Barbara Dombrowski
Tropic Ice_Dialog between Places Affected by Climate Change

30 July 2021 to 24 April 2022

After the first cycle, they were complemented by visits to the Maasai people in Tanzania, Mongolian nomads in the Gobi Desert and the Micronesian population on the island atoll of Kiribati. These latter stand for the three remaining inhabited continents and the corresponding climate zones. On the basis of her years of work, her encounters with indigenous peoples and her contacts with their shamans, Barbara Dombrowski has succeeded in gaining broad insight into the realities of their lives.

Through her exhibition at the Forum Würth Rorschach she would like to both invite viewers to enter into dialogues and to illustrate sensitively that climate change affects all of us, given that everything is interrelated.

More information you can find here.

Tomi Ungerer
Würth Collection
3 December 2021 until 14 August 2022

The French artist Tomi Ungerer was one of the major and also most provocative illustrators of the present day. His enormous oeuvre encompasses more than 40,000 drawings, oil paintings, poster designs, collages, lithographs, woodcuts and objects. Then there are his 140 books, ranging from social satire to fairy tales, including modern children’s classics such as “The Three Robbers” and “Moon Man”.

Tomi Ungerer was born in Strasbourg in 1931. After hitchhiking around Europe and publishing first drawings in the humor magazine “Simplicissimus”, his true career began in New York in the 1950s, where he became famous as a graphic artist, children’s book author, draftsman and painter. Throughout his lifetime he was politically committed. His posters protesting the Vietnam War and racial segregation are eloquent examples of this and count among the finest products of contemporary graphic art. His acerbic commentaries on American high society were both entertaining and drastic, and were collected in the volume “The Party”, 1966. This and further publications, including some comprising risqué erotic drawings, made it impossible for Ungerer to stay in the USA. His children’s books were censored and the FBI even put him under surveillance. He escaped for a few years to Canada, then settled in 1976 in Ireland.


He never abandoned his stance, as Andreas Platthaus put it, of “shedding light on his own dark side as fearlessly as on other people’s.” His statement that “hell is the devil’s paradise” illustrates Ungerer’s philosophy of life, ambivalent yet always open-minded. His difficult childhood, spent in Alsace between the front lines of World War II, led to a lifelong effort to reconcile France and Germany. After his move to Ireland, he found not only a new home but a European audience, especially following his “Grosses Liederbuch” (Great Songbook), 1975, in which he took up the tradition of German Romantic illustration and made it part of his changeable repertoire.

In his many works, Ungerer effortlessly alternated the Romantic style of the German almanach with the rapid stroke of a Wilhelm Busch, the illustration art of his fellow Alsatian Gustave Doré, the bite of French social satirists like Grandville, and the Anglo-American humor of his friends Ronald Searle

and Saul Steinberg. His work is marked by spontaneity, intellectual curiosity, love of experiment, and an obsessive search for the perfect line. In short, this brilliant observer of banalities and absurdities compellingly evoked the human comedy. That his illustration work was accompanied by extensive series of collages and sculptures, mostly done in the last two decades, has remained unknown even to most of Ungerer’s admirers. It was a merit of the comprehensive solo exhibition at Kunsthalle Würth in 2010 to have shed fresh light on the diversity of the artist Tomi Ungerer, who apart from his commissioned pieces created a fantastic universe of original works. Tomi Ungerer died in Cork, Ireland, in 2019.

The exhibition at Forum Würth Arlesheim, based on the rich holdings of 250 Ungerer works from the Würth Collection, provides a cross-section through the enormous and fascinating oeuvre of this highly relevant artist.

