual style, she changed her technique entirely.<br />
The Lampoon cover is a close-up photograph of her first ever lifecast<br />
of a model’s face, realistically painted with spurts of blood. The<br />
graphic impact is exciting, even terrifying. Her willingness to take<br />
such a risk was typical of her fearlessness.<br />
2. The story of Catalina began on a beach in 1977<br />
When Carole Feuerman turned to sculpture in 1978, she took Hyperrealism in a<br />
new direction: she got personal. Photorealism, the term used for paintings, had<br />
made its debut in the 1960s as an off-shoot of Pop Art. Richard Estes’ paintings<br />
of subway cars and Duane Hanson’s sculpture of a supermarket housewife in<br />
curlers were overt satires of junk-food culture. There was an implicit irony in the<br />
idea of a handmade art vaunting the objectivity of photographs. Born in 1945,<br />
Feuerman was a full generation behind Duane Hanson (1925–1996) and a few<br />
years younger than John De Andrea (born 1941), the two sculptors with whom<br />
she ultimately came to comprise the leading trio of American Hyperrealists. Although<br />
Hanson and De Andrea were important 1960s precedents for her realism,<br />
Feuerman’s sculptures reflected her deeper affinity with the sympathetic narratives<br />
of the monochromatic statues by George Segal (1924–<strong>20</strong>00).<br />
She chose the name of Catalina, because islands represent isolation from<br />
other lands. “When a swimmer submerges into the water they escape the stresses<br />
of the outside world, and they emerge cleansed and invigorated.” The water beads<br />
up on the swimmer’s glowing arms and shoulders, yet Catalina is not about the<br />
Carole A. Feuerman: a pioneer<br />
of Hyperrealism in sculpture<br />
Fifty Years of Looking Good<br />
John T. Spike<br />
In August of 1977, a young, talented illustrator sat down on Jones Beach, Long<br />
Island, to do some thinking. At thirty-two years old, Carole Feuerman was ten<br />
years into an award-winning career as a commercial artist in <strong>New</strong> York City.<br />
Married and divorced, with three children, she was working day and night to<br />
keep all the pieces together. Now she was also contemplating a major change.<br />
Could she leave illustration behind and begin a new career in the arts, as an independent<br />
sculptor of her own ideas?<br />
Sitting on the beach, she saw a swimmer emerging from the sea, waterdrops<br />
streaming down her face. “She looked proud, like she had just accomplished<br />
something great. With goggles, hair slicked back, I saw her step out of<br />
herself and come into a new reality. Then I figured out how to do it. That woman<br />
gave me the idea to make my first swimmer sculpture, Snorkel.” Three years<br />
later, she made a second swimmer, this time sparing the snorkeling props, and<br />
focusing her attention on the young woman’s radiant, glistening face. She gave<br />
the sculpture the name of an island, Catalina.<br />
Fifty Years of Looking Good is the fourth substantial book about Feuerman’s<br />
career, which has been on a continuous upward trajectory for decades now,<br />
as these copious pages will attest. Her childhood propensity towards art, family<br />
history, schooling, success as an illustrator, and first two decades in sculpture were<br />
admirably described in an essay by Eleanor Munro in her first book, Feuerman<br />
Sculptures, 1999 (2nd rev. ed., <strong>20</strong>10). Through the years, Feuerman’s work has<br />
also received attentive interpretations by leading critics such as Robert Kuspit,<br />
John Yau, Peter Frank, David S. Rubin, Stephen C. Foster, Edward Rubin, not to<br />
mention the present writer.<br />
After fifty years it seems right to single out a few “defining moments” in the<br />
career of this important living artist. These moments mostly take place over years:<br />
indeed the last, no. 7 in this list, is still underway. Rather than exhibitions or sales
Edited by John T. Spike<br />
Hardback<br />
approx. 192 pages, 119 color<br />
illustrations<br />
24 × 30 cm (9½ × 11¾ in)<br />
978-3-85881-844-7 English<br />
CHF 65.00 | EUR 58.00<br />
GBP 50.00 | USD 65.00<br />
ART<br />
The most comprehensive monograph<br />
to date on major American<br />
artist Carole A. Feuerman, a pioneer<br />
of Hyperrealism in sculpture<br />
Lavishly illustrated and covering<br />
Feuerman’s entire career spanning<br />
five decades, featuring more than<br />
<strong>20</strong>0 works<br />
JANUARY <strong>20</strong><strong>20</strong> (Europe)<br />
MARCH <strong>20</strong><strong>20</strong> (US)<br />
ISBN 9783858818447<br />
9 783858 818447<br />
Carole A. Feuerman<br />
Fifty Years of Looking Good<br />
Carole A. Feuerman is celebrated as a pioneer and one of America’s major exponents<br />
of Hyperrealism in sculpture, alongside Duane Hanson and John De Andrea. Born<br />
1945 and educated in <strong>New</strong> York and Philadelphia, she began as an illustrator before<br />
turning to sculpture in the 1970s, soon gaining much recognition and early success.<br />
Her work has been displayed in many group shows and solo exhibitions at private galleries<br />
and public museums, as well as at major art fairs, in America, Europe, and Asia.<br />
Over five decades, Feuerman has created visual manifestations of stories telling of<br />
strength, survival, and balance. Her subject matter is the human figure, most often a<br />
woman in an introspective moment of exuberant self-consciousness shaded by erotic<br />
lassitude. Feuerman’s works represent a female state of mind rather that an alluring<br />
body meant to attract the male gaze. They suggest that women look at themselves<br />
differently from men looking at them, that a woman is more innately creative than a<br />
man.<br />
This book is the most comprehensive survey of Feuerman’s œuvre to date. Lavishly<br />
illustrated in color throughout, it demonstrates the variety of materials and media she<br />
uses and highlights the specific qualities of her figures.<br />
John T. Spike is an American-born distinguished art historian, curator, author<br />
and lecturer specializing in Italian Renaissance and Baroque Art, and<br />
an eminent critic of contemporary art.<br />
<strong>New</strong> titles<br />
<strong><strong>20</strong>19</strong>–<strong>20</strong><strong>20</strong> 23
Edited by Richard Overstreet<br />
2 volumes in slipcase, hardback<br />
approx. 672 pages, 1160 color<br />
illustrations in total<br />
24 × 30 cm (9½ × 11¾ in)<br />
978-3-85881-843-0 English<br />
CHF 380.00 | EUR 350.00<br />
GBP 3<strong>20</strong>.00 | USD 400.00<br />
ART<br />
APRIL <strong>20</strong><strong>20</strong> (Europe)<br />
JULY <strong>20</strong><strong>20</strong> (US)<br />
ISBN 978-3-85881-843-0<br />
The authoritative reference work<br />
