Skip to main content
Intro
Zürich - Rämistrasse

Naked Lunch

until

Curated under the title Naked Lunch, the exhibition features surreal and sometimes bizarre works by artists such as Max Ernst, Le Corbusier, Chaim Soutine, Christian Schad, Daniel Spoerri and Dieter Roth. The book of the same name (1959) by U.S. writer William S. Burroughs and its film adaptation (1991) by David Cronenberg served as inspiration. In it, disparate records of real experiences, hallucinations and fantasies are depicted in a satirical, grotesquely exaggerated style. The main character encounters strange creatures, such as insectoid typewriters, and experiences a surreal nightmare. In reference, our exhibition thematizes the scurrile and absurd, physicality and sensuality, as well as perception and irritation in the works on display. 

Georges Candilis
Chryssa
Le Corbusier
Tony Cragg
Manuel Dück
Max Ernst
Rudolf Häsler
Markus Lüpertz
Jonathan Meese
Joan Miró
Jean Prouvé
Josef Rikus
Dieter Roth
Christian Schad
Hans Schärer
Chaim Soutine
Daniel Spoerri
Philolaos Tloupas

Also visit the Online Viewing Room for this exhibition.

Chryssa - Ohne Titel, ca. 1960

Jonathan Meese - DER ERZFRISCHESTE MARMORIERTESTE CHEF "ZUKUNFT" MURMELT "GEH WEG", 2013

Daniel Spoerri - Puppen Läckerli, 1989

Max Ernst - Venus vue de la terre II, 1962

Jonathan Meese - GANGSTERMEESE 2 (BILLYKID), 2011

Le Corbusier - Nature morte à la lanterne, 1940

Georges Candilis
From 1945, the Greek architect and designer Georges Candilis worked in Le Corbusier's studio, whereupon important collaborations were realised. Together with the Finnish designer Anja Blomstedt, a collection was created under the name Sentou. The robust furniture was intended to be easy to dismantle and transport. Candilis' aim was always to adapt his designs to the social and economic conditions of the disadvantaged population and to place the human being at the centre. "The respect has no formula, no recipe. It is the feeling that architects have to possess with their customers; if the construction can give

Chryssa
Chryssa (Chryssa Vardea-Mavromichali, 1933, Athens – 2013, Athens) was a Greek-American graphic artist and sculptor best known for her monumental assemblages of neon, bronze, aluminium, plaster, and wood. Today she is considered one of the most important representatives of early Pop Art, Minimalism, and Conceptual Art.
Chryssa studied in Paris from 1953 to 1954, where she was taught by Alberto Giacometti, among others, and met artists such as André Breton and Max Ernst. From 1954 to 1955 she attended the California School of Fine Art in San Francisco and then moved to New York, where she lived with her partner, the artist Agnes Martin. Here she also met Jasper Johns and Robert Rauschenberg and was one of the initiators of the American Nouveau Réalisme, which declared everyday life to be art. Furthermore, she exerted a demonstrable influence on Andy Warhol with her stamp paintings.
The spectacular neon signs in Times Square served Chryssa as an important source of inspiration. Starting in 1962, she used neon tubes in her artworks and was thus one of the first artists to declare this advertising medium an art material.

Le Corbusier
Charles-Édouard Jeanneret-Gris (1887, La Chaux-de-Fonds – 1965, Roquebrune-Cap-Martin), more commonly known as Le Corbusier, was a Swiss-French architect, architectural theorist, urban planner, painter, draftsman, sculptor, and furniture designer. Le Corbusier was one of the most influential architects of the 20th century. Since 2016, 17 of his buildings have been included on the UNESCO World Heritage List. He first adopted his pseudonym, Le Corbusier, in 1920 in the magazine L'Esprit nouveau, in reference to the name of his great-grandmother Lecorbésier and deriving from corbeau, French for raven. Throughout his life, he showed a great passion for various means of expression: paintings, drawings, sculptures, lithography, tapestries, and enamelling. He repeatably emphasized how important it had been for his research and his architectural work to consistently devote himself to painting and drawing, five hours every morning.

Le Corbusier - Nature morte à la lanterne, 1940 (detail)

Markus Lüpertz
Born in Liberec, Bohemia, Markus Lüpertz (*1941) immigrated to West Germany with his family at the age of seven. He studied from 1956 to 1963 at the Werkkunstschule Krefeld with Laurens Goosens, and at the Kunstakademie Düsseldorf. In 1962, Lüpertz moved to West Berlin, where he founded the self-help gallery Großgörschen 35 together with Bernd Koberling and Karl Horst Hödicke. Contrary to contemporary tendencies regarding abstraction, Lüpertz began to paint pictures with simple representational content. In 1976, Lüpertz accepted a professorship at the Academy in Karlsruhe. The following year, the Hamburger Kunsthalle displayed a preliminary overview of his work, followed by a display in the Kunsthalle Bern and the Stedelijk Van Abbemuseum, Eindhoven. In 1982, Lüpertz participated in the documenta VII in Kassel. In 1986, he was appointed to the Kunstakademie Düsseldorf, which he has headed as rector since 1988.

Jonathan Meese
Jonathan Meese (*23.1.1970, Tokio) is a German painter, sculptor, performance artist, and installation artist based in Berlin and Hamburg. Meese's works include a wide range of media, amongst others paintings, collages, drawings, and writing. The prevailing subjects of his works are figures of world history, myths, and heroic saga. From 1999 Meese has been included in several national as well as international solo- and group exhibitions.
His oeuvre substantially consists of staging and transforming his own character. Thematically, Meese often refers to National Socialist issues; he also uses idiomatic and theatrical stylistic devices with reference to German philosophy and literature.

Jonathan Meese - DER ERZFRISCHESTE MARMORIERTESTE CHEF "ZUKUNFT" MURMELT "GEH WEG", 2013 (detail)

Jean Prouvé
Jean Prouvé was inspired by the architects of the avant-garde and embraced a vision of design as a moral issue. As an influential designer, architect, engineer, and teacher, he played an important role in the development of mass production systems in post-war modernism. Metal was the preferred material for the trained art smith. However, with the benefit of his profound knowledge of materials and the skilful use of connecting techniques, he also succeeded in integrating wood into his furniture in a very refined way. Characteristic for his work is the large-scale use of materials and the visualisation of the physical forces that occur.

Christian Schad
The German painter Christian Schad (1894, Miesbach - 1982, Stuttgart) is considered to be one of the main representatives of the New Objectivity art movement and is counted among the most important protagonists of Verism. In 1913, during his studies at the Munich Art Academy, he produced his first expressionist woodcuts. After the outbreak of World War I, the young artist joined the circle of Zurich Dadaists and became co-editor of the magazine Sirius.
After interim stays in Rome, Naples, and Vienna, he moved to Berlin in 1928, where he orientated himself according to the clear, realistic style of the New Objectivity. In his portraits, which have gone down in art history as icons, he portrayed the era of the Roaring Twenties, subliminally conveying the isolation and alienation of the individual in the interwar period with revealing richness in detail. After the National Socialists seized power, Schad's work was not categorized as "degenerate", but he was denied recognition. It was not until 1972 that his life's work was honoured in a comprehensive retrospective at the Palazzo Reale in Milan, and again in 1980, at the Staatliche Kunsthalle in Berlin.

Christian Schad - Ödipiade oder Sorgen eines Engagierten / Frage, 1967 (detail)