Êîëëåêöèÿ «Ñîâðåìåííîå èñêóññòâî»

Cosentino A., Antonio Cosentino. Cigara viski kolileri denizlerde, ferare sevgilim — 2016

Boxes of cigarettes and whisky all over the sea, fer’re, my love is Antonio Cosentino's first exhibition with the gallery, presenting the artist's most recent works. Antonio Cosentino is one of the 3 founders of the artist initiative Hafriyat, which was founded in 1996 and became highly influential in Istanbul—s art scene in the 2000s. In Cosentino—s paintings, one finds a wealth of images distilled from everyday life, the depths of personal memory, and the visual culture of the artist—s city, which the artist uses in his photographs, paintings and sculptures. The artist continues this tradition through different materials in his exhibition at the gallery, creating an atlas of today—s Turkey.

Ìåñòîíàõîæäåíèå èçäàíèÿ: Çàë õóäîæåñòâåííîé ëèòåðàòóðû è èñêóññòâà

Ïîäðîáíàÿ èíôîðìàöèÿ

5th Moscow Biennale of Contemporary Art, More Light — 2013

More Light gathers the works of over seventy international artists represented at this year—s 5th Moscow Biennale of Contemporary Art. Curated by Catherine de Zegher in close collaboration with Joseph Backstein and today—s protagonists in contemporary Russian art, this edition of the Moscow Biennale draws in large parts on Kasimir Malevich—s opera Victory of the Sun premiered in 1913 at the Luna Park in Saint Petersburg

Ìåñòîíàõîæäåíèå èçäàíèÿ: Çàë õóäîæåñòâåííîé ëèòåðàòóðû è èñêóññòâà

Ïîäðîáíàÿ èíôîðìàöèÿ

L—Internationale. Post-War avant-gardes between 1957 and 1986 — 2013

Taking as its starting point these five museums and their respective collections, —L—Internationale—Post-War avant-gardes Between 1957 and 1986— presents a wide range of case studies, historiographical and theoretical essays that reconsider a period in art history that, according to the established canon, has been almost exclusively dominated by Western Europe and North America. In questioning this canon the publication works to acknowledge the existence of and to explore a dispersed, multi-polar, and at times interconnected neo-avant-gardist field that existed (long) before it became common to think according to frameworks of globalization or trans-nationalism. In the process, this collection of compelling contributions puts many a central question on the table: To what extent has a common international language existed in art over these three decades, while at the same time local terminologies and approaches might have differed significantly? How were such dispersed forms of knowledge and experience situated in their respective social contexts? What parallels of artistic method appeared across different regions, even continents? Finally, can such local narratives be brought together in a new —rhizomatic— way, one that works to reshape our ideas of trans-localism and internationalism? With essays by Inke Arns, Zdenka Badovinac, Bart de Baere, Charles Esche, Christian H¦ller, Bartomeu Mari, Viktor Misiano, Piotr Piotrowski, Georg Sch¦llhammer and Steven ten Thije among others.

Ìåñòîíàõîæäåíèå èçäàíèÿ: Çàë õóäîæåñòâåííîé ëèòåðàòóðû è èñêóññòâà

Ïîäðîáíàÿ èíôîðìàöèÿ

Dorota GawÉda und EglÇ KulbokaitÇ. Collection Cahiers d`Artistes 2021 [— 151] — 2021

Dorota GawÉda (b. 1986, Poland) and EglÇ KulbokaitÇ (b. 1987, Lithuania) are an artist duo established in 2013 and based in Basel (CH). Both are graduates of the Royal College of Art in London (2012). Their work spans performance, fragrance, sculpture, installation, painting and video. They have exhibited internationally including: HeK, Basel (2021); Kunstverein Hamburg (2021); Bundner Kunstmuseum, Chur (2021); Kunstverein Leipzig (2021); Swiss Institute, New York (2020); Den Frie, Copenhagen (2020); MWW, Wroclaw (2020); Kunstverein Dusseldorf (2020 and 2016); Lafayette Anticipations, Paris (2019); Palais de Tokyo, Paris (2018); 6th Athens Biennale (2018); MMOMA, Moscow (2018); Kunsthalle Basel (2017); ICA, London (2017); MOMA, Warsaw (2016); Berlin Biennale 9 (2016); MaM, Paris (2015) among others. Their solo exhibitions included presentations at Istituto Svizzero, Palermo (2021) Swimming Pool Projects, Sofia (2021); Lucas Hirsch Gallery, Dusseldorf (2021); Julia Stoschek Collection, Dusseldorf (2020); Trafo Gallery, Budapest (2020); Amanda Wilkinson Gallery, London (2020 and 2018); Fri Art — Centre d—Art de Fribourg / Kunsthalle Fribourg and Wallriss (2020); Futura, Prague (2019); Cell Project Space, London (2018). They have also participated in numerous international residencies, including Alserkal Arts Foundation, Dubai (UAE); La Becque, La Tour-de-Peilz (CH); Onassis AiR, Athens (GR). GawÉda and KulbokaitÇ are the recipients of the Basler Medienkunstpreis (2021) and Swiss Performance Art Award (2021), as well as nominees for Prix Mobili˜re (2022). The duo is also the founder of YOUNG GIRL READING GROUP ( 2013 - 2021 ).

