Scheidegger & Spiess International New Titles Spring 2021

Scheidegger & Spiess
Art I Photography I Architecture
International New Titles
Spring 2021
Scheidegger & Spiess
Spring 2021 1

Content
3
Angus Taylor
4 / 5
Wild Thing
The Swiss Fashion Scene
6 / 7
Paul Klee
Ad Parnassum
8 / 9
Emma Kunz Cosmos
10 / 11
Prix Elysée
12 / 13
American Readers at Home
New Cut
14 / 15
Silvie & Chérif Defraoui
Archives du Futur
16 / 17
Barbara Ellmerer
Sense of Science
21–23
Key Titles
24
Contacts
Distributors
Representatives and Agents
18 / 19
Surrounded by Art
20
The New Kunsthaus Zürich

Essays by Paul Harris and
Johan Myburg. With a conversation
between Angus Taylor and
Johan Thom
Book design by Sabine Hahn
Hardback
approx. 224 pages
150 color illustrations
24 × 30 cm
978-3-85881-870-6 English
sFr. 65.00 | € 58.00
£ 55.00 | $ 65.00
MAY 2021 (Europe)
AUGUST 2021 (US)
ISBN 978-3-85881-870-6
9 783858 818706
First-ever monograph on South
African sculptor Angus Taylor,
offering a comprehensive survey
of his entire work to date
Discusses Taylor’s oeuvre in the
context of his biography and South
Africa’s social conditions
Considers his methods, practices,
and philosophy
Monumental
sculptures that
unite traditional
South African
arts-and-crafts and
contemporary art
Angus Taylor
Mind Through Materials
South African sculptor Angus Taylor, born in Johannesburg in 1970 and an alumnus
of the University of Pretoria, is known mainly for his monumental works. For these,
in addition to the classic bronze, he uses a selection of materials that are native to his
immediate environment: black granite, red jasper, straw, and the red earth of the
Pretoria region. From a symbiosis of these materials and traditional artistic craft techniques,
distinctly contemporary works arise which Taylor pioneeringly positions as
figurative landmark sculptures.
This first-ever monograph on Angus Taylor offers a comprehensive survey of his
oeuvre to date. Key works from his entire career since the founding of his studio Dionysus
Sculpture Works in 1997 are featured in full-color illustrations throughout.
Accompanying essays discuss Taylor’s methods, practices, and personal philosophies
and put his work in context with South Africa’s social conditions as well as with his
own biography. The book offers a much-welcomed and comprehensive introduction to
Angus Taylor’s innovative and characteristic body of work.
Paul Harris is an art collector and owner of the Ellerman House Wine Gallery
in Cape Town, which was co-designed by Angus Taylor.
Johan Myburg is an art publicist and curator and works as a research associate
at the Institute of Fine Arts at North-West University in Johannesburg.
Johan Thom is an artist who works at the interface of video, installation,
performance, and sculpture. He is currently a lecturer at the University of
Pretoria’s Institute of Fine Arts.
Scheidegger & Spiess
Spring 2021 3

An insight into
a vibrant scene:
portraits of around
fifty innovative
modern Swiss
fashion labels

Edited by Museum für Gestaltung
Zürich, Karin Gimmi, and
Christoph Hefti
Book design by Marietta Eugster
Paperback
136 pages, 187 color
and 70 b/w illustrations
23 × 28.5 cm
978-3-03942-015-5
English / German
sFr. 29.00 | € 29.00
£ 25.00 | $ 35.00
FEBRUARY 2021 (Europe)
JULY 2021 (US)
ISBN 978-3-03942-015-5
Highly attractive survey of
Switzerland’s vibrant and innovative
fashion scene
Features some fifty designers
and labels and their current work
and collections
Richly illustrated with fashion
photography and campaign images
Embedded print-in-motion videos
offer glimpses into the designers’
studios and present interviews
with fashion experts
Exhibition: Wild Thing—The Swiss
Fashion Scene at Museum für Gestaltung
Zürich (Ausstellungsstrasse
site, until April 11, 2021)
9 783039 420155
Wild Thing —The Swiss Fashion Scene
What kind of fashion exists without mass production, without Hollywood and international
fashion weeks? In Switzerland, far from the international spotlight and the
dictates of the major fashion hubs, small labels, collectives, and young graduates as
well as established brands test their potential for greatness. Creative designers take
initiative and position themselves in Berlin, join the fashion circus in Paris, or establish
clever business models at home in Switzerland.
Wild Thing—The Swiss Fashion Scene, published in conjunction with an exhibition
at Museum für Gestaltung Zürich, puts a spotlight on this development and the products
resulting from it. The book picks up on current topics—such as minimalism and
the questioning of assigned gender identities—that shape designs, design concepts,
and processes. Lavishly illustrated, it features looks and creations by important labels,
selected outfits, textile inventions, and collection presentations. Together with brief
interviews, portraits of individual designers, and text contributions, Wild Thing—The
Swiss Fashion Scene is a highly attractive snapshot of Switzerland’s creative and vibrant
fashion scene.
In addition, the book contains links to short print-in-motion videos, which can be
watched by pointing a smartphone camera at the corresponding image. The videos
offer portraits of designers, interviews with fashion experts, and contributions from
fashion schools.
Karin Gimmi is an art historian and curator at the Museum für Gestaltung Zürich.
Christoph Hefti is a designer and lives in Zurich and Brussels. In 2009 he was
awarded the Swiss Grand Prix of Design.
Scheidegger & Spiess
Spring 2021 5

Paul Klee’s studies on
polyphonic painting:
the beginning of a new period
Also available in the Landmarks of Swiss Art series:
Walburga Krupp
Sophie Taeuber-Arp—Equilibre
978-3-85881-662-7
English / German
sFr.
ISBN 978-3-85881-662-7
29.00 | € 29.00 | £ 25.00 | $ 29.00
Angelika Affentranger-Kirchrath
Franz Gertsch—Rüschegg
978-3-85881-663-4
English / German
sFr.
ISBN 978-3-85881-663-4
29.00 | € 29.00 | £ 25.00 | $ 29.00
9 783858 816627
9 783858 816634

