{"id":1295,"date":"2020-10-29T15:42:18","date_gmt":"2020-09-28T14:19:57","guid":{"rendered":"http:\/\/markusschwander.com\/wp_20\/publikationen-2-2\/"},"modified":"2022-07-13T11:46:23","modified_gmt":"2022-07-13T09:46:23","slug":"publikationen","status":"publish","type":"post","link":"https:\/\/markusschwander.com\/en\/publikationen\/","title":{"rendered":"Publications"},"content":{"rendered":"","protected":false},"excerpt":{"rendered":"","protected":false},"author":1,"featured_media":718,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[7],"tags":[],"grid":"{\r\n \"colCount\": 12,\r\n \"colGutter\": 1,\r\n \"rowGutters\": [\r\n 2,\r\n 1,\r\n 5,\r\n 1,\r\n 5,\r\n 1,\r\n 5,\r\n 1,\r\n 5,\r\n 1\r\n ],\r\n \"frameMargin\": 3,\r\n \"topFrameMargin\": 120,\r\n \"bottomFrameMargin\": 5,\r\n \"rowAttrs\": [\r\n {},\r\n {},\r\n {},\r\n {},\r\n {},\r\n {},\r\n {},\r\n {},\r\n {},\r\n {},\r\n {}\r\n ],\r\n \"bgColor\": null,\r\n \"cont\": [\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

Publications<\/span><\/p>\",\r\n \"align\": \"middle\",\r\n \"row\": 0,\r\n \"col\": 3,\r\n \"colspan\": 6,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 3,\r\n \"relid\": 381\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

Working Proofs, 2021<\/span><\/p>\",\r\n \"align\": \"top\",\r\n \"row\": 1,\r\n \"col\": 3,\r\n \"colspan\": 6,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 3,\r\n \"relid\": 8,\r\n \"frameOverflow\": \"\"\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

The five sheets of the WORKING PROOFS poster session document and comment on five series of works and installations that were created in 2020 and 2021. A \\\"proof\\\" corresponds to a specific artistic approach applied both in the series of works and as a poster, each time in the work's own logic. In this way, Schwander reflects on his artistic work as a series of experimental arrangements in which he starts again and again at different points. The picture side of a poster shows a concise presentation, on the back meaningful pictures and texts enable in-depth access.<\/p>

with texts by: Asida Butba, Andreas Fiedler, Julia Schallberger, Eva Scharrer, Reinhard Storz and Markus Schwander.
Texts german \/ partly englisch, 34 \u00d7 23.8 cm, 5 Posters with cover
Design: Alena St\u00e4hlin
edition fink, Z\u00fcrich, ISBN 978-3-03746-249-2
Order online: www.editionfink.ch<\/a> or edcat.<\/a><\/p>\",\r\n \"align\": \"top\",\r\n \"row\": 2,\r\n \"col\": 3,\r\n \"colspan\": 6,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 3,\r\n \"relid\": 842,\r\n \"frameOverflow\": \"\"\r\n },\r\n {\r\n \"type\": \"img\",\r\n \"cont\": \"http:\/\/markusschwander.com\/wp_20\/wp-content\/uploads\/2022\/04\/WP-Bild-2-kl.jpg\",\r\n \"align\": \"top\",\r\n \"row\": 2,\r\n \"col\": 9,\r\n \"colspan\": 2,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 383,\r\n \"attid\": 1790,\r\n \"sizes\": {\r\n \"full\": \"http:\/\/markusschwander.com\/wp_20\/wp-content\/uploads\/2022\/04\/WP-Bild-2-kl.jpg\",\r\n \"_1280\": \"http:\/\/markusschwander.com\/wp_20\/wp-content\/uploads\/2022\/04\/WP-Bild-2-kl-1280x1844.jpg\",\r\n \"_1024\": \"http:\/\/markusschwander.com\/wp_20\/wp-content\/uploads\/2022\/04\/WP-Bild-2-kl-1024x1476.jpg\",\r\n \"_768\": \"http:\/\/markusschwander.com\/wp_20\/wp-content\/uploads\/2022\/04\/WP-Bild-2-kl-768x1107.jpg\",\r\n \"_512\": \"http:\/\/markusschwander.com\/wp_20\/wp-content\/uploads\/2022\/04\/WP-Bild-2-kl-512x738.jpg\",\r\n \"_265\": \"http:\/\/markusschwander.com\/wp_20\/wp-content\/uploads\/2022\/04\/WP-Bild-2-kl-265x382.jpg\"\r\n },\r\n \"w\": 1685,\r\n \"h\": 2428,\r\n \"ar\": 1.4409495548961424,\r\n \"alt\": \"\"\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

