Bjørn Ransve

1944
Born in Oslo, December 16th, son of Haakon and Hildur Ransve (née Eriksen). Father was a tailor.

1962
Began studies in painting at the StatensHåndverks- og Kunstindustriskole, in the same class as Odd Nerdrum and Sidsel Westbø. Ransve benefi ted most from studying under Borgar Hauglid and Gert Jynge. First studio on Urtegata, where he borrowed a storeroom, 1962–1966.

1963
Class trip to Denmark, where he saw the work of American Pop artists, including Andy Warhol and Roy Lichtenstein.

1964
Began studies at the Statens kunstakademi. Strong focus on drawing and painting, mainly nudes and anatomical studies. Participated with other students in an anatomy course at Universitetet i Oslo (the University of Oslo) in the Avdeling for anatomi (Department of Anatomy), 1964–65. Spent many days and nights with studies there.

1965
Took a studio on Elvegaten, where the Plaza Hotel was later built. Received Houens legat (Houen’s grant). In the autumn he travelled with the academy for three weeks in Leningrad and Moscow. Rembrandt’s paintings in the Hermitage made a strong impression. Became romantically involved with Karin Blehr (1942–2000) who was studying painting at Statens Håndverks- og Kunstindustriskole.

1966
Painted “Dameakt” (Female Nude), which he considered his fi rst independent picture.

1967
Painted “Hode I–IV”(Head I–IV). Took a studio in Handelsbygningen on Drammensveien. A productive year for drawing, during which central motifs were established. Travelled to London with the academy; saw paintings by Francis Bacon, among others. Received Thomas Fearnleys minnestipend (Thomas Fearnley Memorial Stipend).

1968
In his last semester at the academy he studied printmaking (lithography and etching) under Arne Malmedal. Extremely productive period in the studio. First solo exhibition at Johan Stray’s Galleri 27, in Oslo. Ransve debuted with drawings and lithographs (including the fi rst of the backs).

1969
Without a studio. Renovated a loft on Frydenlundsgaten into a studio, completed in November. Worked extensively with printmaking, created two major series of backs (colour lithography) with a view to an exhibition at Galleri 27. Received Hans og Helga Reusch’ legat (Hans og Helga Reusch’s grant). Participated in the academy’s annual exhibition in May–June. Kulturrådet (Arts Council Norway) purchased an etching.

1970
Exhibition of the back series at Galleri 27 in January. Nasjonalgalleriet (The National Gallery) and Rolf Nesch each purchased works. Prolifi c period of drawing and painting, including the painting “Trehode II” (Wooden Head II). Received Dr. Ragnar Forsbergs legat (Dr. Ragnar Forsberg’s grant).

1971
Painting debut at Kunstnerforbundet in Oslo in the autumn. Works purchased by Nasjonalgalleriet (The National Gallery), the Riksgalleriet (The National Touring Gallery), the Norsk kulturråd (Arts Council Norway) and the Oslo kommunes kunstsamlinger.

1972
Worked on the series “Litografi ske hoder” (Lithographic Heads), which was exhibited at Galleri 27 in the autumn. In the summer he travelled with Dag Hofseth to Kassel to see Documenta. Was impressed by the American Photorealist painters (particularly Bechtle, Goings, McLean and Salt). Productive period of drawing.

1973
Ransve and Karin Blehr built a house on property belonging to Blehr and her sister on Nesøya, a small island near Oslo. The lion became a central theme beginning in 1973. Rolf Nesch received the Heinrich Steffensprisen (Heinrich Steffen’s Prize) in the spring. The prize is awarded to a visual artist or cultural fi gure from one of the fi ve Nordic countries, who can in turn designate a younger recipient. Nesch chose Ransve for the smaller prize, and he travelled to Hamburg to accept it. Afterwards, he travelled to Düsseldorf, Cologne, Kassel and Aachen. Painted “Bolusben” (Bolus Leg) in the summer. Received Statens treårige arbeidsstipend (National three-year work stipend).

