
JILL SILVERMAN VAN COENEGRACHTS, FOUNDER JSVCprojects

UNAPOLOGETIC CONTENT.

BEHIND THE SCENES:
ESTHER SHALEV-GERZ,
KING & KING
A new sculpture
Installed in the United States

BEHIND THE SCENES:
SAVE THE DATE
BAD+
July 6-10 2022
HANGAR 14

BEHIND THE SCENES:
LINDA KARSHAN
Backstage filming ‘Two Feet Walking’
By Ishmael Annobil, Filmmaker
In response to the architecture of Murray Edwards College
Cambridge University
8th April 2022

A WALK IN MY LIBRARY:
HELMUT FEDERLE

BEHIND THE SCENES:
BENEDICTE DELAY WITH JASON BUTLER
‘ONE ON ONE’
Exhibition at ArtHouse Jersey
14 April – 2 May 2022

NATURE NOTES:
HELLO TO SPRING, PARIS

BEHIND THE SCENES:
A WALKED DRAWING, ‘TWO FEET WALKING’,
By Linda Karshan
In collaboration with Filmmaker, Ishmael Annobil
In response to the architecture of Murray Edwards College,
University of Cambridge

BEHIND THE SCENES:
ISHMAEL ANNOBIL, 'INSOMNIA'
Coming soon at L'Interstice, Arles
Opening on April 15, 2022

BEHIND THE SCENES:
JASON BUTLER, ‘ONE ON ONE’
Launch new ArtHouse exhibition space
Jersey, England

BEHIND THE SCENES:
ART & LANGUAGE, "THESE SCENES", 2016
Acquired by Centre Pompidou

BEHIND THE SCENES:
ESTHER SHALEV-GERZ
Bauhaus-Museum,
Weimar, Germany

BEHIND THE SCENES:
LOSING DAN GRAHAM
1942-2022

BEHIND THE SCENES:
THE DEVELOPMENT OF BAD+
BORDEAUX + ART + DESIGN
New dates: July 6-10 2022, at HANGAR 14

BEHIND THE SCENES:
2000 THANK YOU NOTES
7 February 2022

BEHIND THE SCENES:
NEW SPACE FOR JSVCPROJECTS

BEHIND THE SCENES:
ROBERT STONE
Debut with Haines Gallery at FOG Design + Art 2022
San Francisco, CA

BEHIND THE SCENES:
MISCHA KUBALL
nolde / kritik / documenta
A project by documenta archiv, Draiflessen Collection and Mischa Kuball
NEW DATE: FALL 2022

UNAPOLOGETIC CONTENT.

HAPPY NEW YEAR 2022!
WARM WISHES AND NEW ADVENTURES

BEHIND THE SCENES:
MINYADES
An exhibition of paintings by Richard Höglund
The Bonnier Gallery, Miami
December 2021
A Catalogue Essay

BEHIND THE SCENES:
MISCHA KUBALL
ReferenzRäume
Museum Morsbroich
5 December – 24 April 2022

BEHIND THE SCENES:
ABOUT THE TREES
Thanksgiving 2021

UNAPOLOGETIC CONTENT.

BEHIND THE SCENES:
THE WORLD MAP
Thanks to Mr Hide

BEHIND THE SCENES:
KOEN VANMECHELEN LABIOMISTA, GENK (BELGIUM)
The book launch and debate
“NOT TO BE MISTAKEN”, November, 4th

BEHIND THE SCENES:
OCTOBER 2021
"Linda Karshan: The Covid-19 Conversation"
Still in the limelight

BEHIND THE SCENES:
IDE TO POLAND
POSTSCRIPT PARIS

BEHIND THE SCENES:
IDE TO POLAND III
Out of the oven
Warsaw Sept 28-Oct 3

BEHIND THE SCENES:
HELMUT FEDERLE
NOVARTIS Campus – Forum 3, Basel
DIENER & DIENER - WIEDERIN
2005

BEHIND THE SCENES:
BETWEEN LISTENING AND TELLING
Esther Shalev Gerz
Nuit Blanche Paris,
Tonight

UNAPOLOGETIC CONTENT.

