The new graphic series is an attempt to construct a body from an irregular pentagon that is spatially perceptible and at the same time makes its interior visible. The dodecahedron is only visible if the front and rear pentagonal sides are omitted. The outer shape has ten visible corners. The sides are printed in ten transparent colours. The subtractive colour mixing increases the spatial appearance and leaves the view into the depths open. In the present works one sees five times the same form with changing colouring, sometimes rotated, sometimes mirrored or placed differently. This form is simultaneously a body and a cavity. It is like in Kurasawa's 1970 film "Dodes'ka-den", where the protagonist plays the tram and at the same time steers the tram. (B.Z.)

Extremely saturated colours, which appear here like coloured stage lights from the dark, are typical for Cibachrome. This work presents fifteen colours in a box frame of polished Plexiglas, reminiscent of a theatre stage. The Ilford company, the last manufacturer of this exclusive photographic paper, unfortunately no longer exists. This means that not only the mirror finish typical of Cibachrome disappears, but also its technicolor iridescent color palette with its spectacular shades of red. This edition still holds it, by means of a composition of colour filters through which it was exposed directly onto the positive material. Cibachrome can reproduce colours of the highest saturation thanks to separate layers for yellow, magenta and cyan. The shades shown here were created using professional color filters for stage lighting: Congo Blue, for example, is a deep blue filter that can be used to illuminate theater stages with "soft, romantic mood light" - or, as here, to expose this mysterious violet blue tone onto photographic material. Special thanks go to Wilhelm Lother, who exposed the colour tones in his specialist laboratory for different lengths of time and corrected the colour - until the Cibachrome prints corresponded exactly to the original. The deep black plexiglass frames were manufactured by the Mecacryl company in Pfäffikon (ZH). Colours: Congo Blue, Jade, Scarlet, Virgin Blue, Spring Yellow, Oklahoma Yellow, Vanity Fair, Bray Blue, Lagoon Blue, Primary Red, Bastard Pink, Scuba Blue, Lime Green, Crysalis Pink, Tokyo Blue. (Original designations Lee Filters).

Aviöl:
These bees no longer swarm out. One day Mirko Baselgia found 11 dead animals on the windowsill in his studio. For many years the artist has been working with these insects, among other things. The subject of bees (especially the death of bees) has occupied scientists and artists for a long time. Baselgia's examination of bees began in 2010. At the Kunstmuseum Chur, for example, he showed an oversized honeycomb made of Swiss stone pine or beehives made of walnut wood. Baselgia is not a hardcore activist - a possible criticism of the treatment of animals (use/exploit) is subcutaneously present in his projects. Why the small format? A key experience is an Albrecht Dürer exhibition in Venice, where small prints were exhibited. It was impossible to grasp them in passing. They forced Baselgia to slow down. The small format, if you want to see it clearly, forces you to slow down, promotes the intimacy between viewer and work of art. In "Aviöl", it is also impossible to tell from a distance whether flies, bees or other insects are involved. The heliogravures "Aviöl I-IV" mark the temporary end of the bee cycle for Baselgia - they create a special monument to these special animals.

The works of Guido Baselgia, which have been published in the VFO so far, were explorations of untouched landscapes of his origin, the Engadin. With his new works he now takes the viewer into the distance, into a jungle in the highlands of the Andes - into a climate zone of extremes in Ecuador. A refuge situated over 3600 meters above sea level is the retreat of the "Bosque Polylepis". The oldest trees are well over 1000 years old. They grow very slowly and shed their skin again and again to protect against frost and pests. The time seems immeasurable, in the course of which an enchanting wilderness has settled over the former moraine landscape. Penetrated by the light of dusk, the finest details appear even in the deepest shadows of the forest - "views of nature" one might say!