Faire impression @ Kunsthaus Zürich - Chefs-d’oeuvre sur papier d’Albrecht Dürer à Dieter Roth

Faire impression. Chefs-d’oeuvre sur papier d’Albrecht Dürer à Dieter Roth 

Kunsthaus Zürich 

31 octobre 2025 – 25 janvier 2026 

Dieter Roth, 

Feuillet 4 tiré de: «6 Piccadillies», 1970

Polymère au pochoir sur sérigraphie sur impression 

offset en couleur sur carton, monté sur carton-bois, 

49,9 × 69,7 cm

Kunsthaus Zürich, 2003

© Dieter Roth Estate / Courtesy Hauser & Wirth 

Dieter Roth 

Feuillet 5 tiré de: «6 Piccadillies», 1970

Sérigraphie sur impression offset en couleur sur

carton, montée sur carton-bois, 49,9 × 69,7 cm

Kunsthaus Zürich, 2003

© Dieter Roth Estate / Courtesy Hauser & Wirth

Helen Dahm 

Nu féminin en mouvement,

sans date

Eau-forte sur papier, 27,4 × 23,2 cm

Kunsthaus Zürich, don de Doris

Gäumann-Wild, 1953

© Helen Dahm Gesellschaft Oetwil am See

Le Kunsthaus Zürich présente des estampes magistrales créées au fil de six siècles.

La collection d’arts graphiques du Kunsthaus Zürich est un véritable trésor. Beaucoup de feuillets sensibles à la lumière ne peuvent être exposés que pendant une courte durée avant de regagner les dépôts, où ils sont conservés à l’abri. Dix ans après l’exposition anniversaire organisée à l’occasion des 100 ans d’existence de la collection d’arts graphiques, le Kunsthaus présente ses estampes les plus précieuses, domaine qui avait été laissé de côté à l’époque.

Aujourd’hui encore, la gravure est entourée de malentendus: une telle oeuvre peut-elle être considérée comme originale? Pourquoi n’y a-t-il pas un seul exemplaire mais plusieurs? Le Kunsthaus montre que l’estampe est un moyen d’expression artistique à part entière, pas seulement un procédé de reproduction d’images. Le travail de l’encre et le jeu de clair-obscur qui en résulte donnent naissance à des oeuvres dont l’effet est unique.

Albrecht Dürer 

Adam et Ève, 1504

Gravure sur cuivre sur papier,

25,1 × 19 cm

Kunsthaus Zürich, 

Collection Landammann Dietrich Schindler, 2000

Hendrik Goltzius 

Le grand porte étendard, 1587

Gravure sur cuivre sur papier, 29 × 20,1 cm

Kunsthaus Zürich

Hans Sebald Beham 

Cimon et Péro, 1544

Gravure sur cuivre sur papier, 7,3 × 5,1 cm

Kunsthaus Zürich, 

Collection Landammann Dietrich Schindler, 2000

Rembrandt Harmenszoon van Rijn 

Jésus prêchant, dit «La petite tombe», vers 1652

Eau-forte et pointe sèche sur papier Japon,

15,2 x 20,5 cm

Kunsthaus Zürich, legs de Leonie Tobler, 2003

D’Albrecht Dürer à Francisco de Goya en passant par Rembrandt van Rijn – ne serait-ce que dans le domaine de l’art ancien, la collection du Kunsthaus Zürich réunit les représentants les plus importants de l’estampe. L’exposition présente de magistrales eaux-fortes et gravures sur bois qui mettent en avant le travail du motif et la maîtrise technique. La présentation ne suit pas une chronologie stricte, mais s’organise par types de techniques. Elle permet ainsi de comprendre comment un même procédé a donné naissance à des formes d’expression très différentes au fil des siècles. Elle montre également comment de nouvelles possibilités techniques ont inspiré de nouveaux thèmes aux artistes et leur ont suggéré de nouvelles solutions plastiques.

