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Verena–Conzett–Strasse 7
8004 Zurich
Thu & Fri 2 - 6, Sat 12 - 4

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Newsletter

May 2018

  • tsukikawa 1/2018
  • Inkjet printing
  • Edition of: 40
  • Size of image: 34,00 cm x 51,50 cm
  • Size: 41,80 cm x 59,40 cm
  • Production: Beat Blumer, Fine Art Studio, Uster
  • CHF 600.00
  • Sold
  • Inquiry
  • tsukikawa 2/2018
  • Inkjet printing
  • Edition of: 40
  • Size of image: 34,00 cm x 51,50 cm
  • Size: 41,80 cm x 59,40 cm
  • Production: Beat Blumer, Fine Art Studio, Uster
  • CHF 600.00
  • Sold
  • Inquiry
  • tsukikawa 3/2018
  • Inkjet printing
  • Edition of: 40
  • Size of image: 34,00 cm x 51,50 cm
  • Size: 41,80 cm x 59,40 cm
  • Production: Beat Blumer, Fine Art Studio, Uster
  • CHF 600.00
  • available
  • Inquiry

Series

  • Alle 3 Arbeiten (1 - 3) 2018
  • Edition of: 40
  • Production: Beat Blumer, Fine Art Studio, Uster
  • CHF 1400.00
  • Sold
  • Inquiry

With the pictures of Annelies Štrba we move in another world, in a world of "uncompromising beauty". A garden, a meadow, a mountain. We immerse ourselves in beguiling colours, let ourselves be seduced: violet, green, orange, pink and then, then, the intoxication of colour is followed by a sobering image in brittle black and white. The third leaf forms a strong contrast, but also intensifies the breathtaking colours of the first two leaves. A small bridge at the back left of the first illustration is reminiscent of Claude Monet's "Pont japonais". The elevation on the third work is the famous Japanese mountain/volcano Fuji.
"It is important to me that with the processing I get exactly the picture I imagine inside: It is always said that photography is painting with light, but you don't see that in normal photography, there you have black and white, light and shadow - only with the processing I can bring out the light I imagine and thus really work with light: I take something and make something else out of it, [...]." (Annelies Štrba in an interview with Rudolf Velhagen, catalogue "Summerending. Collaboration Adrian Schiess & Annelies Štrba", Museum Langmatt, Baden 2011).

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  • Ballets Russes 1/2018
  • Serigraphy (behind glass), 2-coloured
  • Edition of: 21
  • Dimensions: 30,00 cm x 45,00 cm x 0,50 cm
  • Production: Lorenz Boegli, Müntschemier
  • CHF 600.00
  • available
  • Inquiry
  • Ballets Russes 2/2018
  • Serigraphy (behind glass), 2-coloured
  • Edition of: 21
  • Dimensions: 30,00 cm x 45,00 cm x 0,50 cm
  • Production: Lorenz Boegli, Müntschemier
  • CHF 600.00
  • available
  • Inquiry
  • Ballets Russes 3/2018
  • Serigraphy (behind glass), 2-coloured
  • Edition of: 21
  • Dimensions: 30,00 cm x 45,00 cm x 0,50 cm
  • Production: Lorenz Boegli, Müntschemier
  • CHF 600.00
  • available
  • Inquiry

Series

  • Alle 3 Arbeiten (1 - 3) 2018
  • Edition of: 21
  • Production: Lorenz Boegli, Müntschemier
  • CHF 1700.00
  • available
  • Inquiry

The dance begins on each glass with two triangles of the same colour: one in blue-violet, one in green and one in apricot. But the positions of the triangles are always different. Voilà, the basic forms with which the choreographer continues. Systematically, two colours are always overprinted, resulting in three variations (1 + 2, 1 + 3, 2 + 3). The blue-violet and the green are printed transparently, which leads to a darkening of the mixed colour. The apricot, a light skin tone, is applied semi-transparently as the first colour, resulting in brighter mixed colours. Finally, glass no. 2 is turned 180 degrees, which means even more movement in the arrangement.
This Ballets Russes production consists of three times a Pas de Deux, a pointed dance of triangles. But here we are far from a scandal like the one produced by the historical company of the Ballets Russes under Sergei Djagilew, for example, in Paris in 1913 (Le Sacre du Printemps). "Ballets Russes 1-3" by Dominik Stauch is a precisely choreographed dance with swirling triangles, with verve and a great lightness.

