2016

ENG

LISH

WELCOME!

Kunsthaus Zürich

OpenFri – Sun / Tues 10 a.m. – 6 p.m.Wed –Thu 10 a.m. – 8 p.m.

Public Holidays 10 a.m. – 6 p.m.Christmas 24 / 26 December 201531 December 20151 / 2 January 2016Easter 25 – 28 March 20161 May 2016Ascension 5 May 2016Whitsun 14 –16 May 2016Christmas 24 / 26 December 201631 December 20161 / 2 January 2017

ClosedMondays (exceptions see above)Christmas 25 December 2015Christmas 25 December 2016

AdmissionFrom CHF 15 /10 (concessions and groups)to CHF 22 /17 (concessions and groups)Members and up to 16 years old free of charge

Public Guided ToursSaturdays 3 p.m., Sundays 11 a.m., Wednesdays 6 p.m.Groups and school classes are kindly requested to register in advance.

Online AgendaWorkshops, guided tours and otherevents on www.kunsthaus.ch

DirectionsFrom Zurich main station tram no. 3or bus no. 31 to the ‘Kunsthaus’ stop

Address and InformationHeimplatz 1, CH-8001 ZurichTel. +41 (0)44 253 84 97 (recording)www.kunsthaus.chinfo@kunsthaus.chDirectorate and administrationTel. +41 (0)44 253 84 84Fax +41 (0)44 253 84 33

Collection of Prints and DrawingsStudy roomMon – Fri by appointmentTel. +41 (0)44 253 85 36 / 39

LibraryRämistrasse 45, 8001 ZurichMon – Fri 1 p.m. – 6 p.m.Tel. +41 (0)44 253 85 31Fax +41 (0)44 253 86 51

Published byZürcher KunstgesellschaftPostfach, 8024 ZurichPrint run: 180,000 copies

Subject to change without notice

Title: Pipilotti Rist, Cape Cod Chandelier, 2011Courtesy the artist, Hauser & Wirth and Luhring Augustine

Overview

14. 08. 15 – 01. 11 .15John Waters

28. 08. 15 – 10. 01. 16A Golden Age

02. 10. 15 – 24. 01. 16Joan Miró

30. 10. 15 – 07. 02. 16Tomi Ungerer

27. 11. 15 – 28. 02. 16 23. 09. 16 – 11. 12. 16Picture Ballot!

05. 02. 16 – 01. 05. 16

Dadaglobe

26. 02. 16 – 08. 05. 16

Pipilotti Rist

20. 05. 16 – 31. 07. 16

Akram Zaatari

03. 06. 16 – 25. 09. 16Francis Picabia

12. 08. 16 – 23. 10. 16Hans Jakob Oeri

28. 10. 16 – 15. 01. 17Alberto Giacometti

11. 11. 16 – 22. 01. 17Peter Wechsler

Art Education

The Collection

Membership

DADA COSTUME BALL13.02.16

DAY OF OPEN DOORS12.03.16

THE LONG NIGHT OF THE MUSEUMS03.09.16

John Waters, the ‘enfant terrible’ of American cinema, has influ-enced the aesthetic of independent film-making like no other, pushing its boundaries with relish. As the world of film infiltrates our lives – nurturing dreams, awakening obsessions and longings – so it affects visual artists, any number of whom have been inspired by John Waters’s radical visual idiom.It comes as no surprise, then, that Waters himself has an artistic oeuvre to his credit. In this exhibition, featuring some 40 small to large-format film storyboards and sculptural works from the This Brunner Collection, the Kunsthaus Zürich pays tribute to this impor-tant area of John Waters’s work, and brings a little-known facet of an extraordinary director to a wider audience.

John WatersHow much can you take?