Shattered Flow, 2017<\/span><\/p>\",\r\n \"align\": \"middle\",\r\n \"row\": 3,\r\n \"col\": 3,\r\n \"colspan\": 6,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 3,\r\n \"relid\": 4,\r\n \"frameOverflow\": \"\"\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

In \u201cShattered Flow\u201d Markus Schwander concerns himself with questions about our ideas on landscapes and for this he has explored various landslides. The result is collages and drawings. The works are not aimed at the representation of today's appearance, rather they are attempts to make movement imaginable. In this sense the pictures should change the perception and stimulate to think deepened about our relationship with nature. The various series of pictures are complemented with texts by Franziska Glozer and Annemarie Bucher. Reflections on artistic research by Markus Schwander and an index of his works about landslides being produced since 2008 complete the overview.<\/p>

Essays by Annemarie Bucher, Franziska Glozer and Markus Schwander.
Texts german \/ english, 32 \u00d7 24 cm, 148 pages, 72 pictures in the main part as well as 179 pictures in the index, a folded poster is enclosed.
Design: Ben Brodmannn, Michiko Onozawa, Georg Rutishauser
edition fink, Z\u00fcrich, ISBN 978-3-03746-206-5
Order online under: www.editionfink.ch<\/a> or email to: order@editionfink.ch<\/a><\/p>\",\r\n \"align\": \"top\",\r\n \"row\": 4,\r\n \"col\": 3,\r\n \"colspan\": 6,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 3,\r\n \"relid\": 4800,\r\n \"frameOverflow\": \"\"\r\n },\r\n {\r\n \"type\": \"img\",\r\n \"cont\": \"\/wp-content\/uploads\/2020\/10\/17-Shattered-Flow-Cover-2.jpg\",\r\n \"align\": \"top\",\r\n \"row\": 4,\r\n \"col\": 9,\r\n \"colspan\": 2,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 377,\r\n \"attid\": 1210,\r\n \"sizes\": {\r\n \"full\": \"\/wp-content\/uploads\/2020\/10\/17-Shattered-Flow-Cover-2.jpg\",\r\n \"_2560\": \"\/wp-content\/uploads\/2020\/10\/17-Shattered-Flow-Cover-2-2560x3409.jpg\",\r\n \"_1920\": \"\/wp-content\/uploads\/2020\/10\/17-Shattered-Flow-Cover-2-1920x2556.jpg\",\r\n \"_1280\": \"\/wp-content\/uploads\/2020\/10\/17-Shattered-Flow-Cover-2-1280x1704.jpg\",\r\n \"_1024\": \"\/wp-content\/uploads\/2020\/10\/17-Shattered-Flow-Cover-2-1024x1363.jpg\",\r\n \"_768\": \"\/wp-content\/uploads\/2020\/10\/17-Shattered-Flow-Cover-2-768x1023.jpg\",\r\n \"_512\": \"\/wp-content\/uploads\/2020\/10\/17-Shattered-Flow-Cover-2-512x682.jpg\",\r\n \"_265\": \"\/wp-content\/uploads\/2020\/10\/17-Shattered-Flow-Cover-2-265x353.jpg\"\r\n },\r\n \"w\": 2839,\r\n \"h\": 3780,\r\n \"ar\": 1.3314547375837,\r\n \"alt\": \"\",\r\n \"frameOverflow\": \"\"\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

Pr\u00e4parat Bergsturz, (Preparation Rockslide), 2013<\/span><\/p>\",\r\n \"align\": \"top\",\r\n \"row\": 5,\r\n \"col\": 3,\r\n \"colspan\": 6,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 3,\r\n \"relid\": 5,\r\n \"frameOverflow\": \"\"\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