1974
Ransve and Blehr married and moved into the new house. Drew “Baccanale-scener” (Bacchanal Scenes) and created a series of lithographs of lions.

1975
Painted “Grønn harlekin” (Green Harlequin), “Avrevet hode” (Severed Head), “Stort dobbelt ben” (Large Double Leg) and the heart series. Worked on etchings of lions in preparation for exhibition at Munch-museet (The Munch Museum) in Oslo.

1976
“Tegninger til et tema” (Drawings for a Theme) at Munch-museet (The Munch Museum) Pål Hougen. Over 400 drawings and some graphics. The fi rst and to date only time an individual artist has been granted such an extensive exhibition at the Munch Museum. The exhibition was considered controversial within the art world. “Hjerte og smerte” (Love and Pain), at Kunstner forbundet in Oslo, featured paintings and some 170 drawings. Nasjonalgalleriet (The National Gallery) purchased “Grønn harlekin” (Green Harlequin), “Avrevet hode” (Severed Head) and three drawings. Debate followed in the newspaper, Aftenposten, where Trygve Hegnar criticised the National Gallery’s acquisition and was of the opinion the museum should prioritise Odd Nerdrum. Karin Blehr responded in what would become known as “The Great Nerdrum Debate”. The Swedish curator Staffan Cullberg organised a Nordic group exhibition inspired by Munch’s motif “Öga mot öga” (Eye to Eye), which also was the exhibition’s title. He included Ransve after having seen his show at Munch-museet (The Munch Museum). The exhibition was held at Liljevalchs konst hall, Stockholm, and travelled to: Kunstnernes Hus (The Artists’ House) in Oslo; Bergen Kunstforening; Amos Andersons Konstmuseum (Amos Anderson Art Museum) in Helsinki; Nicolaj Kirke (Nikolaj, Copenhagen Contemporary Art Center) in Copen hagen, and Reykjavik. Focussed on printmaking towards the end of the year, producing “Stenhest” (Stone Horse) and other works.

1977
Productive working period, many drawings. Painted “Svevende ben I–II” (Floating Leg I–II) and diverse heads. Created a number of graphics, among others “Hestekranium” (Horse Cranium) and “Kentaurtorso II” (Centaur Torso II). Travelled to Antwerp to see a Rubens exhibition mounted on the occasion of his 300th birthday. Saw an ape in a zoo which inspired him to work with this subject. The ape became an important theme during the years 1977–83.

1978
Built studio next to the house on Nesøya. Painted “Asiatisk hode” (Asian Head). Showed lithographs and drawings in the exhibition “Forvandlinger” (Transformations) at Galleri 27.

1979
Participated in the group exhibition “Norskt 70-tal tendenser” (Norwegian Trends in the 1970s) at Kulturhuset in Stockholm, where Ransve and Nerdrum each had their own exhibition rooms. Painted “Likben” (Corpse Leg) and “Stort hestehode” (Large Horse Head). Drawing exhibition “Harlekin” (Harlequin) at Galleri 27.

1980
Drew much in January and painted from February onward, including “Tordenhode” (Thunder Head) and “Impresjonistisk hestehode” (Impressionistic Horse Head). “Stilleben” (Still Life) exhibition at Kunstnerforbundet, Oslo. Paintings and drawings. Nasjonalgalleriet (The National Gallery) purchased “Hode i Davids stil” (Head in the Style of David), Riksgalleriet (National Touring Exhibitions, Norway) acquired “Grønn neger” (Green Negro). Painted “Hougens harlekin” (Hougen’s Harlequin) and created two lithographic series of backs.

1981
Prolific drawing period. Hildur Ransve died after many years of illness.

1982
Prolific drawing period continued; also painted apes and harlequins. Attended Documenta in Kassel with Dag Hofseth. Received Oslo bys kulturstipend (City of Oslo cultural stipend). Began to move in a new direction in drawing.