Ìåñòîíàõîæäåíèå èçäàíèÿ: Çàë õóäîæåñòâåííîé ëèòåðàòóðû è èñêóññòâà

Ïîäðîáíàÿ èíôîðìàöèÿ

Roman Gysin. Collection Cahiers d`Artistes 2021 [—152] — 2021

Mit der «Collection Cahiers d—Artistes» unterstutzt die Schweizer Kulturstiftung Pro Helvetia vielversprechende Schweizer Kunstlerinnen und Kunstler aus dem Bereich der Visuellen Kunste, die noch nicht im Besitz einer eigenen monografischen Publikation sind. Das Promotionsinstrument besteht seit 1984. Auf Empfehlung einer unabhangigen Jury wahlt die Pro Helvetia acht Kunstlerinnen und Kunstler aus, die sich auf eine ¦ffentliche Ausschreibung hin beworben haben. Seit 2006 erscheinen die «Cahiers d—Artistes» in der Edizioni Periferia. Die Kunstlerinnen und Kunstler sind massgeblich an der Konzeption der Publikation beteiligt. Die Begleittexte stammen von renommierten Schweizer und internationalen Autorinnen und Autoren. Jedes «Cahier» ist zweisprachig: In der Regel in der Muttersprache des Kunstlers oder der Kunstlerin und in einer frei wahlbaren Zweitsprache. Øâåéöàðñêèé êóëüòóðíûé ôîíä Pro Helvetia ïîñðåäñòâîì «Êîëëåêöèè ïðîèçâåäåíèé èñêóññòâà» îêàçûâàåò ïîääåðæêó ìíîãîîáåùàþùèì øâåéöàðñêèì õóäîæíèêàì-æåíùèíàì è õóäîæíèêàì â îáëàñòè èçîáðàçèòåëüíîãî èñêóññòâà, ó êîòîðûõ åùå íåò ñîáñòâåííîãî ìîíîãðàôè÷åñêîãî èçäàíèÿ. Èíñòðóìåíò ïðîäâèæåíèÿ ñóùåñòâóåò ñ 1984 ãîäà. Ïî ðåêîìåíäàöèè íåçàâèñèìîãî æþðè Pro Helvetia îòáèðàåò âîñåìü æåíùèí-õóäîæíèêîâ, ïîäàâøèõ çàÿâêè íà ó÷àñòèå â îòêðûòîì êîíêóðñå. Ñ 2006 ãîäà «Cahiers d'Artistes» ïîÿâëÿþòñÿ â Edizioni Periferia. Õóäîæíèêè â çíà÷èòåëüíîé ñòåïåíè ó÷àñòâóþò â ðàçðàáîòêå êîíöåïöèè ïóáëèêàöèè. Ñîïðîâîäèòåëüíûå òåêñòû íàïèñàíû èçâåñòíûìè øâåéöàðñêèìè è ìåæäóíàðîäíûìè àâòîðàìè. Êàæäûé «Êàéå» äâóÿçû÷åí: îáû÷íî íà ðîäíîì ÿçûêå õóäîæíèêà è íà ñâîáîäíî âûáèðàåìîì âòîðîì ÿçûêå.

