Constantin Brancusi and Richard Serra - Fondation Beyeler

Press Release 

Constantin Brancusi and Richard Serra 

May 22 to August 21, 2011 

The Fondation Beyeler is devoting its large summer exhibition to the art of Constantin Brancusi 

(1876-1957) and Richard Serra (b. 1939), two of the most important sculptors of the twentieth 

century. Brancusi, born in Romania and a resident of Paris from 1904 onwards, reduced forms to 

the essentials and thus set the cornerstone for abstract sculpture. The American artist Serra 

redefined the effects of sculpture by means of minimalistic steel pieces which draw the viewer 

directly into the work. The phenomenon and presence of sculptural form in space are his prime 

theme. Taken together, the oeuvres of these two pioneers of European and American sculpture 

cover the period of over one hundred years in which modern sculpture developed. 

The essential aspects of Brancusi’s work are illuminated by about 40 exemplary pieces, arranged 

in the exhibition in various thematic groupings. Among the ensembles of works on view are 

different variants of the monolithic piece The Kiss, the poetic Children’s Heads, Sleeping Muses, 

female torsos, and the renowned Birds in Space, as well as the scandal-triggering Princess X, 

Adam and Eve, or the iconic Endless Column. Also, a photo cabinet contains a selection of twenty 

original photographs that provide insight into Brancusi’s own personal view of his art. 

The crucial recognition of an ideal presence in space, the question as to the essence of sculpture, 

is approached in a different if not less compelling way in ten sculptural works from different phases 

of Serra’s oeuvre. In addition, a new series of works on paper is on display. The selection of works, 

again arranged retrospectively, extends from Serra’s early pieces in rubber and lead, such as the 

Belts, 1966-67, and Lead Props, as well as his characteristic steel sculpture Strike: To Roberta and 

Rudy 1969-71 and Delineator (1974/75). The “curved piece” Olson, 1986, opens up another facet 

of Serra’s work. Fernando Pessoa’s, 2007-08, radical reduction stands for developments of recent 

years and simultaneously delineates an arc back to earlier works like Strike. 

Brancusi’s sculptural work is on view for the first time in Switzerland in retrospective form. Nor has 

Serra’s oeuvre previously been represented here so extensively. 

The loans to the exhibition stem from renowned private collections and public museums, including 

the Solomon R. Guggenheim Museum, New York; the Museum of Modern Art, New York; the 

Museum of Fine Arts, Houston; the Philadelphia Museum of Art; the Art Gallery of Ontario, Toronto; 

the Tate, London; the Musée National d’Art moderne, Centre Georges Pompidou, Paris; the Peggy 

Guggenheim Collection, Venice; the Stedelijk Museum, Amsterdam; the Muzeul de Artǎ, Craiova; 

the Hamburger Kunsthalle; the Staatsgalerie Stuttgart; the Lehmbruck Museum, Duisburg; the 

Kunstmuseum Basel, and the Kunsthaus Zurich. 

Curated by Oliver Wick, the Fondation Beyeler exhibition was conceived in collaboration with the 

Guggenheim Museum Bilbao, which is foreseen as the next venue (October 10, 2011 – April 15, 

2012).

The exhibition is accompanied by an abundantly illustrated scholarly catalogue, published in 

separate German, English and Spanish editions by Hatje Cantz Verlag, Ostfildern. It contains 

essays by Oliver Wick, Friedrich Teja Bach, Alfred Pacquement, and Jacqueline Matisse Monnier, 

and commentaries by Raphaël Bouvier, Denise Ellenberger, Alexandra Parigoris, Ileana Parvu, 

Marielle Tabart, Michelle White, and Jon Wood, and biographies of the two artists. 244 pages, 176 

illustrations, CHF 68, ISBN 978-3-905632-89-7. 

Richard Serra is represented by three outdoor sculptures in Basel and environs: Open Field 

Vertical / Horizontal Elevations at Wenken Park in Riehen/Basel, installed in 1980 in the context of 

“Sculpture in the 20 th Century,” co-organized by Ernst Beyeler; the steel sculpture Intersection, 

installed in 1992 on Theaterplatz in Basel city center; and Dirk’s Pod, a steel piece unveiled in 

2004 on the Novartis Campus, Basel. 

