The very personal New Year's greetings published by the Swiss artist in the form of zines over the last twenty years.
"Health, happiness and money in the New Year." These are Anton Bruhin's New Year wishes for 2007 in his very first zine. Ever since he was a boy, he has loved putting together little A6-size zines. His stencil-printed Plim came out in 1969, followed by more zines at April Verlag, a publishing house that Bruhin and Hannes Bossert ran jointly from 1969 to 1972. Some thirty years later, in 1998, 40 zines were printed on a Brother fax machine under the title Vierhundertfünfundfünfzig-seelendorf Editionen. And his 2014 series Scheissegedichte (Shit Verses) featured word sequences, palindromes (ekle meteor—kroete melke), typewriter art and pixel portraits alongside drawings of electrical sockets with curlicue pig's tails and scatological couplets, e.g. for a rather free rhyming translation:
Shit stinks and poop steams,
the Romans shat on wooden beams
Shit's formed by the ass
and normed by Brussels' brass.
When the shit hits the wall
it doesn't bounce back like a ball.
Shit's the talk of the town
and soon gets renown.
Bruhin designed his New Year's greetings as 24- to 32- page zines featuring samples of his current work. Over the years, they covered a wide range of different linguistic and pictorial themes, subjects and genres. Their childlike curiosity and pure zest for discovery make for a certain continuity and a connection between the various issues. The Neujahrshefte hold treasures from the extravagant cornucopia of his overflowing imagination and jubilation.
—Susi Koltai
In the 1960s, Anton Bruhin (born 1949) first began organizing happenings and performances, designing and typesetting his own books, which he self-published with Hannes R. Bossert through April-Verlag, drawing, and writing prose and poetry. It was mainly his drawings and poetry that attracted notice in the '70s. As an exponent of the nascent bohemian and contemporary art scene at the time, his works were included in epoch-making exhibitions, such as “Mentalität” “Zeichnung” (Kunstmuseum Luzern, 1976), “Saus und Braus” (Strauhof Zurich, 1980) and “Bilder” (Kunstmuseum Winterthur, 1981). In the 1980s, Bruhin turned primarily to painting landscapes and townscapes
en plein air, whilst also painting interiors and portraits of friends and acquaintances. And in the '90s, he focused mainly on music and poetry, composing palindromes and other forms of experimental lyric poetry, and devoting himself extensively and intensively to one of the oldest instruments in the world, the Jew's harp (aka
scacciapensieri in Italian,
Maultrommel or
Brummeisen in German,
Trümpi in Swiss German). After the turn of the millennium he returned to pictorial art, painting, drawing, working on digital pictorial worlds and his DIY publishing strategy. Every year Bruhin puts together a new little artist's book and prints and sends out a small quantity to his personal circle.
After an apprenticeship in typesetting, Anton Bruhin was a member of the first class to study at the F+F School with Serge Stauffer, famous art teacher and specialist in
Marcel Duchamp, where he came into contact with
concrete poetry,
Fluxus and
experimental music. These genres have interested him ever since, inspiring him to produce vinyl records (e.g.
Vom Goldabfischen, 1970, and
rotomotor, 1978), experimental poetry (e.g.
Reihe Hier) and palindromes (1991-2002
Spiegelgedichte).
Dieter Roth and André Thomkins are recognizable influences, as are Philippe Schibig and Friedrich Kuhn—a generation of artists on the cusp of the transition from late modern to “contemporary art”, who in recent years have increasingly been the focus of an art historical re-examination. Like Bruhin, they combine themes of excess and chaos with a pragmatic interest in graphic solutions and simple structural schemas. He clearly enjoys serial approaches, taking pleasure in setting his own parameters and producing visual grammars, which are sounded out, extended and expanded to explore their every possibility and permutation. Having tested such an array, he then builds another system in which to seek all the statements that can possibly be constructed w ithin those parameters.
Bruhin exemplifies a generation of
Swiss artists who build on the recent past, always playfully subverting it, too, and liberating it from existential pathos, as in the early works of
David Weiss or Markus Raetz, with whom he resided in the Swiss artists' village of Carona. The upshot of a sea change in Swiss art, Bruhin's work was itself an impetus for Swiss contemporary art as it first took form in the late '60s with artists like Urs Lüthi,
Manon and Jean-Frederic Schnyder in close connection with the alternative and hippie subculture movements of the period.