Ìåñòîíàõîæäåíèå èçäàíèÿ: Çàë õóäîæåñòâåííîé ëèòåðàòóðû è èñêóññòâà

Ïîäðîáíàÿ èíôîðìàöèÿ

Andreas Hochuli. Collection Cahiers d`Artistes 2021 [— 153] — 2021

Andreas Hochuli is an artist who was born in 1982. Numerous key galleries and museums such as Fri Art Kunsthalle Fribourg have featured Andreas Hochuli's work in the past. Andreas Hochuli (*1982, Zurich) first studied art history, philosophy and literature at the University of Lausanne, before obtaining a Bachelor—s degree in Visual Arts from the ECAL/ University of Art and Design in Lausanne. Andreas Hochuli presented his work at the Kunsthaus Langenthal, the Swiss Institute of New York and at the Basis, Frankfurt. He was granted a Swiss Art Awards in 2014

Ìåñòîíàõîæäåíèå èçäàíèÿ: Çàë õóäîæåñòâåííîé ëèòåðàòóðû è èñêóññòâà

Ïîäðîáíàÿ èíôîðìàöèÿ

Sandra Knecht. Collection Cahiers d`Artistes 2021 [— 154] — 2021

Sandra Knecht (* 1968, Zurich) has a Master fine Art in Arts ZHDK and is an artist who uses cooking as a central component of her artistic work. In art and cooking, she has been exploring the questions of what home is and how identity is formed for many years. With her food happenings and installations, she has been in various art museums at home and abroad. Among others, at Art Basel, the Venice Biennale, the Museum Fundaci£ Joan Mir£ in Barcelona, the Museum Tinguely Basel, the Kunsthaus Zurich, the Kunstmuseum Basel, the Kunsthaus Baselland and the Locarno Film Festival. She has won prizes including the Swiss Art Award 2022, Werkbundpreis Deutschland 2016, the ADC Award 2017.

Ìåñòîíàõîæäåíèå èçäàíèÿ: Çàë õóäîæåñòâåííîé ëèòåðàòóðû è èñêóññòâà

Ïîäðîáíàÿ èíôîðìàöèÿ

Marie Matusz. Collection Cahiers d`Artistes 2021 [— 155] — 2021

Marie Matusz (1994, Toulouse) lives and works in Basel and Berlin. Her work results from critical engagement with forms and their inherent meanings, evolving through in-depth research into philosophical, sociological, and linguistic theories. By juxtaposing elements and textures, she creates an aesthetic of management and develops a choreography of the viewer while the works seem to remain motionless and static. This suspension goes beyond the physical, as it seeks to activate a suspension of time. Her work plays with this moment of idleness by presenting objects from various historical archives taken from our classical lexicon, and reexamining them through contemporary lenses and production techniques. Recent solo exhibitions include Until We Turn Blue (Dorothea Von Stetten Art Award), Kunstmuseum Bonn (2020); Epoche, Kunst Raum Riehen (2020); Golden Hour, Atelier Amden (2019); and Caravan, Aargauer Kunsthaus (2019). Marie Matusz received the Swiss Art Award in 2021.

Ìåñòîíàõîæäåíèå èçäàíèÿ: Çàë õóäîæåñòâåííîé ëèòåðàòóðû è èñêóññòâà

Ïîäðîáíàÿ èíôîðìàöèÿ

Noha Mokhtar. Collection Cahiers d`Artistes 2021 [— 156] — 2021

Noha Mokhtar (Geneva, 1987) is a Swiss-Egyptian artist and anthropologist. In her transdisciplinary work she seeks a critical engagement with concepts of culture, colonialism, gender and power. She is interested in the mechanisms of reproduction of places, objects, and bodies. How do we shape the world around us, and how are we shaped by it? How do political processes or social transformations take form and become visible? From intimate narratives to digital infrastructure Noha Mokhtar's work opens spaces for social and cultural identities and diasporic biographies to be revealed. Her artistic practice includes photography, video, sculpture, installation, as well as writing, and borrows from ethnographic methods, such as fieldwork research and interviews. Often, her projects flirt with the line between fiction and documentary. She is currently pursuing a PhD in Social Anthropology and Critical Media Practice at Harvard University. She is also co-founder of the publishing initiative Edition Hors-Sujet.

Ìåñòîíàõîæäåíèå èçäàíèÿ: Çàë õóäîæåñòâåííîé ëèòåðàòóðû è èñêóññòâà

Ïîäðîáíàÿ èíôîðìàöèÿ

Elena Montesinos. Collection Cahiers d`Artistes 2021 [—157] — 2021

Elena Montesinos is a cultural agitator in the best possible sense. She bubbles over with ideas for artistic or curatorial projects. These are not always realised, for a variety of reasons: because of exorbitant production costs, because they are rejected outright, because they are too unsettling, or simply because they are illegal. In her Cahier d—Artistes entitled UNRELEASED, 20 unpublished projects are given a literary staging by The Montesinos Foundation. The Cahier offers audiences a journey through Elena Montesinos— world of fantasy, in which she can realise her activist and transformative potential without restriction.

