“As Much Phantasy as Possible”
by Christel Sauer
The present is the true stage on which his manifold references to existential relationships take shape. “Art is familiar with the commonplace and knows its value as an immense store of material…” Christel Sauer about an extraordinary work by Mario Merz
A Talk with the Artist: Robert Mangold
by Fritz Kappeler, Marco Läuchli
The video “A Talk with the Artist: Robert Mangold” was produced in April 1993 during the preparations for the “Robert Mangold” exhibition in the Hallen für Neue Kunst, Schaffhausen/Switzerland. It contains fundamental statements by Mangold on his work.
Joseph Beuys: Das Kapital Raum 1970 – 1977. Zur Entstehung und zum Ende des Werks in den Hallen für Neue Kunst, Schaffhausen
von Christel Sauer
Die Geschichte der Raumskulptur „Das Kapital Raum 1970-1977“ beginnt zu einem Zeitpunkt, als Joseph Beuys selbst noch nicht wusste, welche Form dieses Werk letztlich haben würde und Urs Raussmüller nicht ahnte, welche Konsequenzen sich daraus ergeben würden.
Series of images from Senza titolo, Mario Merz
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In 1989 Mario Merz created the work Senza titolo at the Museum of Contemporary Art Los Angeles.
An Igloo as Image of the World
by Christel Sauer
Focus on: ‘I gradini mangiano la scala o la scala mangia i gradini’ by Mario Merz
Christel Sauers’ approach to title and history of this igloo as well as the work as a specific image of the world. [more]
Geological ages, magically preserved
by Jürgen Buchinger
Focus on: ‘I gradini mangiano la scala o la scala mangia i gradini’ by Mario Merz
Jürgen Buchinger lets his thoughts wander back in time to think about the process of creation and transformation of prehistoric ages that is still present in this thought provoking work. [more]
Space and Time for New Art
The Hallen für Neue Kunst
von Christel Sauer
Ryman Paintings and Ryman Exhibitions
A talk with Urs Raussmüller
Ryman’s paintings do not exert force. Instead they allow things to happen. They do not insist on a theoretical concept and need not be perceived in a specific way. The observer is free to enjoy the painting’s effect on him. [more]