Henri Matisse 

Illustration pour «Poésie de mots inconnus», 1943

Linogravure sur papier, 30,4 × 23,4 cm

Kunsthaus Zürich, 1980

Bernhard Luginbühl 

Cyclope I, 1968

Gravure sur cuivre sur papier, 67,7 × 74,5 cm

Kunsthaus Zürich, 1984

© Bernhard Luginbühl

Chuck Close 

Autoportrait, 1977

Eau-forte sur papier, 137 × 103,5 cm

Kunsthaus Zürich, 1978

© Chuck Close Estate

Julie Mehretu

Untitled, 2006

Eau-forte et pointe sèche en couleur sur papier, 

58,9 × 71,6 cm

Kunsthaus Zürich, 2006

© 2025 Julie Mehretu

Avec la modernité, l’estampe s’épanouit dans toute sa diversité, que ce soit dans les oeuvres de Käthe Kollwitz, de Mary Cassatt ou de Dieter Roth. On expérimente désormais avec les techniques les plus diverses et différents états d’impression. Le format semble lui aussi ne plus connaître de limites. En témoigne par exemple l’autoportrait monumental de Chuck Close, aux dimensions imposantes de 137 × 103 cm. Dans cette exposition, le Kunsthaus s’abstient toutefois délibérément de toute hiérarchisation des oeuvres par la taille, car souvent, l’attrait d’une estampe tient à ses plus infimes détails. 

Edvard Munch 

Tête contre tête, 1905

Gravure sur bois en 4 couleurs sur papier,

56,5 × 74,5 cm

Kunsthaus Zürich, 1950

Otto Müller 

Jeune fille allongée contre un tronc d’arbre, vers 1914

Lithographie aquarellée sur papier, 35,6 x 46 cm

Kunsthaus Zürich, don de Hugo Moses, 1933

Emil Nolde 

Tête masculine et tête féminine, 1937

Gravure sur bois sur papier, 41,5 × 30,3 cm

Kunsthaus Zürich, 1938

© Nolde Stiftung Seebüll

Plus de 80 oeuvres sur papier sont exposées au cabinet du Kunsthaus Zürich sous la houlette de Jonas Beyer. Un catalogue richement illustré complète l’exposition et fait écho à l’ouvrage «Meisterzeichnungen. 100 Jahre Grafische Sammlung im Kunsthaus Zürich» (Dessins de maîtres. Les 100 ans de la collection d’arts graphiques au Kunsthaus Zürich), désormais élargi au champ de l’estampe.

KUNSTHAUS ZURICH

Heimplatz 1/5, 8001 Zurich

www.kunsthaus.ch

Richard Serra: The Final Works @ Cristea Roberts Gallery, London

Richard Serra

The Final Works

Cristea Roberts Gallery, London

Until 26 April 2025

RICHARD SERRA

Casablanca #3, 2022

Hand-applied oil stick, etching ink and silica 

on Igarashi 430gsm handmade paper

Paper and Image: 167.9 x 152.9 cm - 66 1/8 x 60 1/4 inches. 

Edition of 27

© Richard Serra. Courtesy of Cristea Roberts Gallery, London

Marking the first anniversary of Richard Serra’s death at the age of 85, Cristea Roberts Gallery presents the final works made by the artist.

The first complete showing of these works outside the US focuses on two series of prints made using black oil stick. Serra, one of the most significant artists of his generation, was known for monumental steel sculptures. However, his explorations of form, mass and gravity informed every aspect of his art, including his works on paper.

Casablanca 1-6, 2022 and Hitchcock I-III, 2024 mark the culmination of over fifty years of printmaking. Although described as prints, none of these works passed through a press and the methods used are unlike those of traditional printmaking; Serra’s chosen media undermines our understanding of what constitutes an editioned work.

Each work was made using oil stick, a combination of pigment, linseed oil, and melted wax. The mixture was moulded into large cylindrical sticks, then pressed down into a meat grinder and blended in an industrial dough mixer with silica.

The mixture was applied in layers, by a gloved hand, directly onto handmade paper, pushing and rubbing in a downward direction. Each layer required weeks of drying time before an additional coat could be applied. As a result, each impression varies in its construction.

For each work, layer upon layer of black oil stick was built up so that an intensely textured and rich three-dimensional surface emerges, evoking a large void. This imposing effect of black absorbing and reflecting light, dominates Serra’s prints. When making works on paper Serra remained committed to using a single palette of black to investigate weight, stability, and density. 

