7th Swiss Sculpture Exhibition Biel

Peter Killer

Farewell, Grand Gesture!

On late 1970s art-in-architecture
Public art is commissioned art, art of compromise. In contrast to freelance work, public art is directly affected by numerous alien impositions and constraints that have little or nothing to do with the artist's own concerns. Public art: to the artist himself this is a delicate balancing act between his own and his client's wishes and intentions.

Little surprise, then, that many professional artists have ceased to participate in contests for art-in-architecture, and refuse direct commissions even if they could well use the support they entail. It is because public art usually has little in common with the realisation of artistic intentions, but have much more to do with political diplomacy; with the desire for fashionable representation; with a fear of collisions and scandals. The times are long gone when works of art that represented their era were installed in city streets and placed on squares. These days, whoever wishes to conjoin art and the spirit of his day will focus his attention on exhibitions in art galleries and museums.

Nevertheless: given that very little, if any at all, of the mass media's emancipatory potential has fallen to the fine arts; given that the circle of art-lovers has barely expanded; given that artistic evolutions continue to occur behind the walls of studios, museums and art galleries; given that the chasm between art and the public realm has deepened rather than narrowed, public art remains one of the last points of friction, a place where the discussion of contemporary art may involve a wider audience. Public art – it means passive but nonetheless quite effective art education by way of familiarisation, and of creating a degree of naturalness. Contemporary art placed in a location easily accessible to the public provides new impulses to a society obsessed with security and conservation that may render uncertain the well-worn tracks of perception, feeling and thought, at least for a while.

Looking back at the art created over the five years since the previous Sculpture Exhibition in Biel, we can see new issues cropping up alongside those mentioned earlier. The current era began around 1973. Its impact only made itself felt much later owing to the delay inherent in public art. It is a period that may be considered a transitional one, for it lacks basic consensus; at the very least, its consensual ground keeps shifting. The fact that foundations have been crumbling in many areas of our lives has also affected art. And while art cannot provide solutions to the complexities of modern society it can, however, reflect or highlight the situation. It is striking, therefore, that the grand gesture, the statement that relies on unshakable certainties, has become more and more scarce in recent art. But it is precisely this grand gesture, the counterpart to the old monumental design, which is the dream of every committee that commissions or manages art-in-architecture projects.

If a retrospective of the past five years no longer yields extraordinary works of art such as the design of the Seminar Biel (Biel Teacher Training College), which was about to be completed in 1975, the material and spiritual impact of the "transitional period" has a great deal to answer for. The stagnation in construction and a fear of great projects in the aftermath of the 1973 economic recession has had a massive impact on art-in-architecture. However, it has not only been the budgets that were drastically reduced. Problems revealing themselves in the failed contest for art-in-architecture of the ETH Zürich (Swiss Federal Institute of Technology); problems resulting from a far too restricted call for tenders concerning the design of public spaces at EPUL (ETH's sister in Lausanne); the public architectural contest for the new "Kantonsschule Glarus" (Glarus High School) that yielded not very pleasant results – these events not only demonstrate that it is very difficult for artists to be successful in their search for the valid expression of artistic content, but also show that the committees themselves may have a problematic concept of their missions. So it is farewell to the grand gesture, farewell to empty visual statements, and welcome to answers regarding the why and wherefore of art. It is noteworthy that numerous new public art projects have taken their audiences seriously in anything but a condescending manner. In the catalogue to the "6. Berner Kunstausstellung" (6th Bernese Art Exhibition; 18th January – 17th February, 1980), Meret Oppenheim expressed what has worried many other artists, often leading to similarly-motivated results: "I would suggest embarking on a road that is not new, but very old: let us place in front of people something that gives them pleasure. Be that new city quarters or old, slightly "stuffy" ones: everyone would be pleased with parks and gardens that were not designed on the drawing-board, or laid out in the conventional manner; everyone would take pleasure from a promenade, large or small, with or without plants, but perhaps with a sculpture that moves with the wind or the water that might also set off some "musical" sound patterns – some pleasant area that can bring back to our everyday lives something many of us secretly yearn for."