Press images accessible at http://pressimages.fondationbeyeler.ch 

Contact / Press 

Catherine Schott, Tel. + 41 (0)61 645 97 21, Fax. + 41 (0)61 645 97 39, presse@fondationbeyeler.ch 

Fondation Beyeler opening hours: 10 am – 6 pm daily, Wednesdays to 8 pm

Press Release 

Constantin Brancusi and Richard Serra 

May 22 to August 21, 2011 

The Fondation Beyeler is devoting its large summer exhibition to the art of Constantin Brancusi 

(1876-1957) and Richard Serra (b. 1939), two of the most important sculptors of the twentieth 

century. Brancusi, born in Romania and a resident of Paris from 1904 onwards, reduced forms to 

the essentials and thus set the cornerstone for abstract sculpture. The American artist Serra 

redefined the effects of sculpture by means of minimalistic steel pieces which draw the viewer 

directly into the work. The phenomenon and presence of sculptural form in space are his prime 

theme. Taken together, the oeuvres of these two pioneers of European and American sculpture 

cover the period of over one hundred years in which modern sculpture developed. 

The essential aspects of Brancusi’s work are illuminated by about 40 exemplary pieces, arranged 

in the exhibition in various thematic groupings. The selection covers an oeuvre that extends over 

forty years of Brancusi’s mature work, revolving around the question of reduction of volumes in 

space and their transcendence in light – an exploration of formal essence and “primal” form, as it 

were. The sculptor’s concentrated, lifelong concerns are reflected in a small range of sculptural 

motifs. 

Among the ensembles of works on view are different variants of the monolithic piece The Kiss, the 

poetic Children’s Heads, Sleeping Muses, female torsos, and the renowned Birds in Space, as well 

as the scandal-triggering Princess X, Adam and Eve, or the iconic Endless Column. In addition, 

Brancusi’s The Child in the World, a so-called “mobile group”, has been reconstructed out of the 

original wooden sculptures. In this form of presentation, Brancusi’s pieces condense into what 

amounts almost to a retrospective in its own right. Special emphasis is placed on the concept of 

variation and the experience of the different effects of various materials; to this end, marble and 

bronze pieces are supplemented in the exhibition by a number in wood, cement and plaster. 

Precisely a play with material qualities, their different surfaces and reflection or absorption of light, 

are characteristic traits of Brancusi’s search for an artistic ideal. The sculpture groupings are 

arranged in separate rooms with ample space around them, in order to make their appearance in 

space perceptible to viewers as an absolute quality. Also, a photo cabinet contains a selection of 

twenty original photographs that provide insight into Brancusi’s own personal view of his art. 

The crucial recognition of an ideal presence in space, the question as to the essence of sculpture, 

is approached in a different if not less compelling way in ten sculptural works from different phases 

of Serra’s oeuvre. In addition, a new series of works on paper is on display. The selection of works, 

again arranged retrospectively, extends from Serra’s early pieces in rubber and lead, such as the 

Belts, 1966-67, and Lead Props, as well as his characteristic steel sculpture Strike: To Roberta and 

Rudy 1969-71 and Delineator (1974/75). The “curved piece” Olson, 1986, opens up another facet 

of Serra’s work. Fernando Pessoa’s, 2007-08, radical reduction stands for developments of recent 

years and simultaneously delineates an arc back to earlier works like Strike. 

Serra himself has repeatedly emphasized his special interest in Brancusi, whose art he was able to 

study in Brancusi’s reconstructed studio during an extended stay in Paris in 1964/1965. Every day 

Serra made a series of drawings that gave him access to the logic of his predecessor’s work and 

enabled him to draw lessons from his sculptural thinking. Later, Serra would even describe 

Brancusi’s art as an “encyclopedia”, a “handbook of possibilities,” if one that inspired him to quite

different sculptural conclusions. In the exhibition, the aesthetic relationships between Brancusi and 

Serra are visualized in the form of an open-ended, free dialogue between their works – direct 

juxtapositions that reveal both traits shared in common and striking contrasts alternate with suites 

of works that reflect the universal force of sculpture and show it in a new light. Especially sculptural 

volumes that rest in time and space, and simultaneously maintain a precarious equilibrium, link 

Brancusi and Serra’s singular oeuvres and point to the universality and continuity of sculpture in 

general. 

Brancusi’s sculptural work is on view for the first time in Switzerland in retrospective form. Nor has 

Serra’s oeuvre previously been represented here so extensively. The installation of Serra’s 

sculptures at the Fondation Beyeler was an enormous technical challenge, as the static conditions 

had first to be established. For the installation of Fernando Pessoa alone, about seventy tons of 

steel, including the sculpture’s weight, had to be moved. 

