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1/3 Press Release Fly Me to the Moon. The Lunar Landing, 50 Years Later

Press Mönchsberg 32 5020 Salzburg Austria T +43 662 842220-601 F +43 662 842220-700 [email protected] www.museumdermoderne.at

The Museum der Moderne Salzburg mounts a grand exhibition to celebrate the fiftieth anniversary of the first moon landing—an event that, more than any other before it, changed humanity’s relationship with its environment. Salzburg, July 19, 2019. Fly Me to the Moon. The Lunar Landing, 50 Years Later will whisk the Museum der Moderne Salzburg’s visitors off on a fantastic voyage into the rich history of creative engagements with the moon. The show’s narrative arc is anchored by the titular lunar landing half a century ago, the first time a human set foot on the moon, framed by excursions into the histories of science and art and an examination of the wide-ranging consequences of this watershed event. Around 280 exhibits, from copperplate prints and paintings to photographs, works of video art, and multimedia installations, reflect the diverse—scientific, artistic, philosophical, and utopian—meanings that the moon has held for humans. The majority of the works date from the twentieth and twenty-first centuries; many come from the outstanding collection of our cooperation partner the Kunsthaus Zürich, complemented by loans from other institutions and a selection from the Museum der Moderne Salzburg’s own holdings. “The moon has exerted an enormous fascination on humans for millennia, and in this exhibition, we use the anniversary of the lunar landing as an opportunity to explore how the moon and the voyage to it as a theme and challenge to the imagination have inspired artists for centuries. Seeing the Earth from space for the first time created an unprecedented awareness of the fragility of our existence; the blue planet itself became a key emblem of life and its vulnerability, with a correspondingly large presence in visual art,” notes Thorsten Sadowsky, director of the Museum der Moderne Salzburg. The tour opens with a chapter of the exhibition dedicated to the moon’s significance in history, from Galileo Galilei to classic modernism. The works on view in this section date from a time when taking a stroll on the moon’s surface was no more than a wishful fantasy. Technical achievements such as the telescope at least made it possible to subject the Earth’s satellite to detailed observation, as numerous works of art attest. The exhibition’s second chapter is devoted to the epoch-making event of July 20, 1969, and the political and technological developments that led up to it. On October 4, 1957, the Soviet Union had successfully launched Sputnik, the first artificial Earth satellite, into orbit, provoking the so-called “Sputnik shock” in the West and triggering what became known as the space race with the United States. As Fly Me to the Moon illustrates, both political systems’ space programs were flanked by extensive propaganda campaigns that resonated in visual art. The third and final chapter turns the spotlight on the lunar landing’s aftereffects, scrutinizing the figure of the astronaut as a model of masculinity, while a special display on “Afronauts” showcases the geographical diversity of lunar and space programs.

Press Release Fly Me to the Moon The Lunar Landing, 50 Years Later July 20―November 3, 2019 Mönchsberg [4]


Press T +43 662 842220-601 F +43 662 842220-700 [email protected] www.museumdermoderne.at