Ìåñòîíàõîæäåíèå èçäàíèÿ: Çàë õóäîæåñòâåííîé ëèòåðàòóðû è èñêóññòâà

Ïîäðîáíàÿ èíôîðìàöèÿ

Ramaya Tegegne. Collection Cahiers d`Artistes 2021 [— 158] — 2021

Ramaya Tegegne (*1985) is an artist and cultural organizer based in Geneva, Switzerland. Her practice addresses the processes by which the field of art is constituted by investigating its dominant and structural mechanisms. Tegegne examines the power relations, narratives, selection and production conditions of art and culture in the current context. In 2017 she launched the campaign Wages For Wages Against for the remuneration of artists in Switzerland. She is currently co-running the art and critical theory bookshop La Dispersion in Geneva.

Ìåñòîíàõîæäåíèå èçäàíèÿ: Çàë õóäîæåñòâåííîé ëèòåðàòóðû è èñêóññòâà

Ïîäðîáíàÿ èíôîðìàöèÿ

Gina Folly. Collection Cahiers d`Artistes 2017 [— 135] — 2017

Gina Folly (1983, CH) lives and works in Paris and Basel. She has been directing the artist-run space Taylor Macklin since 2013. Her work studies the effects that political, cultural and social changes have on individuals— habits, personal conceptions and everyday realities. Her current research concerns the concept of manipulation, of seduction, in the sphere of daily life. As a result, everyday objects and situations play a crucial role in her works as motifs and materials, in search of a confrontation between humans and their private and public spheres. These relations and exchanges are accentuated by the way Folly uses industrial production processes, altering them and mixing them with home-made artisanal techniques. Her work has been presented at the Kunsthaus Baselland, Basel; Hard Hat, Geneva; Studioli, Rome; Almanac, London; Ermes-Ermes, Rome; and S.A.L.T.S., Birsfelden. She has participated in group exhibitions at Bel Ami, Los Angeles; Latvian Centre for Contemporary Art, Riga; Swiss Institute, New York; Museion, Bolzano; Galerie Nagel Draxler, Cologne; Kunsthalle Basel, Basel; Freedman Fitzpatrick, Paris; Sommer Contemporary Art, Tel Aviv; K¦lnischer Kunstverein, Cologne; Casa Tomada / House Taken Over, Mexico City; Istituto Svizzero, Rome; Galerie Bernhard, Zurich; Freymond-Guth Fine Arts, Basel; 13. Triennale Kleinplastik 2016, Fellbach; Le Doc, Paris.

Ìåñòîíàõîæäåíèå èçäàíèÿ: Çàë õóäîæåñòâåííîé ëèòåðàòóðû è èñêóññòâà

Ïîäðîáíàÿ èíôîðìàöèÿ

Gilles Furtwangler. Collection Cahiers d`Artistes 2017 [— 136] — 2017

Gilles Furtwangler was born in Lausanne, Switzerland, in 1982. He lives and works between Johannesburg and Lausanne. After graduating from the Art School of Lausanne (ECAL), Switzerland, in 2006, Gilles Furtwa¸ngler has since been developing his artwork based on text, using spoken words as the trigger of his visual production, Furtwa¸ngler works with different techniques as drawing, painting and printing to create plastic support for his texts. Trough collecting found texts Furtwa¸ngler works on retelling and rewriting what he hears and reads, using contexts, colors and substances to question ways of thinking and representing in our era.