The loans to the exhibition stem from renowned private collections and public museums, including 

the Solomon R. Guggenheim Museum, New York; the Museum of Modern Art, New York; the 

Museum of Fine Arts, Houston; the Philadelphia Museum of Art; the Art Gallery of Ontario, Toronto; 

the Tate, London; the Musée National d’Art moderne, Centre Georges Pompidou, Paris; the Peggy 

Guggenheim Collection, Venice; the Stedelijk Museum, Amsterdam; the Muzeul de Artǎ, Craiova; 

the Hamburger Kunsthalle; the Staatsgalerie Stuttgart; the Lehmbruck Museum, Duisburg; the 

Kunstmuseum Basel, and the Kunsthaus Zurich. 

Curated by Oliver Wick, the Fondation Beyeler exhibition was conceived in collaboration with the 

Guggenheim Museum Bilbao, which is foreseen as the next venue (October 10, 2011 – April 15, 

2012). 

The exhibition is accompanied by an abundantly illustrated scholarly catalogue, published in 

separate German, English and Spanish editions by Hatje Cantz Verlag, Ostfildern. It contains 

essays by Oliver Wick, Friedrich Teja Bach, Alfred Pacquement, and Jacqueline Matisse Monnier, 

and commentaries by Raphaël Bouvier, Denise Ellenberger, Alexandra Parigoris, Ileana Parvu, 

Marielle Tabart, Michelle White, and Jon Wood, and biographies of the two artists. 244 pages, 176 

illustrations, CHF 68, ISBN 978-3-905632-89-7. 

Richard Serra is represented by three outdoor sculptures in Basel and environs: Open Field 

Vertical / Horizontal Elevations at Wenken Park in Riehen/Basel, installed in 1980 in the context of 

“Sculpture in the 20 th Century,” co-organized by Ernst Beyeler; the steel sculpture Intersection, 

installed in 1992 on Theaterplatz in Basel city center; and Dirk’s Pod, a steel piece unveiled in 

2004 on the Novartis Campus, Basel. 

Press images accessible at http://pressimages.fondationbeyeler.ch 

Contact / Press 

Catherine Schott, Tel. + 41 (0)61 645 97 21, Fax. + 41 (0)61 645 97 39, presse@fondationbeyeler.ch 

Fondation Beyeler opening hours: 10 am – 6 pm daily, Wednesdays to 8 pm

BRANCUSI 

SERRA May 22 – August 21, 2011 

01 Constantin Brancusi in his studio, ca. 1933–34, 

photograph by the artist 

© 2011, ProLitteris, Zürich 

Photo: © Collection Centre Pompidou, Paris, dist. by RMN, Paris / 

© 2011, Constantin Brancusi in Musée national d’art 

moderne – Centre Georges Pompidou, Paris, artist’s bequest / 

Georges Meguerditchian 

04 Constantin Brancusi 

Une muse, 1912, Muse 

White marble, 45 x 23 x 17 cm 

Base: oak, ca. 1920, three parts, 

overall 97.5 x 47.3 x 47 cm 

Solomon R. Guggenheim Museum, New York 


Photo: © the Solomon R. Guggenheim Foundation, 

New York / david Heald 


Adam et Eve, 1921, Adam and Eve 

Eve (above): oak, 116.5 x 30.8 x 30.2 cm 

Adam (below): chestnut, 108.9 x 47.5 x 43.5 cm 

Base: limestone, 13.3 x 46.4 x 46.4 cm 

Solomon R. Guggenheim Museum, New York 


Foto: © the Solomon R. Guggenheim Foundation, 

New York / david Heald 

Press images http://pressimages.fondationbeyeler.ch 

this visual material may be used for press purposes only. Reproduction is permitted for the duration of the exhibition only. 

Please employ the captions as given and the relevant copyrights. We kindly request you to forward us a voucher copy. 

