Modigliani et l’Ecole de Paris – Martigny – Switzerland

Amedeo Modigliani - Hanka Zborowska - 1919 - oil on canvas - 55 x 39 cm - Private Collection

Amedeo Modigliani – Hanka Zborowska – 1919 – oil on canvas – 55 x 39 cm – Private Collection

From June 21 to November 24, 2013 – Fondation Pierre Gianadda

The exhibition will feature approximately 80 works from the collections of the Centre Pompidou and supplemented by loans from 17 loans of private Collections and Swiss and foreign museums. These masterpieces, many of which never or rarely left the Institution, are presented as both iconic portraits and nudes by Modigliani, as well as works of the leading figures of the School of Paris, who were his friends and sometimes its inspirers.

This exhibition focuses on the development of the work of Amedeo Modigliani (1884 – 1920) after his arrival in Paris in 1906 until his death in 1920 it also focuses especially on the friendship between Modigliani and Constantin Brancusi. The young Modigliani is indeed very quickly captivated by the unique and radical character of the Romanian sculptor whose will to truth and counting inspire his search for “wholeness.” An entire room of the exhibition is devoted to sculptures of these two artists and their modernist friends, Jacques Lipchitz, Henri Laurens and Ossip Zadkine.

Amedeo Modigliani - Reclining Nude Arms Folded under Her Head - 1916 - oil on canvas -  E. G. Buhrle Collection Switzerland

Amedeo Modigliani – Reclining Nude Arms Folded under Her Head – 1916 – oil on canvas – E. G. Buhrle Collection Switzerland

xposed also is of course the best artists of the School of Paris painters and sculptors who came most from Central Europe, which have made ​​Paris the main focus of artistic creation of the moment and an international capital of the avant-garde. The works of these artists arrived in France at the beginning of XX century, such as Chaim Soutine, Jules Pascin, Marc Chagall, Moïse Kisling, convey different aesthetics, marked by Expressionism and inspired by their local popular culture primitivism.

Amedeo Modigliani - Jean Alexandre, 1909 Oil on canvas, 81 x 60 cm Private collection

Amedeo Modigliani – Jean Alexandre, 1909 Oil on canvas, 81 x 60 cm Private collection

odigliani showed his independence and lack of parochialism by the diversity of his friends, met in its workshops of Montmartre and then Montparnasse: Suzanne Valadon and her son, Maurice Utrillo, André Utter, Jules Pascin, Gino Severini, Constantin Brancusi, Amadeo de Souza Cardoso, Max Jacob, Jacques Lipchitz, Ossip Zadkine, Moïse Kisling, Chaim Soutine, Georges Kars, Marc Chagall, DiegoRivera, André Derain, Ortiz de Zarate, Pablo Picasso they all created the environment in which he was operating.

Fondation Pierre Gianadda

Art Basel 2013 – Basel – Switzerland

Jeff Koons - Ballerinas, work in progress - Mirror-polished stainless steel with transparent color coating - 100 x 70 x 62 inches © Jeff Koons - Hall 2.0 / B15 - Courtesy Gagosian Gallery NY

Jeff Koons – Ballerinas, work in progress – Mirror-polished stainless steel with transparent color coating – 100 x 70 x 62 inches © Jeff Koons – Hall 2.0 / B15 – Courtesy Gagosian Gallery NY

From June 13 to June 16 2013 – Halls 1 and 2 of Messe Basel at Messeplatz.

Art Basel has been described as the ‘Olympics of the Art World’. Over 300 leading galleries from North America, Latin America, Europe, Asia, and Africa show the work of more than 4,000 artists, ranging from the great masters of Modern art to the latest generation of emerging stars.

Hermann Scherer Selbstbildnis in Landschaft, 1924 - 1926 Oil on canvas 109 x 89 cm - Hall 2.0/A3 - Courtesy of Galerie Carzaniga

Hermann Scherer Selbstbildnis in Landschaft, 1924 – 1926 Oil on canvas 109 x 89 cm – Hall 2.0/A3 – Courtesy of Galerie Carzaniga

he show’s individual sectors represent every artistic medium: paintings, sculpture, installations, videos, multiples, prints, photography, and performance. Each day offers a full program of events, including symposiums, films, and artist talks. Further afield, exhibitions and events are offered by cultural institutions in Basel and the surrounding area, creating an exciting, region-wide art week.