Ìåñòîíàõîæäåíèå èçäàíèÿ: Çàë õóäîæåñòâåííîé ëèòåðàòóðû è èñêóññòâà

Ïîäðîáíàÿ èíôîðìàöèÿ

Mathis Gasser. Collection Cahiers d`Artistes 2017 [— 137] — 2017

Mathis Gasser is an ultra-contemporary artist. Mathis Gasser is a swiss male artist born in Zurich (CH) in 1984. Mathis Gasser—s first verified exhibition was A NEW SPIRIT IN LASAGNAS at Circuit in Lausanne in 2009, and the most recent exhibition was Mathis Gasser: Heroes and Ghosts at Schiefe Zahne in Berlin in 2022. Mathis Gasser is most frequently exhibited in Switzerland, but also had exhibitions in United Kingdom, France and elsewhere. Gasser has at least 14 solo shows and 51 group shows over the last 13 years (for more information, see biography). Gasser has also been in no less than one art fair and in one biennial. A notable show was Mathis Gasser: Le mus™e et la plan˜te at Centre culturel Suisse in Paris in 2017. Other notable shows were at Schirn Kunsthalle in Frankfurt/Main and Mamco - mus™e ddart moderne et contemporain in Geneva. Mathis Gasser has been exhibited with Marta Riniker-Radich and Vittorio Brodmann

Ìåñòîíàõîæäåíèå èçäàíèÿ: Çàë õóäîæåñòâåííîé ëèòåðàòóðû è èñêóññòâà

Ïîäðîáíàÿ èíôîðìàöèÿ

Charlotte Herzig. Collection Cahiers d`Artistes 2017 [— 138] — 2017

Charlotte Herzig was born in 1983 in Vevey, Switzerland. She holds a Bachelor—s in Visual Arts (2007) from ycole Cantonale d—Art de Lausanne (ECAL) and a Master—s in Painting from the San Francisco Art Institute. She lives and works in Brussels, Belgium. For the artist, painting is a limitless explosion, an immensity to be explored, a dreamlike —elsewhere—: her paintings seem to have the texture of our memories and dreams. They offer us an imaginary space behind the structured and logical domain of our daily images. Their interstice is close to the one we create when we let ourselves go to look at the clouds, to play with the sharpness of our perception by observing wallpaper, by believing that we can read in the banal and insignificant visible signs of another still enchanted place.

Ìåñòîíàõîæäåíèå èçäàíèÿ: Çàë õóäîæåñòâåííîé ëèòåðàòóðû è èñêóññòâà

Ïîäðîáíàÿ èíôîðìàöèÿ

Karin Hueber. Collection Cahiers d`Artistes 2017 [— 139] — 2017

Karin Hueber lives and works in Zurich. She holds a BA degree from the Academy of Art and Design in Basel and a MA degree from the Zurich University of Arts. Karin Hueber works with sculpture, its conditions and implications.The material and processing she employs for her often site responsive installations feature a contrast between industrial and hand made aesthetics frequently appearing within one work at the same time. This contradiction corresponds to the play with intimacy and distance; another central theme in Karin Huebers work. Both evoke a feeling of uncertainty within the viewer: we feel simultaneously attracted and rejected, we recognize something but don't identify what it really is —like knowing someones name but not getting it out. Karin Hueber questions our relationship to architecture, fashion or interior design — to any created environments,but also to the human body and its gestures or to sculpture and its context as such. She often uses literature as an inspiration and also crosses the border of art and other disciplines in her collaborations with fashion and product designers. She enters a dialogue about common truths concerning our perception of art and the world.

Ìåñòîíàõîæäåíèå èçäàíèÿ: Çàë õóäîæåñòâåííîé ëèòåðàòóðû è èñêóññòâà

Ïîäðîáíàÿ èíôîðìàöèÿ

Florence Jung. Collection Cahiers d`Artistes 2017 [— 140] — 2017

Florence Jung is a Postwar & Contemporary artist who was born in 1984. Numerous key galleries and museums such as MGKSiegen have featured Florence Jung's work in the past.Florence Jung is an anonymous artist who lives and works in Paris and Biel. Florence Jung has no documentation of her works, and her website features only news articles. She is interested in forms of social scripts and contracts.Florence Jung writes scenarios that infiltrate reality. Her scripted situations are built around a system of clues, absence, and rumor. Drawing from the social sciences as well as economics, literature and philosophy, her work explores our contemporary anxieties, our relationship to uncertainty, and the narrative potential of suspicion.

Ìåñòîíàõîæäåíèå èçäàíèÿ: Çàë õóäîæåñòâåííîé ëèòåðàòóðû è èñêóññòâà

Ïîäðîáíàÿ èíôîðìàöèÿ

Yves Scherer. Collection Cahiers d`Artistes 2017 [— 141] — 2017

Yves Scherer (1987) is a Swiss-born New York-based artist whose practice deals with questions regarding gender, celebrity, and mediated realities. Scherer works with various media - from sculpture, photography, and painting to installations and collages containing everything from paparazzi images to tatami mats, combining personal narratives with fan fiction to explore the relationship between the private and the public. Interested in surfaces and screens, Scherer often uses tatami mats or fake grass cut outs as part of his work - a reference to the artist's own living habits, and typical of this form of contemporary Arte Povera. Scherer holds an MFA from the Royal College of Art, London. His work has been exhibited at international institutions and galleries like ICA London (UK) and the Swiss Institute (NYC). He was the recipient of the Swiss Art Award in 2015 and was listed on Forbes 30 under 30 —art and design— (2016).