FoNdAtIoN Beyeler 


Muse endormie [I], 1910, Spleeping Muse [I] 

Bronze, polished, 16 x 27.3 x 18.5 cm 

Centre Georges Pompidou, Musée national d‘art moderne, Paris, 

Gift of Baroness Renée Irana Frachon 


Photo: © Collection Centre Pompidou, Paris, dist. by RMN, Paris / © 2011, Adam Rzepka 


Princesse X, 1915–16, Princess X 

Bronze, polished, 61.7 x 40.5 x 22.2 cm 

Centre Georges Pompidou, Musée national 

d‘art moderne, Paris 


Photo: © Collection Centre Pompidou, Paris, 

dist. by RMN, Paris / © 2011, Adam Rzepka 


Torse de jeune fille [I], 1922 

Torso of a Young Girl [I] 

onyx, 33 x 22.8 x 21 cm 

Base: limestone, 14.3 x 19.4 x 18 cm 

Harvard Art Museums, Fogg Art Museum, 

Cambridge, the Lois orswell Collection, 1998 


Foto: © President and Fellows of Harvard College / 

Junius Beebe 


Coupe [II], 1917–18, Cup [II] 

Maple, 19 x 36.5 x 29.5 cm 

Centre Georges Pompidou, Musée national 

d‘art moderne, Paris 


Photo: © Collection Centre Pompidou, Paris, 

dist. by RMN, Paris / © 2011, Adam Rzepka 


La négresse blanche [I], 1923 

White Negress [I] 

Veined marble, 38 x 14.3 x 18 cm 

Base: marble, two parts, overall height 24.8 cm 

Philadelphia Museum of Art. the Louise and 

Walter Arensberg Collection, 1950 


Photo: Philadelphia Museum of Art 


Le baiser, 1907–08, The Kiss 

Plaster, 28 x 26 x 21.5 cm 

Hamburger Kunsthalle 


Photo: © bpk, Berlin / Hamburger Kunsthalle 


Colonne sans fin, 1918, Endless Column 

oak, 203.2 x 25.1 x 24.5 cm 

the Museum of Modern Art, New York. 

Gift of Mary Sisler, 1983 


Photo: © 2011, the Museum of Modern Art, 

New York, dist. by Scala, Florenz 


L‘oiseau, 1923/47, The Bird 

Blue-gray marble, height 89.2 cm 

Base: limestone and veined marble, two parts, 

overall height 31.8 cm 

Fondation Beyeler, Riehen/Basel 


Photo: Robert Bayer, Basel

SERRA 

BRANCUSI 

01 richard Serra, New york, 1987 


Photo: Serra Studio, New York / Nancy Lee Katz 

03 richard Serra 

Belts, 1966–67 

Vulcanized rubber and neon tubing, 182.9 x 762 x 50.8 cm 

Solomon R. Guggenheim Museum, New York. Panza Collection, 1991 


Photo: Serra Studio, New York / Peter Moore 


Delineator, 1974–75 

Hot-rolled steel, two plates, each 595 x 300 x 2,5 cm 

Collection of the artist 


Photo: Serra Studio, New York / © 2011, Gordon Matta-Clark 

Press images http://pressimages.fondationbeyeler.ch 

this visual material may be used for press purposes only. Reproduction is permitted for the duration of the exhibition only. 

Please employ the captions as given and the relevant copyrights. We kindly request you to forward us a voucher copy. 

FoNdAtIoN Beyeler 


Olson, 1986 

Weatherproof steel, two identical conical sections inverted relative 

to each other, one 3.1 m high x 10.5 m along the chord, 

one 3.1 m high x 10.1 m along the chord, plates 5.1 cm thick 



Photo: Serra Studio, New York / Jenny okun, London 


House of Cards, 1969 

Lead, four plates, each 152.4 x 152.4 x 2.5 cm 



Photo: Serra Studio, New York 


Fernando Pessoa, 2007–08 

Weatherproof steel, 300 x 900.4 x 20.3 cm 

Collection of the artist, courtesy Gagosian Gallery 


Photo: Gagosian Gallery / Joshua White 

May 22 – August 21, 2011 


Strike: To Roberta and Rudy, 1969–1971 

Hot-rolled steel, 244 x 732 x 2.7 

Solomon R. Guggenheim Museum, New York. Panza Collection, 1991 


Photo: Serra Studio, New York / Peter Moore 


The Consequence of Consequence, 2011 

Forged, weatherproof steel, two blocks, each 88.9 x 101.6 x 114.3 cm 



Photo: Serra Studio, New York / Lorenz Kienzle

Biography 

Constantin Brancusi (1876 – 1957) 

1876 February 19: Constantin Brancusi is born in Hobita, Romania. 

1889 – He lives in Craiova, where he works as a waiter. 

