Stefan Zweifel – författare
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4 produkter
4 produkter
Inbunden, Engelska, 2023
611 kr
Skickas inom 3-6 vardagar
Inbunden, Tyska
535 kr
Skickas inom 3-6 vardagar
Inbunden, Engelska, 2025
565 kr
Skickas inom 3-6 vardagar
This book brings to life the artistic and literary community that flourished in Carona, Ticino, from 1968 to 1978. Centered on Swiss artist David Weiss (1946–2012) and his circle of friends, it explores their works, processes, and the communal spirit that fueled artistic experimentation. In the 1920s–30s, Carona attracted figures like Maria Braun, Hermann Hesse, Karl Hofer, Kurt Kläber, Niklaus Stoecklin, Lisa Tetzner, and Lisa Wenger. From 1968 to 1978, Casa Aprile became a gathering place for a new generation of artists and writers. This publication examines the utopian dreams, artistic vitality, and spirit of the era through the work of David Weiss, Esther Altorfer, Anton Bruhin, Maria Gregor, Penelope Margaret Mackworth-Praed, Matthyas Jenny, Urs Lüthi, Meret Oppenheim, Iwan Schumacher, Peter Schweri, and Willy Spiller. Through essays by peers, curators, and critics— drawing from archival materials and oral histories—the book illuminates the artistic community’s legacy, historical context, origins, and evolution while presenting new scholarly findings. The Dream of Casa Aprile reconstructs this collaborative network in a visually rich, playful way, capturing the period’s essence.With texts by Bice Curiger, Stephan Kunz, Virginia Marano, Andreas Schwab, and Stefan Zweifel, and a preface by Tobia Bezzola. Co-published with MASI Lugano in conjunction with the exhibition David Weiss. The Dream of Casa Aprile: Carona 1968–1978 (Sept 28, 2025–Feb 1, 2026). This publication is available in an Italian/German and an Italian/English edition.
Inbunden, Engelska, 2020
595 kr
Tillfälligt slut
During the tumultuous mid-1970s in Zurich, two highly provocative exhibitions at the Städtische Galerie zum Strauhof served as groundbreaking cultural experiments. In 1975, declared International Women’s Year by the UN, professional and amateur women artists expressed themselves in a 35-member “creative-feminist” collective. The show Frauen sehen Frauen (“Women See Women”) was anarchic and rebellious in form, a motley mix of theatrical installation, “cabinet of intimacy” and educational circuit. The object was to provoke a critical examination of the everyday lives of women and prevailing gender roles. One special attraction was Panzerknackerballet (“Tank-Buster Ballet”), a feminist choreography by Katharina Steffen, performances of which continued into the following year. In the spring of 1980, the young art and punk music scene presented the fruits of a brand new self-conception to an astonished cultural establishment. Fueled by the experiences of new urban pop culture, the show Saus & Braus, Stadtkunst (“Living It Up, Urban Art”) sought to confront staid Swiss society with modern conceptions of culture. Both shows drew huge crowds and sparked widespread controversy in the press—and they launched the career of curator Bice Curiger. Ausbruch & Rausch is an extended retrospective of those two iconic shows, including copious photographic and printed documentation, interview transcripts and essays, published in connection with the Strauhof’s exhibition Ausbruch und Rausch – Frauen, Kunst und Punk.