Verena–Conzett–Strasse 7
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22.11.2019 - 14.03.2020 | Edition November 2019

«La métamorphose de l'art imprimé»

Exhibition: 22 November 2019 to 14 March 2020 with works by

Alfredo Aceto, Philippe Decrauzat, Valérie Favre, Sylvie Fleury, Louisa Gagliardi, Olivier Mosset, Sylvie Fleury, Carmen Perrin, Denis Savary.

In this exhibition designed as a bridging project between two language regions of Switzerland the artists are concerned with what art editions, prints and multiples are about and can be today. Moreover the show illustrates arts‘ takes on originality. This term, which was at the centre of Walter Benjamins (1935) treatise on the reproduction of art is still blurred, as the question of uniqueness, seriality and originality remains still to be explored.

While the potential for reproduction constitutes a form of democratization of artistic practices that makes it possible to make works by renowned artists accessible to a broad public, it also allows artists to play with the question of limited editions and unique pieces and to experiment with a variety of techniques. From the „extinct“ cibachrome to linocut, from silk-screen printing to inkjet, from aquatint etching to collage or thermoformed sculpture, the exhibition offers a rediscovery of a series of practices, some of which have been used since the Renaissance, the beginnings of Pop Art or only recently. The metamorphosis announced by the title is particularly evident in the various media formats, some of which are on the verge of oblivion, others at the top of technology.

Many of the works for the exhibition are conceived as serial unique pieces and thus play with the question of what a printed edition, a multiple or a unique piece can be: Alfredo Aceto conceived a large felt tie as a wall-mounted object, each of the Beuysisch-looking work is provided with a different tie pin chosen by the artist. Philippe Decrauzat created three new series of works that refer to his last film Replica (2019): These include eleven unique Cibachrome works, 22 different excerpts from Mies van der Rohe‘s Barcelona Pavilion, and 22 inkjets of a geometric-abstract representation of a film reel. Valérie Favre produced two new collaged silkscreen works that explore the themes of gender and identity politics by examining artistic and historical references to Virginia Woolf and Max Bill. Sylvie Fleury designed four large banners in very small print runs with the slogan ”She-Devils On Wheels“; each of the four works in different colors was hand-screened with a stencil and hand-applied with brand name rivets. Three salmon-shaped paintings by Louisa Gagliardi have been realized as Photoshop paintings by inkjet printing on cardboard and show people trapped in spaces and objects - each work has been hand-painted by the artist with a nail polish finish, similarly to her originals. Olivier Mosset produced a golden grid in screen printing - the minimalist grid, an archetype of 20th century abstract art, refers to a building art project in the Barolo region of Italy. With her aquatint etching ”ACIDES“, Carmen Perrin examines the effect of acid for gravure printing, the linguistic-objective form of the medium of etching, as a reference in a color spectrum from light to dark. Denis Savary created two expansive works of the archive narratives around Corinna Bille and Salvador Dalí: a large plastic object of an erotic-looking black strawberry - ”Corinna“ - made of painted, thermoformed plastic and a series of seven larger-than-life unique parasols, produced as linocuts with the title ”Figueras“; they refer to the native town of Salvador Dalí, who, among other things, designed the logo and colouring of the parasols for the Chupa Chups company.

The exhibition was conceived and curated by David Khalat, director of Edition VFO, and Bernard Vienat, freelance curator and director of the Geneva association art-werk. Accompanying the exhibition, a fully illustrated bilingual (D, FR) is published by Verlag für Moderne Kunst, Vienna, with contributions by Dr. Christian Rümelin (director of Cabinet d’arts graphiques, Geneva and president of the Swiss Graphic Society) and Dr. Laurence Schmidlin (curator of the Musée Cantonale des Beaux-Arts, Lausanne). The exhibition and publication were realized with the generous support of the City of Zurich, Dr. Adolf Streuli-Foundation and Fondation Oertli.

For questions or further information, please contact David Khalat at info(at)