14. 08. 15 – 01. 11. 15

John Waters, Flop, 2013Private collection, © John Waters

Jan van Kessel the Elder, Flowers in a Glass Vase with the Development of a Silkworm, c. 1660, Private Collection

A Golden Age28. 08. 15 – 10. 01. 16

The Kunsthaus already possesses important holdings of 17th-cen-tury Dutch art, in the form of the Ruzicka and Koetser collections. For this exhibition, they are joined by around 50 precious Dutch and Flemish paintings from a private collection in Zurich that have rarely been shown before. Most are small-format cabinet pieces of exqui-site quality, their remarkable compositions and spectacular detail as captivating to present-day audiences as they have ever been. They include cheerful genre scenes, magnificent still lifes and landscapes by outstanding representatives of Dutch and Flemish painting such as Hendrick Avercamp, Jan Brueghel the Elder, Adriaen Coorte, Jan van Goyen, Aert van der Neer and David Teniers the Younger.The result is a spectacular exhibition of the Golden Age of both Dutch and Flemish painting in which visitors to the Kunsthaus can experi-ence first-hand this novel artistic discovery of the visible world. The works on display have lost nothing of their exceptional quality and freshness with the passing years.

Joan Miró Wall, Frieze, Mural

02. 10. 15 – 24. 01. 16

Joan Miró’s ceramic mural ‘Birds Taking Flight’ (1971 / 72) in the glazed inner courtyard of the Kunsthaus supplied the idea for this exhibition. Entitled ‘Wall, Frieze, Mural’, the presentation in the Bührle gallery shows Miró’s large-format murals in the context of his oeuvre as a whole, offering a new understanding of his idiosyn-cratic approach to painting.Miró’s work is characterized by an irresistible directness and intense materiality. The creative process of this multifaceted artist is con-cerned primarily with ‘pure’, simple forms and the surface of the wall – the starting point and origin of his painting. His relationship to the wall as support explains the care with which he selected and prepared the base for his paintings at every stage in his career. He preferred to work in series.We have succeeded in bringing together key works by the artist from all over the world, allowing groups executed on grounds of a similar colour (the celebrated ‘blue pictures’), or using similar materials such as sand and burlap, to be seen together. The exhi-

Joan Miró, The Hope of a Condemned Man I – III, 1974Fundació Joan Miró, Barcelona, © Successió Miró / 2015 ProLitteris, Zurich

bition includes some 70 works from the 1920s to the 1970s, with a particular highlight being the dazzling late work surrounding the ceramic wall in Zurich. Miró’s gestural, savage painting on some-times vast canvases bears witness to a truly titanic creativity with which only the late Picasso can compare. Following the presentation at the Kunsthaus, the exhibition moves to the Schirn Kunsthalle in Frankfurt.

ZKO in the Kunsthaus: While Joan Miró’s early work was particu-larly indebted to the Catalan tradition, his later images bear the imprint of Surrealism. The concert accompanying the exhibition uses music to shed light on the tensions between these two influ-ences. Naturally, the romantic tones of the guitar – the quintessen-tial Spanish instrument – feature prominently.Sunday 25 October, 11 a.m., www.zko.ch

Tomi Ungerer is often said to have influenced everyone – as illus-trator, storyteller, author, sculptor, builder, butcher or activist. Now aged 85, the ‘sharpest line in the West’, as he has been called, continues to share his acid commentaries with the world. But who exactly is Tomi Ungerer? We know him as a children’s book illus-trator, provocative graphic artist and sharp-tongued author, while his erotic illustrations polarize opinion more than ever before. Less known is his work as an artist; yet assemblages, collages and sculptures have been an integral part of his oeuvre since he began working back in the 1950s. Our exhibition recognizes this important area of Ungerer’s work for the first time, entirely in keeping with the artist’s own dictum: ‘Expect the unexpected!’The exhibition will be presented at the Museum Folkwang in Essen from March 2016.

Tomi Ungerer, The Bait, 2010The Tomi Ungerer Collection, Ireland© Diogenes Verlag AG, Zurich / Tomi Ungerer

Tomi UngererINCOGNITO

30. 10. 15 – 07. 02. 16

What prompts artists to turn their attention to themselves? The answers to this question are many and varied – as are the images in ‘Picture Ballot!’ 2015, which offer an insight into the fascinating, dazzling and also inscrutable topic of the self-portrait. From the 18th century to the present day, from the Alberto Giacometti painting chosen by members of the Zürcher Kunstgesellschaft to Urs Lüthi’s interrogation of traditional gender roles, the exhibition spans the full range of the topic, touching on issues such as staging, intro-spection, disguise and the unmasking of one’s own identity. ‘I am many’ is a statement that applies to all of us: our age, after all, is marked by heterogeneous conceptions of lifestyle and identity; and contemporary artists’ engagement with their (supposed) selves is correspondingly rich and diverse.2016’s ‘Picture Ballot!' looks at the architectural image, which has a long tradition in art. We have selected six works from the collec-tion, ranging from the Baroque to the present day. Our subject is not just the depiction of architecture but also art that, beyond depiction, presents itself as the architecture of forms.Supported by Albers & Co AG