BEHIND THE SCENES:
ART BASEL HALL 2.0C1
René Schmitt and ART & LANGUAGE
THESE SCENES, 2016

BEHIND THE SCENES:
MISCHA KUBALL
Wolfsburg and Utopias

BEHIND THE SCENES:
IDE TO POLAND
A new expedition on the CERAMIC & FOOD ROUTE

BEHIND THE SCENES:
IDE TO POLAND
A new expedition on the CERAMIC & FOOD ROUTE
Bright blue and white ceramics fill the dining room with warmth and visual appeal

BEHIND THE SCENES:
IDE TO POLAND
A new expedition on the CERAMIC & FOOD ROUTE
Starts today in Warsaw through 3 October

BEHIND THE SCENES:
ESTHER SHALEV-GERZ
SUMMER IN PARIS

UNAPOLOGETIC CONTENT.

BEHIND THE SCENES:
ON THE ROAD AGAIN
ARCO MADRID,
1st Art Fair in 2 years

UNAPOLOGETIC CONTENT.

UNAPOLOGETIC CONTENT.

UNAPOLOGETIC CONTENT.

BEHIND THE SCENES:
IN THE ARTIST'S STUDIO
JASON BUTLER "THE COLLAGES"
Pop-Up Exhibition, Jersey

STILL BEHIND THE SCENES:
NINA NOWAK'S EXHIBITION
Galleri Susanne Ottesen, Copenhagen

BEHIND THE SCENES:
PER KIRKEBY UNREALISED BRICK PROJECTS
Galleri Susanne Ottesen, Copenhagen

NEW ARRIVALS:
MISCHA KUBALL

A WALK IN MY LIBRARY:
HELMUT FEDERLE NIETZSCHE-HAUS SILS-MARIA
Schwabe AG Basel, 2004 Peter André Bloch & Jan Thorn-Prikker
on the occasion of Helmut Federle's "Edelweiss im Nietzsche-Haus, Sils-Maria" exhibition in Nietzsche's Haus, Sept 2004 to July 2005

BEHIND THE SCENES:
L'INTERSTICE ARLES OPENING
JOSETTE SAYERS AND GUILLAUME ZUILI'S PHOTOGRAPHS
Brave and fearless

BEHIND THE SCENES:
CONGRATULATIONS ISHMAEL ANNOBIL
DIRECTOR for "LINDA KARSHAN: COVID-19 CONVERSATION"
WINNER BEST SHORT DOCUMENTARY AT MYKONOS INTL FILM FES

BEHIND THE SCENES:
THE LAUNCH OF REAL TIME AND THE 3BS

BEHIND THE SCENES:
FLOWERS OF PERHAPS
LIOR GAL
ENGELS PLEIN, LEUVEN BELGIUM

BEHIND THE SCENES:
MATHILDE BRETILLOT DESIGNS NEW MUSEUM FOR LA MANUFACTURE DE GIEN

THIS TIME TWO YEARS AGO:
DRAW ART FAIR, LONDON, 2019, DESIGNER MATHILDE BRETILLOT AND ARCHITECT MISKA MILLER-LOVEGROVE

NEW ARRIVALS:
WETTERLING, STOCKHOLM

A WALK IN MY LIBRARY:
HELMUT FEDERLE
ABSTRACT PAINTING OF AMERICA AND EUROPE
Ritter Verlag, Galerie nächst St. Stephan, Vienna Rosemarie Schwarzwälder, 1988

BEHIND THE SCENES:
LUKAS HOFFMANN, CNAP ACQUISITION AND TWO EXHIBITIONS

BEHIND THE SCENES:
ESTHER SHALEV-GERZ, WEFRAC 2021

BEHIND THE SCENES:
"LINDA KARSHAN: COVID-19 CONVERSATION"
selected by Nawada and Hollywood Boulevard Festivals

BEHIND THE SCENES:
ESTHER SHALEV-GERZ
CNAP ACQUISITION,
"Describing Labor", 2012

BEHIND THE SCENES:
A STUDIO VISIT WITH DEANNA PETHERBRIDGE

BEHIND THE SCENES:
JSVCPROJECTS & INTERNATIONAL DESIGN EXPEDITIONS

BEHIND THE SCENES:
HELMUT FEDERLE IN NEW YORK

BEHIND THE SCENES:
RICHARD MILAZZO OBSZINE #3
The Sadness of Bad Thinking

BEHIND THE SCENES:
RICHARD MILAZZO OBSZINE #3, ART, POETRY, AND THE PATHOS OF COMMUNICATION,
The Art of Impeachment

BEHIND THE SCENES:
WITH POET/CURATOR RICHARD MILAZZO
REVISITING OBSZINE #3

A WALK IN MY LIBRARY:
POETRY IN SEDITIOUS TIMES

HAPPY NEW YEAR AND SOUVENIRS FROM 2020!