Oskar Bätschmann
Edited by Angelika Affentranger-
Kirchrath
Book design by Arturo Andreani
Hardback
approx. 96 pages
40 color illustrations
21.5 × 25 cm
978-3-03942-011-7
English / German
sFr. 29.00 | € 29.00
£ 25.00 | $ 29.00
A profound study of Paul Klee’s
painting Ad Parnassum, a key work
in the painter’s oeuvre
Examines the origins of Klee’s
search for polyphonic painting
analogous to polyphonic music
APRIL 2021 (Europe)
JULY 2021 (US)
ISBN 978-3-03942-011-7
9 783039 420117
Paul Klee—Ad Parnassum
Landmarks of Swiss Art
In the 1920s, German-Swiss artist Paul Klee (1879–1940) began his long-lasting
engagement with polyphonic art—a multi-voiced way of painting analogous to music.
A relentless experimenter, Klee began these studies while teaching at the Bauhaus in
Dessau, developed them further during his tenure at the art academy in Düsseldorf,
and brought them to conclusion after his return to Switzerland in 1933. In this
book, distinguished art historian Oskar Bätschmann explores Klee’s seminal painting
Ad Parnassum (1932). Painted shortly after the artist’s departure from the Bauhaus, it
symbolizes a new era, also one of Klee’s own self-discovery. Bätschmann documents
how the artist strove for a connection of music and painting in his color hues and in
the rhythmic movement of colored dots.
Richly illustrated, this book places Klee’s polyphonic understanding of art in an arthistorical
context by using this key work as an example and offers insight into the
synesthetic thinking that emerged in the art world during that time.
Oskar Bätschmann is professor emeritus of early modern art history at
the University of Bern. He was a member of the Paul Klee Foundation and
co-initiator of the artist’s Catologue raisonné, published from 1998 to 2004.
Scheidegger & Spiess
Spring 2021 7

Art and Healing:
Emma Kunz’s fascinating
oeuvre in the mirror
of the present

Edited by Yasmin Afschar
Essays by Lars Bang Larsen, Elise
Lammer, Ingo Niermann, Marco
Pasi, Julia Voss, and Yasmin Afschar
Published in cooperation
with Aargauer Kunsthaus, Aarau
Book design by Atlas Studio
Paperback
approx. 208 pages,
200 color illustrations
23 × 31 cm
978-3-85881-682-5
English / German
sFr. 49.00 | € 48.00
£ 45.00 | $ 55.00
MARCH 2021 (Europe)
JULY 2021 (US)
ISBN 978-3-85881-682-5
Spirituality and alternative healing
are highly topical for contemporary
artists and society alike
Emma Kunz’s art is widely recognized
around the world and has
been on display at the Venice
Biennale Art (2013) and in recent
solo exhibitions in Munich, London,
and Tel Aviv
Features works by and interviews
with contemporary artists illustrating
their artistic positions in dialogue
with the work and impact of
Emma Kunz
Exhibition: Emma Kunz Cosmos.
A Visionary in Dialogue with Contemporary
Art at Aargauer Kunsthaus,
Aarau (until May 24, 2021)
9 783858 816825
Emma Kunz Cosmos
A Visionary in Dialogue with Contemporary Art
Emma Kunz (1892–1963) was a Swiss healer and artist. Born into a family of weavers,
her abilities of telepathy, prophecy, and healing became evident early in life and she
began to exercise her divining pendulum as a young adult. Although never formally
trained in art, in 1938 she also began to produce large-scale, delicate geometric drawings
using her divining pendulum. With her work based on the questions she encountered
and the visions she had, Kunz proved to be an accomplished and even visionary
artist.
Fascination with Kunz’s art has never been greater than it is today. Living a secluded
life, far from any art scene, the works she created eighty years ago exemplify what we
now take for granted: an expanded concept of creativity that rejects the question of art
versus non-art and incorporates a wide range of topics: research, medicine, nature, as
well as supernatural, magical, animistic, and visionary elements.
Published to coincide with a major exhibition at Aargauer Kunsthaus in Switzerland,
where the first-ever public display of Emma Kunz’s drawings was staged in 1973, this
book sets her drawings and activities as a healer in dialogue with the work and positions
of contemporary artists such as Agnieszka Brzeżańska, Joachim Koester, Goshka
Macuga, Shana Moulton, Rivane Neuenschwander, and Mai-Thu Perret. Alongside
some 120 illustrations, mostly in color, the book features essays on spirituality and
esotericism in contemporary art as well as interviews with the artists mentioned. An
innovative exhibition tour via 3-D laser scan technology completes the book.
Yasmin Afschar is an art historian and a curator
at Aargauer Kunsthaus, Aarau.
Scheidegger & Spiess
Spring 2021 9

Depuis longtemps, Ulysse avait cédé à l’hubris, s’entourant
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Boure, passage du Génie, Paris, 2019
Aboubacar, rue Robespierre, Bagnolet, 2020
Aminata, rue Jules Ferry, Montreuil, 2019
Nyake, avenue de la Résistance, Montreuil, 2019
02
LES LOTOPHAGES
de toutes les technologies que la Lotos Corporation revendait au
prix fort. Grâce à ces gadgets, il lui semblait possible de dépasser
sa condition par trop humaine et d’ainsi résister à l’angoisse de sa
propre obsolescence. Malgré tout, il pressentait confusément que
cette magie technicienne l’éloignait de sa véritable destinée, de
tout ce à quoi ses ancêtres avaient patiemment œuvré. Regardant
vaguement la ville à travers son hublot, il se souvenait des propos
que lui avait tenus la sorcière Nausicaa, fille d’Alkinoos roi des
Phéaciens : « La tâche dévolue à l’Homme moderne n’est plus
celle de son auto-transformation par ses qualités intrinsèques ;
son évolution est désormais dictée par la logique propre de
l’appareillage cybernétique. »
En moyenne, dans le monde, un individu passe 2 heures
et 24 minutes par jour sur les réseaux sociaux.
En France, 61% des personnes interrogées affirment
regarder leur smartphone ou une tablette dès le réveil
et près des deux tiers se jugent incapables de vivre
sans ces appareils plus d’une journée.
« L’installation du fascisme technobureaucratique
n’est pas inscrite
dans les astres. Il y a une autre
possibilité (...) . »
14
IVAN ILLICH, LA CONVIVIALITÉ (1973).
Ulysse s’était grimé le visage afin d’échapper aux
algorithmes de reconnaissance faciale du cyclope. À la
tombée du jour, il embarqua furtivement sur son radeau.
Il allait falloir ramer encore longtemps, mais Ithaque serait
bientôt en vue. Et avec elle, la liberté...
VERS LA LIBÉRATION
–
ÉVASION ET RETOUR
À ITHAQUE
ITHAQUE
Insights into the creative process
of the nominees for the 2020–2022
Prix Elysée for photo books
Higanbana - it does bloom when
its leaves shed, and wilts as its
leaves grow.
Two elves, Mañju and Saka were
asked to guard the flower’s petals
and leaves, respectively. However,
the two grew curious about each
other, and arranged a meeting. It
was love at first sight, but
Amaterasu, the sun goddess,
punished them for their
disobedience. They were fated to
never meet again.
Being the daughter of a Kuomintang
General, Dongyu and her family had
to flee China as the Communist army
looked set to gain control. She was
onboard the SS Kiangyu heading to
Taiwan when she perished at sea.
However, death could not extinguish
Franklin’s love for her. He could
not bear the thought of her spirit
wandering for all eternity in the
afterworld alone.
Franklin would marry Dongyu through
a ghost marriage before fleeing
China himself.

