Barbara Dombrowski
Topic Ice_Regard sur les régions affectées par le changement climatique

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.

in the Würth Collection
17 July 2020 to 18 July 2021, extended until 31 Ocotber 2021

It may seem a bit confusing to refer to everything that is on show here as “books”, given that so very different forms are involved. Every book-lover will endorse the view that books can be art. Artists’ books, however, represent a special sector and have quite unusual forms of expression. There are numerous examples of such books in the Würth Collection and this exhibition testifies to their impressive diversity. One particular focal point is the early 20th century, when representatives above all of Surrealism and Dada undertook border-crossings between art and literature. Here the laws of chance and the depths of the unconscious played a vital role. Not only was that borderline between art and literature crossed, the book format itself was abandoned. Artists experimented with printing techniques, paper and the book production process, thus creating unique artistic syntheses. The differences between the exhibits also correspond to the diversity of contexts in which the books on show originated. The tour of the exhibition, therefore, becomes both a journey of discovery through the art history of the last century, and above all a great reading and visual delight.

For more information about the exhibition click here.

art faces
Portraits d’artistes dans la collection Würth

26. juillet 2021 à 29. mai 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.

Vous trouverez plus d’informations sur l’exposition ici.

(na, fritze?) lakritze
in the Würth Collection

17. July 2020 to 18. July 2021, extended until 31 Ocotber 2021

Ingenious amateur, universal artist, jack-of-notrades – descriptions of the artist Dieter Roth (Hanover 1930 – Basel 1998) are almost as varied as his oeuvre. He is famous for art works that transgress all borders and surprise viewers, often leaving them musing, or amused. His works made of molded chocolate, shaped rabbit droppings, or rotten cheese are legendary.

Roth recognized the beauty of mould, the aesthetics of change, and integrated these spiritedly into his production of art. Transience, change and the processual are elements that determine his work.

Dieter Roth‘s roots as an artist, however, are in graphic art. As a qualified advertising technician, he was as familiar with the aesthetics as with the technical fundamentals of that medium and greatly exhausted their potential. Like few others, Dieter Roth created an artistic synthesis, which is difficult to categorize in terms of genres. He was one of those artists who consistently played out the dissolution of boundaries in the arts as of the 1960s and thus shaped our understanding of contemporary art in general. Roth’s cross-border works surprise and fascinate viewers to this very day. The exhibition highlights the most important periods in Roth’s artistic career mainly by means of works dating from the mid-1960s to the mid-1970s.

More information about the exhibition you will find here.

Envie de plus!
Nouvelles œuvres contemporaines de la collection Würth (après 1960)

Du 17 avril 2021 au 12 février 2023

The collection exhibition that has been shown in similar compilation at the Kunsthalle Würth in Schwäbisch Hall presents newly acquired pieces of contemporary art since the 1960s. It treads new paths in the collection’s structure and emphasizes and deepens existing strengths.

The exhibition shows a vast variety of international artists who were especially influential in the 1980s and 1990s. US artists, among them old masters like John Baldessari, Sam Francis, Peter Halley and David Lynch, who is known and successful both as film director and as painter, make up a large part of the exhibition. Stars like David Salle and Frank Stella are proof of the great variety of artistic approaches from the USA that were spilling over to Europe. They add new features and surprising highlights to the Würth Collection. Strong positions from Germany, namely Gerhard Richter, Neo Rauch, Jörg Immendorff and Markus Lüpertz complement the exhibit.

For information you can find here.


UNTIL 17 OCTOBER 2021, extended until 9 January 2022

Housewife, mother, sex symbol – the list of clichés related to female roles is long. But artists, male and female, have always found interesting and often surprising ways of dealing with it, questioning it, re-interpreting it. The works in this exhibition oscillate between a preoccupation with identity as a woman and an artist, and the ascriptions the world makes to women. In brief: Who am I and who am I supposed to be? After all, when it comes to images of women in both senses, the question that always arises is: Who is portraying whom and how? For example, the link between painter and model is a prototypical response to this, mainly by male artists. Today, female artists, but some of their fellow male artists too, seek ways to escape directing this classical and much criticised gaze on the relationship.

Artists in the exhibition:
Siegfried Anzinger , Stephan Balkenhol, Max Beckmann, Emil Boehm Fernando Botero, Heinrich Brummack, Daniele Buetti, Niki de Saint Phalle, Till Freiwald, Wolfgang Glöckler, Jonathan Green, George Grosz, Dieter Hacker, Beate Hamalwa, Martha Haufiku, Rudolf Hausner, Xenia Hausner, Antonius Höckelmann, Karl Horst Hödicke, Sabine Hoffmann, Alfred Hrdlicka, Karl Hubbuch, Robert Jacobsen, Romane Holderried Kaesdorf, Alex Katz, Otto Laible, Carlos Mérida, Henry Moore, Othilia Mungoba, Pablo Picasso, Arnulf Rainer, Adolfo Riestra, Donna Stolz, Norbert Tadeusz, Rosemarie Trockel, Tomi Ungerer, Gabriel Vormstein

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

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