Take a look into the future! Visit the large exhibition gallery soon for a first look inside the Kunsthaus extension and the studio of architect David Chipperfield and his team. Wondering what treasures await in the elegantly minimalist new building? We’ll be revealing the rich variety of works, collections and presentation options the extension opens up. There’ll also be masterpieces by Henri Matisse, the Impressionists and American artists. Pipilotti Rist? Of course. And new works by Urs Fischer. And the Dada cabinet. We can already offer you more than a foretaste – and like you, we can’t wait for things to get started on Heimplatz: The New Kunsthaus is taking shape!
The Dada Box
Standing aslant the exhibition hall, which is devoted to the architecture of the planned extension, is a small installation that is dedicated to the art of the Dada movement, which was so important for Zurich, and whose contents present a stark contrast to the extension building.
With the opening of Cabaret Voltaire in the Spiegelgasse in Zurich on February 15, 1916, the German artists Hugo Ball and Emmy Hennings, the Romanian artists Tristan Tzara and Marcel Janco, the Alsatian artist Jean Arp and their friends launched Dadaism. Like many other artists, they had come to neutral Switzerland in the wake of the outbreak of the First World War. Repelled by the jingoism with which the masses rushed to senseless slaughter, they had lost their faith in Western bourgeois culture. The copying of external reality and the perfect, self-contained work of art had become suspect to the artists of Dadaism. Throwing overboard all conventions and traditional sentimentalities, they sought a new unity of art and life. At this “playground of crazy emotions” (Hugo Ball) in the Spiegelgasse, they scrambled together literature, theatre, dance and visual art without regard to the consequences. Out of this chaos, which seemed appropriate to the chaotic conditions of the contemporary world, pullulated creative flashes of genius in astonishing number. They have not lost their inspiring power to this day.
Thus about one hundred years ago Zurich, the city of Zwingli, was the nucleus of an unbridled creative eruption to which everything highfalutin, permanent and pretentious was foreign. Today the Kunsthaus is planning an extension building which, with its clear, spacious and sedate character, is quite obviously intended to be lasting. We take up this contrast with the deliberately slanted small Dada space. It stands for the assurance that there will also be room in the “New Kunsthaus” for this wild, unruly strand of art, to which everything permanent was inimical. Because of the larger space available, it will be possible for the new Kunsthaus to give the Dada movement even more room.
Poster for the Barrès trial, 1921, in: Dossier de documents et de revues dadaïstes, 1914-1924, Compiled by André Breton. Kunsthaus Zürich, library, Dadaism Collection
The first room of the exhibition spaciously combines monumental works by two great artists of our time: one by the Swiss painter Franz Gertsch (born 1930) and the other by the English artist Richard Long (born 1945). Especially contemporary art, which plays an important part in the extension building, needs room. Room that enables it to unfold its effect and for the viewer to encounter it. The extension will make it possible to present art in more generous conditions. Here, by way of example, a huge painting meets a large stone circle formed of Burgundian stones. This introduces two fundamentally different possibilities of art: painting and sculptural works in space. In terms of form and content, the archaic form of the circle or ring and the presence of the human image. Gertsch’s portrait was created in a protracted process. First he projected a photograph of his model onto the canvas and then transformed the presence of the model, brushstroke for brushstroke, into painting. Because the representational image of the woman existed from the start in the projected photograph, Gertsch could focus in the conversion on the presence of painting – which is therefore present in the picture in its pure, abstract form.
Next to Gertsch’s work is Richard Long’s ring of Burgundian stones. Long is a member of the Land Art movement, which arose in the United States at the end of the 1960s. The Land Art artists transformed geographic and architectural space into artworks that are often of gigantic dimensions. Their aim was to create works from and in nature, often in remote areas, for whose contemplation the viewer had to embark on an outer as well as an inner journey. By taking found pieces from nature, it is possible to bring this art into galleries and museums. Richard Long’s stone circle is a sculpture that has been created in this way. It consists of variously formed stones found in nature. Joined together, they form an impressive, timeless image of a large ring. Here Long, like Gertsch, brings together aspects of the representational and the abstract.