Edited by Lydia Dorner
Published in cooperation with
Musée de l’Elysée, Lausanne
Book design by Atelier Cana
Paperback
152 pages, 109 color and
20 b/w illustrations
23,5 × 32 cm
978-3-03942-013-1
English / French
sFr. 39.00 | € 38.00
£ 35.00 | $ 45.00
Documents the fourth edition of
the Prix Elysée for photo books
Features the eight nominees and
the work they submitted, selected
from 255 applicants from fifty
countries
Published in the run-up to the
award ceremony at Musée de
l’Elyséee in Lausanne in June 2021
FEBRUARY 2021 (Europe)
JULY 2021 (US)
ISBN 978-3-03942-013-1
9 783039 420131
Prix Elysée
The Nominees’ Book 2020–2022
The Musée de l’Elysée in Lausanne, one of the most renowned photography museums
in Europe, has awarded the Prix Elysée biannually since 2014. Young photo
artists are invited to submit a photo book project with the prize being the realization
of the winning submission, which constitutes a major step in an artist-photographer’s
career.
This book documents the Prix Elysée’s fourth edition. It features the work submitted
by the eight nominees Alexa Brunet, Arguine Escandón & Yann Gross, Magali Koenig,
Thomas Mailaender, Moises Saman, Assaf Shoshan, Alys Tomlinson, and Kurt Tong.
Sketches, first drafts, and photographic studies illustrate the progress of their projects,
from initial concept to image selection and design. Conversations with the artists
published alongside reflect on their close collaboration with the museum and expand
on the visual portfolios. The individual creative process thus becomes visible, and at the
same time, a cross-section of contemporary art photography production emerges.
Lydia Dorner is an exhibition project manager
at Musée de l’Elysée, Lausanne.
Scheidegger & Spiess
Spring 2021 11

JESSE LEE JONES, NASHVILLE, TN
88
168
47
LYDIA FAITHFULL, LAS VEGAS, NV
89
169
176
SEPTEMBER 5, 2016, NEW YORK
CULTURAL HISTORIAN
177
1
CHARLIE SCHEIPS
INTERVIEW SECTION
NEWS P 93
ELECTION P 107
EXPERTISE P 122
FUTURE P 145
DREAMS P 156
I think there are
larger social forces
than the president
of the United States.
Fascinating insights
into the thoughts
and minds of
American citizens
and news readers
in these uncertain,
extraordinary times
social forces,
void
the antics
just a consumer.
revolutionary act
cornerstone
Darwinian
jukebox
pictures
policies?
Climate change
social control
and vote.
Blind trust, porno
it’s online,
common thread
ideology.
capture moments, weaker

Edited by Ludovic Balland with
Pauline Mayor
Photographs and texts by Ludovic
Balland. With prefaces by Julien
Gester, Brice Matthieussent, and
Hilar Stadler
Book design by Ludovic Balland
Typography Cabinet
Paperback
276 pages, 69 color and
139 b/w illustrations
24 × 33 cm
978-3-85881-880-5 English
sFr. 39.00 | € 38.00
£ 35.00 | $ 40.00
New selection and compilation of
the material put together by Ludovic
Balland in 2016 for his internationally
recognized Archive of
American Readers
The original first edition, American
Readers at Home, was awarded
the German Design Award 2019 in
gold and was also among the winners
of the 2018 Swiss and German
national book design competitions
AVAILABLE (Europe)
JULY 2021 (US)
ISBN 978-3-85881-880-5
9 783858 818805
American Readers at Home—New Cut
When American Readers at Home was published in early 2018, it was met with widespread
praise. The German weekly Die Zeit called it “a fascinating contemporary
document of contradictions.” The manager of a major London art bookshop tweeted
on April 10, 2018 that he had “checked ALL the books at London Book Fair today to
find the best one and this is it: American Readers at Home […] It’s incredible!” The
book soon sold out, no least because it won gold in the 2019 German Design Award
and was also among the winners of the 2018 Swiss and German national book design
competitions.
Swiss graphic designer and photographer Ludovic Balland has now put together a new
selection of the compelling material amassed on his road trip across the United States
during the 2016 presidential campaign. American Readers at Home—New Cut brings
together color photographs of cityscapes and black-and-white portraits of American
citizens with interviews about their use of news media, alongside facsimiles of newspapers
and collages with statements about the current state of the country. Four years
have passed, yet none of these stories have lost their power or urgency!
French journalist Julien Gester, who writes for the French daily Libération, and Swiss
curator Hilar Stadler have contributed new forewords.
Ludovic Balland lives and works in Basel as a graphic designer specializing
in entire editorial projects. He also teaches as a professor of typography
at HGB Hochschule für Grafik und Buchkunst in Leipzig and lectures
at various art schools and universities in Switzerland, Europe, and the US.
Scheidegger & Spiess
Spring 2021 13

