Landesmuseum Zürich

Collapsing houses (1972) and the burning chair «Monumentino da Casa» (1974) by Alessandro Mendini mark the death of modernism and the beginning of postmodernism.
Photo: Stephan Rappo © Swiss National Museum

Gas Pumps and Ziggurats and Apocalypse Then Sections The use of fragments from other cultures, as well as recycled parts and everyday objects are typical of postmodernism. Ettore Sottsass was inspired by religious monuments encountered in his travels for his «Totem» (1965). In the background, the film ‘The way things go’ by the artist duo Fischli/Weiss, which captures the magic of the moment with ephemeral, worthless materials.
Photo: Stephan Rappo © Swiss National Museum

Apocalypse Then Section and Gas Pumps and Ziggurats Section
The penchant for ruins and the use of fragments from other cultures are typical of postmodernism. «Concrete Stereo » by Ron Arad (1983), «Totem» by Ettore Stottsass (1965) and posters by the Japanese graphic designer Tadanori Yokoo (1965-1967).
Photo: Stephan Rappo © Swiss National Museum

Presence of the Past and Bricolage Section
The «Stump of a column» by Trix and Robert Haussmann (1978/1982) is one of the highlights of Swiss postmodernism. In the background, the «Adhocist» chair (1968) by the Englishman Nathan Silver which, in the bricolage technique, has been put together using various bit and pieces.
Photo: Stephan Rappo © Swiss National Museum

Apocalypse Then Section
A penchant for ruins is a facet of postmodernism. Hightech and the post-industrial world collide with each other. The stereo system cast in concrete, «Concrete Stereo» (1983) by Ron Arad looks like part of a demolished building.
Photo: Stephan Rappo © Swiss National Museum

The Memphis group created a stir in the design world of postmodernism. Its members romp about on the boxing ring seat ensemble by Masanori Umeda. In the foreground, the «Murmansk» bowl (1982) by Ettore Sottsass and a vessel by Nathalie du Pasquier.
Photo: Stephan Rappo © Swiss National Museum

New Wave Section
The «Proust» armchair (1978) by the legendary Alchimia and Memphis co-founder Alessandro Mendini is one of the highlights of the exhibition. In this piece of furniture, he brings together and satirises the history of style, literature and Impressionism.
Photo: Stephan Rappo © Swiss National Museum

New Wave Section
The toy-like prototypes of an iron, a toaster and a lamp by the Memphis member Michele De Lucchi are in the typical candy colours of postmodernism. Although they were never mass-produced, they anticipate the fun product design of later years.
Photo: Stephan Rappo © Swiss National Museum

New Wave Section
Mario Botta and Trix and Robert Haussmann are among the most important Swiss exponents of postmodernism. «Obliqua» armchair (1987) by Mario Botta in the foreground, behind it the «Musical chair» by the Haussmanns (1981).
Photo: Stephan Rappo © Swiss National Museum

New Wave Section
Peter Shire was the most important American member of the Memphis Group of designers. His armchair «Bel Air» (1981–1982) is a homage to Californian beach culture. Shark fin, water ball and bolster are thrown together to make a piece of furniture. Behind it, fashion by Cinzia Ruggeri, Italy, and the Bronx Brothers from Zurich.
Photo: Stephan Rappo © Swiss National Museum

New Wave Section
In the 1980s, postmodernism entered its ‘hot’ phase. A view of Swiss and international representatives of postmodernism: «Homage to Lévi-Strauss» dress (1983-1984) by Cinzia Ruggeri, «Bel Air» armchair (1981-1982) by the American Memphis member Peter Shire. Behind it, lamp and armchair by Mario Botta (1986 and 1987) and the «Musical Chair» by Trix and Robert Haussmann (1981).
Photo: Stephan Rappo © Swiss National Museum

New Wave Section
In the 1980s, postmodernism entered its ‘hot’ phase. A view of Swiss and international representatives of postmodernism: «Homage to Lévi-Strauss» dress (1983-1984) by Cinzia Ruggeri, «Bel Air» armchair (1981-1982) by the American Memphis member Peter Shire. Behind it, lamp and armchair by Mario Botta (1986 and 1987) and the «Musical Chair» by Trix and Robert Haussmann (1981).
Photo: Stephan Rappo © Swiss National Museum

Picture of Lady Shiva, the diva of the Zurich club and party scene, in clothes from the «Thema Selection» store (1980).
Photo: Stephan Rappo © Swiss National Museum

Club room
In the «Strike a Pose» club room, dedicated to music and video clips, postmodern dancers, musicians and performance artists present their act. In the foreground are the turntables of the hip-hop musician and DJ, Grandmaster Flash.
Photo: Stephan Rappo © Swiss National Museum

Club room «Strike a Pose»
In postmodernism, the world of musicians, artists, performers and party-goers fuses into a pulsating organism. The dance costume by David Salle for the ballet by Karole Armitage (1986), who became famous as the ‘punk ballerina’ , is lit up from the inside.
Photo: Stephan Rappo © Swiss National Museum

Money Section
Towards the end of the 1980s, the once-subversive postmodernism became enmeshed in big money. With the slogan «Protect me from what I want» (1985), the American artist Jenny Holzer pinpointed its ambivalent attitude towards consumer society. Right-hand side: «Mickey Mouse» tea set by Michael Graves Design Group, 1991.
Photo: Stephan Rappo © Swiss National Museum

Signs Taken for Wonders Section
The last section of the exhibition is devoted to the power of signs and symbols. The Chinese artist Ai Weiwei applies the Coca Cola logo to a 2000-year-old Chinese urn, creating a clash between an antique cultural object and global capital. The vase is among the highlights of the exhibition.
Photo: Stephan Rappo © Swiss National Museum