Posts Tagged ‘Kunstmuseum Basel

13
Oct
14

Exhibition: ‘Paul-Martial’s World Of Ordinary Things’ at Kunstmuseum Basel Museum für Gegenwartskunst

Exhibition dates: 5th July – 19th October 2014

 

Éditions Paul Martial, Paris. 'Sliced ​​mattress' c. 1928-29

 

Éditions Paul Martial, Paris
Sliced ​​mattress
c. 1928-29
Gelatin silver print
17.9 x 23.9cm
Kunstmuseum Basel, Prints and Drawings
Donation by Ruth and Peter Herzog, Basel
© Kunstmuseum Basel

 

 

My god, how can a dryer hood or a pine cone become so sensual?

It should have been Paul-Martial’s World of Extra-Ordinary Things!

Marcus

.
Many thankx to the Kunstmuseum Basel for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.

Download the exhibition brochure (in German) (570kb pdf) with contributions by Anne-Céline Callens, Anita Haldemann, and Peter Herzog.

 

Éditions Paul Martial, Paris. 'Front view of a Citroën automobile' c. 1927-28

 

Éditions Paul Martial, Paris
Front view of a Citroën automobile
c. 1927-28
Gelatin silver print
17.8 x 23.7cm
Kunstmuseum Basel, Prints and Drawings
Donation by Ruth and Peter Herzog, Basel
© Kunstmuseum Basel

 

Éditions Paul Martial, Paris. 'Pine cone' c. 1931-32

 

Éditions Paul Martial, Paris
Pine cone
c. 1931-32
Gelatin silver print
17.6 x 23.8cm
Kunstmuseum Basel, Prints and Drawings
Purchase from the Herzog Collection, Basel
© Kunstmuseum Basel

 

Éditions Paul Martial, Paris. 'Young woman with leather handbag and gloves posing; Set with leather handbag and gloves' August 1935

 

Éditions Paul Martial, Paris
Young woman with leather handbag and gloves posing; Set with leather handbag and gloves
August 1935
Gelatin silver print
17.9 x 23.9cm
Kunstmuseum Basel, Prints and Drawings
Purchase from the Herzog Collection, Basel
© Kunstmuseum Basel

 

Éditions Paul Martial, Paris. 'Eiffel tower, tank and rail bridge' c. 1930-31

 

Éditions Paul Martial, Paris
Eiffel tower, tank and rail bridge
c. 1930-31
Gelatin silver print
17.9 x 23.9cm
Kunstmuseum Basel, Prints and Drawings
Donation by Ruth and Peter Herzog, Basel
© Kunstmuseum Basel

 

 

On July 5, 2014, the Kunstmuseum Basel opens a new exhibition presenting a selection of one hundred photographs from the archives of the Paris-based advertising agency Éditions Paul-Martial. The black-and-white pictures formed the basis for posters, newspaper advertisements, and brochures and show ordinary things: buildings, cars, typewriters, radiators, mannequins. What was unusual and novel, however, were the composition, lighting, and exposure of the pictures. In today’s perspective, the collection reflects the multifaceted evolution of photography from the 1920s onward. At the same time, it is an invaluable source for historians, documenting early forms of the carefully designed presentation of commodities and strategies designed to lure the consumer. The photographs are part of a collection newly acquired from the Herzog Collection and have never been on public display.

Cans make it possible to preserve food for the long term; zippers allow bags and pockets to be securely closed; rubber soles protect the walker from slipping; car jacks make it easier to change a tire: the advertising photographs produced by Éditions Paul-Martial tell stories about everyday life and how products like radiators, boilers, and cooking stoves help make it more pleasant. This renders the collection an extraordinarily valuable resource for historians: it illustrates the early history of the staging of consumer goods and the strategies employed to seduce the viewer. Beyond consumer products, the agency’s photographers also captured the new worlds of work in factories and offices and the rise of modern travel and communication technologies. For the time being, most of the photographs’ creators remained anonymous; in the business perspective, individual authorship was obviously a secondary concern, especially since the majority of the pictures were a sort of intermediate product to be used by graphic artists in the design of brochures and posters.

 

New Objectivity and Neues Sehen

The historic photographs also reflect the multifaceted evolution of photography as an art in its own right from the 1920s onward. Pictures of buildings, machines, and selected products hew to the sober aesthetic of the New Objectivity, which took hold after the Great War. Photographs of transformer stations and bridges point to the Neues Sehen (New Vision) of the Bauhaus photographers and the works of the Russian avant-garde, which emphasised diagonal lines to heighten the dynamic quality of the picture – this influence is also evident in techniques such as photomontage and double exposures. In isolated objects and enigmatic motifs such as a pinecone, the surreal, mysterious, and sometimes also absurd infiltrate the world of ordinary things.