This encounter sets the mood for the great moments of art whose viewing will be made possible by the extension building.
Franz Gertsch, Silvia III, 2004, Kunsthaus Zürich, Vereinigung Zürcher Kunstfreunde, © Franz Gertsch
Richard Long, Bourgogne Circle, 1989, Kunsthaus Zürich, © 2012 ProLitteris, Zürich
The extension is designed to serve the presentation of contemporary art and the art of classical modernism, which paved the way for the former. The Kunsthaus Zürich has important collections in both areas. In addition to the rich holdings of the Kunsthaus collection (alone over 4'000 paintings and sculptures), two very significant private collections, closely connected to Zurich, will also join the exhibition in the new building: the Bührle Collection and the Fondation Hubert Looser. Both represent the fruitful interaction between public and private collecting. Where Emil Bührle’s interest focused on French Impressionism and Post-Impressionism, the Looser Collection comprises works of the major art movements of the second half of the twentieth century in the United States and Europe such as Abstract Expressionism, Minimalism and Arte Povera. This collection is an excellent complement to the Kunsthaus’s holdings. We illustrate this by presenting an encounter of the Kunsthaus’s outstanding Pop Art collection with two significant artists of American Abstract Expressionism from the Looser Collection: John Chamberlain (1927–2011) and Willem de Kooning (1904–1997). This will exemplify the potential of the new rooms of the extension.
Paul Cézanne, La Montagne Sainte-Victoire, 1902/06, Kunsthaus Zürich, acquired with a contribution from Emil Bührle
Willem de Kooning, Untitled XI, 1982, Hubert Looser Collection, © The Willem De Kooning Foundation / 2012 ProLitteris, Zurich
Pop Art meets Willem de Kooning and John Chamberlain
After World War II, the centre of art shifted from Paris to New York. There arose the movement of Abstract Expressionism. Its central figure was Jackson Pollack. With his famous “drip paintings”, large canvases that he laid on the floor and worked with dripping paint, he created a new dimension of Abstract Expressionist art. Crucial for him, as for the other Abstract Expressionists (including Franz Kline, Clyfford Still, and also Mark Rothko), were the demands of the painting process arising immediately out of the paint itself. This resulted in the nearly mythical exaggeration of the figure of the artist.
The following generation of artists had little use for this pathos and aimed in another direction. Of great importance here was Jasper Johns. Influenced by Marcel Duchamp, he emphasized the object character of the artwork and used, in an almost ironic manner, a gestural style of painting that cited its predecessors while contrasting itself to them with simple, sign-like forms. In John’s wake, the artists of Pop Art – Andy Warhol, Roy Lichtenstein, Robert Rauschenberg – resolutely turned to working with found images from television, comic books and advertising. The sublime, which still fascinated the Abstract Expressionists, was no longer relevant. It was now important to hook up with current images in the new endless image chains of everyday life and respond to them through art.
In the exhibition, major works of Abstract Expressionism and Pop Art from our own collection meet works from the Looser Collection, which will find a new home in the extension building as a permanent loan, complementing our collection above all with works of Abstract Expressionism, Minimalism and Arte Povera. Whereas the flowing side of Abstract Expressionism has hitherto been represented at the Kunsthaus only by a relatively controlled painting by Pollock, it is now splendidly supplemented by the colour streams of the Dutch-born Willem de Kooning. As the selection of works reflects, de Kooning also expressed himself in both abstract and representational forms. The latter may be seen in the two pictures from the series Women, but also in his sculptures. These works are based on an energetic distortion and re-creation of the human image and open the opportunity for the Kunsthaus to compare them with and to the paintings of Francis Bacon and the later sculptures of Alberto Giacometti. The unpretentious density of de Kooning’s paintings connects them with those of Johns and Rauschenberg, and allow the painterly element in the latter to emerge more emphatically.
