english - Kunsthaus Zürich

ENGLISH
2015
Kunsthaus
Zürich
Open
Fri – Sun / Tues 10 a.m. – 6 p.m.
Wed – Thu 10 a.m. – 8 p.m.
Directions
From Zurich main station tram no. 3
or bus no. 31 to the ‘Kunsthaus’ stop
Public Holidays 10 a.m. – 6 p.m.
Christmas 24 / 26 December 2014
31 December 2014
1 / 2 January 2015
Easter 3 – 6 April 2015
1 May 2015
Ascension 14 May 2015
Whitsun 23 – 25 May 2015
1 August 2015
Christmas 24 / 26 December 2015
31 December 2015
1 / 2 January 2016
Address and Information
Heimplatz 1, CH-8001 Zurich
Tel. +41 (0)44 253 84 97 (recording)
www.kunsthaus.ch
info@kunsthaus.ch
Directorate and administration
Tel. +41 (0)44 253 84 84
Fax +41 (0)44 253 84 33
Closed
Mondays (exceptions see above)
Christmas 25 December 2014
Christmas 25 December 2015
Admission
From CHF 15 /10 (concessions and
groups)
to CHF 22 /17 (concessions and
groups)
Members and up to 16 years old
free of charge
Collection of Prints and Drawings
Study room
Mon – Fri by appointment
Tel. +41 (0)44 253 85 36 / 39
Library
Rämistrasse 45, 8001 Zurich
Mon – Fri 1 p.m. – 6 p.m.
Tel. +41 (0)44 253 85 31
Fax +41 (0)44 253 86 51
Published by
Zürcher Kunstgesellschaft
Postfach, 8024 Zurich
Print run: 215,000 copies
Subject to change without notice
Public Guided Tours
Sundays 11 a.m., Wednesdays 6 p.m.
Groups and school classes are kindly
requested to register in advance
Online Agenda
Workshops, guided tours and other
events on www.kunsthaus.ch
Title: Claude Monet, Bed of
Chrysanthemums, 1897 (detail)
Private collection
Overview
12 September 2014 – 26 April 2015
Ferdinand Hodler /
Jean-Frédéric Schnyder
12 June – 6 September 2015
Europe
19 June – 4 October 2015
10 October 2014 – 25 January 2015
Egon Schiele –
Jenny Saville
Sense (Un) Certainty
14 August – 1 November 2015
John Waters
31 October 2014 – 4 January 2015
Javier Téllez
28 August – 29 November 2015
28 November 2014 – 1 March 2015
20 November 2015 – 17 January 2016
2 October 2015 – 24 January 2016
Picture Ballot!
Joan Miró
23 January – 19 April 2015
30 October 2015– 7 February 2016
Master Drawings
Tomi Ungerer
20 February – 10 May 2015
The Collection
Monet, Gauguin,
van Gogh…
Japanese Inspirations
Art Education &
Summer Workshops
A Golden Age
Membership
12. 09. 14 –
26. 04. 15
Ferdinand Hodler /
Jean-Frédéric
Schnyder
Jean-Frédéric Schnyder, on Lake Thun 10.10.1995
Private collection, Switzerland, courtesy of Galerie Eva Presenhuber, Zurich
© Jean-Frédéric Schnyder
Curated by the artist Peter Fischli for the Kunsthaus, this exhibition
centres on drawings and paintings by the great Swiss artist Ferdinand
Hodler from the Kunsthaus’s own collection. Also included are the
image cycles ‘Berner Veduten’ (‘Bernese Views’, 1982 / 83) and ‘am
Thunersee’ (‘on Lake Thun’, 1995) by Jean-Frédéric Schnyder (b. 1945),
which are shown in different galleries but are linked to the paintings
by Hodler on a conceptual level. The ‘Bernese Views’ were a venture
by Schnyder into a tradition of plein air painting profoundly influenced
by Hodler, while the views of Lake Thun placed him squarely in the
earlier artist’s territory. In his landscapes, Hodler depicted the world
in contemplation of infinity. Schnyder’s image series, by contrast, tend
to emphasize the painter’s daily routine as he works away at his motif.
