WANAFOTO: Zurich

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07/10/25

Wolfgang Laib @ Kunsthaus Zürich - Exposition "Toucher l'essentiel" - Oeuvres de Wolfgang Laib et de la collection du musée

Wolfgang Laib. Toucher l’essentiel

Kunsthaus Zürich

3 octobre 2025 - . . .

Wolfgang Laib en train de tamiser du pollen de

noisetier, 2013

Installation au Museum of Modern Art, New York

Wolfgang Laib

La montagne inaccessible, 2017

Pollen du noisetier, 600 x 700 cm

Installation au MASI, Lugano

Wolfgang Laib

Pollen du noisetier, 1992

Pollen du noisetier, 400 x 500 cm

Installation au MOCA - The Museum of Contemporary Art,

Los Angeles

Wolfgang Laib

Reishaus (Maison de riz), 1993/1994

Marbre blanc, riz, 32 × 40 × 125 cm

Collection Cristina et Thomas Bechtler

Le Kunsthaus Zürich présente actuellement, dans le cadre de la série «ReCollect!», une exposition organisée en collaboration avec l’artiste allemand Wolfgang Laib (*1950 Metzingen). Elle associe les créations de Wolfgang Laib et une sélection d’oeuvres issues de la collection du Kunsthaus Zürich. Wolfgang Laib, qui compte parmi les artistes majeurs de notre époque, a exposé dans nombre de musées, lieux d’exposition et bâtiments historiques prestigieux d’Europe, des États-Unis et d’Asie.

Depuis la fin des années 1970, Wolfgang Laib développe un langage artistique bien à lui. A partir de matériaux naturels tels que le pollen, la cire, le lait ou la pierre, il crée des oeuvres avec lesquelles il «révèle, par des gestes sculpturaux infimes, des espaces intérieurs infiniment vastes» soulignait Harald Szeemann.

Sur le plan du contenu, son art s’est développé sur fond de diverses traditions littéraires, philosophiques et spirituelles, surtout d’Europe et d’Asie. Sur le plan formel, Wolfgang Laib recourt à une esthétique claire et dépouillée, étroitement liée au développement de l’art moderne, principalement en Europe et aux Etats-Unis.

Ces dernières années, Wolfgang Laib a souvent exposé ses oeuvres dans d’importants édifices religieux d’Italie, où elles ont rencontré de l’architecture et des oeuvres d’art allant du 6e siècle à la Renaissance. Dans le cadre de «ReCollect!», ce type de rencontres «transhistoriques» se produit maintenant dans un contexte muséal: les oeuvres de Wolfgang Laib côtoient des chefs-d’oeuvre de la collection, du Moyen Âge au 20e siècle. Ces confrontations permettent de poser un regard neuf sur les deux volets de l’exposition: l’art de Laib et la collection du Kunsthaus.

Wolfgang Laib

Pierre de lait, 1987–1989

Marbre blanc, lait, 2 × 122 × 130 cm

Atelier de l’artiste, sud de l’Allemagne

Wolfgang Laib

Zikkurat, 2000

Cire d’abeille, structure en bois, 460 × 150 × 130 cm

Installation au Toyota Municipal Museum of Art,

Toyota City, Japon

Wolfgang Laib

Brahmanda, sans date

Granite noir indien, huile de tournesol, suie

Atelier de l’artiste, sud de l’Inde

Wolfgang Laib

Tombe près de Badami, sud de l’Inde, 2001

Gélatine argentique sur papier baryté, 40,6 × 30,4 cm

Collection privée

AVEC WOLFGANG LAIB DANS LA COLLECTION DU KUNSTHAUS ZÜRICH

L’exposition se tient au premier étage du bâtiment Müller, un espace qui sera systématiquement utilisé dans les années à venir pour créer des dialogues entre la collection et l’art contemporain. Wolfgang Laib connaît la collection du Kunsthaus depuis son enfance – ce lieu l’a marqué tout autant que le Musée Rietberg, qu’il a également souvent visité. Conformément au concept de «ReCollect!», Wolfgang Laib est à la fois artiste et commissaire. Il a préparé l’exposition en dialogue avec Philippe Büttner, conservateur senior de la collection, qui dès 2005 avait organisé une grande rétrospective consacrée à Wolfgang Laib à la Fondation Beyeler.

Wolfgang Laib

Blütenstaub von Haselnuss, 2020–2023

Installation view Kunsthaus Zürich, 2025

Photo: Franca Candrian, Kunsthaus Zürich

Wolfgang Laib

Schiffe, 2012

with Claude Monet, Le Bassin aux nymphéas, le soir, 1914/1922

Installation view Kunsthaus Zürich, 2025

Works Wolfgang Laib: © Wolfgang Laib,

Photo: Franca Candrian, Kunsthaus Zürich

Wolfgang Laib

Für einen anderen Körper, 1988/2025

Beeswax, wood construction

Installation view Kunsthaus Zürich, 2025

Photo: Franca Candrian, Kunsthaus Zürich

OEUVRES DE L’EXPOSITION

L’exposition présente une cinquantaine d’oeuvres centrales de Wolfgang Laib. Y figurent des oeuvres de presque tous les ensembles majeurs de son travail, notamment une grande oeuvre de pollen, un «Brahmanda» (grande sculpture ovoïde en pierre), une pierre de lait, une ziggourat (tour pyramidale à étages), une chambre de cire dans laquelle on peut entrer, des maisons de riz, un escalier en laque ainsi que d’autres sculptures, dessins et photographies.