It is not the notion of park or garden design that in my opinion seems to be at the core of this piece of writing, but the notion of creating designs for people. It is this attitude that has informed Albert Siegenthaler's combination of sculptures and landscape design at the back of Baden's new Cantonal Hospital, which pleases the art connoisseurs as much as the users, the hospital patients and the visitors. I think that – over the past five years – this has been one of the most important achievements in art-in-architecture. Less spectacular, but more intense, more dense is Otto Müller's design for a square in the transformed Old Botanical Gardens in Zürich: it conveys the message of our era in an unspectacular manner. Similarly-informed projects by Lenz Klotz for the Cantonal Hospital in Basel, and by Max Matter and Ernst Häusermann for the Aargauische Sprachheilschule Rombach (Argovian School for Children with Language-based Learning Disabilities) are rather more controversial. Designing for people, designing with people: Peter Travaglini – Bau- und Wirtefachschule in Unterentfelden (Vocational School for the Construction and Catering Trades at Unterentfelden) – and the team of Peter Hächler/Charly Moser – Berufsschulzentrum Weinfelden (Weinfelden Vocational School Centre) – have been particularly successful in actively involving their partners.

Peter Killer

© Translation from German, August 2008: Margret Powell-Joss




  • Der Papalagi, Seibt Dieter, expo 1980
    Der Papalagi
  • Windrad Esche, Küng René, expo 1980
    Windrad Esche
  • 5 Bielerrugel, Benazzi Raffael, expo 1980
    5 Bielerrugel
  • Stille Stelle, Fischli Hans, expo 1980
    Stille Stelle
  • Entwicklungsreihe (6 Steine), Grunder Mariann, expo 1980
    Entwicklungsreihe (6 Steine)
  • Scheiterhaufen, Hächler Peter, expo 1980
    Scheiterhaufen
  • Sans titre, Bonnot François, expo 1980
    Sans titre
  • Projekt Zeitraum, Sigrist Kurt, expo 1980
    Projekt Zeitraum
  • Kleines Bronzerelief VI – 1976, Rehmann Erwin, expo 1980
    Kleines Bronzerelief VI – 1976
  • Komposition, Teucher Otto, expo 1980
    Komposition
  • Werk Nr. 04.07.79 B. 1979, Mattes Rudolf, expo 1980
    Werk Nr. 04.07.79 B. 1979
  • Kardinal, Luginbühl Bernhard, expo 1980
    Kardinal
  • Zentrum, Büchi René, expo 1980
    Zentrum
  • Drei Obeliske aus dem Pentagondodekaëder, Storrer Peter, expo 1980
    Drei Obeliske aus dem Pentagondodekaëder
  • Video blind piece, Minkoff Gérald, expo 1980
    Video blind piece
  • Ohne Titel, Raboud André, expo 1980
    Ohne Titel
  • Zusammenarbeit Urs Suter, Vögeli Walter, expo 1980
    Zusammenarbeit Urs Suter
  • Homo-Sapiens, Hotz Roland, expo 1980
    Homo-Sapiens
  • Ohne Titel, Blättler Rudolf, expo 1980
    Ohne Titel
  • Arbeit III, Baviera Michael, expo 1980
    Arbeit III
  • Béatrice, Schwarz Heinz, expo 1980
    Béatrice
  • Kopf aus Hauterive, Kunz Peter, expo 1980
