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Newsletter

June 2022

  • Kleines Schneeglöckchen I, 2022
  • Silver gelatin print on baryta paper
  • Edition of: 5
  • Size of image: 19,50 cm x 19,50 cm
  • Size: 19,50 cm x 19,50 cm
  • Production: Tricolor, Zurich
  • CHF 640.00
  • Sold
  • Inquiry
  • Reserved
  • Kleines Schneeglöckchen II, 2022
  • Silver gelatin print on baryta paper
  • Edition of: 5
  • Size of image: 19,50 cm x 19,50 cm
  • Size: 19,50 cm x 19,50 cm
  • Production: Tricolor, Zurich
  • CHF 640.00
  • Sold
  • Inquiry
  • Reserved
  • Kleines Schneeglöckchen III, 2022
  • Silver gelatin print on baryta paper
  • Edition of: 5
  • Size of image: 19,50 cm x 19,50 cm
  • Size: 19,50 cm x 19,50 cm
  • Production: Tricolor, Zurich
  • CHF 640.00
  • Sold
  • Inquiry
  • Reserved
  • Kleines Schneeglöckchen IV, 2022
  • Silver gelatin print on baryta paper
  • Edition of: 5
  • Size of image: 19,50 cm x 19,50 cm
  • Size: 19,50 cm x 19,50 cm
  • Production: Tricolor, Zurich
  • CHF 640.00
  • Sold
  • Inquiry
  • Reserved

Anouk Tschanz explores the process of seeing and perceiving the ordinary through the camera lens. The visual impulses for the artist's work come from extended walks through parks, forests and botanical gardens, where she selects her subjects in an affective manner. For Edition VFO, the artist has conceived a new series of snowdrops, shot with a medium format camera and developed in small editions on baryta paper. Snowdrops have been popular ornamental plants for centuries and are among the first flowering plants of spring. There are about 20 species in the snowdrop genus and their distribution stretches from Europe to southwest Asia. The small snowdrop in the photographs is the only species of wild snowdrops found in Central Europe and at the same time the most often cultivated one in gardens and parks. Wild snowdrops are extremely rare plants that grow in their original form only in isolated places.

Tschanz captures the blossoms in the studio in daylight, creating sculptural-looking compositions that foreground surface structure and plant form. In its strictly formal aesthetic, the work is reminiscent of representatives of New Objectivity such as Karl Blossfeldt or Albert Renger-Patzsch and can be placed in a long tradition of nature and plant photography. However, the artist is not concerned with a scientific view of nature. Her approach can rather be understood as a poetic one, establishing a field of tension between representation and abstraction. In Tschanz's work seriality serves to create tension between the individual images, and the focus on the transience of the motifs is central. In doing so, the artist entices us to keep looking closer to explore the mysterious character of these natural objects and our relationship to them, without romanticizing them.

Anouk Tschanz's last exhibitions were at Coalmine, Winterthur (2021) and at Longtang, Zurich (2020). The artist has shown in group exhibitions at MCBA, Lausanne, the Museum of Photography, Berlin and Kunsthaus Langenthal among others. Her works are in the collection of the Fotostiftung Schweiz, the Burger Collection and the Art Collection of the Canton of Zurich. DK

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  • Your Parrot Will Relate I, 2022
  • Direct flat printing and embossing
  • Edition of: 20
  • Size of image: 40,00 cm x 40,00 cm
  • Size: 50,00 cm x 50,00 cm
  • Production: Thomi Wolfensberger, Zurich
  • CHF 360.00
  • available
  • Inquiry
  • Your Parrot Will Relate II, 2022
  • Direct flat printing and embossing
  • Edition of: 20
  • Size of image: 40,00 cm x 40,00 cm
  • Size: 50,00 cm x 50,00 cm
  • Production: Thomi Wolfensberger, Zurich
  • CHF 360.00
  • available
  • Inquiry
  • Your Parrot Will Relate III, 2022
  • Direct flat printing and embossing
  • Edition of: 20
  • Size of image: 40,00 cm x 40,00 cm
  • Size: 50,00 cm x 50,00 cm
  • Production: Thomi Wolfensberger, Zurich
  • CHF 360.00
  • available
  • Inquiry
  • Your Parrot Will Relate IV, 2022
  • Direct flat printing and embossing
  • Edition of: 20
  • Size of image: 40,00 cm x 40,00 cm
  • Size: 50,00 cm x 50,00 cm
  • Production: Thomi Wolfensberger, Zurich
  • CHF 360.00
  • available
  • Inquiry