Urs Lüthi, Self-Portrait, Diptych, 1976Kunsthaus Zürich, © Urs Lüthi

Picture Ballot! Me / Not Me. Self-Portraits

27. 11. 15 – 28. 02. 16

DadaglobeReconstructed

05. 02. 16 – 01. 05. 16

‘Dadaglobe’ brings together the more than two hundred artworks and texts that were sent to Tristan Tzara in 1921 by artists from all over Europe. This epochal but hitherto unpublished book project is finally being realized to mark the 100th anniversary of Dada’s foun-dation. After years of research, contributions that have since been dispersed around the globe have been assembled once again for an exhibition that is a milestone in recent Dada research. The presenta-tion comprises self-portraits, photomontages and collages, draw-ings, book page designs, poems and essays as well as manuscripts, printed matter and revealing historical documents. ‘Dadaglobe’ is an impressive survey of the artistic diversity, socio-political rele-vance and art-historical impact of Dada. With contributions by Hans Arp, André Breton, Max Ernst, Hannah Höch, Sophie Taeuber-Arp and some 30 other artists.The exhibition will be shown at the Museum of Modern Art, New York, from June 2016.

Max Ernst, Chinese Nightingale, 1920Musée de Grenoble, © 2015 ProLitteris, Zurich

Pipilotti Rist, Enlight My Space ‹Erleuchte (und kläre) meinen Raum›, 2008Photo: Stefan Altenburger Photography, Zurich

Pipilotti Rist26. 02. 16 – 08. 05. 16

Pipilotti Rist (b. 1962) is a pioneering figure in video art and has achieved international fame for her sensual and audacious video installations that tackle conventions and taboos in an entertaining, ironic and self-confident way. The exhibition presents key works from the beginning of her international career, including the early single-channel videos with which she became known in the 1980s. Pipilotti Rist is creating a large-format installation in the expansive space of the Bührle gallery specially for the exhibition, in which she explores new artistic and technical avenues. →

The show is more than just a retrospective: it is conceived to fill the designated space in its totality as one single installation, in which new and older works reveal surprising links between the various phases of her career and fields of activity. The catalogue, in German and English, is designed as a glossary illuminating the most important themes and concepts of Pipilotti Rist’s artistic universe through literary and visual materials. The exhibition with Pipilotti Rist is an exclusive presentation at the Kunsthaus Zürich.

Pipilotti Rist, Worry Will Vanish Horizon, 2014Installation view, Hauser & Wirth, London, 2014, photo: Alex Delfanne Both images: courtesy the artist, Hauser & Wirth and Luhring Augustine

Akram Zaatari’s contribution to contemporary art could hardly be more topical. In his photographs, videos and (film) installations, the artist deals with the impact of war and territorial conflicts, particu-larly in the Middle East. He investigates the logic of religious and national resistance, while at the same time reflecting on the status of image production and circulation today. As a co-founder of the Arab Image Foundation, which is dedicated to collecting and pre-serving photographs from North Africa, the Middle East and Arab communities around the world, he also questions the concepts of history and memory.Akram Zaatari has become widely known over recent years thanks to his participation in major international group exhibitions including documenta 13 (2012) and the Venice Biennale in 2013, as well as solo shows in leading institutions such as MoMA New York. Born in Saida in southern Lebanon in 1966, Zaatari now lives in Beirut. The presentation at the Kunsthaus Zürich is Akram Zaatari’s first solo exhibition in Switzerland.