Accordingly, while the Hodlerian sublime sometimes finds a place in
the Lake Thun series, at others it is obscured by clouds. Peter Fischli
emphasizes the divergent nature of the two artists, but also identifies
one major common feature: both, in their work, deal primarily with
painting itself.
ZKO in the Kunsthaus: Arguably the best-known Swiss composer of
the 19th century, Othmar Schoeck was a contemporary of Hodler. Himself the son of a painter, he remained firmly rooted in the 19th-century
tradition and a follower of German and Austrian Romanticism.
Sunday 8 February, 11 a.m. www.zko.ch
10. 10. 14 –
25. 01. 15
Egon Schiele –
Jenny Saville
This exhibition brings together the expressionistic oeuvre of the
Austrian artist Egon Schiele (1890 –1918) and works by the British
painter Jenny Saville (b. 1970), for a fascinating dialogue between
the virtuoso exponent of Viennese Modernism and a contemporary
artist. The exaggerated, obsessive depiction of corporality compels
the viewer to engage directly with the act of painting as a physical
medium.
This is an open encounter between two artists separated by almost a
century that unites contrast and convergence. The two visibly retain
their autonomy, and Schiele is not posited as an influence on the
later artist. While his work is presented in a loose chronological
sequence, Saville’s paintings interact sometimes in isolation, sometimes in small groups of works or motifs. The airy hanging sets the
visual tone, thus challenging the viewer’s perception.
The exhibition confronts 37 paintings by Schiele with 16 large-format
works by Jenny Saville as well as ‘studies’ that deal with texture and
materiality – what Saville herself terms ‘mark-making’. →
Egon Schiele, Self-Portrait with Chinese Lantern Plant, 1912
Leopold Museum, Vienna
Jenny Saville, Rosetta II, 2005 – 2006
Private collection, © 2014 ProLitteris, Zurich
Some 40 works on paper offer an insight into Schiele’s mastery of
the art of drawing. Presented in small groups focusing on selected
themes, they reveal an artistic intensity that does not shy away from
extremes.
ZKO in the Kunsthaus: At the turn of the 20th century, Vienna was
a centre of the avant-garde in art, literature and music. Along with
his pupils Anton Webern and Alban Berg, Arnold Schönberg – also a
painter himself – revolutionized Western music; yet his waltzes are
indebted to the Viennese tradition.
Sunday 30 November, 11 a.m. www.zko.ch
31. 10. 14 –
04. 01. 15
Javier Téllez
Shadow Play
In his videos and film installations, Javier Téllez focuses on people
who typically inhabit the margins of society. He addresses issues of
normality and otherness, often working with untrained actors such
as patients from psychiatric clinics. In his work, he is concerned at
once to question the concept of the ‘stranger’ or ‘other’, and to reflect
on the medium of film and its place in art and film history.
Javier Téllez was born in 1969 in Valencia, Venezuela. He currently
lives in New York and Berlin and has established his reputation
through involvement in leading international group exhibitions such
as, most recently, documenta 13 (2012). The exhibition at the Kunsthaus Zürich is his first solo show at a major institution in Switzerland
and features a representative selection of his works from the last ten
years. Javier Téllez is also creating a new work that will receive its
first showing in Zurich.
Javier Téllez, Caligari and the Sleepwalker, 2008
Courtesy of the artist and the Peter Kilchmann Gallery, Zurich
© Javier Téllez
28. 11. 14 –
01. 03. 15
Picture Ballot!
By the Water
Mirroring, shifting water surfaces that reflect their environment are
an especially fascinating motif for painters. What quality of this vital
element is accentuated in the respective artworks? James Ensor’s
painting selected in the ‘Picture Ballot!’ depicts the beach in his home
town of Ostend layered in horizontal zones of colour. Sea and sky
almost coalesce into a single, pure plane of colour. ‘Picture Ballot!’
juxtaposes this painterly merging of sea and picture surface with contemporary works, spanning the arc from Impressionistic seascapes,
via Morris Louis’s large stained canvases, to the PET bottles of Swiss
artist Pamela Rosenkranz, their flesh-coloured content strongly suggestive of the human body.
