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Newsletter

February 2010

  • Dripping 1/2010
  • Serigraph
  • Edition of: 50
  • Size of image: 70,00 cm x 50,00 cm
  • Size: 88,00 cm x 66,00 cm
  • Production: Bea Spillmann, Stallikon
  • CHF 500.00
  • available
  • Inquiry
  • Dripping 2/2010
  • Serigraph
  • Edition of: 50
  • Size of image: 70,00 cm x 50,00 cm
  • Size: 88,00 cm x 66,00 cm
  • Production: Bea Spillmann, Stallikon
  • CHF 500.00
  • available
  • Inquiry
  • Dripping 3/2010
  • Serigraph
  • Edition of: 50
  • Size of image: 70,00 cm x 50,00 cm
  • Size: 88,00 cm x 66,00 cm
  • Production: Bea Spillmann, Stallikon
  • CHF 500.00
  • available
  • Inquiry
  • Only available as series, not as single sheet

Series

  • Alle 3 Arbeiten (1-3/2010) zusammen
  • Edition of: 50
  • Production: Bea Spillmann, Stallikon
  • CHF 1400.00
  • available
  • Inquiry
  • Only two series available

The motifs of Markus Weggenmann's latest serigraphs for the VFO move between representational and abstract. Floral motifs are the most obvious. The perfection of the colour surfaces is cracked in all pictures by a little runny or dripping paint. White runs and drips from above into the hitherto untainted picture, yellow boldly makes its way through violet, dark red shamelessly runs down. This colour dripping sets a sting into the flesh of the harmony addicts and the species that wants everything to be clear, tidy and cleanly separated. The "not perfect" created makes clairvoyant. And it gets exciting. To drip or not to drip, that is the question. Where should the works be classified? Is it Pop Art (they remind us of it in their carefree colourfulness)? Or are we witnessing a slight aftermath of the master dripper Jackson Pollock? It is clearly Weggenmann. The artist paints the subjects, scans them and then processes ("cleans up") them on the computer. The artist is leading us a bit by the nose with this; he brilliantly blends conventional painting with the possibilities of the computer.

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  • "mural" 2009
  • Serigraph
  • Edition of: 50
  • Size of image: 100,00 cm x 70,00 cm
  • Production: Lorenz Boegli, Müntschemier
  • CHF 600.00
  • Sold
  • Inquiry

What we get to see from Christine Streuli is not only meant for the wall (the work can be placed anywhere): the 7-colour serigraphy "mural" printed on strong cardboard. At the Venice Biennale in 2007, Streuli's works extended beyond the canvas. An allover of patterns and colours (and in it 14 monoprints) struck one in the Swiss Pavilion. The graphic for the VFO is smaller, but its presence easily fills a wall. It is a condensate that draws all eyes to itself. A green grid structure stretches over the reddish-orange ground (the complementary colours do their best), a green and white stripe pattern fidgets as if electrified over the sheet. There is no resting. This work is on its toes and keeps us electrified with form and colour. Adolf Loos ("Ornament and Crime", 1908) would have had his bright joy in it. The pamphlet against the ornament (especially in architecture) we left behind a long time ago. Thus Christine Streuli unselfconsciously creates a bulky, beguiling work with ornamental patterns - not for the sake of the ornament, but as a means to an end: to seduce us.

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  • < Crystal Dreams > I/09 + II/09
  • Direct flat printing/lithography
  • Edition of: 30
  • Size of image: 36,00 cm x 48,00 cm
  • Production: Thomi Wolfensberger, Zurich
  • CHF 600.00
  • available
  • Inquiry
  • 2 lithographs
  • < Crystal Dreams > III/09 + IV/09
  • Direct flat printing/lithography
  • Edition of: 30
  • Size of image: 36,00 cm x 48,00 cm
  • Production: Thomi Wolfensberger, Zurich
  • CHF 600.00
  • Sold
  • Inquiry

Series

  • Alle 4 Arbeiten (I-IV/09) zusammen
  • Edition of: 30
  • Production: Thomi Wolfensberger, Zurich
  • CHF 1200.00
  • Sold
  • Inquiry

The Internet images Dominik Stauch uses show icons of popular culture: a film still from Easy Rider and Kurt Cobain at a concert. The cult film Easy Rider shows two hippies riding their motorcycles through the southern United States (1969). Cobain was guitarist and songwriter of the American grunge band Nirvana (1987-1994). The road movie ends tragically, as does the life of Cobain. The photographs, filled with strong emotions, are rasterized with rhombuses or a rectangular grid and counterpointed with a second sheet, a colored structure. The geometric, exact structures meet here with the wild American boys. How do they go together? Cultural and art history find common ground. The development of an art movement that deals mainly with colours and geometric forms (as in the case of Piet Mondrian, for example) was, from an art-historical point of view, a great departure and a capital attempt at liberation. In Dominik Stauch's work, different dreams of freedom, different utopias and longings meet. has many facets and throws light in various directions.

