Scheidegger-Spiess_International-New-Titles_2019-20_screen

Scheidegger & Spiess 

Art I Photography I Architecture 

International New titles 

2019–20

Content 

4 / 5 

Matisse—Metamorphoses 

6 / 7 

Joel Shapiro 

Sculpture and Works on 

Paper 1969–2019 

8 / 9 

René Burri 

Explosion of the View 

10 / 11 

Jan Groover, Photographer 

Laboratory of Forms 

12 

Stephen Willats 

Languages of Dissent 

13 

United by AIDS 

An Anthology on Art in 

Response to HIV / AIDS 

14 / 15 

Charlotte Perriand 

Complete Works. Volume 

4: 1969–1999 

16 / 17 

Soviet Design 

From Constructivism to 

Modernism. 1920–1980 

18 / 19 

Design from the Alps 

1920–2020 

Tyrol South Tyrol Trentino 

20 

Doomed Paradise 

The Last Penan in the 

Borneo Rainforest 

21 

Congo as Fiction 

Art Worlds between Past and 

Present 

22 / 23 

Carole A. Feuerman 

Fifty Years of Looking Good 

24 

Leonor Fini 

Catalogue Raisonné 

of the Oil Paintings 

25 

Manon 

26 

Nives Widauer 

Villa Nix 

26 

Michael Kvium 

A Retrospective 

27 

Pavillon Le Corbusier 

Zurich 

Restoration of an 

Architectural Jewel

28 

Blossom 

28 

Light Scripture 

Analog Reflections in 

Photography 

29 

Architecture of Infinity 

A Film by Christoph Schaub 

30 

Documented Landscape 

The Photo Archives of Carl 

Schröter and Geobotanical 

Institute Rübel 

30 

Chestnut Journal 

31 

Sophie Taeuber-Arp 

Equilibre 

Landmarks of Swiss Art 

31 

Franz Gertsch—Rüschegg 


32 

Lawrence Weiner 

Attached by Ebb and Flow 

32 

Le Corbusier 

Lessons in Modernism 

33 

Silvia Buol 

Watercolors and Drawings 

33 

Existenz 

Brigitte Waldach 

Felix-Nussbaum-Haus 

34 

Anthony Cragg 

Endless Form 

34 

From Poland with Love 

Letters to Harald Szeemann 

35 

Manfred Wakolbinger 

Inhale—Exhale 

35 

Mask 

In Present-Day Art 

36 

The Glacier’s Essence 

Greenland—Glarus. 

Climate, Science, Art 

36 

111 Years Waldhaus Sils 

The Curious Tale and 

Incomplete History of an 

Alpine Grand Hotel and Its 

People

Henri Matisse, an exceptionally gifted 

sculptor: metamorphoses from and 

relations to his paintings and drawings

Edited by Kunsthaus Zürich 

Paperback 

232 pages, 169 color and 

37 b/w illustrations 

22 × 27 cm (8¾ × 10¾ in) 

978-3-85881-836-2 English 

978-3-85881-840-9 French 

978-3-85881-650-4 German 

CHF 49.00 | EUR 48.00 

GBP 45.00 | USD 49.00 

ART 

AVAILABLE (Europe) 

FEBRUARY 2020 (US) 

ISBN 978-3-85881-836-2 

English 

Highlights Henri Matisse’s achievements 

as a sculptor, the least 

known part of his oeuvre, demonstrating 

parallels with his work in 

painting and drawing 

Shows his sources of inspiration 

and offers insights into his creative 

process 

Matisse is one of the most significant 

and most popular modern 

masters 

Matisse’s 150th anniversary on 

31 December 2019 

Exhibitions: Kunsthaus Zürich (30 

August to 8 December 2019) and 

Musée Matisse, Nice (15 February 

to 15 May 2020) 

9 783858 818362 

ISBN 978-3-85881-840-9 

French 

9 783858 818409 

ISBN 978-3-85881-650-4 

German 

9 783858 816504 

Matisse—Metamorphoses 

Henri Matisse (1869–1954) is revered worldwide as a revolutionary painter and loved 

for his collages, or papiers découpés, the icons of his late work. His paintings and 

drawings for a long time overshadowed his achievements as a sculptor. Yet his Back 

Series, four bas-reliefs showing a nude, created between 1908 and 1930, are widely 

recognized as a milestone in modern sculpture. Starting out from the naturalistic depiction, 

Matisse gradually transformed it to reach a radically abstracted figure. Each 

of the four original plaster casts represents a decisive moment of this artistic process. 

This transformative process has parallels in Matisse’s painting and drawing. Published 

in conjunction with major exhibitions at Kunsthaus Zürich and Musée Matisse 

in Nice, marking the artist’s 150th anniversary, this is the first book to explore the 

relation between metamorphosis and feedback in both main fields of the artist’s work. 

Documents of his diverse sources of inspiration for his sculptures—photographs of 

nudes, examples from African and ancient art—as well as images featuring Matisse 

at work as sculptor, round out this volume. It is a welcome addition to any art library, 

highlighting the lesser known side of this modern master. 

Kunsthaus Zürich is one of Europe’s leading art museums. Its permanent 

collection comprises masterpieces from medieval to contemporary art with 

a focus on French impressionism, post-impressionism, and classical modernism. 

New titles 

2019–2020 5

The first-ever comprehensive monograph on this 

distinguished American artist, covering his entire 

career and manifold œuvre

By Richard Shiff 

Hardback 



24 × 30 cm (9½ × 11¾ in) 

978-3-85881-829-4 English 

978-3-85881-830-0 French 

CHF 85.00 | EUR 77.00 

GBP 70.00 | USD 85.00 

ART 


DECEMBER 2019 (US) 

The first-ever monograph on Joel 

Shapiro covering his entire career 

and all artistic media he uses 

First new book on Joel Shapiro in 

more than twenty years 

Joel Shapiro is one of the most 

distinguished American artists of 

his generation 

His work is exhibited in solo and 

group shows and represented in 

the permanent collections of many 

important museums worldwide 

ISBN 978-3-85881-829-4 

English 

9 783858 818294 

ISBN 978-3-85881-830-0 

French 

9 783858 818300 

Joel Shapiro 

Sculpture and Works on Paper 1969–2019 

Born in New York in 1941, Joel Shapiro is one of the most significant artists of his 

generation. Since the first public showing of his work in 1969 as part of the landmark 

Anti-Illusion: Procedures/Materials exhibition at the Whitney Museum of American 

Art, he has been the subject of numerous solo exhibitions in galleries and museums 

around the world. 

Shapiro is most renowned for the distinctive language of dynamic sculpture, blurring 

the lines between abstraction and figuration, that he developed in the 1980s and 90s. 

Yet he first gained wide recognition through his earliest New York shows in the 1970s 

for introducing common forms of often diminutive size. Since then he has continued 

to push the material and conceptual boundaries of sculpture by working in a number 

of materials and employing various working methods. 

Joel Shapiro: Sculpture and Works on Paper 1969–2019 is the first book in over 

twenty years to survey the artist’s entire working career. In an extensive essay, art historian 

Richard Shiff provides a fresh and incisive examination of Shapiro’s oeuvre and 

working process. With more than two hundred striking full-color illustrations, this is 

a long-anticipated and much-needed survey of this vital and essential American artist. 

Richard Shiff is the Effie Marie Cain Regents Chair in Art and the director 

of the Center for the Study of Modernism at the University of Texas at 

Austin. 



A new and concise 

monograph on celebrated 

Swiss photographer 

René Burri, featuring 

previously unpublished 

archival material

Edited by Tatyana Franck 

In cooperation with Musée de 

l’Elysée, Lausanne 

Hardback 

approx. 240 pages, 220 color and 


21 × 27 cm (8¼ × 10¾ in) 

978-3-85881-845-4 English 

978-3-85881-661-0 German 

CHF 49.00 | EUR 48.00 

GBP 45.00 | USD 49.00 

PHOTOGRAPHY 

FEBRUARY 2020 (Europe) 

MAY 2020 (US) 

New concise monograph on celebrated 

Swiss photographer René 

Burri 

Features previously unpublished 

archival material 

Presents also Burri’s own book designs, 

exhibition projects, travel 

diaries, collages, and watercolors 

René Burri is one of the 20th-century’s 

great photo reporters 

Exhibition: Musée de l’Elysée, Lausanne 

(29 January to 3 May 2020) 

ISBN 978-3-85881-845-4 

English 

9 783858 818454 

ISBN 978-3-85881-661-0 

German 

9 783858 816610 

René Burri—Explosions of Sight 

Explosion of the View 

Swiss photographer René Burri (1933–2014) has been wherever history happened. A 

member of Magnum Photos cooperative as of 1955, he photographed in the Middle 

East and South-East Asia, recording the Six-Day (1967) and Yom Kippur (1973) Wars, 

as well as the Vietnam War during the 1960s. His many travels took him to Japan 

and China, across Europe and the Americas to report many of 20th century’s major 

events. His extraordinary sense for people, their personality and circumstances let 

him create portraits of celebrities and capture ordinary men and women alike. His 

iconic picture of Che Guevara with cigar, shot in 1963, is one of the world’s most 

famous and widely reproduced photographic portraits ever. 

Lausanne’s Musée de l’Elysée hosts the Fondation René Burri, established in 2013 for 

the conservation of Burri’s archive. Published in conjunction with an exhibition in 

spring 2020, the book draws on this unique source. It brings together for the first time 

Burri’s entire body of work, photographic and non-photographic. Photographs feature 

alongside previously unpublished documents, book designs, exhibition projects, travel 

diaries, collages, watercolors, and other objects he collected. It offers a new, multifaceted 

and uniquely intimate view of one of the world’s greatest photo reporters. 

Tatyana Franck is director of Lausanne’s Musée de l’Elysée since 2015. 

Prior to this she has directed the Archives Claude Picasso in Geneva as well 

as a number of important photography collections, and has curated various 

exhibitions. 



A discovery: the first monograph 

exploring the entire body 

of American photographer 

Jan Groover’s highly original 

and experimental work

Edited by Tatyana Franck 

In cooperation with Musée de 

l’Elysée, Lausanne 

Hardback 



21 × 27 cm (8¼ × 10¾ in) 

978-3-85881-838-6 English 

CHF 49.00 | EUR 48.00 

GBP 45.00 | USD 49.00 

PHOTOGRAPHY 



First book exploring the entire career 

and achievements of American 

artist and photographer Jan 

Groover 

Richly illustrated with many never 

before published images 

Features Groover’s photography 

as well as her early work in painting 

and drawing 

Exhibition: Musée de l’Elysée, Lausanne 

(18 September 2019 to 5 

January 2020) 

ISBN 978-3-85881-838-6 

9 783858 818386 

Jan Groover, Photographer 

Laboratory of Forms 

This book offers a discovery: for the first time, a comprehensive monograph explores 

the entire œuvre of photographic artist Jan Groover (1943–2012). Generously illustrated, 

it traces Groover’s career from the beginnings as a self-taught painter and 

draughtswoman in America to her late years in western France. Essays on her life 

and work, her significance as an artist, alongside a very personal contribution by her 

husband, French artist and critic Bruce Boice, complement the images. 

Groover obtained her formal education as an artist at New York’s Pratt Institute and 

Ohio State University. In the 1970s she turned to photography, without ever giving 

up painting and drawing entirely. She developed a distinct artistic attitude that let 

her amalgamate both disciplines. Especially for her carefully composed still-lifes she 

earned much recognition. Experiments with older photographic techniques, such as 

platinum print and early 20th-century large-format cameras, are characteristic for the 

late work. 

Tatyana Franck is director of Lausanne’s Musée de l’Elysée since 2015. 

Prior to this she has directed the Archives Claude Picasso in Geneva as well 

as a number of important photography collections, and has curated various 

exhibitions. 



Edited by Heike Munder 

In cooperation with Migros Museum 

für Gegenwartskunst, Zurich 

Hardback 



20 × 27 cm (7¾ × 10¾ in) 

978-3-85881-648-1 

English / German 

CHF 49.00 | EUR 48.00 

GBP 45.00 | USD 55.00 

ART 

A new approach to the pioneering 

conceptual art of Stephen Willats, 

for the first time in the context of 

cybernetics, sub-culture and architecture 

Presents previously unpublished 

works by Willats 



ISBN 978-3-85881-648-1 

9 783858 816481 

Stephen Willats 

Languages of Dissent 

A new encounter 

with Stephen 

Willats, pioneer 

of conceptual art 

Born in London in 1943, Stephen Willats is a pioneer of conceptual art and has, over 

the course of more than five decades, created a multi-faceted body of work. This 

new book, published in conjunction with an exhibition at Zurich’s Migros Museum 

für Gegenwartskunst in summer 2019, focuses on two key aspects of Willats’ art. 