The images for the lithographs of Sergio Rojas Chaves are sourced from the artists’ collection of bird-keeping manuals and publications. By collecting these manuals, the artist identifies trends and similarities between bird-keeping practices and the relation between birds and humans through different decades. The circular cropping of the image highlights the gesture of guiding the viewer's attention to one specific part of the print – the touch between the human mouth and the parrot’s beak. If the pictures were reproduced entirely, the focus on the mouth-beak interaction would be lost. The circle is a reference to optical devices used for birdwatching and photography such as camera lenses, telescopes, binoculars. On top of the multi-layered lithographs each work is embossed with a circle relief print. Almost as if a circle was cut from a larger plate, it can be interpreted as a stamp illustration of human-animal relationship.

The focus on interactions between parrots and humans, especially the beak-to-mouth image, interests the artist because one of the main reasons parrots are kept as pets is due to their ability to imitate human speech. Parrots are highly intelligent birds and are capable of memorizing and imitating a wide variety of sounds. In many cultures parrots are seen as the connection between humans and the animal kingdom due to their "multilingualism". The image of a human mouth and a parrot beak coming together and even touching points to the complex relation we have with them - pet, fashion, kin, entertainment?

Sergio Rojas Chaves’ work takes an affective approach to nature and biology. The artist attempts to analyse the human condition and our interconnected relationship with the natural world by exploring the role of non-human organisms in everyday life. Observing birdwatching communities and studying people’s connections to their plants with an ethnographic approach, his work sheds light on the way those interactions take place.

Sergio Rojas Chaves’ last exhibitions were shown at Country Salts, Birsfelden (2021) and Lokal-Int, Biel (2022), group exhibitions include Centre d’Art Neuchatel (2019), Arad Art Museum (2019) and Misk Art Institute in Riyadh (2022). He is currently part of the 8. Biennale Gherdeina in Ortisei, Italy and his works are held among others in the KADIST collection, San Francisco or in the MADC (Museo de Arte y Diseño Contemporáneo), San Jose. DK

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  • NEIGE, 2022
  • Photogram, unique
  • Edition of: 15
  • Size of image: 100,00 cm x 75,00 cm
  • Size: 100,00 cm x 75,00 cm
  • Production: cadre en seine, Paris
  • CHF 1280.00
  • available
  • Inquiry

Throughout her practice, Delphine Reist transforms ordinary objects familiar to us from everyday life into the protagonists of multi-layered narratives. The artist questions our relationship to utilitarian objects such as tools, furniture, or hygiene articles by staging them in an unaffected yet artful manner. Usefulness and functionality are confronted with form and aesthetics in order to uncover the essence of things or rather their fetish character. By making herself as invisible as possible and creating a space that encourages associative perception, the artist says a lot about Western society and ultimately also about us as interpretive viewers.

In the context of the current edition, Delphine Reist has explored how she can translate her three-dimensional installations and ready-mades into two-dimensional works on paper. For the first time, she has worked with photograms and conceived a series of 15 large-scale unique pieces for Edition VFO. The imposing silhouettes show the outlines of snow chains, which Reist has laid out on the light-sensitive paper. To the triviality of this object the artist counterposes an elegant, sophisticated aesthetic. She deliberately plays with the polysemy of her images: depending on our individual visual references, they may remind us of different objects such as a basketball hoop, jewelry or a dream catcher. With the work "NEIGE" Delphine Reist invites us to look beyond the mere utility of everyday objects and to let the evocative power of their materiality enchant us.

