Plasticist Miriam Cahn claims to redeem his own works held by the Kunsthaus. In question, the recent installation of paintings in the Bührle collection, many of which have been spoliated by the Nazis.
by
The Swiss painter Miriam Cahn is famous in the world of art for his canvases with acidic colors representing ghostly silhouettes. Exposed in the largest institutions in the world, and in particular at this moment on the trading fellow, in Paris, inaugurated in May 2021 by the billionaire François Pinault, the 72-year-old plasticist, at the beginning of his career, considering his works purchased by the largest Swiss public museum, the Kunsthaus de Zurich.
But, today, between the artist and the institution, nothing goes anymore. In December 2021, in an open letter published by Tachles, the weekly of the Jewish community Helvete, it targeted the Zurich Museum, demanding to redeem all of its 31 works in the collection.
Bührle. , merchant for III e reich
In the eyes of Miriam Cahn, the “reputation of the museum [would] Ternie” by the installation, in October 2021, a collection of Canvas de Manet, Degas and Van Gogh eminently controversial because having belonged to Emil Georg Bührle , death in 1956. Little personage
Frequently that this Swiss naturalized German cannons who first armed, in any neutrality, both the allies and Wehrmacht, before choosing his camp, in 1940, that of the iii e reich.
His business has allowed him to constitute, during and after the war, an important collection . This set includes canvas purchased for the Swiss Fischer Gallery, known for orchestrated the sale of works considered “degenerate” by the Nazis and marketed of spoliated property to the Jews. Others have been sold in the emergency room by their owners before leaving Germany. So many canvases have long been kept at the Bührle Foundation, on the outskirts of Zurich, but since October and the opening of a new wing at the Kunsthaus, are visible from a wide audience.
For Miriam Cahn, herself of Jewish confession, these sources are so many indelible spots. “A step has been crossed,” she says on the phone, from the village of Stampa, where she lives, in the canton of Graubünden. That this set will be shown in a private setting [as at the Museum Maillol, in Paris, in 2019], it’s not my problem. But, in a public museum, it is not moral. “Relying on his own moral right and supported by his galleries, she asks to recover her works by redeeming them” at the price of Origin “.
You have 53.92% of this article to read. The rest is reserved for subscribers.