Cybernetics, the control of dynamic systems, in which he has taken a keen interest, 

serves him as method, aesthetic vocabulary, as well as a formal model. Subcultures 

that promote non-conformism and self-determination constitute another focal point 

in his wide-ranging work. 

The book offers a new approach to Willats’ art from multiple different perspectives. 

A comprehensive selection of both earlier and more recent works, some of them published 

here for the first time, is complemented by essays. The authors investigate that 

particular creative sphere in between cybernetics, architecture, and subculture within 

which Willats questions normative, regulating power structures and aims to discover 

personal freedom and alternative thought patterns. 

Heike Munder is a curator and Director of Migros Museum für Gegenwartskunst 

in Zurich since 2001. 



Edited by Rahphael Gygax and 

Heike Munder 

In cooperation with Migros Museum 

für Gegenwartskunst, Zurich 

Hardback 



14.5 × 23 cm (5¾ × 9 in) 

978-3-85881-839-3 English 

CHF 49.00 | EUR 48.00 

GBP 45.00 | USD 49.00 

ART 

An illustrated reader on art activism 

in response to HIV/AIDS 

Offers a wide-ranging survey of 

nearly forty years’ grapple with the 

disease 

Forty years after its first appearance 

in the Western World, HIV/AIDS remains 

a major challenge to society 

around the globe 

Exhibition: Migros Museum für Gegenwartskunst, 

Zurich (31 August 

to 10 November 2019) 



Also available as e-book: 

978-3-85881-917-8 PDF 

978-3-85881-918-5 EPUB 

CHF 10.00 | EUR 9.00 

GBP 8.00 | USD 10.00 

ISBN 978-3-85881-839-3 

9 783858 818393 

United by AIDS 

An Anthology on Art in Response to HIV / AIDS 

A global survey of 

four decades’ art 

and activism 

in response to 

HIV / AIDS 

The appearance of the Human Immunodeficiency Virus and the Acquired Immune 

Deficiency Syndrome (HIV / AIDS) in the early 1980s and its subsequent rapid spread 

around the world has left deep marks in society. The illness and its effects on society 

have also caused manifold responses by artists and activists in many countries. 

United by AIDS, published in conjunction with a group show on the topic of loss, 

remembrance, activism and art in response to HIV / AIDS in summer 2019 at Zurich’s 

Migros Museum für Gegenwartskunst, sheds light on the multifaceted and complex 

interrelation between art and HIV / AIDS from the 1980s to the present. It examines 

the blurred boundaries between art production and HIV / AIDS activism and 

showcases artists who played—and still play leading roles in this discourse. Alongside 

images of artworks and brief texts on the represented artists, the book features voices 

from the past and present. Essays by Douglas Crimp, Alexander García Düttmann, 

Raphael Gygax, Elsa Himmer, Theodore (Ted) Kerr, Elisabeth Lebovici, and Nurja 

Ritter broaden the view of the international discourse on HIV/AIDS and society’s 

confrontation with the disease. 

Raphael Gygax is a Zurich-based art historian, curator and writer, and director 

of the BA program in art and media at Zurich University of the Arts 

ZHdK since 2019. He has been a curator at Migros Museum für Gegenwartskunst 

in Zurich 2003–19. 

Heike Munder is a curator and Director of Migros Museum für Gegenwartskunst 

in Zurich since 2001. 



Charlotte Perriand, Gaston Regairaz/AAM 

Arc 1600 site plan, detail, July 17, 1968. 

Print. 

AChP 67.256. 

Zone B, preliminary agreement, elevations, 

July 17, 1968. 

Print. 

AChP 67.258. 

Right-hand page 

Perspective drawing of the site, October 1970. 

Promotional document for the Cachette building. 

AChP. 

Site plan, 1972. 

Illustration reproduced in Jean-François Lyon-Caen, 

Catherine Salomon-Pelen, eds, 

Inventaire général du patrimoine culturel, 

Région Auvergne-Rhône-Alpes/Fonds AAM/ 

Archives départementales de la Savoie. 

Le Corbusier, Pierre Jeanneret 

Durand subdivision in Oued Ouchaia in Algiers, 1933. 

Mockup of the project. 

FLC. 

Le Corbusier 

Maison de la culture in Firminy, 1953–61. 

Photograph Olivier Martin-Gambier/FLC. 

Georges Candilis, Alexis Josic, Charlotte Perriand, 

Henri Piot, Jean Prouvé, 

Ren Suzuki, Shadrach Woods 

Competition for the development of a winter 

sports resort in the Belleville Valley, 1962. 

Cells extended by terraces 

arranged in tiers on the slope. 

AChP. 

Charlotte Perriand, Alain Bardet, architecture 

Cachette residence, 1969–70. Arc 1600. 

Photograph Tom Mauron-Stéphane Ghez/Cinétévé. 

Charlotte Perriand, Gaston Regairaz, architecture 

Cascade residence, 1967–69. Arc 1600. 

Photograph Pernette Perriand-Barsac/AChP. 

Charlotte Perriand, Gaston Regairaz, architecture 

Versant Sud complex, 1969–75. Arc 1600. 



Opposite, study mockup of a staircase with 

offset steps for the duplexes under the roof of 

the Belles Challes-Lauzières residences, 

October 1975. 

Photographs Pernette Perriand-Barsac/AChP. 

Below, study mockup of a standard cell 

of the Pierra Menta residence, 1979. 

Photograph Peter Myburgh/AChP. 

Right-hand page 

Study mockup of an apartment 

in the Miravidi residence, 1974. 


Study mockup of a duplex 

in the Miravidi residence, 1974. 

Upper floor, seen in profile, without the kitchen. 



Cascade residence, 1967–69. 

Curved wooden partition inside the living room. 


Left-hand page 

Living room with two “breathing closets” 

connected by a countertop desk with lamp 

built into the upper rail. 

Adjustable table, cross-shaped metallic leg 

assembly with jackscrew and round enameled sheet 

metal top. Elephant stool by Sori Yanagi. 

Photograph Éric Dessert/ 

Région Auvergne-Rhône-Alpes, 

Inventaire général du patrimoine culturel. 

Type 4 storage unit with plastic drawers, 

combined with a type 2 closet. 

Photograph Catherine Taillefer. 

ArC 1600 

ArC 1600 

ArC 1600 

ArC 1600 

Facilities, a new version of the site plan, the result of a compromise, was adopted on 

January 15, 1968. 137 It contained the first studies for building B1 (La Cascade) conducted 

in parallel by Perriand and Regairaz. The site plan was once again modified in February– 

March 1968. The capacity of the buildings in zone F (Versant Sud) was reduced from 1,000 

to 600 beds. Originally composed of closely packed, cascading chalets, Versant Sud was 

now grouped into small buildings of varying sizes arranged in four tiers down the slope. 

The composition was similar to a sort of subdivision on the outskirts of the resort. To meet 

the various constraints on the center of Pierre Blanche in front of La Cascade, Perriand 

proposed a group of buildings with a ground floor and three upper stories arranged in six 

tiers down the slope. Straddling each other, these were to be off-centered so as to create 

large terraces facing south and west. The height of the buildings and their position on 

the terrain would ensure that they could not be seen from the balconies of La Cascade. 

During the general meeting of the SMA with Perriand and Regairaz on March 4, 1968, an 

agreement reconciling “the different interests was finally reached” 138 ready to present to 

the Higher Council of Architecture. The site plan was updated accordingly in July 1968. 139 

Withiin just a few months, the project’s parameters had changed three times. Godino was 

able to advance only one step at a time, constantly improvising in the fog of financing and the 

injunctions of the regulatory authorities. Perriand asked him for detailed programs for each 

building so that she could draw up the urban development plan and keep to the schedule. 

could not handle the melting snow and the runoff infiltrated the foundations of the B2 building. 304 

The glass doors of the entrances broke three months after the opening 305 and the repairs of La 

Cascade had still not been completed by the summer vacation of 1970. Several owners complained 

about missing parts and fittings in the studios or apartments and refused to pay the last installments. 

“This state of affairs is extremely harmful for the resort,” 306 the real-estate department warned. 

The sales director complained to his counterpart at the developer’s: “As of today, nothing has been 

done. I find this particularly shocking and unacceptable considering the sales situation.… In a 

large number of apartments it is still raining in. There is no doubt that this will most definitely not 

facilitate the sales that could otherwise have been made in the July–August period. I must ask you 

to intervene once again, and very energetically, with Monsieur Rey-Millet that he might deign to 

assume his responsibilities as architect.” 307 The design of the interior architecture was not spared 

criticism. “As a saleswoman, I can assure you that the curved Seguet panels are not liked and 

that most buyers ask that they be replaced by rectangles. The corner as it stands is considered an 

unaesthetic dust trap, impossible to furnish and a waste of space. On several occasions, I personally 

have been asked to have these curved partitions modified.” 308 

Today, La Cascade is considered a model of originality among the other buildings at Les 

Arcs. Its design would make a strong impression. The main buildings of Arc 1600, the 

Cascade and Cachette hotels, the Cascade and Versant Sud residences, would reference 

many of its features, including the terraces, slanting façades, tiered levels, staggered cells, 

interior architecture, and the furniture and fittings. 

50 51 

108 109 

ArC 1600 

ArC 1600 

ArC 1800 

ArC 1800 

68 69 

198 199 

Now complete: The definitive monograph 

on Charlotte Perriand, one of the most eminent 

protagonists of modern architecture and design. 

Previous volumes: 

Volume 1: 1903–1940 

978-3-85881-746-4 English 

CHF 120.00 | EUR 120.00 

GBP ISBN 978-3-85881-746-4 100.00 | USD 130.00 

Volume 2: 1940 –1955 

978-3-85881-747-1 English 


GBP ISBN 978-3-85881-747-1 100.00 | USD 130.00 

Volume 3: 1956–1968 

978-3-85881-748-8 English 


GBP ISBN 978-3-85881-748-8 100.00 | USD 130.00 

9 783858 817464 

9 783858 817471 

9 783858 817488

By Jacques Barsac 

With a preface by Michelle Perrot 

Hardback 

528 pages, 446 color 

and 204 b/w illustrations 

23 × 30.5 cm (9 × 12 in) 

978-3-85881-778-5 English 


GBP 100.00 | USD 130.00 

DESIGN 

OCTOBER 2019 (Europe) 


ISBN 978-3-85881-778-5 

The concluding volume of the definitive 

monograph on Charlotte 

Perriand in English 

Lavishly illustrated with a wealth of 

previously unpublished material 

Documents in detail Perriand’s role 

in and vast contribution to the development 

and design of the Les 

Arcs skiing resort in the French 

Alps 

An invaluable source for scholars, 

dealers and collectors 

9 783858 817785 


Complete Works. Volume 4: 1969–1999 

The concluding fourth volume of this most comprehensive monograph ever on Charlotte 

Perriand (1903–1999) covers the last three decades of her long career. At the core 

is the Les Arcs skiing resort in the French Alps, where Perriand played a key role in 

all aspects of the project. A pioneer of bioclimatic architecture, she oversaw the urban 

and architectural design of Arc 1600 and Arc 1800 and created the interiors and entire 

outfitting down to cutlery and china for the more than 4,500 apartments. Les Arcs, 

an extraordinary undertaking both in sheer size and the extent of Perriand’s contribution, 

marks the culmination of her research on alpine housing in unison with nature. 

The book also features number of projects—housing and art spaces—between Paris 

and Tokyo, in which Perriand aimed once more to push the borders of a specific modern, 

cultivated way of living. Moreover, it offers a comprehensive appraisal of seventy 

years’ work that manifests the creative force and vision of this extraordinary woman, 

one of the most eminent protagonists of modern architecture and design. a preface by 

Michelle Perrot, French historian and pioneer of gender studies. The books’ preface is 

contributed by French historian and pioneer of gender studies Michelle Perrot. 