John Chamberlain, Archaic Stooge, 1991 Hubert Looser Collection, © 2012 ProLitteris, Zurich
Roy Lichtenstein, Yellow Brushstroke, 1965, Kunsthaus Zürich, © 2012 ProLitteris, Zurich
“See you at the Heimplatz!” (Emil Bührle, 1954)
With these words, Emil Bührle ended a lecture in June 1954 about the creation of his art collection. For more than a decade, Bührle championed the building of an exhibition hall at the Heimplatz, which he wanted to finance and finally did finance. A referendum created the conditions that enabled the start of construction.
Bührle didn’t live to see the opening of the exhibition hall; his collection was shown there for the first time as a whole in 1958. Two years later his family established a foundation that received most of the pictures. Since then they have been accessible to the public at the Zollikerstrasse 172 in Zurich, though in a house that was not built for this purpose. The planned transfer of the E.G. Bührle Collection to the second floor of the Kunsthaus’s extension building will allow this internationally renowned group of works of French Impressionism to be presented in a fashion befitting their importance – they delighted over 130,000 visitors when they were guests in the Bührle Hall of the Kunsthaus in 2010.
Collecting paintings of French modernism has a long tradition in Switzerland, and the Kunsthaus Zürich has repeatedly been the recipient of donations of valuable works of Impressionism and Post-Impressionism. Combined with the Bührle Collection, these works in the second floor of the extension will make possible a presentation of Impressionism such as can be seen in this density only in Paris and is otherwise unique in Europe. The exhibition links key pictures of the Kunsthaus’s Impressionism collection with a significant self-portrait of Vincent van Gogh, which is on permanent loan.
Claude Monet, La meule au soleil, 1891, Kunsthaus Zürich, acquired from the legacy of Otto Meister with a contribution from the Schweizerische Kreditanstalt
Vincent van Gogh, Cabanes blanches aux Saintes-Maries, 1888, Kunsthaus Zürich, gift of Walter Haefner
Thematic groups of works
A dynamic presentation of the Kunsthaus’s collection based on regular re-hangings of artworks is planned for the extension building. This will enable works from various epochs and contexts to come together for a limited time. The exhibition presents an example. The focus is an important picture by Anselm Kiefer (born 1945), which treats the myth of Parsifal and the Holy Grail. Coordinated with Kiefer’s work are other pictures that bring different sorts of heroes into play: the Greek hero Achilles, then Christ, and finally the suffering artist-hero Gustave Courbet. In keeping with the mythical theme, all the pictures contain textual elements. Works by Fischli/Weiss and Gabriel Orozco complement the group.
Anselm Kiefer, Parsifal, 1973, Kunsthaus Zürich, © Anselm Kiefer
Peter Fischli/David Weiss, Untitled, 1994, Kunsthaus Zürich, Society of Zurich Friends of Art, © Fischli/Weiss
Philippe de Champaigne, The Veil of Veronica, Kunsthaus Zürich
Amidst the various exhibition rooms there is a lounge where visitors can relax, read, discuss. In this space past, present and future merge. Visible through the window of this exhibition wing, opened on June 8, 1958 and donated by Emil Georg Bührle, is the site on the other side of the Heimplatz where the extension will be built. The walls of the lounge will be hung on a changing basis with the latest art, art of today that comes fresh from the studios of well-known or not so well-known artists such as Gillian Wearing, Urs Fischer, Louise Lawler and Thomas Demand.
A work by Urs Fischer was among the first to be displayed here – and thereby hangs a tale. Like every public building, the construction of the Kunsthaus extension will begin with a groundbreaking ceremony. Instead of having the usual stone cube containing symbolic content, we decided to take a new path – and requested the help of an artist. Urs Fischer, born in 1973 in Zurich, was at the start of his promising career as a painter and sculptor in 2004 when he had his first major solo exhibition at the Kunsthaus. We asked his help, he spontaneously agreed to our request and we gave him a free hand. What he created is probably the most unusual cornerstone a museum ever had: an image which, at first glance, is as clear and intelligible as a signet, yet which still poses a few riddles. It is reminiscent of the well-known portrait of Lydia-Welti Escher by Karl Stauffer-Bern in the Kunsthaus collection. But as might be expected, Fischer maintains an ironic detachment in association with the old and familiar and makes sure there is an oversized point. A carrot as cornerstone – what else! Amazement and laughter: art is always good for surprises. The groundbreaking ceremony should be interesting.
