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Newsletter

March 2020

  • «House to Watch the Sunset» (Weissgold), 2020
  • Aquatint with gold leaf
  • Edition of: 39
  • Size: 39,00 cm x 39,00 cm
  • Production: Arno Hassler, Moutier
  • CHF 1000.00
  • Sold
  • Inquiry

In the now fourth collaboration of Edition VFO with the Grisons artist Not Vital, a well-known sculptural-architectural narrative of the artist is translated into the two-dimensional plane by means of aquatint and white gold.

The "House to Watch the Sunset" has already been built on three continents. Not Vital's working method was described in a recent monograph with the term "SCARCH", a neologism composed of the words "sculpture" and "architecture". The term refers to the artistic and architectural living spaces created by the artist, which serve both a social and a transcendental purpose, in this case the observation of the sunset.

For Not Vital, the importance of symbolism lies in signs, numbers and local materials, such as wood, clay, aluminium or gold, with which his works are made. It is not without reason that the sheet was published in the dimensions of 39 x 39 cm and an edition of 39, as the three floors of the house are each approached by three staircases, each with 13, 26 or 39 steps.

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  • «Ohne Titel 2», 2019
  • Lithography on BFK Rives
  • Edition of: 17
  • Size: 52,00 cm x 77,00 cm
  • Production: Thomi Wolfensberger, Zurich
  • CHF 700.00
  • available
  • Inquiry
  • «Ohne Titel 3», 2019
  • Lithography on BFK Rives
  • Edition of: 17
  • Size: 107,00 cm x 77,00 cm
  • Production: Thomi Wolfensberger, Zurich
  • CHF 800.00
  • available
  • Inquiry
  • «Ohne Titel 1», 2019
  • Edition of: 17
  • Size: 40,00 cm x 52,00 cm
  • Production: Thomi Wolfensberger, Zurich
  • CHF 500.00
  • available
  • Inquiry

Rebekka Steiger's painting is a classic ontological undertaking by a storyteller who takes us into strange and colourful dream worlds. Sometimes flowery, sometimes scary, her paintings are characterized by a dialectic of simultaneous movement and statics.

The artist's first three lithographs, which were created in a workshop with Thomi Wolfensberger, show different color palettes analogous to her painting. Between light yellow and black, the landscapes and plains oscillate with protagonists who, in their abstraction, can also be a shadow of themselves.

Here Steiger has skilfully transferred the gesture of her painting into lithography. The passion and mystery of her pictorial language is created through the different spheres of landscapes and figures. Here figurative and abstract elements function side by side in a hybrid formation of fascinating forms and figures.

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  • «Rhinocéros sinon Bérenger», 2020
  • Lithography on BFK Rives
  • Edition of: 22
  • Size of image: 20,50 cm x 19,50 cm
  • Size: 59,40 cm x 42,00 cm
  • Production: Thomi Wolfensberger, Zurich
  • CHF 780.00
  • available
  • Inquiry

Two metal intercoms with handwritten surnames. No matter how the sheet is held, one of the systems is always upside down. The names - Rhinocéros and Bérenger - refer to the play by Eugène Ionesco, first performed in 1959. In the play an epidemic of "Rhinocérite" breaks out, which gradually turns the inhabitants of a village into rhinoceroses. Only the protagonist Bérenger retains his human form until the end, even in his ambiguity, and vows never to capitulate.

When hanging up the picture you are faced with the choice: do I want to read Rhinocéros or Bérenger? Which is the "right" orientation for me? By directly involving the viewer, Vittorio Santoro invites them to deal with the central themes of Ionesco's play, namely conformity, systems thinking and totalitarian regimes. The choice of the "realistic" medium of photography to represent the intercom and the "trompe-l'œil"-like execution of the lithography and the embossed print contrast with the surreal character of the play and in a certain sense transfer fiction into our reality.

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  • «Casanova», 2020
  • Coloured pencil over heliogravure on an industrial plate and inkjet on handmade paper
  • Edition of: 15
  • Size: 45,30 cm x 74,60 cm
  • Production: Cédric Eisenring, Zurich/Berlin
  • CHF 860.00
  • available
  • Inquiry
  • Last copies available

The edition by Cédric Eisenring consists of a series of serial unique pieces. The artist usually combines several printing and colouring techniques in his works, as here too. Among these, intaglio prints, produced with the help of used industrial waste plates, are particularly striking. The industrial plates are found objects that happen to take on forms by chance through industrial production, which are then found as the main form-giving features in Eisenring's works.

The use of the industrial hard disks in Eisenring's works creates a kind of relief, an industrial braille, which develops a spatial-haptic language in two-dimensional space. The empty spaces form narrative patterns of industrial waste in the pictorial space. The surreal-looking figures function as protagonists of an imaginary, partly psychedelic world, which captivates the viewer in varying colours.

In the new work, a Photoshop drawing is realized as a heliogravure on industrial hard disk. The heliogravure in turn was printed in three variations either on white or over a full yellow or green inkjet. All sheets were then hand-coloured with pens, making each individual work unique.

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  • «BAR», 2020
  • Heliogravure
  • Edition of: 30
  • Size of image: 22,50 cm x 34,00 cm
  • Size: 38,50 cm x 49,50 cm
  • Production: Arno Hassler, Moutier
  • CHF 520.00
  • available
  • Inquiry

This edition by Barbara Davatz is a picture from the previously unpublished series "Travel Notes". As the title suggests, the selection brings together photographs taken on the road or on journeys.

As the photographer says: "I have always enjoyed and been delighted when I discovered linguistic or typographic "oddities" while travelling. I then photographed them in order to take them home as souvenirs. This 45-part series of pictures, taken between 1975 and 1985, is about communication with the foreigner in the country - the tourist - whom you want to inform or entice ... Some of the pictures are funny, some are mysterious, and in some pictures you project stories."

The subject "Bar" follows on from two earlier VFO editions - "Total" and "Gleis 13" - by also suggesting a "story". The subject of the new edition is also characterized by a "poetic uneventfulness", a quiet mischievousness and a certain melancholy.

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  • «Sirius A», 2020
  • Lithography on BFK Rives
  • Edition of: 22
  • Size of image: 45,00 cm x 34,00 cm
  • Size: 46,40 cm x 35,00 cm
  • Production: Thomi Wolfensberger, Zurich
  • CHF 680.00
  • available
  • Inquiry

Since time immemorial, people have been concerned with the night sky and the constellations. Although astronomical instruments and knowledge of the celestial bodies are constantly evolving, it is easy to imagine that people have always felt a similar fascination when viewing the night sky. After all, the stars have hardly changed over the last few millennia; they embody something that has always been there and will be there long after we have gone.

Caroline Bachmann's star symbolizes this timelessness and this constancy that connects people over generations. The motif originally comes from a painting by Bachmann ("Ciel Étoilé I", 2019), which depicts the night sky. In her first lithograph, the artist isolated the brightest star, Sirius A. As its name suggests, Sirius is a double star system. While Sirius A quickly catches the eye because of its brightness, its companion Sirius B remains invisible. Thus, the title of the work suggests the presence of something hidden, unrecognizable to the naked eye.

Through closely aligned strokes and the skilful use of the layers of paint, the painter has succeeded in transferring the vibrating luminosity of the star onto the paper. As in her canvases, the subject is surrounded by a frame that functions as a transition between the viewing space and the pictorial space.

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