The photographers’ love of experimentation is palpable throughout: they often created small series in which they tried different lighting effects and unusual angles of view. The selection of a hundred photographs is drawn from a larger collection the museum acquired from the collection of Peter and Ruth Herzog, Basel, in 2012 through a combined purchase-and-donation agreement. The exhibition was designed in close collaboration between the curator, Anita Haldemann, and the photography collector and expert Peter Herzog.

The Fonds Paul-Martial – considerable parts of its inventory have also gone to the Musée d’Art Moderne de Saint-Étienne Métropole, the department of prints and photography at the Bibliothèque nationale de France, and the collection of Marc Pagneux, France – is still widely unknown, and the work of exploring this exceptionally rich archive, which promises important insights into the history of photography and especially of contemporary art, has only just begun.

Press release from the Kunstmuseum Basel website

 

Éditions Paul Martial, Paris. 'Working with metal working parts in the factory Fillod in Florange (Moselle)' August 1931

 

Éditions Paul Martial, Paris
Working with metal working parts in the factory Fillod in Florange (Moselle)
August 1931
Gelatin silver print
23.8 x 17.8cm
Kunstmuseum Basel, Prints and Drawings
Purchase from the Herzog Collection, Basel
© Kunstmuseum Basel

 

Éditions Paul Martial, Paris. 'Car Headlights "Marchal"' c. 1929-30

 

Éditions Paul Martial, Paris
Car Headlights “Marchal”
c. 1929-30
Gelatin silver print
23.7 x 17.8cm
Kunstmuseum Basel, Prints and Drawings
Purchase from the Herzog Collection, Basel
© Kunstmuseum Basel

 

Éditions Paul Martial, Paris. 'Cocktail "Gratte-Ciel" Cointreau, advertising design' June 1931

 

Éditions Paul Martial, Paris
Cocktail “Gratte-Ciel” Cointreau, advertising design
June 1931
Gelatin silver print
23.8 x 17.9cm
Kunstmuseum Basel, Prints and Drawings
Donation by Ruth and Peter Herzog, Basel
© Kunstmuseum Basel

 

Éditions Paul Martial, Paris. 'Typewriter "Hermes 2000"' November 1933

 

Éditions Paul Martial, Paris
Typewriter “Hermes 2000”
November 1933
Gelatin silver print
23.8 x 17.9cm
Kunstmuseum Basel, Prints and Drawings
Donation by Ruth and Peter Herzog, Basel
© Kunstmuseum Basel

 

Éditions Paul Martial, Paris. 'Dryer hood "Hollywood"' June 1937

 

Éditions Paul Martial, Paris
Dryer hood “Hollywood”
June 1937
Gelatin silver print
23.8 x 17.9cm
Kunstmuseum Basel, Prints and Drawings
Purchase from the Herzog Collection, Basel
© Kunstmuseum Basel

 

Éditions Paul Martial, Paris. 'Welding women in factory hall' c. 1940-45

 

Éditions Paul Martial, Paris
Welding women in factory hall
c. 1940-45
Gelatin silver print
23 x 17.2cm
Kunstmuseum Basel, Prints and Drawings
Purchase from the Herzog Collection, Basel
© Kunstmuseum Basel

 

Éditions Paul Martial, Paris. 'Woman posing next to radiator, advertising photography for "Gaz et Eaux"' April 1936

 

Éditions Paul Martial, Paris
Woman posing next to radiator, advertising photography for “Gaz et Eaux”
April 1936
Gelatin silver print
23.9 x 17.9cm
Kunstmuseum Basel, Prints and Drawings
Purchase from the Herzog Collection, Basel
© Kunstmuseum Basel

 

Éditions Paul Martial, Paris. 'Standing young woman in corset, advertising photography for PMH' September 1932

 

Éditions Paul Martial, Paris
Standing young woman in corset, advertising photography for PMH
September 1932
Gelatin silver print
23.8 x 18cm
Kunstmuseum Basel, Prints and Drawings
Purchase from the Herzog Collection, Basel
© Kunstmuseum Basel

 

 

