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CULTURAL STATEMENT

¬ Engaging History to create dialogues
Grażyna Kulczyk sets great store by her role as an ambassador for contemporary Polish and Middle Eastern European art, which has long been omitted from the canon and tended to be overlooked by the majority of Western critics and collectors, due to the particular political environment of the former Eastern bloc states. Beyond this general ambition, her collecting strategy also reflects two key interests: International artists have joined the collection, opening up new perspectives and highlighting contrasts between works but also hinting to parallels and raising questions about the multifarious and complex relations between East and West in general. These expanded perspectives and contrasts within the collection provide the basis for commentary on complex and timely global concerns. The women’s perspective in the collection adds a clear feminist mission to the endeavours of Grażyna Kulczyk, whose own history as an independent, creative entrepreneur is at the root of a deep understanding and emotional connection to issues women face in their artistic practice. Her collection reflects this interest, inviting and encouraging participation, contributing to the recognition and greater visibility of women — as artists and elsewhere.

Muzeum Susch - Grażyna Kulczyk


ART STATIONS FOUNDATION
by Grażyna Kulczyk

¬ Opening Perspectives
Established in 2004, as the Kulczyk Foundation, the ART STATIONS FOUNDATION by Grażyna Kulczyk is to support innovative developments of culture and art and to provide artists with opportunities to engage with local communities. The mission of popularising culture and art, in addition to facilitating and increasing their availability to a broader public, was consistently accomplished through the foundation’s various exhibition projects and grants focusing on innovative juxtapositions of Polish and international contemporary art. Taking up new artistic trends, as well as engaging in aesthetic and theoretic exploration, the activities of the foundation are providing fresh perspectives for viewing the collection and beyond. Since 2017 the Foundation operates both from Poland and from Switzerland.

ASF website

↘ SITE - SPECIFIC
PERMANENT INSTALLATIONS

Heidi Bucher

∂ ≈ Δ

Herrenzimmer (1977-1979)

“By making skins from her childhood home, Bucher wasn’t just asking how we inhabit spaces but how they inhabit us; how we carry them with us, even after we have left them. The notion of ‘home’ is not something that can be so easily shrugged off.”

“Heidi Bucher BY AMY SHERLOCK”
Frieze Reviews
March 5, 2014

Heidi Bucher remains best known for objects involving latex created in the last two decades of her life. Educated at the School for the Applied Arts in Zurich, the artist left Switzerland in 1969 with her husband Carl and two sons, travelling first to Canada, then to the United States. Following her return to Switzerland in 1973, she separated from her husband and established her own studio in the basement of a former butcher shop in Zurich. It was there that, in 1976, she created Borg, the first of her Häutungen, or ‘skinnings’, taking a latex cast of the entrance door and wall to the butcher shop’s refrigeration room.

“Herrenzimmer (1977-79), Bucher’s first major “Raumhaut” (room skin), is a molding of the master bedroom of her parents’ Winterthur house. The room’s heavy, ornate décor and familial history are literally lifted up by the hanging process and the work’s ghostly transluscence”

“Heidi Bucher at Swiss Institute, New York”
Mousse Magazine
May 11, 2014

© Art Station Foundation CH / Muzeum Susch

“The skin often takes something with it: not just the impression of a door or room, but flakes of paint or vanish, a residue of dust, the imprint of splinters, cracks or nails. Sometimes the fabric is perfectly untouched, producing an extremely pale and spectral effect; sometimes a little paint is used, so that one wall glows, while the wall and door to the freezing unit in the old butcher’s premises where Bucher had a studio, in Zurich, is like a faded theatre set, with a faint sheen of pearly light. These are never just casts, pure and simple.”

“Heidi Bucher review – memories are made of this”
The Guardian
September 23, 2018

Herrenzimmer, on display in MUZEUM SUSCH, marks Bucher’s first large Raumhaut, or ‘room skin’. Sheets of gauze, covered in layers of latex and painted with mother-of-pearl, were peeled off producing a negative of the interior of the ‘gentlemen’s study’ at the house of the artist’s parents in Winterthur. Bucher thus described the painstaking process of a ‘skinning’: ‘We paste the rooms and then listen. We observe the surface and coat it. We wrap and unwrap. The lived, the past, become entangled in the cloth and remains fixed there. Slowly we loosen the layers of rubber, the skin, and drag yesterday into today’.

Bucher’s highly personal ‘room skins’ are paradoxical works: being both instances of frozen time as well as frail and brittle objects ready to crumble away to nothing. They can be seen to speak as much about preserving and presenting as about re-working and shedding, leaving things behind and breaking the mould.

“There’s something odd, however, about the relationship of this monumental sculpture to the gallery space; echoing the girders above and sitting deferentially in one corner of the immense room, “Tower” modestly refers you to the surrounding architecture instead of flaunting its own aesthetic of ruined modernism.”

“THE BEDROOMS OF HEIDI BUCHER: BETWEEN POETIC AND POST-1968 SOCIAL INFLUENCES”
Aware Women Artists
June 15, 2018

Muzeum Susch - Heidi Bucher
© Studio Stefano Graziani

 


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