Ìåñòîíàõîæäåíèå èçäàíèÿ: Çàë õóäîæåñòâåííîé ëèòåðàòóðû è èñêóññòâà

Ïîäðîáíàÿ èíôîðìàöèÿ

Hagar Schmidhalter. Collection Cahiers d`Artistes 2017 [— 142] — 2017

Hagar Schmidhalter (born 1968 in Raron, CH) lives and works in Basel. She studied visual arts at the Hochschule fur Gestaltung und Kunst, Basel and at the Ecole Cantonale des Arts Valais, Sierre. Numerous key galleries and museums such as PM8 have featured Hagar Schmidhalter's work in the past.

Ìåñòîíàõîæäåíèå èçäàíèÿ: Çàë õóäîæåñòâåííîé ëèòåðàòóðû è èñêóññòâà

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Chloe Delarue. Collection Cahiers d`artistes 2019 —144 — 2019

Mit der «Collection Cahiers d—Artistes» unterstutzt die Schweizer Kulturstiftung Pro Helvetia vielversprechende Schweizer Kunstlerinnen und Kunstler aus dem Bereich der Visuellen Kunste, die noch nicht im Besitz einer eigenen monografischen Publikation sind. Das Promotionsinstrument besteht seit 1984. Auf Empfehlung einer unabhangigen Jury wahlt die Pro Helvetia acht Kunstlerinnen und Kunstler aus, die sich auf eine ¦ffentliche Ausschreibung hin beworben haben. Seit 2006 erscheinen die «Cahiers d—Artistes» in der Edizioni Periferia. Die Kunstlerinnen und Kunstler sind massgeblich an der Konzeption der Publikation beteiligt. Die Begleittexte stammen von renommierten Schweizer und internationalen Autorinnen und Autoren. Jedes «Cahier» ist zweisprachig: In der Regel in der Muttersprache des Kunstlers oder der Kunstlerin und in einer frei wahlbaren Zweitsprache.Øâåéöàðñêèé êóëüòóðíûé ôîíä Pro Helvetia ïîñðåäñòâîì «Êîëëåêöèè ïðîèçâåäåíèé èñêóññòâà» îêàçûâàåò ïîääåðæêó ìíîãîîáåùàþùèì øâåéöàðñêèì õóäîæíèêàì-æåíùèíàì è õóäîæíèêàì â îáëàñòè èçîáðàçèòåëüíîãî èñêóññòâà, ó êîòîðûõ åùå íåò ñîáñòâåííîãî ìîíîãðàôè÷åñêîãî èçäàíèÿ. Èíñòðóìåíò ïðîäâèæåíèÿ ñóùåñòâóåò ñ 1984 ãîäà. Ïî ðåêîìåíäàöèè íåçàâèñèìîãî æþðè Pro Helvetia îòáèðàåò âîñåìü æåíùèí-õóäîæíèêîâ, ïîäàâøèõ çàÿâêè íà ó÷àñòèå â îòêðûòîì êîíêóðñå. Ñ 2006 ãîäà «Cahiers d'Artistes» ïîÿâëÿþòñÿ â Edizioni Periferia. Õóäîæíèêè â çíà÷èòåëüíîé ñòåïåíè ó÷àñòâóþò â ðàçðàáîòêå êîíöåïöèè ïóáëèêàöèè. Ñîïðîâîäèòåëüíûå òåêñòû íàïèñàíû èçâåñòíûìè øâåéöàðñêèìè è ìåæäóíàðîäíûìè àâòîðàìè. Êàæäûé «Êàéå» äâóÿçû÷åí: îáû÷íî íà ðîäíîì ÿçûêå õóäîæíèêà è íà ñâîáîäíî âûáèðàåìîì âòîðîì ÿçûêå.

Ìåñòîíàõîæäåíèå èçäàíèÿ: Çàë õóäîæåñòâåííîé ëèòåðàòóðû è èñêóññòâà

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