Elles sont complétées par quelque 30 oeuvres de la collection du Kunsthaus Zürich datant du 14e au 20e siècle. Laib a procédé lui-même à leur sélection, et fait dialoguer ses travaux avec des oeuvres importantes de l’histoire de l’art. Parmi les oeuvres sélectionnées figurent des peintures de Fra Angelico (entourage), Matteo di Giovanni, Philippe de Champaigne, Heinrich Freudweiler, Ludwig Hess, Claude Monet, Ferdinand Hodler ainsi que des travaux d’Alberto Giacometti, Constantin Brancusi, Giorgio de Chirico, Max Ernst, Wassily Kandinsky, Verena Loewensberg, Piet Mondrian, Barnett Newman, Mark Rothko, Robert Ryman, Sophie Taeuber-Arp et Lee Ufan.

Touching the Essential. Wolfgang Laib and

the Collection of the Kunsthaus Zürich

Installation view Kunsthaus Zürich, 2025

Photo: Franca Candrian, Kunsthaus Zürich

Wassily Kandinsky

Schwarzer Fleck, 1921

Huile sur toile, 138 x 120 cm

Kunsthaus Zürich, 1947

Claude Monet

Meule au soleil, 1891

Huile sur toile, 60 x 100 cm

Kunsthaus Zürich, Acquisition du legs Otto Meister

grâce à une contribution du Crédit Suisse, 1969

Artiste inconnu, Jina Rishabha

Inde, Rajasthan, Chandravati, XIe/XIIe siècle

Marbre, dimensions totales: 161 × 57 × 25 cm

Musée Rietberg, collection Eduard von der Heydt

Photo: Rainer Wolfsberger, Musée Rietberg

Par ailleurs, l’exposition présente certaines oeuvres d’art asiatique qui ont également influencé le travail de Laib. Elles proviennent surtout d’Inde. On notera en particulier un important prêt du Musée Rietberg: une statue en marbre issue de la tradition jaïne indienne, dont la philosophie de non-violence a profondément marqué Wolfgang Laib. Elle représente Jina Rishabha, le premier des 24 grands maîtres du jaïnisme, et provient à l’origine d’un contexte architectural religieux et rituel.

WOLFGANG LAIB : UNE RELATION DE LONGUE DATE AVEC LE KUNSTHAUS ZÜRICH

La relation personnelle qu’entretient Laib avec le Kunsthaus Zürich est un élément central de l’exposition – tout comme celle qui le lie au Musée Rietberg. Ces deux institutions ont joué un grand rôle dans son évolution. Le Kunsthaus lui offre donc un cadre idéal pour nouer un dialogue vivant entre ses oeuvres et celles d’autres époques.

C’est aussi au Kunsthaus Zürich qu’a exercé, à partir de 1981, Harald Szeemann (1933-2005), conservateur de renom et compagnon de route de Wolfgang Laib. Harald Szeemann a apporté un soutien décisif à Wolfgang Laib et à son oeuvre. Dans un rapport annuel de la Zürcher Kunstgesellschaft, il écrivait à propos de l’artiste: « Wolfgang Laib n’est pas un Européen aux influences indo-tibétaines qui utilise le contexte de l’art; c’est plutôt un artiste résolument contemporain qui, par de minuscules gestes sculpturaux, révèle des espaces intérieurs immensément vastes. […] Ses oeuvres sont d’une beauté absolue et sans détour qui permet de respirer autrement. »

A l’intérieur du musée, les oeuvres de Wolfgang Laib dégagent une force spirituelle tranquille. Dans leur dépouillement radical, elles nouent un dialogue passionnant avec la collection – non pour la concurrencer, mais pour la compléter de leur présence intemporelle.

Un catalogue en allemand, reproduisant l’intégralité des oeuvres, paraît à l’occasion de l’exposition. Avec des contributions de Wolfgang Laib, Philippe Büttner, Johannes Beltz (directeur adjoint du Musée Rietberg), Mami Kataoka (directrice du Mori Art Museum de Tokyo) et la réimpression d’un texte de Harald Szeemann sur une oeuvre de Wolfgang Laib acquise en 1991 par le Kunsthaus Zurich.