In the age of the ‘selfie’, ‘Picture Ballot!’ 2015 is devoted to the theme
of the self-portrait. It covers a broad spectrum, ranging from realistic
self-depiction to amplified self-dramatization, and from gloomy introspection to blissful idealization. The Kunsthaus Zürich holds a large
number of artists’ self-portraits from various periods, and some fascinating examples will be presented for our members to choose from.
Supported by Albers & Co.
James Ensor, Beach at Ostend, around 1915
Kunsthaus Zürich, © 2014 ProLitteris, Zurich
23. 01. 15 –
19. 04. 15
Master Drawings
100 Years of the
Prints and
Drawings Collection
Paul Cézanne, Landscape in Provence, c. 1880
Kunsthaus Zürich
In 2015, the Collection of Prints and Drawings of the Kunsthaus
Zürich celebrates its 100th birthday. The first ‘Inventory of the hand
drawings and prints collection’ was drawn up in 1915. At the last
count the Prints and Drawings Collection of the Kunsthaus Zürich had
grown into an institution of considerable proportions, with well over
90,000 works on paper. The 37,000 drawings include masterpieces
by Raphael and Dürer, Fuseli, Turner, Hodler, Cézanne, Picasso
and Giacometti. Today, thanks to its innovative exhibition activities,
acquisitions in the fields of drawing, prints, photography, film, video,
multiples and installation, as well as cooperations and loans, the
Collection is linked to the world’s most prestigious museums.
Working with a team of scholars, its long-serving curator has
selected the master drawings from six centuries. A representative
publication, featuring full-page colour illustrations of each drawing
together with a commentary, is a highlight in a long series of collection catalogues from the Kunsthaus.
20. 02. 15 –
10. 05. 15
Monet, Gauguin,
van Gogh…
Japanese
Inspirations
Japanese art is of fundamental importance to the development of
European Modernism. Almost all the great artists drew inspiration
from its motifs and characteristic style. For the first time in over
25 years, a comprehensive exhibition examines the phenomenon
known as ‘Japonisme’. The focus is on the period from 1860 to 1910 –
the early phase and heyday of Japanese art’s reception in France.
Japan’s emergence from over 200 years of complete isolation in 1854
unleashed a veritable mania for the country in the West, especially
France. This was spurred on by the wealth of desirable imports from
Japan presented at the world’s fair exhibitions, in particular Vienna
in 1873 and Paris in 1878.
The vogue for all things Japanese manifests itself in numerous
ways: artists such as Monet, Gauguin and van Gogh, Bonnard and
Claude Monet, Waterlily Pond, 1899
The State Pushkin Museum of Fine Arts, Moscow
Utagawa Hiroshige, Inside Kameido Tenjin Shrine (Kameido Tenjin keidai), 1856
Bibliothèque nationale de France
Degas depicted imported artworks and everyday objects in their
own paintings, adopted Japanese imagery and – in a development
that was to have much further-reaching consequences – internalized the visual idiom of the Japanese woodcut. Indeed, it was this
very act of appropriation, combined with their own pictorial tradition, that informed a creative process which gave rise to many and
varied forms of artistic expression, the impact of which endured
long into the 20th century.
The presentation comprises over 300 prestigious exhibits, including
paintings and a representative selection of Japanese woodcuts by
Hokusai, Hiroshige, Utamaro and others, some of them drawn
from the artists’ collections of the period. Artefacts from Japan are
also juxtaposed with corresponding pieces from Europe. Historical
photo­graphs and a selection of highly graphic poster designs complete the survey of how Europe viewed Japan in the 19th century.