A WALK IN MY LIBRARY:
DECEMBER 31, 2020
JASON BUTLER'S EXHIBITION
Meyer Schapiro, “Theory and Philosophy of Art: Style, Artist and Society

BEHIND THE SCENES:
LIOR GALL, BRUSSELS, 2020

HIGHLIGHT:
LOVE LETTERS
A new participative project by artist Koen Vanmechelen

BEHIND THE SCENES:
LINDA KARSHAN AND THE BROOKLYN RAIL

BEHIND THE SCENES:
NOVEMBER 2020, LINDA KARSHAN
The Covid Conversation, A New Film

A WALK IN MY LIBRARY:
PARIS, NOV. 6, 2020
ABËTËI by Ishmael Fiifi Annobil

BEHIND THE SCENES:
MATHILDE BRETILLOT
Designs new offices for Parfums de Marly, Paris

BEHIND THE SCENES:
BERLIN STUDIO VISIT - LUKAS HOFFMANN

BEHIND THE SCENES:
BERLIN

BEHIND THE SCENES:
GALERIE NÄCHST ST. STEPHAN ROSEMARIE SCHWARZWÄLDER, VIENNA
Friederike Mayröcker, Curator Hans Ulrich Obrist - until 10 Oct
Schutzgeister/Guardian Spirits

BEHIND THE SCENES:
JSVCPROJECTS AND KOEN VANMECHELEN
The Battery Channel Podcast

BEHIND THE SCENES:
ARTISTS IN THE STUDIO, JERSEY

BEHIND THE SCENES:
MANIFEST OF THE TRUE

A WALK IN MY LIBRARY:
3 LOVE POEMS IN THE SUMMER

BEHIND THE SCENES:
SUMMER NEWS

BEHIND THE SCENES:
ROD MENGHAM,
Awarded the Cholmondeley Award for Poets

BEHIND THE SCENES:
JILL SILVERMAN VAN COENEGRACHTS RECOMMENDS

BEHIND THE SCENES:
LINDA KARSHAN
Studio visit

BEHIND THE SCENES:
STEFANO CIGADA,
"Frammenti" at the Museo di Roma in Trastevere

HAPPY NEW YEAR 2020!

BEHIND THE SCENES:
PER KIRKEBY,
"Brick Sculptures"

BEHIND THE SCENES:
IDE TO PUGLIA
"Ceramic & Food Route",
Recent Summer 2019 Highlights

JSVC HIGHLIGHTS:
ART & LANGUAGE, LONDON

BEHIND THE SCENES:
DRAW ART FAIR LONDON

BEHIND THE SCENES:
ART & LANGUAGE, EXHIBITION AT GALERIE MICHAEL JANSSEN, Berlin

BEHIND THE SCENES:
DR. SUSANNE A. KUDIELKA,
Private art collecting is a passion

BEHIND THE SCENES:
KOEN VANMECHELEN
“It’s About Time”

BEHIND THE SCENES:
DAYDREAMING WITH STANLEY KUBRICK,
Exhibition at Somerset House, London

BEHIND THE SCENES:
HELMUT FEDERLE
NOVARTIS Campus – Forum 3, Basel
DIENER & DIENER – WIEDERIN
2005
October 5th 2021

PART I
Working with Helmut Federle is not an experience of only one aesthetic practice, his reach into architecture has been a life-long part of his oeuvre. And it is also not coincidental that so many architects are profoundly attracted to his singular way of mesmerising the eye with profoundly deep painting.
The week of ART BASEL I had the opportunity to visit the collaborative work he did with architects DIENER & DIENER (and Gerold Wiederin) in the Novartis Campus; it was a building I saw annually from any taxi driving past the 20 hectares campus, the colourful patchwork of glass panels lining the facades of the five-story building were like a painting in three dimensional space. From a distance on the road, it resembled aspects of suprematist experiments with blocked forms.