Pr\u00e4parat Bergsturz (Preparation Rockslide)was published in the frame of the research project of the same name of the Bern University of the Arts. The project investigated the perception of a phenomenon of landscape with artistic means. It centered on the Flims rockslide, an extreme geological event that occured almost 10,000 years ago and is now barely visible in the landscape. The exhibition catalogue for the exhibition Pr\u00e4parat Bergsturz\u2013Konservierte Bewegung (Preparation Rockslide \u2013 Conserved Movement) in the B\u00fcndner Kunstmuseum Chur further embeds the topic in an art historical context. The research report Pr\u00e4parat Bergsturz Band 2 (Preparation Rockslide Volume 2) reflects the hypotheses of the first volume and the exhibition and is dedicated in particular to artistic engagement with the scientific method of Taxidermy.\u2028Both volumes deal with the processes and results of the project as a whole, as well as the variety of medial approaches and work forms of research approaches. Images are given great importance, in the sense of an artistic argumentation, and the predominantly text-based nature of scientific publications is questioned. Pr\u00e4parat Bergsturz thus makes a well-founded and concise contribution to the discussion on art as research.<\/p>

Editorial board of both publications: Bern University of the Arts \/ B\u00fcndner Kunstmuseum Chur
Volume 1: Katharina Ammann and Priska Gisler
Volume 2: Florian Dombois, Priska Gisler, Schirin Kretschmann and Markus Schwander
with contributions by Katharina Ammann, Flavio Anselmetti, Florian Dombois, Priska Gisler, Christoph Hoffmann, Stephan Kunz, Schirin Kretschmann, Barbara Mauck, Markus Schwander, Reinhard Wendler
texts in german, 2 volumes, softcover in slipcase, 13.8 \u00d7 22.3 cm, 88 and 200 pages
Design: Camillo Paravicini
Edizioni Periferia, Luzern \/ Poschiavo, ISBN 978-3-906016-07-8
Orders: https:\/\/periferia.ch\/de\/produkt\/praeparat-bergsturz\/<\/a><\/p>\",\r\n \"align\": \"top\",\r\n \"row\": 6,\r\n \"col\": 3,\r\n \"colspan\": 6,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 3,\r\n \"relid\": 378,\r\n \"frameOverflow\": \"\"\r\n },\r\n {\r\n \"type\": \"img\",\r\n \"cont\": \"\/wp-content\/uploads\/2020\/10\/14-Bergsturz-Cover.jpg\",\r\n \"align\": \"top\",\r\n \"row\": 6,\r\n \"col\": 9,\r\n \"colspan\": 2,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 382,\r\n \"attid\": 1209,\r\n \"sizes\": {\r\n \"full\": \"\/wp-content\/uploads\/2020\/10\/14-Bergsturz-Cover.jpg\",\r\n \"_1280\": \"\/wp-content\/uploads\/2020\/10\/14-Bergsturz-Cover-1280x2088.jpg\",\r\n \"_1024\": \"\/wp-content\/uploads\/2020\/10\/14-Bergsturz-Cover-1024x1670.jpg\",\r\n \"_768\": \"\/wp-content\/uploads\/2020\/10\/14-Bergsturz-Cover-768x1253.jpg\",\r\n \"_512\": \"\/wp-content\/uploads\/2020\/10\/14-Bergsturz-Cover-512x835.jpg\",\r\n \"_265\": \"\/wp-content\/uploads\/2020\/10\/14-Bergsturz-Cover-265x432.jpg\"\r\n },\r\n \"w\": 1593,\r\n \"h\": 2598,\r\n \"ar\": 1.6308851224105,\r\n \"alt\": \"\",\r\n \"frameOverflow\": \"\"\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

Owning Online Art \u2013 Selling and Collecting Netbased Artworks, 2010<\/span><\/p>\",\r\n \"align\": \"top\",\r\n \"row\": 7,\r\n \"col\": 3,\r\n \"colspan\": 6,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 3,\r\n \"relid\": 6\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

The applied research project \\\"Owning Online Art\\\" examines the conditions for an introduction of net-based art into the art market. Supported by the fine arts institute of the UAS Northwestern Switzerland, Academy of Art and Design, a discussion on the marketing and collectability of online art is held in dialog with an interdisciplinary team. The aim of the study is to support the DACollection \/ DAStore venture in its founding phase and to accompany it with research.<\/p>

