Zandvliet has turned to landscape as the subject of his painting for several years. He thus stands in the tradition of his Dutch artistic ancestors, who realized the typical features of their landscapes in the horizontal pictorial composition. For Zandvliet, however, it is no longer the visible reality that is important, but the expressivity of the stroke, the emotional brushstroke with which a landscape space is suggested. The light is created from the white with abstract pictorial elements. Often the traditional horizon disappears, foreground and background are then drawn together into a whole. "I paint landscape motifs in a non-narrative way, where colour, image and spirit are of equal importance. What is important to me is to turn over: figurative/abstract, abstract/figurative. Do you see a brushstroke or the horizon, spots of paint or a group of trees? The three lithographs for the VFO are the result of the monotype technique. Because I worked in black and white, brushstrokes and splashes get optimal attention. What there is to see should grow beyond the imagination, not be a picture, remain matter and become a picture."

Since 1997 Ŝtrba works only with the video camera. The resulting films are reworked by the artist and individual video stills are isolated to form independent works of art. The present work is an edited video still from the cycle "Frances and the Elves". Štrba's daughter, Sonja, can be seen as a "jewelry-wearing" elf with a piano key - necklace by the internationally renowned jewelry artist Bernhard Schobinger (*1946 Zurich). A printout of this edited video still on photographic paper was used to produce the four photopolymer plates by Christina Rall, Zurich.

Certain basic themes can be traced in the work of Lucie Schenker: the line as a basic design form, light as a design medium and air, which is an indispensable part of the transparency and lightness of her work. She understands colour more as the result of the refraction of light, as a reflection of a defined materiality, colour as a promising touch, as a hint more than a fixed pictorial means. All these components can also be found in the new lithographs presented here.

During her art studies in 1988/89 in Chico CA, USA, she concentrated entirely on serigraphy in the subject "Print". Since then she has developed her own style of printing. For her two-dimensional work she exclusively uses serigraphy. She prints all her graphics herself, either as monoprints or in small editions. Her three-dimensional work consists of cast sculptures, as individual works or combined in large numbers to form installations. Regi Müller regularly exhibits in the USA and Switzerland. As an important part of her oeuvre, graphics are always present in solo exhibitions. Serigraphs were shown in 2003 at IPCNY (International PrintCenter New York) and in 1998 at the National Juried Contemporary Print Exhibition in Amherst MA, USA. The three works presented here were created by hand screen printing using paper stencils. Carbon and metallic pigments (copper, zinc, aluminium) are mixed into the grey tones. To emphasize the shape of the ellipses, they were printed parallel to their length. To do this, the artist turned the paper in the appropriate direction each time she printed.

Born in St. Gallen in 1940, Klaus Lutz initially worked as a primary school teacher after training as a teacher and studying architecture at ETH Zurich. His artistic preoccupation with the technique of copperplate engraving and drypoint etching dates back to 1972, when he became involved with the work of Robert Walser. Until 1978 he produced exclusively and later repeatedly books and booklets on the prose pieces of this poet. From 1978-1982 Lutz lived and worked in Genoa, later in Zurich and from 1993 mainly in a small apartment in the East Village in New York. In 1987 he made his first short film and since then almost every year another experimental film. Lutz uses a 16mm camera to film street scenes, models of cities and rows of houses, but also of cosmic spaces - in recent years from and in New York - and uses multiple exposures to add shots of his own disguised person and of drawings in an alienating way. The screening of these films with their artificial, fantastic worlds - they last a few minutes or up to almost half an hour - usually takes place in performances, sometimes as endless strips or projected onto a huge ball as a "screen". In the Helmhaus exhibition of 1999/2000, Lutz showed some of these works as film installations under the title "Acrobatics" and brought them to a performance. This is one side of his artistic endeavours. In addition, he has repeatedly printed sequences from these films as a kind of picture story one after the other or merging into each other as drypoint strips in a small edition. Since the mid-1980s, the Verein für Originalgraphik has first published sheets composed of many small pictures, and later, again and again, shorter and longer picture strips that look like parts of etched drawn scripts. They are created parallel to his films. They are a highly original type of small book objects: the strips are folded in a leporello style, can be viewed like a small book or laid out as strips. Each of them comes with a delicate cardboard box, which makes the whole thing an unmistakable "Klaus Lutz". The artist not only has his film studio in his small studio apartment, but he is also equipped to print these prints himself on a tiny press with a minimum of material. Although he wanted to give up this printing work several times, for years the production of these small book art works was the only source of income Lutz had from his artistic activity. Fortunately! As important and interesting and contemporary as film work and, more recently, the production of film stills is, as friends of exciting printmaking we appreciate this second leg on which this artist stands and walks.

In August 2003 the VFO published for the first time three lithographs (L-13-03/L-14-03/L-15-03) by Hanspeter Hofmann, which, like the present work by Urban Stoob in St. Gallen, were printed on Stardream quartz paper. "THE RESPONSIVE EYE, THE RESPONSIVE BRAIN. The bright orange net spreads the attention over the composition. Constant flickering makes it impossible for the eye to read the contours. It is not the retina that fails, but the brain. Visual impressions, including colour, are not simply "processed", as is assumed, but first constructed in the head. Colour is created in the brain, and the insurmountability of flickering would therefore be an expression of a defect. An insufficiency that is not unpleasant, similar to a fast intoxication that one would like to have in black and white." (Daniel Baumann)

The starting point for the two serigraphs presented here are the so-called "microdrawings", which were created since 1987 and are photographed under a microscope and then enlarged. Berger is interested here in the question of the crossing of the border from drawing to sculpture, or from two - into three dimensions. In the enlargements, impressive sculptural coloured pencil landscapes can be discovered.

"What interests me as a viewer is that I can't see the picture to the end, that it doesn't allow me an identifying look. I try to paint pictures that do not allow this identifying gaze, that thus remain in a state of endless reflection. In the best case, then, pictures in which my gaze is lost, but which are also repeatedly thrown out of the picture, in the surface of which my seeing can always discover something new, but which do not lead to any identification, no object formation." The four lithographs that Felix Bauer printed in Cologne for the Verein für Originalgrafik (Association for Original Graphics) unite procedures of drawing, which were brought together in these sheets and brought to a unity. This decision creates a drawing line that is located between arbitrariness and intention, between the material of the drawing and the hand.