Kunstmuseum Basel
St. Alban-Graben 16
CH-4010 Basel
Phone: +41 61 206 62 62

Opening hours:
Tuesday – Sunday 11am – 6pm
Closed on Monday

Kunstmuseum Basel website

LIKE ART BLART ON FACEBOOK

Back to top

08
Apr
12

Exhibition: ‘Karlheinz Weinberger: Intimate Stranger’ at Kunstmuseum Basel, Museum for Gegenwartskunst

Exhibition dates: 21st January – 15th April 2012

 

Karlheinz Weinberger. 'Hardau, Zürich' 1962

 

Karlheinz Weinberger (Swiss, 1921-2006)
Hardau, Zürich
1962
Schwarz-Weiss Fotografie
50.7 x 58cm
Courtesy The Estate of Karlheinz Weinberger in care of Patrik Schedler, Zürich

 

 

Another relatively unknown artist, people whose work I like promoting on this blog. I certainly had never heard of this photographer. A self-taught part-time photographer who worked as a warehouseman most of his life, Weinberger published photographs in the homosexual magazine “Der Kreis,” the same early gay magazine that George Platt Lynes submitted photographs to in the last stages of his life.

While their might seem to be a dichotomy between the desirous photographs of male youth and the city toughs and “rowdies” gay men have always been drawn to rough trade: from Oscar Wilde who was more sexually drawn towards the swarthy young rough trade to contemporary iconography of gay skinheads and punks, still a prevalent culture in London for example. Tattoos, shaved heads, braces, Docs – in Weinberger’s case rockabillies. Notice how in the photograph of the male reclining with candlestick, the form of the candlestick mimics the spidery tattoo on the hand in the photograph above. Notice also how the crouching nude lad looks almost identical to the lad in the photograph below, with his hands thrust into his pockets emphasising the crutch area. And the earlier crutch photograph with the mating of Elvis and Vince over a skull and cross bones which has delicious, subversive homosocial overtones. Toughs or not, there is always the desire for the dangerous and different.

Dr Marcus Bunyan

.
Many thankx to the Kunstmuseum Basel for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.

 

 

Karlheinz Weinberger. 'Knabenschiessen, Albisgütli, Zürich' 1961

 

Karlheinz Weinberger (Swiss, 1921-2006)
Knabenschiessen, Albisgütli, Zürich
1961
Schwarz-Weiss Fotografie
50.5 x 60.5cm
Courtesy The Estate of Karlheinz Weinberger in care of Patrik Schedler, Zürich

 

Karlheinz Weinberger. 'Fisherman with Hat, Sicily' c. 1960

 

Karlheinz Weinberger (Swiss, 1921-2006)
Fisherman with Hat, Sicily
c. 1960
Schwarz-Weiss Fotografie
18.5 x 24cm
Courtesy The Estate of Karlheinz Weinberger in care of Patrik Schedler, Zürich

 

Karlheinz Weinberger. 'Drei zusammen (three together)' c. 1965

 

Karlheinz Weinberger (Swiss, 1921-2006)
Drei zusammen (three together)
c. 1965
Schwarz-Weiss Fotografie
50 x 53.5cm
Courtesy The Estate of Karlheinz Weinberger in care of Patrik Schedler, Zürich

 

Karlheinz Weinberger. 'Untitled, Zürich' c. 1962

 

Karlheinz Weinberger (Swiss, 1921-2006)
Untitled, Zürich
c. 1962
Schwarz-Weiss Fotografie
23.8 x 30.4cm
Courtesy The Estate of Karlheinz Weinberger in care of Patrik Schedler, Zürich

 

 

The exhibition presents the rarely shown work of the photographer Karlheinz Weinberger (1921-2006). Together with magazines and a selection of vintage apparel, the pictures document a youth culture in Zurich that emerged after World War II whose members sought to subvert contemporary notions of “Swiss correctness.”

Weinberger spent the largest part of his life working as a warehouseman for Siemens-Albis in Zurich. In his free time, he was a self-taught photographer, portraying his lovers and people he met in the street. From the late 1940s on, he frequently published his pictures in “Der Kreis,” a homosexual magazine produced in Zurich from 1943 until 1967 that garnered international attention, pseudonymously signing his work as “Jim.” In 1958, he launched a major project for which he would photograph a group of teenagers, the city’s so-called “Halbstarke,” over an extended period of time. Weinberger’s unfailingly respectful approach allowed him to capture the non-conformism of these “rowdies” with regard to social convention and their play with stereotypes of masculinity and femininity, most readily evident in the way they dressed.