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  • "Aus dem Leben von Frau A" 1/2010
  • Lithography
  • Edition of: 30
  • Size of image: 18,00 cm x 18,00 cm
  • Size: 42,00 cm x 29,70 cm
  • Production: Urban Stoob, St. Gallen
  • CHF 240.00
  • available
  • Inquiry
  • "Aus dem Leben von Frau A" 2/2010
  • Lithography
  • Edition of: 30
  • Size of image: 21,00 cm x 7,00 cm
  • Size: 42,00 cm x 29,70 cm
  • Production: Urban Stoob, St. Gallen
  • CHF 240.00
  • available
  • Inquiry
  • "Aus dem Leben von Frau A" 3/2010
  • Lithography
  • Edition of: 30
  • Size of image: 18,00 cm x 14,00 cm
  • Size: 42,00 cm x 29,70 cm
  • Production: Urban Stoob, St. Gallen
  • CHF 240.00
  • available
  • Inquiry

Series

  • Alle 3 Blätter (1-3/2010) zusammen
  • Edition of: 30
  • Production: Urban Stoob, St. Gallen
  • CHF 600.00
  • available
  • Inquiry

Vera Ida Müller was inspired for her first VFO work by 14 portrait photographs found by chance. They show a woman in the Deux-Pièces with sunglasses, standing, sitting, the viewer, the viewer always in the visor. The artist has isolated certain elements and re-composed them on the lithographic stone. Ms. A is now drawn schematically, with few contours, barely anchored in her surroundings. One cannot get hold of her. A certain melancholy lies over the pictures. As if it were not possible in the long run, not even a souvenir photo, to clearly capture and conserve a moment of life. The memory fades. Through the anonymization of Woman A in Vera Ida Müller's lithographs - the person portrayed anticipates her with sunglasses - the woman becomes a kind of "every woman". "From the life of Frau A" can become a story of everyone.

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  • Panorama I/ 10
  • Lithography
  • Edition of: 35
  • Size of image: 30,00 cm x 100,00 cm
  • Production: Thomi Wolfensberger, Zurich
  • CHF 380.00
  • available
  • Inquiry
  • Panorama II/10
  • Lithography
  • Edition of: 35
  • Size of image: 30,00 cm x 100,00 cm
  • Production: Thomi Wolfensberger, Zurich
  • CHF 380.00
  • available
  • Inquiry

Since 2007, Thomas Müllenbach has been working on a large-scale study on the representative architecture of banks and insurance companies under the topic "Money Spaces". The artist uses pictures of various banking and insurance institutions as models, which he finds in newspapers, magazines or on the Internet. He has now produced his first lithographs on this theme for the VFO. In two extreme horizontal formats, counter halls with their typical accessories are shown. Müllenbach implements his models very freely; in the lithography, the smooth, shiny surfaces and materials become painterly surfaces in strongly contrasting colours, which with their deliberately set inaccuracies and blurred contours create spaces that constantly threaten to tilt and tend towards the abstract. The title "Panorama" recalls landscapes at a glance. The only question is whether the people in front or behind the counter have this overview.

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  • The great Flood 2008
  • Drypoint (Leporello)
  • Edition of: 20
  • Size of image: 9,50 cm x 184,00 cm
  • Production: Klaus Lutz, New York
  • CHF 680.00
  • Sold
  • Inquiry
  • Marsschatten 2009
  • Drypoint (Leporello)
  • Edition of: 20
  • Size of image: 12,00 cm x 304,00 cm
  • Production: Klaus Lutz, New York
  • CHF 1100.00
  • Sold
  • Inquiry

"The great Flood" is based on a natural spectacle and a "spectacle" of global crisis. Klaus Lutz stood for filming on the East River under the Brooklyn Bridge and was amazed at the power (flood) of the Atlantic Ocean that pushed the river up. He saw a flood of misery, triggered by the economic crisis, in the growing queues of people in front of the city's mission feeds. The world on this etching can be put together by the engraver's two-part "portrait" (the upper body on the first sheet, the legs on the last).

The work on the monumental "Mars shadow" was triggered by Israel's invasion of the Gaza Strip. At the same time, Klaus Lutz dealt with the history of the Warsaw Ghetto. To be read out - the order of the "narrative" was determined by the artist from right to left - the title of an underground newspaper (Hebrew letters), the bunkers where the newspaper was printed, a plan of the ghetto, a hammer striking a cartridge case and much more. According to Klaus Lutz, it is not a work only about the Warsaw Ghetto, but about catastrophes that can repeat themselves over and over again - in the shadow of (the god of war) Mars.

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