on Surrealist painter Leonor Fini<br />
Offers the first-ever, complete catalogue<br />
raisonné of her oil paintings<br />
Features a concise updated biography<br />
of the artist as well as an exhaustive<br />
bibliography<br />
Leonor Fini is one of the <strong>20</strong> th century’s<br />
most significant female artists<br />
9 783858 818430<br />
Leonor Fini<br />
Catalogue Raisonné of the Oil Paintings<br />
Entirely her own:<br />
Leonor Fini<br />
Leonor Fini (1907–1996) is widely considered one of the most significant female artists<br />
and artistic personalities of the <strong>20</strong> th century. Her work came to prominence in the<br />
seminal 1936 Fantastic Art, Dada and Surrealism exhibition at <strong>New</strong> York’s MoMA.<br />
Fini’s paintings present a uniquely female approach to Surrealism. Never joining the<br />
Surrealist movement, she was entirely on her own—self-taught, self-created, known<br />
for her fierce independence, provocative panache, and elegance. A prolific painter, she<br />
also worked extensively in book illustration, printmaking, writing, as well as creating<br />
designs for plays, ballets, operas, and film.<br />
This new book is the definitive catalogue raisonné of Leonor Fini’s more than 1,100<br />
oil paintings. Lavishly illustrated in color throughout, it offers essays on the artist’s<br />
oeuvre by Fini-authorities Richard Overstreet and Neil Zukerman along with a concise<br />
updated biography by British art historian Peter Webb.<br />
Richard Overstreet is an American artist and photographer. In 1998, he<br />
founded the Leonor Fini Archives in Paris.<br />
<strong>New</strong> titles<br />
<strong><strong>20</strong>19</strong>–<strong>20</strong><strong>20</strong> 24
Edited by Kunsthaus Zofingen<br />
With contributions by Ursula<br />
Badrutt, Sandro Fischli, Teresa<br />
Gruber, Jörg Heiser, Claire Hoffmann,<br />
Brigitte Ulmer, and Claudia<br />
Waldner<br />
Paperback<br />
approx. 352 pages, <strong>20</strong>8 color<br />
and 44 b/w illustrations<br />
19 × 27 cm (7½ × 10¾ in)<br />
978-3-85881-639-9<br />
English / French / German<br />
CHF 49.00 | EUR 48.00<br />
GBP 45.00 | USD 55.00<br />
ART<br />
The first new book on Swiss performance<br />
artist Manon in more<br />
than a decade<br />
Surveys Manon’s work since <strong>20</strong>08,<br />
featuring new essays and previously<br />
unpublished material<br />
Manon is one of Switzerland’s internationally<br />
most highly recognized<br />
contemporary artists<br />
Exhibitions: Kunsthaus Zofingen,<br />
Switzerland (23 November <strong><strong>20</strong>19</strong> to<br />
24 February <strong>20</strong>22), and Centre Culturel<br />
Suisse, Paris (spring / summer<br />
<strong>20</strong><strong>20</strong>)<br />
DECEMBER <strong><strong>20</strong>19</strong> (Europe)<br />
APRIL <strong>20</strong><strong>20</strong> (US)<br />
ISBN 978-3-85881-639-9<br />
9 783858 816399<br />
Manon<br />
Hotel Dolores and<br />
other recent works<br />
by Swiss performance<br />
artist<br />
Manon<br />
For nearly five decades, Swiss artist Manon has been confronting observers with their<br />
own vision. Her performances raise question about the boundary between staging and<br />
exhibitionism. Always challenging and at times highly subversive, her performances<br />
question power structures and put gender identities to discussion.<br />
Following-up on the previous book Manon—A Person, published in <strong>20</strong>08, this new<br />
volume introduces to a wider audience Manon’s work of the past ten years. At the core<br />
is Hotel Dolores, a series of installations and performances staged at closed-down<br />
hotels in the Swiss spa town of Baden between <strong>20</strong>08 and <strong>20</strong>11.<br />
Photographs of Manon’s performances and their venues are completed by her conceptual<br />
sketches and other documents. Concise essays on aspects of Manon’s art and<br />
vision round out this book.<br />
Ursula Badrutt is a Swiss art historian, critic, art educator and curator.<br />
Sandro Fischli is a Swiss editor, translator, and freelance author.<br />
Teresa Gruber is a curator and in charge of the permanent collection<br />
at Fotostiftung Schweiz in Winterthur.<br />
Jörg Heiser is a Berlin-based Swiss publicist and art critic. He is<br />
co-editor-in-chief of Frieze art magazine.<br />
Claire Hoffmann has been appointed as curator of visual arts at<br />
Centre Culturel Suisse in Paris in <strong><strong>20</strong>19</strong>.<br />
Brigitte Ulmer lives and works in London and Zurich as freelance<br />
cultural publicist.<br />
Claudia Waldner is a media artist, art educator, and curatorial director<br />
of Kunsthaus Zofingen in Switzerland.<br />
<strong>New</strong> titles<br />
<strong><strong>20</strong>19</strong>–<strong>20</strong><strong>20</strong> 25
Edited by Dorothee Messmer,<br />
Katja Herlach, and Claire Hoffmann<br />
In cooperation with Kunstmuseum<br />
Olten and Centre culturel suisse.<br />
Paris<br />
Hardback<br />
192 pages, 103 color and<br />
9 b/w illustrations<br />
22 × 27 cm (8½ × 10¾ in)<br />
978-3-85881-659-7<br />
English / German<br />
CHF 49.00 | EUR 48.00<br />
GBP 45.00 | USD 55.00<br />
ART<br />
OCTOBER <strong><strong>20</strong>19</strong> (Europe)<br />
APRIL <strong>20</strong><strong>20</strong> (US)<br />
ISBN 978-3-85881-659-7<br />
A retrospective of three decades’<br />
work by distinguished Swiss artist<br />
Nives Widauer<br />
Nives Widauer ranks among Switzerland’s<br />
most highly recognized<br />
contemporary artists<br />
He work and collaborative projects<br />
are featured frequently in solo and<br />
group exhibitions internationally<br />
Exhibition: Kunstmuseum Olten,<br />
Switzerland (21 September to<br />
17 November <strong><strong>20</strong>19</strong>)<br />
9 783858 816597<br />
Nives Widauer<br />
Villa Nix<br />
Dorothee Messmer is director of<br />
Kunstmuseum Olten.<br />
Katja Herlach is a curator and<br />
deputy director of Kunstmuseum<br />
Olten.<br />
Claire Hoffmann is curator of<br />
visual arts at Centre culturel suisse.<br />
Paris.<br />
Nives Widauer: Villa Nix features a retrospective of Nives Widauer’s oeuvre of three decades.<br />
As the title suggests, Widauer created for her art a home that is accessible for visitors, who can<br />
delve into and explore her imaginary mental spaces and her physical installations and works.<br />
Both the imagined villa’s and the artist’s names are variations of the latin term for snow. In its<br />
rooms, Widauer arranges a closely selected constellation of her work, thus creating resonating<br />
environments. They work as mnemonic spaces and are at the same time rich in historic and<br />
cultural connotations while structuring the book like chapters. Introductory texts and conversations<br />