Edited by Markus Schwander und Reinhard Storz
With contributions by Simon Grand, Esther Hunziker, Roman Kurzmeyer, Olia Lialina,, Tabea Lurk, Rachel Mader, Peter Schneemann, Markus Schwander, Felix Stalder, Reinhard Storz, Beo von Arx, Carlo Zanni, Isabel Z\u00fcrcher
Texts english, paperback, 210 \u00d7 297 mm, 168 pages
Design: Nicole Boillat, edit gestaltet
Owning Online Art on LULU<\/a>
https:\/\/www.lulu.com\/en\/en\/shop\/r-mader-and-p-schneemann-and-a-schindler-and-r-kurzmeyer\/owning-online-art-selling-and-collecting-netbased-artworks\/paperback\/product-159gpmk8.html?page=1&pageSize=4<\/a><\/p>\",\r\n \"align\": \"top\",\r\n \"row\": 8,\r\n \"col\": 3,\r\n \"colspan\": 6,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 3,\r\n \"relid\": 379,\r\n \"frameOverflow\": \"\"\r\n },\r\n {\r\n \"type\": \"img\",\r\n \"cont\": \"\/wp-content\/uploads\/2020\/10\/RZ-Cover-d.jpg\",\r\n \"align\": \"top\",\r\n \"row\": 8,\r\n \"col\": 9,\r\n \"colspan\": 2,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 594,\r\n \"attid\": 1211,\r\n \"sizes\": {\r\n \"full\": \"\/wp-content\/uploads\/2020\/10\/RZ-Cover-d.jpg\",\r\n \"_1920\": \"\/wp-content\/uploads\/2020\/10\/RZ-Cover-d-1920x2771.jpg\",\r\n \"_1280\": \"\/wp-content\/uploads\/2020\/10\/RZ-Cover-d-1280x1847.jpg\",\r\n \"_1024\": \"\/wp-content\/uploads\/2020\/10\/RZ-Cover-d-1024x1478.jpg\",\r\n \"_768\": \"\/wp-content\/uploads\/2020\/10\/RZ-Cover-d-768x1108.jpg\",\r\n \"_512\": \"\/wp-content\/uploads\/2020\/10\/RZ-Cover-d-512x739.jpg\",\r\n \"_265\": \"\/wp-content\/uploads\/2020\/10\/RZ-Cover-d-265x382.jpg\"\r\n },\r\n \"w\": 2480,\r\n \"h\": 3579,\r\n \"ar\": 1.4431451612903,\r\n \"alt\": \"\",\r\n \"frameOverflow\": \"\"\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

Abdruck\u00a0(Imprint), 2004<\/span><\/p>\",\r\n \"align\": \"middle\",\r\n \"row\": 9,\r\n \"col\": 3,\r\n \"colspan\": 6,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 3,\r\n \"relid\": 7\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

Pressing, chewing, scratching and rubbing, but also working with traditional casting are central themes in the work of the Swiss artist Markus Schwander. The artist book Abdruck (Imprint) embeds his work in a broader discussion of sculptural work with essays and conversations, for example in Georges Didi-Huberman's essay 'Similarity and touch'. By using different papers and individual colors precisely, Schwander also reflects the printing process itself. The stickers of chewed gum, pasted by hand onto the otherwise empty cover, make the subject physically tangible and give each individual book its own appearance.<\/p>