KUNSTHAUS ZURICH

Heimplatz 1/5, 8001 Zurich

www.kunsthaus.ch

05/10/25

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

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

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

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

Chuck Close

Autoportrait, 1977

Eau-forte sur papier, 137 × 103,5 cm

Kunsthaus Zürich, 1978

Julie Mehretu

Untitled, 2006

Eau-forte et pointe sèche en couleur sur papier,

58,9 × 71,6 cm

Kunsthaus Zürich, 2006

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

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

17/09/25

Mary Heilmann @ Hauser & Wirth Zurich - Works on Paper

Mary Heilmann. Works on Paper

Hauser & Wirth Zurich

26 September – 20 December 2025

Mary Heilmann

Tea Garden, 1984

Watercolor on paper, 76.2 x 55.9 cm / 30 x 22 in

Photo: Thomas Müller

Courtesy the artist, Hauser & Wirth and 303 Gallery, New York

Mary Heilmann

Untitled Watercolor Study, ca. 1986-1988

Watercolor and pencil on paper, 12.7 x 17.5 cm / 5 x 6 7/8 in

Photo: Thomas Müller

Courtesy the artist, Hauser & Wirth and 303 Gallery, New York

Mary Heilmann returns to Hauser & Wirth’s Zurich gallery on Limmatstrasse with an exhibition of more than 30 drawings made between 1975 and 2005. Expanding on the artist’s exhibition of works on paper, ‘Daydream Nation’, at Hauser & Wirth New York last year, this presentation continues the recent in-depth exploration into Heilmann’s long-standing drawing practice and coincides with the release of a new publication from Hauser & Wirth Publishers, ‘Mary Heilmann. Works on Paper: 1973 – 2019’.

Raised in San Francisco and Los Angeles, Mary Heilmann (b. 1940) completed a degree in literature, before receiving her M.A. in ceramics and sculpture at the University of California, Berkeley. Only after moving to New York in 1968 did she begin to paint and in the early 1970s establish a drawing practice that continues to this day.

Ranging from watercolor studies to paintings on paper in their own right, ‘Mary Heilmann. Works on Paper’ brings together a selection of rarely and never-before-seen drawings that fluctuate in scale and materiality. The exhibition is a celebration of Heilmann’s talent for translating complex images and ideas into deceptively simple geometric forms and abstract gestural marks.

Mary Heilmann

Untitled Watercolor Study, ca. 1983-86

Watercolor and graphite on paper, 17.8 x 12.7 cm / 7 x 5 in

Photo: Genevieve Hanson

Courtesy the artist, Hauser & Wirth and 303 Gallery, New York

Mary Heilmann

Untitled Watercolor Study, ca. 1987-1989

Watercolor and pencil on paper, 27.9 x 21.6 cm / 11 x 8 1/2 in

Photo: Genevieve Hanson

Courtesy the artist, Hauser & Wirth and 303 Gallery, New York

Many of Heilmann’s most well-known and admired series – Fans, Chairs, Serapes, Grids – are represented in the installation as are drawings that have related works in important European museum collections. 'Untitled Watercolor Study' (ca. 1983 – 1986) is one of two drawings in the exhibition that are part of a series of works by Heilmann in tribute to the Dutch painter Piet Mondrian that includes ‘M.’ (1985), a painting in the collection of the Museum Kunstpalast. ‘Islands’, (1988), one of the larger watercolors on view, was made after ‘Laurens’ (1986), an oil on canvas in the collection of the De Pont Museum.

The works on view not only demonstrate Heilmann’s work serially but also her tendency to revisit and reimagine certain arrangements of form and color. Made 15 years apart, ‘Broken Study’ (2005) is a recompilation of an early red, black and white composition, ‘Untitled Watercolor Study’ (ca. 1989) and Heilmann’s web imagery seen in ‘Blue Net’ (1991).

As an artist known for working across mediums and for installations that playfully combine disparate works, the exhibition also includes a selection of ceramic ‘Spots’ and sculptural chairs.

Mary Heilmann: Works on Paper, 1973–2019

Text by Alexis Lowry, Jo Applin, Ilana Savdie

Hauser & Wirth Publishers

English Paperback, 26 x 20 cm; 152pp

16 September (UK, ROW & US)

An in-depth study of Mary Heilmann’s mesmerizing works on paper that explores drawing as a form of daydreaming and memory-making for the influential abstract painter.

Mary Heilmann’s works on paper are suffused with the same sensibility as her influential abstract paintings, a casual playfulness animating a rigorous attention to form and colour, resulting in joyful, evocative geometries. Their suggestive power reflects Heilmann’s process of what she calls ‘daydreaming’: a conjuring of the sights, sounds, and events of past and future travels, the cyclical nature of memory informing her return to various motifs across nearly five decades of work. Edited and with an introduction by curator Alexis Lowry, ‘Mary Heilmann: Works on Paper, 1973 – 2019’ includes an essay by art historian Jo Applin and a personal reflection by painter Ilana Savdie, all together offering a compelling account of this previously underexamined aspect of Heilmann’s practice.

Artist Mary Heilman

Considered one of the preeminent contemporary Abstract painters, Mary Heilmann is best known for incorporating a fusion of personal and cultural influences and craft traditions into an artistic practice including paintings, ceramics, and furniture.

Mary Heilmann is the subject of two major institutional exhibitions, ‘Mary Heilmann. Starry Night’ at Dia Beacon in Beacon NY and ‘Mary Heilmann. Water Way’ at Guild Hall in East Hampton, NY both close in October 2025. On view at the Whitney Museum of American Art until January 2026 is ‘Mary Heilmann: Long Line,’ a site-specific installation that celebrates the 10th anniversary of the opening of the Whitney Museum’s downtown building.

Her work is included in many prominent international collections, such as those of the Museum of Modern Art, New York; Whitney Museum of American Art, New York; and Museum Ludwig, Cologne, Germany.

HAUSER & WIRTH ZURICH

Limmatstrasse 270, 8005 Zürich

www.hauserwirth.com

11/09/25

Warhol/Cutrone @ Galerie Gmurzynska, Zurich - Exhibition curated by James Hedges

Warhol/Cutrone

Galerie Gmurzynska, Zurich

Through September 30, 2025

Warhol/Cutrone, an exhibition at Galerie Gmurzynska in Zurich, curated by James Hedges, juxtaposes Andy Warhol and Ronnie Cutrone, including paintings, drawings, and unique polaroids.

