Der iranische Kollege Morteza Majidi schrieb: »Dear Andrea, we are fighting for Freedom. Please be with us with an art work for women of Iran.« Es geht um die Ermordung von MAHSA AMINI und die Unterdrückung eines ganzen Volkes, besonders von Frauen, mit Hilfe von scheinheiligen Glaubenssätzen eines korrupten, machtbesessenen Regimes. Unser Plakatmotiv thematisiert diese Fesselung und Knebelung. Stich für Stich macht die von Hand in das Papier genähte Stickerei die Versalien des lateinischen gesetzten Namens von MAHSA AMINI sichtbar. Grün, weiß und rot stehen für die Farben der iranischen Flagge und damit verbundenen Symbolik: Islam, Friede und Mut.

A catalog about the longstanding friendship between Wilhelm Otten and Gottfried Honegger and his artistic work. A catalog in two parts, with no beginning or end, the transition between which reveals the turning point of this friendship – the death of Honegger. Numerous discussion throughout the friendly relationship led Wilhelm Otten to create a platform for encounters with people interested in art. In 2005 he opened up his art collection, entering it into a public dialogue. As a representative of Concrete Art, Gottfried Honegger is one of the most important Swiss artists of the 20th century. In his long and – to the very end – highly creative life, he created an extensive oeuvre. For Honneger art was more than just jewelry for the elite, he saw it as an existential necessity for all. He brought it back to the primal forces: form, color and material. His geometric art contrasted the smooth and rough / glossy and matt / radical and forgiving. The design of the book encompasses this dichotomy in its concept. The photographic language of museum representation complements that one of art in context. The interplay of smooth and rough paper follows the glossy and matt screen print finishes of the cover. The two parts of the book are linked together into an endless loop of content, reflecting Honegger’s artistic work.

A book for practical work and information. The main focus is on the many years of experience that this builder in clay has acquired, organized according to the themes: floor, wall, opening, ceiling. These four chapters in the middle of the book are deliberately designed in black and white, structured by generously sized introductory pictures and axonometric plan drawings. The plans, which were produced especially for the book, play a leading role in the explanations. Thin strips running along the edges of the pages at different positions in the core book guide the reader. In the volume of the book itself the strips create a striking sectional image – in the list of contents they form thematically based pictograms. Colour illustrations surround the core content: a series of pictures of completed buildings at the front, photos of building processes and the workshop at the back. The horizontal texture of layers of rammed earth is cut into the dust cover. You feel tempted to run your finger across this image in order to make the cut paper and the lettering printed on it move. On the cover the tactile quality of this building material is both echoed and honoured.