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À GAUCHE: Le premier bâtiment de la KMD (Kunsthalle Marcel Duchamp | Forestay Museum of Art), utilisé entre 2010 et 2016, conçu par Mélanie Althaus et construit par la Fondation Latreille. À DROITE: Le nouveau bâtiment de la KMD, inauguré en 2016, conçu par Jonathan Banz, et construit par Urs Jordi. L’aménagement des espaces et le système d’éclairage ont été réalisés par la Fondation Latreille, et l’informatique a été mise en place par Yannick Soller et Hervé Clémence.
ON THE LEFT: First exhibition building of the KMD (Kunsthalle Marcel Duchamp | The Forestay Museum of Art), in use between 2010 and 2016, designed by Mélanie Althaus, and constructed by Fondation Latreille. ON THE RIGHT: The new exhibition building of the KMD (inauguration: May 14, 2016), designed by Jonathan Banz, and constructed by Urs Jordi. The setup of the spaces and the light system was executed by Fondation Latreille, and the informatics were implemented by Yannick Soller and Hervé Clémence.
Depuis sa création en 2009, par les artistes Caroline Bachmann et Stefan Banz, la KMD (Kunsthalle Marcel Duchamp | The Forestay Museum of Art) a accueilli les oeuvres d’une cinquantaine d’artistes dont Cildo Meireles, Karin Sander, Ai Weiwei, Haegue Yang, Thomas Locher, Vanessa Billy, Aldo Walker et Ecke Bonk, pour n’en citer que quelques-un·es.
La KMD a été fondée à l’occasion d’un symposium organisé à Cully par Stefan Banz et Caroline Bachmann, avec le soutien du Philadelphia Museum of Art. Cet événement était consacré à la chute d’eau du Forestay que Marcel Duchamp a photographiée en 1946 et qu’il a utilisé comme point de départ pour sa dernière oeuvre « Étant donnés: 1° La chute d’eau 2° le gaz d’éclairge ». Les actes de ce colloque ont été édités par les éditions JRP Ringier en 2010.
La KMD est gérée par l’Association Kunsthalle Marcel Duchamp | The Forestay Museum of Art. L’association est reconnue d’utilité publique.
Suite au décès de l’artiste Stefan Banz, l’association a été réorganisée en janvier 2022.
Présidente : Caroline Bachmann
Comité curatorial : Caroline Bachmann, Julie Enckel, Julia Widmann
Vice-présidente : Clémence de Weck
Conseil consultatif : Simon Paccaud, Blaise Duc, Anne Hogge et Catherine Janssens
Coordination : Julia Widmann ( coordination@akmd.ch )
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Since its creation in 2009 by artists Caroline Bachmann and Stefan Banz, the KMD (Kunsthalle Marcel Duchamp | The Forestay Museum of Art) has hosted the work of some 50 artists, including Cildo Meireles, Karin Sander, Ai Weiwei, Haegue Yang, Thomas Locher, Vanessa Billy, Aldo Walker and Ecke Bonk, to name a few.
The KMD was founded on the occasion of a symposium organized in Cully by Stefan Banz and Caroline Bachmann, with the support of the Philadelphia Museum of Art, dedicated to the waterfall of Le Forestay, which Marcel Duchamp photographed in 1946 and which he used as the starting point for his last work « Étant donnés: 1° La chute d’eau 2° le gaz d’éclairge ». The proceedings of this conference were published by JRP Ringier in 2010.
The KMD is managed by the Association Kunsthalle Marcel Duchamp | The Forestay Museum of Art. The association is recognized as a public utility.
Following the death of the artist Stefan Banz, the association was reorganized in January 2022:
Caroline Bachmann is the president, Clémence de Weck the vice-president.
The curatorial team is composed of Caroline Bachmann, Julie Enckel, Simon Paccaud.
Julia Widmann is in charge of coordination ( coordination@akmd.ch )
Blaise Duc, Anne Hogge and Catherine Janssens are members of the advisory board.
