well, in this exhibition I'm showing a lot or very little,
depending on how you look at it. I have adapted to the rooms,
that means you got a certain space and rooms to use,
and you can show the works accordingly. and here, because the rooms a quite big,
there was the possibility to present very early works as
well as latest works. and what was great is that it allowed
me to show my sculptures. this piece is almost readymade, that is,
I have an old farmhouse, where over generations people stored
all kinds of things. and then I browse things and find things
and then immediately I realize, I can create a figure out of this thing,
this peace for me is great, it's made of bast,
a deer, with cords, and then a somehow surreal thing is the result.
and then, here for example, this is a piece that I
hardly dared to exhibit. man sometimes you just have to,
and it's not important what other people think. it's originally
a trowel. as a child, I helped my mother to clean the laundry, and
you for that, in the tub, you needed the trowel,
it's a leftover from the past.
As we are already looking at the figures: this is profane, it's with nails,
there are other artists that work with nails, of course, but
for me it's beautiful, an old piece of wood large nails, connected with wire, this
is what I like, it's my way to create figures.
well, people often ask, how did you become an artist
in my case, it was a bit odd.
I was, in the beginning, bookseller, I did a bookseller apprenticeship.
then I had a antiquarian bookshop in zürich. At that time I did a lot
of travels to asia, america, alaska,
the south seas, I travelelled with the transsiberian railway to japan, and
on these travels I suddenly started to draw sketches, instead of taking photos.
I painted my memories, and that's how I entered the adventure of art
and painting. over the years, I first was figurative, and then became
more and more abstract. and then I had the urge to create sculptures as well
and now I even began to stage performances with smoke,
colored smoke, I created a
light installation in an old factory, with
50, 60 or 100 neon tubes, where we made a performance,
accompanied by sound. that was absolutely
fantastic, I have also filmed it. this is a brand new sculpture,
a sculpture that I created this summer. it's made of… inside, there's
a cardbord box, covered with fleece and then
laced up. and this is a piece that could be cast in bronce
but the interesting aspect of it is to show that
basically, we are nomads in this world. Again, this reminds
me of a suitcase, tied up, packed, and it shows how I like to work.
here's a figure, a sculpture
that is made of wood, very simple, wooden wedges that I
have found and which I've then glued onto this wooden base,
and thus a very simple sculpture is created.
It's again very readymade, as these
are just found objects.
this piece, for me, is pretty playful,
I call this sculpture "The Dream of the Sea". I've found this thing
in the attic, it's a souvenir that my uncle brought from italy
or I don't know where, and then…
the wood is an old beanpole, and that is a nice combination.
and so a piece from an old farmers house in the swiss midlands becomes suddenly
"The Dream of the Sea".
This is a series I call metamorphoses. These are
huge oil and enamel paintings. Well, I don't know what else to say about them.
the problem is that one should talk too much about painting,
it should speak for itself.
but, sure, it deals with the seasons or color variations or
life situations or impressions, but the main title is
"metamorphoses". And that again has something to do with the ancient times.
well, where do you get the ideas. to be honest, every day brings new ideas.
because I see art in everything, everywhere. for me, everything
can be used to make art. but the main motivation for me is
ancient art, my ancestors, from picasso, via van gogh
via rembrandt, above all the cavemen,
which are as modern as anything. So, I get my inspiration from
cultural history. I live in asia, half of my time, since
40 years already, so it's no surprise that I like chinese ink painting,
and so, here I've… very delicately
I use feathers, quill feather and ink, chinese ink, here are some variations
in small format, on paper, playing around, but which I love a lot.
this series, I call them asian impressions,
I've found them in a map, some weeks ago,
they are more than 30 years old. initially I thought
I can't show them, but then after I had a closer look,
I said to myself, they are still a great series.
this is intriguing: it's on self-crafted paper and it's
paper from the bark of mulberry tree and the mulberry tree is the tree
on which the silk spider grows. This produces unbelievable ,
connotations, because this kind of paper was used by the chinese 4000-5000
years ago already, it's in fact the first paper that existed,
you cook it, you scoop it up, and then you put it in the sun.