F
En 1975, c’est à dire 25 ans avant un changement de siècle, nous
avons commencé à réaliser certaines pièces en commun. C’est aussi
à cette date là que nous avons décidé qu’elles feraient partie d’une
construction appelée Archives du futur. Ce serait une œuvre construite
dans la durée et la diversité. Avec le temps ce travail a pris la
forme d’une traversée dont les pièces constituent un moment
particulier et dont les titres sont les boîtes noires qui l’accompagnent.
Chacune est une trajectoire à l’écoute de ses interférences.
Ce sont les chapitres d’une mémoire organique.
1
D
1975, das heisst mehr als 25 Jahre vor der Jahrhundertwende, haben
wir begonnen, gewisse Arbeiten gemeinsam zu realisieren. Zur
selben Zeit haben wir beschlossen, dass sie alle einem Projekt,
genannt Archives du Futur – Archive der Zukunft –, angehören
würden. Über die Zeit sollte daraus ein Werk der Dauer und Vielfalt
werden. Daraus ist eine Reise durch die Geschichte und der Geschichten
geworden. Jede Werkgruppe ist ein Anhaltspunkt, jeder
Titel eine Kapsel der Erinnerung, in der sich Sinn und Widersinn
treffen. Sie sind die Kapitel eines organischen Gedächtnisses.
E
In 1975, which is to say, twenty-five years before the turn of the
century, we began making certain works of art together. This is also
when we decided that they would be part of a construction we called
Archives of the Future. It would be a work of art constructed over
time in a variety of media. As time passed, the project took the form
of a journey whose pieces constitute a particular moment and
whose titles are the black boxes accompanying it. Each one is a
trajectory monitoring its inter ferences. They are the chapters of an
organic memory.
12
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11
Olivier Kaeser & Jean-Paul Felley
entretien lors de l’exposition sombras eléctricas
au centre culturel suisse à paris
Interview conducted during the exhibition Sombras Eléctricas
at the Swiss Cultural Centre in Paris
Olivier Kaeser et Jean-Paul Felley :
Est-ce qu’il y a un propos général à ton exposition
?
Silvie Defraoui :
Cette exposition fait partie, comme tout ce que
j’ai fait depuis 1975, des Archives du futur. Il est
mieux, je crois, de vous lire partiellement un
fragment du texte que nous avons rédigé avec
Chérif Defraoui à propos de ce projet et qui figure
aussi dans le dernier catalogue rétrospectif :
« C’est une œuvre construite dans la durée et la diversité.
Avec le temps, ce travail a pris la forme d’une
traversée dont les pièces constituent un moment particulier
et dont les titres sont les boîtes noires qui les
accompagnent. Ce sont les chapitres d’une mémoire
organique. »
Le titre de l’exposition : Sombras eléctricas
(ombres électriques), est la traduction exacte du
mot par lequel les chinois désignent le cinéma.
Je l’ai choisi, car mon travail en général est
basé sur la projection, dans les différents sens
du terme. On projette par la pensée, les images
peuvent être projetées. Mais il y a aussi la projection
sur un même plan de plusieurs événements
mêmes géographiquement éloignés. Notre
mémoire ne fonctionne pas autrement.
Olivier Kaeser and Jean-Paul Felley:
Is there a general idea behind this exhibition?
Silvie Defraoui:
Like everything I’ve done since 1975, this exhibition
is part of the Archives of the Future.
It’s best, I think, to read you part of a description
that Chérif Defraoui and I wrote about
this project, which also appears in our most
recent retrospective catalogue:
“This is an artwork constructed in duration and
diversity. Over time, this work has taken the
form of a journey whose pieces constitute a
particular moment and whose titles are the
black boxes that accompany them. These are
the chapters of an organic memory.”
The title of the exhibition, Sombras Eléctricas
(electric shadows), is the exact translation
of the word the Chinese use for the cinema.
I chose it because my work in general is based
on projection, in the various meanings of the
term. We project by thought, and images
can be projected. But there is also the projection
of several events, even if geographically
distant, onto the same surface. Our memory
functions in just this way.
Superimposed images are often present
in my pieces. They are found throughout the
Partners in art, art
education, and life:
Silvie and Chérif
Defraoui and their
manifaceted work
22
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Chérif Defraoui
la fiction en tant que moyen d’anticipation
Fiction As a Means of Anticipation
titres des
archives du futur : xx
0 Autoportraits, 1973/1990
31 Bifurcation, 1985
1
Doma, Poétique, (Lieu de Mémoire II), 1975
2 Chronologie, 1975
32
Pavillon, 1985
33 Révolution, 1985
3
Jardins exotiques, 1975/1979
4 Estuaire, 1975/1976
34
Croisement d’accords, 1985
35 La querelle des images I, 1985
5 Table de matières, 1975
36 La querelle des images II, 1986
Parler de fiction aujourd’hui, à propos de la photographie,
me ramène toujours à une histoire ancienne
venue du soufisme que raconte une amie.
Dans une case obscure, on a enfermé un éléphant.
Les visiteurs, qui en sortent, échangent leurs impressions.
Il y a ceux qui disent que, dans le noir,
ils ont touché un éventail. Et il y a ceux qui disent
qu’ils ont reconnu une oreille d’éléphant. Evidemment,
on pourrait encore se demander qui a tort
et qui a raison. Mais il est plus intéressant d’examiner
la construction de cette chambre noire qui
a la propriété de rendre aussi contradictoires les
interprétations les plus simples. Notre hypothèse
peut se résumer à dire que, sous sa forme complète,
ce qu’on appelle camera obscura n’a jamais
vraiment existé, même si elle donne l’impression
de commander et l’histoire de la représentation et
son développement industriel. Il y a cette boîte
avec la projection d’une image renversée sur un
plan qu’on fabrique dans les ateliers de la Renaissance;
mais on a toujours fait comme si son invention
était tombée du ciel. Or il est facile de
montrer que le modèle de cette boîte existait depuis
longtemps, mais pour un usage différent
et très proche : celui de la projection des images
mentales et de leur enregistrement, à une époque
Speaking of fiction today, in regards to photography,
always brings me back to an old story
from Sufism that a friend told me. An elephant
was enclosed in a dark hut. Upon exiting, the
visitors discussed their impressions. Some said
that in the darkness they touched a fan. And
others said they recognized an elephant’s ear.
Clearly, we could still ask ourselves who is
wrong and who is right. But it is more interesting
to examine the construction of this darkroom
that has the characteristic of making the
simplest interpretations contradict each other
to such a point. Our hypothesis can be
summed up by saying that, in its complete
form, what we call a camera obscura never
really existed, even if it gives the impression of
controlling both the history of representation
and its industrial development. There is the
box with the projection of an upside­down image
on a surface that was produced in Renaissance
workshops; but people have always
acted as if its invention fell out of the sky. Yet it
is easy to show that the model for this box had
existed for a long time, but for a different and
very similar use: that of projecting mental
images and recording them, at a time when
15
6
Suerte en el tejado, 1976
7
Los misterios de Barcelona, 1976/1977
8
Lieux de mémoire, Rooms, 1976
9
Les naturalisations, 1977
10
Archétypes et artifices, 1976/1977
11
Perquisition « El Tango », 1977
12 La Route des Indes, 1978
13
Les cours du temps, 1978
14
Soif de savoir, 1978
15 Performances secrètes, 1978
16 Cartographie des contrées à venir, 1979
17
L’Europe après les pluies, 1979
18
Les inscriptions, 1979
19 Boîte à musique, 1980
20 Les instruments de divination, 1980
21
Aerolights, 1980
22
Singsang, 1980/2019
23 Indices de variations, 1981
24 Fragments (Indices de variations), 1981
25 Les formes du récit, 1980/1983
26
La pagode africaine, 1982
27
Conversations sur un radeau, 1982/1983
28 Mirador, 1983
29 Rencontres élémentaires, 1983/1984
30 La fable des membres, 1985
37
Homme, femme, serpent, 1986
38
Cariatides, 1986
39
Les taches du léopard, 1986
40
Das Bild im Boden, 1986/2015
41
Conversation par­dessus les eaux, 1986
42
Un cercle est toujours fermé, 1986
43 Et si la terre perdait son pouvoir
d’attraction ?, 1986
44
Orient/Occident, 1987
45 La nuit les chambres sont plus grandes, 1987
46 Bilderstreit, 1987
47
La traversée du siècle, 1988
48
Métamorphoses, 1988
49 Les frontières de l’ordre, 1988
50 Algèbre, 1988/1989
51
Cires, 1988/1989
52
Jardin suspendu, 1990
53 Passages, 1990
54 Tables de multiplication, 1990
55 Vocabulaire, 1990
56
Tragelaph, 1990
57
Le jour, les fenêtres sont plus petites, 1990
58 Stations de l’océan, 1991
59 Marines et paysages, 1991
60 Acanthus, 1991
12
34
DEFRAOUI_Typo_Ver_1_8_Final_NJ.indd 12 08.10.20 14:33
DEFRAOUI_Typo_Ver_1_8_Final_NJ.indd 33 08.10.20 14:33
DEFRAOUI_Typo_Ver_1_8_Final_NJ.indd 34 08.10.20 14:33