reflect the character of these rooms and the artworks they house.<br />
Edited by Gitte Ørskou<br />
Hardback<br />
approx. 304 pages, 230 color<br />
illustrations<br />
24 × 30 cm (9½ × 11¾ in)<br />
978-3-85881-849-2 English<br />
CHF 85.00 | EUR 77.00<br />
GBP 65.00 | USD 85.00<br />
ART<br />
First comprehensive monograph<br />
on distinguished Danish artist Michael<br />
Kvium<br />
Surveys his entire work in painting,<br />
drawing and watercolor, prints,<br />
and sculpture<br />
FEBRUARY <strong>20</strong><strong>20</strong> (Europe)<br />
MAY <strong>20</strong><strong>20</strong> (US)<br />
ISBN 978-3-85881-849-2<br />
9 783858 818492<br />
Michael Kvium<br />
A Retrospective<br />
Gitte Ørskou is a Danish art historian<br />
and director of Stockholm’s<br />
Moderna Museet.<br />
Danish artist Michael Kvium, born 1955, works in painting, prints, drawing and watercolor,<br />
sculpture, as well as performance and stage design. His works often resemble comic strip art<br />
or extensions of Baroque paintings, depicting more negative aspects of Western culture. Motifs<br />
include grotesque monsters, half man half woman, sometimes suggesting self-portraits. They<br />
seem familiar, making viewers smile at one and causing disgust at another time, yet in their<br />
strange way they all share this familiarity. Kvium defines and expresses his unflinching understanding<br />
of powerful human presence in an area unexplored by others.<br />
This first comprehensive monograph surveys his entire career revealing the various lines in his<br />
work.<br />
<strong>New</strong> titles<br />
<strong><strong>20</strong>19</strong>–<strong>20</strong><strong>20</strong> 26
Edited by City of Zurich, Building<br />
Surveyor’s Office; Silvio Schmed<br />
and Arthur Rüegg<br />
Hardback<br />
approx. 88 pages, 87 color and<br />
15 b/w illustrations<br />
23 × 28 cm (9 × 11 in)<br />
978-3-85881-852-2 English<br />
978-3-85881-493-7 German<br />
CHF 39.00 | EUR 38.00<br />
GBP 35.00 | USD 39.00<br />
ARCHITECTURE<br />
Documents the restoration of Le<br />
Corbusier’s exhibition pavilion in<br />
Zurich, his last realized design<br />
Features previously unpublished<br />
historic images as well as newly<br />
commissioned photographs of the<br />
restored building by distinguished<br />
Swiss photographer Georg Aerni<br />
NOVEMBER <strong><strong>20</strong>19</strong> (Europe)<br />
AUGUST <strong>20</strong><strong>20</strong> (US)<br />
ISBN 978-3-85881-852-2<br />
English<br />
9 783858 818522<br />
ISBN 978-3-85881-493-7<br />
German<br />
9 783858 814937<br />
Pavillon Le Corbusier Zurich<br />
The Restoration of an Architectural Jewel<br />
Restoring<br />
Le Corbusier’s<br />
last design<br />
Situated on the shore of the Lake Zurich, Le Corbusier’s exhibition pavilion is his last<br />
realized design. Based on his Modulor proportional system and at the scale of a singlefamily<br />
home, it demonstrates the potential of prefabricated elements to form a perfect<br />
space for art and design. Commissioned in 1960 by Heidi Weber, Zurich-based gallery<br />
owner and patron of Le Corbusier the visual artist, this structure in steel and glass<br />
represents pivotal aspects of his architectural philosophy and also points to the future.<br />
Architects Silvio Schmed and Arthur Rüegg have carefully restored the Pavillon Le<br />
Corbusier to its original state, including the reconstruction of missing pieces of furniture<br />
and luminaires. This book documents their research and the restored building,<br />
featuring previously unpublished historic photographs and documents alongside<br />
newly commissioned images by Georg Aerni.<br />
Silvio Schmed is a Zurich-based architect and interior designer and has realized<br />
numerous restorations and reconstructions of historic and modern architectural<br />
monuments in Switzerland.<br />
Arthur Rüegg is a Zurich-based architect, professor emeritus of architecture<br />
and construction at ETH Zurich, and an expert on Le Corbusier. He frequently<br />
collaborates with Silvio Schmed on restorations and reconstructions<br />
of Swiss architectural monuments.<br />
<strong>New</strong> titles<br />
<strong><strong>20</strong>19</strong>–<strong>20</strong><strong>20</strong> 27
Photographs by Anna Halm<br />
Schudel<br />
Texts by Franziska Kunze and<br />
Nadine Olonetzky<br />
Hardback<br />
132 pages, 193 color illustrations<br />
22 × 33 cm (8½ × 13 in)<br />
978-3-85881-621-4<br />
English / German<br />
CHF 59.00 | EUR 48.00<br />
GBP 50.00 | USD 59.00<br />
PHOTOGRAPHY<br />
Features striking floral pieces by<br />
Swiss photographic artist Anna<br />
Halm Schudel<br />
Flowers have been among most<br />
popular motifs in art throughout<br />
history<br />
An exquisitely manufactured photobook<br />
and an ideal gift<br />
AVAILABLE<br />
ISBN 978-3-85881-621-4<br />
9 783858 816214<br />
Blossom<br />
Anna Halm Schudel is a photographic<br />
artist living and working<br />
in Zurich.<br />
Franziska Kunze is a scholar of history<br />
of art and photography working<br />
at London’s Victoria & Albert<br />
Museum.<br />
Nadine Olonetzky is a Zurichbased<br />
freelance writer and critic.<br />
Flowers are a perennially popular motif throughout art history. And for good reason: Lush<br />
with texture and color, a living bouquet of blooms can be made to communicate much through<br />
the masterly brushstrokes of Vincent Van Gogh or Georgia O’Keeffe, in the hands of a skilled<br />
ikebana artist, or through the lens of Swiss photographer Anna Halm Schudel. While celebrating<br />
the wide variety of shapes and sizes, and the exuberant feats of color that nature and human<br />
cultivation have brought us, Schudel is no less fascinated by the process of decay. As the flowers<br />
fade, wilt, and wither, she transforms them under water into images of strange, compelling<br />
beauty which she combines with a stirring memento mori.<br />
Photographs by Andreas Greber<br />
Text by Konrad Tobler<br />
Hardback<br />
88 pages, 25 color and 8 b/w<br />
illustrations<br />
<strong>20</strong>.5 × 33 cm (8 × 13 in)<br />
978-3-85881-633-7<br />
English / German<br />
CHF 49.00 | EUR 48.00<br />
GBP 45.00 | USD 55.00<br />
PHOTOGRAPHY<br />
Features three visual essays by<br />
Swiss photographic artist Andreas<br />
Greber<br />
Explores aesthetics and properties<br />
of analog photography in the digital<br />
age<br />
First monographic book on this<br />
artist<br />
AVAILABLE<br />
ISBN 978-3-85881-633-7<br />
Light Scripture<br />
9 783858 816337<br />
Analog Reflections in Photography<br />
Andreas Greber lives and works in<br />
Bern as a photographer and artist.<br />
Konrad Tobler is a freelance publicist<br />
and art and architecture critic<br />
based in Bern.<br />
Light Scripture collects three photo essays by Swiss photographer Andreas Greber. They show<br />