Akram Zaatari, Letter to a Refusing Pilot, 2013Kunsthaus Zürich, long-term loan from the Walter A. Bechtler Foundation© Akram Zaatari

Akram Zaatari20. 05. 16 – 31. 07. 16

Francis PicabiaA Retrospective

03. 06. 16. – 25. 09. 16

This ground-breaking exhibition is part of events to mark the 100th anniversary of the Dada movement, which came into being in Zurich. The retrospective explores the historical sweep of Picabia’s (1879 –1953) provocative career – from his early successes as an Impressionist painter and his essential contribution to Dada, via his controversial pin-up girls and through to his abstract works created after the Second World War. Picabia remains a hotly debated figure among the great artists of the 20th century, owing to his distinctive eclecticism and persistent, deliberate contradictions. Throughout his life, he reflected on the operation of style, subverted categoriza-

Francis Picabia, Tableau Rastadada, 1920The Museum of Modern Art, New York. Gift of Abby Aldrich Rockefeller© 2015 ProLitteris, Zurich

tions and set his face against systems of value judgment that dis-tinguished high art from kitsch and conservatism from radicalism, and this in a self-critical manner and with acerbic humour. For all the demystification of painting that underpinned his Dada activities, Picabia continued to paint frenetically until his death while at the same time constantly reinventing the technique. While the works from Picabia’s Dada years are well known, his oeuvre as a whole and his propensity for working in a wide variety of painting styles still await more in-depth examination. →

Francis Picabia, Udnie (Young American Girl; Dance), 1913Centre Georges Pompidou / Musée National d’Art Moderne, Paris. Purchased by the state© 2015 ProLitteris, Zurich

Taken as a whole this comprehensive exhibition, which opens the Festspiele Zürich 2016, shows the extent to which Picabia’s work questions the principles of the modern. It comprises some 150 works, including around 100 paintings, complemented by a meticu-lously compiled selection of works on paper, avant-garde magazines for which he wrote or which he published himself, and examples of his film and theatre production.The exhibition is a collaboration with the Museum of Modern Art, New York, where it will be on display from November 2016.

Francis Picabia, Idyll, 1927Musée de Grenoble. Gift of Jacques Doucet© 2015 ProLitteris, Zurich

Hans Jakob Oeri12. 08. 16 – 23. 10. 16

‘Hans Jakob Oeri – A Swiss Artist in Paris, Moscow, Zurich’ at the Kunsthaus Zürich is the first exhibition to feature this long underap-preciated and forgotten artist and draughtsman. During his lifetime (1782 – 1868), Hans Jakob Oeri’s art was respected and admired not just in his home city of Zurich (he was an active member of the Zürcher Künstlergesellschaft from 1807), but also in France, Ger-many and Russia. His works were sought after by collectors and to this day are regarded as some of the finest and most innova-tive examples of Swiss art from the first half of the 19th century. In Paris in 1806 Oeri completed ‘Chloe’, his masterpiece in the French neo-classical style, based on an Idyll by Salomon Gessner. Around 1807, the year of his return to Switzerland, he painted ‘The Studio in Paris’. Despite the uneasy confinement of the space and the bitter poverty in evidence, Oeri managed to produce an evocative image of family and friendship in which the dignity of art triumphs over privation, enforced competition and rank. This important artist can be rediscovered in a catalogue accompanying the cabinet exhibition.

Hans Jakob Oeri, The Studio in Paris, around 1807Winterthur, Kunstmuseum

Alberto Giacometti: Material and Vision

28. 10. 16 – 15. 01. 17

Fifty years on from the death of Alberto Giacometti (1901–1966), a major temporary exhibition illuminates the fundamental aspects of this world-famous Swiss artist’s oeuvre and technique. At the heart of the presentation are 75 precious original plasters from the artist’s estate, which came to the Kunsthaus in 2006 as the result of a gift by Bruno and Odette Giacometti to the Alberto Giacometti Founda-tion. They have been examined by restorers from the Kunsthaus and prepared for this exhibition as part of a multi-year research project.For Alberto Giacometti, plaster was of great importance as a mate-rial – far more than just an intermediate stage between clay model and bronze cast. It allowed him to paint or rework his objects in a wide variety of ways. Indeed, a significant number of his sculptures exist only in a plaster version.Through numerous masterpieces from every stage of his career, the exhibition focuses on Giacometti’s artistic approach to the material nature of his chosen media, affording an insight into the creative process of one of the century’s greatest artists. While the precious

Alberto Giacometti, Reclining Woman Who Dreams, 1929Kunsthaus Zürich, Alberto Giacometti-Stiftung© Succession Alberto Giacometti / 2015 ProLitteris, Zurich

and fragile plasters are the centre of the display, the presentation also includes many works in other materials, such as marble, wood and bronze.The exhibition complements the holdings of the Kunsthaus with important loans from other collections, notably the non-public Fondation Alberto et Annette Giacometti in Paris, which are being shown for the first time on this scale in Switzerland.