Editor: Tony Wuethrich Galerie
With essays by Simon Baur, Sabine Schaschl-Cooper, Sybille Omlin, Senam Okudzeto, Katharina Dunst, Markus Schwander and Reinhard Storz.\u2028Texts german \/ english, hardcover, 17 \u00d7 24 cm, 144 pages, 180 fig.
Design: Andreas Kreienb\u00fchl, 9.6 Conceptional Wordls
Revolver, Frankfurt\/Main, ISBN 978-3-86588-002-4
Can be ordered for CHF 40.- from ms@markusschwander.com<\/a><\/p>\",\r\n \"align\": \"top\",\r\n \"row\": 10,\r\n \"col\": 3,\r\n \"colspan\": 6,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 3,\r\n \"relid\": 380,\r\n \"frameOverflow\": \"\"\r\n },\r\n {\r\n \"type\": \"img\",\r\n \"cont\": \"\/wp-content\/uploads\/2020\/10\/04-Abdruck-Cover-1.jpg\",\r\n \"align\": \"top\",\r\n \"row\": 10,\r\n \"col\": 9,\r\n \"colspan\": 2,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 806,\r\n \"attid\": 1208,\r\n \"sizes\": {\r\n \"full\": \"\/wp-content\/uploads\/2020\/10\/04-Abdruck-Cover-1.jpg\",\r\n \"_1920\": \"\/wp-content\/uploads\/2020\/10\/04-Abdruck-Cover-1-1920x2491.jpg\",\r\n \"_1280\": \"\/wp-content\/uploads\/2020\/10\/04-Abdruck-Cover-1-1280x1660.jpg\",\r\n \"_1024\": \"\/wp-content\/uploads\/2020\/10\/04-Abdruck-Cover-1-1024x1328.jpg\",\r\n \"_768\": \"\/wp-content\/uploads\/2020\/10\/04-Abdruck-Cover-1-768x996.jpg\",\r\n \"_512\": \"\/wp-content\/uploads\/2020\/10\/04-Abdruck-Cover-1-512x664.jpg\",\r\n \"_265\": \"\/wp-content\/uploads\/2020\/10\/04-Abdruck-Cover-1-265x344.jpg\"\r\n },\r\n \"w\": 2234,\r\n \"h\": 2898,\r\n \"ar\": 1.2972247090421,\r\n \"alt\": \"\",\r\n \"frameOverflow\": \"\"\r\n }\r\n ]\r\n}","phonegrid":"{\r\n \"colCount\": 1,\r\n \"colGutter\": 1,\r\n \"rowGutters\": [\r\n 5,\r\n 5,\r\n 5,\r\n 8,\r\n 5,\r\n 5,\r\n 8,\r\n 5,\r\n 5,\r\n 8,\r\n 5,\r\n 5\r\n ],\r\n \"frameMargin\": 5,\r\n \"topFrameMargin\": 5,\r\n \"bottomFrameMargin\": 7,\r\n \"rowAttrs\": [\r\n {},\r\n {},\r\n {},\r\n {},\r\n {},\r\n {},\r\n {},\r\n {},\r\n {},\r\n {},\r\n {},\r\n {},\r\n {}\r\n ],\r\n \"bgColor\": null,\r\n \"cont\": [\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

Publications<\/span><\/p>\",\r\n \"align\": \"bottom\",\r\n \"row\": 0,\r\n \"col\": 0,\r\n \"colspan\": 1,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 381\r\n },\r\n {\r\n \"type\": \"img\",\r\n \"cont\": \"\/wp-content\/uploads\/2020\/10\/17-Shattered-Flow-Cover-2.jpg\",\r\n \"align\": \"bottom\",\r\n \"row\": 2,\r\n \"col\": 0,\r\n \"colspan\": 1,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 377,\r\n \"attid\": 1210,\r\n \"sizes\": {\r\n \"full\": \"\/wp-content\/uploads\/2020\/10\/17-Shattered-Flow-Cover-2.jpg\",\r\n \"_2560\": \"\/wp-content\/uploads\/2020\/10\/17-Shattered-Flow-Cover-2-2560x3409.jpg\",\r\n \"_1920\": \"\/wp-content\/uploads\/2020\/10\/17-Shattered-Flow-Cover-2-1920x2556.jpg\",\r\n \"_1280\": \"\/wp-content\/uploads\/2020\/10\/17-Shattered-Flow-Cover-2-1280x1704.jpg\",\r\n \"_1024\": \"\/wp-content\/uploads\/2020\/10\/17-Shattered-Flow-Cover-2-1024x1363.jpg\",\r\n \"_768\": \"\/wp-content\/uploads\/2020\/10\/17-Shattered-Flow-Cover-2-768x1023.jpg\",\r\n \"_512\": \"\/wp-content\/uploads\/2020\/10\/17-Shattered-Flow-Cover-2-512x682.jpg\",\r\n \"_265\": \"\/wp-content\/uploads\/2020\/10\/17-Shattered-Flow-Cover-2-265x353.jpg\"\r\n },\r\n \"w\": 2839,\r\n \"h\": 3780,\r\n \"ar\": 1.3314547375837,\r\n \"alt\": \"\",\r\n \"frameOverflow\": \"\"\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