ADRESSE
Place d’Armes | Quai de l’indépendance
1096 Cully, Switzerland
PRESIDENTE
Caroline Bachmann
VICE-PRESIDENTE
Clémence de Weck
CONTACT
Association KMD
Kunsthalle Marcel Duchamp | The Forestay Museum of Art
c/o Caroline Bachmann
Rue de l’indépendance 2
CH–1096 Cully
LINKS
Caroline Bachmann: www.carolinebachmann.com
Stefan Banz: www.stefanbanz.com
PRESS (A SELECTION)
Florence Millioud Hendriques, 24heures, August 9, 2018
Cécile Collet, 24heures, September 22, 2016
Katharina Holderegger, Kunstbulletin, September 2016
KMD in Wolfsburg, Germany – NDR | Süddeutsche Zeitung | Focus | Allgemeine Zeitung | N24 | Main Echo | February 25, 2016
Luc Debraine, L’Hebdo, September 17, 2015
Luc Debraine, L’Hebdo, October 16, 1914
KMD on Mathildenhöhe, Darmstadt, Germany – FAZ (Frankfurter Allgemeine Zeitung), April 29, 2013 | Artdaily, April 22, 2013 | Art – Das Kunstmagazin, April 18, 2013 | Darmstädter Echo, April 18, 2013
Viola Emaldi The Flaneur, August 16, 2012
Novembre, Arts and Fashion Practices in Switzerland and the World, Spring/Summer 2012
Carmilla Schmidt, La Feuille, February 2012
RRN BLOG, November 13, 2010
Laurent Wolf, Le Temps, May 8, 2010
Isabelle Falconnier, L’Hebdo, April 29, 2010
Luc Debraine, Le Temps, March 15, 2008
MICHAEL R. TAYLOR ON THE COLLABORATION WITH LES ÉDITIONS KMD
Percy Rainford: Duchamp’s “Invisible” Photographer is the twenty-third volume in the distinguished Les Éditions KMD series that is edited by Stefan Banz, and published worldwide by Verlag für moderne Kunst in vienna and in french-speaking countries by Les Presses du réel in Dijon, France. It has been a tremendous pleasure to work with stefan on this publication and I owe him an immense debt of gratitude for his friendship and support during the writing and editing of this book, which he has believed in from the beginning. Stefan has selflessly devoted his time, resources, and energy to the editing, design, publication, and distribution of this volume, which like the other books in the series is pocket-sized and has a unique color scheme and identity. I have great admiration for the previous Les Éditions KMD books, which since 2010 have included texts by such notable artists, scholars, curators, musicians, and writers as Jean-Christophe Ammann, Caroline Bachmann, Bradley Bailey, Ralf Beil, Norbert Bisky, Lars Blunck, John Cage, Iria Candela, Carolyn Christov-Bakargiev, Emilio Fantin, Harald Harzheim, Dalia Judovitz, Friedrich Kittler, Cildo Meireles, Helen Molesworth, Antoni Muntadas, Luigi Negro, Giancarlo Norese, Roberto Ohrt, Adrian Paci, Cesare Pietroiusti, Luigi Presicce, Didier Semin, Ernst Strouhal, Vicente Todolí, Jeff Wall, Thomas Wulffen, Thomas Zaunschirm, and Stefan himself, who besides being an authority on Marcel Duchamp has also written the catalogue raisonné of Duchamp’s favorite painter, Louis Michel Eilshemius. I was therefore delighted and deeply honored when Stefan offered to publish my text on Percy Rainford, a jamaican photographer with close ties to Duchamp and surrealism in the 1940s and 1950s.
These books are truly a labor of love for Stefan and reflect his profound commitment to new scholarship on Duchamp’s work and ideas, as well as his passion for art and artists, which comes as no surprise given his own standing as one of switzerland’s leading contemporary artists. I first met Stefan and his wife and fellow artist,Caroline Bachmann, in April 2009, during the course of my research for the Marcel Duchamp: Étant donnés exhibition, and its accompanying catalogue, which opened at the Philadelphia Museum of Art later that year. Stefan and Caroline took me and the exhibition’s research assistant, Claire Howard, to the spectacular Le Forestay waterfall near Chexbres, Switzerland, which is located just a stone’s throw from where they live in Cully, a beautiful village overlooking lake Geneva. Duchamp had visited this waterfall in the summer of 1946 and made a series of photographs there that he later used to create the landscape backdrop and shimmering waterfall of his final masterwork, Étant donnés: 1° la chute d’eau, 2° le gaz d’éclairage…, of 1946–66.I was able to share these photographs with Stefan andCaroline ahead of this publication, while they in turn provided me with invaluable insights into the history of the waterfall as well as its location.In may 2010 Stefan organized a four-day international conference entitled “Marcel Duchamp and the Forestay Waterfall” that brought a cadre of leading Duchamp scholars to Cully to present papers and visit the waterfall. Stefan later edited and published these essays in a book of the same title that has made an enormous and lasting contribution to the literature on the artist. As with the books published by Les Éditions KMD, this symposium and publication were the result of Stefan’s generosity and openness, as well as his steadfast belief in the power of art to bring people together. For these reasons, Duchamp scholars such as myself remain extremely indebted to Stefan, and this publication on Percy Rainford simply could not have happened without him. Michael R. Taylor, Richmond, Virginia, 2018.