Jacques Barsac has directed a number of internationally successful documentary 

films on historic personalities, such as Charlotte Perriand, Le Corbusier, 

Jean Cocteau, and Winston Churchill. Since 2001 he has been carrying 

out extensive research on Perriand’s life and work. 



“The furniture is to serve as a simplified set 

for different performances. Figure 1 shows 

a chair, its sides made up of two frames 

joined by two hinges that are also attached 

to the seat. The chair can be folded when 

required; the sides fold in and the seat lifts 

up against the back of the chair. When 

folded the chair is flat, making it easy to 

transport when the theatre is on tour and 

when there are a number of chairs on stage, 

usually a small stage, they can be folded 

and stored in the wings, thus saving space. 

Figures 4 and 5 show possible combinations 

for the folding chair: a sofa, carriage seat, 

etc. If required, the shape of the chair can 

be changed or given a particular style; a 

canvas cover can be sewn to fit the chair, 

and then painted in a particular style to give 

it a different appearance or character, as 

shown in Figure 2. Figures 6 and 7 show 

stool covers painted in a variety of ways. 

Figure 8 shows the transformation of the 

table into an orator’s podium. The table is 

made in the same way as the chair, with two 

side frames that fold inwards, and crosswise 

folding frames fixed with loops on the upper 

horizontal bars of the main frame of the 

table. The crosswise hinged frames assume 

the position shown by the dotted lines when 

the table is required, whilst when the podium 

is required, they assume the position 

indicated in the drawing (a bar fastening on 

one side). The table top is made separately. 

In order to climb up to the podium there is 

a small set of steps attached at one side of 

the table.” 59 

Museum of history of the city of Sochi. 

(MOMus, Thessaloniki). 

Schusev State Museum of Architecture. 

The complex consisted of 3 separate 

buildings: a 6-storey building 

with residential individual “cells” for 

one person, a 7-storey building with 

2-3 room apartments for families and 

a communal unit with the laundry 

room, gym and public canteen. On 

the roofs of the 1st and 2nd buildings, 

connected by a bridge-crossing, 

it was planned to place the solariums 

and playschool. 

Schusev State Museum of Architecture. 

Suprematism I arkhitektura. 

(Suprematism and Architecture). 2007. 

Schusev State Museum of 

Architecture collection. 

PROPAGANDA FURNITURE 

Khleba Kommunizma 

(Breads of Communism). 

The furniture set Breads of Communim 

was created for Mikhail Kalinin 

housing commune in the city of 

Smolensk by Igor Krestovsky, the 

prominent sculptor and professor at 

the Academy of Fine Arts in Leningrad 

(now Saint-Petersburg). The creation 

of housing commune was a unique 

architectural and social movement 

in the Soviet Union of the 1920s - 

1930s, which displayed a new fashion 

of collective living, propagated by 

French philosopher Charles Fourier. 

The apartments of the Mikhail Kalinin 

housing commune in Smolensk were 

assigned to department officers of 

the Academy of Agriculture, which 

determined the title of the furniture 

group as Khleba Kommunizma (Breads 

of Communism). The furniture 

created for the public areas of 

communal houses are almost totally 

lost, thus the set of furniture Khleba 

Kommunizma is considered to be the 

only full surviving set of such interiors. 

Private collection 

HOUSING COMMUNES 

by Elizaveta Likhacheva 

& 

“ COMMUNA 33 ” — a 

compact multifuctional flat 

by Studio Bazi. 

Zone of the living room. 

Museum of Modern Art – Costakis 

collection (MOMus, Thessaloniki). 

State Museum of Architecture collection. 

Arkhitektura SSSR (Architecture of 

USSR) Magazine No. 11. 1976. 

The oak block contains kitchen, hidden 

behind folding doors and a wardrobe 

with washing machine and cleaning 

storage. A curtain embedded in this 

block separates the bedroom and 

bathroom from the living zone making 

them more cosy and private. 

A round window in the small 

bathroom gives a view to the street 

making it more open. 

Built-in wardrobe, integrated 

From the book of Selim Khan- 

Magomedov Suprematism i arkhitektura. 

(Suprematism and Architecture). 2007. 

State Museum of Architecture collection. 

TASS photographic archive. 

were developing. It valued the “supremacy of pure artistic 

feeling” over the visual depiction of objects. Constructivists 

such as Nikolai Suetin and a number of other industrial 

artists borrowed little from Suprematism’s theory, but 

they adapted its visual motifs in their furniture projects: 

its characteristic patterns, simple geometry of forms and 

spatial organization. Occasionally this resulted in rather 

basic interpretations of Suprematism in simple household 

objects, such as decorative furniture covers made of fabrics 

whose patterns were based on Suprematist paintings. 

Futurism, with its origins in Italy, Cubism (mostly its 

painting and sculpture) and other artistic currents of the 

early 20th century also had considerable influence on the 

formation of Constructivism. 

In 1925, members of the creative association LEF (Left 

Front of the Arts) set up the official creative organization 

of Constructivists, OSA (Organization of Modern Architects); 

its members included Alexander Rodchenko, Varvara 

Stepanova, Kazimir Malevich, the Vesnin brothers, 

Ivan Leonidov, Moisei Ginzburg, and others. OSA members 

developed a functional design method based on the 

scientific analysis of how structures worked. 6 

The stellar roll-call of OSA members and the uniqueness 

of the projects developed under its banner guaranteed 

OSA an important role in the development of Soviet and 

international design. The ideas of these avant-garde artists 

influenced art throughout the 20th century, and their 

importance continues today. 

1920 is generally regarded as the year when the first advocates 

of Constructivism began their search for new art 

forms. Central to the movement was the idea of abandoning 

the “metaphysical essence of idealistic aesthet- 

LYUBOV POPOVA. 

Fabric Design Sketch. Ca. 1923–1924. 

Museum of Modern Art – Costakis collection 

11 

by their immediate purpose, with no element performing a purely decorative 

function. The planners worked with the form of the object as though it were 

a mechanism to serve the user. 

One may conclude that furniture projects became more utilitarian as planners 

moved further away from the realm of art; their expressive qualities came to 

depend more on the construction and technical connection between their 

parts than on either their aesthetic correlation or their colour and tonal combinations. 

Therefore, it makes sense to reflect on the work of the avant-garde figures through 

both the prism of art and function. In this context, art should be understood as the 

sphere of experiment, the search for new forms, with no utilitarian goals at its foundation, 

whereas function is always about the utilitarian, the serial and the mass. 

Large Coffee Pot. 1923. 

Painting on porcelain according to 

the design project of Nikolai Suetin. 

State Porcelain Factory, Petrograd. 

42 

1. FURNITURE AS ART 

The artist-planners who designed furniture and interiors 

in the 1920s had more artistic skill than technical 

mastery. In their works, utilitarian purpose and functional 

development were superseded by experiments 

with form and the search for the new. 

Nikolai Suetin, a student of Kazimir Malevich, is known 

primarily as an outstanding master of artistic porcelain, 

but his interests as an artist extended much further. He 

developed his own language of design, notable for its focus 

on the correlation of shapes and on the harmony of 

tone and colour among them. Suetin looked for forms and 

new solutions for his furniture projects; in his drawings 

and draughts, he solved issues more closely related to art 

than to engineering and construction. His sketches reference 

the Suprematist works and sculptural architectonics 

of his teacher Malevich. Interestingly, the coffin in which 

Malevich was buried in 1935 was made after drawings 

by Suetin; it took the form of a Suprematist architecton. 

Unlike many students and teachers at VKhUTEMAS– 

VKhUTEIN, who concentrated on the interaction of form 

and function in the object, Suetin pursued a more formal 

and decorative approach in his projects. 

Alexander Rodchenko, one of the masters of the Soviet 

avant-garde, is known above all for his photography and 

graphic accomplishments. His work had a huge impact on 

the formation of new ideas in art and design, but his pivotal 

role in Soviet furniture design is much less well known. 

Working with Varvara Stepanova, Rodchenko carried out 

a ground-breaking experiment with the creation of expressionist 

stage sets for the Meyerhold Theatre production 

of Tarelkin’s Death. The play was the third in a trilogy 

NIKOLAI SUETIN. 

Project of an armchair. 1927. 

43 

ics”. 7 The Constructivists were determined to give all art 

by Alexander Sukhovo-Kobylin. Written in 1869, it made 

a material purpose and they set themselves the following 

a mockery of tsarist bureaucracy and became an iconic 

tasks: the destruction of abstract and old forms of art and 

production when staged by Vsevolod Meyerhold in 1922. 

the development of a rational structure of the artwork. 

Theatrical stage props constitute a completely separate 

Their programme, written by Alexei Gan, was presented 

sphere of furniture design. Because they are designed as 

on 1 April 1921 at the plenary session of the GINKhUK 

part of the set for a particular performance, their form 

50 51 

86 87 

\ 

\ 

Communa 33 flat. Kitchen unit. 

85 

KONSTANTIN MELNIKOV 

and V. KUROCHKIN. 

Gosplan garage in Moscow (1934-1936). 

Photograph late 1930s. 

74 

Communa 33 flat. 

Zone of the living room. 83 

Communa 33 flat. Bedroom. 

86 

different piece, with different visual characteristics; but the person who sits on 

it still uses it as a chair—in other words, still uses it for its designated purpose. 

A comparison of these two projects, which were created in the same year, 

shows that a number of different concepts coexisted and interacted with one 

another in furniture design of the 1920s. On the one hand, both Suetin and 

Morozov emphasized the construction of the object, but on the other, they 

used different techniques to the same end. In the case of Suetin’s suite, for- 


84 

View on the stairs. 

mal function matters—that is, the various parts of the object are held together 

by their colour and shape, which are determined by their function, 

but their proportions are based more on the compositional-decorative idea 

than on constructive need. On the contrary, with Morozov’s table construction 

takes precedence over form: the transforming structure is dictated by 

its technical requirements and consists of many constructional intricacies. 

The concepts behind these two projects can be seen as the two poles of Soviet 

furniture design of the 1920s to the beginning of the 1930s, and it was by 

oscillating between the two that the search for new furniture forms would 

continue: from Suprematism’s expressionist approach to object design to 

Constructivism and Rationalism. 

MIKHAIL BARSHCH, IGNATY MILINIS, 

VLADIMIR VLADIMIROV, MIKHAIL 

SINYAVSKY, ALEXANDER PASTERNAK, S. 

V. ORLOVSKY, LYUBOV SLAVINA. 

Project of the housing commune on Gogolevsky 

Boulevard in Moscow (1929-1931). 

75 


87 

under the stairs. 

114 115 

122 123 

\ 

EL LISSITZKY (Lazar Lisitsky). 

The “combination furniture”. 1929. From 

the book of Selim Khan-Magomedov 

102 

also be effectively adapted for everyday life, whereby 

individual objects in different combinations performed 

various functions. El Lissitzky’s “combination furniture”, 

for example, was derived from a similar conceptual 

approach, as were different furniture projects by var- 

MOISEI GINZBURG, 

IGNATY MILINIS. 

Residential house on 

Novinsky Boulevard in 

Moscow (Narkomfin House, 

1928-1930). Architectural 

Model of N. A. Yunusov, 1988. 

103 

First-ever comprehensive 

survey of Soviet interior design 

ious designers of the 1930s right through to the 1980s. 

I. Lobov’s model for a cabinet-display case for displaying 

and keeping books and illustrated magazines and brochures 

fits into the categories of both furniture and exhibition 

equipment. The Red Niva magazine supplement 

again published a detailed description of this piece: 

The club cabinet-cum-display case is mostly intended 

for books. The upper part of the cabinet comprises four 

shelves designed to hold 200 books. The double doors are 

to be used for the display of photographs or photo-montages, 

which can be inserted on two different planes on 

both sides of the doors. The first is attached with hinges to 

the body, while the second is inserted in slots into the first: 

136 

137 

VLADIMIR MESHCHERIN. 

Sketch of an armchair for 

the twin-hulled catamaran 

hydroplane Express 

(OSGA-25). 1937 

180 

S. AIRAPETOV, V. UTKIN, K. 

SHEKHOYAN, S. TIKHOMIROV, O. 

VELIKORETSKY. 

Interior of the Berezka store in Moscow. 

