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Alphabétisation de l’autarcie, 2014 // Billboards, screen-print // Detail // Photo: David Gagnebin-de Bons La madonna dei tulipani, 2016 // Charcoal on asphalt // Exhibition view: Public Art in Zürich Gasträume ‘16, Maagplatz, Zürich // Photo: Anna Francke La mala mimesis, 2012-2016 // Beehives, plaster, beeswax // Photo: Simon Brazzola La mala mimesis, 2012-2016 // Beehives, plaster, beeswax // Detail // Photo: Mauro Zeni Barre di materia duttile,* 2011 // Wood, plaster, red gilder’s clay, gold // Photo: Simon Brazzola Museé des Naïvtes, 2011 // Paraffine, sand, rope, pigment // Photo: Simon Brazzola Proposal for a Flag (Royal Batik), 2016 // Batik on cotton, display cabinet // Exhibition view: La classe sterile, Museo Vincenzo Vela, Ligornetto, 2016 // Photo: Mauro Zeni Opoyaz (Recipe n.1), 2012 // Diafilm, wood, glass, neon // Sketches for a Sundial, Dienstgebäude, Zürich, 2012 Mythological Re-enactment (Vol. 2), 2012 - 2016 // Rawhide, wood, rope // Exhibition view: “Mythological Re-enactment (Vol.2)”, Kolumba, Köln, 2013 Opoyaz (Recipe n.1), 2012 // Diafilm // Detail Suminagashi (Atlas), 2009-10 // Suminagashi on atlas sheet La mala mimesis, 2012-2016 // Beehives, plaster, beeswax Proposal for a Flag (Royal Batik), 2016 // Batik on cotton // Photo: Simon Brazzola B for Benommenheit, 2017 // Awning, clay, showcase, smartphone, plastic, documents // Exhibition view: Museum Haus Konstruktiv, 2017 Alphabétisation de l’autarcie, 2014 // Billboards, screen-print // Exhibition view: Territoires, Bex&Arts, 2014 // Photo: David Gagnebin-de Bons B for Benommenheit, 2017 // Awning, clay, showcase, smartphone, plastic, documents // Detail Tulipmania, Pascal Schwaighofer and Jan Verwoert, Edition Fink, 2016 I am Champagne (21.6.1616), 2009-2011 // Wood, plaster, red gilder’s clay, gold Barre di materia duttile,* 2011 // Wood, plaster, red gilder’s clay, gold // Photo: Simon Brazzola B for Benommenheit, 2017 // Awning, clay, showcase, smartphone, plastic, documents // Detail B for Benommenheit, 2017 // Awning, clay, showcase, smartphone, plastic, documents // Exhibition view: Museum Haus Konstruktiv, 2017 B for Benommenheit, 2017 // Awning, clay, showcase, smartphone, plastic, documents // Detail La mala mimesis, 2012-2016 // Beehives, plaster, beeswax // Photo: Simon Brazzola B for Benommenheit, 2017 // Awning, clay, showcase, smartphone, plastic, documents // Exhibition view: Museum Haus Konstruktiv, 2017 B for Benommenheit, 2017 // Awning, clay, showcase, smartphone, plastic, documents // Detail La mala mimesis, 2012-2016 // Beehives, plaster, beeswax // Photo: Simon Brazzola Barre di materia duttile,* 2011 // Wood, plaster, red gilder’s clay, gold // Exhibition view: “Mythological Re-enactment (Vol.2)”, Kolumba, Köln, 2013 La mala mimesis, 2012-2016 // Beehives, plaster, beeswax // Exhibition view: La classe sterile, Museo Vincenzo Vela, Ligornetto, 2016 // Photo: Mauro Zeni Tulipmania, Pascal Schwaighofer and Jan Verwoert, Edition Fink, 2016 Suminagashi (Atlas), 2009-10 // Suminagashi on atlas sheet Proposal for a Flag (Royal Batik), 2016 // Batik on cotton // Photo: Simon Brazzola Opoyaz (Recipe n.1), 2012 // Diafilm // Detail Proposal for a Flag (Royal Batik), 2016 // Batik on cotton // Photo: Simon Brazzola Museé des Naïvtes 2011 Paraffine, sand, rope, pigment // Exhibition view: OPOYAZ, 2011, Museo Cantonale d’Arte, Lugano, 2011 // Photo: Simon Brazzola B for Benommenheit, 2017 // Awning, clay, showcase, smartphone, plastic, documents // Detail B for Benommenheit, 2017 // Awning, clay, showcase, smartphone, plastic, documents // Detail Alphabétisation de l’autarcie, 2014 // Billboards, screen-print // Exhibition view: Territoires, Bex&Arts, 2014 // Photo: David Gagnebin-de Bons




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© All images are copyright Pascal Schwaighofer. Texts copyright Pascal Schwaighofer and the respective authors.