    Kopf aus Hauterive
  • Totenschlitten, Sigrist Kurt, expo 1980
    Totenschlitten
  • Wasserspiel 37, Fontana Annemie, expo 1980
    Wasserspiel 37
  • Accumulation no 792, Delieutraz Edouard, expo 1980
    Accumulation no 792
  • „Laa mi nöd gheiä“, Arbi (Bechtler Ruedi), expo 1980
    „Laa mi nöd gheiä“
  • Eisenplastik geschmiedet, Odermatt Josef Maria, expo 1980
    Eisenplastik geschmiedet
  • La concièrge, Polliand Daniel, expo 1980
    La concièrge
  • 79/30, Mauboulès Jean, expo 1980
    79/30
  • Stahl-Konstruktion XIIX, Altherr Jürg, expo 1980
    Stahl-Konstruktion XIIX
  • Weiblicher Toso, Aeschbacher Hans, expo 1980
    Weiblicher Toso
  • Figur I, Aeschbacher Hans, expo 1980
    Figur I
  • Les 12 signes du zodiaque, Aeppli Eva, expo 1980
    Les 12 signes du zodiaque
  • Projet Bienne II 1980, Huber Hans Rudolf, expo 1980
    Projet Bienne II 1980
  • F. Y. 26 – 1979, Bolomey Roger, expo 1980
    F. Y. 26 – 1979
  • Liber, Werro Roland, expo 1980
    Liber
  • Der leere Raum, Blättler Rudolf, expo 1980
    Der leere Raum
  • Figur I, Wimpheimer Willy, expo 1980
    Figur I
  • Olymp, Metzler Kurt Laurenz, expo 1980
    Olymp
  • Pavillonskulptur aus 6 Rundhölzern, Bill Max, expo 1980
    Pavillonskulptur aus 6 Rundhölzern
  • Paravent, Suter Hugo, expo 1980
    Paravent
  • Ein Schatten zwischen Sein und Schein, Schwarz Martin, expo 1980
    Ein Schatten zwischen Sein und Schein
  • Baalbek, Bucher Carl, expo 1980
    Baalbek
  • Marmor-Block, Meister Peter, expo 1980
    Marmor-Block
  • Licht/Schatten Objekte, Nyffenegger Samuel, expo 1980
    Licht/Schatten Objekte
  • Figure debout, Ferrario Aldo, expo 1980
    Figure debout
  • Sculpture 77 D, Wiggli Oskar, expo 1980
    Sculpture 77 D
  • Fût no 793, Delieutraz Edouard, expo 1980
    Fût no 793
  • 10/78, Niederer Heinz, expo 1980
    10/78
  • Wiesenfloss (3 Aufnahmen), Stocker Norbert, expo 1980
    Wiesenfloss (3 Aufnahmen)
  • Flugkörper, Pedretti Erica, expo 1980
    Flugkörper
  • Poisson femme, Polliand Daniel, expo 1980
    Poisson femme
  • Objekt II, Streiff Matthias, expo 1980
    Objekt II
  • Wandplastik, Mattioli Silvio, expo 1980
    Wandplastik
  • Kunstauktion im Marzilibad Bern, Jordi Ernst Kretz Walter Schneider Jimmy Fred Vögeli Walter Suter Urs, expo 1980
    Kunstauktion im Marzilibad Bern
  • Ferienlandschaft, Buchli Rudolf, expo 1980
    Ferienlandschaft
  • Licht/Schatten Objekte, Nyffenegger Samuel, expo 1980
    Licht/Schatten Objekte
  • Traktor und div. Materialien, Tinguely Jean, expo 1980
    Traktor und div. Materialien
  • Standortbestimmung, Brand Heinz, expo 1980
    Standortbestimmung
  • Mère et enfant, Ferrario Aldo, expo 1980
    Mère et enfant
  • Déméter, Perrin Fred, expo 1980
    Déméter
  • Ouverture sur rencontre, Torres Manuel, expo 1980
    Ouverture sur rencontre
  • Mondaffe, Eggenschwiler Franz, expo 1980
    Mondaffe
  • Fils, Winteler Anna, expo 1980
