Jonas Pulver

One last shot of Art Biotop Water Garden by @junya.ishigami_associates #水庭 #庭 #建築 #石上純也 #栃木観光 #那須塩原 #architecture #architecturelovers #nature #japan #tochigi #nasushiobara #nature

A re-sequencing of nature with nature: Art Biotop Water Garden by @junya.ishigami_associates #水庭 #庭 #建築 #石上純也 #栃木観光 #那須塩原 #architecture #architecturelovers #nature #japan #tochigi #nasushiobara #nature

A re-composition of nature through nature: Art Biotop Water Garden by @junya.ishigami_associates #水庭 #庭 #建築 #石上純也 #栃木観光 #那須塩原 #architecture #architecturelovers #nature #japan #tochigi #nasushiobara #nature

Henry for Issey (3) 🤍🤍🤍 @henryleutwyler @hommeplisse_isseymiyake

Henry for Issey (2) 🤍🤍 @henryleutwyler @hommeplisse_isseymiyake

Henry for Issey 🤍 @henryleutwyler @hommeplisse_isseymiyake

Congratulations Marianne Mueller and Heidi Schöni @heidischoeni for the opening of your show SMALL CORPORATION _JP_23 at Takato Museum of Art in Ina City, Japan (11.8.-1.10.23). Based on the topos of the Eight Views in the Japanese pictorial tradition, the contemporary site-specific installation intervention reinterprets the Japanese museum space. At the starting point of the intervention is a corpus of works begun in Japan in 2018, which is simultaneously expanded in the exhibition with recent works created on site. (Text adapted from Gabrielle Schaad.) Loved the poetics of materials, the cross-cultural and contextual reflexivity, the playful rigor.

Marianne Mueller and Heidi Schöni @heidischoeni SMALL CORPORATION_JP_23 Invited by the Takato Museum of Art (Nagano Prefecture), the artists develop an intervention in its postmodernist museum architecture and its traditional Japanese display system. Mueller and Schöni occupy the museum site-specifically-installatively with their body of work of "Eight Views" Small Corporation JP18, 2018, which serially extends far beyond the number eight. The motif of "Eight Views of Xiaoxiang" originated in 11th century China. Through the transfer of Zen painting, corresponding landscape views established themselves as a popular subject from the 14th and 15th centuries in Japan as well. Sometimes the themes changed, sometimes the series remained motivically faithful to their Chinese model. With this tradition in mind, the 2018 artists worked out contemporary interpretations of the topos in ambulatory studios on a journey through central Japan, starting from Lake Biwa. These resulted in Small Corporation JP18 (2018). In contrast to representational ink painting, the artists pushed the spontaneous ductus in acrylic paints on canvas, based on found atmospheres into non-objectivity. The image carriers imported to Japan traveled to Switzerland as paintings, were further developed and now transferred back. The Takato Museum of Art makes this corpus of works accessible to a broad Japanese public. The presentation reflects aspects of the cultural transfer of modes of representation, differentiates between situatedness and translatability, and reflects the multiple local and temporal shifts up to the (institutional) display. Text by Gabrielle Schaad

Congratulations Marianne Mueller and Heidi Schöni @heidischoeni for the opening of your show SMALL CORPORATION _JP_23 at Takato Museum of Art in Ina City, Japan (11.8.-1.10.23). Based on the topos of the Eight Views in the Japanese pictorial tradition, the contemporary site-specific installation intervention reinterprets the Japanese museum space. At the starting point of the intervention is a corpus of works begun in Japan in 2018, which is simultaneously expanded in the exhibition with recent works created on site. (Text adapted from Gabrielle Schaad.) Loved the poetics of materials, the cross-cultural and contextual reflexivity, the playful rigor.

*David Greilsammer in Tokyo (1)* Thank you so much David for making time last month for this Tokyo stop on your Asia tour! I feel so privileged we could invite you for this unforgettable performance. // I met David 15 years ago, when I was starting as a young journalist for @letemps.ch in Geneva. I had concluded my own piano studies at the @hemu_haute_ecole_de_musique de Lausanne and was asking myself all sorts of questions. What does classical music have to say in the 21st century? How can it evolve, re-invent itself, stay relevant and engage new audiences? Pierre Bourdieu, the famous intellectual who wrote about culture as social status, used to say that classical music is the most distinctive of all arts: its extreme abstraction creates a particularly high barrier to entry that is thought to be overcome only by education, acculturation or habit… David is one of the few, rare performers who truly interrogate the status quo without ever compromising on artistic integrity. @davidgreilsammer @genevacamerata @steinway_tokyo #music #classicalmusic #switzerland #japan #piano #musician

*David Greilsammer in Tokyo (2)* David’s first concept album in 2007, “fantaisie_fantasme”, offered a provocative escape out of the close circle of classical music’s conservatism. It meshed together Mozart, Cage, Ligeti, Bach and Schönberg in a kind of sonic installation. A recital for the art space, for the gallery or for the club even more than for the concert hall. During an interview at the time of the release, David and I discussed Rauschenberg’s collages, Cage’s raw and contemplative approach to sound, sampling, pop culture, and many more horizons that the visual world has achieved to open with more success than classical music. “fantaisie_fantasme” was a formidable statement about the potential vitality of the piano repertoire, performed with artistic vision, technical finesse and incomparable musical imagination. @davidgreilsammer @genevacamerata @steinway_tokyo #music #classicalmusic #switzerland #japan #piano #musician

*David Greilsammer in Tokyo (3)* Several brilliant albums after “fantaisie_fantasme” and a decade into his impressive tenure with Geneva Camerata, David gave me earlier this year a new opportunity to engage with his artistry through his latest project, “Labyrinth”. Gravitating from Janacek and Satie to Beethoven, Bach, Crumb and Scriabine, “Labyrinth” rewires the mechanics of the traditional piano recital. It also goes much further. The program ties together the personal – the labyrinth was inspired by one of David’s dreams – and the social – it says something about the underlying affinities that connect completely different eras, genres and subjectivities. In other words: a soundtrack for a fragmented world. This is a the kind of statement that only classical music can make with such a profound emotional impact. The result? A mind blowing, surreal 70 minute non-stop performance, an emotional and intellectual ride that is fueled by pianistic mastery and a deeply transformative vision. // Congratulations cher David, and thank you for challenging again and again the status quo with so much talent! I am so happy I could be part of this Japan premiere of “Labyrinth” and invite you to perform in Tokyo. Come back soon! @davidgreilsammer @genevacamerata @steinway_tokyo #music #classicalmusic #switzerland #japan #piano #musician