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.
L’envie de forêt ! – Aucun sujet de l’histoire de l’art ne peut surpasser la forêt en termes de force d’expression et de diversité d’interprétation qui en découle. L’exposition au Forum Würth Arlesheim réunit environ 60 œuvres significatives de la collection Würth, d’Alfred Sisley à Anselm Kiefer. Des positions artistiques changeantes donnent un aperçu de la fascination et de l’importance de la forêt et des arbres pour l’homme et les arts plastiques.
Un espace séparé de découverte de la forêt avec des impulsions sensorielles et une promenade audio en forêt dans la réserve naturelle voisine de Reinacher Heide jettent en outre un pont vers les environs et permettent d’autres expériences individuelles en forêt directement sur place.
Pour plus d’informations sur l’exposition, cliquez ici.
L’exposition monographique du foyer « Joan Miró – Tout est poésie. Collection Würth » présente principalement des graphiques de l’œuvre tardive de l’artiste catalan mondialement connu et offre l’occasion de se pencher plus en profondeur sur cette position éminente de la collection.
Les travaux du Catalan – des estampes et des dessins, des illustrations de livres en plusieurs parties et des sculptures – illustrent la diversité artistique et technique de l’artiste, qui se considérait lui-même comme un « peintre-poète ».
Joan Miró (1893-1983) est l’un des représentants les plus connus du surréalisme. Comme ses compagnons de route, il a développé son propre vocabulaire pictural. Son esthétique, déterminée par l’abstraction, est marquée par des formes caractéristiques et des couleurs claires et possède un langage visuel caractéristique et original très reconnaissable.
Les œuvres de Joan Miró offrent dans cette collection un aperçu de la vie et de l’œuvre de l’artiste et renvoient à des influences multiples : le Paris intellectuel, le théâtre et la poésie ont marqué son travail artistique, tout comme l’intuition et les formes naturelles du paysage catalan.
Vous trouverez plus d’informations sur l’exposition ici.
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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