simple scenes, such as fragments of a wall, translucent portraits, and wooded landscapes. Yet<br />
they are enigmatic and unsettling in that, while visible, their subjects escape the determination<br />
of shadow and light. For Greber, this is the essence of photography: inscribing with light.<br />
The book takes readers through the artist’s process in the creation of the series, which explores<br />
the aesthetics and properties of photography with a special focus on how recent shifts in<br />
photography during the digital age call for a revaluation of its classic analog variety.<br />
<strong>New</strong> titles<br />
<strong><strong>20</strong>19</strong>–<strong>20</strong><strong>20</strong> 28
DVD in booklet, hardback<br />
Film in original version with<br />
subtitles English / French / German<br />
Playing time approx. 85 mins, color<br />
Booklet: approx. 24 pages, text<br />
English / German<br />
14 × 19.5 cm (5½ × 7¾ in)<br />
978-3-85881-916-1<br />
CHF 39.00 | EUR 39.00<br />
GBP 35.00 | USD 39.00<br />
ARCHITECTURE<br />
A new film on architecture by<br />
renowned Swiss director Christoph<br />
Schaub<br />
Features architects Peter Zumthor,<br />
Peter Märkli, and Álvaro Siza<br />
Vieira, musician Jojo Mayer, and<br />
artists James Turrell and Cristina<br />
Iglesias<br />
MARCH <strong>20</strong><strong>20</strong> (Europe)<br />
AUGUST <strong>20</strong><strong>20</strong> (US)<br />
ISBN 978-3-85881-916-1<br />
9 783858 819161<br />
Architecture of Infinity<br />
The Magic of Sacred Spaces. A Film by Christoph Schaub<br />
A sensual and<br />
sensing journey<br />
through sacred<br />
spaces beyond our<br />
built world<br />
Temporality and age are inherent in every object and creature and, depending on one’s<br />
outlook, may transcend to infinity. How can this be imagined? What goes beyond it?<br />
Swiss filmmaker Christoph Schaub sets out for a personal journey through time and<br />
space. He starts in his childhood, when his fascination with sacred buildings began,<br />
and also his wondering about beginnings and ends. In dialogue with architects Peter<br />
Zumthor, Peter Märkli, and Álvaro Siza Vieira, artists James Turrell and Cristina<br />
Iglesias, and musician Jojo Mayer, Schaub explores the magic of sacred spaces, a term<br />
that for him represents much more than just churches.<br />
Architecture of Infinity traces spirituality in architecture and fine arts as well as in<br />
nature, and even over and above the limits of thought. The lightly floating camera<br />
immerses the viewer in somnambulistic images, taking him on a sensual and sensing<br />
journey through vast spaces, guiding his eye towards the star-spangled sky’s infinity<br />
and the depths of the ocean. Past and present, primeval times and light years, it is all<br />
there.<br />
Christoph Schaub, born 1958 in Zurich, is one of Switzerland’s most distinguished<br />
film directors. Besides of documentaries on various subjects he has<br />
also realized many dramas and comedies.<br />
<strong>New</strong> titles<br />
<strong><strong>20</strong>19</strong>–<strong>20</strong><strong>20</strong> 29
By Ruedi Weidmann<br />
Edited by Michael Gasser and<br />
Nicole Graf<br />
Pictorial Worlds: Photographs from<br />
the Image Archive, ETH-Bibliothek.<br />
Volume 7<br />
Hardback<br />
196 pages, 107 color<br />
and 14 b/w illustrations<br />
22 × 33 cm (8½ × 13 in)<br />
978-3-85881-637-5<br />
English / German<br />
CHF 59.00 | EUR 58.00<br />
GBP 50.00 | USD 65.00<br />
PHOTOGRAPHY<br />
Features images taken by Swiss<br />
pioneers of environmental and<br />
landscape conservation<br />
A contribution to the history of<br />
science, landscape and ecology,<br />
and photography in Switzerland<br />
NOVEMBER <strong><strong>20</strong>19</strong> (Europe)<br />
FEBRUARY <strong>20</strong><strong>20</strong> (US)<br />
ISBN 978-3-85881-637-5<br />
9 783858 816375<br />
Documented Landscape<br />
The Photo Archives of Carl Schröter and Geobotanical Institute Rübel<br />
Ruedi Weidmann is a Zurich-based<br />
historian and publishes widely on<br />
topics of architectural, landscape,<br />
urban and infrastructural history.<br />
Documented Landscape features images from the archives of Geobotanical Institute Rübel and<br />
of Carl Schröter (1855–1939), both kept in the collections of ETH Zurich’s main library. Eduard<br />
Rübel (1876–1960) and Schröter, the former’s teacher at ETH Zurich, were pioneers of the<br />
preservation of biodiversity and landscapes and among the first botanists to use photography<br />
as means of documentation for their research. Their heritage, depicting changing landscapes<br />
and the progressing human interference with nature, remain topical until the present day. In<br />
this book, the images are complemented by an introductory essay by historian and writer Ruedi<br />
Weidmann.<br />
Drawings by Felix Studinka<br />
Essays by Erich Franz and Marco<br />
Baschera<br />
Hardback<br />
176 pages, <strong>20</strong>1 color and 1 b/w<br />
illustrations<br />
24 × 22 cm (9½ × 8½ in)<br />
978-3-85881-628-3<br />
English / German<br />
CHF 49.00 | EUR 48.00<br />
GBP 45.00 | USD 55.00<br />
ART<br />
First monographic book on Swiss<br />
artist Felix Studinka<br />
Features drawings from Studinka’s<br />
artistic study of our relationship<br />
with the visible world<br />
AVAILABLE<br />
ISBN 978-3-85881-628-3<br />
9 783858 816283<br />
Chestnut Journal<br />
Felix Studinka lives and works as<br />
an independent artist in Zurich.<br />
Marco Baschera is a professor of<br />
French and comparative literature<br />
at University of Zurich.<br />
Erich Franz teaches as an honorary<br />
professor of art history at Kunstakademie<br />
Münster.<br />
For more than twelve years, Zurich-based artist Felix Studinka has been observing a chestnut<br />
tree near his home and capturing his impressions almost daily in small-format, charcoal<br />
drawings. His Chestnut Journal represents an artist’s study of our relationship with the visible<br />
world and offers an insight into his distinct way of seeing and his approach to reality and to<br />
his environment.<br />
Alongside the beautifully rendered drawings, the book offers essays by art historian Erich<br />
Franz, exploring Studinka’s distinct creative process, and literature scholar Marco Baschera,<br />
who looks at the artist and his work from a philosophical perspective.<br />
<strong>New</strong> titles<br />
<strong><strong>20</strong>19</strong>–<strong>20</strong><strong>20</strong> 30
By Walburga Krupp<br />
Edited by Angelika Affentranger-<br />
Kirchrath<br />
Hardback<br />
approx. 96 pages, 60 color<br />
illustrations<br />
21.5 × 25 cm (8½ × 10 in)<br />
978-3-85881-662-7<br />
English / German<br />
CHF 29.00 | EUR 29.00<br />
GBP 25.00 | USD 29.00<br />
