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Verena–Conzett–Strasse 7
8004 Zurich
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Newsletter

May 2013

  • < SRV I > 2013
  • Heliogravure/Aquatint
  • Edition of: 25
  • Size of image: 41,50 cm x 55,50 cm
  • Size: 55,50 cm x 69,50 cm
  • Production: Arno Hassler, Moutier
  • CHF 600.00
  • available
  • Inquiry
  • < SRV II > 2013
  • Heliogravure/Aquatint
  • Edition of: 25
  • Size of image: 41,50 cm x 55,50 cm
  • Size: 55,50 cm x 69,50 cm
  • Production: Arno Hassler, Moutier
  • CHF 600.00
  • available
  • Inquiry

Series

  • Beide Arbeiten (2013) zusammen
  • Edition of: 25
  • Production: Arno Hassler, Moutier
  • CHF 1040.00
  • available
  • Inquiry

"SRV I" and "SRV II" are each based on a picture of a man with a guitar. On "SRV I" the musician wears a light-coloured Indian headdress, on "SRV II" he wears a dark cowboy hat. Both pictures used are downloaded from the internet in poor quality. Both pictures were processed further. They are supplemented by horizontally and vertically drawn bars and areas. The interplay of abstraction and music has a tradition in modern times. With Kandinsky, as with Kupka or Mondrian. Later also with Braque or Picasso. Both picture quotations are about the same musician. The abbreviation "SRV" stands for the American blues musician Stevie Ray Vaughan. Vaughan shaped the US-American Blues and Bluesrock in the 80s. In 1990 he died in a helicopter crash after a festival in Wisconsin. It is said that he wanted to go home as soon as possible. In his place, someone else should have been on that flight. In the works "SRV I" and "SRV II", among other things, I'm concerned with rhythm: in the found images, in the constructed intention, between life and death. (Dominik Stauch, March 2013)

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  • < Madly in love > 2013
  • Etching
  • Edition of: 17
  • Size of image: 29,50 cm x 20,80 cm
  • Size: 42,00 cm x 31,00 cm
  • Production: Mathias Gentinetta, Zurich
  • CHF 360.00
  • Sold
  • Inquiry
  • < La Pause > (après la valse aux trois papiers) 2013
  • Etching
  • Edition of: 17
  • Size of image: 29,50 cm x 20,80 cm
  • Size: 42,00 cm x 31,00 cm
  • Production: Mathias Gentinetta, Zurich
  • CHF 360.00
  • available
  • Inquiry
  • < L'Obstacle > 2013
  • Etching
  • Edition of: 17
  • Size of image: 29,50 cm x 20,80 cm
  • Size: 42,00 cm x 31,00 cm
  • Production: Mathias Gentinetta, Zurich
  • CHF 360.00
  • Sold
  • Inquiry
  • < Fake Origami > 2013
  • Etching
  • Edition of: 17
  • Size of image: 29,50 cm x 20,80 cm
  • Size: 42,00 cm x 31,00 cm
  • Production: Mathias Gentinetta, Zurich
  • CHF 360.00
  • Sold
  • Inquiry
  • < Ripsen > 2013
  • Etching
  • Edition of: 17
  • Size of image: 29,50 cm x 20,80 cm
  • Size: 42,00 cm x 31,00 cm
  • Production: Mathias Gentinetta, Zurich
  • CHF 360.00
  • available
  • Inquiry

Series

  • Alle 5 Arbeiten (2013) zusammen
  • Edition of: 17
  • Production: Mathias Gentinetta, Zurich
  • CHF 1500.00
  • Sold
  • Inquiry

The starting point for Francisco Sierra's etchings are his ballpoint pen drawings "Bolígrafo" (since 2004), which he himself describes as the basis of his work. For him, the ballpoint pen is the preferred medium for capturing his world of thought on paper, without the possibility of subsequent correction. However, they are not sketches in the classical sense, but are treated by him as independent works and partly developed further and find a new form in his oil painting. A counterpoint to the very simply executed motifs, in which the titles also play an important role in the reception, is provided by the series "Les Obstacles" (also a growing series of ballpoint pens) which explores the subtleties of the medium. - In the present works Francisco Sierra has tried to take up the characteristics of the ballpoint pen stroke and at the same time incorporate the peculiarities of the etching technique.