Alberto Giacometti, Bust of Diego, around 1964 / 65Kunsthaus Zürich, Alberto Giacometti-Stiftung© Succession Alberto Giacometti / 2015 ProLitteris, Zurich

Peter Wechsler Drawings

11. 11. 16 – 22. 01. 17

Peter Wechsler, Void, 2013Kunsthaus Zürich, Collection of Prints and Drawings, © 2015 ProLitteris, Zurich

Peter Wechsler (b. 1951) grew up in Zurich and now lives in Vienna. He is one of a generation of non-figurative artists who, since the 1990s, have been opening up new and contemplative fields of ex-pression for the medium of drawing as system and sensory expe-r ience, following on from minimal and conceptual art. Such artists address a fundamental question: how can the systematic deploy-ment of the draughtsman’s means create spaces and structures that engage and challenge the viewer’s sensory perception? The exhibition reconstructs the cycle of impressive large-format pencil drawings (1994 – 2008) using ten key works. The Kunsthaus is also the first art museum to present a selection of recent, unframed ink brush drawings.

Art Education

At the Kunsthaus Zürich, visitors of all ages, individually and in groups, will find numerous ways to engage with art in the collection and the temporary exhibitions.Join a guided tour to learn about art-historical contexts, attend an art talk for an in-depth exploration of a topic, or let the artworks inspire you to create something of your own. We are happy to adapt our offering to your requirements, be it a company outing, a training course or a children’s birthday party. We look forward to seeing you at the Kunsthaus. We also offer a regular programme of workshops for children of all ages, while in our children’s club and during the holidays schoolchildren can immerse themselves in the world of art in one of our day workshops. Our programme for schools includes workshops and educational guided tours for groups from kinder-garten to school-leavers. Visit the Didactic Forum on our website for more ideas for your visit.

Photo © Caroline Minjolle

Old Masters

The Collection

Opened in 1910, the Kunsthaus Zürich is structured as both museum and art gallery, and is the perfect backdrop for its important collec-tion of paintings, sculptures and site-specific installations. It in-cludes works of Western art from the 13th century to the present day. Its extensive holdings of drawings and prints, photography and video art are exhibited in changing presentations.

Old MastersMedieval sculptures and the late Gothic panels of the Carnation Masters provide the chronological opening to the collection pre- sentation. 17th-century Dutch painting is comprehensively repre-sented, with outstanding works by Rembrandt, Rubens and Ruis-dael. A small number of important paintings in the collection were created at the same time in Rome by artists such as Claude Lorrain, Domenichino, Lanfranco and many more besides. They are followed by works of equal quality by masters from Tiepolo to Guardi, rep-

Swiss Art

resenting the Venetian Settecento. More unusual are the paintings by Post-Reformation artists in Zurich – from the portraitist Hans Aspers to Henry Fuseli, the latter an eccentric genius and leading light of European Classicism.

Swiss ArtistsThe Kunsthaus holds a representative collection of 19th and 20th- century Swiss painting, from landscapes by Koller and Zünd and the fantasy worlds of Böcklin and Welti through the Jugendstil art of Augusto Giacometti and Vallotton to the Realism and avant-garde art of the 20th century and the very latest trends in our own time. Of particular note are the groups of works by Ferdinand Hodler and Giovanni Segantini; additionally, this is an excellent place to study the work of Alberto Giacometti.

From Impressionism to Classical ModernismThe collection of French paintings starts with Géricault, Corot, Dela-croix, Courbet and Manet and culminates in a large group of works by Claude Monet. One particular highlight is the gallery of Monet’s unique water lily paintings, three of which are now on display. They are testimony to Monet’s vision of a novel, ‘all-over' painting that exploits the entire surface of the vast panel. Zurich is perhaps the