“Ronnie Cutrone was a painter and illustrator known for his Post-Pop imagery featuring cartoon characters like Woody the Woodpecker, Bart Simpson, and Bugs Bunny. Cutrone’s life and career make us remember New York at its creative apex. Reminiscing of another era, Cutrone said, “New York was elegant and sleazy. Now it’s a shopping mall for dot-commers. We need our crime rate back. I want my muggers and hookers back.” - James Hedges

Andy Warhol and his right-hand man Ronnie Cutrone were the perceived masters of Manhattan in the 1970s and 1980s.

Working in synergistic fashion with Andy Warhol, Ronnie Cutrone helped execute some of the artist’s most iconic silkscreens. The duo’s collaborations countenance: Hand Tinted Flowers (ca. 1972), Invisible Sculpture (1972-83), Drag Queens/Ladies and Gentlemen (1974-75), Oxidation (Piss Paintings) (mid-late 1970s), Sex Parts/Torso (mid-1970s), Hammer & Sickle (1976-1977), Skulls (1976-77), Gems (1978), Shadow Paintings (1979), and Butcher Knives, Guns, Dollar Signs (1982).

With Andy Warhol one special focus of this exhibition is on his unique polaroids. Many of Warhol’s polaroid photographs have never been exhibited before and feature stars such as Grace Jones, Joseph Beuys, Keith Haring, Lou Reed and Candy Darling. Cutrone’s three-dimensional photographs of the Factory, shown publicly as well for the first time ever, give a historic and unprecedented peek into Warhol’s circle.

While with Ronnie Cutrone the focus of this exhibition is on his cartoon-infused painting, sculpture and drawings which shocked the New York scene in the 1980s. These works garnered him major solo shows in the inaugural Post-Pop wave, whilst igniting debates over the sanctity of the American symbols such as the flag and Mickey Mouse. After 1983, when Ronnie Cutrone left Warhol’s Factory, he perused his independent art career which reached great heights, including highly lauded museum exhibitions at the Whitney, the Museum of Modern Art, and the L.A. County Museum of Art, amongst many others.

“One thing I picked up from Andy: say loud and clear because if the WHOLE world gets it, the art world will get it too.” - Ronnie Cutrone

Artist Ronnie Cutrone

Ronnie Cutrone (10 July, 1948 - 21 July, 2013) worked as Andy Warhol’s preeminent assistant from 1972 to 1982, though his collaborations with Warhol well preceded this. Ronnie Cutrone met Andy Warhol when he was only sixteen years old. Ronnie Cutrone, in 1966, joined the ranks of The Velvet Underground, formed by Lou Reed, John Cale, and Warhol, as a performer/dancer. Three years later, Ronnie Cutrone began writing as a columnist for Warhol’s Interview magazine, lauded for dovetailing reviews on avant-garde art exhibitions and features on celebrities, nightlife fixtures, and even politicians like Nancy Regan.

In 1972, Cutrone’s took up the mantle as Warhol’s apprentice, a post he maintained for the next decade. This was the zenith of Warhol’s international fame, and the Pop Art bastion took Ronnie Cutrone under his wing, entrusting Cutrone to, unlike Warhol’s other assistants, “work on the one thing he cared about the most, which was his art”. Although Ronnie Cutrone was, by this point, already burgeoning as a nascent artist of his own right—having assisted with programming John Giorno’s “Dial-A-Poem” at MoMA in the 1970 “Information” exhibition curated by Kynaston McShine.

Ronnie Cutrone’s responsibilities varied, ranging from conceptualizing Warhol’s subjects, mixing palettes, photographing live models and executing the silkscreen. Indeed, as the two artists ‘artistic relationship matured, the lines of influence became bi-directional. As philosopher, critic, and Warhol expert Arthur Danto observed in his biography, Andy Warhol (2009), “Cutrone played an important role in the later phase of Andy’s artistic career”.

During Cutrone’s time at Warhol’s Factory, he rubbed shoulders with Lou Reed, Jim Morrison, Jimi Hendrix, Mick Jagger, Grace Jones, Lucio Amelio, Jean-Michel Basquiat, Fred Hughes, VictorHugo, Paul Morrisey, Gerard Malanga, Anjelica Huston, Debbie Harry, Salvador Dali and Alice Cooper, amongst others. After long days and nights of helping Warhol at the Factory, Ronnie Cutrone would frequent artist hubs like Max’s Kansas City, drinking “all night with bob Rauschenberg, Larry Rivers, Malcolm Morlye and Robert Smithson” or unwinding at the Mudd Club.