In \u201cShattered Flow\u201d Markus Schwander concerns himself with questions about our ideas on landscapes and for this he has explored various landslides. The result is collages and drawings. The works are not aimed at the representation of today's appearance, rather they are attempts to make movement imaginable. In this sense the pictures should change the perception and stimulate to think deepened about our relationship with nature. The various series of pictures are complemented with texts by Franziska Glozer and Annemarie Bucher. Reflections on artistic research by Markus Schwander and an index of his works about landslides being produced since 2008 complete the overview.<\/p>

Essays by Annemarie Bucher, Franziska Glozer and Markus Schwander.
Texts german \/ english, 32 \u00d7 24 cm, 148 pages, 72 pictures in the main part as well as 179 pictures in the index, a folded poster is enclosed.
Design: Ben Brodmannn, Michiko Onozawa, Georg Rutishauser
edition fink, Z\u00fcrich, ISBN 978-3-03746-206-5
Order online under: www.editionfink.ch<\/a> or email to: order@editionfink.ch<\/a><\/p>\",\r\n \"align\": \"bottom\",\r\n \"row\": 3,\r\n \"col\": 0,\r\n \"colspan\": 1,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 4800,\r\n \"frameOverflow\": \"\"\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

Pr\u00e4parat Bergsturz, (Preparation Rockslide), 2013<\/span><\/p>\",\r\n \"align\": \"bottom\",\r\n \"row\": 4,\r\n \"col\": 0,\r\n \"colspan\": 1,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 5,\r\n \"frameOverflow\": \"\"\r\n },\r\n {\r\n \"type\": \"img\",\r\n \"cont\": \"\/wp-content\/uploads\/2020\/10\/14-Bergsturz-Cover.jpg\",\r\n \"align\": \"bottom\",\r\n \"row\": 5,\r\n \"col\": 0,\r\n \"colspan\": 1,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 382,\r\n \"attid\": 1209,\r\n \"sizes\": {\r\n \"full\": \"\/wp-content\/uploads\/2020\/10\/14-Bergsturz-Cover.jpg\",\r\n \"_1280\": \"\/wp-content\/uploads\/2020\/10\/14-Bergsturz-Cover-1280x2088.jpg\",\r\n \"_1024\": \"\/wp-content\/uploads\/2020\/10\/14-Bergsturz-Cover-1024x1670.jpg\",\r\n \"_768\": \"\/wp-content\/uploads\/2020\/10\/14-Bergsturz-Cover-768x1253.jpg\",\r\n \"_512\": \"\/wp-content\/uploads\/2020\/10\/14-Bergsturz-Cover-512x835.jpg\",\r\n \"_265\": \"\/wp-content\/uploads\/2020\/10\/14-Bergsturz-Cover-265x432.jpg\"\r\n },\r\n \"w\": 1593,\r\n \"h\": 2598,\r\n \"ar\": 1.6308851224105,\r\n \"alt\": \"\",\r\n \"frameOverflow\": \"\"\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

Pr\u00e4parat Bergsturz (Preparation Rockslide)was published in the frame of the research project of the same name of the Bern University of the Arts. The project investigated the perception of a phenomenon of landscape with artistic means. It centered on the Flims rockslide, an extreme geological event that occured almost 10,000 years ago and is now barely visible in the landscape. The exhibition catalogue for the exhibition Pr\u00e4parat Bergsturz\u2013Konservierte Bewegung (Preparation Rockslide \u2013 Conserved Movement) in the B\u00fcndner Kunstmuseum Chur further embeds the topic in an art historical context. The research report Pr\u00e4parat Bergsturz Band 2 (Preparation Rockslide Volume 2) reflects the hypotheses of the first volume and the exhibition and is dedicated in particular to artistic engagement with the scientific method of Taxidermy.\u2028Both volumes deal with the processes and results of the project as a whole, as well as the variety of medial approaches and work forms of research approaches. Images are given great importance, in the sense of an artistic argumentation, and the predominantly text-based nature of scientific publications is questioned. Pr\u00e4parat Bergsturz thus makes a well-founded and concise contribution to the discussion on art as research.<\/p>

