Zurich

By Rosenmeyer, Aoife | Art Monthly, December 2010 | Go to article overview

Zurich


Rosenmeyer, Aoife, Art Monthly


Zurichers do not want to pay 5.9m CHF for a shitter, judging by the results of the referendum on 26 September. The succinct precis (5,9 Mio fur e Schiissi!) by the infamous Swiss People's Party (SVP) halted the Nagelhaus, a public artwork conceived by Thomas Demand and Caruso St John Architects. The project was intended to imitate the 'nailhouse' phenomenon in Chongquing where in protest against rapacious development owners refused to abandon their homes. In Zurich the building would have been wedged under the Escher-Wyss-Platz flyover amid a tangle of tramlines, appearing as if the road had been built around it, and inside there was to be a cafe, a kiosk and indeed the public toilets that the SVP found so overpriced.

Whatever one's opinion of the Demand/Caruso St John project, the campaign against it was dominated by the squabble over costs; there was little or no discussion of its artistic merit. The proposed location, Escher-Wyss-Platz, is at the front line of rapid development north and westwards in the city, forced in that direction by mountains and the lake that hem the other sides. (It was also Friedrich Christian Flick's chosen location for his private museum, though public protest about the source of his family's wealth and his refusal to pay reparations forced him out of Zurich in 2001 and into the arms of Berlin and the Hamburger Bahnhof.)

Despite the referendum, commercial and not-for-profit spaces are influenced by and, in turn, influencing the changing cityscape. Escher-Wyss-Platz and Hardstrasse, which runs through it, once marked the border between urban and industrial Zurich, but urban and art spaces are spreading beyond this limit. A few blocks away on Limmatstrasse, the Lowenbrauareal, the former brewery that until this summer was home to two major contemporary galleries--the Kunsthalle and the Migros Museum--is being redeveloped into luxury apartments and business units (including galleries), so its residents have dispersed. This time the same city authorities which failed to support the Nagelhaus project had more success working behind the scenes, finding a home for several Lowenbrauareal residents in a corporation building 3km away in a quieter suburb, thus sustaining the concentration of cultural venues. The two-year stopgap the city offered, Hubertus Exhibitions, opened with great fanfare on 24 September. Swarms of visitors descended: Galerie Bob van Orsouw was inaugurated with solo shows by new gallery artists Paul Morrison and local cult photographer Walter Pfeiffer; next door Hauser & Wirth showed off a monumental marble bucket, barrel and tiffin by Subodh Gupta.

Migros Museum's first exhibition at Hubertus, 'An Idea, a Form, a Being', investigates corporeal gestures, from the political to the poetic. The works on show by contemporary artists, bookended by pieces from the late, great Alina Szapocznikow, are of a lightness and scale that would have been drowned by the museum's last location. On paper, an exhibition that places Teresa Margolles's 37 Bodies, 2007, a long string of thread remainders from autopsies, alongside Martin Soto Climent's Desire, 2009, a cartoonish huddle of glasses cases turned inside out so that the fabric linings stick out like tongues, may sound the height of crassness, but the restraint of the particular works chosen and their installation strikes many simultaneous notes on the register of the bodily, from the cartoonish to the desperate, in a manner that offers new perspectives on each. …

The rest of this article is only available to active members of Questia

Sign up now for a free, 1-day trial and receive full access to:

  • Questia's entire collection
  • Automatic bibliography creation
  • More helpful research tools like notes, citations, and highlights
  • Ad-free environment

Already a member? Log in now.

Notes for this article

Add a new note
If you are trying to select text to create highlights or citations, remember that you must now click or tap on the first word, and then click or tap on the last word.
One moment ...
Default project is now your active project.
Project items

Items saved from this article

This article has been saved
Highlights (0)
Some of your highlights are legacy items.

Highlights saved before July 30, 2012 will not be displayed on their respective source pages.

You can easily re-create the highlights by opening the book page or article, selecting the text, and clicking “Highlight.”

Citations (0)
Some of your citations are legacy items.

Any citation created before July 30, 2012 will labeled as a “Cited page.” New citations will be saved as cited passages, pages or articles.

We also added the ability to view new citations from your projects or the book or article where you created them.

Notes (0)
Bookmarks (0)

You have no saved items from this article

Project items include:
  • Saved book/article
  • Highlights
  • Quotes/citations
  • Notes
  • Bookmarks
Notes
Cite this article

Cited article

Style
Citations are available only to our active members.
Sign up now to cite pages or passages in MLA, APA and Chicago citation styles.

(Einhorn, 1992, p. 25)

(Einhorn 25)

1

1. Lois J. Einhorn, Abraham Lincoln, the Orator: Penetrating the Lincoln Legend (Westport, CT: Greenwood Press, 1992), 25, http://www.questia.com/read/27419298.

Cited article

Zurich
Settings

Settings

Typeface
Text size Smaller Larger Reset View mode
Search within

Search within this article

Look up

Look up a word

  • Dictionary
  • Thesaurus
Please submit a word or phrase above.
Print this page

Print this page

Why can't I print more than one page at a time?

Full screen

matching results for page

Cited passage

Style
Citations are available only to our active members.
Sign up now to cite pages or passages in MLA, APA and Chicago citation styles.

"Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences." (Einhorn, 1992, p. 25).

"Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences." (Einhorn 25)

"Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences."1

1. Lois J. Einhorn, Abraham Lincoln, the Orator: Penetrating the Lincoln Legend (Westport, CT: Greenwood Press, 1992), 25, http://www.questia.com/read/27419298.

Cited passage

Thanks for trying Questia!

Please continue trying out our research tools, but please note, full functionality is available only to our active members.

Your work will be lost once you leave this Web page.

For full access in an ad-free environment, sign up now for a FREE, 1-day trial.

Already a member? Log in now.