#Spiess

[postcard-from-the-past]

"Spiess" rigid airship

French vintage real photo postcard

[helvetic-barbeque]

Brochettes de saucisses fumées avec sauce barbecue originale Helvetic au fumoir

[germanpostwarmodern]

Together with DADA Concrete Art today is considered to most significant Swiss contribution to art history, represented by the quadriga Max Bill, Richard Paul Lohse, Verena Loewensberg and Camille Graeser. But although the life and work of each of the protagonists has been comprehensively researched and published, the actual history of the Concrete Avant-garde based in Zurich in all of its different ramifications has remained somewhat opaque. The director and journalist Thomas Haemmerli and journalist colleague Brigitte Ulmer used this blank space in Swiss art history as point of departure for a complete history of the Zurich Concretists and their complex environment. The result is „Circle! Square! Progress! - Zurich’s Concrete Avant-Garde. Max Bill, Camille Graeser, Verena Loewensberg, Richard Paul Lohse and Their Times“, recently published by Scheidegger & Spiess. The book starts with a history of Concrete Art as coined by Dutch artist Theo van Doesburg and sheds light on the Zurich group’s forefathers and mothers, among them Georges Vantongerloo, Johannes Itten and Sophie Taeuber-Arp but also dedicated patrons like Leo Leuppi. Subsequently Zurich’s „Fantastic Four“, as the Haus Konstruktiv called them in a 2011 exhibition, are portrayed and contextualized in very concise dossiers that portray the artists in their entirety.

But what is particularly noteworthy and interesting is how the authors map the sources of inspiration as well as the network of people and places surrounding the Zurich artists: from mathematics, Bach’s „Art of Fugue“ to Twelve-Tone-Music the manifold influences are carved out and institutions like the Galerie des Eaux Vives, the Bel Etage or the Corso music club are portrayed as meeting points and party locations of the art scene. Beyond this the authors also discuss the afterlife of the artists as omnipresent decorations and players on the art market, an addendum that nicely concludes the book.

As a result „Circle! Square! Progress!“ Provides an equally complete and lively account of the Zurich Concretes’ history as well as their personal network and afterlife. A highly recommended and diverting piece of art history!

[luegootravez]

Kirstin Liljegren by © Wendelin Spiess

[landscape-stories]

LS NEW BOOK

Joël Tettamanti - Davos

landscapestories.net

Joël Tettamanti is one of Switzerland's most celebrated young photographers. His work has been shown in solo and group exhibitions at the Van Alen Institute (New York), the Leonard Street Gallery (London), the Biennale Internationale de la Photographie (Liege), the Centre Culturel Suisse (Paris), the Kunsthaus Zurich (Zurich), the Fotostiftung Schweiz (Winterthur), and has been published by magazines such as 'Wallpaper', 'Vogue', 'Icon' and 'Domus'.

Tettamanti is renowned for his images of deserted landscapes in which mankind has left its traces, a mixture of cool study and carefully composed, even romantic landscape views following the example of late 19th-century paintings. His photography is realistic but undramatic and never polemic. A selection of these landscapes was published in Tettamanti's first book "Local Studies" in 2006.

The Swiss skiing resort Davos is known worldwide as the site of the annual World Economic Forum's summit of global leaders. Tettamanti was commissioned by the destination's marketing organisation for a series of artistic images of the region. Continuing "Local Studies", it shows mainly the nature of the region, but also its infrastructure, panoramas of the alpine urban settlement and architecture. "Davos" presents around 100 out of the more than 350 colour photographs he has taken.

[whileiamdying]

Fear

Jeannette Fischer: Pain is a constant feature of all your performances. It is ubiquitous —ubiquitous in its silence and its concealment. What is this pain that keeps repeating itself and that you always carry inside you? Marina Abramović: There are different types of pain. The pain changes. At the moment it is in the process of leaving me. There is the pain of rebellion: I began to replace the pencil with the razor blade. My fear of blood was greater than my fear of pain from a wound. It was then that I realized that I had to confront my fears, which liberated me from my fear of blood. That runs through all my work. In the performance Rhythm 0, I risked being killed. I tempted fate. Works Cited Abromović, M., & Fischer, J. (2018). Psychoanalyst meets Marina Abramović. Vienna, Austria: Scheidegger & Spiess.

[mon-nid]

[lesser-known-composers]

Joseph Spiess (1696-1730) : Concerto in E minor for Violin, Strings & B.c

[00:00] I. Allegro - Andante - Allegro [06:26] II. Adagio [08:54] III. Allegro

Midori Seiler · Köthener BachCollektiv

[postcard-from-the-past]

French airship Spiess on a vintage postcard

[helvetic-barbeque]

Spiedini di Sauguät affumicati con salsa originale Helvetic Barbeque nell'affumicatore

[germanpostwarmodern]

A long time before the term was even coined Carola Giedion-Welcker and Sigfried Giedion were a power couple of the art world: as writers, critics and functionaries the two were part of an international network of avant-garde artists and architects, among them Walter Gropius, Constantin Brancusi, Alvar Aalto or Herbert Read. In 1925 the couple settled in Zurich in a Villa located at Am Doldertal 7, a home that remained in the family also after the death of the two: for decades Andres Giedion, one of their two sons, and his wife lived in the villa and for the most part left it unchanged. After Andres’ death in 2013 his wife Monica opened it to the archivists and researchers of ETH Zurich who unearthed a wealth of material, e.g. correspondences, manuscripts, photographs, letters and diaries. The material offers an even deeper perspective on the couples’ network and their relationship in particular since they were often physically separated due to their many activities.

These letters form the backbone of the present volume that sums up the careful analysis of the Giedions’ estate: „Die Welt der Giedions - Sigfried Giedion und Carola Giedion-Welcker im Dialog“, edited by Almut Grunewald and published by Scheidegger & Spiess in 2019. The book unfolds the multi-faceted cosmos of the couple in views of their house’s interior, facsimiles of their letters or their art collection, exciting peeks into the lives of two exceptional minds. Brief texts contextualize the materials and objects presented but first and foremost they speak for themselves, just like the entire house does as it reflects the curious minds and eclectic interests of its inhabitants: both Sigfried and Carola received their PhDs in art history based on research about late baroque topics and thus baroque statues appear alongside Aalto and Breuer furniture that in turn rest on Berber carpets. At the same time the shelves and tables overflow with books and documents that are framed by works from artist friends.

This liveliness through the overabundance of art, photographs, documents and letters easily electrifies the reader and conveys the brimming lives of two epochal intellectuals. A wonderful book!

[luegootravez]

Veronika Vilim by © Wendelin Spiess

[pane-bistecca]

[tonyloom]

Hi. Love your joneya doodles. They are very cute. Can we get one with jon and arya at the wolfswood. I rather think thays their favorite place. Thank you.

I've worked on this for months but I'm never going to finish it

based in the August Spiess (German, 1841-1923), 'In the Garden' (mural scene), 1881. Neuschwanstein Castle, Bavaria, Germany.