The exhibition is made possible by the generosity of numerous lenders, including the Ekaterina Cultural Foundation, Moscow; the Berliner Sparkasse; the Bröhan-Museum Berlin, Landesmuseum für Jugendstil, Art Deco und Funktionalismus; the Fondation Beyeler in Riehen/Basel; the Tate, London; the UBS Art Collection, Zurich; the Zabludowicz Collection, London; the Österreichische Nationalbibliothek; several private collectors; and the Kunsthaus Zürich. With works by Darren Almond (1971 Appley Bridge, GB―London, GB), Kader Attia (1970 Dugny, FR―Berlin, DE), Hans Baluschek (1870 Breslau, PL―1935 Berlin, DE), Nuotama Frances Bodomo (1988 Accra, GH), Coop Himmelb(l)au (founded in 1968 by Wolf D. Prix, Helmut Swiczinsky and Michael Holzer in Vienna, AT), Robert Delauny (1885 Paris, FR―1941 Montpellier, FR), Cristina de Middel (1975 Alicante, ES―Uruapan, MX), Vladimir Dubossarsky & Alexander Vinogradov (1964 Moskau, RU / 1963 Moskau, RU―Milan, IT), Max Ernst (1891 Brühl, DE―1976 Paris, FR), Nir Evron (1974 Herzeliya, IL―Tel Aviv, IL), Sylvie Fleury (1961 Geneva, CH), Lucio Fontana (1899 Rosario de Santa Fe, AR―1968 Varese, IT), Johann Heinrich Füssli (1741 Zürich, CH―1825 Putney Hill, London, GB), Hannah Höch (1889 Gotha, DE―1978 Berlin, DE), Ernst Ludwig Kirchner (1880 Aschaffenburg, DE―1938 Davos, CH), Kiki Kogelnik (1935 Bleiburg, AT―1997 Vienna, AT), David Lamelas (1946 Buenos Aires, AR―New York, NY, US, and Brussels, BE), Fritz Lang (1890 Vienna, AT―1976 Beverly Hills, CA, US), Lena Lapschina (1965 Kurgan, RU―Vienna, AT), Sonia Leimer (1977 Meran, IT―Vienna, AT), Zilla Leutenegger (1968 Zürich, CH), René Magritte (1898 Lessines, BE―1967 Brussel, BE), Georges Méliès (1861 Paris, FR―1938 Paris, FR), Pierre Mennel (1964 Zürich, CH), Jyoti Mistry (1970 Durban, ZA―Göteborg, SE), Gianni Motti (1958 Sondrio, IT―Geneva, CH), Edvard Munch (1863 Loiten / Hedmark, NO―1944 Ekely / Oslo, NO), Amalia Pica (1978 Neuquén, AR―London, GB), Robert Rauschenberg (1925 Port Arthur, TX, US―2008 Captiva Island, FL, US), Werner Reiterer (1964 Leibnitz, AT―Vienna, AT), Thomas Riess (1970 Zams, AT―Vienna, AT), Pipilotti Rist (1962 Grabs, CH―Zürich, CH), Michael Sailstorfer (1979 Velden, AT―Berlin, DE), Niki de Saint Phalle (1930 Neuilly-sur-Seine, FR―2002 La Jolla, CA, US), Tom Sachs (1966 New York, NY, US), Roman Signer (1938 Appenzell, CH―St. Gallen, CH), Yinka Shonibare (1962 London, GB), Andrei Sokolov (1931 Leningrad, RU―2007 St. Petersburg, RU), Nedko Solakov (1957 Cherven Briag, BG―Sofia, BG), Andy Warhol (1928 Pittsburgh, PA, US―1987, New York, NY, US), Nives Widauer (1965 Basel, CH―Vienna, AT) and others.



Produced in cooperation with the Kunsthaus Zürich, CH Publication: Fly Me to the Moon. 50 years on Zürcher Kunstgesellschaft / Kunsthaus Zürich (Ed.). With a foreword by Christoph Becker and Thorsten Sadowsky, and texts by James Attlee, D. Denenge Duyst-Akpem, Walter Famler, Liam Gillick, Cathérine Hug, Ulrich Köhler and Tristan Weddigen. Poems and excerpts from the 19th century to the present Softcover with PVC cover, 376 pages, 400 colored pictures Snoeck Verlagsgesellschaft, Cologne, 2019 German and English edition ISBN 978-3-86442-278-2 € 48 The exhibition is kindly supported by

Conception: Cathérine Hug, Kunsthaus Zürich Curators, Museum der Moderne Salzburg: Thorsten Sadowsky with Christina Penetsdorfer and Tina Teufel Press contact Martin Moser T +43 662 842220-601 M +43 664 8549 983 [email protected] Visitor information Museum der Moderne Salzburg Mönchsberg 32 5020 Salzburg, Austria T +43 662 842220 [email protected], www.museumdermoderne.at Hours: Tue to Sun 10 a.m.–6 p.m., Wed 10 a.m.–8 p.m. During the festival season also Mon 10 a.m.–6 p.m. Admission Mönchsberg Regular €8.00 Reduced €6.00 Families €12.00 Groups €7.00 Tickets with reduced Mönchsberg lift tariff available at the bottom station.

