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Verena–Conzett–Strasse 7
8004 Zurich
Switzerland

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Newsletter

February 2018

  • Ohne Titel 1/2017
  • Lithography
  • Edition of: 25
  • Size of image: 84,00 cm x 59,50 cm
  • Size: 84,00 cm x 59,50 cm
  • Production: Thomi Wolfensberger, Zurich
  • CHF 800.00
  • available
  • Inquiry
  • Ohne Titel 2/2017
  • Lithography
  • Edition of: 25
  • Size of image: 84,00 cm x 59,50 cm
  • Size: 84,00 cm x 59,50 cm
  • Production: Thomi Wolfensberger, Zurich
  • CHF 800.00
  • available
  • Inquiry

To be close to the invisible

Conscience grinds and sharpens the rough surface of a miserable reality.
Probing questions. Without sound and word into the morning.
Heavy tongues stumble over the false bottom of speechlessness.
Behind it diffuse breaking edges of a biography.
Rapture. Shock.
Too much noise, too much colour.
Nervous sensitivities paint illusions. Fragments of memory cling to a self-portrait and fill up a diffuse absence.
Shadowy longings.
A carelessly tidy life opens the abyss between what is and what could be.

Collected silence.
I want to be close behind the visible to the invisible.

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  • "Citrus/Ocean Blue", 2018
  • Light object (argon tubes, acrylic glass hood)
  • Edition of: 21
  • Dimensions: 26,00 cm x 70,00 cm x 11,50 cm
  • Production: Atelier Herdeg
  • CHF 3400.00
  • Sold
  • Inquiry

For the Edition VFO Christian Herdeg has again created a light object. Herdeg is the most famous (and only) artist in Switzerland who has dedicated himself exclusively to light art. A part of his work can also be described as coloured light painting.
The multiple "Citrus/Ocean Blue" is another work in the series "Light before Light", i.e. two different light sources, argon light tubes, are mounted one behind the other: Citrus and Ocean Blue. This composition results in the following "painting": in the middle an intense orange light, on the back wall of the box blue and on the wall violet light fields.
The light behaviour can be explained scientifically. Light is absorbed or emitted, there are laws of physics and chemistry. What the light triggers in the observer eludes strictly scientific criteria. Atmosphere, mood, memories, attraction, aesthetics come into play. Christian Herdeg leaves/gives the viewing person the sovereignty of interpretation, there is no fixation on religion, psychology, politics, colour theory etc. The object - with an acrylic glass cover protecting the light sources - thus becomes a "light container", a "Luxarium", for individual revelations.

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  • Chaviolas 1/2018
  • Carbon pigment inkjet printing
  • Edition of: 35
  • Size of image: 18,00 cm x 27,00 cm
  • Size: 29,70 cm x 38,20 cm
  • Production: Ursula Heidelberger, Zurich
  • CHF 440.00
  • Sold
  • Inquiry
  • Chaviolas 2/2018
  • Carbon pigment inkjet printing
  • Edition of: 35
  • Size of image: 18,00 cm x 27,00 cm
  • Size: 29,70 cm x 38,20 cm
  • Production: Ursula Heidelberger, Zurich
  • CHF 440.00
  • Sold
  • Inquiry
  • Chaviolas 3/2018
  • Carbon pigment inkjet printing
  • Edition of: 35
  • Size of image: 18,00 cm x 27,00 cm
  • Size: 29,70 cm x 38,20 cm
  • Production: Ursula Heidelberger, Zurich
  • CHF 440.00
  • available
  • Inquiry

Series

  • Alle 3 Arbeiten (1-3/(2018)
  • Edition of: 35
  • Production: Ursula Heidelberger, Zurich
  • CHF 1200.00
  • available
  • Inquiry
  • Last series available

The present Chaviolas prints are the third series of pictures of the Upper Engadine published by Edition VFO (Chaviolas is the name of a wooded island in Lake Sils). Heliogravures and direct flat prints are now followed by carbon pigment inkjet prints. The photographic exploration of the Sils landscape is a long-term study by Barbara Heé. With lake, mountain, forest, snow and moon, the most important elements are reassembled. While the earlier editions were mirrored panoramic views, the new works show silhouette-like contrasts (1 and 3) and a hazy blur (2). The moods of the landscapes have become darker, but they remain sublime and mysterious. They are timeless images. Nature, as we know, is unpredictable and dangerous, but we cannot help but search for the poetic in the pictures and thus give in to the longing for the "untouched", paradisiacal landscape.
"When Barbara Heé invites us to immerse ourselves in her long-term project 'Chaviolas', she allows us to participate in an aesthetic and philosophical process of questioning, negating and synthesizing. The research leads from inside to outside - and back again. We will witness how she explores the 'breathing space of trust', searches nature for orders and rhythms, traces certain structures and allows her images to become resonating bodies of this sounding world." (Claudia Jolles, from: Barbara Heé, Chaviolas, Publisher Lars Müller, 2010)

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  • "On The Town" 1/2017
  • Lithography
  • Edition of: 30
  • Size: 51,00 cm x 42,00 cm
  • Production: Felix Bauer, Cologne
  • CHF 600.00
  • available
  • Inquiry
  • "On The Town" 2/2017
  • Lithography
  • Edition of: 30
  • Size: 51,00 cm x 42,00 cm
  • Production: Felix Bauer, Cologne
  • CHF 600.00
  • available
  • Inquiry
  • "On The Town" 3/2017
  • Lithography
  • Edition of: 30
  • Size: 51,00 cm x 42,00 cm
  • Production: Felix Bauer, Cologne
  • CHF 600.00
  • available
  • Inquiry
  • "On The Town" 4/2017
  • Lithography
  • Edition of: 30
  • Size: 51,00 cm x 42,00 cm
  • Production: Felix Bauer, Cologne
  • CHF 600.00
  • available
  • Inquiry

Series

  • Alle 4 Arbeiten (1-4/(2017)
  • Edition of: 30
  • Production: Felix Bauer, Cologne
  • CHF 2000.00
  • available
  • Inquiry

The British artist Richard Deacon is known for his sculptural works in ceramics, steel, aluminium and wood. In 2015 the Kunstmuseum Winterthur showed a large exhibition of his work ("On The Other Side").
He has now created four lithographs for the Edition VFO. "On The Town" 1-4 show hatchings, patterns, structures and "Gestalt" in black, blue, red and green. The artist was inspired - as the title suggests - by an urban landscape. Deacon sees in the four sheets urban, unlimited surfaces without horizons. By this, however, he means not only architecture, but also the hustle and bustle of the city. "To be on the town" also means being (in the city) in the exit, partying, partying.
With rhythmically set strokes or an unseparated line, Deacon evokes a view of the unrestrained city: angular, soft, hard. The barely noticeable, slight blurring of works 2 and 4 is caused by the double pressure of the chalk drawing (1x coloured, 1x black). A soft flickering becomes perceptible.
For the British artist London is THE city. It is said: "Who's tired of London, is tired of life" (whoever finds London boring, finds life boring). The graphics are a (silent) force of movement and life and, as with London, you can't get enough of it.


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