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
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
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.