Art Basel

Andrea Ebener – Zurich – Switzerland

Andrea Ebener, Hi, 2011, 70 x100 cm, unique Cyanotype on Torchon Watercolor Paper © Andrea Ebener

Until May 5th 2012 – Galerie Walter Keller

Young Swiss artist Andrea Ebener (*1987) has created a group of self-portraits that she first took with her digital camera. At the same time she has started to discover for herself old techniques like photogelatine printing or buying the necessary chemical components to create cyanoprints.

She produces them herself on watercolor papers. Each of the image that literally „goes through“ her hands is unique, no other person is involved. This way the notion of the often abused declaration „vintage print“ comes back to life, as each print is created by the artist herself shortly after the original image was taken digitally.

Andrea Ebener, unique Cyanotype on Torchon Watercolor Paper © Andrea Ebener

am very interested and magically taken by her images, which are the result of combining technological innovation („the digital“) and traditional craftmanship. And I believe that this combination will be a way out for some of the young creative photographers who are sitting in front of their screen asking themselves: „What can I add to the creation of photographic art that has not been done yet? How can I develop my very own, distinctive handwriting?“

And, there is one thing to add: Images like those created by Andrea Ebener can only be made photographically, not through any other technique. Which is – apart from the always given criteria of artistic quality – another very important aspect when judging fine art photography: Could the images have been done better than by using photography? In the case of Ebner’s cyanoprints and photogelatine prints the answer fortunately is a clear „no“, they could not have. (Walter Keller)

Gallery Hours

Hermann Hesse. The Poet as Painter – Bern – Switzerland

Hermann Hesse, Ohne Titel (Traumbild), Dezember 1917, Gouache, 23,5 x 17,8 cm, Deutsches Literaturarchiv Marbach. © Hermann Hesse-Editionsarchiv, Volker Michels, Fotonachweis: Deutsches Literaturarchiv Marbach

From 28 March to 12 August 2012 – Kunstmuseum Bern

Hermann Hesse was a famous writer. But he was also a painter as can be seen in the first retrospective of this hidden talent at the Kunstmuseum.
Together with the Hermann Hesse Museum in Montagnola, the Kunstmuseum Bern is presenting the first retrospective of Hermann Hesse’s paintings to commemorate the 50th anniversary of the artist and famous author’s decease (July 2, 1877 – Aug. 9, 1962).
German poet and novelist, who has explored in his work the duality of spirit and nature and individual’s spiritual search outside restrictions of the society. Hesse was awarded the Nobel Prize for Literature in 1946. Several of Hesse’s novels depict the protagonist’s journey into the inner self. A spiritual guide assists the hero in his quest for self-knowledge and shows the way beyond the world “deluded by money, number and time.”

Museum Hours

Baldwin and Guggisberg, an exceptional artistic duo in glass-making – Geneva – Switzerland

Amphoric Journey in Copper 2011 Verre soufflé, doublé de couleur, taillé à la roue ; cuivre brossé Haut. 23 x long. 100 x larg. 22 cm Photo : Christoph Lehmann

Until 25 of March 2012 – Musee Ariana, Geneva

Monica Guggisberg (Bern, 1955) and Philip Baldwin (New York, 1947) have worked together for over thirty years, forming an exceptionally long-lasting artistic duo. Internationally-renowned artists and master glassmakers, they have explored the techniques of glass in order to develop a fascinating aesthetic of forms and colours sublimated by the mastered articulation of light. The exhibition presents new pieces, centered around their new boats, including a monumental boat, 9 metres long and laden with amphorae and objects of memory, the quintessence of the artists’ latest work.