1983
Completed a painting exhibition at Kunstnerforbundet of apes and harlequins. Featured in a television portrait program on NRK TV. Highly productive drawing period. From May through June, he drew seventeen of the Indian images every night; this led to his theme cycles around Africans and Indians.

1984
Began in earnest to paint large Indian pictures. Developed a surface-oriented and expressive style, with among others “Diagonalt lyn” (Diagonal Lightning). Productive winter. He had nearly the entire exhibition ready before he even received the invitation to be the Bergen Kunstforening’s annually featured Festspillutstiller (Festival Exhibitor). The relationship with Karin Blehr came to an end. Ransve moved into the studio in the autumn.

1985
Festspillutstillingen (The Festival Exhibition) at Bergen Kunstforening, where he showed paintings, drawings and lithographs with the African and Native American imagery. Much discussed. Parts of the exhibition were also shown at Kunstnerforbundet, Oslo and Nordiskt Konstcentrum, Helsinki.

1986
Rented Edvard Munch’s studio at Ekely in addition to maintaining his own. Painted, among others, “Mahognyramme I–II” (Mahogany Frame I–II), “Deformasjon” (Deformation), “Todelt gult bilde” (Two-part Yellow Picture) and “Det sjarmløse” (The Charmless) from September through July.

1987
“Malerier 1965–1987” (Paintings 1965–1987) at Kunstnernes Hus (The Artists’ House) in Oslo. Also exhibited non-fi gurative paintings for the fi rst time. Worked with lithography on a variety of images. Drew little in the period.

1987–1992
Participated in “Eighty European Painters”, an exhibition under the auspices of the European Council which opened in the European Parliament’s building in Strasbourg, and subsequently travelled to fi fteen European countries (1987–88). The exhibition was a collaborative project between European newspapers during which readers joined two professional art critics to form a “jury”.

1988
Exhibition of graphic work at Galleri 27. Began in earnest to work non-figuratively. In the spring, created the interior décor for the Riksrevisjonen (Office of the Auditor General of Norway) offices on Victoria Terrasse, seven paintings on silk.

1989
Painted “Vekslinger” (Exchanges), as well as an 11-metre-long commission for Toppåsen skole (Toppåsen Elementary School).

1990
A productive year. Early in the summer he painted his first pictures with white lines on a black ground. Gamle Wang Kunsthandel in Oslo, all three floors. This was his first exhibition of exclusively non-figurative works, to the public’s great surprise. Museet for samtidskunst (The Museum of Contemporary Art) purchased a large painting.

1991
Expanded the house/studio on Nesøya.

1992
Commissioned work for the Parken Hotell in Ålesund (the main work measuring 425 x 523 cm, two others measuring 307 x 205 cm).

1993
A new exhibition of non-fi gurative paintings at Kunstnerforbundet, Oslo. Became romantically involved with Anne Marie Enger, doctor and dentist (later a specialist of oral and facial surgery at Ullevål University Hospital). Kjartan Fløgstad used some of Bjørn Ransve’s drawings in his book “Dikt og spelmannsmusikk 1968–1993”.

1994
An exhibition of paintings at Galleri Riis in Oslo, in November. Øystein Ustvedt received his Master’s Degree in Art History from Universitetet i Oslo (The University of Oslo) with the dissertation “Figur og fragment – Bjørn Ransves malerier 1963–1986” (Figure and Fragment – Bjørn Ransve’s Paintings 1963–1986).

1995
Married Anne Marie Enger, now Anne Marie Ransve. Painted “Verdensapen” (Ape of the World).

1996
Painted commission for the new, Norwegian governmental building complex, R5. Exhibited paintings at Risør Kunstforening during the chamber music festival. Son Robin Ransve was born, July 12th. Created the portfolio of lithographs, “Z EN”, in collaboration with the art collector Erling Neby, exhibited at Galleri Riis in November.