    Fils
  • Reflexion über die Gegen-Stände, Grossert Michaël, expo 1980
    Reflexion über die Gegen-Stände
  • Microcosme New York IV B, De Montaigu Charles, expo 1980
    Microcosme New York IV B
  • Microcosme New York III, De Montaigu Charles, expo 1980
    Microcosme New York III
  • Aktionsplastik, Lüchinger Roland, expo 1980
    Aktionsplastik
  • Autoportrait, Berthoud Francis, expo 1980
    Autoportrait
  • Fanfan II, Schwarz Heinz, expo 1980
    Fanfan II
  • 2 Trees, Gruber-Stieger Jaqueline, expo 1980
    2 Trees
  • Rostiges Eisen um Farbkreuz, Bürkler David, expo 1980
    Rostiges Eisen um Farbkreuz
  • Venus Asylstrasse 21, Aeschbacher Hans, expo 1980
    Venus Asylstrasse 21
  • 9/78, Niederer Heinz, expo 1980
    9/78
  • L’Uomo nel Tempo, Paolucci Flavio, expo 1980
    L’Uomo nel Tempo
  • JURA, Berger Ueli, expo 1980
    JURA
  • Schiff, Sigrist Richard, expo 1980
    Schiff
  • Seelenführer Anubis, Conne Louis, expo 1980
    Seelenführer Anubis
  • Entelechie 1 + 2, Stocker Ludwig, expo 1980
    Entelechie 1 + 2
  • Weibliches Idol, Aeschbacher Hans, expo 1980
    Weibliches Idol
  • Wiesenfloss (Projektskizze), Stocker Norbert, expo 1980
    Wiesenfloss (Projektskizze)
  • Poetree, Buchwalder Ernst, expo 1980
    Poetree
  • Figur II, Aeschbacher Hans, expo 1980
    Figur II
  • Teatraedre, Ischi Pierre, expo 1980
    Teatraedre
  • Sans titre, Bonnot François, expo 1980
    Sans titre
  • Eisenplastik geschmiedet, Odermatt Josef Maria, expo 1980
    Eisenplastik geschmiedet
  • Objekt III, Streiff Matthias, expo 1980
    Objekt III
  • Venus de Six-Fours, Aeschbacher Hans, expo 1980
    Venus de Six-Fours
  • Objekt I, Streiff Matthias, expo 1980
    Objekt I
  • Kreis-Stele I, Engler Jakob, expo 1980
    Kreis-Stele I
  • Modell für eine Plastik, Megert Christian, expo 1980
    Modell für eine Plastik
  • Quebec, Ischi Pierre, expo 1980
    Quebec
  • Komposition, Teucher Otto, expo 1980
    Komposition
  • Explosion, Wirz Tobias, expo 1980
    Explosion
  • Environnement mit Performance, Gfeller Reinhard, expo 1980
    Environnement mit Performance
  • Raumplastik, Mattioli Silvio, expo 1980
    Raumplastik
  • Boden – Raum – Schnittpunkt I, Haldemann Walter, expo 1980
    Boden – Raum – Schnittpunkt I
  • Objekt in der Schüss, Signer Roman, expo 1980
    Objekt in der Schüss
  • Rutschbahn, Weber Bruno, expo 1980
    Rutschbahn
  • Annabello, Kohlbrenner Beat, expo 1980
    Annabello
  • see, Weber Willy, expo 1980
    see
  • Diagonale Faltung, Staub Josef, expo 1980
    Diagonale Faltung
  • Grab, Brodwolf Jürgen, expo 1980
    Grab
  • Rencontre XXX, Torres Manuel, expo 1980
    Rencontre XXX
  • Lächelnd sah er aufs Meer hinaus, Meier Dieter, expo 1980
    Lächelnd sah er aufs Meer hinaus
  • Die Weisen, Weber Bruno, expo 1980
    Die Weisen
  • Figur I, Aeschbacher Hans, expo 1980
    Figur I
  • Arbre, Candolfi Serge, expo 1980