Contributions by Bigna Guyer,
Daniel Kurjaković, Marie-Louise
Lienhard, Hans Rudolf Reust,
Corinne Schatz, Philip Ursprung,
Anna Vetsch, and Denys Zacharopoulos.
Interviews by Jean-Paul
Felley / Olivier Kaeser and
Christophe Kihm. Lecture texts
by Silvie & Chérif Defraoui
Book design by Katarina Lang
Hardback
184 pages, 12 color
and 3 b/w illustrations
18 × 24 cm
978-3-03942-004-9
English / French / German
sFr. 39.00 | € 38.00
£ 32.00 | $ 40.00
Silvie and Chérif Defraoui are
important pioneers of multi-disciplinary
and multi-media art and of
art education in Switzerland
Their digital catalogue raisonné,
www.archives-du-futur.ch, will be
available online as of spring 2021
This book supplements and
expands on the digital catalogue
raisonné
All texts are offered in English
translation as well as in their
original French and German
MARCH 2021 (Europe)
JULY 2021 (US)
ISBN 978-3-03942-004-9
9 783039 420049
Silvie & Chérif Defraoui—Archives du Futur
14 Comments 1984–2020
Swiss artist Silvie Defraoui realized a significant part of her work beginning in 1975
together with her husband Chérif (1932–1994). Silvie and Chérif Defraoui compiled
their photo and video works, installations, sculptures, and performances under the
title Archives du Futur. They taught together at Geneva’s École supérieure des Beaux-
Arts (today HEAD–Genève), where they founded the legendary studio Média Mixte
and counted a number of renowned artists among their students.
The Archives du Futur, to which Silvie Defraoui has continued adding works since
Chérif’s premature death, has been made available as a digital catalogue raisonné to
browse online. This book accompanies, supplements, and expands on the digital
documentation. It gathers fourteen commentaries on individual works of the two artists
by distinguished art theorists and curators, originally published from 1984 onwards
in various art journals and exhibition catalogues or newly written for this book.
They reflect on the artists’ joint oeuvre as well as on work created independently by
Silvie Defraoui. Interviews with her and selected lecture texts from the couple’s shared
teaching activities shed light on their artistic stance and thematic focuses.
The volume invites an exploration of an artistic body of work that is highly topical
through its merging of dualities—memory and the present, Orient and Occident, man
and woman, tradition and invention.
Silvie Defraoui, born in 1935 in St. Gallen and educated as an artist in
Geneva and Algiers, exhibits her work in countries around the world. She
lives and works in in Vufflens-le-Chateau, near Lausanne, and in Spain.
Chérif Defraoui, born in 1932 in Geneva, spent his childhood in
Alexandria and Cairo and returned to Geneva for his studies,
where he began his collaboration with Silvie. He died in 1994
in Vufflens-le-Chateau, near Lausanne.
Scheidegger & Spiess
Spring 2021 15

A dialogue
between
natural science
and painting

Essays by Laura Corman
and Nadine Olonetzky
Book design by Katarina Lang and
Rebecca de Bautista
Hardback
approx. 128 pages
approx. 90 color illustrations
24 × 34 cm
978-3-03942-007-0
English / German
sFr. 49.00 | € 48.00
£ 45.00 | $ 50.00
First major monograph on
Swiss painter Barbara Ellmerer
Presents Ellmerer’s work in painting
from 2010 to 2020
Features numerous large-format
plates as well as details from
paintings that exemplify Ellmerer’s
representation of scientific
processes in her paintings
APRIL 2021 (Europe)
AUGUST 2021 (US)
ISBN 978-3-03942-007-0
9 783039 420070
Barbara Ellmerer—Sense of Science
Paintings
When an apple falls to the ground, we see the effect of gravity. Yet not all laws of nature
are as apparent. Swiss artist Barbara Ellmerer uses invisible principles of physics,
biology, and cosmology as her starting point and translates them into paintings. She
sends us into the realm of colors and shapes in which forces, movements, and processes
from nature are synonymously realized and palpable. Ellmerer thereby also
captures something inexplicable, which reminds us of how steeped in wonder the
world still is.
Barbara Ellmerer—Sense of Science presents a selection of oil paintings and works on
paper created by the artist between 2010 and 2020. Ellmerer’s sometimes large-format
pictures are shown both in full as well as in enlarged details to show the intricacies of
her brush stroke, color qualities, surfaces, depths, movements, and emphases. This
combination also makes productive use of the migration of media—from painting to
photography—and its reproduction in the book. In an accompanying essay, Laura
Corman, a quantum physicist, explains how Ellmerer’s art relates to natural science.
A contribution by Nadine Olonetzky, culture journalist and photo expert, describes
art’s capabilities of rendering invisible processes comprehensible.
Barbara Ellmerer, born in 1956, studied at the F+F School of Art and Design
in Zurich and at Berlin’s University of the Arts. After extended stays in Spain,
Italy, New York, and Delhi, she now lives and works in Zurich.
Scheidegger & Spiess
Spring 2021 17

