They determine the climate of our planet Earth and are part of our everyday life: water, clouds and wind in all their forms. They have fascinated mankind since time immemorial and are reflected in art.
Water is a key element of human history. Thanks to its many manifestations (as spring water, river, stream, ocean, but also in the swamp, as spray or still lake), water found a rich expression in the formation of symbols: in mythology, religion, philosophy, art and psychology. It is closely connected with concepts such as creation and destruction, life and death, fertility and transience, as well as with the subconscious. The history of its development and use goes back to the earliest settlements.
In interaction with the water are the wind in its manifestations, which can express themselves as a whirlwind as well as in the eerie calm, and also the clouds with their constant shape changes and their volatility. Beneficial and yet also ominous, these phenomena inspire the myths, literary texts and works of art of every region and every era.
The works in the Würth Collection contain a multitude of references to these natural phenomena, a selection of which is now on display at Forum Würth Rorschach.
Following the star, astrologers from the East made their way to Jerusalem to pay homage to the newborn King of the Jews and to present him with gifts, according to the Gospel of Matthew in the Bible. Not only in the stories of the Christmas story are the astrologers, also called magi and kings, an integral part – they are also part of the inventory of many nativity scenes. Usually they appear in threes, sometimes with camel, elephant or horse and richly loaded with gifts. High above the stable shines the star and marks the miracle that has happened.
Further information on the accompanying events can be found here.
Forest Fascination! – No subject in art history can easily surpass the forest in terms of expressiveness and the variety of interpretations associated with it. The exhibition at Forum Würth Arlesheim brings together around 60 significant works from the Würth Collection, from Alfred Sisley to Anselm Kiefer. Changing artistic positions provide an insight into the fascination and significance of the forest and trees for people and the visual arts.
A separate forest experience room with sensory impulses and an audio forest walk in the neighbouring Reinacher Heide nature reserve also build a bridge to the surrounding area and enable further individual forest experiences directly on site.
For more information about the exhibition click here.
The monographic foyer exhibition ‘Joan Miró – Everything is Poetry. Würth Collection’ shows primarily prints from the late work of the world-famous Catalan artist and offers the opportunity to take a closer look at this prominent position in the collection.
The Catalan artist’s works – from prints and drawings to multi-part book illustrations and sculptures – illustrate the artistic and technical diversity of the artist, who saw himself as a ‘peintre-poète’ (painter-poet).
Joan Miró (1893-1983) is one of the best-known representatives of Surrealism. Like his companions, he also developed his own unmistakable visual vocabulary. His abstract aesthetic is characterised by emblematic forms and clear colours and is highly recognisable thanks to its characteristic and unique visual language.
In this compilation, Joan Miró’s works provide an insight into the artist’s life and work and point to a variety of influences: intellectual Paris, theatre and poetry shaped his artistic work, as did intuition and the natural forms of the Catalan landscape.
More information on the exhibition can be found here.
Hans Magnus Enzensberger
Günter Grass
and Hermann Hesse at the würth collection
The exhibition Literature for the Eye presents three well-known writers in an unusual guise. It focuses not on the internationally acknowledged literary work of Hans Magnus Enzensberger, Günter Grass and Hermann Hesse, but on their less familiar activity as visual artists. The authors’ approaches to their artistic work differ strongly. Hans Magnus Enzensberger’s machines involving written and spoken words form a kind of playful digression generating what he calls “linguistic dances”. Günter Grass, who started by studying art, attached equal importance to his literary and artistic activities, combining both in many works throughout his career. Hermann Hesse came to painting by way of a personal crisis and, although he regarded himself as nothing more than a “dilettante” in the field, noted in retrospect in 1924 that “I would not have got as far as I did as a writer without painting”. That statement might stand as a general motto for all three authors’ engagement with the visual arts, which revolved principally around a fruitful interaction between the two artistic disciplines.
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