Richard Serra commented “Black is a property, not a quality. In terms of weight, black is heavier, creates a larger volume, holds itself in a more compressed field. It is comparable to forging.”

The mass of black in each work, which almost fills the entire sheets in Casablanca and Hitchcock, is relieved by thin areas of paper that appear to rise or emerge from curved edges and corners. Serra examines tension and gravity through this unequal balance of heavy mass and handmade Japanese paper. The paper support almost appears precarious; each impression of Casablanca, measuring over 150cm in width, weighs nearly 10 kilograms.

Richard Serra was interested in how an artwork not only exists in space but reorientates it. His sculptures created environments that had to be walked through or around to be fully experienced. Serra’s printmaking extends these investigations, interrogating the physical relationship of mass and the flat surface, and the viewers relationship to it.

The exhibition also features examples of earlier uses of black oil stick and etchings by the artist dating from 2004, and a display of the tools used to create these groundbreaking works.

Richard Serra: The Final Works demonstrates how the artist’s radical techniques and exceptional approach to making editions, remains singular in the history of printmaking.

Since presenting the first exhibition in the UK devoted to Serra’s prints in 2013, Cristea Roberts Gallery has continued to exclusively exhibit the artist’s editions in Europe. The works on show were developed by Richard Serra with Gemini G.E.L., an artists’ workshop and publisher in Los Angeles, where Serra made all his editions, a collaboration that lasted for over fifty years.

RICHARD SERRA - BRIOGRAPHY

Richard Serra (1938 - 2024) was born in San Francisco, USA. He lived and worked in New York, and the North Fork of Long Island, and Nova Scotia. From 1957 to 1961 Serra studied at the University of California at Berkeley and Santa Barbara, and from 1961 to 1964 at Yale University, Connecticut, where he worked with Josef Albers on Albers seminal book, Interaction of Color (New Haven, 1963). His first solo exhibition was held at Galleria La Salita, Rome, in 1966 and the Pasadena Art Museum staged his first solo museum exhibition in 1970.

Serra’s large-scale, site-specific sculptures, featuring monumental arcs, spirals, and ellipses can be found all over the world. Selected solo exhibitions and retrospectives include Kunstmuseum Basel, Basel (2017); Nasher Sculpture Center, Dallas (2017); Museum Boijmans Van Beuningen, Rotterdam (2014); Metropolitan Museum of Art, New York (2011); San Francisco Museum of Modern Art (2011); Menil Collection, Houston (2011); Monumenta, Grand Palais, Paris (2008); Kunsthaus Bregenz (2008); Museum of Modern Art, New York (2006); San Diego Museum of Contemporary Art (2006); Solomon R. Guggenheim Museum, Bilbao (2005); Museo Archeologico Nazionale di Napoli, Naples (2004); Pulitzer Foundation for the Arts, St. Louis (2003). His works are housed in major collections all over the world.

 

Richard Serra participated in international exhibitions including Documenta, Kassel (1972, 1977, 1982, and 1987); the Venice Biennale (1980, 1984, 2001, and 2013); and the Whitney Museum of American Art’s Annual and Biennial exhibitions (1968, 1970, 1973, 1977, 1979, 1981, 1995, and 2006).

Richard Serra was the recipient of many notable prizes and awards. In 2015, he was awarded Les Insignes de Chevalier de l’Ordre national de la Légion d’honneur, France, and in 2018 he received the J. Paul Getty Medal, which honors extraordinary contributions to the practice, understanding, and support of the arts. Prior to this he was also awarded Orden de las Artes y las Letras de España, Spain in 2008 and Orden pour le Mérite für Wissenschaften und Künste, Federal Republic of Germany in 2002.

Richard Serra passed away aged 85 on 26 March 2024 in New York, USA.