From incised vases design models  
The display continues along more well-known themes in the glassmakers’ repertory : the blown, multi-layered and then incised vases, the majestic sentinels and the sculptural installations of multicoloured spheres. Two multimedia installations highlight aspects of the creative process in the studio. Several extracts from the film Fire Glass, Monica Guggisberg – Philip Baldwin, Verriers made in 2007 by the filmmaker Pierre Kalbfuss have been rearranged for the occasion. Baldwin & Guggisberg have also collaborated with the design world, creating models for prestigious firms such as Venini, Rosenthal and Steuben. Some earlier items are presented in showcases, next to more historical works : a retrospective look at the one-off pieces or series created in the Nonfoux studio and at the objects produced for the firm Nestlé.

Amber Urbana 2010 Verre soufflé, doublé de couleurs, taillé à la roue Haut. 55 x long. 30 x larg. 28 cm Photo : Christoph Lehmann

Key moments

The artists met in 1979 at the Orrefors glassworks in Sweden, where they were studying glassmaking. In 1982, they had already established the first independent glass studio in Switzerland, at Nonfoux in the Canton of Vaud. In 2001, they decided to set up in Paris, where they still work today. Throughout their careers, Baldwin & Guggisberg have experimented with the different glass disciplines : craft, design, sculpture, art and architecture. They have updated, transformed and adapted – often in unexpected and completely original ways – highly diverse techniques, notably by combining Scandinavian-inspired blown, multi-layered and hot-coloured glass with the Venetian cold-cutting process (battuto). Three quarters of the objects exhibited are recent creations, centred on the symbolism of boats. Combining glass, metal and wood, this work begun in 2009 is the fifth episode in their production extending over three decades.

Travel and time
It evokes the artists’ migratory practices as well as those of people over time. This theme, always dear to Baldwin & Guggisberg, conveys their favourite topics such as the journey (real or inner), memory and the philosophic notion of “passage”. From this heritage emerges a wide variety of objects ranging from table arts to sculptural and monumentalinstallations.Visitors will stroll through an alley of vases decorated with wheel-incised motifs of geometric designs produced in cooperation with the Ferro studio in Murano. Shimmering coloured spheres, in the form of mobiles, installations or lights, will be displayed in different areas of the museum. Groups of oblong sculptures, organic in shape, rise up to meet the spectator and celebrate the incredible elasticity of glass.

Museum Hours

Nguyen Xuan Huy – Zurich – Switzerland

From November 24, 2011 to January 14, 2012 – A|B|C ontemporary

Borrowing liberally from art history, Vietnamese painter Nguyen Xuan Huy (born 1976) manipulates a Pop aesthetic to confront the traumatic legacy of the Vietnam War, specifically the birth defects caused by Agent Orange. The bodies that compose his haunting figurative tableaux are distorted yet graceful, humiliated yet strong–apt metaphors for a nation still in recovery.

Born in 1976 in Hanoi, Vietnamese artist Nguyen Xuan Huy came to Germany in 1994 to continue his architectural studies started two years earlier. His mother has lived here since the mid-1980s – as many of their compatriots at the invitation of the “socialist brother country” GDR. Because of a visa problem, for several months Nguyen was embroiled in the turmoil of the German bureaucracy. The free time is used for drawing and painting. In 1996 he began his studies in painting at the Giebichenstein in Halle. Under the guidance of Prof. Ute Pleuger he completed in 2006 his post-graduate course (master student).
Since last 2010, he lives with his family in Berlin. Nguyen has received several awards for his work. Being different for several years he followed his main subject the physical and genetic abnormalities that dominate the late effects of the Vietnam War, the collective consciousness of Nguyen’s home country. American armed forces have the large-scale spraying of the defoliant Agent Orange, especially in the late 1960s as a weapon in jungle warfare. It contained dioxin led to irreversible health problems in the population where the agent was spread. Another three generations after the spraying of Agent Orange babies were born with severe deformities due to toxic damage to the parental genome. An increased cancer rate is among the “collateral damage” of the American war tactics in the Vietnam war, which has mainly affected the civilian population. The U.S. government and military today denied a causal link between Agent Orange and these diseases and have paid no compensation to Vietnamese victims – As opposed to substantial payments to entities of its own armed forces. As the son of a decorated war veteran expatriate his attitude is indeed supported by the empathy for the victims, but without falling into an ideological classification.

Gallery Hours

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