zurichois – English Translation – Keybot Dictionary

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  Bibliothèque nationale ...  
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donne la parole aux enseignants zurichois et paraît entre 1874 et 1881.
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gives voice to the teachers of Zurich. It was published between 1874 and 1881.
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Les concrets zurichois
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Zurich Concrete Art
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Vers le milieu des années 1970, De Crignis s’est fait remarquer dans le milieu artistique zurichois par ses travaux conceptuels dans divers médias (sculpture, photographie, installation). Depuis le début des années 1980, il privilégie la peinture, d’abord figurative.
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De Crignis aroused an echo on Zurich art scene in the mid-70s with his conceptual works in various media (sculpture, photography, installations). Initially, from the beginning of the 80s, figuratively influenced painting predominates. A scholarship in 1985 triggers a stylistic reorientation: in New York, the city the artist chose as his home in 1987, De Crignis encounters the American tradition of Minimal Art and Radical Painting and begins to turn to non-representative painting. A progressive reduction of the visible is initiated that leads, on the one hand, to monochrome paintings built up from several layers of paint in a prolonged work process and, on the other, to apparently colourless, drawings comprising line structures which De Crignis also terms “painting”.
  Bibliothèque nationale ...  
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Avec pour résultat la formulation de critères intégrés par le Cabinet des estampes de la BN dans son concept d’acquisition des collections. Le colloque a présenté le projet de recherche zurichois et le nouveau concept d’acquisition du Cabinet des estampes.
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In the course of its research project "Archives of Place", by means of which the Zurich University of the Arts (ZHdK) set out to prepare a model concept for a photographic archive of spatial development, the ZHdK has managed to formulate the criteria for such an archive documenting spatial change, criteria which have in turn influenced the new collection concept of the NL’s PDD. The colloquium presented both the ZHdK research project and the PDD’s new collection concept.
  Bibliothèque nationale ...  
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La Bibliothèque nationale a reçu en 1989 une autre collection indienne, celle du philologue et bibliothécaire zurichois Johann Bernhard Rudolf Wyss (1909-1988). Celui-ci avait pour coutume de séjourner en Inde pendant la saison d’hiver; de 1960 à 1988, il a maintes fois parcouru le sous-continent d’est en ouest ou du nord au sud, de Srinagar à Kanyakumari.
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In 1989, the SNL received the Indian collection of Johann Rudolf Wyss (1909-1988), philologist and librarian from Zurich. From 1960 to 1988, Wyss wintered in India and during this time, he crisscrossed the sub-continent from east to west and from north to south, from Srinagar to Kanyakumari. His travels frequently led him to Bombay, Madras, Madura, Trivandrum, Bangadore, Goa, Puna, Benares, Khajuraho, Delhi and Calcutta. He was particularly attracted to the desert region of Rajasthan and the ancient and religious cities of Puri and Bhuvaneshvar in Orissa. He also travelled once to Srinagar, Kulu, Dharamsala, Dalhousie, Chandigarh and Darjeeling, in the foothills of the Himalaya.
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D’autres créateurs, quoique s’inspirant encore du Style international, vont l’adapter aux nouvelles méthodes de travail plutôt que de lui tourner le dos. Les graphistes zurichois Siegfried Odermatt (1926) et Rosemarie Tissi (1937) se sont engouffrés dans le créneau.
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Still inspired by the International Style, some artists chose to adapt it to the newer work processes rather than renounce it completely. Graphic artists such as Siegried Odermatt (1926) from Zurich and Rosemarie Tissi (1937) worked with this approach. Not as revolutionary as Weingart, they chose to follow the rules rather than ignore them in order to create posters which could be easily deciphered. They developed spatial and typographic solutions that were less rigid than those of their predecessors while enriching the vocabulary of the International Style by creating works that were more flexible and mischievous. They were considered the leaders of a style known as Postmodernism, a movement, as is often the case that encompasses various realities. Nowadays, a great number of artists are following in these tracks, notably Ralph Schraivogel (1970). Graphic design and consequently posters are in constant evolution. To fulfil its information and promotion mandate, it must correspond to the aesthetic taste of contemporary society. The posters of today already contain the premise of tomorrow’s tastes!
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Cette notion est due à Theo van Doesburg (1883-1931), le co-fondateur de la revue De Stijl, qui est à l’origine du mouvement artistique du même nom. Ainsi, les affiches des concrets zurichois se caractérisent par la ligne, les couleurs et les surfaces.
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The Zurich School totally adhered to the theories of Concrete Art, a term introduced by Theo Van Doesburg (1883-1931), co-founder of the magazine De Stijl, which was also the name of the Dutch artistic movement. The posters of the Concrete artists of the Zurich School are characterised by a line, a colour or a plane. Basic geometrical forms such as the square, the circle, the triangle and the rectangle are used as reference. Spaces must be clearly “visible” and only essential information is mentioned and positioned asymmetrically. In Switzerland, one of the key figures of this movement was Ernst Keller (1891 –1968). He began teaching at the Design School in Zurich in 1918 and established the first design courses in Switzerland. According to Keller, if a poster was to fulfil its role it had to be incisive; hence the choice of image, text, style, colour and form in a composition played a fundamental role. He believed that a poster must deliver a message that is immediately and effortlessly understood. Taking coffee as an example, he said that “a poster which proposes coffee must suggest the ambiance of coffee through the choice of colours or combination of colours, through formal elements, images and suggestive texts which by simple idea association suggest the “smell the coffee”. (= «Ein Kaffeeplakat müsse also allein schon durch die Farben oder Farbkombinationen, durch suggestive Formcharaktere der Bild- und Textelemente das Klima von Kaffee erzeugen. Assoziativ müsse der Betrachter in einem solchen Plakat den „Kaffee schmecken“».