GALERIE GMURZYNSKA

Paradeplatz 2, Zurich

www.gmurzynska.com

Warhol/Cutrone @ Galerie Gmurzynska, Zurich, June 14 – September 30, 2025

07/08/25

Rétrospective Suzanne Duchamp @ Kunsthaus Zürich

Rétrospective Suzanne Duchamp

Kunsthaus Zürich

Jusqu'au 7 Septembre 2025

Le Kunsthaus Zürich consacre à SUZANNE DUCHAMP la première rétrospective au monde. Ses compositions minimalistes et pourtant graphiquement marquantes, associées à des titres suggestifs comme «Usine de mes pensées», sont entrées dans l’histoire de l’art et néanmoins source d’inspiration jusqu’à nos jours. Malgré son appartenance à l’une des familles d’artistes les plus célèbres, son oeuvre est restée jusqu’à présent largement inconnue du grand public. Cette exposition, qui réunit des prêts exceptionnels provenant d’institutions publiques et de collections privées renommées, rend à Suzanne Duchamp la place de premier plan qu’elle mérite.

Dadaïste, peintre, SUZANNE DUCHAMP (1889, Blainville-Crevon – 1963, Neuilly-sur-Seine) a laissé à la postérité une oeuvre aux multiples facettes dont certains éléments figurent dans des collections réputées, mais qui pour l’essentiel est surtout appréciée d’un public d’initié(e)s. Duchamp entretenait des liens étroits avec les avant-gardes de son époque et a enrichi l’histoire de l’art d’apports très personnels. Soeur de Marcel Duchamp, de Raymond Duchamp-Villon et de Jacques Villon, elle échangeait beaucoup avec eux. En 1919, elle a épousé l’artiste suisse Jean Crotti, dont le Kunsthaus Zürich possède des oeuvres clés, et avec qui Suzanne Duchamp a occasionnellement coopéré. La dernière exposition d’ampleur consacrée aux deux artistes a eu lieu en 1983 au Centre Pompidou, à Paris, en coopération avec la Kunsthalle Bern. Il est donc grand temps de mettre à l’honneur le travail de Suzanne Duchamp et d’en montrer toute la profondeur. Par son langage visuel subtil, esthétique et plein d’humour, elle incarne une combinaison hors du commun dans le mouvement dadaïste. Quelle ville conviendrait mieux que Zurich, cité natale de Dada, pour enfin donner à cette artiste d’exception toute l’attention qu’elle mérite?

SUZANNE DUCHAMP : À LA FOIS ABSTRAITE ET FIGURATIVE

Dans son art, Suzanne Duchamp a exploré des voies variées. À Paris, dans le sillage du cubisme, elle commence par se pencher sur la fragmentation d’intérieurs intimes et de paysages urbains, avant de se tourner vers le mouvement Dada. Ses oeuvres associent peinture et poésie dans une démarche expérimentale qui joue avec différents supports et matériaux.

Même si sa peinture évolue de plus en plus vers l’abstraction dans les années 1910, Suzanne Duchamp reste toujours fidèle à certains repères visuels, renforcés par des titres énigmatiques. En 1922, pour des raisons diffuses, elle rompt inopinément avec Dada pour se tourner vers une peinture figurative aux accents souvent ironiques et naïfs.

Dans les décennies qui suivent, elle crée des oeuvres contenant un large spectre de motifs, qui se caractérisent par des expérimentations sur les pigments et par l’importance structurante du dessin. En 1949, son influente amie Katherine S. Dreier la qualifie de « peintre semi-abstraite » – ce qui est une formulation pertinente pour une oeuvre échappant à toutes les conventions de l’histoire de l’art.

UNE EXPOSITION INTÉGRANT LES TOUTES DERNIÈRES RECHERCHES

Cette rétrospective réunit les oeuvres dadaïstes de Suzanne Duchamp et des travaux datant de ses phases antérieures et postérieures de création. Talia Kwartler, commissaire invitée, a étudié pendant plusieurs années l’oeuvre de Suzanne Duchamp et soutenu une thèse de doctorat sur cette artiste au University College de Londres. En 2024, elle a été chargée de cours à l’université de Zurich sur le thème des femmes dans le mouvement Dada.

La détermination de Talia Kwartler a permis de transformer la présentation prévue en une vaste rétrospective, la première jamais consacrée à cette artiste, élaborée avec Cathérine Hug, commissaire au Kunsthaus et spécialiste du mouvement Dada. L’exposition s’inscrit ainsi dans la longue tradition des présentations de Dada organisées au Kunsthaus Zürich depuis 1966, et peut être considérée comme un événement majeur dans la recherche en histoire de l’art. Réunissant près de 50 tableaux, 20 travaux sur papier ainsi que des documents d’archives rares et des photographies d’époque, cette rétrospective offre une vue d’ensemble de toute l’oeuvre de Suzanne Duchamp. De nombreux travaux n’ont été redécouverts qu’au terme d’intenses recherches. Parmi les prêteurs figurent des institutions comme le MoMA de New York, le Philadelphia Museum, l’Art Institute de Chicago, le Centre Pompidou de Paris, la Bibliothèque nationale de France et la Bibliothèque littéraire Jacques Doucet à Paris, le Musée des Beaux-Arts de Rouen, mais aussi d’importantes collections privées comme la Bluff Collection et la collection de Francis M. Naumann et Marie T. Keller. Cette rétrospective a vu le jour en étroite collaboration avec l’Association Duchamp Villon Crotti.

