Time is one of the great mysteries in the history of civilization. Its definitions are many and can be found in the most diverse disciplines, from religion to biology and economics, above all, of course, in physics, and as an well-established theme in art. Surprisingly, for all Switzerland' s reputation as a watchmaking nation, few art museums in the country have yet staged an exhibition on the subject of time that spans multiple eras and disciplines. The sensual journey of the Kunsthaus Zü rich through the history of time therefore now takes a comprehensive look at paintings, films, installations, performances, and real objects such as clocks from the 1550s to the present. Even though the clock as a time-measuring instrument is the starting point: temporal perspectives such as the biological, the paleontological, and even of personal sensations, are explored in depth in this show, curated by Cathé rine Hug, with works by, among others, Sinzo Aanza, Giacomo Balla, Black Qantum Futurism, Manon de Boer & George van Dam, Abraham-Louis Breguet, Pieter Claesz, Honoré Daumier, Jean Dubuffet, William Hogarth, Roni Horn, Monica Ursina Jä ger, On Kawara, Herlinde Koelbl.

ZEIT (TIME) – from Dürer to Bonvicini: Cat. Kunsthaus Zurich, in cooperation with Musée international d’Horologie, La Chaux-de Fonds, and Arts at CERN

Arts & Photography

Zweifel, Stefan

Hug, Cathérine

Nowotny PhD, Helga

Bello, Mónica

Safranski PhD, Rüdiger

Teichmann PhD, Josef

Vivas PhD, Sébastien

Collections, Catalogs & Exhibitions

Snoeck Publishing Company

A precursor to Arte Povera, Fluxus and Punk, the Situationist International has bequeathed a uniquely complex and conflicted legacy to contemporary art-making. Led by Guy Debord and Raoul Vaneigem, it initially favored the production of art objects; by 1962, collective debate on the role of art had caused the expulsion of its fine-artist members, including Asger Jorn, other members of Cobra and the entire Munich-based Gruppe SPUR. The revolution envisaged by the Situationist International demanded creativity in everyday life, the constructing of situations or the "fashioning of a temporary micro-environment and series of events for a single moment in the life of several individuals." The Situationist International (1957-1972) (the catalogue for the eponymous exhibition at Centraal Museum, Utrecht, and Museum Tinguely, Basel) is the first publication to evaluate the creative contributions of the SI. It addresses three areas of Situationist practice: firstly, anonymous and communal artistic production (e.g Cobra, Asger Jorn's folk art research and the "Bauhaus Imaginiste"); secondly, "détournement," variously translated as "diversion" or "subversion," a key SI strategy in which extant works such as advertisements, comics, paintings or films are politically reconstituted by collage or other means; and thirdly, the practice of "dérive"--"drift" or purposeless wandering in an urban milieu--which generated the now widely known phenomenon of "psychogeography" and led to radical reassessments of architectural practice. The Situationist International includes new unpublished SI documents and essays by Giorgio Agamben, Hans Ulrich Obrist, Peter Sloterdijk and Philippe Sollers.

The Situationist International (1957-1972)

OBRIST, Hans-Ulrich

History & Criticism

JRP|Ringier

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