Art around 1900

only place where they can be appreciated in both their figuratively lyrical and their virtually abstract manifestations. Important pieces by Gauguin, Cézanne and van Gogh prepare the ground for the artistic upheavals of the early 1900s. Besides the work of ground-breaking artists – from Bonnard and Vuillard to Matisse, Picasso, Léger and Chagall – there are also numerous paintings by Edvard Munch and Oskar Kokoschka. Ever unsettling and entertaining are the vestiges of the Dada movement that erupted in Zurich in 1916 and paved the way for the Surrealists – Ernst, Miró, Dalí and Magritte. Finally, there are the representatives of Zurich Concrete Art – Glarner, Bill and Lohse – who developed and advanced the geometric Constructivism of Mondrian and De Stijl. After an extended exhibition tour that took major holdings from Impressionism to Classical Modernism to Japan, all the principal works from the Kunsthaus are now back in Zurich. A presentation on the top floor of the museum offers a novel chance to appreciate these groups of works.

Art after 1945Collection photos © Dominic Büttner

From 1945 to the PresentThe post-war New York School is represented by major artists – Pollock, Rothko, Newman – as are European and American Pop Art (Hockney, Hamilton; Rauschenberg, Johns, Warhol, Lichten-stein). The expressive turn in painting of the 1980s is represented by Georg Baselitz, Anselm Kiefer and Sigmar Polke. Further highlights include paintings and rare original sculptures by Cy Twombly. Pho-tographs, video and other installations lead the way into the 21st century, with works by artists such as Jeff Wall, Pipilotti Rist and – thanks to a long-term loan from the Walter A. Bechtler Foundation – Peter Fischli / David Weiss. The Kunsthaus Collection is constantly growing, particularly with the purchase of new art – so visitors can always expect to be surprised by new contemporary acquisitions. Smaller, temporary hangings with a thematic focus complement the collection presentation, while audioguides provide visitors with in-depth information on over 200 works, as well as on the architec-ture of the Kunsthaus.

Kunsthaus Zürich and Swiss Re – an inspiring partnership. What drives us at Swiss Re? Ideas, innovation and inspiration. We thrive on exploring new horizons with talented, creative people who have a real passion for what they do. No wonder we’re actively engaged in Zurich’s vibrant arts scene. It’s a partnership that moves us, excites us and challenges the way we view the world – opening up our minds to fresh perspectives and new ways of thinking. We’re smarter together.

swissre.com/sponsoring

Your passion

Our support

Inspiration for everyone

Kunsthaus Zürich and Swiss Re – an inspiring partnership. What drives us at Swiss Re? Ideas, innovation and inspiration. We thrive on exploring new horizons with talented, creative people who have a real passion for what they do. No wonder we’re actively engaged in Zurich’s vibrant arts scene. It’s a partnership that moves us, excites us and challenges the way we view the world – opening up our minds to fresh perspectives and new ways of thinking. We’re smarter together.

swissre.com/sponsoring

Your passion

Our support

Inspiration for everyone

– Free, year-round admission to the collection and exhibitions– Discounts on selected items from the museum shop– The quarterly Kunsthaus magazine delivered free to your home– Invitations to all openings and events– Reduced admission to special events (such as concerts and readings)– Borrowing rights in the library

I am the new member / We are the new members Individual membership CHF 115 Joint membership CHF 195 Junior membership CHF 30 (born 1991 or later)

Mr Ms

Last name /s

First name /s

Date of birth

Occupation

Street

Post code, town

Phone

E-mail

Date, signature

Completed applications can be – handed in and paid for at the museum cash desk. – posted to the members’ secretary at Kunsthaus Zürich,

Mitgliedersekretariat, 8024 Zurich.Alternatively, you can register at www.kunsthaus.ch.

The members’ secretary will send you a paying-in slip. Your personal mem-bership card will be issued to you following payment. Existing members who introduce new members receive a voucher redeemable in the Kunsthaus shop or at the cash desk. Membership may also be given as a gift.

Introductory offerJoin the Zürcher Kunstgesellschaft for 2016 between October and December 2015 and your membership will run until the end of 2015 at no extra cost.

Membership of the Zürcher Kunstgesellschaft brings numerous benefi ts

What color is commitment?

Standing awe-struck in a museum – moments like this broaden horizons. That’s why for many years Credit Suisse has nurtured close partnerships with art institutions throughout Switzerland and supported the Kunsthaus Zürich as a partner since 1991.

credit-suisse.com/sponsorship

23617_105x210_Jahresprog_KuZ_KuS_e.indd 1 08.06.15 13:14