Miriam Cahn (*1949)
Die tiefen grossen Augen in den Gesichtern, Gestalten und Wesen beherrschen die Malerei von
Miriam Cahn unausweichlich. Wie gebannt sind wir mit ihrem Blick konfrontiert. Auch sie fixieren
uns, forschend, skeptisch …oder gar vertraut?
Miriam Cahn hielt sich stets von der langjährigen Dominanz einer rein formalen, medienspezifischen
undinstitutionskritischen Selbstbefragungder Kunstfern. Stattdessenlotete siemalend
ihr Selbstverständnis aus, ihre Erfahrungen als Frau, als politisch informierte Zeitgenossin: «Ich,
Mensch.»
Die frühen schwarz-weissenZeichnungeninKohle auffragilemPapierenthaltennochexplizite
Hinweise auf gesellschaftliche Verhältnisse. Einige Motive haben als Graffiti sogar direkt den
öffentlichenRauminfiltriert. Die farbigen Gesichter undKörpervon Menschen undTierenaus den
Werken derJuliusBär Kunstsammlungzeigen Wesen in ihrer nackten Verwundbarkeit,ausgesetzt
in ortlosen, weit ausufernden Sphären–aber auch in ihrer Selbstbehauptung gegenüber den
zudringlichen Blicken. Die leuchtendeFarbigkeit dieser stilisierten Gestaltenerinnertandie herausfordernd
intensiven Kontraste desExpressionismus.Zugleichsinddie verschwimmenden Konturen
von einem unfassbaren Licht durchsetzt, als könnten sie sich jederzeit auch wieder auflösen.
Ölbilderwie Tier (1995) oder diedreiteilige Serie‹Ohne Titel› (1993) mitPigmentenund Leim
aufPapier zeigen dieSpurenihresunmittelbarenFarbauftrags.Das volleRisikodes Momentssoll
immerspürbar bleiben.Miriam Cahn isteswichtig, dass sieihreBildernur seltennochüberarbeitet.
Indem sich die Geste des Malens nicht verbirgt und nicht angezweifelt wird, tritt sie ungeschützt
auf wie eine direkte Anrede, die kein Wort scheut, nicht die Verletzlichkeit, nicht die Sinnlichkeit
und kein Tabu.
Hans Rudolf Reust
Kunstkritiker, Dozent an der Hochschule der Künste Bern
und Präsident der Kunstkommission Parlamentsgebäude
Christian Marclay (*1955)
Seit Beginn seiner Karriere spielt Christian Marclay mit allen möglichen Erscheinungsformen der
Musik sowie mit ihren Trägern und betätigt sich sowohl als DJ, Musiker und Musikproduzent als
auch als Performer und obsessiver Sammler. Seine Ausbildung erfolgte an diversen Kunstschulen.
Symbolische Räume, die Kunstschaffende inunterschiedlichen Zeiten zwischen Musik, Performance,
Konzertund Ausstellungeröffnet haben, faszinierenihn.Fotografie,Assemblage,Collage
und Video machen nur einen Teil seiner künstlerischen Kompositionsmittel aus. Denn an Musik
ist Christian Marclay interessiert und ergründet mittels Bildern synergetische Verknüpfungen von
Tönen, Klängen und Geräuschen mit visuellen Medien.
Stets mit einem Augenzwinkern versehen, bieten ihm Klang und Musik eine grosse Bandbreite
möglicher Metaphern für die künstlerische Praxis. So macht er sich etwa mit einer Reihe
von Plakaten über den Begriff der Urheberschaft lustig und unterläuft unsere Erwartungen. Der
zerzauste, energischeRockmusiker Christian Marclayist alsromantischer Chansonniermit Gitarre
fast nicht mehr wiederzuerkennen. Die Serie ‹False Advertising› (1994) offenbart auf humorvolle
Weise, welche Bedeutungdas Publikum demBilddes Urhebers zuschreibt undwelcheErwartungen
an denStilsichdaran knüpfen, sei es in derMusikoderder Kunst. In Actions: SplatSploochWhap
Blub Squich (2014),einer Malerei in Kombination mitSiebdruckauf Papier, kehrterdie Ideeeiner
etwas vagen modernistischen Vorstellungswelt um, dass die Abstraktion zur Harmonie führe. In
dieser Serie von Gemälden, die bespritzt sind mit Lautmalereien, erklingt der Akt des Malens.
In den Videoarbeiten offenbart sich seine Virtuosität vielleicht am deutlichsten. Telephones
(1995) besteht aus Fragmenten von Hollywoodszenen, indenen Schauspieler*innen telefonieren.
Alle diese Sequenzen folgen in einer sorgfältig choreografierten, charakteristischen Ästhetik aufeinander,umsichdanninein
fantastisches Konzertzuverwandeln. Christian Marclayerfindet hier
eine Form, die sich über die Definitionen und Werkzeuge musikalischer Komposition hinwegsetzt.
Samuel Gross
Freier Kurator, Genf
Miriam Cahn
60
Miriam Cahn (*1949), Tier (6.7.1995), Ölauf Leinwand, 50×36cm
61
Christian Marclay
206
Christian Marclay (*1955), Actions: Splat Splooch Whap Blub Squich (2014),
Siebdrucktinte und handgemaltes Acryl auf Papier, 213,5 ×148,2 cm
207
Ausweitung
und Vielfalt–
Gedanken
zur aktuellen
Schweizer
Kunstszene
248 249
Klodin Erb (*1963), Schafspelz (2008), Ölauf Leinwand, 150 ×200 cm 89
An extraordinary corporate
collection with a focus on
contemporary Swiss Art
Marc-Antoine Fehr (*1953), La pièce d’eau et faisanderie àPressy (1999),
Gouache auf Papier, 15 ×50cm 93
Camillo Paravicini (*1987), Untitled Portraits (2014),
Silbergelatine-Print auf Barytpapier, 9-teilig (Detail), je 18 ×24cm, Edition von 5 268
Nicolas Party (*1980), Still Life (2014), Kreide auf Leinwand, 120 ×100 cm
269
Marion Tampon-Lajarriette (*1982), Camera 1, Plan 8(2008),
3D-Videoanimation, Loop, 5’ 20’’, Edition von 8+2 AP 368
André Thomkins (1930–1985), G’heuet (1985), Ölauf Leinwand, 61×61cm
369
130 131

Edited by Barbara Staubli and
Barbara Hatebur
Essays by Alexandra Blättler,
Giovanni Carmine, Samuel Gross,
Barbara Hatebur, Daniel Morgenthaler,
Hans Rudolf Reust, Kristin
Schmidt, Barbara Staubli, Nadine
Wietlisbach, and Isabel Zürcher
Book design by Bonbon
Hardback
404 pages, 333 color and
25 b/w illustrations
22 × 29 cm
978-3-85881-874-4 English
978-3-85881-694-8 German
sFr. 99.00 | € 97.00
£ 80.00 | $ 100.00
A comprehensive survey of the
Julius Baer Art Collection and the
story of its origins
A dynamic mix of works by established
Swiss artists and emerging
talents reflects the ongoing passion
that has driven Julius Baer’s
forty-plus years of collecting
Features thirty-five artists represented
in the collection through
concise illustrated texts, including
John M Armleder, Silvia Bächli,
Miriam Cahn, Lutz & Guggisberg,
Markus Raetz, Shirana Shahbazi,
and Roman Signer
AVAILABLE (Europe)
JULY 2021 (US)
ISBN 978-3-85881-874-4
English
ISBN 978-3-85881-694-8
German
9 783858 818744
9 783858 816948
Surrounded by Art
The Julius Baer Art Collection
Julius Baer, established in Zurich in 1890, is a leading Swiss wealth management
group. For nearly as long, the founding family has been engaged in supporting the
visual and performing arts. In 1981, on the initiative of its then chief executive Hans
J. Bär (1927–2011), the company lay the foundations to its own collection of contemporary
art, guided by the belief that art in a business environment enhances a culture
of communication and is inspirational to employees and clients alike. Today, the Julius
Baer Art Collection comprises more than 5,000 works across a range of media—
painting, drawing, sculpture, photography, and video—by Swiss artists, both internationally
renowned and emerging talents.
This book offers a survey of the collection that is on rotating display at the bank’s
offices around the world and highlights its origins and evolution over the past four
decades. Artistic positions of thirty-five contemporary Swiss artists, such as John M.
Armleder, Silvia Bächli, Miriam Cahn, Lutz & Guggisberg, Markus Raetz, Shirana
Shahbazi, and Roman Signer, are introduced through brief texts and illustrations of
some 350 works from the collection.
Barbara Staubli is an art historian and curator
of the Julius Baer Art Collection.
Barbara Hatebur is an art historian and a research associate
at the Julius Baer Art Collection.
Scheidegger & Spiess
Spring 2021 19