Delphine Reist was awarded the Swiss Art Award in 2008. She shows at FRAC Grand Large - Hauts-de-France, Dunkerque from 11.6 -31.12.2022 and has had other institutional solo exhibitions at Kunsthaus Pasquart, Biel (2017) and MAMCO, Geneva (2013). Her works are represented in the collections of the Centre Pompidou in Paris, the FRAC Rhône-Alpes, the FRAC Grand Large, the Musée d’art du Valais in Sion and Kunstmuseum Solothurn, among others. VH

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  • Forest Essentials Take Two / Close-up (Bóbe), 2022
  • Woodcut
  • Edition of: 12
  • Size of image: 42,50 cm x 58,50 cm
  • Size: 46,00 cm x 62,00 cm
  • Production: Hugo Amorim, Lisboa
  • CHF 600.00
  • available
  • Inquiry
  • Forest Essentials Take Two / Long Shot (Bóbe), 2022
  • Screen printing on wood
  • Edition of: 12
  • Size of image: 43,00 cm x 58,70 cm
  • Size: 46,00 cm x 62,00 cm
  • Production: Telmo Chaparra, Lisboa
  • CHF 1200.00
  • available
  • Inquiry

Uriel Orlow's artistic practice is based on site-specific research, the output of which he weaves into comprehensive conglomerations of works. Since 2015, Orlow has been investigating political and historical perspectives of the plant world. He pursues this approach in the new project "Tree School", in the context of which the present works are embedded. The starting point for the new series of works is a wood library in Lisbon, founded at the beginning of the 20th century. These so-called xylotheques or xylaria were first established in Europe at the end of the 18th century for the study, documentation and classification of wood species. They can be viewed against the backdrop of the Enlightenment and taxonomy and embody the importance of wood as a natural resource, whether as fuel, building material, or - in the context of a colonial power like Portugal - for the construction of ships.

The two new works are based on representations of the tree species Daniellia oliveri, native to Guinea-Bissau. While "Forest Essentials Take Two / Close-Up (Bóbe)" reproduces microscopic images of the wood fibers as a woodcut on paper, "Forest Essentials Take Two / Long Shot (Bóbe)" shows a silkscreen on beech wood on which Orlow combined archival photographs of dense Daniellia oliveri vegetation and of an isolated tree. The tree species reflects the holdings of the Lisbon xylarium, which were mainly expanded between the 1940s and 1960s through expeditions to Portugal's African colonies and were accordingly used for the study of exotic tree species. From forest to wooden board and from fiber structure to paper, the works as pendants accomplish a multi-layered shift from the large to the small, from material to utility, from historical archive to contemporary printmaking.

Uriel Orlow was awarded the C. F. Meyer Prize in 2020. He has had solo exhibitions for instance at Kunsthalle Mainz (2020) and Kunsthalle St. Gallen (2018). Orlow's works are represented in the collections of the City of Zurich, the Kunsthaus Zürich, the Aargauer Kunsthaus, and the Kunstmuseum Bern, among others. VH

The production of these works was made possible by the Art Collection Department of the City of Zurich.

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  • susceptible, 2022
  • Screen printing and flocking
  • Edition of: 20
  • Size of image: 50,00 cm x 40,00 cm
  • Size: 52,00 cm x 42,00 cm
  • Production: Lowrider, Fribourg
  • CHF 580.00
  • available
  • Inquiry

Natacha Donzé's seemingly abstract works are rich in associative visual references. The starting point of the current edition is a postcard from the 1960s or 1970s, executed with neon colors and flocked sections in the tradition of black light posters. The elating aesthetic of such fluorescent images, which is generally associated with the psychedelic subculture, inspired the artist to produce her edition in vibrant bright colors using screen printing and the technique of flocking. The motif is inspired by meteorological satellite images and other types of false color representations. With this enigmatic landscape, the artist evokes themes of climate change and severe weather disasters.