1893 

1894 Enrolls in the Craiova School of Arts and Crafts. 

1898 Passes final examination at the Craiova school with honors, then transfers to the 

sculpture department of Bucharest National School of Fine Arts, from which he will 

receive a diploma in 1902. 

1904 With the support of a grant, goes to Paris, where he works as a dishwasher and 

serves as an acolyte in the Romanian Church. 

1905 Enrolls in the Ecole Nationale des Beaux-Arts and attends the sculpture class. 

1907 Works in the studio of Auguste Rodin, under whose influence his previous work has 

stood, but soon leaves to establish himself independently. Begins to carve directly in 

stone (taille directe) and develops a new, formally reduced approach. 

1909 In this or the following year, executes his first female torso and the first Sleeping 

Muse. 

1910 Earliest bird sculpture, Maïastra. 

1913 Participates in the “Armory Show” in New York. The First Step, Brancusi’s first wood 

sculpture. 

1914 First one-man exhibition, at the Little Galleries of the Photo-Secession in New York. 

1916 Moves into a new studio at 8 Impasse Ronsin in Paris. Second one-man show, at the 

Modern Gallery, New York. 

1918 Emergence of the first surviving Endless Column. 

1920 Scandal caused by Princess X at the Salon des Indépendants. Described as “phallic 

obscenity,” the work has to be removed before the show opens; it is later reinstalled. 

1921 Man Ray instructs Brancusi in photography. 

1926 End of January to end of March: First sojourn in the United States. Brancusi’s third 

one-man show held at the Wildenstein Galleries, New York. End of September to 

beginning of December: Second stay in New York, and organization of Brancusi’s 

fourth one-man show, at Brummer Gallery. 

1927 Court proceedings taken against Brancusi by the American customs service 

concerning the status of a Bird in Space: The artist is accused of having attempted to 

smuggle metal – declared as a work of art – into the U.S. A. A year later, a verdict is 

reached in Brancusi’s favor.

1938 Inauguration of the monumental Târgu Jiu ensemble, including Endless Column, Gate 

of the Kiss, and Table of Silence. 

1940 – During World War II, Brancusi lives in seclusion in Paris. 

1944 

1952 Brancusi is granted French citizenship. 

1955 On the initiative of James Johnson Sweeney, the first Brancusi museum retrospective 

is held, at the Solomon R. Guggenheim Museum, New York. 

1956 Brancusi writes his last will and testament, in which he leaves his studio and all its 

contents to the French nation. 

1957 March 16: Brancusi dies in Paris and is buried at Montparnasse Cemetery. 

1958 Carola Giedion-Welcker writes the first comprehensive monograph on Brancusi. 

1997 Inauguration of the current Atelier Brancusi, in the new annex by Renzo Piano in front 

of the Centre Pompidou in Paris.

Biography 

Richard Serra (*1939) 

1939 November 2: Richard Serra is born in San Francisco. 

1957 – Attends the University of California Berkeley and Santa Barbara, graduating 

1961 in 1961 with a B.A. in English literature. Works during this period in steel plants to 

earn a living. 

1961 – Studies at Yale University, New Haven, and graduates with a B.A. 

1964 and M.A. in fine arts. 

1964 – Receives a travel grant and spends a year in Paris, where he attends the 

1965 Académie de la Grande Chaumière. Makes daily visits to the reconstructed Atelier 

Brancusi in the Palais de Tokyo, where he makes drawings that provide access to 

sculpture for him. 

1966 First one-man show, at Galleria La Salita in Rome, comprising the Habitats with live 

and stuffed animals. Begins creating pieces in rubber and fluorescent tubes. 

1968 – Makes a series of works in molten and cast lead; the first Lead Props are 

1969 exhibited. Makes his first films and begins working in Corten steel. First one-man 

show in the U.S., at Leo Castelli warehouse in New York. 

1970 Sets to work on Pulitzer Piece: Stepped Elevations, his first site-specific landscape 

sculpture. 

1971 First black canvases emerge. 

1975 Design for a first Curved Piece, for the Centre Pompidou, Paris, which, however, is 

rejected. 

1977 Installation of Terminal at “Documenta 6” in Kassel, which subsequently is acquired 

by the City of Bochum and becomes Serra’s first permanent work in an urban context. 

1978 The Kunsthalle Tübingen mounts Serra’s first retrospective, which travels to the 

Staatliche Kunsthalle Baden-Baden. 

