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Im Vorfeld seines 90. Geburtstags hat das Museum MASI in Lugano Franz Gertsch eingeladen, selbst eine Ausstellung seines Werks konzipieren. Das Resultat war ein überraschender Vorschlag: eine spektakuläre Begegnung des magistralen Holzschnittwerks von Gertsch mit den Holzschnittarbeiten zweier Künstler, die für ihn weit mehr sind als bloß wegweisende Revolutionäre der Holzschnitttechnik. Die Ausstellung führt nun fünfzehn monumentale Holzschnitte Gertschs aus den Jahren 1988 bis 2017 mit von ihm ausgewählten Holzschnittarbeiten von Paul Gauguin und von Edvard Munch zusammen. Jenseits des historischen Abstands und der stilistischen Differenzen zeigen sich jedoch tiefe Affinitäten dreier Künstler. Die Verstrickung von Melancholie und Eros, eine mystische Auffassung von Landschaft sowie eine Grundstimmung von Einsamkeit und Fremdheit des Künstlers in der Gesellschaft und in der Natur sind die gemeinsamen Hauptmotive, in denen diese großen Meister des Holzschnitts vielfältige atmosphärische und assoziative Parallelen entfalten.

The Museum Folkwang, founded by Karl Ernst Osthaus in 1902, treats its visitors to an exquisite assortment of paintings, prints, drawings, and sculpture. Many of the works are recognized classics of the avant-garde, while also serving as representatives of entire movements. The collection ranges from Caspar David Friedrich and Vincent van Gogh to Martin Kippenberger. Works of art from Japan, Java, Oceania, Africa, and other non-European cultures reinforce the museum’s cosmopolitan focus, the foundations of which were laid with Osthaus’s initial collection. In addition, the museum houses a comprehensive and noteworthy collection of photographs, with masterpieces by photographers from Gustave Le Gray to Andreas Gursky. And, finally, the German Poster Museum attests to the breadth of the Museum Folkwang’s interests and its high level of commitment to the popular arts. This superb-quality volume is indispensable to every art enthusiast.

This guide takes visitors on a chronological tour of the Museum Folkwang's painting collections from the nineteenth to the twenty-first century. The first few pages provide an introduction to the museum's fascinating architectural design and history. Sculptures and installations round out this impressive and sensitively designed volume.

Socialist Architecture: The Vanishing Act is a collaborative project between photographer Armin Linke and architect Srdjan Jovanovic Weiss. Weiss and Linke have worked together since 2009 to visit and document selected examples of ex-Yugoslav Socialist architecture in order to document the state that they are in today. The Socialist Federation of Yugoslavia vanished during the early 1990s and the former Socialist states were Balkanized into a number of emerging democracies. Each of these new states inherited monuments, buildings, landscapes, and infrastructure, which were constructed specifically for the former Socialist context and needs. After Yugoslavia vanished, most of the inherited architecture was left vacant and in a state of limbo between being repurposed and reused for new content, or simply being declared Socialist archeology, and continuing its life as ruins. By creating documentation, „Socialist Architecture: The Vanishing Act“ captures the indecision of five particular emerging democracies today: Croatia, Bosnia-Herzegovina, Montenegro, Macedonia, and Serbia, and the distinct effects their irresolution creates spatially and visually on former Yugoslav architecture. * * Published with Codax Publishers, Zurich. *

Franz Gertschs jüngster, erst 2011 vollendeter monumentaler Vier-Jahreszeiten-Zyklus steht im Zentrum dieses Kataloges, der zugleich auch einen Rückblick auf dessen reiches malerisches und grafisches Werk der letzten dreissig Jahre bietet. Franz Gertsch zählt zu den bedeutendsten Schweizer Künstlern der Gegenwart. Seine stets um das Thema „Realität“ kreisende hyperrealistische Malerei sowie sein in Technik und Formaten einzigartiges Holzschnittwerk sind dabei sowohl bildnerische, wie auch konzeptionelle Herausforderung. Ausgehend von Fotos, folgen seine Bilder einer eigenen, inneren Logik, die Reinheit des Materials ist Programm.

We owe our idea of the contemporary exhibition to Harald Szeemann--the first of the jet-setting international curators. From 1961 to 1969, he was Curator of the Kunsthalle Bern, where in 1968 he had the foresight to give Christo and Jeanne-Claude the opportunity to wrap the entire museum building. Szeemann’s groundbreaking 1969 exhibition When Attitudes Become Form , also at the Kunsthalle, introduced European audiences to artists like Joseph Beuys, Eva Hesse, Richard Serra and Lawrence Weiner. It also introduced the now-commonplace practice of curating an exhibition around a theme. Since Szeemann’s death in 2005, there has been research underway at his archive in Tessin, Switzerland. An invaluable resource, this volume provides access to previously unpublished plans, documents and photographs from the archive, along with important essays by Hal Foster and Jean-Marc Poinsot. There is also an informative interview with Tobia Bezzola--curator at the Kunsthauz Zurich and Szeemann’s collaborator for many years. Two of Szeemann’s most ambitious exhibitions are presented as case Documenta V (1972) and L’Autre , the 4th Lyon Biennial (1997). A biography, an illustrated chronology of Szeemann’s exhibitions and a selection of his writings complete this exhaustive survey.

Here for the first time is a complete presentation and comprehensive appraisal of the work of Harald Szeemann, who has an international reputation as one of the most creative of today's exhibition-makers. Numerous documents, notes, sketches, photos, commentaries, reactions, explanations and recollections convey a lively picture of how Szeemann's ideas and concepts are put into practice, as well as his philosophy and understanding of art.

Die strahlende Kraft der Farben Die Sammlung Merzbacher-Mayer zählt zu den bedeutendsten Privatsammlungen der klassischen Moderne. Das hochkarätige Ensemble moderner Malerei und Skulptur erreichte in seiner großen Expressivität, dynamischen Energie und der strahlenden Kraft seiner Farben eine mitreißende Qualität. Dieser farbenprächtig produzierte Band verfolgt die Geschichte einer langen Sammlerlaufbahn. Hervorgegangen aus der kleinen, aber exklusiven Gruppe außerordentlicher Werke, die Gabrielle Merzbacher-Mayer von ihren Großeltern erbte, hat das Ehepaar Merzbacher es verstanden, über die letzten Jahrzehnte eine ebenso konsistente wie hochwertige Sammlung zusammenzutragen. Der künstlerische Bogen spannt sich dabei von den großen Meistern des Impressionismus und Postimpressionismus, des Fauvismus, der Brücke, des Blauen Reiters bis zum italienischen Futurismus und zu den russischen Konstruktivisten. Aber auch die Malerei und die Skulptur der Nachkriegszeit sind mit Hauptexponenten spektakulär vertreten und runden das bewegte, strahlend farbige, bei aller Vielfalt in sich stimmig geschlossene Gesamtbild würdig ab.

Ferdinand Hodler (1853-1918) is one of the most important Swiss painters. His work, influenced by Realism and Symbolism, was and is widely shown all over Europe and prefigured art nouveau and modernist abstraction. His landscape paintings remain the most vital part of his oeuvre to this day. This book shows around 70 of his most beautiful and important landscape paintings and examines the importance of landscape in the creative development of this seminal Swiss painter. In his beginnings, Hodler was influenced by the late Romantics and French landscape painting. He later developed his own quietly monumental style. In the last two decades of his life, he created a landscape oeuvre counting among the major achievements of modern European painting. An indispensable introduction to the work of this often neglected Swiss master.