The blending of fragmentary elements from heterogeneous imagery such as that of popular culture, architecture, and science is a recurring aspect of Natacha Donzé's predominantly painterly practice. A certain sensuality prevails in Donzé's mysteriously seductive compositions, which also comes to the fore in the current edition through the saturated colors and the feel of the surfaces flocked with textile fibers. The use of this decorative finishing technique, rare in printmaking, reflects Natacha Donzé's curiosity about handicraft as well as her openness to expanding her artistic practice through new processes. By combining methods of execution with different connotations, Natacha Donzé questions our tendency to categorize in fine art, craft, and industry.

Natacha Donzé was awarded the Bourse culturelle of the Fondation Leenaards in 2018. The artist has solo exhibitions from May 13 to June 18 at Galerie Lange + Pult in Zurich and from August 21 to January 21 at Kunst(zeug)haus in Rapperswil-Jona. Her works are represented in the collections of the Musées des beaux-arts in La Chaux-de-Fonds, the City of Lausanne and the Swiss National Library, among others. VH

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  • Imbalance I, 2021
  • Woodcut
  • Edition of: 20
  • Size of image: 44,50 cm x 39,50 cm
  • Size: 52,50 cm x 46,00 cm
  • Production: Thomi Wolfensberger, Zurich
  • CHF 800.00
  • available
  • Inquiry
  • Imbalance II, 2021
  • Woodcut
  • Edition of: 20
  • Size of image: 44,50 cm x 39,50 cm
  • Size: 52,50 cm x 46,00 cm
  • Production: Thomi Wolfensberger, Zurich
  • CHF 800.00
  • available
  • Inquiry
  • Imbalance III, 2021
  • Woodcut
  • Edition of: 20
  • Size of image: 44,50 cm x 39,50 cm
  • Size: 52,50 cm x 46,00 cm
  • Production: Thomi Wolfensberger, Zurich
  • CHF 800.00
  • available
  • Inquiry
  • Imbalance IV, 2021
  • Woodcut
  • Edition of: 20
  • Size of image: 44,50 cm x 39,50 cm
  • Size: 52,50 cm x 46,00 cm
  • Production: Thomi Wolfensberger, Zurich
  • CHF 800.00
  • available
  • Inquiry
  • Imbalance V, 2021
  • Woodcut
  • Edition of: 20
  • Size of image: 44,50 cm x 39,50 cm
  • Size: 52,50 cm x 46,00 cm
  • Production: Thomi Wolfensberger, Zurich
  • CHF 800.00
  • available
  • Inquiry

Olaf Breuning's series "Imbalance I - V" takes reference from his series of large-scale woodcut Gesso paintings that he began in 2019. Like the paintings, the new serial woodcuts focus on the relationship between humans and the environment, telling a story about climate change with a rich color palette. While he often uses industrial tools such as chainsaws as well as found wood pieces for his large-scale paintings, he worked with laser precision and laminated wood for the present, smaller works. His abstract-poetic landscapes manifest themselves through the combination of different woods, made visible in their formal-abstract diversity in numerous variations and colors. The result is reminiscent of wooden construction kits that tell ever new stories with small interventions.

The artist's return to a simpler, artisanal mode of production represents a contrast to the rapid, industrialized methods of art production. This is not the only way Breuning confronts viewers with the question of whether perpetual technical progress and growth necessarily contribute to a healthier environment. The ironic human figure, who appears in two of the five works, is shown as a kind of intruder, landing from the center of one work, upside down, on the side of another. The sheets illustrate how humans, because of their self-appointed central role in the environment, disturb the equilibrium of nature. In Breuning’s work known for his humorous approach to art production, irony plays an important part. Both through the decidedly saturated choice of colors and through the organic, lively forms of the trees, circles, drops and planes, the woodcuts convey a positive perspective on a more environmentally conscious coexistence, despite the bleak future.