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  • suspended silence 1/2018
  • Lithography
  • Edition of: 35
  • Size of image: 30,00 cm x 22,00 cm
  • Size: 30,00 cm x 22,00 cm
  • Production: Thomi Wolfensberger, Zurich
  • CHF 440.00
  • available
  • Inquiry
  • suspended silence 2/2018
  • Lithography
  • Edition of: 35
  • Size of image: 30,00 cm x 22,00 cm
  • Size: 30,00 cm x 22,00 cm
  • Production: Thomi Wolfensberger, Zurich
  • CHF 440.00
  • available
  • Inquiry
  • suspended silence 3/2018
  • Lithography
  • Edition of: 35
  • Size of image: 30,00 cm x 22,00 cm
  • Size: 30,00 cm x 22,00 cm
  • Production: Thomi Wolfensberger, Zurich
  • CHF 440.00
  • available
  • Inquiry
  • suspended silence 4/2018
  • Lithography
  • Edition of: 35
  • Size of image: 30,00 cm x 22,00 cm
  • Size: 30,00 cm x 22,00 cm
  • Production: Thomi Wolfensberger, Zurich
  • CHF 440.00
  • available
  • Inquiry

Series

  • Alle 4 Arbeiten (1 - 4) 2018
  • Edition of: 35
  • Production: Thomi Wolfensberger, Zurich
  • CHF 1600.00
  • available
  • Inquiry

At first glance, there is a very long way between the works for Edition VFO from 2007 (Sara,Claudia, Nadja, embroidery on fabric) and the new lithographs. Peculiar portrait-like figures on the one hand, and colored, geometric surfaces that slide against and over each other on the other. They are abstract compositions in which "building blocks" form foreground and background, but still remain two-dimensional. The sheets are strictly composed, but without sterile perfection: with a generous nonchalance, edges overlap, triangle tips barely miss each other, colored areas tilt towards the edge into the "dirty". What do the embroideries of 2007 and the lithographs of 2018 have in common? Perhaps it is the haptic aspect that has always been important in the work of Loredana Sperini. It's the seduction to touch the fabric or the leaf, to want to perceive the structure or even the colour even more sensually. The new lithographs offer a wonderful opportunity to (visually) surrender to this pleasure.

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  • Yazd, 2018
  • Direct flat printing/lithography, 3-colour
  • Edition of: 40
  • Size: 48,00 cm x 60,00 cm
  • Production: Thomi Wolfensberger, Zurich
  • CHF 640.00
  • Sold
  • Inquiry

With big steps a girl marches through the picture, straight into the back left corner. The walls are in shadow, there is a bright field of light on the floor. The child's body does not cast a long shadow, the sun is at its zenith. Where does this High Noon scene take place? Is it a courtyard in Zurich, the Castel del Monte in Puglia? Is it a stage or everyday life? "All the world's a stage" and therefore both. The original is a photograph taken by Shirana Shahbazi on a trip to Iran.
What is stopping us from saving and forgetting this leaf in mint green and coral red as a travel memory? The protagonist shows us her back, runs purposefully and confidently out of the picture and gives us hope that she can always go her way purposefully, whether in Zurich, Apulia or Tehran.

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  • Ohne Titel, 2018
  • Kelim (wool: spun, dyed, woven)
  • Edition of: 7
  • Size of image: 220,00 cm x 150,00 cm
  • Production: Karavan Halicilik, Konya (Turkey)
  • CHF 5000.00
  • available
  • Inquiry

In its anniversary year, Edition VFO explores new territories (keyword: He who rests, rusts) and for the first time brings out an edition with a carpet.
Five years ago, Patricia Bucher began to be interested in kelims. Originally, these flat woven carpets were made by Anatolian nomads. During a two-month journey through Turkey and Iran, she had the opportunity to study these objects, which are deeply rooted in their respective cultures, in depth. She researched their production, distribution, formal language and daily use. She was fascinated by the high degree of abstraction and the richness of meaning of the symbols generated over the centuries and developed her own formal visual language, which is not only based on the symbols of kelims, but has been successively expanded by simple forms and signs, primitive writing systems and (historical) symbols of various origins such as emblems, signs and pictograms. The integration of these elements into more complex abstract compositions also plays a decisive role in her works.
Patricia Bucher works together with a kelim producer from Konya (Turkey) whom she met during research on site.

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