    Arbre
  • Don Quichotte III, Zeller André-Paul, expo 1980
    Don Quichotte III
  • Vertschaupet, Hutter Schang, expo 1980
    Vertschaupet
  • Biel Luminis, Fucktory Biel, expo 1980
    Biel Luminis
  • La fleur du mal, Gerstner Karl, expo 1980
    La fleur du mal
  • Espace Nord-Sud, Fontana Dominique, expo 1980
    Espace Nord-Sud
  • Euphorium, Kocher Lis, expo 1980
    Euphorium
  • Rasterteppich, Bauer Heiner, expo 1980
    Rasterteppich
  • Elch, Weiss Max, expo 1980
    Elch
  • Phönix, Moser René, expo 1980
    Phönix
  • Kelch symmetrisch, Schneider Jimmy Fred, expo 1980
    Kelch symmetrisch
  • Fig. XIX A, Presset Henri, expo 1980
    Fig. XIX A
  • See Stück, Ruenzi Fritz, expo 1980
    See Stück
  • Agression, Mariotti Yves, expo 1980
    Agression
  • Feuer, Wiedmer Paul, expo 1980
    Feuer
  • Figur II, Aeschbacher Hans, expo 1980
    Figur II
  • Licht – Bild – Raum, Fricker Hansruedi, expo 1980
    Licht – Bild – Raum
  • Sky-Lab II: ein Environnement, Etcetera Ateliergemeinschaft, expo 1980
    Sky-Lab II: ein Environnement
  • Figur I, Aeschbacher Hans, expo 1980
    Figur I
  • Der Rezipient als Bestandteil, Eberle Urs, expo 1980
    Der Rezipient als Bestandteil
  • Figur III, Aeschbacher Hans, expo 1980
    Figur III
  • Sculpture 76 J, Wiggli Oskar, expo 1980
    Sculpture 76 J
  • Schwebendes Ringpendel, Witschi Werner, expo 1980
    Schwebendes Ringpendel
  • PARADISE LOST, Siegenthaler Albert, expo 1980
    PARADISE LOST
  • Gruppenbild, Engel Michel, expo 1980
    Gruppenbild
  • E 1 P, Duarte Angel, expo 1980
    E 1 P
  • Schlafwandler, Pfenninger Kaspar, expo 1980
    Schlafwandler
  • Grosse Mondleiter, Küng René, expo 1980
    Grosse Mondleiter
  • Die Baumfee und ihre Tänzerin, Balmer Hans, expo 1980
    Die Baumfee und ihre Tänzerin
  • La Perception visuelle en tant qu’art, Fischer Walter, expo 1980
    La Perception visuelle en tant qu’art
  • Nombre 58 = Esther, Hess Esther, expo 1980
    Nombre 58 = Esther
  • Profil eines Fluges, Egloff Anton, expo 1980
    Profil eines Fluges
  • Zeichen, Büchi René, expo 1980
    Zeichen
  • Biel Luminis, Fucktory Biel, expo 1980
    Biel Luminis
  • L’Ile aux oiseaux, Camesi Gianfredo, expo 1980
    L’Ile aux oiseaux
  • Baum und Welt, Aeberli Matthias, expo 1980
    Baum und Welt
  • Borg, Bucher Heidi, expo 1980
    Borg
  • Chromstahl, Talman Paul, expo 1980
    Chromstahl
  • Projet Dimension Uniques, Transmutation Forme et Terre, Camesi Gianfredo, expo 1980
    Projet Dimension Uniques, Transmutation Forme et Terre
  • Allee, Häckel Wolfgang, expo 1980
    Allee
  • Vitrine mit 10 Zinkblechmodellen, Burger Walter, expo 1980
    Vitrine mit 10 Zinkblechmodellen
  • PARADISE LOST, Siegenthaler Albert, expo 1980
    PARADISE LOST
  • Elément en 3 pièces, Emile Angéloz, expo 1980
    Elément en 3 pièces
  • F. Y 3 – 1976, Bolomey Roger, expo 1980
    F. Y 3 – 1976