Ildegarda Scheidegger – författare

Best known as the photographer for the 1990s “Marlboro Man” (as appropriated by Richard Prince), Hannes Schmid (born 1946) has been active for decades in various genres of photography--principally fashion, rock and documentary. Early on in his career, Schmid blurred the boundaries between commissioned projects and personal work, and by the 1970s, was focused simultaneously on documenting cannibal folk culture in Indonesia and making classic portraits of bands such as Kraftwerk, Queen, Blondie, Depeche Mode and AC/DC. The latter body of work, done between 1978 and 1984, effectively tells the story of rock music between these years; Schmid spent the best part of a decade on tour with over 250 bands. Soon after, he entered the worlds of fashion and advertising photography, producing his famous icon--the Marlboro cowboy--in 1993, a figure that reached mass audiences and later percolated up to the contemporary art scene thanks to its adoption by Richard Prince, in the artist’s later series of Marlboro appropriations. In addition to his photographic projects, Schmid’s work also comprises films and installation projects. Real Stories is published to coincide with a retrospective at Kunstmuseum Bern, and includes a large selection of Schmid’s photographic works--400 of which are reproduced in color--along with essays that contextualize his work and address his position as an artist working inside photography.

Musô Soseki (1275-1351), one of the most important Zen patriarchs of the early fourteenth century in Japan, devoted his life to spreading Buddhist wisdom in his writings. As a member of the Gozan movement, he belonged to the literary elite and had a profound knowledge of Chinese und Japanese poetry. He left behind numerous calligraphies, among them those now housed in the temples Engakuji and Zuizenji in Kamakura and in Tenryûji and Saihôji in Kyoto. Musô signed many of his calligraphies with his pseudonym Bokutotsusô, which means «the wooden stutterer». Most of Musô’s calligraphies are composed in cursive script and deal with themes of particular interest to him, such as nature and religious education. This book examines how these themes relate to the different stages of Musô’s life. It also analyses his attitude toward calligraphy and the influence of other calligraphers on his artistic development. For this purpose, pivotal calligraphies that reveal Musô’s stylistic development, his aesthetics and underlying message as well as the trajectory of his life have been chosen for closer examination. The research for this book was conducted at the temples that were at the center of Musô’s activities. The first work to discuss Musô’s calligraphy in a Western language, this book offers insights into his texts together with illustrations of Musô’s brushwork.