2019, Filipe Dos Santos
For more than 20 years now, Alois Lichtsteiner has directed his gaze at the mountainous landscapes and the rugged rock formations on their slopes in order to create a varied body of work.
GRAPHIC PRINTS AFTER ALOIS LICHTSTEINER
2019, Christian Rumelin
Alois Lichtsteiner sees himself as a painter, nothing more, nothing less. This seems at first glance to be a rather banal observation. But in the light of a large body of graphic prints, this exhibition also contains aspects
2019, Interview Filipe Dos Santos & Alois Lichtsteiner
Filipe Dos Santos (FDS) : Your artistic path has followed the discipline of painting for several decades. How did you come to encounter paper as a medium and how did you get into woodblock printing ?
INTERVIEW ON HIS MONOTYPES 2016
2016, Interview between Christian Cuénoud and Alois Lichtsteiner
Christian Cuénoud (CC) : The first question that I want to ask you is simple, why all this sudden appearance of great cycles of engravings and this very intense search in the direction of wood, paper and ink?
A PAINTING IS A WAY OF DIRECTING THOUGHTS SIMULTANEOUSLY INWARD AND OUTWARD
2016, conversation between Alois Lichtsteiner and Christian Cuénoud, moderated by Heinz Stahlhut
Heinz Stahlhut (HS): How did this exhibition project come about, whose initiative was it, which ideas were your own?
2013, Ulrich Loock
The colours which have appeared in Alois Lichtsteiner’s paintings since 2011 burn through the surfaces of his earlier work. These are muted, impure, or cold and hard colours – in these paintings even a bright red speck has the quality of ice.
THE SIDE FACING THE WORLD
2012 revised, Ulrich Loock
The article below was written by Ulrich Loock more than ten years ago for the “Birken und ein Berg” (“Birch trees and a Mountain”) exhibition at the Museum of Art Lucerne.
2012, Christiane Hamacher
“I’m interested in overcoming fear: to hide from it, run away, then turn and face it, exorcise it, to be ashamed because of it and finally, to be afraid of fear. That’s the subject.” Louise Bourgeois
GLAS - PHILOSOPHICAL SHARDS
2012, Yves Bossart
As a work of art, glas is both transparent and opaque. It combines optical clarity with the impenetrability of symbol. GLAS is a sensual metaphor,
THE GLAS AND THE SPOTS
2012, Tony Frey
«The Large Glass (Duchamp) on the other hand is a mystery to me, indescribable, no book I could have written would have brought me any nearer to the subject.» Johannes Gachnang
A MOUNTAIN TOUR
2008, Tony Frey
When we were woken by Z, who with reddened eyes had been trying to keep himself awake reading the paper and doing crossword puzzles
BETWEEN HAND AND EYE
2008, Ulrich Loock
In his outstanding essay on seeing, “Eye and Mind”, which revolves round the experience of the seeing body also seeing oneself and thus of not only seeing things from the outside
THE INCOMPLETE TRANSPARENCY AND REPRODUCIBILITY OF PHENOMENA – ON THE EPISTEMOLOGY OF ALOIS LICHTSTEINER'S BIRCH AND MOUNTAIN PAINTINGS
2008, René Stettler
Viewers of Alois Lichtsteiner’s Birch and Mountain Paintings are faced with a problem. It seems to me to be the challenge of making visible the eloquent epistemological concept
TRANSITIONS. THE ART HISTORIAN'S GAZE ON TRADITIONS WITHIN ARTISTIC ISSUES
2008, Peter J. Schneemann und Susanne Schneemann
Fields of snow, mountainscapes as a play between ivory and zinc alloy dominate one of the foremost groups of Alois Lichtsteiner’s works, “Untitled” (Mountains).
PAINTING IS POSSIBLE - ALOIS LICHTSTEINER'S «MOUNTAIN PAINTINGS»
2003, Matthias Frehner
Thesis: Painting mountains is like climbing without a rope. One brushstroke too many, or in the wrong place, means loss of balance, a fall.
THE SIDE FACING THE WORLD
2001, Ulrich Loock
In three rooms at the new Museum of Art Lucerne, the exhibition BIRKEN UND EIN BERG BIRCH TREES AND A MOUNTAIN features works from 1997 to 2001, which take birch-bark as their “motif”.