Gillian Wearing, Me as Sander, 2012, Kunsthaus Zürich, © Gillian Wearing
Urs Fischer, Problem Painting, 2012, © Urs Fischer / photo: Mats Nordman
If the art in a previous room was about weighty symbolism, about more or less holy vessels, heroes, suffering artists and figures of redemption, in another room and in the creative work of one of the pioneering figures of contemporary video art and one of the most important Swiss artists of our time there are also elements of redemption. The work of Pipilotti Rist (born 1962), however, is not about religious symbolism. It stands for this-worldly immersion in a kaleidoscopic realm capable of relieving the weight of earthly existence and pointing to other horizons. Rist’s works are generally site-specific. For displaying this art form, which is characteristic of our time, the present Kunsthaus building has too little suitable space. The exhibition shows how an important early work of the artist, which was recently painstakingly restored at the Kunsthaus, can be presented in future.
Entering this exhibition room, the visitor is gripped by the feeling of having crossed an invisible borderline and stepped into a forbidden space, shadowy and mysterious. The trap snaps shut – and the little monitors, hidden in large shells and ladies handbags, already magically lure the viewer to cross yet a further border and secretly peek into intimate worlds. Yet this can’t be done furtively. Whoever wants to see and hear these secrets must stoop low. What then opens itself to those who nevertheless venture this are astonishing visual worlds, full of sensuous power and poetry.
The handbag is for Pipilotti Rist not only a fetish and symbol for femininity, but also the video installation’s own symbol of hidden worlds, a sort of Pandora’s Box in which, as Rist says, “there’s room for everything [...], as in a compact handbag”.
Pipilotti Rist, Yoghurt on Skin – Velvet on TV, 1994, Kunsthaus Zürich, Vereinigung Zürcher Kunstfreunde, Gruppe Junge Kunst, © Pipilotti Rist
Temporary exhibitions: Matisse
In addition to the Bührle Hall, the extension building will enable the showing of temporary exhibitions. Medium-sized temporary exhibitions such as the Kunsthaus has long wanted to mount and which will offer the public new perspectives. To draw attention to this important function of the extension, we’re showing here, thirty years after the big Henri Matisse exhibition in the Bührle Hall, an exquisite group of the artist’s works. Supplementing the Kunsthaus’s own excellent Matisse collection, there is a select group of loaned works, all but one in Swiss possession.
The works show high points in Matisse’s development as a painter and sculptor. They make clear how Matisse constantly developed the leitmotifs of his art from their post-Impressionist and Fauvist beginnings to the later works, such as the relation of figure and pictorial ground, of space and surface. Particularly impressive is the development evinced in his famous four “Back View Nudes”, which he produced in stages from 1909 to 1930. In the final version the motif of a woman pressed against a wall has changed into a female figure facing a spatially open picture plane. Immediately following this work, an important so-called “Papier découpé” from Matisse’s last years, Nu bleu, La grenouille, shows how the artist raised this theme in the later work to a new level: Matisse spoke of cutting the paper like a sculptor, cutting directly into the colour space. Surface and space no longer need be opposing factors and are reconciled in the unbounded membrane of colour. Here Matisse found new responses to the fundamental questions of modernist painting.
Henri Matisse, Nu bleu, la grenouille, 1952, Fondation Beyeler, Riehen/Basel, © Succession H. Matisse / 2012 ProLitteris, Zurich
Henri Matisse, Intérieur à Collioure (La Sieste), 1905, Merzbacher Collection, © Succession H. Matisse / 2012 ProLitteris, Zurich
Interview with David Chipperfield
Photo © Ingrid von Kruse
The Kunsthaus Zürich extension is not your first museum building. What attracts you to these projects?
