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Newsletter

September 2020

  • Chimney Sweep, 2020
  • Serigraph
  • Edition of: 25
  • Size of image: 63,00 cm x 43,00 cm
  • Size: 70,00 cm x 50,00 cm
  • Production: Siebdruck 127 / Julian Käser, Zurich
  • CHF 580.00
  • available
  • Inquiry

Niklaus Rüegg's work "Chimney Sweep" refers to the 1952 'Donald Duck' story of the same name by comic author and draughtsman Carl Barks. The edition shows an overlay of several comic pages on which the narrative elements have been removed with an editor. The panels overlap so that the holes allow peering through to the next pages, i.e. the continuation of the plotless story. This creates new spaces between the pages, giving the work a sculptural character. The use of predetermined, limited vantage points is reminiscent of the peep-boxes realized by the artist.

"Chimney Sweep" is a continuation of Rüegg's work group "The voids": In this series of paintings, which is based on the classic 'Donald Duck' comics, the artist frees the pages of the book from any plot by making all figures, speech bubbles and other narrative elements disappear. What remains are empty backdrops and colourful backgrounds, everyday and surreal settings that invite viewers to play with events in their minds.

For the technical realisation of the edition, Rüegg chose the screen printing process to match the two-dimensional form language and the strong colours of his compositions. Black forms run through the picture sequence and lend the banal sceneries something strange. Such mysterious figures also appear in other works by Niklaus Rüegg, for example in "L'archive des ombres" [The Shadow Archive].

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  • 6.8.20, 2020
  • Monotype (27 unique copies)
  • Edition of:
  • Size: 75,00 cm x 55,00 cm
  • Production: Thomi Wolfensberger, Zurich
  • CHF 1600.00
  • available
  • Inquiry

Renée Levi's works are characterized by a spontaneous sign language and painterly gestures. Many works have an ephemeral character, they develop a poetics that has outgrown the creative moment. The colours with which Renée Levi works are important. The present monotypes are based on a new color, which the lithographer Thomi Wolfensberger mixed especially for the artist and which is based solely on the manganese pigment. The rare, purely natural shade of blue oscillates between turquoise blue and cerulean blue and will only be found in these works.

Renée Levi's works thrive on the contrast between the artistic painting of letters and numbers - as a readable sign language - and the artistic translation of painterly gestures - as an aesthetic language of forms. In print, the format of monotypes is particularly suitable for the impulsive outburst of artistic gesture, as the painting of the surface is done quickly and in one go and is then translated directly onto the paper.

The unique pieces with the title of the date of origin "6.8.20" are divided into two categories: numerical and abstract works. The numerical-calligraphic works with the numbers from 1 to 9 are consistent and recurring figures in Levi's oeuvre. These are paired with gestural-abstract works that are at least as recognizably characteristic of Levi's creative style. The abstract-organic lines of the colour vibrations and interventions are broken by an architecturally set outer frame. For the artist there is neither a vertical nor a horizontal format, she works primarily on square surfaces. This series is a logical continuation of her exploration of drawing and color as a method and part of our perception.

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  • Uvita, 2020
  • Lithography
  • Edition of: 30
  • Size: 45,00 cm x 40,00 cm
  • Production: Keystone, Berlin
  • CHF 900.00
  • available
  • Inquiry
  • Last copies available

Federico Herrero's new lithograph was created in the spirit of his abstract painting. His practice takes up references to geometric-abstract painting and to the tradition of the murales of Central and Latin America, even though aesthetically they are quite distinct from them. The colour fields and mysterious landscapes and figures reveal a fascination for the blurring of boundaries, as they merge into one another despite their clear demarcation and form an organic symbiosis.

For the first time, Herrero created a lithograph in the style of his painting, with the edges falling off. These are not - as is typical of his monotypes, four of which are shown in the exhibition - minimalist colour interventions, but seven rich colours which the artist used to illustrate the spirit of his painterly style. The title "Uvita" refers to a place on the Caribbean coast of Costa Rica, a rainforest-covered hill facing the sea, reflected on shallow water and, according to the artist, a great place to swim. "The new lithograph is a portrait of this place, the mountain seen as volume and as sound, oscillates between the point of view of memory and an ever-changing relationship with the landscape, perhaps even the journey to get there, where all this information is translated into forms, a dialogue between urban structures and nature," the artist continues.

The color-charged layers and topographical elements often emerge as site-specific, ephemeral works. For Herrero it is important that his art brings together people from different parts of society and that it includes artistic creation in everyday life. In his interventions at the Venice Biennale in 2001, the Havana Biennale in 2003, the Museu de Arte Moderne de Säo Paolo (MAM) 2013 or the Pelican Estate in South London 2016, Herrero transformed the everyday environment - a playground, bridge supports, a swimming pool or facades - into paintings that integrate into the cityscape as artistic interventions from above or from afar.

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  • subtle shift I, 2020
  • Lithography
  • Edition of: 20
  • Size of image: 102,00 cm x 75,00 cm
  • Size: 107,00 cm x 80,00 cm
  • Production: Thomi Wolfensberger, Zurich
  • CHF 800.00
  • Sold
  • Inquiry
  • subtle shift II, 2020
  • Lithography
  • Edition of: 20
  • Size of image: 102,00 cm x 75,00 cm
  • Size: 107,00 cm x 80,00 cm
  • Production: Thomi Wolfensberger, Zurich
  • CHF 800.00
  • Sold
  • Inquiry

The new edition by Andrea Heller consists of two large-format lithographs with geometric compositions. From the first moment on, the works seduce with their harmonious colours and forms. The motifs originate from two ink drawings from the series "a specific place", on which Andrea Heller has been working since 2018. The works from this series are painted on large pieces of fabric and were originally conceived as flags for unspecific places that Heller visited in a dream. On the canvas, the imaginary places are materialized into concrete spaces and evoke physically constructed or even mental structures.