Photograph by Mikhail Churakov, 1962. 

276 

for the hydroplane had different forms: some were very 

dynamic in appearance, their frames made from curved 

lines of tubular metal that seemed to bend as it rose along 

the seat and its back, simultaneously creating a feeling of 

Twin-hulled catamaran hydroplane 

Express (OSGA-25). Exterior and 

Interior. Sochi, 1930s. 

182 

safety and security. 25 

are smooth and the suspended tables of the sideboard, with their expressive 

ceiling fastenings, resemble the natural organic forms of plants. The 

table-top is suspended on a cylindrical rod fixed to a point on the floor and 

attached to the ceiling; this allows for a significant increase in the usable area 

of the cabin and facilitates the easy movement of passengers and the rearrangement 

of the seats. The look of the fittings is complemented by the shiny 

material used for the wide cylindrical supports and table-tops. The chairs 

During the construction of the watercraft, limited serial 

production was set up for individual elements—chairs, 

tables, windows, and the stylish hooks and handles inspired 

by the teardrop shape of the vessel’s own aerodynamic 

silhouette. To create these elements, a volumetric 

method of moulding from metal or plastic was used, a 

production technique not yet widely used in the field of 

transportation. 

The hydroplane ran the passenger line between Yalta 

VLADIMIR MESHCHERIN. 

Sketches of interiors for the twinhulled 

catamaran hydroplane 

Express (OSGA-25). Sochi. 1937. 

181 

and Sevastopol in the Crimea, and also made regular 

trips on the high-speed line from Sochi to Sukhumi on 

the Black Sea. It could carry up to 150 passengers at a 

speed of 80 km/hour.26 It was destroyed in 1941, during 

the German occupation of Odessa. 

The furniture of the 1930s made far greater use of the 

expressive characteristics of metal, responding both to 

fashion and developments in industry, while Western Art 

Deco used a great many glass and metallic elements. In 

the decade, mass-production furniture developed very 

slowly; production was more often undertaken as limited 

quantity serial orders or as single items. 

A. ANISIMOV, A. KONSTANTINOV, M. 

BASKAEV, M. KUTSEVOL, N. ORLOVA. 

Interior of Aelita cafe at Oruzheiny Lane in 

Moscow. Photograph by Alexey Alexandrov, 1961. 

277 

220 221 

306 307 

\ 

ALEXANDER SHIPKOV. 

Interior project of t 

wo-level apartment. 

303 

tion, which had been such a feature of the tapered-leg 

furniture of the 1950s and ’60s, completely disappeared. 

As part of its developing international relations, the Soviet 

Union in the 1970s began to export an array of goods 

to socialist bloc countries and Western Europe (Zenit 

cameras, various wrist watches such as the Glory, Flight, 

Ray and Rocket, VEF radios, Zil refrigerators, Moskva 

and Lada cars). Furniture, however, was not suited to the 

export market—on the contrary, it was imported in large 

quantities from the countries of Eastern Europe. 

A landmark event was the foundation in 1987, on the initiative 

of Yuri Solovyev, of the Union of Designers. The 

A set of new upholstered 

furniture. Estonian SSR Tallinn 

Research and Production 

Furniture Association 

“Standard”. Photograph by Endel 

Tarkpea, 1976. 

304 

taboo, which had lasted so many years, against the very 

word “design”, was finally lifted. Designers were now given 

the opportunity to open their own studios and to work 

the hours they wanted. 29 This undoubtedly encouraged 

greater freedom of expression, despite the Union of Designers’ 

position as a State organization under the auspices 

of Gosplan. By the end of the 1980s, there were around 

IGOR KRESTOVSKY. 

Sketches for Khleba Kommunizma (Breads 

of Communism) furniture set. 1937. 

187 

eighty individual studios in the USSR. The inauguration 

of the Union of Designers had little direct effect on furniture 

production in the USSR, but it was undoubtedly very 

significant in a broader sense, because it stimulated the 

growth of individual project designs that were not aimed 

226 227 

334 335

Edited by Kristina Krasnyanskaya 

and Alexander Semenov 

Hardback 

approx. 448 pages, 302 color and 


24 × 30 cm (9½ × 11¾ in) 

978-3-85881-846-1 English 

CHF 99.00 | EUR 77.00 

GBP 65.00 | USD 85.00 

DESIGN 

JANUARY 2020 (Europe) 

MARCH 2020 (US) 

ISBN 978-3-85881-846-1 

First-ever comprehensive survey of 

Soviet interior design across seven 

decades, drawing on archives that 

were inaccessible until recently 

Features a wealth of previously 

unpublished images and documents 

alongside essays by expert 

authors 

A reference book and unique 

source for scholars, dealers, collectors, 

and design-lovers 

9 783858 818461 

Soviet Design 

From Constructivism to Modernism. 1920–1980 

The former Soviet Union has left a vast heritage in interior design that is largely unknow 

in the West. For the first time ever, this book offers a comprehensive survey 

of the country’s interior design culture between revolutionary Avant-Garde and late 

socialist Modernism. Drawing on archives that were inaccessible until recently and 

featuring a wealth of previously unpublished material, it documents the achievements 

of seven decades in the former socialist empire. 

Soviet design is often discredited as massive, non-ergonomic, and monotonous. Yet a 

remarkable variety of original styles have emerged behind the iron curtain. The 1920s 

were marked by Constructivism, Rationalism, and Suprematism. Early in Stalin’s 

reign, a distinct variety of Neo-Classicism appeared alongside what became known as 

Agitational Furniture, inspired by the regime’s propaganda. The 1930s brought Soviet 

Art Deco and eventually Stalinist Empire with some of the Soviet Union’s most iconic 

buildings. Mass-produced modernist and functional furniture prevailed in the 1950s 

before the Golden Age of Soviet interior design during the 1960s, when clearly visible 

influences by early Avant-Garde and the Bauhaus returned. The country’s stagnation 

and eventual decline in the 1970s and 1980s lead to the visionary work of a new 

generation of designers remaining largely unrealized. 

Kristina Krasnyanskaya is an art historian founder of Heritage Gallery in 

Moscow. She has been curator of the 2015 exhibition Soviet Design: From 

Constructivism to Modernism: 1920s – 1960s in collaboration with Moscow’s 

Shchusev State Museum of Architecture in Moscow. 

Alexander Semenov is an expert in the field of Soviet design and a research 

associate at Saint-Petersburg Stieglitz State Academy of Art and Design. He 

has written extensively on Soviet furniture and interior design. 



A survey of a century’s 

design production 

in the multi-lingual, 

transnational Alpine 

region Tyrol—South 

Tyrol—Trentino

Edited by Claudio Larcher, 

Massimo Martignoni, and 

Ursula Schnitzer 

In Cooperation with Merano Arte 

Hardback 



23 × 29 cm (9 × 11½ in) 

978-3-85881-649-8 

English / German / Italian 

CHF 49.00 | EUR 48.00 

GBP 45.00 | USD 55.00 

DESIGN 

The first-ever comprehensive survey 

of design from the Alpine region 

Tyrol—South Tyrol—Trentino 

The region is a dynamic cultural 

space with rich tradition in craft 

and a very productive laboratory 

for technical and formal exploration 

also in product design 

Exhibition: Merano Arte, Merano 

(11 October 2019 to 12 January 

2020) 

NOVEMBER 2019 (Europe) 


ISBN 978-3-85881-649-8 

9 783858 816498 

Design from the Alps 1920–2020 

Tyrol South Tyrol Trentino 

Over centuries, the transnational Alpine region Tyrol—South Tyrol—Trentino (Alto Adige) 

has developed along ancient trade routes between Germany and Austria on one and 

northern Italy on the other side of the Alps. Similar to the region’s modern and contemporary 

architecture, its product design in many cases is rooted in a rich local tradition 

of craftsmanship. Yet since the 1920s, this multilingual region has also proven 

its remarkable openness to European modernism’s most progressive movements and 

become an unexpected laboratory for technical and formal exploration in the middle 

of the continent. 

Design from the Alps, published to coincide with an exhibition at Merano Arte in 

autumn 2019, tells the story of a century of product design from Tyrol—South Tyrol— 

Trentino. Featured artists include, among others, Fortunato Depero (1892–1960), whose 

experiments were inspired by the Secondo Futurismo, Gino Pollini (1903–91), a pioneer 

of the interwar period, as well as the celebrated architects and designers Lois Welzenbacher 

(1889–1955), Clemens Holzmeister (1886–1983), and Ettore Sottsas (1917–2007). 

Lavishly illustrated, the book follows the many protagonists of this at the same time 

heterogenous and collectively strong scene and offers an insightful tour d’horizon of the 

manifaceted original design culture of western Austria and northern Italy. 

Claudio Larcher is an architect and partner with Milan-based design firm 

Modoloco. He also teaches at Nuova Academia di Belle Arti in Milan. 

Massimo Martignoni is an art historian and writer, and a professor of 

history of design at Nuova Academia dei Belle Arti in Milan. 

Ursula Schnitzer is an art historian and project co-ordinator with 

Merano Arte. 



Photographs by Tomas Wüthrich 

Texts by Ian B.G. Mackenzie and 

Lukas Straumann 

Paperback 

160 pages, 200 color illustrations 

22 × 29.7 cm (8½ × 11½ in) 

978-3-85881-642-9 


CHF 49.00 | EUR 48.00 

GBP 45.00 | USD 55.00 

PHOTOGRAPHY 

A unique photographic documentation 

of the Penans’ way of life on 

Borneo 

The Penan and their fight to 

preserve their culture has gained 

much international attention 

The threat political and business 

interests pose to indigenous 

cultures is highly topical in many 

countries 



ISBN 978-3-85881-642-9 

9 783858 816429 

Doomed Paradise 

The Last Penan in the Borneo Rainforest 

A manifesto 

against politics 

and business interests 

that endanger 

the Penan culture 

on Borneo 

Over many years, Swiss photographer Tomas Wüthrich has visited Borneo many 

times to document the daily life of the Penan, a partially nomadic indigenous people 

living in the rainforest of Borneo. The way of life that these hunter-gatherers lead in 

the Sarawak state of Malaysia is critically threatened by illegal logging and oil palm 

plantations. 

The Penan people came to the world’s attention thanks to Swiss-born environmental 

activist Bruno Manser, who disappeared in the jungle without trace in the year 2000 

while campaigning for the Penan cause. 

In this book, Wüthrich paints a nuanced portrait of this unique culture. A selection 

of Penan myths, collected by Ian B.G. Mackenzie, are published for the first time 

alongside Wüthirch’s photographs. An essay on Bruno Manser and his mission for the 

Penans’ case completes the book. 

Tomas Wüthrich is a freelance photographer living in and working from 

Switzerland. His award-winning reportages and portraits are published 

internationally. 

Ian B.G. Mackenzie is a Vancouver-based linguist, anthropologist, documentary 

filmmaker and author. Since 1991 he has been researching the language 

and culture of the Penan and has published the first comprehensive 

dictionary of the Penan language. 

Lukas Straumann has been heading the Bruno Manser Fund in Basel since 

2004. 


2019–2020 20

Edited by Nanina Guyer and 

Michaela Oberhofer 

In cooperation with Museum 

Rietberg, Zurich 

Hardback 

approx. 324 pages, 400 color 

illustrations 

23 × 28 cm (9 × 11 in) 

978-3-85881-835-5 English 

978-3-85881-643-6 German 

CHF 49.00 | EUR 48.00 

GBP 45.00 | USD 55.00 

ART 

DECEMBER 2019 (Europe) 

APRIL 2020 (US) 

Congo’s vibrant art scene attracts 

great interest worldwide 

Investigates how Congolese artists 

have been exploring and reflecting 

upon the effects of globalized 

trade, colonialism, proselytization, 

and virtual boundaries 

Features many previously unpublished 

works by Congolese artists 

both contemporary and from the 

19th and early 20th centuries 

Exhibition: Museum Rietberg, 

Zurich (22 November 2019 to 

15 March 2020) 

ISBN 978-3-85881-835-5 

English 

9 783858 818355 

ISBN 978-3-85881-643-6 

German 

9 783858 816436 

Congo as Fiction 

Art Worlds Between Past and Present 

Congolese artists 

reflecting upon 

globalized trade, 

colonialism, proselytization, 

and 

virtual boundaries 

A single Congo does not exist—or is in any case fictitious. Yet the Democratic Republic 

of Congo has an extraordinarily vibrant art scene that attracts great interest 

from around the world. Nowhere else in Africa art production is as manifold in form, 

media, and materials used. For many years, Congolese artists have been exploring 

and reflecting upon the effects of globalized trade, colonialism, proselytization, and 

virtual boundaries. 

