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Heidi Bucher


Although Heidi Bucher’s (1926-93) oeuvre remained mostly overlooked after her death, a recent revitalization around her idiosyncratic practice has opened the conversation on this pioneer in the feminist dialogue of the 1970s. Born in Switzerland, Bucher moved to California in the 1960s where she collaborated with her husband Carl on “Bodyshells,” a series of wearable sculptures exhibited at the Los Angeles County Museum of Art in 1972. She returned to Switzerland in the mid-1970s and began her most iconic body of work, latex casts of objects and rooms. This volume includes a conversation with Christian Scheidemann on conserving contemporary materials; essays from the catalogue of the seminal 2004 “Migros” exhibition; memories from Beatrix Ruf and curator Bice Curiger; as well as a walk through the Swiss Institute exhibition with her sons and collaborators Mayo and Indigo. Embracing the conceptual framework of an exhibition at Swiss Institute and its related public programs, each book in the SI Series adds retrospective context through seminal essays, archival materials, event transcripts, artist portfolios and exhibition documentation, as well as reprints and new translations of important texts. Each book in the series assumes a unique format to delve into the work of an artist, an artistic movement or a philosophical conundrum.

Edited by Karen Marta and Simon Castets, text by Indigo Bucher, Christian Scheidemann, Bice Curiger.

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Heidi Bucher
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Bendix Harms
Chosen Ones


Chosen Ones is a comprehensive monograph on the work of German painter Bendix Harms (born 1967), spanning over 15 years of work. A repertoire of motifs recurs throughout the nearly 400-page volume: birds, trees, airplanes, cars and the artist’s profile­­, all rendered in loose, exuberant strokes of gray and muddy orange. Drawing on elusive autobiographical references, the paintings – whether of grotesque figures or more surrealistic scenes – are often humourous and suggestively narrative, compelling in their apparent disregard for and liberation from concept.

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Bendix Harms : Chosen Ones
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Lee Lozano
Lozano C. 1962


Interest has steadily grown in the career of the American painter Lee Lozano over the last decade, specifically in her move toward conceptual art that culminated in her boycott of women for nearly the last 30 years of her life. Lozano’s early work, however, is markedly different. In the early ’60s, she developed a painting method that coalesced several styles in order to relate her radical imagery to the feminist ideas that comprised the overarching beliefs in her life. “Imagine,” writes curator Bob Nickas, “a fluid intermingling of Abstract Expressionism in terms of a figurative disfiguration (after de Kooning), Pop comic rendering (pre-Guston), a heady Surrealism that anticipates the mind-expansion of the Wave series … and a cubism that is circular rather than faceted by geometry.”

Texts by Helen Molesworth and Bob Nickas.

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Lee Lozano: Lozano C. 1962
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The Dept. of Corrections
Bob Nickas Collected Writings 2007-2015


This volume is comprised of years of recent writing by the influential New York–based critic and curator Bob Nickas, widely considered one of the few independent voices still at work today. The 50 essays and interviews, written since 2007, are spread across five chapters, touching on encounters with artists from the 1960s to the ’80s to the present – among them, Jack Smith, Andy Warhol, Frank Stella, On Kawara, Isa Genzken, Steven Parrino, Jean-Michel Basquiat, Kara Walker, Wolfgang Tillmans, Kelley Walker and Pierre Huyghe.

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The Dept. of Corrections - Bob Nickas Collected Writings 2007-2015
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