ART<br />
A concise introduction to Sophie<br />
Taeuber-Arp’s Equilibre, a key part<br />
of her oeuvre in painting<br />
Sophie Taeuber-Arp is one of the<br />
most significant female protagonists<br />
of modernism<br />
APRIL <strong>20</strong><strong>20</strong> (Europe)<br />
AUGUST <strong>20</strong><strong>20</strong> (US)<br />
ISBN 978-3-85881-662-7<br />
9 783858 816627<br />
Sophie Taeuber-Arp—Equilibre<br />
Landmarks of Swiss Art<br />
Walburga Krupp is a freelance<br />
scholar, writer, and curator, and a<br />
leading expert on Sophie Taeuber-<br />
Arp.<br />
Swiss artist Sophie Taeuber-Arp (1889–1943) was a pioneer of the avant-garde. Her work<br />
encompasses modernism’s entire range from applied and fine art and dance to architecture,<br />
interior design, and teaching.<br />
Equlibre, created in 1931, marks the beginning of Taeuber-Arp’s career as an accomplished<br />
painter. She moves away from figuration to focus on shape and color. The painting’s posthumous<br />
title emphasizes her constant striving for an ideal balance of all the elements in her<br />
paintings. Equilibre, a landmark of Taeuber-Arp’s oeuvre, looks ahead to her future subject<br />
matter, while at the same time referencing her earlier work.<br />
By Angelika Affentranger-Kirchrath<br />
Hardback<br />
approx. 96 pages, 40 color<br />
illustrations<br />
21.5 × 25 cm (8½ × 10 in)<br />
978-3-85881-663-4<br />
English / German<br />
CHF 29.00 | EUR 29.00<br />
GBP 25.00 | USD 29.00<br />
ART<br />
A concise introduction to Franz<br />
Gertsch’s large-format print<br />
Rüschegg, a key part of his oeuvre<br />
Franz Gertsch is one of the most<br />
distinguished exponents of photorealism<br />
worldwide<br />
APRIL <strong>20</strong><strong>20</strong> (Europe)<br />
AUGUST <strong>20</strong><strong>20</strong> (US)<br />
ISBN 978-3-85881-663-4<br />
9 783858 816634<br />
Franz Gertsch—Rüschegg<br />
Landmarks of Swiss Art<br />
Angelika Affentranger-Kirchrath<br />
lives and works in Zurich as a freelance<br />
publicist, critic, and curator.<br />
Swiss artist Franz Gertsch, born 1930, is one of the most important exponents of photorealism<br />
worldwide. Rüschegg, created in 1988, represents a landmark in Gertsch’s oeuvre. It is both<br />
his first attempt in woodcut for a landscape, and his first large-format work in that genre.<br />
Abandoning painting for nearly a decade as of 1986, he developed a special woodcut technique.<br />
Having worked in portraiture almost exclusively for many years, Gertsch now begins his exploration<br />
of nature. Rüschegg also links Gertsch’s later work with the landscape studies of his<br />
early years.<br />
<strong>New</strong> titles<br />
<strong><strong>20</strong>19</strong>–<strong>20</strong><strong>20</strong> 31
Edited by Antonella Camarda<br />
In cooperation with Museo Nivola,<br />
Orani (Sardinia)<br />
Paperback<br />
approx. 144 pages, 30 color<br />
illustrations<br />
16 × 22 cm (6¼ × 8½ in)<br />
978-3-85881-847-8<br />
English / Italian<br />
CHF 39.00 | EUR 38.00<br />
GBP 30.00 | USD 39.00<br />
ART<br />
Features a language-based installation<br />
by Lawrence Weiner at<br />
Museo Nivola in Orani, Sardinia<br />
Lawrence Weiner is a pioneer of<br />
conceptual art<br />
Includes an interview with Lawrence<br />
Weiner on his art and this<br />
project<br />
MARCH <strong>20</strong><strong>20</strong> (Europe)<br />
MAY <strong>20</strong><strong>20</strong> (US)<br />
ISBN 978-3-85881-847-8<br />
9 783858 818478<br />
Lawrence Weiner<br />
Attached by Ebb and Flow<br />
Antonella Camarda is director of<br />
Museo Nivola and a researcher at<br />
University of Sassari.<br />
Lawrence Weiner, born 1942 in <strong>New</strong> York, is a key protagonist of early conceptual art. His<br />
work is characterized by his use of language as an artistic medium. His installation Attached<br />
by Ebb and Flow refers to the tides and relates to Sardinia-born artist Costantino Nivola’s<br />
experience of exile and relocation, as well as to the current migrant crisis in the Mediterranean<br />
Sea. Sentences are translated from English to Italian and to local Sardu, using different words<br />
and verbal constructs and presented simultaneously to open manifold possibilities to read and<br />
interpret: something may be lost in translation, yet much more can be found.<br />
Edited by Giuliana Altea and<br />
Antonella Camarda<br />
In cooperation with Museo Nivola,<br />
Orani (Sardinia)<br />
Hardback<br />
approx. 224 pages, 80 color<br />
and <strong>20</strong> b/w illustrations<br />
22 × 28 cm (8½ × 11 in)<br />
978-3-85881-848-5 English<br />
978-3-85881-853-9 Italian<br />
CHF 39.00 | EUR 38.00<br />
GBP 30.00 | USD 39.00<br />
ART<br />
Explores the friendship between<br />
Italian artist Costantino Nivola and<br />
Le Corbusier<br />
Contributes to understand the<br />
evolution of Le Corbusier’s visual<br />
art its impact on the reception of<br />
his work in America<br />
JANUARY <strong>20</strong><strong>20</strong> (Europe)<br />
MARCH <strong>20</strong><strong>20</strong> (US)<br />
ISBN 978-3-85881-848-5<br />
English<br />
Le Corbusier<br />
Lessons in Modernism<br />
9 783858 818485<br />
ISBN 978-3-85881-853-9<br />
Italian<br />
9 783858 818539<br />
Giuliana Altea is a professor of<br />
contemporary art history and president<br />
of the Fondazione Nivola.<br />
Antonella Camarda is director of<br />
Museo Nivola and a researcher at<br />
University of Sassari.<br />
Le Corbusier and Sardinian-born sculptor Costantino Nivola met in <strong>New</strong> York in 1946. The<br />
Franco-Swiss architect was working with a team around Oscar Niemeyer on the project for the<br />
United Nations headquarters, the artist had been living there in exile since 1939. A life-long<br />
friendship between the two emerged from that initial meeting, and Nivola subsequently put<br />
together a collection of some 300 drawings, six paintings, and six sculptures by Le Corbusier.<br />
This book tells the story of the collection and explores its significance, thus contributing to<br />
understand the evolution of the architect’s visual art its impact on the reception of his work in<br />
America.<br />
<strong>New</strong> titles<br />
<strong><strong>20</strong>19</strong>–<strong>20</strong><strong>20</strong> 32
With texts by Konrad Tobler and<br />
Martin Zingg<br />
Hardback<br />
approx. 80 pages, 69 color<br />
and 3 b/w illustrations<br />
34 × 48 cm (19 × 13½ in)<br />
978-3-85881-657-3<br />
English / German<br />
CHF 49.00 | EUR 48.00<br />
GBP 45.00 | USD 55.00<br />
ART<br />
First book on Swiss artist and<br />
dancer Silvia Buol’s visual art<br />
Object-like, oversized book, featuring<br />
selected works in true size<br />
OCTOBER <strong><strong>20</strong>19</strong> (Europe)<br />
FEBRUARY <strong>20</strong><strong>20</strong> (US)<br />
