Agenda

50 000 years of local history in the heart of Europe is the theme of the permanent exhibition at the Laténium. The exhibition presents the different stages of human evolution, from the present day back to the times of the Neanderthal man. The first human beings settling in Switzerland date from 50 000 years ago. Then followed the glacial ambience, 25,000 years of ice age. As human societies started to constitute their first permanent settlements and lake-dwellings. The Celts, the Gallo-Romans and the Middle Ages are the next focus of the presentation.

Traditionally, woodcarving is a male affair, but the number of female woodcarvers is constantly increasing. The exhibition shows selected works by eleven women artists from Switzerland and Southern Germany.

The hunt has always meant a lot more than the simple procurement of food or the defence against food competitors. Huntable animals belong by far to the earliest motifs in painting and sculpture. The exhibition reflects on the hunt, on hunters and the hunted, on how they are perceived and depicted from antiquity up to today. It addresses the mythological superstructure from Artemis and Diana to Saint Hubertus. It illustrates the meaning of trophies, asks after the wilderness as a place of longing. The exhibition reflects the different views and manifestations from classical antiquity to the present day.

The exhibition René Char. Sources et chemins de la poésie (Wellsprings and Ways of Poetry) follows the poet René Char (1907-1988) over the course of some thirty years, from Le soleil des eaux (1949) and Les matinaux (1950), to the collections La nuit talismanique (1972) and Aromates chasseurs (1975). The show is divided into four chronological sections that are organized around the works and their manuscripts, as well as photographs, prints, drawings, and fragments that led to the birth of complete poems. It also brings to life the places where Char lived, while several rare books reveal the poet’s friendships and dialogues with contemporary artists.

The two glaciers of Grinderwald are among the most researched glaciers worldwide. Taking a closer look at the glaciers one can see their retreat. In the 16th and 17th centuries the focus of public attention was more on the dangers of ice masses. After 1700 they began to be regarded as a curious phenomenon. In  the nineteenth century and by the rise of tourism they became first idealized and later  an integral part of the alpine landscape. Since the 17th century the two glaciers have also been a popular subject for artists. The exhibition “Keinesmehr“ or ‚no more sea of ice‘ consists oft wo parts. One part provides scientific background of the glacier and the climate change. The other part shows the most famous paintings of  the two glaciers.

Following the exhibition on Windows (Fenêtres) in 2013, the Fondation continues its exploration of major themes in western iconography. The theme of this exhibition features a selection of nearly 140 artworks, representing 500 years of the history of art and a diverse range of artistic forms, from painting to installation, sculpture, prints, drawings, photography and video. The masterpieces reflect the sustained interest artists have shown in shadow, from self-portraits (Rembrandt, Delacroix) to explorations of perspective (Bandinelli, de Hooch), chiaroscuro (Cambiaso, Jordaens, Wright of Derby) and the dramatic landscape of the Romantics (Friedrich, Carus, Bendz). Highpoints of the exhibition include shadow in the work of the Impressionists (Monet) and post-Impressionists (Cross, Sorolla), and a section bringing together the disturbing, paradoxical uses of shadow in the work of the symbolists (Degouve de Nuncques, Spilliaert), expressionists (Munch), surrealists (Dalí, Magritte, Ernst) and the New Objectivity (Schad, Stoecklin). The use of shadow in modern and contemporary art is reflected in iconic works by Picasso, Warhol, Boltanski and Kosuth, while video artists (Acconci, Otth, Maisonnasse) reinterpret the great founding myths linking shadow to art and knowledge, from Plato to Pliny. The exhibition is enhanced by a large photographic section, revealing that photography too has its constant focus on shadow.

The exhibition (Le monde de Tintin) tells the story of Tintin’s Adventures through drawings and models in a guided tour full of surprises and a wide range of never before presented documents and objects.

The Museum of the Monastery of Müstair dedicates an exhibition to the emperor Maximilian I (1459-1519). The central theme is his stay in the region in 1496 and his beloved hunting of wild animals. The monastic life of the time is also part of the show. Maximilian took over the regency in Tyrol in 1490 and became Lord of Vinschgau and the monastery of St. Johann in Müstair. In this function, he was the patron of the monastery and represented it to the outside world. He strongly influenced the administration and justice system in the Val Müstair. The region was of great economic and military importance because of the passes to Italy. Maximilian, who was an enthusiastic hunter and climber, also appreciated the mountain scenery and the abundance of wildlife. (Further information: www.muestair.ch/maximilian)

The Emmental has never been one of the most important tourist destinations. In the 19th century, however, the region became a Spa resort. Spa houses were built on numerous hills. Even today, it is mainly nature lovers and sports enthusiasts who spend their holidays in the beautiful landscape of the Emmental. The exhibition shows the history of the first Spas to the current wide range of tourist attractions. The Schwaar Foundation also presents paintings and artists who were inspired by the nature of the Emmental.

Martin Disler (1949-1996) gained worldwide fame with his visual work, but also retained an uninterrupted passion for writing. In the work of Friedrich Dürrenmatt (1921-1990) the two art forms are exactly the opposite. His literary works formed the basis of international success; painting was a complement to his literary work. The exhibition shows the etchings and paintings of Martin Disler and works he made for a school in Le Landeron.