Olaf Breuning has had solo exhibitions at the NRW Forum, Düsseldorf (2015), the Zentrum Paul Klee, Bern (2013), and the Palais de Tokyo, Paris (2011). He participated in the 2008 Whitney Biennial, among others, and was included in group exhibitions at Louisiana, Copenhagen (2017), Whitechapel Gallery, London (2015), and Haus der Kunst, Munich (2014). His works are in the collections of the Centre Pompidou, Paris and the Kunsthaus Zürich, among others. DK

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  • Schwarzer Fleck auf weissem Papier I, 2022
  • Heliogravure and screen printing
  • Edition of: 12
  • Size of image: 44,00 cm x 33,00 cm
  • Size: 48,00 cm x 37,00 cm
  • Production: Arno Hassler, Creminés & Turbopress, Biel/Bienne
  • CHF 580.00
  • available
  • Inquiry
  • Schwarzer Fleck auf weissem Papier II, 2022
  • Heliogravure and screen printing
  • Edition of: 12
  • Size of image: 44,00 cm x 33,00 cm
  • Size: 48,00 cm x 37,00 cm
  • Production: Arno Hassler, Creminés & Turbopress, Biel/Bienne
  • CHF 580.00
  • available
  • Inquiry
  • Schwarzer Fleck auf weissem Papier III, 2022
  • Heliogravure and screen printing
  • Edition of: 12
  • Size of image: 44,00 cm x 33,00 cm
  • Size: 48,00 cm x 37,00 cm
  • Production: Arno Hassler, Creminés & Turbopress, Biel/Bienne
  • CHF 580.00
  • available
  • Inquiry
  • Schwarzer Fleck auf weissem Papier IV, 2022
  • Heliogravure and screen printing
  • Edition of: 12
  • Size of image: 44,00 cm x 33,00 cm
  • Size: 48,00 cm x 37,00 cm
  • Production: Arno Hassler, Creminés & Turbopress, Biel/Bienne
  • CHF 580.00
  • available
  • Inquiry

Mirko Baselgia's new works are part of the “Coprinus Comatus project”, which so far consists of series of drawings and paintings. The artist's fascination with the Coprinus comatus (shaggy ink cap) was the catalyst for this series of works. This common mushroom uses an unusual method to distribute its spores: In a process of self-digestion - autolysis - its cap and gills dissolve and turn into a black, sticky ink to spread the spores. Self-destruction here takes on an unexpected positive meaning, allowing the next generation to grow. Fascinated by this particular phenomenon, the artist searched for these fungi in the meadows, using their ink and sometimes the fungi themselves to create his works. In the four works of the new edition, two compositions of ink spots of the shaggy ink cap were each printed on two different grid backgrounds each.

The main source of inspiration for the present works is a central passage from the “Tractatus logico-philosophicus” (1922) by the philosopher of language Ludwig Wittgenstein and his reflections on human perception. The central theme is an examination of the nature of language and its ability to represent reality. In the passage in question, Wittgenstein uses the image of a black spot on a sheet of white paper to explain the concept of truth. He suggests that the shape of the spot can be described by saying for each dot on the sheet whether it is white or black, but that in order to do this we must first define under what circumstances a dot is white and under what circumstances it is black. The author then points out that if we applied different kinds of grids to the same sheet and counted each time how many grid points contained even a bit of black, we would always get at a different result. Among other things, this analogy raises the question of perception as a complex phenomenon that not only varies from person to person, but also depends on the grid one uses.

Working with a versatile range of media and materials, Mirko Baselgia engages in depth with the dynamics and structures that characterize our world in order to highlight the reciprocal relationships that link all living organisms to each other and to their environment. Concepts such as territory, natural resources, and transience are central to his artistic practice. With his subtle explorations of materiality, the multisensory experience of art plays a central role in many of his creations. His works explore and suggest new ways of shaping our interaction with the environment and other forms of life.

Mirko Baselgia's most recent institutional exhibitions have been at Kunst(Zeug)Haus, Rapperswil-Jona (2021) and Abbatiale de Bellelay (2018). He has been included in numerous group exhibitions at Kunstmuseum Chur (2021), Museo Villa dei Cedri, Bellinzona (2020), and MUDAC, Lausanne (2019), among others. His works are in the collections of institutions such as the Muzeum Susch or the Bündner Kunstmuseum Chur. Text: Laura Giudici

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