Museum projects are interesting architectural tasks because they have a high architectural content, creating rooms and bringing in light means a lot of raw architecture. You are also working with clients who are sophisticated about what they want. There is a directness about the design of museums because you are creating rooms for art, so you can discuss how architecture and art sit together. If you are designing other kind of projects, for instance an airport, architects try to achieve good architecture as well. The task, however, is more purpose orientated such as allowing smooth immigration transfer and baggage handling. This leads further away from architecture itself whereas a museum stays very close to the essence of architecture.
Architects are being attracted towards projects where you can do architecture and they are disenfranchised from projects where a lot of people do not think architects are needed, such as housing and offices.
Is this a global trend?
The attitude in Switzerland is very different from the Anglo-Saxon world. There is still a concern with good quality here about public works. We are right now sitting in a hotel that has been carefully designed. Swiss people expect things to be designed and built well. Design is becoming a new way of selling something, bringing attention to something and promoting something in respect of every day qualities. That is a big difference. My Swiss architect friends complain that it is not like it used to be but still, I have to say, it is unique compared to a lot of other countries.
What is special about the Kunsthaus Zürich?
I think it is very important that the new extension does not devalue the historic building. The original Kunsthaus Zürich, designed by Karl Moser, will be extended by the new building with its clear geometric volume. The buildings are facing each other across the Heimplatz forming a unified ensemble which is physically connected. A passageway running underneath the square links the Kunsthaus with the new extension. You can hand your coat in on one side, buy your ticket, go down the stairs, walk across and see the displays in the other building.
The idea that you can walk through as a passer-by and you will not need a ticket, is intriguing. The entrance hall, which spans the full length of the building, can be part of your walk. That gives a strong public accessibility. It turns a purposeful entrance area into a space with public quality. The large entrances facing the square and garden together with windows on all sides of the building create a strong relationship to the surrounding city.
The new building will bring the whole idea of a green zone, linking different parts of the city together. So the other important aspect of the project is the new Art Garden behind the building which works as an entry into the upper part of the city. The building has been set back. This way there will be a sidewalk in front of the new building which I think will prove to be very useful. Heimplatz, when it will be surrounded by two large urban buildings, will turn into a proper square
How do you deal with criticism and other external influences?
That is what architecture is all about. It is about mediation between different points of view. The project came with its own implicit scale. The museum needs a lot of new accommodation, they need large exhibition spaces. When the competition took place in 2008 the challenge was to deal with the scale and to organise the interior. There was also concern over whether it had to be so big and if it could sit further back. Criticism like that you have to listen to and then try to think how to handle it. There is an honest dialogue and at the end of the process our client and we trust that the outcome is the best possible.
What has to be taken into consideration when building such an important project in Zurich?
Firstly, my feeling was that Zurich is a solid place, has a certain sobriety, is understated and appreciates fundamental quality. Secondly, if you have a good collection or a good programme, people pour into museums. Can architecture support this? Yes, I think so. If a provincial city like Bilbao can get the best part of a million people a year into a museum, then this is clearly proving the point.
The outward appearance is an important eye-catcher. But you put emphasis on the layout as a ´house of rooms´.
Fundamentally you must look after art. That is the most lasting thing. The fashion for architecture comes and goes. If the rooms offer a peaceful backdrop and if these rooms show art well, that will survive hundreds of years.
When you start to build a museum you have two choices. Do you create a big space that can be subdivided or do you build separate rooms? We began the Kunsthaus project with a building that is based on the idea of a ‘house of rooms’.
What exactly do you mean by that?
The world is huge and we cling onto things that mediate between our individual position and the collective big scale. Architecture exists in relation to the human spirit. There are moments in which it tries to intimidate us. Cathedrals are about spiritual scale and not human scale. They abandon all human measure in a way that we feel comfortable. I do not think it is the same in an airport. You learn how to organize yourself in an airport but it will always be restless.
When you look at art you do not want to be restless. You just want to take the artwork in and architecture is meant to invisibly help you feel comfortable.
What is the ‘ideal’ size for gallery rooms?