Editorial board of both publications: Bern University of the Arts \/ B\u00fcndner Kunstmuseum Chur
Volume 1: Katharina Ammann and Priska Gisler
Volume 2: Florian Dombois, Priska Gisler, Schirin Kretschmann and Markus Schwander
with contributions by Katharina Ammann, Flavio Anselmetti, Florian Dombois, Priska Gisler, Christoph Hoffmann, Stephan Kunz, Schirin Kretschmann, Barbara Mauck, Markus Schwander, Reinhard Wendler
texts in german, 2 volumes, softcover in slipcase, 13.8 \u00d7 22.3 cm, 88 and 200 pages
Design: Camillo Paravicini
Edizioni Periferia, Luzern \/ Poschiavo, ISBN 978-3-906016-07-8
Orders: https:\/\/periferia.ch\/de\/produkt\/praeparat-bergsturz\/<\/a><\/p>\",\r\n \"align\": \"bottom\",\r\n \"row\": 6,\r\n \"col\": 0,\r\n \"colspan\": 1,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 378,\r\n \"frameOverflow\": \"\"\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

Owning Online Art \u2013 Selling and Collecting Netbased Artworks, 2010<\/span><\/p>\",\r\n \"align\": \"bottom\",\r\n \"row\": 7,\r\n \"col\": 0,\r\n \"colspan\": 1,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 6\r\n },\r\n {\r\n \"type\": \"img\",\r\n \"cont\": \"\/wp-content\/uploads\/2020\/10\/RZ-Cover-d.jpg\",\r\n \"align\": \"bottom\",\r\n \"row\": 8,\r\n \"col\": 0,\r\n \"colspan\": 1,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 594,\r\n \"attid\": 1211,\r\n \"sizes\": {\r\n \"full\": \"\/wp-content\/uploads\/2020\/10\/RZ-Cover-d.jpg\",\r\n \"_1920\": \"\/wp-content\/uploads\/2020\/10\/RZ-Cover-d-1920x2771.jpg\",\r\n \"_1280\": \"\/wp-content\/uploads\/2020\/10\/RZ-Cover-d-1280x1847.jpg\",\r\n \"_1024\": \"\/wp-content\/uploads\/2020\/10\/RZ-Cover-d-1024x1478.jpg\",\r\n \"_768\": \"\/wp-content\/uploads\/2020\/10\/RZ-Cover-d-768x1108.jpg\",\r\n \"_512\": \"\/wp-content\/uploads\/2020\/10\/RZ-Cover-d-512x739.jpg\",\r\n \"_265\": \"\/wp-content\/uploads\/2020\/10\/RZ-Cover-d-265x382.jpg\"\r\n },\r\n \"w\": 2480,\r\n \"h\": 3579,\r\n \"ar\": 1.4431451612903,\r\n \"alt\": \"\",\r\n \"frameOverflow\": \"\"\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

The applied research project \\\"Owning Online Art\\\" examines the conditions for an introduction of net-based art into the art market. Supported by the fine arts institute of the UAS Northwestern Switzerland, Academy of Art and Design, a discussion on the marketing and collectability of online art is held in dialog with an interdisciplinary team. The aim of the study is to support the DACollection \/ DAStore venture in its founding phase and to accompany it with research.<\/p>

Edited by Markus Schwander und Reinhard Storz
With contributions by Simon Grand, Esther Hunziker, Roman Kurzmeyer, Olia Lialina,, Tabea Lurk, Rachel Mader, Peter Schneemann, Markus Schwander, Felix Stalder, Reinhard Storz, Beo von Arx, Carlo Zanni, Isabel Z\u00fcrcher
Texts english, paperback, 210 \u00d7 297 mm, 168 pages
Design: Nicole Boillat, edit gestaltet
Owning Online Art on LULU<\/a>
https:\/\/www.lulu.com\/en\/en\/shop\/r-mader-and-p-schneemann-and-a-schindler-and-r-kurzmeyer\/owning-online-art-selling-and-collecting-netbased-artworks\/paperback\/product-159gpmk8.html?page=1&pageSize=4<\/a><\/p>\",\r\n \"align\": \"bottom\",\r\n \"row\": 9,\r\n \"col\": 0,\r\n \"colspan\": 1,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 379,\r\n \"frameOverflow\": \"\"\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