In collaboration with the Museum Folkwang in Essen. →
Vincent van Gogh, Courtesan (after Eisen), 1887
Van Gogh Museum, Amsterdam (Vincent van Gogh Foundation)
ZKO in the Kunsthaus: Japanese art had a profound influence
not just on great painters but also on the music of Claude Debussy,
Maurice Ravel and many others. Works by well-known Japanese
composers are compared with others created under the influence
of Japanese art. The meditative tones of a Zen monk’s shakuhachi
flute will transport you to the realm of the spirit.
Sunday 26 April, 11 a.m. www.zko.ch
Art Education &
Summer Workshops
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. Whether it’s a guided tour shedding
light on art-historical contexts, an artist’s talk dealing with a topic
in greater detail, or the chance to draw inspiration from artworks
to create a piece of your own, we have something just for you. We
are happy to adapt our offering to your requirements, be it a children’s birthday party, a company outing or a training course. Our
programme for schools includes workshops and educational guided
tours for groups from kindergarten to school-leavers. Visit the
Didactic Forum on our website to see what’s on or check out our
online agenda for details of current workshops, guided tours and
events.
From May to September, the summer workshops include art tours
to familiar and foreign destinations. They are an invitation to explore
different worlds through art and to create your own.
Photo © Caroline Minjolle
12. 06. 15 –
06. 09. 15
EUROPE
The Future of
History
What image represents Europe? The fall of the Berlin Wall, perhaps,
and the unification of Eastern and Western Europe after four decades of division along ideological lines? The reconstruction and the
economic miracle following the disaster of the Second World War?
Universal human rights and a political consensus among Europeans based on freedom and democracy? Or football champion­
ships and the Eurovision Song Contest? Not since Antiquity has a
single image stood for Europe, and any that purports to do so can
only be a fragment. Europe is a multifaceted mosaic that, despite
tensions beneath the surface, is no longer at risk of breaking apart.
Arnold Böcklin, Freedom (Helvetia), 1891
Kunsthaus Zürich, loaned by the National Gallery, Berlin, 1983
Kader Attia, Demo(n)cracy, 2010
Courtesy of the artist and Galerie Krinzinger, © 2014 ProLitteris, Zurich
In 1924 Ernst Ludwig Kirchner posed the question: ‘A unified Europe
would be the end of wars and it will come, but when?’ This exhibition
sets out to chart the various forms in which society’s ongoing desire
for a peaceful Europe has been depicted through the history of ideas.
It takes in atmospheric themes such as the delineation and dissolution of frontiers, landscape as a factor in the construction of identity,
the development of democracy, labour and mobility.
The most comprehensive art exhibition on Europe in Switzerland
since 1991 comprises some 100 works by 50 artists from all parts
of the continent, in the media of painting, photography, video and
installation. The artists represented include Kader Attia, Marc Bauer,
Arnold Böcklin, Herbert Brandl, Honoré Daumier, Fischli/Weiss, Dani
Gal, Ferdinand Hodler, Thomas Imbach, Anna Jermolaewa, Ilya &
Emilia Kabakov, Nikita Kadan, Bouchra Khalili, Paul Klee, Daniel
Knorr, Christian Philipp Müller, Cy Twombly and Nives Widauer.
19. 06. 15 –
04. 10. 15
Sense
(Un)Certainty:
A Private Collection
Sarah Lucas, Idealized Smokers Chest IV, 2000
Thomas Koerfer Collection
Courtesy of Sadie Coles HQ, London, © Sarah Lucas
In the 20th and 21st centuries, human beings have thought more
profoundly about their relationship to their environment than at
almost any other time in history. The origins of this development
are to be found in the expansion and acceleration of mobility, fresh
insights into the links between physis and psyche, and the new and
constantly refined image technologies. Yet for all this, the ‘filter’
through which we most immediately experience the world around
us is our own body. Artists have reflected in great depth on the interrelationship between the soul, the spirit and its physical ‘protuberance’ into the world beyond it. This is dramatically exemplified in the
70 photo­graphs, sculptures, paintings and video works from the collection of film director Thomas Koerfer. Making its first large-scale
appearance in a museum, this private collection includes works by
Nobuyoshi Araki, Nathalie Djuberg, Robert Frank, Jeff Koons, Sarah
Lucas, Boris Mikhailov and others.