1997
A productive year, painted the first “Spiral” (Spiral) and various fantasy pictures. Began the large painting “Dobbeltspiral” (Double Spiral), finished January 1998.

1998
Prolific year, drew much. Painted the “Sirkelakt” (Circle-Nude) pictures, “Dobbelt kvadrat” (Double Square) and small fractals.

1999
Haakon Ransve and Karin Blehr seriously ill. Drew very much from the end of March to July, especially within the thematic cycle of draped female torsos and the theme of manners. Painted “Stor fraktal” (Large Fractal). Paris, visiting the Mark Rohtko exhibition at Musée de Art Modern, de la Ville de Paris, together with Anne Marie, Arne Malmedal and Kari Torjussen.

2000
Haakon Ransve and Karin Blehr died this year. Drew a sequence of series, including fl owers in January – February and spirals. Major retrospective exhibition of paintings, as well as some drawings and graphic work at Museet for samtidskunst (The Museum of Contemporary Art) in Oslo. Paintings and drawings, Galleri s.e. in Bergen.

2001
Anne Marie Ransve was appointed senior surgeon of the maxillofacial section of The University Hospital of Ullevål, Oslo.

2002
Sandnes Kunstforening. The opening exhibition for Galleri A, Oslo.

2003
Painting exhibition at Baroniet in Rosendal.

2004
Daughter Maria Ransve was born, May 9th. Drew variations on the spiral, as well as horses in landscapes with lightning. Commissioned work for Asker Kulturhus. Painted directly on the wall (17 x 33 m).

2005
Worked with painting, graphics and drawing. Opening exhibition of Bærum Kunstforening new location in Sandvika. Lithographs, Galleri Gann in Sandnes.

2006
Opening exhibition in the new Galleri Trafo, Asker. Four major size paintings created to this exhibition. New prints were also created. Commission for Norsk Hydro’s new headquarters in Lysaker. Painting on canvas (1.32 x 15.08 m)
RANSVE – Drawings 1961 to 2005 (also available as Collectors Edition), a great volume showing 1400 drawings, was published by Arnoldsche Art Publishers, Stuttgart.

2007
Created some large paintings on the old theme “changes”. Worked on the planned book of paintings, to follow up “RANSVE – Drawings 1961–2005” was started. The photographic work was planned to start during February, with the photographer Stein Jørgensen. He had shown great effort and brilliance during the work on the book of drawings. Unfortunately, at the end of May, Stein was diagnosed with cancer, leading into a dramatic time of fight against the deadly illness, unfortunately ending by his death in September. Should in june be “the Summer Exhibitior” in Kunstnerforbundet, Oslo, but because of a conflict with the exhibition place the exhibition was closed one day before opening. The incident led to some media turbulence. Sandefjord, Vandregalleriet, exhibition autumn, Lillehammer Museum of Art, participation in a major exhibition of drawings. One hall with new “flower drawings”. Four major size “black paintings” sold. Now deposited at Bergen Museum of art, the “Tower hall” for public admission. First time exhibited in June 2008. Gallery Zink, Lillehammer, a new gallery, opening exhibition. Grimstad Art Association, summer exhibition.

2008
London visited during October, to experience the Francis Bacon exhibition at Tate Britain. A visit to the publisher in Stuttgart together with wife Anne Marie, to make preparations for the new book.

2009
Work with the new painting book continued. New “black paintings” and some different paintings created. New Drawings of fl owers created. Several trips to Stuttgart for working with the painting book. Bærum Art Association, participation in a drawing exhibition together with among others Jan Groth. Bergen Museum of Art, exhibiting once more “the Black Paintings”, together with two “Paintings of Indians”, in the tower hall.
RANSVE – Paintings 1962 to 2009 showing more than 670 drawings, was published by Arnoldsche Art Publishers, Stuttgart.

