Agenda

The life of the painter, writer, critic, and enlightened thinker Józef Czapski  (1896 -1993) practically coincides with the whole of the 20^th century. Born in Poland, Czapski grew up in the waning days of the Russian Empire. He took part in both World Wars as a soldier and officer. In the First World War as Polish Cavalry officer, in the Second World War first as a prisoner of war after the Soviet-Union had invaded Poland in September 1939 (he was one of the rare survivors of the Katyn massacre), then in the Polish Armed Forces in the Middle-East against Germany after 22 June 1941. After the war, he settled near Paris. He restarted painting and writing after the war. His early artistic output was destroyed during the war. Through a selection of diaries, books, drawings and paintings the exhibition brings to the fore his creative process and works. The Maison des arts Plexus in Chexbres is featuring another fifty of his works in parallel with the foundation’s show.

What is the definition of ‘exotic’ in Switzerland or elsewhere? This changing notion still conditions the way we look at the world today. Two centuries ago Switzerland had a different view of countries of Europe and other continents and its inhabitants. The exhibition explores the relationship between Switzerland and abroad in the Age of Enlightenment but also offers a link to the 21st century and an understanding of the (changed) worldviews. Numerous activities, artistic installations and collaborations with other cultural and historical institutions accompany this exhibition, which also addresses current and sensitive topics.

True love exists and existed, as well as social conventions, at least that is the starting point of the exhibition (L’amour en boîte).  In the period 1812-1817, Eugénie de Treytorrens (1785-1856) and Charles d’Odet (1776-1846) wrote at least 252 letters. Eugénie was of wealthy Protestant origin from Guévaux (canton of Fribourg). Charles belonged to a family of landowners but was considerably less wealthy, both Catholic and from another canton (Valais). Their correspondence has been preserved. It gives a good insight into the sentiments, morals, male-female relationship, Protestant-Catholic and the importance of fortune within the bourgeoisie. In the correspondence, these aspects are often discussed and they have also been a reason to end the relationship eleven times. The twelfth time, in a letter dated 4 November 1817, Eugénie made a definitive decision.

In today’s social media, correspondence is much quicker, less courteous and less long-winded. The discussions also have different content, but the sentiments remain the same. Incidentally, Eugénie and Charles both married shortly afterwards, they with notary Charles Stoecklin (1793 – 1842) from Fribourg, he with Aglaé de Bons (1797 – 1864).

The twofold-exhibition (Zeitzeuge und Pioniere der Mundartdichtung) presents the travelling exhibition ‘Schweizerreise – Johann Peter Hebel as Aufklärer’ (Journey through Switzerland – Johann Peter Hebel as a philosopher of the Enlightenment) of the Dreiländermuseum and the Hebelbund in Lörrach (Germany), and a selection of manuscripts, letters and drawings from the legacy of the poet-priest and Hebel admirer Jonas Breitenstein (1828-1877) from the canton of Basel-Landschaft. Johann Peter Hebel (1760-1826) travelled through Switzerland in 1805 and recorded his observations in a travel diary. His notes offer a remarkable insight into a time when Napoleon also ruled Switzerland. Jonas Breitenstein is considered one of the most influential authors of his canton. He was the first to publish in the Baselbieter dialect. The exhibition offers uncommon and good insight into this period of the nineteenth century.

The Museum stages an exhibition on 19th-century orientalist photography. At that time, foreign travel to the Middle East experienced a boom. Some of the classic stopovers on these tours were Athens, Beirut, Damascus, Jerusalem and Constantinople. The popularity of this type of travel was enhanced further by the then still relatively new technology of photography, which increased the allure of such journeys for those who had stayed at home. The selection of photographs from the Ruth and Peter Herzog collection on display is a series of historically important works. Special focus is on archaeological sites in the Middle East.

In the 20th century, Swiss designers and producers had a clear idea of the perfect furnishing. Initially, the abstract form was a theme. Flexible tubular steel furniture was developed in the 1930s, while the unity of elegant form and function was propagated mid-century. Around 1968, everyday culture and Pop Art conquered the living room. A decade later, the postmodern diversity of styles was celebrated until the minimalist tradition was rediscovered at the end of the century. Seven sample rooms (Ideales Wohnen), furnished with gems of the museum collection, present the most important trends in modern Swiss furniture design.

The exhibition pays tribute to Hans Josephsohn (1920-2012) on the occasion of the centenary of his birth. It focuses on a series of brass sculptures made between 1950 and 2006. These works exemplify the central role played by the human figure in Josephsohn’s art and document all the types that the artist himself used to classify his work: standing, seated and reclining figures, half-figures and reliefs. His works are on permanent display at the Museo La Congiunta in Giornico, inaugurated in 1992, and at the Kesselhaus Josephsohn in St Gallen, opened in 2003.

Although cacao comes fromfar-away countries, chocolate has established itself as a symbol of Switzerland.  The firm Suchard, founded in Neuchâtel in 1826, played a leading role in this development. The exhibition offers a panorama of the company’s advertising campaigns from the middle of the 19th century onwards. These are often works of art in themselves, some with a size of 4.5 metres. The exhibition also deals with the chocolate world celebrities Milka-koe, the Suchard Express or the Toblerone.

The exhibition introduces viewers to Chinese landscape painting, discloses its many meanings, and reveals its hidden messages. It provides insight into China’s culture, philosophy, and literature, while at the same time addressing the relationship between humankind and nature. The dialogue between past and present reveals surprising links, but also ruptures and conflicts. The exhibition juxtaposes historical masterpieces with landscape representations by modern and contemporary artists. The show presents ninety works from six centuries, including paintings, installations, and video works.

The exhibition (until 18 October) was created in close collaboration with the English artist couple Gilbert & George. The show focuses on their work from 2008 to 2016. The exhibition of sixty works has been set up specifically for these museum rooms on the basis of themes and stylistic characteristics. The performances with their bright colours and mirrored symmetry transform the museum hall into a large fresco.