- Bernhard Hoesli - collage and architecture

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Le Corbusier’s void-solid reversal painting is an impressive example of the spatial clamping together of external and internal - the mass-space continuum. This overall relationship can be applied to works like Villa Currutchet in La Plata, Argentina. Here interior and exterior spaces have sectional dialogues similar to Le Corbusier’s painting. Bernhard Hoesli Monograph: Kevin Pappa
Interpretation At the foundation of Hoesli’s work was the concept of temporality. His collages were only momentarily completed, not finished or inviolable works. He frequently revisited the collages at later dates, sometimes up to 15 years, and would pursue new ideas not stressed in the previously ‘completed’ collage. These ideas may be lingering in his mind or on the back of many of his works. Personal sketch fragments, comments, and dates were haphazardly arranged for future reference. On a concrete retaining wall leading to the garage at his house, he intermittently worked for many years on an ongoing outdoor collage. Exchanges between Hoesli, vandals, and the weather has unfortunately left no physical or photographic record. Confrontations between disparate elements and the return to old work encompass his underlying idea of impermanence. Hoesli’s unique style of updating keeps alive disturbing but productive questions and doubts. Who knows what came first – the unanswered question or the collages? “I am impatient…with the interminable insistence on the undeniable perceptual differences between the buildings by F.L. Wright, Le Corbusier, and Mies.” Bernhard Hoesli Monograph: Kevin Pappa
Page 1 and 2: “Transparency arises wherever the
Page 3 and 4: In 1951, he began his influential c
Page 5 and 6: “So a collage is not only meant a
Page 7: In collage No. 26 a scaled hierarch

- Bernhard Hoesli - collage and architecture

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