For the first time, this book, published in conjunction with an exhibition at Zurich’s 

Museum Rietberg, features art works and photographs collected by German anthropologist 

Hans Himmelheber during his journey to the Congo in 1938–39. They bear 

witness of the period’s extraordinary creativity and innovativeness as well as of the 

collector’s own idea of Congo. They are juxtaposed with works by contemporary 

Congolese artists and complemented by essays that investigate the fiction of Congo 

both as an African and Western World imagination. Thus, the book links the past 

with the utopia of contemporary artistic production in central Africa. 

Nanina Guyer is curator of photography at Museum Rietberg in Zurich. 

She is currently pursuing a research project on photography in Congo during 

the 1930s. 

Michaela Oberhofer is curator of African art at Museum Rietberg in Zurich. 

She directs a research project on Hans Himmelheber and African art in 

collaboration with University of Zurich. 



14 

12 

Keep your nose to the 

grindstone 

Carole painting 

Grande Catalina, 1981 

Chrysalis - Detail, 2017 

15 

13 

118 119 

168 

169 

4 

46 

70 

Caption 

60 Zaros_99 (2).jpg 

5 

47 

71 

Carole A. 

FEUERMAN 



(both too numerous to count), the selection aims at decisions made by 

Feuerman that, in this friend’s opinion, are revealing of her committed, 

deliberate and self-confident way of thinking. Few artists are so closely 

identified with their own works as this courageous modern sculptor. 

1. In November 1975, Feuerman received a coveted 

commission to design a cover for National Lampoon 

magazine 

Famous for its attention-grabbing covers, the avant-garde Lampoon 

knew Feuerman’s designs for record covers and rock concert publicity, 

including the Rolling Stones. Since the theme was “Work,” she 

illustrated the saying, “Keep your nose to the grindstone.” But rather 

than a painting in her usual style, she changed her technique entirely. 

The Lampoon cover is a close-up photograph of her first ever lifecast 

of a model’s face, realistically painted with spurts of blood. The 

graphic impact is exciting, even terrifying. Her willingness to take 

such a risk was typical of her fearlessness. 

2. The story of Catalina began on a beach in 1977 

When Carole Feuerman turned to sculpture in 1978, she took Hyperrealism in a 

new direction: she got personal. Photorealism, the term used for paintings, had 

made its debut in the 1960s as an off-shoot of Pop Art. Richard Estes’ paintings 

of subway cars and Duane Hanson’s sculpture of a supermarket housewife in 

curlers were overt satires of junk-food culture. There was an implicit irony in the 

idea of a handmade art vaunting the objectivity of photographs. Born in 1945, 

Feuerman was a full generation behind Duane Hanson (1925–1996) and a few 

years younger than John De Andrea (born 1941), the two sculptors with whom 

she ultimately came to comprise the leading trio of American Hyperrealists. Although 

Hanson and De Andrea were important 1960s precedents for her realism, 

Feuerman’s sculptures reflected her deeper affinity with the sympathetic narratives 

of the monochromatic statues by George Segal (1924–2000). 

She chose the name of Catalina, because islands represent isolation from 

other lands. “When a swimmer submerges into the water they escape the stresses 

of the outside world, and they emerge cleansed and invigorated.” The water beads 

up on the swimmer’s glowing arms and shoulders, yet Catalina is not about the 

Carole A. Feuerman: a pioneer 

of Hyperrealism in sculpture 


John T. Spike 

In August of 1977, a young, talented illustrator sat down on Jones Beach, Long 

Island, to do some thinking. At thirty-two years old, Carole Feuerman was ten 

years into an award-winning career as a commercial artist in New York City. 

Married and divorced, with three children, she was working day and night to 

keep all the pieces together. Now she was also contemplating a major change. 

Could she leave illustration behind and begin a new career in the arts, as an independent 

sculptor of her own ideas? 

Sitting on the beach, she saw a swimmer emerging from the sea, waterdrops 

streaming down her face. “She looked proud, like she had just accomplished 

something great. With goggles, hair slicked back, I saw her step out of 

herself and come into a new reality. Then I figured out how to do it. That woman 

gave me the idea to make my first swimmer sculpture, Snorkel.” Three years 

later, she made a second swimmer, this time sparing the snorkeling props, and 

focusing her attention on the young woman’s radiant, glistening face. She gave 

the sculpture the name of an island, Catalina. 

Fifty Years of Looking Good is the fourth substantial book about Feuerman’s 

career, which has been on a continuous upward trajectory for decades now, 

as these copious pages will attest. Her childhood propensity towards art, family 

history, schooling, success as an illustrator, and first two decades in sculpture were 

admirably described in an essay by Eleanor Munro in her first book, Feuerman 

Sculptures, 1999 (2nd rev. ed., 2010). Through the years, Feuerman’s work has 

also received attentive interpretations by leading critics such as Robert Kuspit, 

John Yau, Peter Frank, David S. Rubin, Stephen C. Foster, Edward Rubin, not to 

mention the present writer. 

After fifty years it seems right to single out a few “defining moments” in the 

career of this important living artist. These moments mostly take place over years: 

indeed the last, no. 7 in this list, is still underway. Rather than exhibitions or sales

Edited by John T. Spike 

Hardback 


illustrations 

24 × 30 cm (9½ × 11¾ in) 

978-3-85881-844-7 English 

CHF 65.00 | EUR 58.00 

GBP 50.00 | USD 65.00 

ART 

The most comprehensive monograph 

to date on major American 

artist Carole A. Feuerman, a pioneer 

of Hyperrealism in sculpture 

Lavishly illustrated and covering 

Feuerman’s entire career spanning 

five decades, featuring more than 

200 works 



ISBN 9783858818447 

9 783858 818447 

Carole A. Feuerman 


Carole A. Feuerman is celebrated as a pioneer and one of America’s major exponents 

of Hyperrealism in sculpture, alongside Duane Hanson and John De Andrea. Born 

1945 and educated in New York and Philadelphia, she began as an illustrator before 

turning to sculpture in the 1970s, soon gaining much recognition and early success. 

Her work has been displayed in many group shows and solo exhibitions at private galleries 

and public museums, as well as at major art fairs, in America, Europe, and Asia. 

Over five decades, Feuerman has created visual manifestations of stories telling of 

strength, survival, and balance. Her subject matter is the human figure, most often a 

woman in an introspective moment of exuberant self-consciousness shaded by erotic 

lassitude. Feuerman’s works represent a female state of mind rather that an alluring 

body meant to attract the male gaze. They suggest that women look at themselves 

differently from men looking at them, that a woman is more innately creative than a 

man. 

This book is the most comprehensive survey of Feuerman’s œuvre to date. Lavishly 

illustrated in color throughout, it demonstrates the variety of materials and media she 

uses and highlights the specific qualities of her figures. 

John T. Spike is an American-born distinguished art historian, curator, author 

and lecturer specializing in Italian Renaissance and Baroque Art, and 

an eminent critic of contemporary art. 



Edited by Richard Overstreet 

2 volumes in slipcase, hardback 


illustrations in total 

24 × 30 cm (9½ × 11¾ in) 

978-3-85881-843-0 English 

CHF 380.00 | EUR 350.00 

GBP 320.00 | USD 400.00 

ART 

APRIL 2020 (Europe) 

JULY 2020 (US) 

ISBN 978-3-85881-843-0 

The authoritative reference work 

on Surrealist painter Leonor Fini 

Offers the first-ever, complete catalogue 

raisonné of her oil paintings 

Features a concise updated biography 

of the artist as well as an exhaustive 

bibliography 

Leonor Fini is one of the 20 th century’s 

most significant female artists 

9 783858 818430 

Leonor Fini 

Catalogue Raisonné of the Oil Paintings 

Entirely her own: 

Leonor Fini 

Leonor Fini (1907–1996) is widely considered one of the most significant female artists 

and artistic personalities of the 20 th century. Her work came to prominence in the 

seminal 1936 Fantastic Art, Dada and Surrealism exhibition at New York’s MoMA. 

Fini’s paintings present a uniquely female approach to Surrealism. Never joining the 

Surrealist movement, she was entirely on her own—self-taught, self-created, known 

for her fierce independence, provocative panache, and elegance. A prolific painter, she 

also worked extensively in book illustration, printmaking, writing, as well as creating 

designs for plays, ballets, operas, and film. 

This new book is the definitive catalogue raisonné of Leonor Fini’s more than 1,100 

oil paintings. Lavishly illustrated in color throughout, it offers essays on the artist’s 

oeuvre by Fini-authorities Richard Overstreet and Neil Zukerman along with a concise 

updated biography by British art historian Peter Webb. 

Richard Overstreet is an American artist and photographer. In 1998, he 

founded the Leonor Fini Archives in Paris. 



Edited by Kunsthaus Zofingen 

With contributions by Ursula 

Badrutt, Sandro Fischli, Teresa 

Gruber, Jörg Heiser, Claire Hoffmann, 

Brigitte Ulmer, and Claudia 

Waldner 

Paperback 

approx. 352 pages, 208 color 

and 44 b/w illustrations 

19 × 27 cm (7½ × 10¾ in) 

978-3-85881-639-9 

English / French / German 

CHF 49.00 | EUR 48.00 

GBP 45.00 | USD 55.00 

ART 

The first new book on Swiss performance 

artist Manon in more 

than a decade 

Surveys Manon’s work since 2008, 

featuring new essays and previously 

unpublished material 

Manon is one of Switzerland’s internationally 

most highly recognized 

contemporary artists 

Exhibitions: Kunsthaus Zofingen, 

Switzerland (23 November 2019 to 

24 February 2022), and Centre Culturel 

Suisse, Paris (spring / summer 

2020) 

DECEMBER 2019 (Europe) 


ISBN 978-3-85881-639-9 

9 783858 816399 

Manon 

Hotel Dolores and 

other recent works 

by Swiss performance 

artist 

Manon 

For nearly five decades, Swiss artist Manon has been confronting observers with their 

own vision. Her performances raise question about the boundary between staging and 

exhibitionism. Always challenging and at times highly subversive, her performances 

question power structures and put gender identities to discussion. 

Following-up on the previous book Manon—A Person, published in 2008, this new 

volume introduces to a wider audience Manon’s work of the past ten years. At the core 

is Hotel Dolores, a series of installations and performances staged at closed-down 

hotels in the Swiss spa town of Baden between 2008 and 2011. 

Photographs of Manon’s performances and their venues are completed by her conceptual 

sketches and other documents. Concise essays on aspects of Manon’s art and 

vision round out this book. 

Ursula Badrutt is a Swiss art historian, critic, art educator and curator. 

Sandro Fischli is a Swiss editor, translator, and freelance author. 

Teresa Gruber is a curator and in charge of the permanent collection 

at Fotostiftung Schweiz in Winterthur. 

Jörg Heiser is a Berlin-based Swiss publicist and art critic. He is 

co-editor-in-chief of Frieze art magazine. 

Claire Hoffmann has been appointed as curator of visual arts at 

Centre Culturel Suisse in Paris in 2019. 

Brigitte Ulmer lives and works in London and Zurich as freelance 

cultural publicist. 

Claudia Waldner is a media artist, art educator, and curatorial director 

of Kunsthaus Zofingen in Switzerland. 



Edited by Dorothee Messmer, 

Katja Herlach, and Claire Hoffmann 

In cooperation with Kunstmuseum 

Olten and Centre culturel suisse. 

Paris 

Hardback 



22 × 27 cm (8½ × 10¾ in) 

978-3-85881-659-7 


CHF 49.00 | EUR 48.00 

GBP 45.00 | USD 55.00 

ART 



ISBN 978-3-85881-659-7 

A retrospective of three decades’ 

work by distinguished Swiss artist 

Nives Widauer 

Nives Widauer ranks among Switzerland’s 

most highly recognized 

contemporary artists 

He work and collaborative projects 

are featured frequently in solo and 

group exhibitions internationally 

Exhibition: Kunstmuseum Olten, 

Switzerland (21 September to 

17 November 2019) 

9 783858 816597 

Nives Widauer 

Villa Nix 

Dorothee Messmer is director of 

Kunstmuseum Olten. 