In the Collections of:

Astrup Fearnley Museet for Moderne Kunst
(Astrup Fearnley Museum of Modern Art)
Asker Kommunes kunstsamling
Bergen Kunstmuseum
Borås Konstmuseum in Sweden
Den Norske Banks kunstsamling
Det Norske Storting (The Norwegian Parliament)
Drammens Museum for kunst- og kulturhistorie
Erling Nebys Samling, Oslo
Gjensidige kunstsamling
Kunst på arbeidsplassen
Norsk Hydros kunstsamling
Lillehammer Kunstmuseum (Lillehammer Art Museum)
Moss Kunstforening
Museet for samtidskunst (The Museum of Contemporary Art), now Nasjonalmuseet for kunst, arkitektur og design i Oslo (The National Museum for Art, Architecture and Design, Oslo)
Nasjonalgalleriet (The National Gallery), now Nasjonalmuseet for kunst, arkitektur og design i Oslo (The National Museum for Art, Architecture and Design, Oslo)
Norsk kulturråd (Arts Council Norway)
Oslo kommunes kunstsamlinger
Rana Kunstforening
Riksgalleriet (The National Touring Gallery), now Riksutstillinger (National Touring Exhibitions, Norway)
Riksutställningar Stockholm (Swedish Travelling Exhibitions)
Stavanger Faste Galleri
Storebrand Kunstsamling
Trøndelag kunstgalleri, now Trondheim Kunstmuseum (Trondheim Art Museum)
Universitetet i Oslo (University of Oslo)
Aalesunds Kunstforening

Bernhard Schobinger

Biografie und Lehraufträge

1946 Geboren in Zürich
1962-63 Kunstgewerbeschule Zürich (Vorkurs Johannes Itten)
1963 Scheitern an der Aufnahmeprüfung in die Fachklasse von Max Fröhlich
1963 – 67 Goldschmiedelehre in einer führenden Bijouteriefabrik in Zürich, Fachliehrer Kurt Aeppli
1968 Eröffnung einer eigenen Werkstatt mit Galerie und Beginn der selbstständigen Arbeit
1974 Internat. Lizenz C.M.A.S. als Gerätertaucher
1994 Gastdozent am Royal College of Art, London
1996, 1998, 2003 Gastdozent am Hiko Mizuno College of Jewelry, Tokio
1996 Gastdozent an der Gerrit-Rietveld Akademie, Amsterdam
Gastdozent an der Karel de Grote-Hogeschool, Antwerpen
1997 Workshop und Symposium „Der Kreislauf der Dinge“, Braunwald (Schweiz)
Workshop und Symposium „Design-Werkstatt“, Braunwald (Schweiz)
1999, 2000 und 2001 Lehrauftrag an der Rhode Island School of Design, Providence/RI, USA
2000 Kolloquium „Grenzwelten“, Hochschule für Gestaltung und Kunst, Zürich
2000-2001 Gastdozent an der Haute École d’Arts Appliqués, Genève
2000-2001 Symposium Haldenhof „Welche Farbe hat Schmuck“, Volkshochschule Universität Zürich, Vorlesung
2002 10. Und letztes Schmucksymposium Erfurt

Lebt und arbeitet in Richterswil am Zürichsee/Silberküste (Schweiz)

Einzelausstellungen (Auswahl)

1973, 1974 Galleria Arte Arena, Düsseldorf
1975, 1976 Galerie Müller-Brockmann, Rapperswil
1981 Aargauer Kunsthaus, Aarau
1982 Electrum Gallery, London
1985, 1987 Galerie Peter Noser, Zürich
1988, 1992, 1995 Louise Smit Gallery, Amsterdam
1990 Galerie Renée Ziegler, Zürich
1991 Grassi Museum, Leipzig (mit Annelies Štrba)
1995 Kunsthaus Glarus (mit Annelies Štrba)
1996 Museum und Galerie Baviera, Zürich
1998 The Douglas Hyde Gallery, Trinity College, Dublin
1999 Museum Boijmans Van Beuningen, Rotterdam
2000 Sonderschau der 52. I.H.M. – Internationale Handwerksmesse München
2001 Museum und Galerie Baviera, Zürich
2002 Galerie Sofie Lachaert, Tielrode, Belgien
2003 Museum Bellerive, Zürich