without any chemicals or glue and it work. this my asian
relationship again. now here's something special,
that I almost didn't dare to show.
these are plain calendar sheets, from an animal calendar, painted over
with oil paint, where the wolf shimmers through somehow.
also almost a readymade, a bit reworked, but painting, not
sculpture. these paintings here are around 1,20 by 1 meters,
I have created them this summer, and I've restricted myself regarding
the color, so they are just gray and white, because I tend to use too many colors
and the more colors I use, the darker my paintings get.
so sometimes I'm happy to make a series
that is limited in color but still meaningful.
looks very wild, but in the fierceness
it's still soothing.
and here, for example, there are newspapers, Neue Züricher Zeitung, overpainted,
the stock market report. it's somehow symptomatic, the wild art
confronted with the serious stock market. and this is
an example for a painting at the end of the day. when I paint
there's always some paint left, the leftovers. previously, I've cleaned
the brushes, nowadays I always use the last paint, which then results
in another painting, so I'm painting as much as possible.
Well, my daily routine: it's like everyone else's day, too:
I get up, drink some coffee, read the papers, check the news via computer,
but in the night already, also in my dreams, I prepare for the day,
it's like the cook does, preparing the vegetables,
I know exactly, I want to prime the canvases,
mount the canvas, and I do everything myself, but by doing it myself,
I get a nice warm-up for making art. So the art is present from
from morning to night, but the daily schedule gets basically
determined already during the night. here's a series that I
continue to follow since several years. it's hard to find
nowadays, these are so called decollages, posters from advertising columns,
they are almost gone today. you tear down a piece of the poster
and glue it on the poster again, and so on.
I love this series, there's more of them, here are just three.
this is alfred jarry, around 1880
on a bicycle, he was the author of
stage plays, king ubu, He is considered today to be
the predecessor of the dadaists. he is the forefather of dada.
all dadaists refer to alfred jarry und that's why I've loved to create
this work, I've just put him in this picture, on the bike,
upside down as well. and a journalist told me: this painting would be
so beautiful, but why is he upside down!
theses are again the new type of sculptures that I'm working on currently.
tied up things, it reminds a bit of christo
but the basic idea ist simply packing, going on a trip,
referring to nomadism.
this is bit like graffiti. for serious art historians
this is marginal, of course, but for me it has great connotations,
I'm calling it "the flight of icarus", who flew too high
and his swings melted
in the sun and then crashed. These are the wings
of icarus. I like to refer to ancient mythology,
here again. and then these
are made of handmade papier, produced by myself, from the mulberry tree,
they are monotypes. There is a series of around 20 sheets,
I'm exhibiting just the two. with the monotypes you don't
paint directly on the sheet, but on a glass plate, for example
and print from that, so there's always some similarity between each sheet.
and this is a unique piece from a trilogy, the title is "island rügen", that's
where my grandmother comes from, she was a shepherd's daughter.
she came to switzerland in the 1910s
and that's why rügen is still some kind of country of homesickness.
I love this picture. as I've already told you, I like to work with readymades,
with found objects. and this is – I hardly dare to say it –
from a restaurant in zürich, the restaurant is called helvetia,
it's a culture pub, where I have stealed
these beer coasters and glued them on this piece, just like that.
and for me, it's still great. this is a sculpture that was
originally meant to be exhibited on the side, but the curator has put it
upright, that's also okay. This is just a rope, a readymade
as well, but very ambiguous, from packing to hanging in the barn.
for me it symbolizes
a lot of things. it's playing around with found objects,
and I love to declare them as art, or make them part of
art, because art is not from out of this world,
art is part of live. these pictures are made with
leftover paint, paintings from the end of the day, when you are tired
but still continue to produce a piece, and the next day you
are happy that you made it, because turned out great. and the exciting thing
about painting: when the paint is fresh, sometimes the picture looks good,
and when the paint has dried, it looks not that good anymore
and so I'm always curious how the painting looks like after 1, 2, or 3 days,
when it dries. as I said, sometimes it gets better, sometimes it gets worse.