ISBN 978-3-85881-657-3<br />
9 783858 816573<br />
Silvia Buol<br />
Watercolors and Drawings<br />
Konrad Tobler is a freelance publicist<br />
and art and architecture critic<br />
based in Bern.<br />
Martin Zingg lives and works in<br />
Basel as a writer and literary educator.<br />
Swiss artist Silvia Buol, born 1954, studied fine arts and contemporary dance, and from the<br />
outset of her career she has been working in both disciplines simultaneously. Her large-format<br />
works on paper reflect a rich experience with space and movement, landscape and nature, becoming<br />
and decay. They express her constant dialogue with movement and volume of her own<br />
body as well as with the character and properties of colors, papers, and fabrics she is using.<br />
This beautifully manufactured, object-like book features for the first time a selection of Buol’s<br />
visual art alongside essays by scholar and critic Konrad Tobler and by writer Martin Zingg.<br />
Edited by Museumsquartier der<br />
Stadt Osnabrück<br />
Hardback<br />
96 pages, 30 color<br />
and 3 b/w illustrations<br />
22 × 26 cm (8½ × 10¼ in)<br />
978-3-85881-658-0<br />
English / German<br />
CHF 35.00 | EUR 29.00<br />
GBP 28.00 | USD 35.00<br />
ART<br />
Documents Brigitte Waldach’s installation<br />
at Felix-Nussbaum-Haus<br />
in Osnabrück, Germany<br />
Features previously unpublished<br />
design sketches by celebrated architect<br />
Daniel Libeskind<br />
AVAILABLE (Europe)<br />
FEBRUARY <strong>20</strong><strong>20</strong> (US)<br />
ISBN 978-3-85881-658-0<br />
9 783858 816580<br />
Existenz<br />
Brigitte Waldach—Felix-Nussbaum-Haus<br />
Felix Nussbaum (1904–44), German painter of Jewish descent, was murdered by the Nazis in<br />
Auschwitz. In 1998, his native city Osnabrück opened the Felix-Nussbaum-Haus, designed by<br />
American architect Daniel Libeskind, to bring to light again Nussbaum’s outstanding art after<br />
it had fallen into oblivion for decades. German artist Brigitte Waldach’s installation Existenz,<br />
conceived for Felix-Nussbaum-Haus, consists of three-dimensional drawings, excerpts from<br />
Nussbaum’s letters, and a sound collage. It inspires the viewer to reflect upon and experience<br />
Nussbaum’s art from our contemporary perspective.<br />
<strong>New</strong> titles<br />
<strong><strong>20</strong>19</strong>–<strong>20</strong><strong>20</strong> 33
Edited by Giuliana Altea and<br />
Antonella Camarda<br />
In cooperation with Museo Nivola,<br />
Orani (Sardinia)<br />
Paperback<br />
144 pages, 40 color<br />
and 10 b/w illustrations<br />
16 × 22 cm (6¼ × 8½ in)<br />
978-3-85881-834-8<br />
English / Italian<br />
CHF 39.00 | EUR 38.00<br />
GBP 30.00 | USD 39.00<br />
ART<br />
Features new work by renowned<br />
artist Anthony Cragg<br />
With a new critical essay by distinguished<br />
art historian Mark Gisbourne<br />
AVAILABLE (Europe)<br />
FEBRUARY <strong>20</strong><strong>20</strong> (US)<br />
ISBN 9783858818348<br />
9 783858 818348<br />
Anthony Cragg<br />
Endless Form<br />
Giuliana Altea is a professor of<br />
contemporary art history and president<br />
of the Fondazione Nivola.<br />
Antonella Camarda is director of<br />
Museo Nivola and a researcher at<br />
University of Sassari.<br />
Volumes that are massive yet lightweight, the sculptures of British artist Anthony Cragg firmly<br />
take hold of the space without seeming static. They are dynamic objects bearing trace of the<br />
process that created them: starting from in many cases figurative drawings to encountering the<br />
artist’s chosen material, guided by inner force. Cragg’s sculptures reveal the infinite possibilities<br />
of form. This book features recent works by Cragg shown in an exhibition at Museo Nivola<br />
in Orani, Sardinia. It offers also an essay exploring Cragg’s art by British scholar and curator<br />
Mark Gisbourne.<br />
By Anda Rottenberg<br />
Hardback<br />
<strong>20</strong>0 pages, 78 color and<br />
14 b/w illustrations<br />
17 × 24 cm (6¾ × 9½ in)<br />
978-3-85881-842-3 English<br />
CHF 39.00 | EUR 38.00<br />
GBP 35.00 | USD 45.00<br />
ART<br />
OCTOBER <strong><strong>20</strong>19</strong> (Europe)<br />
FEBRUARY <strong>20</strong><strong>20</strong> (US)<br />
ISBN 978-3-85881-842-8<br />
A tribute in fictitious letters to legendary<br />
curator and writer Harald<br />
Szeemann<br />
A reflection on the art and nature<br />
of curating and an investigation of<br />
the role of curators and exhibition<br />
directors<br />
Explores the role of female artistic<br />
production in Eastern and Western<br />
Europe<br />
9 783858 818423<br />
From Poland with Love<br />
Letters to Harald Szeemann<br />
Anda Rottenberg is a Polish-born<br />
curator, art critic and writer based<br />
in Warsaw and Tavira, Portugal.<br />
Over the period of twelve months, between May <strong>20</strong>17 and <strong>20</strong>18, curator and critic Anda<br />
Rottenberg has written a series of fictitious letters to legendary curator and writer Harald<br />
Szeemann (1933–<strong>20</strong>05). In these she analyzes the art and nature of curating and reveals references<br />
to and relations within in the history of art. She questions female artistic positions both<br />
in the Eastern and Western Europe and so encourages new individual readings of them. Her<br />
letters express a unique rhetoric that take-up questions and polemic judgements to amalgamate<br />
individual opinion and objective knowledge into a personal history.<br />
<strong>New</strong> titles<br />
<strong><strong>20</strong>19</strong>–<strong>20</strong><strong>20</strong> 34
With contributions by Connie<br />
Offergeld, Christoph Ransmayr,<br />
Elisabeth von Samsonov, Jasper<br />
Sharp, Alexander Stockinger,<br />
and Vito Žuraj<br />
Hardback<br />
184 pages, 86 color and<br />
52 b/w illustrations<br />
24 × 32 cm (9½ × 12½ in)<br />
978-3-85881-654-2<br />
English / German<br />
CHF 39.00 | EUR 38.00<br />
GBP 35.00 | USD 45.00<br />
ART<br />
Features recent work by distinguished<br />
Austrian artist Manfred<br />
Wakolbinger<br />
Includes a text by celebrated Austrian<br />
novelist Christoph Ransmayr<br />
OCTOBER <strong><strong>20</strong>19</strong> (Europe)<br />
APRIL <strong>20</strong><strong>20</strong> (US)<br />
ISBN 978-3-85881-654-2<br />
Manfred Wakolbinger<br />
Inhale—Exhale<br />
9 783858 816542<br />
Austrian artist Manfred Wakolbinger, born 1952, trained as a metal worker and tool maker<br />
before turning to art. Following first steps in jewelry design, he moved on to sculpture and<br />
photography, later also to video art. Many of his often voluminous sculptures were created<br />
for public spaces. The submarine world has captured his particular interest in photography<br />
and video. Wakolbinger’s art is organic and conveys an inner poetry, yet it remains enigmatic<br />