SUZANNE DUCHAMP : PUBLICATION

À l’occasion de l’exposition, la première monographie consacrée à Suzanne Duchamp vient de paraître, avec de nombreuses reproductions. L’ouvrage comporte une biographie détaillée rédigée par Talia Kwartler, ainsi que des articles d’historiennes de l’art comme Carole Boulbès, Cathérine Hug et Effie Rentzou, auxquels s’ajoutent des perspectives artistiques de Jean-Jacques Lebel (interview) et Amy Sillman (images). La postface est signée Anne Berest, autrice de best-sellers. Cet ouvrage de 192 pages est paru aux éditions Hatje Cantz.

Cette rétrospective est une coopération avec la Kunsthalle Schirn de Francfort (10 octobre 2025 - 11 janvier 2026), où le commissariat est assuré par Ingrid Pfeiffer.

KUNSTHAUS ZURICH

Heimplatz, 8001 Zurich

www.kunsthaus.ch

Retrospective Suzanne Duchamp

Kunsthaus Zürich, 6 Juin - 7 Septembre 2025

28/06/25

Ed Clark: Paint is the Subject @ Hauser & Wirth Zurich - Exhibition Curated by Tanya Barson

Ed Clark: Paint is the Subject

Hauser & Wirth Zurich

13 June – 13 September 2025

Ed Clark in his studio, early 2000s

Courtesy the Estate and Hauser & Wirth

Ed Clark in Paris, 1954

Courtesy the Estate and Hauser & Wirth

Ed Clark

Untitled, ca. 1968

Acrylic on shaped canvas

294 x 408.3 x 4.1 cm / 115 3/4 x 160 3/4 x 1 5/8 in

Photo: Fredrik Nilsen

Courtesy the Estate and Hauser & Wirth

Ed Clark

Untitled, 2002

Acrylic on canvas

170.2 x 239.1 cm / 67 x 94 1/8 in

Photo: Sarah Muehlbauer

Courtesy the Estate and Hauser & Wirth

Hauser & Wirth Zurich, Limmatstrasse presents ‘Ed Clark. Paint is the Subject,’ the first solo exhibition in Switzerland dedicated to this pioneering American abstractionist. Curated by Tanya Barson in close collaboration with the artist’s estate, the exhibition brings together key works spanning seven decades, offering a comprehensive overview of Clark’s groundbreaking practice. The exhibition features a broad selection of his dynamic large-scale paintings and works on paper, as well as early works and an example of his use of the shaped canvas. The presentation is complemented by archival photographs and documents that provide biographical and historical context, tracing the evolution of his innovative approach and lasting impact on modern painting

Ed Clark remained under-acknowledged for much of his career, but he received late recognition in his lifetime, a recognition that continues to grow. A member of the New York School, Ed Clark contributed towards redefining abstraction in the 1950s with two characteristic features—the deployment of the shaped canvas, and his unconventional use of a household broom to create sweeping, gestural compositions—the show’s title coming from a quote by the artist indicating the centrality of his medium to his work. Stylistically, his work bridges the physicality and spontaneity of Abstract Expressionism with the structured clarity of hard-edged abstraction, cementing his significance in postwar painting.

Born in New Orleans in 1926 and educated in Chicago and Paris, he travelled widely throughout his career, each location, its light and palette, impacting his work. Ed Clark maintained close ties to Europe, living between New York and Paris from the 1960s onward. His aesthetic was shaped by the influence of European artists such as Nicolas de Staël and Pierre Soulages, while his artistic and intellectual circles included Joan Mitchell, Barbara Chase-Riboud, Beauford Delaney, Jack Whitten and James Baldwin, among others.

Ed Clark’s early work was figurative, exemplified in the Zurich exhibition by ‘Standing Woman at the Chair’ (1949–50), before shifting toward abstraction in the early 1950s. During his time in Paris, he explored abstract form. His painting ‘Untitled’ (1954) encapsulates this early period. Immersed in the French contemporary art scene, Ed Clark came to believe that the true essence of painting lies not in realistic representation, but in the expressive application of paint, explored for its own sake: ‘I began to believe […] that the real truth is in the stroke. For me, it is large, bold strokes that do not refer distinctly to seen nature. The paint is the subject. The motions of the strokes give the work life. This began to enter into my paintings in a very personal way.’

Back in New York, Ed Clark continued to innovate. In 1956, he began exploring shaped canvases and supports, which can be considered one of the earliest investigations within American abstract modernism, predating the shaped works of Frank Stella, Ellsworth Kelly, Al Loving and Sam Gilliam. He later experimented with oval canvases, first conceived during a stay at Joan Mitchell’s house in Vétheuil, France, in 1968. Works on view in Zurich such as ‘Untitled’ (1970) and ‘Silver Stripes’ (1972) reflect this development, the ellipse motif and the oval support in his work aimed at expanding the field of vision, enhancing the immersive qualities of the canvas.

Ed Clark

Untitled (Acrylic #1 from the series Louisiana), 1978

Acrylic on canvas

168.9 x 233.7 x 1.9 cm / 66 1/2 x 92 x 3/4 in

Photo: Matt Grubb

Courtesy the Estate and Hauser & Wirth

Clark’s use of the broom began in Paris and evolved significantly in New York. By the mid-1960s, he was laying his canvases on the floor and using large brooms to deliver sweeping horizontal strokes that captured speed and motion. His gestural language and ever greater emphasis on the brushstroke became central to his practice. A key highlight of the show is ‘Untitled (Acrylic #1 from the series Louisiana)’ (1978), where Ed Clark uses acrylics to capture the palette of the landscape of the Southern United States. Dividing the canvas into three sections—evoking earth, air, and water—he applied paint with broom, brush, and by hand, translating these environmental elements into abstract form. His choice of colors, ranging through pinks, blues, and beiges, deepens the specific sense of atmosphere evoking the landscape of his early childhood, and his return there to teach at Louisiana State University in the late 1970s.