Edited by Kunsthaus Zürich
Published in cooperation with
Einfache Gesellschaft Kunsthaus-
Erweiterung
Book design by Stefan Hunziker
Corti, Büro4
Paperback
52 pages, 57 color
and 5 b/w illustration
19 × 23 cm
978-3-85881-875-1 English
978-3-85881-876-8 French
978-3-85881-696-2 German
sFr. 15.00 | € 15.00
£ 18.00 | $ 20.00
Published to coincide with the
completion and opening to
the public of British architect
David Chipperfield’s new building
for the Kunsthaus Zürich
The completion of the new
building marks the most significant
step in the museum’s history and
evolution
AVAILABLE (Europe)
MARCH 2021 (US)
ISBN 978-3-85881-875-1
English
9 783858 818751
ISBN 978-3-85881-696-2
German
ISBN 978-3-85881-876-8
French
9 783858 818768
Kunsthaus Zürich:
an Art Museum
for the 21 st Century
9 783858 816962
The New Kunsthaus Zürich
Museum for Art and Public
Also available:
The Architectural History
of the Kunsthaus Zürich
1910–2020
978-3-85881-859-1 English
978-3-85881-860-7 French
978-3-85881-676-4 German
sFr. 19.00 | € 19.00 | £ 20.00 | $ 25.00
ISBN 978-3-85881-859-1
Englisch
ISBN 978-3-85881-860-7
French
The completion of David Chipperfield’s distinctive new building for Kunsthaus Zürich
in December 2020 has nearly doubled the museum’s overall space. In combination
with the preceding refurbishments of the earlier buildings, this has made it more than
able to meet the demands of an art museum of the 21 st century.
A sequel to The Architectural History of the Kunsthaus Zürich 1910–2020, this book
comprehensively introduces the new Kunsthaus Zürich, demonstrating how the task
of building an art museum in the 21 st century can be fulfilled. Concise texts, statements
by protagonists and by future users and visitors, along with numerous illustrations
trace the project’s evolution and construction process and look at the completed
building from various perspectives. The book also highlights the features that contemporary
museum infrastructure has to offer and the architectural and urban design
qualities it requires, and shows what financial and organizational challenges the entire
undertaking implied. A conversation between experts exploring the expanded museum’s
impact on its immediate neighborhood and Zurich’s urban fabric as a whole
rounds out the volume.
Kunsthaus Zürich is one of Europe’s leading art museums and will become
Switzerland’s largest art institution in 2021. Its permanent collection
comprises masterpieces ranging from medieval to contemporary art,
with a focus on French impressionism, postimpressionism, and classical
modernism.
9 783858 818591
ISBN 978-3-85881-676-4
German
9 783858 818607
9 783858 816764
Scheidegger & Spiess
Spring 2021 20

ISBN 978-3-85881-861-4
The first book ever to thoroughly
explore Sam Francis’s deep
involvement with Japan and
Japanese culture, and with Asian
art more generally
Richard Speer
The Space of Effusion
Sam Francis in Japan
978-3-85881-861-4 English
sFr. 75.00 | € 68.00 | £ 60.00 | $ 65.00
ISBN 978-3-85881-843-0
An overdue tribute: the catalogue
raisonné of Leonor Fini’s oil paintings,
marking the 25 th anniversary of her
death in 1996
Leonor Fini
Catalogue Raisonné of the Oil Paintings
978-3-85881-843-0 English
sFr. 350.00 | € 350.00
£ 320.00 | $ 400.00
9 783858 818614
9 783858 818430
An examination of not only the works
of American artist Kiki Smith, but of
the human body itself
Kiki Smith
Hearing You with My Eyes
978-3-85881-867-6
English / French
sFr. 39.00 | € 38.00 | £ 32.00 | $ 40.00
ISBN 978-3-85881-867-6
The World of René Burri: this book
presents for the first time the
full range of the celebrated Swiss
photographer’s creative force
and interests
René Burri
Explosions of Sight
978-3-85881-845-4 English
978-3-85881-661-0 German
sFr. 49.00 | € 48.00 | £ 45.00 | $ 49.00
ISBN 978-3-85881-845-4
ISBN 978-3-85881-661-0
9 783858 818676
English
German
9 783858 818454
9 783858 816610
ISBN 978-3-85881-804-1
Charlie Koolhaas’s timely dialogue
between words and images about a
crucial moment in our recent history:
the apotheosis of globalization and
its current unraveling
Charlie Koolhaas
City Lust
London Guangzhou Lagos
Dubai Houston
978-3-85881-804-1 English
sFr. 59.00 | € 58.00 | £ 50.00 | $ 59.00
ISBN 978-3-85881-858-4
A hilarious, cool, and unexpected
look at the role of POTUS
Lea N. Michel
The President of the United States
on Screen
164 Presidents, 1877 Illustrations,
240 Categories
978-3-85881-858-4 English
sFr. 39.00 | € 38.00 | £ 35.00 | $ 39.00
9 783858 818041
9 783858 818584
From Constructivism to Art Deco
and back to Avant-garde and Bauhaus:
a unique survey of transformations
of Soviet interior design through
six decades
An intellectual panorama of
the significance and lasting effect
of Learning from Las Vegas in
architecture and urban design
as well as in the visual arts
Kristina Krasnyanskaya and
Alexander Semenov
Soviet Design
From Constructivism to Modernism
1920 –1980
ISBN 978-3-85881-846-1
Eyes That Saw
Architecture after Las Vegas
978-3-85881-820-1 English
sFr. 49.00 | € 48.00 | £ 45.00 | $ 49.00
978-3-85881-846-1 English
sFr. 99.00 | € 77.00 | £ 65.00 | $ 85.00
ISBN 978-3-85881-820-1
9 783858 818461
9 783858 818201
Scheidegger & Spiess
Key Titles 21