For more information about the exhibition click here.

art faces
Artists’ portraits from the Würth Collection

26 July 2021 to 29 May 2022

The work and its creator – we often look at the one and speculate about the other. The artist’s portrait is one possibility of getting closer to the person. In an engaging and insightful way the photographs of fine artists on show at the Forum Würth Rorschach offer us this personal access. The bundle of photographs in the Würth Collection stems from a Swiss collection compiled by François and Jacqueline Meyer. François Meyer – himself a photographer – used his profession in order to come to grips with the art that surrounded him from his childhood. He achieved this in New York in the 1970s where he had access to numerous artists’ studios. Faithful to his initial interest in the person behind the work, the portrait photographs he took strive to illustrate the relationship between artists and their art.

A special feature of this exhibition of artists’ portraits is that original works by several of these artists can be seen at the same time in the exhibition “Up for more – News from the Würth Collection on art created since 1960” and in the Sculpture Garden around the Würth Haus Rorschach.

More information on the exhibition can be found here.


From 17 April 2021 to 12 Februray 2023

The collection exhibition, which was previously on show in a similar arrangement at Kunsthalle Würth in Schwäbisch Hall, presents selected new acquisitions of contemporary art since the 1960s. This presents the company’s collection from a different perspective, as the new acquisitions have certainly taken new directions within the collection structure, even if they have at the same time further thought through and strengthened existing strengths.

The show presents a range of international artists who were groundbreaking, particularly in the 1980s and 1990s. A great deal of space is taken up by the Americans, including old masters such as John Baldessari, Sam Francis, Peter Halley, and David Lynch, who, in addition to his work as a film director, is also successful as a painter. Stars such as David Salle and Frank Stella also testify to the wealth of artistic approaches that flowed from the USA to Europe. They strike new notes within the collection and provide surprising accents. But positions from Germany, among others by Gerhard Richter, Neo Rauch, Jörg Immendorff and Markus Lüpertz are also represented.

You can find more information here.


20. JANUARY UNTIL 29. MAY 2022

“It is silence that attracts me,” says Anne Hausner. She finds this stillness in nature and there, in the broadest sense, in the landscape, which she takes up in series on the themes of water, air, earth and stones. These “nature pieces,” created in the last two decades, focus on both the extreme closeness and the far distance with the goal of fathoming the essential nature of things and seeing them as a metaphor for the greater whole.

Anne Hausner’s “nature pieces” are the result of close observation. In technically perfect realization, she depicts surfaces and structures on which light and shadow evoke new images. Sometimes they are painted with oil or acrylic on wood, sometimes drawn with pencil on paper.

Here the painter benefits from her occupation with the medium of photography. By focusing on a limited section, the concentration on the structures seen is intensified, which can be varied serially with slightly altered changes of perspective. In her works, the ways of seeing of painting and photography meet and demonstrate the possible approaches to one and the same subject.

The work complexes water, sky, earth and stones form the guideline. Individual pictures, diptychs and cycles within each series illustrate the diversity of these thematic blocks, which is also reflected in the formats: they range from small intimate cabinet pieces to extreme landscape formats. “The subjects ‘water,’ ‘earth,’ ‘stones’ form a meta-level, as it were, that is semantically substructured by the element of color and links all the series (‘blue-gray-green,’ ‘green-gray-brown,’ ‘gray-brown-white’),” as art historian Carl Aigner notes in the accompanying exhibition catalog.

It is important to the artist to explore all possibilities of viewing. This also corresponds to her additive working method of taking up various themes in parallel, but only ever working on one work until its completion. The series thereby allows for differentiated approaches. “It gives the painter as well as the viewer the freedom to make up their own mind,” as Anne Hausner puts it.

For more information click here.

Literature for the Eye
24.08.2018 – 28.04.2019

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.

More information

Würth International AG
Aspermontstrasse 1, CH-7004 Chur
Kontakt: +41 81 558 00 00

Eine neue Version Ihres Browsers ist verfügbar.

Ihr Browser entspricht nicht den heutigen technischen und sicherheitsrelevanten Ansprüchen, weswegen unsere Website allenfalls nicht korrekt dargestellt werden kann.

Auf der Seite «Was ist ein Browser?» können Sie sich über alternative Browser und über Aktualisierungsmöglichkeiten informieren.