Ed Clark

Untitled, ca. 1990s

Acrylic on canvas

139.1 x 179.1 cm / 54 3/4 x 70 1/2 in

Photo: Sarah Muehlbauer

Courtesy the Estate and Hauser & Wirth

As the 1980s progressed, Ed Clark began exploring a new compositional approach he termed his tubular paintings, first seen in the series of ‘Broken Rainbow’ works. These supplanted the structures of narrow horizontal lines he employed in the previous decade, with curved strokes that introduced a suggestion of rotation as in ‘Untitled’ (ca. 1990s). In later works such as ‘Untitled’ (2002), Ed Clark continues this exploration through broad, sweeping gestures and a looser, more fluid structure that became characteristic of his later style.

The Zurich exhibition provides a rare opportunity to experience the full scope of Clark’s practice, placing him in relation to diverse histories of abstraction and highlighting the enduring relevance of his work. It emphasizes how for Ed Clark abstract art represented a greater truth than any realist depiction of the world and that for him ‘paint is the subject.’

Several works by Ed Clark are also currently on view at the Centre Pompidou in Paris as part of the exhibition ‘Paris Noir: Artistic circulations and anti-colonial resistance, 1950 – 2000’ at the Centre Pompidou (19 March – 30 June 2025), which explores the presence of black artists in France. His inclusion highlights the important African American diaspora working in Paris and the long-standing influence of Europe on his practice, situating his work within broader transatlantic narratives.

HAUSER & WIRTH ZURICH

Limmatstrasse 270, 8005 Zurich

www.hauserwirth.com

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Ed Clark

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Beyond the Spectrum: Abstraction in African American Art, 1950-1975

Michael Rosenfeld Gallery, New York, January 11 – March 8, 2014

10/06/24

Philip Guston @ Hauser & Wirth Zurich - "Philip Guston. Singularities" Exhibition

Philip Guston. Singularities

Hauser & Wirth Zurich

7 June – 7 September 2024

Philip Guston in his Woodstock studio, 1970

Photograph by F. K. Lloyd

Image courtesy of The Guston Foundation and Hauser & Wirth

Philip Guston

Painter’s Forms, 1972

Oil on panel

121.5 x 152.2 x 2.3 cm / 47 7/8 x 59 7/8 x 7/8 in

125.6 x 156.5 x 5 cm / 49 1/2 x 61 5/8 x 2 in (framed)

Courtesy the Estate of Philip Guston and Hauser & Wirth

Photo: Christopher Burke

Philip Guston

Feet on Rug, 1978

Oil on canvas

203.2 x 264.2 cm / 80 x 104 in

206.7 x 268.3 x 5.1 cm / 81 3/8 x 105 5/8 x 2 in

(framed)

Courtesy the Estate of Philip Guston and Hauser & Wirth

Photo: Christopher Burke

‘I really only love strangeness.’ – Philip Guston

Hauser & Wirth Zurich presents an exhibition of late figurative PHILIP GUSTON paintings dated between 1968 and 1979 at the gallery’s second floor Limmatstrasse space. Curated in collaboration with Musa Mayer, the artist’s daughter and President of The Guston Foundation, ‘Philip Guston. Singularities’ presents well-known paintings alongside never-before exhibited works that explore the liberated motifs and instinctual forms that emerged in Philip Guston’s late works as they continued to evolve until his death in 1980. This exhibition in Zurich follows the major retrospective ‘Philip Guston’ at the Tate Modern, which closed in February 2024.

Excerpt from Musa Mayer’s guide to the exhibition:

The strange forms that inhabit the 12 paintings in this exhibition of Philip Guston’s late works are intensely personal and packed with imagery that haunted the artist throughout his painting life. Yet they also speak to us in a metaphysical language that resists analysis, but that we grasp deeply, intuitively.

When asked, Guston would resist interpretating the iconic symbols that appeared in his paintings. He would respond that he, too, was mystiﬁed by these inexplicable forms, these singularities. ‘If I speak of having a subject to paint,’ he wrote, ‘I mean there is a forgotten place of beings and things, which I need to remember. I want to see this place.’

From this forgotten place emerge the artist’s singular responses to the beauty, pain and cruelty of the world, to the intimacies of his daily life, love and the passage of time and loss. These works are neither cerebral nor removed; they are timeless. And they feel alive, as if freshly painted. Complex surfaces disclose an exuberant love of the act of painting itself, Guston’s fidelity to an ancient process cultivated over a lifetime of close observation and rigorous interrogation of the art he loved and the necessity of painting.