Wearing embroidered denim jackets and oversized belt buckles adorned with the likenesses of idols such as Elvis or James Dean, Weinberger’s adolescent subjects present themselves to his camera in public settings like members of a gang. Photographs such as those taken at the Knabenschiessen, a target shooting competition held at Zurich’s Albisgüetli, show them sprawling on the ground between fairground stalls and compact vans, illustrating the “Halbstarke”‘s refusal to fit in with the traditions surrounding this Zurich folk festival. In addition to the photographs in public settings, Weinberger also took pictures in the improvised studio in his living room. Scantily clad, some of his subjects, mostly young men, strike confident poses showing off their denim shorts and hats, while others cower, their eyes glancing at the camera with a vulnerable expression. Weinberger’s role is that of an Intimate Stranger: he records the attitudes of a generation and its marginal social position in unvarnished pictures and develops the photographs capturing the objects of his fascination in his own photo laboratory.

In an oeuvre that spanned many years, Weinberger portrayed what lay behind the curtains of 1960s bourgeois Switzerland, finding ways to document deviancy without ever putting his protagonists on display.

Press release from the Kunstmuseum Basel website

 

Karlheinz Weinberger. 'Untitled' c. 1969

 

Karlheinz Weinberger (Swiss, 1921-2006)
Untitled
c. 1969
Schwarz-Weiss Fotografie
30.4 x 23.8cm
Courtesy The Estate of Karlheinz Weinberger in care of Patrik Schedler, Zürich

 

Karlheinz Weinberger. 'Untitled' c. 1961

 

Karlheinz Weinberger (Swiss, 1921-2006)
Untitled
c. 1961
Schwarz-Weiss Fotografie
24 x 18cm
Courtesy The Estate of Karlheinz Weinberger in care of Patrik Schedler, Zürich

 

Karlheinz Weinberger. 'Untitled' c. 1960

 

Karlheinz Weinberger (Swiss, 1921-2006)
Untitled
c. 1960
Schwarz-Weiss Fotografie
39 x 29cm
Courtesy The Estate of Karlheinz Weinberger in care of Patrik Schedler, Zürich

 

Karlheinz Weinberger. 'Zürich am Limmatquai' 1962

 

Karlheinz Weinberger (Swiss, 1921-2006)
Zürich am Limmatquai
1962
Schwarz-Weiss Fotografie
30 x 24cm
Courtesy The Estate of Karlheinz Weinberger in care of Patrik Schedler, Zürich

 

Karlheinz Weinberger. 'Milchbuck, Zürich' c. 1962

 

Karlheinz Weinberger (Swiss, 1921-2006)
Milchbuck, Zürich
c. 1962
Schwarz-Weiss Fotografie
60.5 x 49cm
Courtesy The Estate of Karlheinz Weinberger in care of Patrik Schedler, Zürich

 

 

Kunstmuseum Basel
St. Alban-Graben 16
CH-4010 Basel
Phone: 0041 (0)61 206 62 62

Opening hours:
Tuesday – Sunday 10am – 6pm
Closed on Monday

Kunstmuseum Basel website

LIKE ART BLART ON FACEBOOK

Back to top




Dr Marcus Bunyan

Dr Marcus Bunyan is an Australian artist and writer. His art work explores the boundaries of identity and place. He writes Art Blart, a photographic archive and form of cultural memory, which posts mainly photography exhibitions from around the world. He holds a Dr of Philosophy from RMIT University, Melbourne, a Master of Arts (Fine Art Photography) from RMIT University, and a Master of Art Curatorship from the University of Melbourne.

Enter your email address to subscribe to this blog and receive notifications of new posts by email. If you would like to unsubscribe from the email list please email me at bunyanth@netspace.net.au and I will remove you asap. Thank you.

Join 2,763 other followers

Marcus Bunyan black and white archive: ‘Orphans and small groups’ 1994-96 Part 2

Blog Stats

  • 11,219,276 hits

If you would like to unsubscribe from the email list please email Marcus at bunyanth@netspace.net.au and I will remove you asap. Thank you.

Follow Art_Blart on Twitter
Art Blart on Pinterest

Recent Posts

Lastest tweets

October 2021
M T W T F S S
 123
45678910
11121314151617
18192021222324
25262728293031

Archives

Categories

If you would like to unsubscribe from the email list please email me at bunyanth@netspace.net.au and I will remove you asap. Thank you.

Join 2,763 other followers