Agenda

The big boat trip (Ahoy! 25 years of Moving Art) started last weekend. The converted cargo ship MS Evolutie casts off its lines and started its three-month journey down the Rhine.

It will drop anchor at relevant stations of Tinguely’s artistic career and offers an exhibition in the ship’s hull, a spectacular fountain sculpture on deck, creative workshops, as well as a great performance programme.

Follow the voyage on www.mtahoy.com. On the website you will find information about the route and the daily event schedule at the individual stops.

Furthermore, you can find detailed information about the events and workshops. The ship will return to Basel in time for the museum’s anniversary celebration at the end of September.

The consortages de bisses emerged in Valais during the Middle Ages around the management of common resources such as water, mountain pastures or forests.

The current and future challenges related to natural resources have revived interest in this collective governance, in which the users manage the common goods.

The exhibition “CONSORTAGES: Together, what future for our past? ” offers a historical journey into the world of these consortia, to discover their origins, understand their current reality and imagine their future.

The exhibition is accompanied by a programme of activities and a scientific publication

In his cinematographic art, Jean Lecoultre (1930) shows the violence of the cities.

In the face of this observation, his tools, pencil and brush, and his art show vulnerability, which reinforce the effect of his observations.

The exhibition presents lithographs, aquatints and varnishes from the Fondation William Cuendet & Atelier de Saint-Prex as well as recent drawings and paintings by the artist.

The exhibition (Moment. Monument. Aspects of contemporary sculpture) presents positions of sculpture by around 20 artists in the field of tension between duration and transience.

A monument is a man-made building or work of art. In a narrower sense, monument also means a memorial or memorial and reminds us of a historical personality or a historical event.

However, the monument always claims meaning and validity. Monument comes from the Latin verb ´monere´ to remember.

Sculpture today takes up the formal possibilities of the past, but redefines them for the present in terms of content.

Today it is less about a cultural and social revolution, about overcoming an artistic canon, but rather about redefining it in terms of content and material.

Artistic approaches no longer have to assert themselves as a radical break with tradition, but rather build on the past, combine it with the experiences of today and create works that are carried by their own sensibility.

The Fondation’s collection is connected to Olafur Eliasson’s Life exhibition and explores the relationship between nature and culture in art through selected modern and contemporary art works depicting the human, animal and vegetal realms. Landscapes, still lifes and portraits uncover a dense web of relationships with the environment.

The exhibition brings together more than 100 works from the 19^th, 20^th and 21^st centuries, including masterpieces and major groups of works by Claude Monet, Vincent van Gogh, Ferdinand Hodler, Pablo Picasso, Henri Matisse, Alberto Giacometti, Louise Bourgeois, Mark Rothko, Sigmar Polke, Roni Horn, Peter Doig, Philippe Parreno, Tacita Dean and Wolfgang Tillmans as well as rarely displayed works and recent acquisitions. Using a vast range of media – painting, sculpture, photography, drawing and multimedia installations – the works on display chart the full scope and complexity of the relationship between nature and culture.

The Fondation is devoting its annual summer exhibition to the painter Gustave Caillebotte (1848-1894).

This homage to Gustave Caillebotte, in the form of a retrospective, brings together some 90 canvases painted between 1870 and 1894, thanks to loans from European museums: the Musée d’Orsay and the Musée Marmottan Monet in Paris, the Musée des Beaux-Arts in Rennes, the Musée des Beaux-Arts in Rouen, the Petit Palais in Geneva, the Fondation de l’Hermitage in Lausanne, the Van Gogh Museum in Amsterdam, and the Museum Barberini in Potsdam, as well as private collections.

Gustave Caillebotte’s art is a testimony to the metamorphosis of the French capital between 1870 and 1894.

The exhibition “Des choses”  focuses on archaeological finds, whose singularity often confines them to the register of anecdotal or “miscellaneous” : a small batch of white sand brought back 3000 years ago from a journey to the mountains and discovered in a lake-dwelling village, a yew stick roughly cut by a child to play with a bow 5000 years ago, a collection of fossil sea urchins whose shapes inspired the ornamentation of prehistoric artifacts.

These cases bring us back to the daily life of our predecessors. As a matter of fact, the evocative potential of these objects obliges archaeologists to confront the limits of their scientific approach, and to approach the finds through other analytical grids, such as the emotional, the sensitive, the poetic and other facets of daily life.

This exhibition shows the sculptural work of the past 76 years in Switzerland. It presents 230 works by 150 artists from the four linguistic regions of the country, including famous names such as Hans Arp, Germaine Richier, Max Bill and Meret Oppenheim, through to Fischli/Weiss, Roman Signer, Sylvie Fleury and Ugo Rondinone. The younger generations are represented as well.

The musee du Temps in Besançon and the musée international d’horlogerie in La Chaux-de-Fonds are well-known museums in the field of watchmaking and time measurement.

In association with the annual Nuit de la Photo festival in La Chaux-de-Fonds, they have jointly organised a cross-border exhibition.

The French and Swiss territories of the Jura have fostered an exceptional horological and mechanical culture and watchmaking history,.

This cultural heritage also includes a whole range of traditions and living, social, ritual and festive practices, as well as skills and expertise.

The exhibition Transmissions. Picturing the intangible (Transmissions. L’immatériel photographié) addresses this intangible cultural heritage through photography as a contemporary artistic medium offering new and sensitive approaches to the craftsmanship of mechanical watchmaking and art mechanics.

The exhibition displays the work of photographers. they explored the area, visiting the workshops, businesses, museums and schools of the French-Swiss watchmaking region.

The exhibition’s point of departure is the four-part Engadin-Panorama by Giovanni Giacometti (1868-1933), which is at the Graubünden Art Museum (Bündner Kunstmuseum)  as a permanent loan.

It was Giovanni Segantini (1868-1899) who involved the artist in the great panorama-project for the Paris World Exhibition of 1900. Segantini died, however, and his project did not make it to Paris. Three paintings are shown in the Segantini Museum in St. Moritz nowadays.

Afterwards, Giacometti painted various panoramas himself. After the panorama of Muottas Muragl (1898) he painted a view of the Upper Engadine scenery with the massive Hotel Palace of Malloja (1899), and as the conclusion of these representative assignment-paintings, the famous triptych for the Hotel Waldhaus in Flims (1904).

These three paintings set a beginning to the onset of his career.