Philip Guston

Untitled, 1979

Oil on canvas

122 x 107 cm / 48 x 42 1/8 in

126 x 111 x 5.5 cm / 49 5/8 x 43 3/4 x 2 1/8 in (framed)

Courtesy the Estate of Philip Guston and Hauser & Wirth

Photo: EPW Studio - Ellen Page Wilson

Philip Guston

Future, 1978

Oil on canvas

213 x 272 cm / 83 7/8 x 107 1/8 inches

216 x 275 x 5 cm / 85 x 108 1/4 x 2 inches (framed)

Courtesy the Estate of Philip Guston and Hauser & Wirth

Photo: Jon Etter

Philip Guston

Untitled, 1969

Acrylic on panel, 76.2 x 101.6 cm / 30 x 40 in

Courtesy the Estate of Philip Guston and Hauser & Wirth

Photo: Sarah Muehlbauer

The exhibition opens with ‘Painter’s Forms’ (1972), one of Philip Guston’s masterpieces and according to the art historian Dore Ashton a ‘true distillation of Guston’s late oeuvre into a single painting.’ A few of his most familiar objects spew out of the painter’s mouth against a washed-out pink background: a boot, a bottle, a cigarette, the sole of a shoe, the top of an easel and a nameplate bearing his initials. It is a painting about the act of painting.

In many of these enigmatic late works, the distinction between interior and exterior space largely disappears, as domestic elements merge with outdoor scenes. In the allegorical landscapes in which these strange dramas unfold, Philip Guston’s signature cadmium red medium dominates the lower terrain, while the upper sections are a tranquil cloudless blue.

In ‘Feet on Rug’ (1978), two feet are stranded in a barren red landscape against a sky-blue horizon, standing on a rug whose fringes morph into crawling insect legs. The bug-amoeba form is echoed in ‘Future’ (1978), where it appears to rotate alongside a snail like creature as a despairing human figure sinks into a postapocalyptic ground or sea. In ‘Untitled’ (1969)—one of the never-before exhibited paintings—an earlier version of this snail form, nautilus-chambered, curls its way into a cozy but colorless domestic interior.

In a 1972 slide talk, Philip Guston told students that when he returned to Italy after first exhibiting his late work, he wanted to see the paintings of the past that he loved. But not for their beauty.

‘I wanted to see early frescoes of Last Judgments and end-of-the-world paintings. Particularly Romanesque paintings and Sienese fresco painters who paint huge, marvelous frescoes of the damned, all the tortures in hell, and so on. Heaven is always very dull, just a lot of people lined up. Like trumpets, they’re all lined up. There’s not much to look at. But when they’re going to hell the painter really goes to town. All kinds of marvelous stuff. That’s when they really enjoyed painting. I feel we live in comparable times. Oh yeah, and I want to paint that. I don’t want to copy, but I feel that’s the big subject matter. I don’t know how it’s going to come out. Well, I’ve begun. I’ve begun with this story.’

Philip Guston

Door and Room, 1978

Oil on canvas

203.2 x 292.1 cm / 80 x 115 in

Courtesy the Estate of Philip Guston and Hauser & Wirth

Photo: Sarah Muehbauer

Philip Guston

Aegean, 1978

Oil on canvas

172.7 x 320 cm / 68 x 126 in

176.5 x 322.9 x 5.7 cm / 69 1/2 x 127 1/8 x 2 1/4 in (framed)

Courtesy the Estate of Philip Guston and Hauser & Wirth

Photo: Genevieve Hanson

‘Door and Room’ (1978), on view for the first time, suggests a story of forced entry into the artist’s studio. The realities of the world intrude into his sanctuary, leaving the artist as witness to perpetual acts of war. The red and black scene is relieved only by the narrow strip of blue at the top, like a slight breath of air or a hope for peace. Yet in the bloody field of combat are unmistakable signs of a painterly, exuberant celebration of dynamic form and color.

A demonstration of Philip Guston’s ability to introspectively capture the struggles of his time with meticulous composition and nuanced detail is ‘Aegean’ (1978). In this large painting, the convergence of outstretched hands, arms and shields in the form of trash can lids recalls his early work from the ‘40s, in which he depicted childhood street fights that mimicked the theatrics of warfare. But these games are clearly more than child’s play; they are precursors of war. The late Philip Guston addresses the inherent nature of violence as it manifested in the political turmoil of his era, evoking the Holocaust, the Vietnam War and the civil unrest that permeated the late 1960s. Expanding on this theme, Guston’s ‘Untitled’ (1979)—made in the last year of his life—can also be understood as an allegory of human struggle. Shields float in the void, creating a bizarre scene that oscillates between violence and humor. Philip Guston said, ‘I wanted to include everything. I felt, like everybody, disturbed about everything to such an extent that I didn’t want to exclude it from the studio, from what I did. Paint it. I didn’t think I was illustrating anything.’

Philip Guston’s late paintings retain a mysterious quality and all are driven by the artist’s desire to tell stories that not only reflect his state of mind but also provide insights into the social and political climate of his time. When seen together, they show the singular depth and complexity of his rich personal iconography.

Related posts:

Philip Guston Now, National Gallery of Art, Washington, DC, March 2 – August 27, 2023

Philip Guston - Late Paintings, Peder Lund, Oslo , September 20 - November 8, 2014

Philip Guston: Works on Paper, The Morgan Library & Museum, New York, May 2 - August 31, 2008

Philip Guston: Mind and Matter, McKee Gallery, New York, November 11 - December 23, 2003

Hauser & Wirth Zurich, Limmatstrasse

Limmatstrasse 270, 8005 Zürich

www.hauserwirth.com