14. 08. 15 –
01. 11. 15
John Waters
How much can you
take?
John Waters, the enfant terrible of American cinema, has influenced the aesthetic of independent film-making like almost no
other, pushing its boundaries with untrammelled relish. Just as the
world of film infiltrates our lives – nurturing dreams, awakening
obsessions and longings – so it affects visual artists. John Waters’s
radical visual idiom has inspired countless such artists. It comes as
no surprise, then, that Waters himself has an artistic oeuvre to his
credit. In this exhibition, featuring some 35 small to large-format
film photographs, assemblages, sculptural works and aphorisms
from the Matthias Brunner Collection, the Kunsthaus Zürich pays
tribute to this important area of John Waters’s work, and brings a
little-known facet of this extraordinary director to a wider audience.
John Waters, Study Art Sign (For Fun or Fame), 2007
Courtesy of the artist and the Marianne Boesky Gallery, New York, © John Waters
28.8.15 –
29.11.15
A Golden Age
The Kunsthaus already possesses important holdings of 17thcentury Dutch art, in the form of the Koetser and Ruzicka collections. For this exhibition, these are joined by 40 precious Dutch
paintings from a private collection in Zurich that have rarely been
shown before. Most are small-format cabinet pieces of exquisite
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 painting such as Hendrick
Avercamp, Jan Brueghel the Elder, Adriaen Coorte, Jan van Goyen
and Aert van der Neer.
The collection’s exacting standards are also reflected in the fact
that almost all of the pictures are signed, an indication of the way in
which Dutch artists of the time saw themselves: they were the first
to produce works to this extent for a broad market and develop a high
degree of specialization in a variety of genres outside religious art.
Adriaen Coorte, Still Life with a Bundle of Asparagus,
Red Cherries and a Butterfly, c. 1693 – 1695
Private collection
02.10.15 –
24.01.16
Joan Miró
Wall, Frieze, Mural
Joan Miró working on ‘Oiseaux qui s‘envolent’ in Gallifa, 1971
Photo: Francesc Català Roca, © Arxiu Fotogràfic de Barcelona
© Successió Miró / 2014 ProLitteris, Zurich
The art of Joan Miró (1893 –1983) is informed by an almost literal
directness, which invariably foregrounds the materiality of his
painting. In his personal accounts, he declared the wall itself to be
the starting point of his painting. At first, it was the wall of the farm
in Montroig, its imperfection supplying the inspiration for images
that captured the beauty of the material with meticulous attention to
detail and great poetic imagination. For him a wall was not simply an
object to be depicted: it also dictated the physical and tactile qualities of the painterly. The move from simple depiction to according
the canvas surface a status equal to that of the wall, as well as the
careful selection and preparation of supports that we encounter
in every phase of his work, can be traced back to this objective.
Poured paint and deliberately placed splashes, whitewashed canvases as well as coarse burlap and unconventional materials such
as masonite, sandpaper or tar paper are placed in the service of his
imagination and play their part in creating Miró’s visual universe.
At an early stage, Miró became interested in an extremely elongated
yet very narrow format that, even in small dimensions, prefigures the
monumental work of the post-war period. Site-specific works, large
scale triptychs and murals will exemplify this development; and →
Joan Miró, Woman and Kite Among the Constellations, 1939
Private collection, courtesy of Hauser & Wirth
© Successió Miró / 2014 ProLitteris, Zurich
this historical background also permits a reappraisal of the important ceramic frieze ‘Oiseaux qui s’envolent’ (1971 / 72) in the collection of the Kunsthaus.
