Wettbewerb: Mein Lieblingsexponat

Starting in the mid-1970s Maria Pinińska-Bereś began incorporating performance into her work as an artist and recording these through photography. Interetingly, she also coloured in the pink elements of the performances in the black-and-white photographs, highlighting the importance of the ...colour. While some of her performances like “Pranie I” or “Tylko miotla” centre on her feminist ideals, many of her works also centred on the importance of land and landscapes, constituting land-art.
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“Okno II – odejśie rózu (Window II – the disappearance of pink)” by Maria Pinińska-Bereś (1982)
“Aneksja krajobrazu (Annexation of landscape)” by Maria Pinińska-Bereś (1980)
“Modlitwa o deszcz (Prayer for rain)” by Maria Pinińska-Bereś (1977)
“Krag (Circle)” by Maria Pinińska-Bereś (1976)
“Przenośny pomik pt. ‘Miejsce’ (Portable monument with the title ‘Place’)” by Maria Pinińska-Bereś (1979)
“Sztandar autorski (Flag of the author)” by Maria Pinińska-Bereś (1979)
Two images of “Transparent” by Maria Pinińska-Bereś (1980)
“Tylko miotla (Only a broom)” by Maria Pinińska-Bereś (1984)
“Pranie I (Washing I)” by Maria Pinińska-Bereś (1980)

Part of this year’s Blumen für die Kunst, Samantha Bühler interprets Joseph Marioni’s Yellow Painting (2002). By layering mimosas within translucent metallic structures, she mirrors Marioni’s technique of applying paint in successive, controlled flows.
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#blumenfürdiekunst ...#museumspass #aargauerkunsthaus #iloveswissmuseums #museumsandme

Heute an einem spannenden Rundgang im Thun Panorama teilgenommen. Anlässlich des Frauentages hiess die Führung: Frauenalltag - putzen und flanieren! Ja, ja, wir Mädels waren schon immer und sind es noch heute, taff und unersetzlich. Vive les femmes! #ilovemuseums #museumspass #museumandme

Richard Paul Lohse’s exhibition is a reminder that art can be very different.

This Swiss graphic designer was a very “logical, mathematically precise” artist. Every painting follows a mathematical sequence. As he himself explained, it is a visual representation of a certain rhythm, a... mathematical progression.

I found it surprisingly inspiring.

He also had nothing against other people copying his paintings. In fact, he proudly said that one could dictate his pictures over the phone — they are that logical.

I truly enjoyed today’s guided tour at hauskonstruktiv

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Floristinnen und Floristen erweitern ausgewählte Werke mit Blumen und lassen sie neu aufblühen.

Im Zusammenspiel von Kunst und Natur entstehen neue, lebendige Kunstwerke – ein farbenfroher Sonntag zum Erwachen der Natur.

#blumenfürdiekunst2026 #museumspass #museumphotography... #iloveswissmuseums #frühlingserwachen

The Kunstmuseum Luzern is dedicating its current exhibition to the work of Maria Pinińska-Bereś, a pioneer of Polish feminist art. Born in 1931 in Katowice, Pinińska-Bereś studied sculpture in Kraków, where she spent the rest of her life. While using cement in her early series of the ...“Rutunda”, she combines the hard and heavy material with soft fabrics. Later she abandoned stone and cement altogether, liking to be able to carry her sculptures by herself. She established the colour pink as a recurring part of her work and often used soft textile elements in combination with wooden panels to construct her works, which comment on the state of women in Poland during communism.
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“Drzwi (Door)” by Maria Pinińska-Bereś (1980)
“Rotunda z lańcuchem (Rotunda with chain)” by Maria Pinińska-Bereś (1963)
“Gorset stojacy (Standing corset)” by Maria Pinińska-Bereś (1967)
“Pokroviec dla mojego kochanka, Glowa (Case for my lover, Head)” by Maria Pinińska-Bereś (1967)
“Mój uroczy pokoik (My lovely little room)” by Maria Pinińska-Bereś (1975)
“Oko (Eye)” by Maria Pinińska-Bereś (1971)
“Okno i demony II (Demon window II)” by Maria Pinińska-Bereś (1996)
“Okno wiosna (Spring window)” by Maria Pinińska-Bereś (1976)
“Lakome sny (Greedy dreams)” by Maria Pinińska-Bereś (1985)
“Mme Récamier” by Maria Pinińska-Bereś (1991)

Entry to flowerstoarts is free with museumspass, you only have to book a time slot. As I was in town with scv_usc I have used the opportunity. The flower art gets more bold each year. Congratulations to the participants!

Marie Bongard Blumengestalterin
Atelier Tschüss, Männedorf
...Silvia Bächli/Eric Hattan: Quer, 2017
Beschichtetes Holz, Acrylfarbe, Metall (Weisse Möbelteile, gefunden auf den Strassen in Paris, bemalt mit einer horizontalen schwarzen Pinsellinie)

Samantha Bühler
Meisterfloristin, Winterthur
Joseph Marioni
Yellow painting, 2002

Peter Schwitter Florist
Rosenladen Buochs

Rémy Jaggi Florist
Remy Jaggi Fleurs, Trélex
Barbara Müller: Ohne Titel, 2015
Öl auf Leinwand

Marcel Gabriel Meisterflorist
Gabriel Blumen & Garten AG, Sempach
Roman Signer: Rinne, 2006
Aluminium-Rinne, Wasser, Ventilator

Marianne De Tomasi Floristin
Yeoon, St. Gallen

atelier_tschuess silvia_baechli
eric.hattan gabriel.blumen.garten remyjaggi
#blumenfürdiekunst #romansigner yeoon_mariannedetomasi
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In their new collection presentation the Kunstmuseum Luzern is highlighting roomfilling installations from their collection, dedicating an entire room to each work. In order to show as many of these works as possible, some of the rooms will change over the duration of the display, which will close ...in November. One of the highlights of the display is the work “Wantee” by Laure Prouvost, which won the 2013 Turner Prize in the UK. It features an installation of a Tea Party, which the visitors are invited to join to watch a film retelling the fictional story of the artists’ grandfather. A supposed friend of the conceptual artist Kurt Schwitters, the grandfather’s house is dilapidated and littered with defunct artworks, which were repurposed as furniture by the artists’ grandmother after the grandfather mysteriously disappeared while trying to dig a hole from the Lake District to Africa. The disorienting and absurd storytelling is both funny and disturbing while sitting at a table set for tea in a dark and dingy room. Because the gallery representing Prouvost went bankrupt in 2016, the Kunstmuseum was able to acquire the prestigious work at a lower price, as they were then already hosting it in their monographic exhibition about the artist.
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Two images of “Sanctuarium. A Room for Lucerne” by Philip Taafee (2010)
Two images of “Bei dir war es immer schön” by Walter Pfeiffer (2023)
Two images of “Leitstern” by Andreas Gehr (1979)
“De Lucerna E” by Maria Nordman (1992)
“Wantee” by Laure Prouvost (2013)
Two images of “Untitled” by Vivian Suter (2018-21)

📌Maison Callier
Ma première visite en tant qu'ambassadeur du Passeport Musées museumspass

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