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  • Interieur 1/2013
  • Inkjet printing/Aquatint
  • Edition of: 20
  • Size of image: 44,80 cm x 59,50 cm
  • Production: Patricia Schneider
  • CHF 600.00
  • available
  • Inquiry
  • Interieur 2/2013
  • Inkjet printing/Aquatint
  • Edition of: 20
  • Size of image: 44,80 cm x 59,50 cm
  • Production: Patricia Schneider
  • CHF 600.00
  • available
  • Inquiry

Series

  • Beide Arbeiten (2013) zusammen
  • Edition of: 20
  • Production: Patricia Schneider
  • CHF 1100.00
  • available
  • Inquiry

White cloths cover the interior, transforming the pictorial events in the room into a strange (in)reality, tangible and at the same time picturesquely removed. But how do you explain the subjective tension in these finely colored works? Patricia Schneider processes her photographs on the computer to a certain degree of blurriness, prints the originals in color on handmade paper and overprints the inkjet prints with the same image content as an aquatint etching. The digital print gives the color density, the painterly power of the aquatint gives the space, the depth for the narrative moment, when the specifics of both media are staged with tension. In the symbolically (tangible) atmosphere, the things experience a new metaphysical materiality. For the sharpness of the blurriness of the overlapping image planes creates that suspect intermediate situation which irritates perception: What is material, what is pure sensation? The subtle poetry wraps itself in suggestive silence. The viewer is left with the magic of the picture and the mystery of the moment. (Eva Buhrfeind)

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  • < Back through window > 2013
  • Heliogravure/brush etching/aquatint
  • Edition of: 20
  • Size of image: 37,50 cm x 29,00 cm
  • Size: 67,00 cm x 55,50 cm
  • Production: Arno Hassler, Moutier
  • CHF 600.00
  • available
  • Inquiry
  • < The Turkish letter > 2013
  • Heliogravure/brush etching/aquatint
  • Edition of: 20
  • Size of image: 37,50 cm x 29,00 cm
  • Size: 67,00 cm x 55,50 cm
  • Production: Arno Hassler, Moutier
  • CHF 600.00
  • available
  • Inquiry

Series

  • Back through window/The Turkish letter (Dipt.) 2013
  • Edition of: 20
  • Production: Thomi Wolfensberger, Zurich
  • CHF 1100.00
  • available
  • Inquiry

The diptych by Kotscha Reist shows the view through an airplane window ("Back through window") and fragments of a person sitting at a table putting something down on paper ("The Turkish letter"). In the background of this interior, the lower part of a window is visible, so here, too, the view into the distance is not missing. Although the subjects are very different, both evoke a mood of longing and play with the theme of distance. One could also speak of a relationship of simultaneity. On the first sheet, a distance from A to B is actually covered - sublime above all earthly things - which perhaps evokes the desire for something deprived/distant. On the second sheet, the distance between sender and receiver is overcome by the medium of letters, longings can be noted. As is often the case in the works of Kotscha Reist, scenes are also carefully hinted at in these works. They are excerpts from life, whose context and interpretation are hinted at but not fixed.

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  • < Time Edge > I/2013
  • Vernis mou
  • Edition of: 17
  • Size of image: 15,00 cm x 10,00 cm
  • Size: 47,50 cm x 32,00 cm
  • Production: Druckwerkstatt Lenzburg
  • CHF 280.00
  • available
  • Inquiry
  • < Time Edge > II/2013
  • Vernis mou
  • Edition of: 17
  • Size of image: 15,00 cm x 10,00 cm
  • Size: 47,50 cm x 32,00 cm
  • Production: Druckwerkstatt Lenzburg
  • CHF 280.00
  • available
  • Inquiry
  • < Time Edge > III/2013
  • Vernis mou
  • Edition of: 17
  • Size of image: 15,00 cm x 10,00 cm
  • Size: 47,50 cm x 32,00 cm
  • Production: Druckwerkstatt Lenzburg
  • CHF 280.00
  • available
  • Inquiry
  • < Hecke > 2013
  • Vernis mou/Aquatinta/brush etching
  • Edition of: 17
  • Size of image: 28,00 cm x 20,50 cm
  • Size: 51,50 cm x 39,00 cm
  • Production: Druckwerkstatt Lenzburg
  • CHF 440.00
  • available
  • Inquiry

Series

  • Alle 3 Arbeiten (I-III/2013) zusammen
  • Edition of: 17
  • Production: Druckwerkstatt Lenzburg
  • CHF 700.00
  • available
  • Inquiry

Raffaella Chiara, who has been known as a draughtswoman for a long time, has been studying various printing techniques in depth for two years. This has resulted in gravure works and series, monotypes, books, exercise books and offset posters. For the present edition she worked in the technique of soft ground etching. The sheets were created by the artist examining the raw material, which was often further developed during printing, and allowing it to be used here as an artistic work. She contrasts this with a sheet where she has further processed the raw material with several printing and working processes as well as colour and surfaces. She is interested in the moments when stability starts to falter, when the concrete grows into the uncertain and the familiar turns into assumptions.