Katja Herlach is a curator and 

deputy director of Kunstmuseum 

Olten. 

Claire Hoffmann is curator of 

visual arts at Centre culturel suisse. 

Paris. 

Nives Widauer: Villa Nix features a retrospective of Nives Widauer’s oeuvre of three decades. 

As the title suggests, Widauer created for her art a home that is accessible for visitors, who can 

delve into and explore her imaginary mental spaces and her physical installations and works. 

Both the imagined villa’s and the artist’s names are variations of the latin term for snow. In its 

rooms, Widauer arranges a closely selected constellation of her work, thus creating resonating 

environments. They work as mnemonic spaces and are at the same time rich in historic and 

cultural connotations while structuring the book like chapters. Introductory texts and conversations 

reflect the character of these rooms and the artworks they house. 

Edited by Gitte Ørskou 

Hardback 


illustrations 

24 × 30 cm (9½ × 11¾ in) 

978-3-85881-849-2 English 

CHF 85.00 | EUR 77.00 

GBP 65.00 | USD 85.00 

ART 

First comprehensive monograph 

on distinguished Danish artist Michael 

Kvium 

Surveys his entire work in painting, 

drawing and watercolor, prints, 

and sculpture 



ISBN 978-3-85881-849-2 

9 783858 818492 

Michael Kvium 

A Retrospective 

Gitte Ørskou is a Danish art historian 

and director of Stockholm’s 

Moderna Museet. 

Danish artist Michael Kvium, born 1955, works in painting, prints, drawing and watercolor, 

sculpture, as well as performance and stage design. His works often resemble comic strip art 

or extensions of Baroque paintings, depicting more negative aspects of Western culture. Motifs 

include grotesque monsters, half man half woman, sometimes suggesting self-portraits. They 

seem familiar, making viewers smile at one and causing disgust at another time, yet in their 

strange way they all share this familiarity. Kvium defines and expresses his unflinching understanding 

of powerful human presence in an area unexplored by others. 

This first comprehensive monograph surveys his entire career revealing the various lines in his 

work. 



Edited by City of Zurich, Building 

Surveyor’s Office; Silvio Schmed 

and Arthur Rüegg 

Hardback 



23 × 28 cm (9 × 11 in) 

978-3-85881-852-2 English 

978-3-85881-493-7 German 

CHF 39.00 | EUR 38.00 

GBP 35.00 | USD 39.00 

ARCHITECTURE 

Documents the restoration of Le 

Corbusier’s exhibition pavilion in 

Zurich, his last realized design 


historic images as well as newly 

commissioned photographs of the 

restored building by distinguished 

Swiss photographer Georg Aerni 


AUGUST 2020 (US) 

ISBN 978-3-85881-852-2 

English 

9 783858 818522 

ISBN 978-3-85881-493-7 

German 

9 783858 814937 

Pavillon Le Corbusier Zurich 

The Restoration of an Architectural Jewel 

Restoring 

Le Corbusier’s 

last design 

Situated on the shore of the Lake Zurich, Le Corbusier’s exhibition pavilion is his last 

realized design. Based on his Modulor proportional system and at the scale of a singlefamily 

home, it demonstrates the potential of prefabricated elements to form a perfect 

space for art and design. Commissioned in 1960 by Heidi Weber, Zurich-based gallery 

owner and patron of Le Corbusier the visual artist, this structure in steel and glass 

represents pivotal aspects of his architectural philosophy and also points to the future. 

Architects Silvio Schmed and Arthur Rüegg have carefully restored the Pavillon Le 

Corbusier to its original state, including the reconstruction of missing pieces of furniture 

and luminaires. This book documents their research and the restored building, 

featuring previously unpublished historic photographs and documents alongside 

newly commissioned images by Georg Aerni. 

Silvio Schmed is a Zurich-based architect and interior designer and has realized 

numerous restorations and reconstructions of historic and modern architectural 

monuments in Switzerland. 

Arthur Rüegg is a Zurich-based architect, professor emeritus of architecture 

and construction at ETH Zurich, and an expert on Le Corbusier. He frequently 

collaborates with Silvio Schmed on restorations and reconstructions 

of Swiss architectural monuments. 



Photographs by Anna Halm 

Schudel 

Texts by Franziska Kunze and 

Nadine Olonetzky 

Hardback 

132 pages, 193 color illustrations 

22 × 33 cm (8½ × 13 in) 

978-3-85881-621-4 


CHF 59.00 | EUR 48.00 

GBP 50.00 | USD 59.00 

PHOTOGRAPHY 

Features striking floral pieces by 

Swiss photographic artist Anna 

Halm Schudel 

Flowers have been among most 

popular motifs in art throughout 

history 

An exquisitely manufactured photobook 

and an ideal gift 

AVAILABLE 

ISBN 978-3-85881-621-4 

9 783858 816214 

Blossom 

Anna Halm Schudel is a photographic 

artist living and working 

in Zurich. 

Franziska Kunze is a scholar of history 

of art and photography working 

at London’s Victoria & Albert 

Museum. 

Nadine Olonetzky is a Zurichbased 

freelance writer and critic. 

Flowers are a perennially popular motif throughout art history. And for good reason: Lush 

with texture and color, a living bouquet of blooms can be made to communicate much through 

the masterly brushstrokes of Vincent Van Gogh or Georgia O’Keeffe, in the hands of a skilled 

ikebana artist, or through the lens of Swiss photographer Anna Halm Schudel. While celebrating 

the wide variety of shapes and sizes, and the exuberant feats of color that nature and human 

cultivation have brought us, Schudel is no less fascinated by the process of decay. As the flowers 

fade, wilt, and wither, she transforms them under water into images of strange, compelling 

beauty which she combines with a stirring memento mori. 

Photographs by Andreas Greber 

Text by Konrad Tobler 

Hardback 

88 pages, 25 color and 8 b/w 

illustrations 

20.5 × 33 cm (8 × 13 in) 

978-3-85881-633-7 


CHF 49.00 | EUR 48.00 

GBP 45.00 | USD 55.00 

PHOTOGRAPHY 

Features three visual essays by 

Swiss photographic artist Andreas 

Greber 

Explores aesthetics and properties 

of analog photography in the digital 

age 

First monographic book on this 

artist 

AVAILABLE 

ISBN 978-3-85881-633-7 

Light Scripture 

9 783858 816337 

Analog Reflections in Photography 

Andreas Greber lives and works in 

Bern as a photographer and artist. 

Konrad Tobler is a freelance publicist 

and art and architecture critic 

based in Bern. 

Light Scripture collects three photo essays by Swiss photographer Andreas Greber. They show 

simple scenes, such as fragments of a wall, translucent portraits, and wooded landscapes. Yet 

they are enigmatic and unsettling in that, while visible, their subjects escape the determination 

of shadow and light. For Greber, this is the essence of photography: inscribing with light. 

The book takes readers through the artist’s process in the creation of the series, which explores 

the aesthetics and properties of photography with a special focus on how recent shifts in 

photography during the digital age call for a revaluation of its classic analog variety. 



DVD in booklet, hardback 

Film in original version with 

subtitles English / French / German 

Playing time approx. 85 mins, color 

Booklet: approx. 24 pages, text 


14 × 19.5 cm (5½ × 7¾ in) 

978-3-85881-916-1 

CHF 39.00 | EUR 39.00 

GBP 35.00 | USD 39.00 

ARCHITECTURE 

A new film on architecture by 

renowned Swiss director Christoph 

Schaub 

Features architects Peter Zumthor, 

Peter Märkli, and Álvaro Siza 

Vieira, musician Jojo Mayer, and 

artists James Turrell and Cristina 

Iglesias 

MARCH 2020 (Europe) 


ISBN 978-3-85881-916-1 

9 783858 819161 

Architecture of Infinity 

The Magic of Sacred Spaces. A Film by Christoph Schaub 

A sensual and 

sensing journey 

through sacred 

spaces beyond our 

built world 

Temporality and age are inherent in every object and creature and, depending on one’s 

outlook, may transcend to infinity. How can this be imagined? What goes beyond it? 

Swiss filmmaker Christoph Schaub sets out for a personal journey through time and 

space. He starts in his childhood, when his fascination with sacred buildings began, 

and also his wondering about beginnings and ends. In dialogue with architects Peter 

Zumthor, Peter Märkli, and Álvaro Siza Vieira, artists James Turrell and Cristina 

Iglesias, and musician Jojo Mayer, Schaub explores the magic of sacred spaces, a term 

that for him represents much more than just churches. 

Architecture of Infinity traces spirituality in architecture and fine arts as well as in 

nature, and even over and above the limits of thought. The lightly floating camera 

immerses the viewer in somnambulistic images, taking him on a sensual and sensing 

journey through vast spaces, guiding his eye towards the star-spangled sky’s infinity 

and the depths of the ocean. Past and present, primeval times and light years, it is all 

there. 

Christoph Schaub, born 1958 in Zurich, is one of Switzerland’s most distinguished 

film directors. Besides of documentaries on various subjects he has 

also realized many dramas and comedies. 



By Ruedi Weidmann 

Edited by Michael Gasser and 

Nicole Graf 

Pictorial Worlds: Photographs from 

the Image Archive, ETH-Bibliothek. 

Volume 7 

Hardback 



22 × 33 cm (8½ × 13 in) 

978-3-85881-637-5 


CHF 59.00 | EUR 58.00 

GBP 50.00 | USD 65.00 

PHOTOGRAPHY 

Features images taken by Swiss 

pioneers of environmental and 

landscape conservation 

A contribution to the history of 

science, landscape and ecology, 

and photography in Switzerland 



ISBN 978-3-85881-637-5 

9 783858 816375 

Documented Landscape 

The Photo Archives of Carl Schröter and Geobotanical Institute Rübel 

Ruedi Weidmann is a Zurich-based 

historian and publishes widely on 

topics of architectural, landscape, 

urban and infrastructural history. 

Documented Landscape features images from the archives of Geobotanical Institute Rübel and 

of Carl Schröter (1855–1939), both kept in the collections of ETH Zurich’s main library. Eduard 

Rübel (1876–1960) and Schröter, the former’s teacher at ETH Zurich, were pioneers of the 

preservation of biodiversity and landscapes and among the first botanists to use photography 

as means of documentation for their research. Their heritage, depicting changing landscapes 

and the progressing human interference with nature, remain topical until the present day. In 

this book, the images are complemented by an introductory essay by historian and writer Ruedi 

Weidmann. 

Drawings by Felix Studinka 

Essays by Erich Franz and Marco 

Baschera 

Hardback 

176 pages, 201 color and 1 b/w 

illustrations 

24 × 22 cm (9½ × 8½ in) 

978-3-85881-628-3 


CHF 49.00 | EUR 48.00 

GBP 45.00 | USD 55.00 

ART 

First monographic book on Swiss 

artist Felix Studinka 

Features drawings from Studinka’s 

artistic study of our relationship 

with the visible world 

AVAILABLE 

ISBN 978-3-85881-628-3 

9 783858 816283 

Chestnut Journal 

Felix Studinka lives and works as 

an independent artist in Zurich. 

Marco Baschera is a professor of 

French and comparative literature 

at University of Zurich. 

Erich Franz teaches as an honorary 

professor of art history at Kunstakademie 

Münster. 

For more than twelve years, Zurich-based artist Felix Studinka has been observing a chestnut 

tree near his home and capturing his impressions almost daily in small-format, charcoal 

drawings. His Chestnut Journal represents an artist’s study of our relationship with the visible 

world and offers an insight into his distinct way of seeing and his approach to reality and to 

his environment. 

Alongside the beautifully rendered drawings, the book offers essays by art historian Erich 

Franz, exploring Studinka’s distinct creative process, and literature scholar Marco Baschera, 

who looks at the artist and his work from a philosophical perspective. 