even when it becomes concrete and figurative. This book features a selection from his work in<br />
photography and sculpture since <strong>20</strong>12.<br />
Edited by Madeleine Schuppli<br />
In cooperation with Aargauer<br />
Kunsthaus, Aarau<br />
Hardback<br />
312 pages, 181 color and<br />
18 b/w illustrations<br />
22 × 28 cm (8½ × 11 in)<br />
978-3-85881-645-0<br />
English / German<br />
CHF 49.00 | EUR 48.00<br />
GBP 45.00 | USD 55.00<br />
ART<br />
A wide-ranging panorama of the<br />
topic of masks in contemporary art<br />
and their manifold role in art and<br />
culture in general<br />
Features work by distinguished<br />
international artists<br />
AVAILABLE (Europe)<br />
FEBRUARY <strong>20</strong><strong>20</strong> (US)<br />
ISBN 978-3-85881-645-0<br />
9 783858 816450<br />
Mask<br />
In Present-Day Art<br />
Madeleine Schuppli has been director<br />
of Aargauer Kunsthaus in<br />
Aarau, Switzerland, since <strong>20</strong>07.<br />
Masks evoke scenes of carnival or African tribal rites, we may be thinking of death masks of<br />
famous people, theatre and fashion, cosplay, disguise, and of protection. They represent some<br />
of the most ancient and most controversial objects of our cultural history. Today’s artists look<br />
beyond the mere object, they are interested also in the social, cultural, and political meanings<br />
of masks. This book explores their appearances in contemporary art. Artists at all times have<br />
been attracted by masks and their symbolism. Through works by distinguished Swiss and<br />
international artists and concise texts the book demonstrates manifold approaches to the topic<br />
of masks.<br />
<strong>New</strong> titles<br />
<strong><strong>20</strong>19</strong>–<strong>20</strong><strong>20</strong> 35
Art by Fridolin Walcher and<br />
Martin Stützle<br />
Texts by Nadine Olonetzky,<br />
Gabriela Schaepman-Strub,<br />
Konrad Steffen, Thomas Stocker,<br />
and Benedikt Wechsler<br />
Hardback<br />
approx. <strong>20</strong>8 pages, 150 color<br />
illustrations<br />
24 × 32 cm (9½ ×12½ in)<br />
978-3-85881-665-8<br />
English / German<br />
CHF 59.00 | EUR 58.00<br />
GBP 50.00 | USD 65.00<br />
ART<br />
An artistic reflection on climate<br />
change exemplified by the rapidly<br />
melting glaciers on Greenland and<br />
in the Swiss Alps<br />
Easy-to-read essays by renowned<br />
scientists offer a concise survey<br />
of latest findings in climate and<br />
glaciological research<br />
Explores trends in art responding<br />
to current debates on global<br />
warming and its consequences<br />
FEBRUARY <strong>20</strong><strong>20</strong> (Europe)<br />
AUGUST <strong>20</strong><strong>20</strong> (US)<br />
ISBN 978-3-85881-665-8<br />
The Glacier’s Essence<br />
Greenland—Glarus. Climate, Science, Art<br />
9 783858 816658<br />
Glaciers in the Alps and on Greenland have been melting away slowly for decades. Global<br />
warming has increased the speed of their retreat drastically in recent years. Artist Martin<br />
Stützle and photographer Fridolin Walcher have made Swiss glaciers the subject of their work<br />
and joined as well a Swiss research campaign investigating the state of Greenland’s glaciers in<br />
May <strong>20</strong>18.<br />
This book blends their art with the essence of glaciological and geophysical research. Stützle’s<br />
prints and Walcher’s photographs are featured alongside easy-to-read essays that offer a<br />
concise survey of latest research. The volume also explores trends in art responding to current<br />
debates on global warming and its consequences.<br />
By Urs Kienberger, with contributions<br />
by Andrin C. Willi and Rolf<br />
Kienberger<br />
Hardback<br />
344 pages, 67 color and<br />
83 b/w illustrations<br />
17 × 24 cm (6¾ × 9½ in)<br />
978-3-85881-831-7 English<br />
978-3-85881-841-6 French<br />
978-3-85881-634-4 German<br />
CHF 49.00 | EUR 48.00<br />
GBP 40.00 | USD 49.00<br />
TRAVEL<br />
AVAILABLE (Europe)<br />
NOVEMBER <strong><strong>20</strong>19</strong> (US)<br />
ISBN 978-3-85881-831-7<br />
English<br />
111 Years Waldhaus Sils<br />
A time travel across 111 years of<br />
history and life at Hotel Waldhaus<br />
Sils<br />
Waldhaus Sils is an icon of Swiss<br />
hospitality in one of Europe’s most<br />
spectacular landscapes<br />
St. Moritz and the upper Engadine<br />
region is one of Switzerland’s finest<br />
and most famous destinations<br />
Urs Kienberger is the great-grandson<br />
of Josef and Amalie Giger,<br />
founders of Waldhaus Sils, and has<br />
run the hotel for twenty-five years<br />
together with his sister and her<br />
husband.<br />
The Curious Tale and Incomplete History of an Alpine Grand Hotel and Its People<br />
9 783858 818317<br />
ISBN 978-3-85881-841-6<br />
French<br />
9 783858 818416<br />
ISBN 978-3-85881-634-4<br />
German<br />
Film director Wes Anderson’s Grand Budapest Hotel has a real-life counterpart in the Swiss<br />
Alps: the Waldhaus Sils. Located above the pretty village of Sils Maria, near St. Moritz, it<br />
overlooks a striking landscape of forests, lakes and mountains and has pleased and puzzled<br />
visitors since 1908, offering a combination of Belle Epoque flair and modern comfort. This<br />
book ranges across the Waldhaus’s life and history and highlights its unique blend of luxury<br />
and modesty, historic grandeur and playful fun, smooth professionalism and unexpected idiosyncrasies<br />
9 783858 816344<br />
<strong>New</strong> titles<br />
<strong><strong>20</strong>19</strong>–<strong>20</strong><strong>20</strong> 36
Key titles<br />
Previously Published
By Jeannette Fischer<br />
<strong>20</strong>18. Hardback<br />
176 pages, 7 color and<br />
24 b/w illustrations<br />
11.5 × 16.5 cm (4½ × 6½ in)<br />
978-3-85881-794-5 English<br />
978-3-85881-546-0 German<br />
CHF 19.00 | EUR 19.00<br />
GBP 18.00 | USD <strong>20</strong>.00<br />
ART<br />
ISBN 978-3-85881-794-5<br />
English<br />
Psychoanalyst meets Marina Abramović<br />
Artist meets Jeannette Fischer<br />
In summer <strong>20</strong>15, performance artist Marina Abramović and psychoanalyst<br />
Jeannette Fischer spent four days together at the artist’s<br />
house. Associating freely, they took a psychoanalytical perspective<br />
to explore artist’s biography and work and their interrelation. This<br />
book is a search for understanding of the structures and dynamics<br />
that underlie Abramović’s life and art.<br />
9 783858 817945<br />
Lynn Chadwick<br />
A Sculptor on the <strong>International</strong> Stage<br />
A leading modern sculptor, Lynn Chadwick (1914–<strong>20</strong>03) was<br />
misjudged in his native Britain yet celebrated abroad for his<br />
abstracted figures of human and animal forms in welded steel<br />