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  • "Irgendwo in Utah" 1999/2013
  • Heliogravure
  • Edition of: 25
  • Size of image: 15,00 cm x 15,00 cm
  • Size: 48,50 cm x 37,50 cm
  • Production: Arno Hassler, Moutier
  • CHF 400.00
  • available
  • Inquiry
  • "Letterboxes" Idaho 1998/2013
  • Heliogravure
  • Edition of: 25
  • Size of image: 15,00 cm x 15,00 cm
  • Size: 48,50 cm x 37,50 cm
  • Production: Arno Hassler, Moutier
  • CHF 400.00
  • available
  • Inquiry
  • "Roberts Auto" Maine 1998/2013
  • Heliogravure
  • Edition of: 25
  • Size of image: 15,00 cm x 15,00 cm
  • Size: 48,50 cm x 37,50 cm
  • Production: Arno Hassler, Moutier
  • CHF 400.00
  • available
  • Inquiry
  • "Miles" Neu Mexico 1997/2013
  • Heliogravure
  • Edition of: 25
  • Size of image: 15,00 cm x 15,00 cm
  • Size: 48,50 cm x 37,50 cm
  • Production: Arno Hassler, Moutier
  • CHF 400.00
  • available
  • Inquiry

Series

  • Alle 4 Arbeiten (2013) zusammen
  • Edition of: 25
  • Production: Arno Hassler, Moutier
  • CHF 1500.00
  • available
  • Inquiry

"Between 1992 and 2002, I traveled regularly to the USA. In innumerable car journeys, I drove through many of the states, from Seattle to New Orleans, from Miami to San Diego, New York, Atlanta, Chicago, etc., always accompanied by American songs that played incessantly from car radios. Songs by Townes van Zandt, Emmylou Harris, Bob Dylan, John Prine, Johnny Cash, the heroes of my youth. Always nice and straight ahead and actually never knowing exactly where I was going, I drove past hundreds of synonyms for being on the road, lost and with song lyrics of these above mentioned musicians. Without any exact intention or idea about their use I started to photograph and collect these signs. Here now four pictures from this collection of about 50 pictures. Series Passages." (R.C.)

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  • Ohne Titel 1/2013
  • Dry point etching
  • Edition of: 15
  • Size of image: 53,70 cm x 15,00 cm
  • Size: 56,70 cm x 18,00 cm
  • Production: Nino Baumgartner
  • CHF 380.00
  • available
  • Inquiry
  • Ohne Titel 2/2013
  • Blind embossing
  • Edition of: 15
  • Size of image: 55,00 cm x 38,00 cm
  • Size: 55,00 cm x 38,00 cm
  • Production: Nino Baumgartner
  • CHF 380.00
  • available
  • Inquiry
  • Ohne Titel 3/2013
  • Material printing (light)
  • Edition of: 15
  • Size of image: 55,00 cm x 38,00 cm
  • Size: 55,00 cm x 38,00 cm
  • Production: Nino Baumgartner
  • CHF 380.00
  • available
  • Inquiry
  • Ohne Titel 4/2013
  • Material pressure (dark)
  • Edition of: 15
  • Size of image: 55,00 cm x 38,00 cm
  • Size: 55,00 cm x 38,00 cm
  • Production: Nino Baumgartner
  • CHF 380.00
  • available
  • Inquiry

Coming forward: "Loaded with copper and aluminium plates, I set off. I start at the Hardturm motorway access road and finish at the Wankdorf motorway exit in Bern. For four days I walk over wet grass, mud and Jurassic gravel. I walk easily but briskly. The cars in the traffic jam flow like lava. Oh, dead cat, that's bad. At 120 kilometers per hour the cars chase each other like rocket worms in a ditch. The wind blows the grass in the direction of travel and takes me along. The spray stays in the air like clouds. I enjoy a fennel field, eat one fennel immediately, I save the other one for breakfast. The shelter is dry, I build a windbreak and sleep through the night. It's almost eleven o'clock and it has started raining again. I walk in the wet, look back and see 'Zurich 116 kilometres' written on the map. Bern is not yet in sight." N.B

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