Schon immer war der Stift ein probates Instrument gesellschaftlichen Widerstands. Ingo Giezendanner greift nach ihm, um urbane und soziale Transformationsprozesse einzufangen. Sein hartnäckiges Festhalten am Stadtmotiv hat über Jahre an Kontur gewonnen, ist zur kritischen Geschichtsschreibung geworden.
Ingo Giezendanner · Toter Winkel, 2011. Foto: Gerry Amstutz
You can read the full text in the current printed issue of the art newsletter or by registering as a subscriber.
Buy individual items
Do you just want to read this article? You can buy it separately here.
CHF2.—
After you have purchased the item, it will be displayed as a PDF in the browser window. You can also have the article sent as a PDF to the email address entered below.
Buy