Like numerous paintings by Andrea Heller, the new lithographs are characterized by an interplay of transparent and opaque surfaces that adjoin and overlap each other, as well as by balanced, sometimes haze-like color gradients. The title "subtle shift" refers on the one hand to the technical procedure in which the colours were shifted and fused into one another during the printing process. On the other hand, the title evokes the translation of Heller's ink drawings and watercolors into lithography. The two works testify to the artist's affinity for craftsmanship and her intuitive handling of technical processes.

Above all, however, the title "subtle shift" is also related to the time when the new edition was created: the two works are Andrea Heller's first production since the end of the Corona-related lockdown. The world as a whole has been somewhat thrown off course by the corona virus. "subtle shift" thus represents the subliminal shift in everyday life, which has been strongly felt by the artist ever since.

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  • The Speech Of The Bleach, 2020
  • Anodised aluminium sheet
    (18 unique pieces)
  • Edition of:
  • Dimensions: 30,00 cm x 21,00 cm x 2,00 cm
  • Production: Studio Raphael Hefti
  • CHF 1600.00
  • Sold
  • Inquiry
  • The Speech Of The Bleach, 2020
  • Anodized titanium plate (
    3 unique pieces)
  • Edition of:
  • Dimensions: 30,00 cm x 21,00 cm x 2,00 cm
  • Production: Studio Raphael Hefti
  • CHF 2400.00
  • Sold
  • Inquiry

The new works by Raphael Hefti consist of 21 unique pieces in two different series. The works "The Speech Of The Bleach" are DIN A4 sized metal plates with two circular cut-outs, which serve as a hanging device. The colour patterns and colour overlays created by complex interventions decorate 18 aluminium and three titanium plates.

Raphael Hefti is well known for his extensive scientific research into material properties, manufacturing processes, form finding, light and colour. Industrial processes have again been set in motion for the present work. Each plate has gone through the processes of acid, anodizing, dye bath and etching. The unique colour representations turn out completely different depending on gradient and colouring. Front and back, which look different, are of equal value, thus giving the works a sculptural character.

The title "The Speech Of The Bleach" shows that Hefti uses the traditional word for bleaching to transfer the processes we know from textiles to metals and embed them in his artistic production form. The exciting thing about these processes in relation to printmaking is the use of acid, dyeing and etching, which reveal a loose reference to various intaglio printing processes.

The partly monochrome-looking and partly colour-field-like coatings constitute Hefti's new series of works, according to which the paint here is not applied by hand to canvas or paper, but is industrially etched into the metal. Colour as a form-giving, natural and technical means of expression plays a constitutive role in Hefti's work - whether it be the play of coloured light in the glass roof of the Fondation Vincent van Gogh in Arles or the colourful linear network installations on asphalt in Basel and Zurich - the colourful luminosity of his works is the result of the interplay of artistic and scientific curiosity and technical and industrial expertise.

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  • Mémoire Cellulaire (marine) 2019 / 2020
  • Heliogravure
  • Edition of: 20
  • Size of image: 46,50 cm x 35,00 cm
  • Size: 60,00 cm x 49,00 cm
  • Production: Arno Hassler, Moutier
  • CHF 680.00
  • Sold
  • Inquiry
  • Mémoire Cellulaire (sanguine) 2019 / 2020
  • Heliogravure
  • Edition of: 20
  • Size of image: 46,50 cm x 35,00 cm
  • Size: 60,00 cm x 49,00 cm
  • Production: Arno Hassler, Moutier
  • CHF 680.00
  • available
  • Inquiry

Vanessa Billy's Mémoire Cellulaire consists of two contrasting heliogravures with identical subjects: a silicone cast of a shrimp photographed on dried layers of paint. The motif of the shrimp already aroused Vanessa Billy's interest several years ago, because the ancient creature evokes the beginnings of the history of evolution and its shape also reminds us of the early stages of human life. In the present day, however, shrimps are mainly synonymous with industrially cultivated delicacies enriched with artificial substances. The shellfish thus combines two recurring aspects in Vanessa Billy's work: her interest in evolution and transformation on the one hand, and the examination of artificial as well as organic materials and their effects on humans and the environment on the other.

It is not surprising that Vanessa Billy has chosen heliogravure, an analogous technique in which a wide variety of substances come into play and are processed in complex processes. Together with the printer Arno Hassler, the artist has tested and examined the effect of different colour combinations. The refined contrasts and subtle colour gradations create a feeling of depth and transform the image of the silicone cast into a kind of negative. The special image quality of the heliogravure underlines the archaic, scientific aura of Billy's photography. The colours, on the other hand, pick up on the unnatural character of the farmed shrimp and give the classic aesthetics of heliogravure a contemporary, poppy, striking touch.

With Mémoire Cellulaire (Cellular Memory) Vanessa Billy evokes physical sensations, which in the blue version are connected with the sea and in the red version with physicality. The two colour versions thus show the influence of colour on our perception. From the shrimp to the silicone cast to the heliogravure, on the picture plane the different elements and working steps finally merge, so that a completely new unity is created and the artistic interventions carried out are no longer clearly visible.

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