We know that for an art room about 6-7 metres are comfortable. It is what you need to stand back and look at something on one wall and to stand back and look at something on another wall. If the rooms are designed too small or if they are too big, the walls lose their presence. So, the emptiness of a room, the proximity and presence of the walls as well as the things on the wall create a very crucial balance.
And with the Kunsthaus we never forgot that we are dealing with a building within a historic context which should have flexibility but also defined rooms. One of the problems of a completely flexible museum is that you are committing yourself forever to expense every time you have to move a wall.
Therefore you have to ask, can you plan adequate from the start. And we decided in the new Kunsthaus for rooms. We know what art is going in there: The new building will display a contemporary art collection starting from the 1960s, a collection of classic modernism, the Bührle Collection’ and temporary exhibitions. There are some very big rooms that will allow for contemporary work of different dimensions.
What kind of art do you like?
I am a sucker for classic modernist art and am also interested in contemporary art. I believe in the power of objects and beautiful things, paintings, an Egyptian bust. I just can’t get enough of the magic power of artefacts. These things emanate humanity. And we underestimate the power of humanity.
Interviewer: Andreas Schiendorfer
Net floor space: 18700 m2
Space for art: 5040 m2
French art and Impressionism: 550 m2
E.G. Bührle Foundation Collection: 960 m2
Classical Modernism: 1070 m2
Contemporary art from 1960: 900 m2
Temporary exhibitions: 710 m2
Public areas: 2980 m2
Art education: 330 m2
Banquet hall, including catering: 800 m2
Visitor service / lobby: 1610 m2
Bar: 120 m2
Shop: 120 m2
Cost target: CHF 180 million
Cost ceiling, including reserves: CHF 206 million, of which the
City of Zurich is contributing CHF 88 million, the
Zürcher Kunstgesellschaft CHF 88 million, and the
Canton of Zurich CHF 30 million
Einfache Gesellschaft Kunsthaus Erweiterung
City of Zurich, Offices of Cultural Affairs and Building and Construction
Zürcher Kunstgesellschaft, museum operator
Stiftung Zürcher Kunsthaus, proprietor and administrator of properties
City of Zurich Public Works Office
David Chipperfield Architects
Wirtz International, Schoten
So that the new Kunsthaus can operate smoothly, CFO Hans Peter Meier, together with the Boston Consulting Group, has developed a business plan. This plan, working carefully with conservative estimates, simulates a realistic scenario in 2020. “We assume normal operation, apart from the expected influx shortly after the opening”, says Meier. The business plan defines the future business model and economic indicators. It takes into account expenditure and considers ways in which this can be covered by revenues.
“Our goal is to meet half the expected annual additional demand of around 8.5 million Swiss francs through our own resources and so to maintain the high level of self-financing of over 50 percent.”
Planned is an increase in staff numbers by 50 positions. This corresponds to a growth of 62 percent or an increase of the present 81 to 131 full-time employees. All areas, according to Meier, from exhibition organisation, sponsoring and communication to technical services and attendants, will be included in this expansion. “We’re creating attractive jobs that are sustainable and that offer diversely qualified applicants a stimulating work environment”.
The plan income statement from the second year after the opening reckons with operating costs* of CHF 27.6 million (previously CHF 19 million) for the entire Kunsthaus. At 49 percent of expenditures, personnel costs (including 18 percent social costs) represent the largest single block of costs. By comparison, on the average personnel costs for 2008 to 2010 amounted to 50 percent of expenditures. Their future share in the total budget remains virtually the same.
The CFO’s business plan calculates an annual average of 385,000 visitors. This corresponds to an increase of 36 percent compared to the long-term average. On the basis of the higher number of visitors and the additional shop in the extension building, the plan expects revenues from the shop assortment of CHF 1.9 million.
Meier also sees considerable potential in sponsoring. “The new ballroom, and the heightened visibility that the then largest art museum in Switzerland can offer, will attract new sponsors.” Here the plan expects a growth in income of 90 percent.
And last but not least, the Zurich Art Society would like to expand its base. By providing attractive, customized offers, it can increase the number of members by 25 percent. Initial ideas for this were gathered at a members workshop in June.