Auszeichnungen

1970, 1971, 1972 Eidgenössisches Stipendium für angewandte Kunst
1971 Diamonds-International Award, New York
1972 Deutscher Schmuck- und Edelsteinpreis
1994 Werkbeitrag des Kantons und der Stadt Luzern
1998 Preis der Stiftung Françoise von den Bosch (Niederlande)

Annelies Štrba

1947 geboren in Zug/Schweiz. lebt in Richterswil am Zürichsee
1971/73 Eidgenössisches Stipendium für angewandte Kunst
1984/85 Reise nach Schlesien (Polen )
1991 Atelieraufenthalt El Cabrito La Gomera, Kanarische Inseln
1994 Reise durch Japan
1995 Reise durch Japan
1995 Reise nach Eastwood und Harworth
1996 Atelieraufenthalt Landis & Gyr, London Reise durch England und Schottland
1997 Atelieraufenthalt in Paris (Cité des Art)

Einzelausstellungen

2010
Galerie Jason McCoy New York, USA
icons, Galerie Eigen und Art, Berlin

2009
my life dreams: Annelies Štrba
Kinderbuchmuseum Burg Wissem, Troisdorf, DE
Galerie Anton Meier Genf
KUNST(ZEUG)HAUS Rapperswil

2008
The bronte parsonage museum, Haworth, GB (K)
Douglas Hyde Gallery, Dublin, Ireland
Galerie Anton Meyer, Genf, Schweiz

2007
Jason McCoy New York, USA
Galleria Carla Sozzani, Mailand, Italien

2006
Frameprojects, Wien, Österreich
Konrad-Adenauer-Stiftung, Berlin
Kunstverein Ulm
Galerie Anton Meier, Genf, Schweiz (K)
Galerie Alain Le Gaillard, Paris, Frankreich
Museum Valchava, Schweiz
Scalo/Guye Gallery, Los Angeles, USA

2005
„Annelies Strba” Galerie Rudolfinum, Prag
Galerie Reckermann, Cologne
Frances and the Elves, Frith Street Gallery, London
Frances und die Elfen, Fabian & Claude Walter Galerie, Zurich

2004
Gemeente Museum, Den Haag
Galerie Almine Rech, Paris
Galerie Anton Meier, Genève Schweiz (K)

2003
Annelies Strba. Shades of Time, La Filature, Mulhouse (mit/with Claude Batho, Léa Crespi)
NYIMA, Autostadt Volkswagen, Wolfsburg
NYIMA, Helmhaus Zürich (Monografie/Monograph)

2002
New York I, Autostadt Volkswagen, Wolfsburg
Galerie EIGEN + ART, Berlin
Nadine Gandi, Prague
“Les cathédrales de monnaie“, Fabian & Claude Walter, Basel

2001
Raffaella Cortese, Mailand
Annelies Strba: An 1-An11, Kunsthaus Zug, Schweiz (K)
Douglas Hyde Gallery, Dublin, Ireland
Galerie Almine Rech, Paris, France
Paris – New York, Galerie 13 Quai Voltaire, Paris, France (K)
"Shades of Time", Centre national de la photographie, Paris, France
Centre pour l'image contemporaine St. Gervais, Genf, Schweiz

2000
Frith Street Gallery, London GB
Gandy Gallery, Prag
Galerie EIGEN + ART, Berlin , D
Galerie Hubert Winter, Wien Oestereich
Gallery Bill Maynes, New York

