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Rémy Zaugg (1943-2005)
Lichthof, SCHMILZT / DER SCHNEE / WO BLEIBT / DAS WEISS
(2002/2003, Screen print in enamel paint on aluminium, 215 x 192 x 4 cm)
Ricola Collection

Photograph: Serge Hasenböhler

[...] Zaugg’s engagement with Judd was published as a book called Die List der Unschuld, das Wahrnehmen einer Skulptur, which came out that same year. It was also in 1982 that he and the Bernese architects of Atelier 5 worked on the extension of Kunstmuseum Bern, the project that in 1983 spawned his script Für das Kunstwerk, Kunstmuseum Bern. Later he himself was active as an exhibition-maker. He staged the 1991 Alberto Giacometti retrospective at the Musée d’Art Moderne de la Ville de Paris, for example. His publication Für das Kunstwerk, Kunstmuseum Bern was followed in 1987 by the manifesto-like Kunstmuseum, das ich mir erträume / oder / Der Ort des Werkes und des Menschen. The artist’s collaboration with the Basel architects Herzog & de Meuron that would henceforth be a central aspect of his work also began during that period. The renewal of art brought about by Conceptual Art in the 1960s not only led to a new definition of what art actually is and what had hitherto been called art, but it also had far-reaching consequences for the concept of the exhibition and other forms of presentation developed by subsequent generations of artists and curators. [...]

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