DE | EN

Verena–Conzett–Strasse 7
8004 Zurich
Thu & Fri 2 - 6, Sat 12 - 4

T +41 44 241 53 00
info@edition-vfo.ch
Newsletter

February 2011

  • Perpetuum mobile (entonces) I/2010
  • Direct flat printing/lithography
  • Edition of: 35
  • Size of image: 44,50 cm x 62,20 cm
  • Production: Thomi Wolfensberger, Zurich
  • CHF 500.00
  • available
  • Inquiry
  • Perpetuum mobile (entonces) II/2010
  • Direct flat printing/lithography
  • Edition of: 35
  • Size of image: 44,50 cm x 62,20 cm
  • Production: Thomi Wolfensberger, Zurich
  • CHF 500.00
  • available
  • Inquiry
  • Perpetuum mobile (entonces) III/2010
  • Direct flat printing/lithography
  • Edition of: 35
  • Size of image: 44,50 cm x 62,20 cm
  • Production: Thomi Wolfensberger, Zurich
  • CHF 500.00
  • available
  • Inquiry

Series

  • Alle 3 Arbeiten (I-III/2010) zusammen
  • Edition of: 35
  • Production: Thomi Wolfensberger, Zurich
  • CHF 1400.00
  • available
  • Inquiry

Vreni Spieser brings things together that at first glance do not fit together. Using working material that has accumulated over the years (drawings, photographs, samples of material, remnants of older works, etc.), she created the series "Perpetuum mobile (entonces)". Individual elements from earlier works for the VFO reappear. A perpetuum mobile - a system that is always in motion and keeps itself running - is graphically implemented here. The sheets can also stand alone, but, as the title suggests, can be continued "endlessly". Sheet I flows over into Sheet II and Sheet II into Sheet III: patterns, drawings, collages, colours are continued or taken up again. The artist gives an insight into the working process, for example by having the adhesive strips with which she fixes the various cut-out patterns also printed. The sketchy, coincidental remains. The result is a mixture of high and low, a perfect processing of the ingeniously arranged material - which fits together perfectly.

+ more- less
  • o.T. Hexenring/Feenring 2010
  • Direct flat printing
  • Edition of: 25
  • Size of image: 69,50 cm x 99,50 cm
  • Size: 69,50 cm x 99,50 cm
  • Production: Thomi Wolfensberger, Zurich
  • CHF 480.00
  • available
  • Inquiry

Witch or fairy rings are a biological speciality: the mycelium of a fungus grows equally fast in all directions and circular accumulations of fungal fruiting bodies are formed. Under favourable conditions, such fungal rings can form overnight. In popular belief, these forms were interpreted as meeting places of witches or fairies whose entry was magical or forbidden. This witch/fairy ring is taken from the brochure of a Swiss bank, the image has been greatly enlarged. The magnification of the image brings the offset point to the fore as the equivalent of the circle and only from a certain distance does the circle literally close for the viewer. But why is there a witch/fairy ring in a bank brochure? What draws circles here? Is it connected with something magical or something forbidden? The door is open to conjecture.

+ more- less
  • The use of the useless 1/2011
  • Vernis mou/Chine collé
  • Edition of: 30
  • Size of image: 50,00 cm x 38,00 cm
  • Size: 69,00 cm x 55,00 cm
  • Production: Michèle Dillier, Moutier
  • CHF 320.00
  • Sold
  • Inquiry
  • The use of the useless 2/2011
  • Vernis mou/Chine collé
  • Edition of: 30
  • Size of image: 50,00 cm x 38,00 cm
  • Size: 69,00 cm x 55,00 cm
  • Production: Michèle Dillier, Moutier
  • CHF 560.00
  • Sold
  • Inquiry

Series

  • Beide Arbeiten (1+2/2011) zusammen
  • Edition of: 30
  • Production: Michèle Dillier, Moutier
  • CHF 800.00
  • Sold
  • Inquiry

"The use of the useless 1+2" are inspired by the artist's engagement with China and especially with the Chinese poet and philosopher Zhuang Zi (ca. 369 - 286 BC). The title of the most recent works for the VFO is taken from his collection of texts: "The Book of Spontaneity: On the Use of Uselessness and the Culture of Slowness". The texts have inspired the artist to a new strategy of her artistic action: the new works increasingly show an experimental, spontaneous attitude that gives room to chance. The supposedly useless is questioned in its uselessness. The two prints present delicate, fragile structures. Both leaves are plant fragments from China. For Mireille Gros they are not abstractions, because she starts from nothing, which she explores until it becomes "something". The colours of the Far Eastern "flower aura" - in "Use of the useless 2" they scurry discreetly across the paper - were applied to the chine-collé paper with fine watercolours before printing and also originate from China.