1980 Participates in the Venice Biennale. Installation of Open Field Vertical / Horizontal 

Elevations at Wenken Park, Riehen/Basel, as part of “Skulptur im 20. Jahrhundert,” 

an exhibition co-organized by Ernst Beyeler. 

1981 Installation of Tilted Arc on Federal Plaza, New York. Marries Clara Weyergraf, an art 

historian. 

1986 Retrospective at the Museum of Modern Art in New York. Installation of Olson at Leo 

Castelli Gallery in New York. 

1988 Mounts a major installation of drawings at Kunsthalle Basel. 

1989 Tilted Arc is destroyed by the U.S. government.

1992 In addition to numerous other works in America and Europe, installs Intersection on 

Theaterplatz in Basel. 

2004 Unveiling of the sculpture Dirk’s Pod on the Novartis Campus in Basel. 

2005 The Guggenheim Museum Bilbao unveils The Matter of Time, Serra’s largest 

executed work to date. 

2007 Second large retrospective, at the Museum of Modern Art in New York. 

2011 Retrospective of works on paper, at the Metropolitan Museum of Art in New York, San 

Francisco Museum of Modern Art, and Menil Collection in Houston.

Citations 

“Simplicity is not an end in art, but one arrives at simplicity in spite of oneself, in approaching 

the real sense of things.” 

Constantin Brancusi 

“It is not the things that are difficult to make, but to put ourselves in [a] condition to make 

them.” 


“There is always a goal. In order to reach it, you have to liberate yourself from yourself.” 


„When I was living in Paris I hadn’t made any sculpture yet but I went to Brancusi’s studio 

almost daily for a good part of a month and made drawings there. I looked at his work as a 

handbook of possibilities.” 

Richard Serra 

“Basically I would like to make sculptures which stand for a new kind of experience, which 

open up possibilities for sculpture which were simply not there before.” 

Richard Serra 

According to Serra, we react to them [large works] before we are in a position to analyze 

them; they draw us completely into their physical corporeality even if we just go past them, or 

want to analyze them or think about them. 

Richard Serra

Exhibition Program 

Events Accompanying the 

Constantin Brancusi and Richard Serra Exhibition 

Artists Talk with Richard Serra 

Sunday, May 22, 2011, 11 am 

Richard Serra, one of the most significant of contemporary sculptors, in conversation with curator 

Oliver Wick. 

Brancusi & Serra Soirée 

Friday, June 3, Friday, August 5, 2011, 6 – 9 pm 

Reduced admission fees and free admission for young people to age 25; curator’s tour, art & 

barbeque. Detailed program available on our website: 

http://www.fondationbeyeler.ch/en/Information/Calendar 

Sunday Matinée Concert Series 

Sunday, June 5, 2011, 11.30 am 

Works by Philip Glass, Morton Feldman, Walter Piston or Eliot Carter 

Performed by string quartet and flute of the Zurich Chamber Orchestra 

Sunday, June 26, 2011, 11.30 am 

Works by Maurice Ravel, Erik Satie or Albert Roussel 

Performed by string quartet and flute of the Zurich Chamber Orchestra 

Sunday, August 21, 2011, 11.30 am 

Works by Philip Glass, Claude Debussy (and Arthur Honegger) 

Performed by string orchestra and harp of the Zurich Chamber Orchestra 

All admission tickets for Fondation Beyeler events are valid for visiting the exhibition prior to the event. 

Tour of Novartis Campus 

Thursday, July 7, Tuesday, August 9, 2011, 5 – 6.30 pm 

Tour of Novartis Campus with viewing of Richard Serra’s sculpture Dirk’s Pod, 2004, and further works 

of art on the grounds. 

Number of places limited 

Art Appreciation 

Public Tours and Events 

Daily schedule available on: www.fondationbeyeler.ch/en/Information/Calendar 

Private Tours for Groups 

Information and registration: tel. +41 (0)61 645 97 20, fuehrungen@fondationbeyeler.ch 

Offer for Schools 

Information and registration at: www.fondationbeyeler.ch/en/exhibitions/art-education 

Online Ticketing for Admissions and Events at www.fondationbeyeler.ch 

Or direct advance sales at museum desk

Partners of Fondation Beyeler 

Donors 

Main Partners 

Partners 

Media Partners 

We thank Basler Versicherungen and Novartis for their kind support. 

FONDATION BEYELER

Constantin Brancusi and Richard Serra - Fondation Beyeler

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