By Walburga Krupp 

Edited by Angelika Affentranger- 

Kirchrath 

Hardback 


illustrations 

21.5 × 25 cm (8½ × 10 in) 

978-3-85881-662-7 


CHF 29.00 | EUR 29.00 

GBP 25.00 | USD 29.00 

ART 

A concise introduction to Sophie 

Taeuber-Arp’s Equilibre, a key part 

of her oeuvre in painting 

Sophie Taeuber-Arp is one of the 

most significant female protagonists 

of modernism 



ISBN 978-3-85881-662-7 

9 783858 816627 

Sophie Taeuber-Arp—Equilibre 


Walburga Krupp is a freelance 

scholar, writer, and curator, and a 

leading expert on Sophie Taeuber- 

Arp. 

Swiss artist Sophie Taeuber-Arp (1889–1943) was a pioneer of the avant-garde. Her work 

encompasses modernism’s entire range from applied and fine art and dance to architecture, 

interior design, and teaching. 

Equlibre, created in 1931, marks the beginning of Taeuber-Arp’s career as an accomplished 

painter. She moves away from figuration to focus on shape and color. The painting’s posthumous 

title emphasizes her constant striving for an ideal balance of all the elements in her 

paintings. Equilibre, a landmark of Taeuber-Arp’s oeuvre, looks ahead to her future subject 

matter, while at the same time referencing her earlier work. 

By Angelika Affentranger-Kirchrath 

Hardback 


illustrations 

21.5 × 25 cm (8½ × 10 in) 

978-3-85881-663-4 


CHF 29.00 | EUR 29.00 

GBP 25.00 | USD 29.00 

ART 

A concise introduction to Franz 

Gertsch’s large-format print 

Rüschegg, a key part of his oeuvre 

Franz Gertsch is one of the most 

distinguished exponents of photorealism 

worldwide 



ISBN 978-3-85881-663-4 

9 783858 816634 

Franz Gertsch—Rüschegg 


Angelika Affentranger-Kirchrath 

lives and works in Zurich as a freelance 

publicist, critic, and curator. 

Swiss artist Franz Gertsch, born 1930, is one of the most important exponents of photorealism 

worldwide. Rüschegg, created in 1988, represents a landmark in Gertsch’s oeuvre. It is both 

his first attempt in woodcut for a landscape, and his first large-format work in that genre. 

Abandoning painting for nearly a decade as of 1986, he developed a special woodcut technique. 

Having worked in portraiture almost exclusively for many years, Gertsch now begins his exploration 

of nature. Rüschegg also links Gertsch’s later work with the landscape studies of his 

early years. 



Edited by Antonella Camarda 

In cooperation with Museo Nivola, 

Orani (Sardinia) 

Paperback 


illustrations 

16 × 22 cm (6¼ × 8½ in) 

978-3-85881-847-8 

English / Italian 

CHF 39.00 | EUR 38.00 

GBP 30.00 | USD 39.00 

ART 

Features a language-based installation 

by Lawrence Weiner at 

Museo Nivola in Orani, Sardinia 

Lawrence Weiner is a pioneer of 

conceptual art 

Includes an interview with Lawrence 

Weiner on his art and this 

project 

MARCH 2020 (Europe) 


ISBN 978-3-85881-847-8 

9 783858 818478 

Lawrence Weiner 

Attached by Ebb and Flow 

Antonella Camarda is director of 

Museo Nivola and a researcher at 

University of Sassari. 

Lawrence Weiner, born 1942 in New York, is a key protagonist of early conceptual art. His 

work is characterized by his use of language as an artistic medium. His installation Attached 

by Ebb and Flow refers to the tides and relates to Sardinia-born artist Costantino Nivola’s 

experience of exile and relocation, as well as to the current migrant crisis in the Mediterranean 

Sea. Sentences are translated from English to Italian and to local Sardu, using different words 

and verbal constructs and presented simultaneously to open manifold possibilities to read and 

interpret: something may be lost in translation, yet much more can be found. 

Edited by Giuliana Altea and 

Antonella Camarda 



Hardback 


and 20 b/w illustrations 

22 × 28 cm (8½ × 11 in) 

978-3-85881-848-5 English 

978-3-85881-853-9 Italian 

CHF 39.00 | EUR 38.00 

GBP 30.00 | USD 39.00 

ART 

Explores the friendship between 

Italian artist Costantino Nivola and 

Le Corbusier 

Contributes to understand the 

evolution of Le Corbusier’s visual 

art its impact on the reception of 

his work in America 



ISBN 978-3-85881-848-5 

English 

Le Corbusier 

Lessons in Modernism 

9 783858 818485 

ISBN 978-3-85881-853-9 

Italian 

9 783858 818539 

Giuliana Altea is a professor of 

contemporary art history and president 

of the Fondazione Nivola. 




Le Corbusier and Sardinian-born sculptor Costantino Nivola met in New York in 1946. The 

Franco-Swiss architect was working with a team around Oscar Niemeyer on the project for the 

United Nations headquarters, the artist had been living there in exile since 1939. A life-long 

friendship between the two emerged from that initial meeting, and Nivola subsequently put 

together a collection of some 300 drawings, six paintings, and six sculptures by Le Corbusier. 

This book tells the story of the collection and explores its significance, thus contributing to 

understand the evolution of the architect’s visual art its impact on the reception of his work in 

America. 



With texts by Konrad Tobler and 

Martin Zingg 

Hardback 



34 × 48 cm (19 × 13½ in) 

978-3-85881-657-3 


CHF 49.00 | EUR 48.00 

GBP 45.00 | USD 55.00 

ART 

First book on Swiss artist and 

dancer Silvia Buol’s visual art 

Object-like, oversized book, featuring 

selected works in true size 



ISBN 978-3-85881-657-3 

9 783858 816573 

Silvia Buol 

Watercolors and Drawings 

Konrad Tobler is a freelance publicist 

and art and architecture critic 

based in Bern. 

Martin Zingg lives and works in 

Basel as a writer and literary educator. 

Swiss artist Silvia Buol, born 1954, studied fine arts and contemporary dance, and from the 

outset of her career she has been working in both disciplines simultaneously. Her large-format 

works on paper reflect a rich experience with space and movement, landscape and nature, becoming 

and decay. They express her constant dialogue with movement and volume of her own 

body as well as with the character and properties of colors, papers, and fabrics she is using. 

This beautifully manufactured, object-like book features for the first time a selection of Buol’s 

visual art alongside essays by scholar and critic Konrad Tobler and by writer Martin Zingg. 

Edited by Museumsquartier der 

Stadt Osnabrück 

Hardback 



22 × 26 cm (8½ × 10¼ in) 

978-3-85881-658-0 


CHF 35.00 | EUR 29.00 

GBP 28.00 | USD 35.00 

ART 

Documents Brigitte Waldach’s installation 

at Felix-Nussbaum-Haus 

in Osnabrück, Germany 


design sketches by celebrated architect 

Daniel Libeskind 



ISBN 978-3-85881-658-0 

9 783858 816580 

Existenz 

Brigitte Waldach—Felix-Nussbaum-Haus 

Felix Nussbaum (1904–44), German painter of Jewish descent, was murdered by the Nazis in 

Auschwitz. In 1998, his native city Osnabrück opened the Felix-Nussbaum-Haus, designed by 

American architect Daniel Libeskind, to bring to light again Nussbaum’s outstanding art after 

it had fallen into oblivion for decades. German artist Brigitte Waldach’s installation Existenz, 

conceived for Felix-Nussbaum-Haus, consists of three-dimensional drawings, excerpts from 

Nussbaum’s letters, and a sound collage. It inspires the viewer to reflect upon and experience 

Nussbaum’s art from our contemporary perspective. 



Edited by Giuliana Altea and 

Antonella Camarda 



Paperback 



16 × 22 cm (6¼ × 8½ in) 

978-3-85881-834-8 

English / Italian 

CHF 39.00 | EUR 38.00 

GBP 30.00 | USD 39.00 

ART 

Features new work by renowned 

artist Anthony Cragg 

With a new critical essay by distinguished 

art historian Mark Gisbourne 



ISBN 9783858818348 

9 783858 818348 

Anthony Cragg 

Endless Form 

Giuliana Altea is a professor of 

contemporary art history and president 

of the Fondazione Nivola. 




Volumes that are massive yet lightweight, the sculptures of British artist Anthony Cragg firmly 

take hold of the space without seeming static. They are dynamic objects bearing trace of the 

process that created them: starting from in many cases figurative drawings to encountering the 

artist’s chosen material, guided by inner force. Cragg’s sculptures reveal the infinite possibilities 

of form. This book features recent works by Cragg shown in an exhibition at Museo Nivola 

in Orani, Sardinia. It offers also an essay exploring Cragg’s art by British scholar and curator 

Mark Gisbourne. 

By Anda Rottenberg 

Hardback 

200 pages, 78 color and 


17 × 24 cm (6¾ × 9½ in) 

978-3-85881-842-3 English 

CHF 39.00 | EUR 38.00 

GBP 35.00 | USD 45.00 

ART 



ISBN 978-3-85881-842-8 

A tribute in fictitious letters to legendary 

curator and writer Harald 

Szeemann 

A reflection on the art and nature 

of curating and an investigation of 

the role of curators and exhibition 

directors 

Explores the role of female artistic 

production in Eastern and Western 

Europe 

9 783858 818423 

From Poland with Love 

Letters to Harald Szeemann 

Anda Rottenberg is a Polish-born 

curator, art critic and writer based 

in Warsaw and Tavira, Portugal. 

Over the period of twelve months, between May 2017 and 2018, curator and critic Anda 

Rottenberg has written a series of fictitious letters to legendary curator and writer Harald 

Szeemann (1933–2005). In these she analyzes the art and nature of curating and reveals references 

to and relations within in the history of art. She questions female artistic positions both 

in the Eastern and Western Europe and so encourages new individual readings of them. Her 

letters express a unique rhetoric that take-up questions and polemic judgements to amalgamate 

individual opinion and objective knowledge into a personal history. 



With contributions by Connie 

Offergeld, Christoph Ransmayr, 

Elisabeth von Samsonov, Jasper 

Sharp, Alexander Stockinger, 

and Vito Žuraj 

Hardback 



24 × 32 cm (9½ × 12½ in) 

978-3-85881-654-2 


CHF 39.00 | EUR 38.00 

GBP 35.00 | USD 45.00 

ART 

Features recent work by distinguished 

Austrian artist Manfred 

Wakolbinger 

Includes a text by celebrated Austrian 

novelist Christoph Ransmayr 



ISBN 978-3-85881-654-2 

Manfred Wakolbinger 

Inhale—Exhale 

9 783858 816542 

Austrian artist Manfred Wakolbinger, born 1952, trained as a metal worker and tool maker 

before turning to art. Following first steps in jewelry design, he moved on to sculpture and 

photography, later also to video art. Many of his often voluminous sculptures were created 

for public spaces. The submarine world has captured his particular interest in photography 

and video. Wakolbinger’s art is organic and conveys an inner poetry, yet it remains enigmatic 

even when it becomes concrete and figurative. This book features a selection from his work in 

photography and sculpture since 2012. 

Edited by Madeleine Schuppli 

In cooperation with Aargauer 

Kunsthaus, Aarau 

Hardback 



22 × 28 cm (8½ × 11 in) 

978-3-85881-645-0 


CHF 49.00 | EUR 48.00 

GBP 45.00 | USD 55.00 

ART 

A wide-ranging panorama of the 

topic of masks in contemporary art 

and their manifold role in art and 

culture in general 

Features work by distinguished 

international artists 



ISBN 978-3-85881-645-0 

9 783858 816450 

Mask 

In Present-Day Art 

Madeleine Schuppli has been director 

of Aargauer Kunsthaus in 

Aarau, Switzerland, since 2007. 

Masks evoke scenes of carnival or African tribal rites, we may be thinking of death masks of 

famous people, theatre and fashion, cosplay, disguise, and of protection. They represent some 

of the most ancient and most controversial objects of our cultural history. Today’s artists look 

beyond the mere object, they are interested also in the social, cultural, and political meanings 

of masks. This book explores their appearances in contemporary art. Artists at all times have 

been attracted by masks and their symbolism. Through works by distinguished Swiss and 

international artists and concise texts the book demonstrates manifold approaches to the topic 

of masks. 