Close up its warm seemingly random double hung glass skin, around the building, was much less hard-edged than the view from the roadway. On a sunny morning the light was almost blinding at times, trees had grown-up around the campus, and around this first building of the newly designed pharmaceutical headquarters twenty years ago, which today seemed as fresh and iconic as it surely did when it opened in 2005.
That this was a team effort, could not be stressed enough, not only the façade, but the fixings inside, and the design in general were made collaboratively. When approaching the building, the color warms what otherwise could be seen as an industrial complex. The one room wide building is full of modernist elements, cantilevered concrete slabs balanced upon concrete pillars that line the outside of the ground floor and rise into the five stories like tree trunks. There is a comfortable nod here to Mies and the International Style that he launched into the world. Curtain walls in glass are visible behind this double hung grid of glass panels, none of them bigger than a large painting actually. But together they make a melody.

PART II
In fact I had come upon the architecture of DIENER & DIENER during my first visit to Basel in the very early 1980’s. Again working with John Gibson Gallery, and at a dinner party there was an array of people from Basel, including one of the two architects—father and son—; I cannot recall which one. But there was our host, the President of Swatch which was brand new at the time; I have a strong memory of going to visit a new housing project that was a mix of early modernist ideas and urban thinking. (Had recently left the Institute for Architecture and Urban Studies in 1981 to become Director at John Gibson, NYC) so this residential development on Hammerstrasse was at the time indeed noteworthy. Something I remember still.
Its typology felt so fresh—apartments and rooms, along with a floor plan of apartments all opening into a shared courtyard with gardens like townhouses, featuring 88 apartments 8 studios, kindergarten and shops. It was one of Diener & Diener’s earliest architectural projects that contributed to their rising attention in Basel as up and coming architects. It was a time when we imagined we were all up and coming, I could say looking back.

Decades later I am looking at these remarkable glass panels along the outside of a building that still has elements of Diener & Diener’s early interest in clean lines and light, wrought to a human scale. Federle appeared in my orbit just a few years after this first building; he had his first exhibition in NY. So in a funny way this experience of seeing NOVARTIS is a bookend of a kind, with my early interest in both painting and architecture. Here in this unlikely marriage these creative people found common language that in a way pulled the logic of Federle’s painting forms directly out from the ground plane like an axonometric drawing. I kept feeling that I was neither walking nor lying down, but in a zone where I could be in more than this horizontal or vertical relation to the glass itself.

PART III
Often we talk about a painting being three-dimensional. Here in the NOVARTIS building we have a five-story architecture that is both a sculpture and a painting at the same time. Glass by nature of its transparency adds a sense of time to this image. This is also important because in daylight, this skin shimmers and changes depending on the height of the sun.

Architecture has a striking visceral impact on us; such a large building could make you feel unimportant and fragile. Instead there is something determinedly human in this project. I am not sure how the color and its movement in the light functions exactly, but I felt like being in front of a Federle painting actually. There is an emotional charge that we can’t put our finger on. Oddly it is very much like that. You know you are looking at architecture but your emotions are responding like his paintings do. The eye is drawn in, then it settles as if in a random decision. Here or there.
But the totality is immersive, like his large paintings. There is a glorious painting of ochre, dusty yellow, tan, perhaps slightly olive browns filling one wall across from a grand dining table of two joined tree trunk slices by Nakashima. In both objects there is a deliberation of scale and pace. The simplicity of this interior with strong International Style references sets off the painting as almost playful, or rather heartfelt. Which is exactly what the building is saying from a distance. It is possible to make an architecture that is upright, simple, dynamic and colourful without insisting on playfulness Federle has found a tonal alphabet of square colors hanging on two levels of stainless steel fixings that seem to offer the men and women who in a pre-pandemic world filled this building daily with another kind of alternative vision of the outside world. Which is after all the purposeful work of great art and architecture, such transformation.

© All photographs by JSVCprojects
More info:
Diener & Diener Architekten, Novartis Campus – Forum 3, Basel