and bronze. This book for the first time sets Chadwick’s work<br />
within the wider international context and rightfully restores<br />
this major artist’s place in the history of <strong>20</strong>th-century sculpture.<br />
Edited by Michael Bird<br />
<strong><strong>20</strong>19</strong>. Hardback<br />
232 pages, 136 color and<br />
87 b/w illustrations<br />
24 × 30 cm (9½ × 11¾ in)<br />
978-3-85881-824-9 English<br />
CHF 75.00 | EUR 68.00<br />
GPB 60.00 | USD 79.00<br />
ART<br />
ISBN 978-3-85881-824-9<br />
9 783858 818249<br />
Photographs by Dominic Büttner<br />
Texts by Elisabeth Bronfen<br />
and Nadine Olonetzky<br />
<strong>20</strong>18. Hardback<br />
144 pages, 88 color and<br />
5 b/w illustrations<br />
28 × 33 cm (11 × 13 in)<br />
978-3-85881-598-9<br />
English / German<br />
CHF 65.00 | EUR 58.00<br />
GPB 50.00 | USD 69.00<br />
PHOTOGRAPHY<br />
ISBN 978-3-85881-598-9<br />
Dominic Büttner—Dreamscapes<br />
Dreamscapes is a long-term artistic series by Swiss photographer<br />
Dominic Büttner. Holding powerful discharge<br />
lamp, he walks away from his camera as a time exposure<br />
captures the nightly scene, illuminated by moving light<br />
from which his figure is subsequently erased. Strange and<br />
yet somehow familiar, the fascinating landscapes show<br />
what an eerie place our everyday surroundings can be.<br />
9 783858 815989<br />
Photo-Eye Fritz Block<br />
<strong>New</strong> Photography—Modern Color Slides<br />
Architect Fritz Block (1889–1955) was one of the most<br />
dedicated proponents of Germany’s postwar <strong>New</strong> Building<br />
movement. Starting in 1929, he also used photography<br />
as a medium to express the impulse of modernism along<br />
with the ideals of <strong>New</strong> Objectivity and <strong>New</strong> Vision. This<br />
first book on Block’s work as a photographer features a<br />
vast range of images taken throughout his entire career.<br />
By Roland Jaeger<br />
Hardback<br />
336 pages, 146 color and<br />
355 duotone illustrations<br />
23.5 × 30 cm (9¼ × 11¾ in)<br />
978-3-85881-789-1 English<br />
978-3-85881-531-6 German<br />
CHF 99.00 | EUR 85.00<br />
GBP 70.00 | USD 89.00<br />
PHOTOGRAPHY<br />
ISBN 978-3-85881-789-1<br />
English<br />
9 783858 817891<br />
Key titles<br />
Previously Published 38
By Peter Zumthor and Mari Lending<br />
With photographs by Hélène Binet<br />
<strong>20</strong>18. Paperback<br />
84 pages, 14 duotone illustrations<br />
11 × 19.5 cm (4¼ × 7¾ in)<br />
978-3-85881-805-8 English<br />
978-3-85881-812-6 French<br />
978-3-85881-558-3 German<br />
CHF 29.00 | EUR 29.00<br />
GBP 25.00 | USD 29.00<br />
ARCHITECTURE<br />
ISBN 978-3-85881-805-8<br />
English<br />
A Feeling of History<br />
While working to complete the Almannajuvet Zinc Mine<br />
Museum in southern Norway in <strong>20</strong>16, Swiss architect Peter<br />
Zumthor asked Norwegian architectural historian Mari<br />
Lending to engage in a dialogue about the project. In meandering<br />
style, and drawing on their favorite writers, their<br />
exchanges explore how history, time, and temporalities reverberates<br />
across Zumthor’s oeuvre.<br />
9 783858 818058<br />
Dry Stone Walls<br />
Basics, Construction, Significance<br />
Dry stone walls are a critical component of the landscape in<br />
many countries. Supporting the cultivation of agriculture and<br />
livestock, they are also integral to ecosystems. This uniquely<br />
comprehensive source of knowledge on dry stone walls combines<br />
cultural history with a guide to plants and animals<br />
finding their habitat in such structures and a practical stepby-step<br />
building manual.<br />
Edited by Environmental<br />
Action Foundation<br />
<strong><strong>20</strong>19</strong>. Hardback<br />
472 pages, 362 color and<br />
187 b/w illustrations<br />
<strong>20</strong> × 29.5 cm (7¾ × 11½ in)<br />
978-3-85881-813-3 English<br />
CHF 110.00 | EUR 97.00<br />
GBP 85.00 | USD 95.00<br />
ARCHITECTURE<br />
ISBN 978-3-85881-813-3<br />
9 783858 818133<br />
Edited by Almut Grunewald<br />
<strong><strong>20</strong>19</strong>. Hardback<br />
4<strong>20</strong> pages, 198 color<br />
illustrations<br />
22 × 33 cm (8 ½ × 13 in)<br />
978-3-85881-819-5 English<br />
978-3-85881-610-8 German<br />
CHF 99.00 | EUR 97.00<br />
GPB 85.00 | USD 99.00<br />
ARCHITECTURE / ART<br />
ISBN 978-3-85881-819-5<br />
English<br />
The Giedion World<br />
Sigfried Giedion and Carola Giedion-Welcker in Dialogue<br />
Sigfried Giedion (1888–1968) and Carola Giedion-Welcker (1893–<br />
1979) were two of modernism’s most distinguished scholars. This<br />
book, lavishly illustrated with previously unpublished documents,<br />
objects, and photographs alongside excerpts from the extensive<br />
correspondence the two maintained with their artist friends and<br />
colleagues, offers a unique and manifold insight into the “Giedion<br />
universe.”<br />
9 783858 818195<br />
By Ivan Žaknić<br />
With an introduction by Tim Benton<br />
Klip and Corb on the Road<br />
The Dual Diaries and Legacies of August Klipstein<br />
and Le Corbusier on their Eastern Journey, 1911<br />
In 1911, Le Corbusier (1887–1965) and August Klipstein (1885–<br />
1951), a scholar of art history and art dealer, undertook a<br />
grand tour of Eastern Europe, the Balkans, Turkey, and Italy.<br />
This book explores the creative symbiosis of their friendship<br />
and what the two ambitious young men brought back from<br />
their trip.<br />
Hardback<br />
368 pages, 94 color and<br />
43 b/w illustrations<br />
16.5 × 24.5 cm (6½ × 9¾ in)<br />
978-3-85881-817-1 English<br />
CHF 49.00 | EUR 48.00<br />
GBP 45.00 | USD 55.00<br />
ARCHITECTURE / ART<br />
ISBN 9783858818171<br />
9 783858 818171<br />
Key titles<br />
Previously Published 39
<strong>Scheidegger</strong> & <strong>Spiess</strong><br />
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Tel. +41 442536454<br />
t.kramer@scheidegger-spiess.ch<br />
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Cover image:<br />
Untitled, ca 1978. Photograph by Jan Groover © Musée de l’Elysée, Lausanne—Fonds Jan Groover.<br />
From the book Jan Groover, Photographer (see pages 10/11)<br />
Image p. 37:<br />
Dancing tulip, <strong>20</strong>06. Photograph by Anna Halm Schudel © Anna Halm Schudel.<br />
From the book Blossom (see page 28)<br />
<strong>Scheidegger</strong> & <strong>Spiess</strong> is being supported by the Federal Office of Culture<br />
with a general subsidy for the years <strong>20</strong>16–<strong>20</strong><strong>20</strong>.<br />
October <strong><strong>20</strong>19</strong>. Prices quoted in Euro are valid in Germany only including VAT.<br />
For all other countries prices quoted in Euro, Pounds Sterling and US-Dollars are recommended<br />
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