Art by Fridolin Walcher and 

Martin Stützle 

Texts by Nadine Olonetzky, 

Gabriela Schaepman-Strub, 

Konrad Steffen, Thomas Stocker, 

and Benedikt Wechsler 

Hardback 

approx. 208 pages, 150 color 

illustrations 

24 × 32 cm (9½ ×12½ in) 

978-3-85881-665-8 


CHF 59.00 | EUR 58.00 

GBP 50.00 | USD 65.00 

ART 

An artistic reflection on climate 

change exemplified by the rapidly 

melting glaciers on Greenland and 

in the Swiss Alps 

Easy-to-read essays by renowned 

scientists offer a concise survey 

of latest findings in climate and 

glaciological research 

Explores trends in art responding 

to current debates on global 

warming and its consequences 



ISBN 978-3-85881-665-8 

The Glacier’s Essence 

Greenland—Glarus. Climate, Science, Art 

9 783858 816658 

Glaciers in the Alps and on Greenland have been melting away slowly for decades. Global 

warming has increased the speed of their retreat drastically in recent years. Artist Martin 

Stützle and photographer Fridolin Walcher have made Swiss glaciers the subject of their work 

and joined as well a Swiss research campaign investigating the state of Greenland’s glaciers in 

May 2018. 

This book blends their art with the essence of glaciological and geophysical research. Stützle’s 

prints and Walcher’s photographs are featured alongside easy-to-read essays that offer a 

concise survey of latest research. The volume also explores trends in art responding to current 

debates on global warming and its consequences. 

By Urs Kienberger, with contributions 

by Andrin C. Willi and Rolf 

Kienberger 

Hardback 



17 × 24 cm (6¾ × 9½ in) 

978-3-85881-831-7 English 

978-3-85881-841-6 French 

978-3-85881-634-4 German 

CHF 49.00 | EUR 48.00 

GBP 40.00 | USD 49.00 

TRAVEL 


NOVEMBER 2019 (US) 

ISBN 978-3-85881-831-7 

English 

111 Years Waldhaus Sils 

A time travel across 111 years of 

history and life at Hotel Waldhaus 

Sils 

Waldhaus Sils is an icon of Swiss 

hospitality in one of Europe’s most 

spectacular landscapes 

St. Moritz and the upper Engadine 

region is one of Switzerland’s finest 

and most famous destinations 

Urs Kienberger is the great-grandson 

of Josef and Amalie Giger, 

founders of Waldhaus Sils, and has 

run the hotel for twenty-five years 

together with his sister and her 

husband. 

The Curious Tale and Incomplete History of an Alpine Grand Hotel and Its People 

9 783858 818317 

ISBN 978-3-85881-841-6 

French 

9 783858 818416 

ISBN 978-3-85881-634-4 

German 

Film director Wes Anderson’s Grand Budapest Hotel has a real-life counterpart in the Swiss 

Alps: the Waldhaus Sils. Located above the pretty village of Sils Maria, near St. Moritz, it 

overlooks a striking landscape of forests, lakes and mountains and has pleased and puzzled 

visitors since 1908, offering a combination of Belle Epoque flair and modern comfort. This 

book ranges across the Waldhaus’s life and history and highlights its unique blend of luxury 

and modesty, historic grandeur and playful fun, smooth professionalism and unexpected idiosyncrasies 

9 783858 816344 



Key titles 

Previously Published

By Jeannette Fischer 

2018. Hardback 



11.5 × 16.5 cm (4½ × 6½ in) 

978-3-85881-794-5 English 

978-3-85881-546-0 German 

CHF 19.00 | EUR 19.00 

GBP 18.00 | USD 20.00 

ART 

ISBN 978-3-85881-794-5 

English 

Psychoanalyst meets Marina Abramović 

Artist meets Jeannette Fischer 

In summer 2015, performance artist Marina Abramović and psychoanalyst 

Jeannette Fischer spent four days together at the artist’s 

house. Associating freely, they took a psychoanalytical perspective 

to explore artist’s biography and work and their interrelation. This 

book is a search for understanding of the structures and dynamics 

that underlie Abramović’s life and art. 

9 783858 817945 

Lynn Chadwick 

A Sculptor on the International Stage 

A leading modern sculptor, Lynn Chadwick (1914–2003) was 

misjudged in his native Britain yet celebrated abroad for his 

abstracted figures of human and animal forms in welded steel 

and bronze. This book for the first time sets Chadwick’s work 

within the wider international context and rightfully restores 

this major artist’s place in the history of 20th-century sculpture. 

Edited by Michael Bird 

2019. Hardback 



24 × 30 cm (9½ × 11¾ in) 

978-3-85881-824-9 English 

CHF 75.00 | EUR 68.00 

GPB 60.00 | USD 79.00 

ART 

ISBN 978-3-85881-824-9 

9 783858 818249 

Photographs by Dominic Büttner 

Texts by Elisabeth Bronfen 

and Nadine Olonetzky 

2018. Hardback 



28 × 33 cm (11 × 13 in) 

978-3-85881-598-9 


CHF 65.00 | EUR 58.00 

GPB 50.00 | USD 69.00 

PHOTOGRAPHY 

ISBN 978-3-85881-598-9 

Dominic Büttner—Dreamscapes 

Dreamscapes is a long-term artistic series by Swiss photographer 

Dominic Büttner. Holding powerful discharge 

lamp, he walks away from his camera as a time exposure 

captures the nightly scene, illuminated by moving light 

from which his figure is subsequently erased. Strange and 

yet somehow familiar, the fascinating landscapes show 

what an eerie place our everyday surroundings can be. 

9 783858 815989 

Photo-Eye Fritz Block 

New Photography—Modern Color Slides 

Architect Fritz Block (1889–1955) was one of the most 

dedicated proponents of Germany’s postwar New Building 

movement. Starting in 1929, he also used photography 

as a medium to express the impulse of modernism along 

with the ideals of New Objectivity and New Vision. This 

first book on Block’s work as a photographer features a 

vast range of images taken throughout his entire career. 

By Roland Jaeger 

Hardback 


355 duotone illustrations 

23.5 × 30 cm (9¼ × 11¾ in) 

978-3-85881-789-1 English 

978-3-85881-531-6 German 

CHF 99.00 | EUR 85.00 

GBP 70.00 | USD 89.00 

PHOTOGRAPHY 

ISBN 978-3-85881-789-1 

English 

9 783858 817891 

Key titles 

Previously Published 38

By Peter Zumthor and Mari Lending 

With photographs by Hélène Binet 

2018. Paperback 

84 pages, 14 duotone illustrations 

11 × 19.5 cm (4¼ × 7¾ in) 

978-3-85881-805-8 English 

978-3-85881-812-6 French 

978-3-85881-558-3 German 

CHF 29.00 | EUR 29.00 

GBP 25.00 | USD 29.00 

ARCHITECTURE 

ISBN 978-3-85881-805-8 

English 

A Feeling of History 

While working to complete the Almannajuvet Zinc Mine 

Museum in southern Norway in 2016, Swiss architect Peter 

Zumthor asked Norwegian architectural historian Mari 

Lending to engage in a dialogue about the project. In meandering 

style, and drawing on their favorite writers, their 

exchanges explore how history, time, and temporalities reverberates 

across Zumthor’s oeuvre. 

9 783858 818058 

Dry Stone Walls 

Basics, Construction, Significance 

Dry stone walls are a critical component of the landscape in 

many countries. Supporting the cultivation of agriculture and 

livestock, they are also integral to ecosystems. This uniquely 

comprehensive source of knowledge on dry stone walls combines 

cultural history with a guide to plants and animals 

finding their habitat in such structures and a practical stepby-step 

building manual. 

Edited by Environmental 

Action Foundation 




20 × 29.5 cm (7¾ × 11½ in) 

978-3-85881-813-3 English 

CHF 110.00 | EUR 97.00 

GBP 85.00 | USD 95.00 

ARCHITECTURE 

ISBN 978-3-85881-813-3 

9 783858 818133 

Edited by Almut Grunewald 


420 pages, 198 color 

illustrations 

22 × 33 cm (8 ½ × 13 in) 

978-3-85881-819-5 English 

978-3-85881-610-8 German 

CHF 99.00 | EUR 97.00 

GPB 85.00 | USD 99.00 

ARCHITECTURE / ART 

ISBN 978-3-85881-819-5 

English 

The Giedion World 

Sigfried Giedion and Carola Giedion-Welcker in Dialogue 

Sigfried Giedion (1888–1968) and Carola Giedion-Welcker (1893– 

1979) were two of modernism’s most distinguished scholars. This 

book, lavishly illustrated with previously unpublished documents, 

objects, and photographs alongside excerpts from the extensive 

correspondence the two maintained with their artist friends and 

colleagues, offers a unique and manifold insight into the “Giedion 

universe.” 

9 783858 818195 

By Ivan Žaknić 

With an introduction by Tim Benton 

Klip and Corb on the Road 

The Dual Diaries and Legacies of August Klipstein 

and Le Corbusier on their Eastern Journey, 1911 

In 1911, Le Corbusier (1887–1965) and August Klipstein (1885– 

1951), a scholar of art history and art dealer, undertook a 

grand tour of Eastern Europe, the Balkans, Turkey, and Italy. 

This book explores the creative symbiosis of their friendship 

and what the two ambitious young men brought back from 

their trip. 

Hardback 



16.5 × 24.5 cm (6½ × 9¾ in) 

978-3-85881-817-1 English 

CHF 49.00 | EUR 48.00 

GBP 45.00 | USD 55.00 

ARCHITECTURE / ART 

ISBN 9783858818171 

9 783858 818171 

Key titles 

Previously Published 39


Art I Photography I Architecture 

Niederdorfstrasse 54 

8001 Zürich 

Switzerland 

Tel. +41 442621662 

www.scheidegger-spiess.ch 

CONTACT 

Sales 

Patrick Schneebeli 

Tel. +41 442536453 

p.schneebeli@scheidegger-spiess.ch 

Publicity 

Domenica Schulz 

Tel. +41 442536456 

d.schulz@scheidegger-spiess.ch 

Publisher 

Thomas Kramer 

Tel. +41 442536454 

t.kramer@scheidegger-spiess.ch 

DISTRIBUTORS 

UK & Ireland 

Scandinavia 

Southern Europe 

Central & Eastern Europe 

Middle East & North Africa 

China & Hong Kong 

ACC Art Books 

Customer Services 

Sandy Lane, Old Martlesham 

Woodbridge, Suffolk, IP12 4SD, UK 

Tel. +44 1394 389950 

Fax +44 1394 389999 

uksales@accartbooks.com 

Belgium (Flanders) 

Luxemburg 

Netherlands 

GVA Gemeinsame Verlagsauslieferung Göttingen 

P.O. Box 2021, 37010 Göttingen, Germany 

Tel. +49 551 384 200 0 

Fax +49 551 384 200 10 

bestellung@gva-verlage.de 

France 

Belgium (Wallonia, Brussels) 

Interart, Diffuseur Distributeur de Livres d’Art 

1, rue de l’Est, 75020 Paris, France 

Tel. +33 1 4349 3660 

Fax +33 1 4349 4122 

commercial@interart.fr 

North & Latin America 

India 

Asia (excluding China & Hong Kong) 

Japan 

Australia & New Zealand 

The University of Chicago Press 

Sales & Marketing Books Division 

1427, East 60th Street, Chicago, IL 60637, USA 

Tel. +1 773 702 7000 

Fax: +1 773 702 7212 

orders@press.uchicago.edu 

All Other Territories 


Sales 

Niederdorfstrasse 54, 8001 Zürich, Switzerland 

Tel. +41 442536453 

order@scheidegger-spiess.ch 

Cover image: 

Untitled, ca 1978. Photograph by Jan Groover © Musée de l’Elysée, Lausanne—Fonds Jan Groover. 

From the book Jan Groover, Photographer (see pages 10/11) 

Image p. 37: 

Dancing tulip, 2006. Photograph by Anna Halm Schudel © Anna Halm Schudel. 

From the book Blossom (see page 28) 

Scheidegger & Spiess is being supported by the Federal Office of Culture 

with a general subsidy for the years 2016–2020. 

October 2019. Prices quoted in Euro are valid in Germany only including VAT. 

For all other countries prices quoted in Euro, Pounds Sterling and US-Dollars are recommended 

retail prices and may vary subject to local duty and taxes. All prices, dates and descriptions are 

subject to change without notice.

Scheidegger-Spiess_International-New-Titles_2019-20_screen

Create successful ePaper yourself

Delete template?

Save as template?