And how to prepare yourself for surprises? “We’ll continue to track down costs and earning potential up to the opening”, says Meier confidently. More efficient solutions are expected in the area of energy and ancillary costs. Supported by the positive result of the referendum, the public sector will be able to honour its commitments. The operation of the Kunsthaus will then also be ensured in future.
* As previously, not included in the operating costs are building maintenance costs for upkeep and value-conserving costs for property. These costs are borne by the owner of the property, the Zurich Kunsthaus Foundation, with support from the City of Zurich.
Comics by Ruedi Widmer
Saturday, 27 October 2012, 10 a.m. – 8 p.m. Admission free
On the way to the new Kunsthaus, we’d like all Zurich to join us. We’re therefore opening the whole Kunsthaus for free and invite you to look behind the scenes. Tell your Zurich friends and colleagues to re-discover the Kunsthaus. We’re prepared for a stampede. Here, in advance, an excerpt from the varied programme:
• On tours of the Kunsthaus, over the Heimplatz and at the future building site opposite it, you can follow the development from Karl Moser’s building to the new design by David Chipperfield Architects.
• What requirements do you need to get one of the 70 new jobs that the Kunsthaus will create by 2017? Who are the sponsors and patrons who benefit the Kunsthaus? Collectors and staff provide information.
• Interaction writ large: playing in the collection and painting to music for all generations. In the evening the expressive voice of Piratesse Billa will float over the buzzing sounds of the museum in a recited radio play.
Piratesse Billa. Photo © Beate Frommelt
• In general, music lovers will get their money’s worth: Ronin music – Nik Bärtsch, Kaspar Rast and Sha play live Zen Funk at its best.
Bärtsch, Rast, Sha – Ronin Music. Photo © Martin Möll
• On tours with restorers our guests can get a close-up look at the plaster sculptures of Alberto Giacometti and delve into the deeper layers of Ferdinand Hodler’s "Die Wahrheit" ("Truth").
• The Graphic Collection is preparing its 100th anniversary. In the Study Hall, we give you a preview of the highlights.
• The performance of Alexandra Bachzetsis’s "A piece danced alone" in Zurich must be rated the high point of day.
"A Piece Danced Alone" by Alexandra Bachzetsis (right), with dancer Anne Pajunen.
Foto © Melanie Hofmann
• We learn where else art is created in Zurich and about the mechanisms at work before an art gallery, a publisher or a museum decide in favour of an artwork and its producer.
• The public mainly learns afterwards that the Kunsthaus has received a gift. This time we unpack a new accession for everyone to see.
• Choose the artwork of the day!
• Win the audio guide quiz!
• Beautiful books at a good price! The library will be selling duplicates: books, catalogues and magazines.
>Detailed programme (pdf)
Sunday 11 pm, Tuesday 12 a.m., Wednesday 6 p.m., Thursday 3 p.m. (in German).
With audio guide system, CHF 6 / CHF 4 for members.
for groups of 2 to 20 people, at your preferred date and in the language of your choice, can be booked by telephone: +41 (0)44 253 84 84 (Mo–Fr 9–12 am) and costs from CHF 175 per group.
Photo © Caroline Minjolle
Workshops for children and young people are available in German. For details see german version.
Kunsthaus Zürich, Heimplatz 1, CH–8001 Zürich, Phone: +41 (0)44 253 84 84
Sat/Sun/Tues 10 am–6 pm, Wed/Thur/Fri 10 am–8 pm. Closed Mondays.
Public holidays: 26 December, 1/2 January 2013: 10 a.m. – 6 p.m. Closed on 24/25/31 December.
Admission including audio guide Eng/Ger/Fr: CHF 15 / CHF 10 (reduced) / CHF 12 per head for groups of 20 or more.
Free admission on Wednesdays.
Combined ticket, including the collection and the exhibition Paul Gauguin: CHF 25/ CHF 18 (reduced)/CHF 20 per head for groups of 20 or more.
Children and young people up to the age of 16 free of charge.
