7 February – 8 April 2018

Opening: Tuesday, 6 February 2018, 6 p.m.

The Schweizerische Graphische Gesellschaft (SGG) strikes a balance between constancy and change. For a hundred years, it has has been commissioning selected contemporary artists to create an original work that is then published in a limited edition of 125 and distributed to all SGG members. Moreover, for a hundred years, this society has not only been supporting and promoting both traditional and new approaches to the art of the print, but has also been rigorously challenging and debating its own decision criteria. The centenary jubilee exhibition reflects this by placing the focus on crucial turning points in the history of the SGG, presenting works that have marked a new departure and have, at times, caused controversy. The ETH Zürich‘s Collection of Prints and Drawings is marking the centenary of the SGG with an exhibition that looks back on decades of patronage devoted to the art of the print and examines the selection criteria applied by the society. At what times were these criteria the subject of intense debate? And in what ways have the selection criteria changed? In six chapters, the exhibition charts the most notable turning points.


Emil Nolde, Doppelbildnis, 1937 Woodcut
Graphische Sammlung ETH Zürich / © Nolde Stiftung Seebüll

Urs Fischer, Alle Tassen Schrank, from «Thinking about Akbar», 2005 Inkjet print
Graphische Sammlung ETH Zürich / © Urs Fischer

Markus Raetz, Ein Auto und einige Menschen auf der Strasse, 1977 Drypoint
Graphische Sammlung ETH Zürich / © Markus Raetz / 2017 ProLitteris, Zurich

Miriam Cahn, Untitled, from «soldaten, frauen + tiere», 1995 Drypoint and sandpaper
Graphische Sammlung ETH Zürich / © Miriam Cahn

Alice Bailly, Dancing, 1923, Woodcut
Graphische Sammlung ETH Zürich

Claes Oldenburg, The Knife in Brüglingen Park, 1991/1992 Colour wood- and metalcut
Graphische Sammlung ETH Zürich / © Claes Oldenburg

Rosemarie Trockel, Phantasia, 1997 Enlarged print of a rasterised photograph
Graphische Sammlung ETH Zürich / © Rosemarie Trockel / 2017 ProLitteris, Zurich

Giovanni Giacometti, Frühling in den Engadiner Bergen. – Blick ins Fornotal bei Maloja, 1931, Lithography
Graphische Sammlung ETH Zürich