and here, these are works that are 30 years old,
when I was still smoking, smoking Pall Mall, I've cut out
text from the packaging of the cigarettes and glued them on the pictures
as collages, so I call them Pall Mall- collages. sculpture always has got
something to do with architecture. the interesting thing with architecture is:
you move into a space, you take the room into possession. you make
an object, that has to be adequate to the space, the room, etc.
a painting is always twodimensional, flat and the sculpture, you can view it from
all angles and a good sculpture is only good if it looks good
from all sides, from above, from behind, from underneath, etc.
these here are also found objects,
from a barn, it's now a purposeless wheel on a purposeless
wooden block, but it was an old toy stroller, and this
statement stimulated me, this statement, or non-statement of this sculpture.
and this piece here,
it's wood with metal, it was an old door frame. this is again
sculpture that's almost an assemblage
or real architecture. it's just small wooden pegs, which I have
glued on and painted black,
and declared a sculpture.
I was asked by this curator if I couldn't make my late father
a part of the exhibition, Gerhard Meier. We are celebrating his 100th birthday
this year. I said, okay, we will
make a small presentation. This for example is a bust that I
created: Gerhard Meier at a time he was still smoking. this bust
was made around 1963, made of tin and copper, and I call it
"gerhard meier with mary long cigarette". here are some books that he wrote,
for example, a great title: "bucket palms dream of oases"
which was published in the 1960s at Kandelaber publishing house,
published in bern, and that was egon ammann, publisher amman
from zürich and then berlin, he died recently, he was
schoolmate, we went to bookseller school together
so this is "bucket palms dream of oases" and then there's another book that's called
"paper roses", and then, the last book is called
"Whether the garnet trees bloom"
and then another beautiful book, "it's raining in by village", then,
from the tetrology, it's called "island of the dead" and the very
beautiful book, "land of the winds", referring to the island rügen.
I've put up some photos here, this is a beautiful one,
isolde ohlbaum, in the swiss jura, and this is a series,
poems by gerhard meier, written by hand in original scale,
these were poems that I wrote in the typewriter for him, because he
couldn't write on the typewriter,
only later he learned it a bit, so he just put the poems
on my table. and I have kept them and for his 70s birthday, I made
some lithographs, sepia-lithographs for him.
these are not one-to-one translations, but paraphrases, they are all
landscapes of the swiss jura. it's also interesting that these are
so called finger-paintings, that means without brush, just with the hand,
the fingertip, directly onto the plate. here's another funny photo: gerhard meier
with peter handke, with handke's dog in italy in the year 1989,
at the petrarca-prize-giving. here is gerhard meier again,
it's a photo I made, peter handke with gerhard meier.
here's a book with my early works
that I printed in thailand in the 1980s
these are all figurative works, a lot of works that I creaded around 1960
this is central switzerland with lake lucerne, these are all
figurative paintings, and when I look at them today,
it's nostalgia, of course, and sometimes I say to myself, well
it wasn't that bad what I created back then.
I always get asked, what are you going to do in the future.
well, live goes on, I take what I can, it would be sad
if one thing is successful and you would make that same thing again and again.
it's great, when you see new things, and I plan to work more with space,
ground covering, in the landscape and work with smoke, not fire, but
colored smoke, and I have already great ideas and projects.
I would love to go to Spitsbergen in the snow, or the Antarctic or
the Amazonas, and do something there.
Finally, my mikado sculptures. they look like mikado,
the japanese game. I arrange them
and each time I put them up, they look different, never the same.
here's one in red, there's one
in yellow and there
I put up one in blue and one in white.
what's interesting about these: these are sculpture that are not ment
for eternity. they fall apart after two winter seasons.
they are made of wood, and you could created them with aluminium,
then they would last longer,
but the beautiful thing is that you can create them and put them up
with little effort and they are quite stable if you do it right.
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