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Max Bill (1908-1994), a key figure of modernism in his native
Switzerland and internationally, was a true renaissance man.
Equally accomplished as a painter, sculptor, graphic and product
designer, and architect, he was also an eminent theorist and
educator, curator, and prolific publicist. Moreover, he engaged in
Swiss politics and was an activist both in Switzerland and abroad.
Throughout his career he connected with fellow artists and other
leading figures of modernism, maintaining a lifelong and worldwide
artistic and political dialogue. This book, published in
conjunction with a major exhibition at Zentrum Paul Klee in Bern,
Switzerland, takes a fresh look both at Bill's remarkable
achievements across his diverse fields of creative activity and at
his international network, highlighting his contribution to art and
society as a whole. Max Bill Global features some 120 of Bill's own
works in all disciplines and a selection of his designed products
that went into industrial production, as well as work by some of
his artist friends. Published alongside are topical essays
investigating Bill's interaction and networking with fellow artists
in Dessau, Paris, Zurich, Sao Paulo, Buenos Aires, and New York.
Korea is still a divided country that apparently never found its
way out of the Cold War. The differences between the socialist
North, which follows a dynastic leadership cult, and the capitalist
South, with its developed democracy, could hardly be greater.
Encompassing all areas of life, this divergence is also reflected
in the art of the two countries: through the vibrant contemporary
art scene in South Korea and the socialist-realist tradition of
painting in North Korea, two diametrically opposed artistic
attitudes exist in parallel, reflecting the incompatibility of the
political systems and the stark differences in the way of life of
the populations. To mark the exhibition of both North and South
Korean works from the Sigg Collection at the Kunstmuseum Bern, a
comprehensive, richly illustrated catalogue is being published,
which sheds light upon the theme of the border in contemporary
Korean art from both sides.
The book offers representative excerpts from the manuscript
reviewed by the artist in the early 1990s. Stylistically aware and
(self-)critical, the author comments on the cultural and social
climate in postwar Germany. He offers new insights into the German
art scene of the postwar period and its European network, the
relations between the SPUR group and the Situationist International
around Guy Debord - provocations and scandals included.
What does it mean, not only to be an artist, but to become one?
What does the quest for the personal artistic language consist of?
The life and art of Japanese artist Teruko Yokoi provides some
insight into this process. Teruko Yokoi: Tokyo-New York-Paris-Bern
features the artist's work from the years 1954 to 1964 when
stretched between Tokyo, San Francisco, New York, Paris, and Bern.
She is experimenting, trying out the new and forging her own
language of artistic expression. The various stages and her
experiences in these different cities are colorful influences on
her body of work. The illustrated catalogue traces the dynamic
story of an extremely prolific and vibrant artist whose art has not
only testified to her unrelenting creative energy, but - torn
between East and West - it mirrored the debates on the modern
post-war painting. The book is an important contribution to the
literature on great female artists.
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