Abdruck\u00a0(Imprint), 2004<\/span><\/p>\",\r\n \"align\": \"bottom\",\r\n \"row\": 10,\r\n \"col\": 0,\r\n \"colspan\": 1,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 7\r\n },\r\n {\r\n \"type\": \"img\",\r\n \"cont\": \"\/wp-content\/uploads\/2020\/10\/04-Abdruck-Cover-1.jpg\",\r\n \"align\": \"bottom\",\r\n \"row\": 11,\r\n \"col\": 0,\r\n \"colspan\": 1,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 806,\r\n \"attid\": 1208,\r\n \"sizes\": {\r\n \"full\": \"\/wp-content\/uploads\/2020\/10\/04-Abdruck-Cover-1.jpg\",\r\n \"_1920\": \"\/wp-content\/uploads\/2020\/10\/04-Abdruck-Cover-1-1920x2491.jpg\",\r\n \"_1280\": \"\/wp-content\/uploads\/2020\/10\/04-Abdruck-Cover-1-1280x1660.jpg\",\r\n \"_1024\": \"\/wp-content\/uploads\/2020\/10\/04-Abdruck-Cover-1-1024x1328.jpg\",\r\n \"_768\": \"\/wp-content\/uploads\/2020\/10\/04-Abdruck-Cover-1-768x996.jpg\",\r\n \"_512\": \"\/wp-content\/uploads\/2020\/10\/04-Abdruck-Cover-1-512x664.jpg\",\r\n \"_265\": \"\/wp-content\/uploads\/2020\/10\/04-Abdruck-Cover-1-265x344.jpg\"\r\n },\r\n \"w\": 2234,\r\n \"h\": 2898,\r\n \"ar\": 1.2972247090421,\r\n \"alt\": \"\",\r\n \"frameOverflow\": \"\"\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

Pressing, chewing, scratching and rubbing, but also working with traditional casting are central themes in the work of the Swiss artist Markus Schwander. The artist book Abdruck (Imprint) embeds his work in a broader discussion of sculptural work with essays and conversations, for example in Georges Didi-Huberman's essay 'Similarity and touch'. By using different papers and individual colors precisely, Schwander also reflects the printing process itself. The stickers of chewed gum, pasted by hand onto the otherwise empty cover, make the subject physically tangible and give each individual book its own appearance.<\/p>

Editor: Tony Wuethrich Galerie
With essays by Simon Baur, Sabine Schaschl-Cooper, Sybille Omlin, Senam Okudzeto, Katharina Dunst, Markus Schwander and Reinhard Storz.\u2028Texts german \/ english, hardcover, 17 \u00d7 24 cm, 144 pages, 180 fig.
Design: Andreas Kreienb\u00fchl, 9.6 Conceptional Wordls
Revolver, Frankfurt\/Main, ISBN 978-3-86588-002-4
Can be ordered for CHF 40.- from ms@markusschwander.com<\/a><\/p>\",\r\n \"align\": \"bottom\",\r\n \"row\": 12,\r\n \"col\": 0,\r\n \"colspan\": 1,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 380,\r\n \"frameOverflow\": \"\"\r\n }\r\n ]\r\n}","_links":{"self":[{"href":"https:\/\/markusschwander.com\/en\/wp-json\/wp\/v2\/posts\/1295"}],"collection":[{"href":"https:\/\/markusschwander.com\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/markusschwander.com\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/markusschwander.com\/en\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/markusschwander.com\/en\/wp-json\/wp\/v2\/comments?post=1295"}],"version-history":[{"count":0,"href":"https:\/\/markusschwander.com\/en\/wp-json\/wp\/v2\/posts\/1295\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/markusschwander.com\/en\/wp-json\/wp\/v2\/media\/718"}],"wp:attachment":[{"href":"https:\/\/markusschwander.com\/en\/wp-json\/wp\/v2\/media?parent=1295"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/markusschwander.com\/en\/wp-json\/wp\/v2\/categories?post=1295"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/markusschwander.com\/en\/wp-json\/wp\/v2\/tags?post=1295"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}