The key to understanding Märkli's architecture for Josephsohn’s sculpture lies in the osteria in the centre of the village of Giornico. You pick it up at the reception desk and then it’s not far. The best way to go is on foot. Cross the river over two old stone bridges and walk up the valley, past the early Romanesque church of San Nicola, and you’ll see from a distance a tall, windowless concrete building with a clerestory—no artificial light. The long, narrow, three-part building fits into the narrowness of the valley and allows the two most important typologies in Josephsohn's work to be arranged as a series. Reliefs and half-figures—these embody the greatest freedom in representation.
In the first room, the low-reliefs seem symbolically to express unresolved tensions—threats. In the second room, the reliefs reach into the space. They have the female figure at their centre—often with the male figure as agent and at the same time observer. The half-figures in the third room are always tied to a model, and yet are uniquely intensified by their translation into sculpture.
LA
CON
GI
UN
TA
The key to understanding Märkli's architecture for Josephsohn’s sculpture lies in the osteria in the centre of the village of Giornico. You pick it up at the reception desk and then it’s not far. The best way to go is on foot. Cross the river over two old stone bridges and walk up the valley, past the early Romanesque church of San Nicola, and you’ll see from a distance a tall, windowless concrete building with a clerestory—no artificial light. The long, narrow, three-part building fits into the narrowness of the valley and allows the two most important typologies in Josephsohn's work to be arranged as a series. Reliefs and half-figures—these embody the greatest freedom in representation.
LA
CON
GI
UN
TA
Stiftung La Congiunta
6745 Giornico
Data Privacy Statement
Imprint
Stiftung La Congiunta
6745 Giornico
Data Privacy Statement
Imprint