Matisse as a gifted sculptor:
an exploration of metamorphoses
in his paintings and drawings
Matisse
Metamorphoses
978-3-85881-836-2 English
978-3-85881-840-9 French
978-3-85881-650-4 German
sFr. 49.00 | € 48.00 | £ 45.00 | $ 49.00
Elegant, dreamy swimmers:
Carole A. Feuerman’s lifelike figures
as precisely captured snapshots
Carole A. Feuerman
Fifty Years of Looking Good
978-3-85881-844-7 English
sFr. 65.00 | € 58.00 | £ 50.00 | $ 65.00
ISBN 978-3-85881-836-2
ISBN 978-3-85881-840-9
ISBN 978-3-85881-650-4
ISBN 9783858818447
English French German
9 783858 818362
9 783858 818409
9 783858 816504
9 783858 818447
The first survey of distinguished
Korean artist Hong Seung-Hye’s work
that oscillates between the figurative
and the abstract
Hong Seung-Hye
Organic Geometry
978-3-85881-866-9 English
sFr. 75.00 | € 68.00 | £ 65.00 | $ 70.00
A pioneer of conceptual art:
a new encounter with Stephen Willats
Stephen Willats
Languages of Dissent
978-3-85881-648-1
English / German
sFr. 49.00 | € 48.00 | £ 45.00 | $ 55.00
ISBN 978-3-85881-866-9
ISBN 978-3-85881-648-1
9 783858 818669
9 783858 816481
ISBN 978-3-85881-829-4
ISBN 978-3-85881-830-0
The first-ever comprehensive
monograph on New York-based
artist Joel Shapiro, covering his entire
career across various artistic media
Richard Shiff
Joel Shapiro
Sculpture and Works on Paper
1969–2019
978-3-85881-829-4 English
978-3-85881-830-0 French
sFr. 85.00 | € 77.00 | £ 70.00 | $ 85.00
ISBN 978-3-85881-865-2
The authoritative critical survey of
Jun Kaneko’s life and work, exploring
what has shaped his oeuvre and
offering fascinating insights into
Kaneko’s unique, relentlessly
self-sustaining creative process
Glen R. Brown
Jun Kaneko
The Space Between
978-3-85881-865-2 English
sFr. 75.00 | € 68.00 | £ 65.00 | $ 70.00
English
French
9 783858 818294
9 783858 818300
9 783858 818652
Congolese artists reflect on
globalized trade, colonialism,
proselytization, and virtual
boundaries
Congo as Fiction
Art Worlds between Past and Present
978-3-85881-835-5 English
978-3-85881-643-6 German
sFr. 49.00 | € 48.00 | £ 45.00 | $ 55.00
Radical positions in photography: 35
emerging international photographic
artists in focus
reGeneration 4
The Challenges for Photography and
Its Museum of Tomorrow
978-3-85881-857-7
English / French
sFr. 59.00 | € 58.00 | £ 50.00 | $ 59.00
ISBN 978-3-85881-835-5
ISBN 978-3-85881-643-6
ISBN 978-3-85881-857-7
English
German
9 783858 818355
9 783858 816436
9 783858 818577
Scheidegger & Spiess
Key Titles 22

A unique insight into Marina
Abramović’s biography and art
and what connects the two
Jeannette Fischer
Psychoanalyst meets
Marina Abramović
Artist meets Jeannette Fischer
978-3-85881-794-5 English
978-3-85881-546-0 German
sFr. 19.00 | € 19.00 | £ 18.00 | $ 20.00
ISBN 978-3-85881-863-8
New York-based artist duo
Kuzma Vostrikov and Ajuan Song
invite a dialogue about technology,
authorship, beauty, and the role
of photography in contemporary
visual culture
Kuzma Vostrikov and Ajuan Song
Absolutely Augmented Reality
978-3-85881-863-8 English
sFr. 49.00 | € 48.00 | £ 42.00 | $ 50.00
ISBN 978-3-85881-794-5
ISBN 978-3-85881-546-0
English
9 783858 817945
German
9 783858 815460
9 783858 818638
One of Americas most distinguished
artists: Jacob Lawrence, chronicler
of African American life in the
20 th century
Jacob Lawrence
Lines of Influence
978-3-85881-825-6 English
sFr. 65.00 | € 58.00 | £ 55.00 | $ 59.00
Mankind and nature in alliance:
an inspiring reader on ecology and
post-humanism in art
Potential Worlds
Planetary Memories
and Eco-Fictions
978-3-85881-864-5 English
sFr. 45.00 | € 38.00 | £ 35.00 | $ 40.00
ISBN 978-3-85881-825-6
ISBN 978-3-85881-864-5
9 783858 818256
9 783858 818645
Photographic experiment
and personal liberation:
Swiss photographer
Simone Kappeler’s road trip
across America
Simone Kappeler
America 1981
978-3-85881-679-5
English / German
sFr. 69.00 | € 68.00 | £ 60.00 | $ 75.00
An artist to rediscover: the first
monograph to explore the entire
body of American photographer
Jan Groover’s highly original and
experimental work
Jan Groover, Photographer
Laboratory of Forms
978-3-85881-838-6 English
sFr. 49.00 | € 48.00 | £ 45.00 | $ 49.00
ISBN 978-3-85881-679-5
ISBN 978-3-85881-838-6
9 783858 816795
9 783858 818386
A highly enjoyable history of the
Bauhaus from an unconventional
perspective
“A difficult defence of the Bauhaus
against its worshippers”
(Philipp Oswalt)
Philipp Oswalt
Bauhaus Brand
1919–2019
The Victory of Iconic Form over Use
978-3-85881-856-0 English
978-3-85881-620-7 German
sFr. 39.00 | € 38.00 | £ 35.00 | $ 39.00
ISBN 978-3-85881-856-0
English
ISBN 978-3-85881-620-7
German
The first comprehensive
survey of modern design
from the transnational and
multilingual Alpine region
Tyrol – South Tyrol – Trentino
Design from the Alps
1920–2020
Tyrol South Tyrol Trentino
978-3-85881-649-8
English / German / Italian
sFr. 49.00 | € 48.00 | £ 45.00 | $ 55.00
ISBN 978-3-85881-649-8
9 783858 816498
9 783858 818560
9 783858 816207
Scheidegger & Spiess
Key Titles 23

Scheidegger & Spiess
Art I Photography I Architecture
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Cover image
Frozen Chains, jewelry design by Vanessa
Schindler, 2019. Photo © Chaumont-Zaerpour.
From the book Wild Thing—The Swiss
Fashion Scene (see pages 4/5).
Scheidegger & Spiess is being supported
by the Swiss Federal Office of Culture with
a general subsidy for the years 2021–2024.
January 2021. Prices quoted in Euro are valid
in Germany only including VAT. For all other
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