ZKO in the Kunsthaus: Miró’s work bears influences of both Catalan tradition and the Surrealist movement, and this interplay is also
reflected in the concert accompanying the exhibition. Works by composers who were themselves influenced by Surrealism, such as Erik
Satie and Albert Roussel, encounter Spanish composers including
Isaac Albeniz and Joaquín Rodrigo. Needless to say the guitar, that
quintessentially Spanish instrument, is also represented.
Sunday 25 October, 11 a.m. www.zko.ch
30. 10. 15 –
07. 02. 16
Tomi Ungerer
INCOGNITO
Tomi Ungerer is often said to have influenced everyone – as illustrator,
storyteller, author, sculptor, builder, butcher and 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 illustrator, provocative graphic artist and sharp author, while his erotic illustrations
have polarized public opinion. Less known is his work as an artist;
yet the 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!’
This exhibition is a collaboration with the Museum Folkwang in Essen.
Tomi Ungerer, Untitled (Waiting for Godot 5 [in the Nursery]), 2009
Private collection of Tomi Ungerer, © Tomi Ungerer
The Collection
Opened in 1910, the Kunsthaus Zürich is structured as both museum
and art gallery, and is the perfect backdrop for its important collection
of paintings, sculptures and site-specific installations. It includes 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.
The Collection on Tour
In autumn and winter 2014 – 2015, significant groups of works from
the Kunsthaus Collection will be on show abroad. A selection of over
70 works from French Impressionism to Classical Modernism will be
exhibited in Tokyo and Kobe (Japan) from October 2014 to May 2015,
while a second, smaller set, centred on pieces by Alberto Giacometti
and his contemporaries, will be on display in Vienna from October
2014 to January 2015. In total, some 120 works from the collection are
involved.
The exhibitions in Japan and Vienna are an opportunity to put some of
the collection galleries to a different use for a while: from September
2014 to April 2015 the Kunsthaus is presenting ‘Ferdinand Hodler/JeanFrédéric Schnyder’. This exhibition is curated by the artist Peter Fischli
and includes paintings, sculptures and sketches by Schnyder from
other collections alongside paintings and drawings by Hodler from the
Kunsthaus (see also under Exhibitions).
Claude Monet, Waterlily Pond, Evening, 1916 /1922
Gift of Emil Georg Bührle, 1952, photo © www.jpg-factory.com
Baroque gallery
Photo © Arthur Faust
Old Masters
Medieval sculptures and the late Gothic panels of the Carnation Masters provide the chronological opening to the collection presentation.
17th-century Dutch painting is comprehensively represented, with
outstanding works by Rembrandt, Rubens and Ruisdael. A small but
significant group of paintings by Claude Lorrain, Domenichino, Lanfranco and others evokes the concurrent artistic activities in Rome;
the Venetian settecento is represented with works by equally fine
artists, from Tiepolo to Guardi. 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 Artists
The Kunsthaus holds a representative collection of 19th and 20thcentury 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 Modernism
The collection of French paintings starts with Géricault, Corot, Delacroix, Courbet and Manet and culminates in a large group of works
by Claude Monet. Important works 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.
Classical Modernism
Hans Arp / Pablo Picasso: © 2014 ProLitteris, Zurich
Joan Miró: © Successió Miró / 2014 ProLitteris, Zurich
Photo © www.jpg-factory.com
Contemporary art
Franz Gertsch: © Franz Gertsch, Henri Laurens: © 2014 ProLitteris, Zurich
Photo © www.jpg-factory.com
From 1945 to the Present
The 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, Lichtenstein).
The expressive painting of the 1980s is represented by Georg Baselitz,
Anselm Kiefer and Sigmar Polke.
Two further highlights are paintings and rare original sculptures by Cy
Twombly. Video installations and photographs by artists such as Jeff
Wall and Pipilotti Rist lead the way into the 21st century.
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 architecture of the Kunsthaus.
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Inspiration
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Kunsthaus Zürich and Swiss Re – an inspiring partnership.
What drives us at Swiss Re? Ideas, innovation and
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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.
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