+ more- less
  • Projekt - Mies van der Rohe, Lange I/2011
  • Serigraph
  • Edition of: 35
  • Size of image: 41,20 cm x 57,00 cm
  • Size: 43,20 cm x 59,00 cm
  • Production: Lorenz Boegli, Müntschemier
  • CHF 500.00
  • available
  • Inquiry
  • Projekt - Mies van der Rohe Lange II/2011
  • Serigraph
  • Edition of: 35
  • Size of image: 41,20 cm x 57,00 cm
  • Size: 43,20 cm x 59,00 cm
  • Production: Lorenz Boegli, Müntschemier
  • CHF 500.00
  • available
  • Inquiry
  • Projekt - Mies van der Rohe Lange III/2011
  • Serigraph
  • Edition of: 35
  • Size of image: 41,20 cm x 57,00 cm
  • Size: 43,20 cm x 59,00 cm
  • Production: Lorenz Boegli, Müntschemier
  • CHF 500.00
  • available
  • Inquiry

Series

  • Alle 3 Arbeiten (I-III/2011) zusammen
  • Edition of: 35
  • Production: Lorenz Boegli, Müntschemier
  • CHF 1400.00
  • available
  • Inquiry

Rita Ernst has been involved with architecture for years. Whereas in the past she was interested in the floor plans of sacred and profane buildings in Sicily, today she is working on houses by Ludwig Mies van der Rohe (1886-1969), among others. The three prints for the VFO are the Haus Lange in Krefeld (completed in 1930). On the basis of the notation by Rita Ernst, the object can probably not be identified, but can be guessed. For the artist, the floor plans are not sacrosanct templates, but a source of inspiration and interpretation. The artist is concerned with the mood that the proportions create. Mies van der Rohe did not envisage colour orgies for his houses; he mainly used natural materials. In Rita Ernst's work, the cool colours black, white, grey and copper are the colour equivalents. Clarity, simple basic elements, renunciation of everything superfluous, these are maxims of Ludwig Mies van der Rohe's "New Building". Rita Ernst has interpreted them congenially and put them on paper.

+ more- less
  • Bratislava 1995/2010
  • Inkjet print on canvas
  • Edition of: 22
  • Size of image: 39,00 cm x 50,00 cm x 2,30 cm
  • Production: Beat & Susan Etter, Zurich
  • CHF 700.00
  • Sold
  • Inquiry
  • Baden-Baden 2004/2010
  • Inkjet print on canvas
  • Edition of: 22
  • Size of image: 39,00 cm x 50,00 cm x 2,30 cm
  • Production: Beat & Susan Etter, Zurich
  • CHF 700.00
  • Sold
  • Inquiry
  • Last copy available
  • Moskau 2004/2010
  • Inkjet print on canvas
  • Edition of: 22
  • Size of image: 39,00 cm x 50,00 cm x 2,30 cm
  • Production: Beat & Susan Etter, Zurich
  • CHF 700.00
  • Sold
  • Inquiry
  • Peking 2008/2010
  • Inkjet print on canvas
  • Edition of: 22
  • Size of image: 39,00 cm x 50,00 cm x 2,30 cm
  • Production: Beat & Susan Etter, Zurich
  • CHF 700.00
  • Sold
  • Inquiry

Series

  • Alle 4 Arbeiten (2010) zusammen
  • Edition of: 22
  • Production: Beat & Susan Etter, Zurich
  • CHF 2000.00
  • Sold
  • Inquiry

What do Baden-Baden, Bratislava, Moscow and Beijing have in common? Ian Anüll was there! The artist didn't photograph the tourist attractions in these cities, but places with an incredibly deep glamour factor: a shabby market stall, a few cardboard boxes in front of a shop, air vents, and a stack of charcoal briquettes. Spectacular - in the sense of a staging - they are made spectacular by boards with the word "style" in the language of the respective country. With this concept Anüll has created a larger series of - if one wants to take it ironically to the extreme - "still lifes", of which the VFO is now releasing four copies. The panels are reminiscent of On Kawara's Date Paintings, a series of mostly small paintings bearing the date of production, in the spelling of the respective country. The seriousness and rigor of On Kawara is not Ian Anüll's cup of tea. With irony, he directs the gaze to "unstable" non-places, to the backside of the beautiful display side. "He likes", says Max Wechsler about Anüll, "to turn the circumstances upside down with an anarchic gesture and from there to the side and with a few elegant contortions back on the feet".

+ more- less