video Robert Ryman: On Painting Robert Ryman talks about painting. A 1993 film shows him with Urs Raussmüller and his team during the installation of his paintings in the Hallen für Neue Kunst, Schaffhausen. [more]
essay Sol LeWitt and the Hallen für Neue Kunst, Schaffhausen by Christel Sauer and Urs Raussmüller The initiators of LeWitt’s complex and long-term installation in the Hallen für Neue Kunst, Schaffhausen, share their experience of the artist’s wall drawings and sculptures over time. From a personal point of view, they describe the impact of the works and the significance of the artist. Their account, a tribute by committed participants, appears here in the original English version. [more]
video A Manifestation for Kounellis by Urs Raussmüller In 2015 Urs Raussmüller installed major works by Kounellis in Milan. Read his statement about creating powerful situations with Kounellis’ works and see a video by Jürgen Buchinger about the installation. [more]
bildstrecke Sol LeWitt in the Hallen für Neue Kunst Since 1978 Urs Raussmüller has installed and made known significant works by Sol LeWitt. In 1983 he realized an exemplary selection of wall drawings in his newly-built Hallen für Neue Kunst and complemented them with early sculptures. Later he gave Sol LeWitt the opportunity to further enrich this installation with new large wall drawings. [more]
essay The Museum as Concept and Philosophy Statement by Urs Raussmüller When you build a factory, be it a spaghetti factory or a car plant, the first, most important consideration is the philosophy of the company. It is no different with a museum. The philosophy of the institution, its basic understanding of itself, must stand in first place, in other words: how does the museum perceive its function? [more]
essay InK. Halle für internationale neue Kunst by Christel Sauer In 1978, Urs Raussmüller opened «InK. Halle für internationale neue Kunst” in Zurich, realizing a groundbreaking art support concept: artists were invited to create or present new works and were given space, assistance and a remuneration. The gallery was simultaneously a studio and a meeting point, the site of exhibitions and artistic actions. A lively, creative atmosphere prevailed; the artists were inspired and the viewers curious. [more]
essay Jannis Kounellis, Senza titolo, 1967 (Campi, Pappagallo, Cotoniera) by Christel Sauer As a complex spatial unity, they became one of the most frequently reproduced Kounellis works. In particular the parrot in front of the steel sheet, as a new definition of the picture, became a symbol of a contemporary art rigorously expanded both in content and form – with a specific reference to its imaginative development in Italy… [more]
essay “Being an artist has to do with a way of life” – Four steps towards Bruce Nauman by Christel Sauer Nauman’s non-conformist works are possessed of an almost unsurpassable degree of intensity that leaves no possibility of escape. Indifference is not an option. And this situation, however unwelcome it may be, exerts its own fascination… [more]
essay Bruce Nauman Floating Room: Lit from Inside, 1972 by Christel Sauer From the outside, Nauman’s Floating Room looks like a large cube hanging down into the building from above – unpretentiously constructed and with no aesthetic aspirations. The surrounding area is relatively dark, or at all events not illuminated in the way we are otherwise used to in art spaces… [more]
bildstrecke Robert Mangold and Urs Raussmüller by Fabio Fabbrini Since the 1960s, Mangold has been creating unique paintings with a large-scale effect, irritating forms and unusual colors. He placed the elements of painting in a tense relationship to one another, to the space and to the observers, and thus brought forth a completely new effect in paintings… [more]
essay Bruce Nauman Flour Arrangements, 1966 by Christel Sauer The seven photos on the wall show static situations of a similar appearance, slightly out of focus, with a greenish hue and at first sight enigmatic motifs, whose physical properties and dimensions are almost impossible to divine. We wonder what we are looking at: aerial shots of formations in the ocean? Police photos of confiscated cocaine? [more]
essay Bruce Nauman The True Artist Is an Amazing Luminous Fountain (Window or Wall Shade), 1966 by Christel Sauer In 1966 Nauman made a standard roller blind the support for a statement about the nature of the artist. The work’s appearance is almost dignified and presents a bizarre contrast to the pink plastic blind – just as does the cryptic message of the text… [more]
video Mario Merz Jürgen Buchinger at Raussmüller by Jürgen Buchinger A very personal view on Urs Raussmüller’s installation of Mario Merz’s works and their connection with the surrounding space… [more]