Discount on travel and admission: at train stations or by phoning Rail Service 0900 300 300 (CHF 1.19/min. From landline), www.sbb.ch
Sales points in Switzerland: Rives, Balexert, Lausanne, Fribourg, Pathé Kino Basel, www.fnac.ch
F: Carrefour, Géant, Magasins U, 0 892 68 36 22 (0.34 €/min), www.fnac.com
Getting to the Kunsthaus
he Kunsthaus is just a few minutes away from the main railway station and can be comfortably reached by public transportation.
Public transportation, bus stop “Kunsthaus”:
From Zurich Main Station: tram 3 and Bus 31
From Paradeplatz: trams 8 and 9
From Enge Station: tram 5
From Stadelhofen Station: via Bellevue with trams 5, 8, 9
Note: The cost of all public transportation to the Kunsthaus is included in the ZürichCard.
By car: nearest to the Kunsthaus is the car park Hohe Promenade located in the Rämistrasse (near Bellevue).
Access for disabled persons is provided.
Groups and school classes by appointment only. Otherwise there may be long waiting periods.
Phone: +41 (0)44 253 84 84
A magazine on the exhibition is available for free. It contains reproductions of the exhibited works, photos of the architectural models and essays by various authors.
Editors: Philippe Büttner, Björn Quellenberg, Christoph Becker, Franziska Lentzsch
Coordination: Kristin Steiner
Design: Büro4, Zürich
Programming: Fint, Zürich
Reproduction permitted with acknowledgement of source:
© 2012 Kunsthaus Zürich
• Poster for the Barrès trial, 1921, in: Dossier de documents et de revues dadaïstes, 1914-1924, Compiled by André Breton, Kunsthaus Zürich, library, Dadaism Collection
• Franz Gertsch, Silvia III, 2004, Kunsthaus Zürich, Vereinigung Zürcher Kunstfreunde, © Franz Gertsch
• Richard Long, Bourgogne Circle, 1989, Kunsthaus Zürich, © 2012 ProLitteris, Zurich
• Paul Cézanne, La Montagne Sainte-Victoire, 1902/06, Kunsthaus Zürich, acquired with a contribution from Emil BührleWillem de Kooning, Untitled XI, 1982, Hubert Looser Collection, © The Willem De Kooning Foundation / 2012 ProLitteris, Zurich
• John Chamberlain, Archaic Stooge, 1991 Hubert Looser Collection, © 2012 ProLitteris, Zurich
• Roy Lichtenstein, Yellow Brushstroke, 1965, Kunsthaus Zürich, © 2012 ProLitteris, Zurich
• Claude Monet, La meule au soleil, 1891, Kunsthaus Zürich, acquired from the legacy of Otto Meister with a contribution from the Schweizerische Kreditanstalt
• Vincent van Gogh, Cabanes blanches aux Saintes-Maries, 1888, Kunsthaus Zürich, gift of Walter Haefner
• Anselm Kiefer, Parsifal, 1973, Kunsthaus Zürich, © Anselm Kiefer
• Peter Fischli/David Weiss, Untitled, 1994, Kunsthaus Zürich, Society of Zurich Friends of Art, © Fischli/Weiss
• Philippe de Champaigne, The Veil of Veronica, Kunsthaus Zürich
• Gillian Wearing, Me as Sander, 2012, Kunsthaus Zürich, © Gillian Wearing
• Urs Fischer, Problem Painting, 2012, © Urs Fischer / photo: Mats Nordman
• Pipilotti Rist, Yoghurt on Skin – Velvet on TV, 1994, Kunsthaus Zürich, Vereinigung Zürcher Kunstfreunde, Gruppe Junge Kunst, © Pipilotti Rist
• Henri Matisse, Intérieur à Collioure (La Sieste), 1905, Merzbacher Collection, © Succession H. Matisse / 2012 ProLitteris, Zurich
• Modelphotos © Ute Zscharnt for David Chipperfield Architects
• Filmstil from the video of Ursus & Nadeschkin, © 2012 by Ursus & Nadeschkin
• Photos © Caroline Minjolle
• Photo © Anita Affentranger