CRISTEA ROBERTS GALLERY, LONDON 

43 Pall Mall, London SW1Y 5JG 

www.cristearoberts.com 

Related Posts:

In English

Richard Serra: Every Which Way, David Zwirner, New York, November 7 – December 14, 2024

Richard Serra Drawing: A Retrospective, Metropolitan Museum of Art, New York, April 13 – August 28, 2011

Richard Serra: Torqued Ellipses, Dia Center for the Arts, New York, September 25, 1997 - June 14, 1998

En Français

Richard Serra : Casablanca, Galerie Lelong & Co., Paris, 14 mars - 30 avril 2024

Richard Serra : Clara Clara, 1983 , Musée du Louvre, Jardin des Tuileries, Paris, 14 avril – 3 novembre 2008

Richard Serra: The Final Works

Cristea Roberts Gallery, London, 13 March - 26 April 2025

Exhibition "beyond now. Editions" @ Kestner Gesellschaft, Hanover

beyond now. Editions

Kestner Gesellschaft, Hanover

December 7, 2024 - March 2, 2025

Artists:

Mathieu Kleyebe Abonnenc, Franz Ackermann, Rebecca Ackroyd, Nevin Aladağ, Lewis Baltz, Monika Baer, Thomas Bayrle, Bernhard und Anna Blume, Erik Bulatov, André Butzer, Katinka Bock, Armin Boehm, Cecily Brown, Fernando Bryce, Helen Cammock, Marc Camille Chaimowicz, Jake & Dinos Chapman, Louisa Clement, Ceal Floyer, FAMED, Rochelle Feinstein, Peter Fischli & David Weiss, FORT, Nan Goldin, Guerilla Girls, Gotthard Graubner, Diango Hernández, Camille Henrot, Roger Hiorns, Gary Hume, Bethan Huws, Monilola Olayemi Ilupeju, Olav Christopher Jenssen, Anna K.E., Alex Katz, Hassan Khan, Joachim Koester, Marlena Kudlicka, Rezi van Lankveld, Jochen Lempert, Kris Martin, Jakob Mattner, Rita McBride, Henri Michaux, Sarah Morris, Chris Ofili, Lucila Pacheco Dehne, Peter Piller, Joanna Piotrowska, Paula Rego, Michael Sailstorfer, Susanne Sachsse & Xiu Xiu, Vittorio Santoro, Yehudit Sasportas, Dana Schutz, Bettina Scholz, Marinella Senatore, Santiago Sierra, Roman Signer, Simon Starling, Florian Süssmayr, Sophie Taeuber-Arp, Hann Trier, The Institute of Queer Ecology, Tim Ulrichs, Ursula (Schultze-Bluhm), Ella Walker, Phoebe Washburn, Paloma Varga Weisz, James Welling, Christopher Williams, Samson Young, Heimo Zobernig, Thomas Zipp.

With beyond now. Editions, the Kestner Gesellschaft reflects on its exhibition history and the connection between artistic production and institutional work. This special exhibition includes both current and rediscovered limited-edition works, combining them with a series of related exhibition posters. A visual timeline traces the historical context of the works, their thematic connections to contemporary events, and their significance for the programmatic development of the Kestner Gesellschaft. Past and present intertwine in a vibrant dialogue that offers impetuses for future perspectives and makes the relationships between art, institutions, and society tangible.

The posters and limited-edition works refer to the diverse thematic exhibitions and projects that address societal and artistic questions of recent years: Tenderness (2022) focused on sensitivity and vulnerability, Anabasis (2023) explored movement and return, and Between Past and Future (2024) addresses Hannah Arendt’s thoughts on social responsibility and memory.

Since its founding in 1916, the Kestner Gesellschaft has collaborated closely with artists to release limited editions several times a year. These works form an essential part of its activities and significantly contribute to the accessibility, promotion, and visibility of contemporary art. beyond now. Editions not only offers the opportunity to explore the history of the institution’s exhibitions and limited-edition works but also to purchase these works.

In addition to historical works, the exhibition presents two new limited-edition works: Paloma Varga Weisz displays bronze sculptures from her series Wild People (2024), inspired by mythical and archetypal figures. And Monilola Olayemi Ilupeju presents her handmade book BloodLetter (2024), which interweaves personal stories in poems, essays and journal entries.

Environmental issues are an important concern for the Kestner Gesellschaft. The exhibition was designed for sustainability by using only existing interior equipment. This concept reflects a responsible approach to resource management and underscores the institution’s endeavor to address current challenges not only thematically but also practically.

Curator: Alexander Wilmschen

KESTNER GASELLSCHAFT

Goseriede 11, 30159 Hannover

www.kestnergesellschaft.de