1999
Eçoles des Beaux Arts, Nantes, France
Museum of Contemporary Art, Chicago, USA
Douglas Hyde Gallery, Dublin, Ireland
Galerie Fabian & Claude Walter, Basel , Schweiz
Galerie Ars Futura, Zürich, Schweiz
Galerie Anton Meier, Genf, Schweiz
Tate Gallery, Liverpool, GB
Gallery Karin Lovegroove, Los Angeles, USA
"Lost Garden", semina rerum – Irène Preiswerk, Zürich, Schweiz

1998
Galerie EIGEN+ART, Leipzig, D
Gimpel Fils, London, GB
School of Visual Arts, Milwaukee,USA
Europäisches Fotomuseum Paris,France
FRAC, Basse-Normandie, Caen, France
Bill Maynes Gallery, New York, USA
Douglas Hyde Gallery, Dublin, Ireland
Photographer’s Gallery, London, GB
Thread Waxing Space, New York, USA

1997
Galerie Almine Rech, Paris, France
Galerie EIGEN + ART, Berlin, D
Galerie Ars Futura, Zürich, Schweiz
Aargauer Kunsthaus, Aarau, Schweiz (K)
Galerie semina rerum- Irène Preiswerk, Zürich, Schweiz

1996
Galerie EIGEN + ART, Berlin, D
Kunstverein Düsseldorf, D
Kunstverein Weimar, D

1995
"Photographien", Staatliche Galerie Moritzburg Halle, D
Kunsthaus Glarus (mit Bernhard Schobinger), Schweiz
Galerie Bob van Orsouw, Zürich, Schweiz
Museum Moritzburg, D

1994
Albers Museum, Bottrop, D
Galerie Rodolphe Janssen, Brüssel, B
"Mythos Leben" ( mit Jörg Herold), Kloster Unser Lieben Frauen, Magdeburg,D (K)
Galerie Meile, Luzern, Schweiz (K)
Galerie EIGEN + ART, Berlin, D

1993
Galerie Bob van Orsow, Zürich, Schweiz
Galerie Susanna Kulli, St. Gallen, Schweiz

1992
Galerie EIGEN + ART, Leipzig, D
Bananenhalle El Cabrito la Gomera,< Kanarische Inseln, Espania
Galerie Weisser Elefant, Berlin, D
Galerie EIGEN + ART, Berlin, D (K)
Galerie van Krimpen, Rotterdam. Holland

1991
Friedrichshof, Zurndorf bei Wien, Oesterreich
Centre d'art contemporain, Martigny

1990
Kunsthalle, "Aschewiese" Zürich, Schweiz (K)

Sammlungen

Frankreich
Centre pompidou, Paris
FRAC Basse-Normandie, Caen
Centre National des Arts Plastiques, Paris
Collection de la caisse des dZ¹p™ts et consignations, Paris
Fondation NSM VIE, Paris
Maison EuropZ¹enne de la Photographie, Paris
FRAC Champagne-Ardenne, Reims
FRAC Haute-Normandie, Sotteville-Les-Rouen
Collection Première Heure, St. Cloud

Großbritannien
Celebrity Cruises, London
Leeds City Art Gallery, England
Scottish National Gallery of Modern Art, Edinburgh

Deutschland
Hamburger Kunsthalle
Pinakothek der Moderne, Die Neue Sammlung, München
Sammlung HVB Group

Schweiz
Sammlung Bosshard
Kunstmuseum Bern
Fotomuseum Winterthur
Kunsthaus Zug
Kunsthaus Zürich
Schweizerisches Landesmuseum
Zürich Zürcher Kantonalbank
ZKB Private Banking, Zürich USA
Weisman Foundation, Los Angeles

Robert Compaoré, Ouagadougou/Burkina Faso

Victor & Robert Compaoré
© Pierre Pfiffner, La Chaux-de-Fonds

Robert Compaoré
© Pierre Pfiffner, La Chaux-de-Fonds