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1/5 Press Images Fly Me to the Moon. The Lunar Landing, 50 Years Later


The use of visual material is permitted exclusively in connection with coverage of the exhibition and with reference to the cited picture captions and copyright. No work may be cut nor altered in any way. Download: http://www.museumdermoderne.at/en/press Username: press Password: 456789

Press Images Fly Me to the Moon The Lunar Landing, 50 Years Later July 20―November 3, 2019 Mönchsberg [4]

Robert Delauny Formes circulaires. Soleil, lune, 1913–1931 (Circular Forms, Sun, Moon) Oil on canvas Kunsthaus Zürich

Hans Baluschek, Illustrations Gerdt Bernhard von Bassewitz, Text Verlagsanstalt Hermann Klemm A.-G., Berlin-Grunewald Peterchens Mondfahrt. Ein Märchen, after 1928 Deutsche Märchenbücherei Inv.-Nr.:A 82-031 Bröhan-Museum, Berlin Photo: Bildarchiv Bröhan-Museum, Berlin

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Max Ernst Moonmad, 1944 Bronze Fondation Beyeler, Riehen/Basel, Sammlung Beyeler Photo: Peter Schibli

Lucio Fontana Concetto spaziale, 1949/1950 (Spatial concept) Unprimed canvas, perforated Kunsthaus Zürich, Donated by Teresita Rosini Fontana, 1976 © Kunsthaus Zürich

René Magritte Le seize septembre, 1956 (Sixteenth of September) Oil on Canvas Kunsthaus Zürich, Donated by Walter Haefner, 1995 © Bildrecht, Vienna, 2019



Yves Klein Relief Planétaire RP8, 1961 Synthetic resin, painted, on wood Kunsthaus Zürich, 1973 © Kunsthaus Zürich

Kiki Kogelnik Moon Baby, 1968 Silkscreen on paper, Ed. 25/30 Kiki Kogelnik Foundation Copyright Kiki Kogelnik Foundation. All rights reserved

Robert Rauschenberg Ape, 1969 From the Stoned Moon Series 3 colour lithograph on Special Arjomari paper Galerie Ziegler, Zürich © Robert Rauschenberg Foundation / VG Bild-Kunst, Bonn / Bildrecht, Vienna, 2019, Photo: © 1969 Robert Rauschenberg and Gemini G.E.L.



Yinka Shonibare CBE Spacewalk, 2002 Screen printed cotton fabric, fiberglass, plywood, vinyl, plastic, steel Stephen Friedman Gallery, London © Bildrecht, Vienna, 2019

Werner Reiterer Die Anfänge der Raumfahrt, 2004 (The beginnings of space travel) Plastic, clothing, hose, gas bootle Collection Denise & Günther Leising, Graz, Austria © Bildrecht, Vienna, 2019

Sylvie Fleury High Heels on the Moon, 2005 Neon installation SCHAUWERK Sindelfingen Courtesy Mehdi Chouakri, Berlin



Michael Sailstorfer Cast of the surface of the dark side of the moon, 2005 Fiberglas, spotlights Courtesy of the artist and König Galerie, Berlin/London Photo by Ulrich Jansen

Vladimir Dubossarsky & Alexander Vinogradov Cosmonaut No. 1, 2006 Oil on canvas Courtesy Vladimir Dobrovolski

Nuotama Frances Bodomo Afronauts, 2014 Filmstill Courtesy the artist

Rosa Barba The Color Out of Space, 2015 HD video (colour, sound), 5 coloured glass filters, steel base Courtesy the artist, Berlin


1/4 Exhibition views Fly Me to the Moon. The Lunar Landing, 50 Years Later


Exhibition Views Fly Me to the Moon The Lunar Landing, 50 Years Later July 20―November 3, 2019 Mönchsberg [4]

All: Fly Me to the Moon. The Lunar Landing, 50 Years Later Exhibition views, © Museum der Moderne Salzburg, Photo: Rainer Iglar Download: www.museumdermoderne.at/en/press/detail/fly-me-to-the-moon/ Username: press Password: 456789

Yinka Shonibare CBE Space Walk, 2002 Screen printed cotton fabric, fiberglass, plywood, vinyl, plastic, steel Courtesy Stephen Friedman Gallery, London

Sylvie Fleury First Spaceship on Venus, 1997 Fake fur, wood, Styrofoam, loudspeaker Sammlung Ringier, Switzerland

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Fly Me to the Moon. The Lunar Landing, 50 Years Later Exhibition view © Museum der Moderne Salzburg, Photo: Rainer Iglar








Left: Tom Sachs Saturn V (painted version), 2011 Bronze, plinth from plywood Galerie Thaddaeus Ropac, London / Paris / Salzburg Right: Vladimir Dubossarsky & Alexander Vinogradov Cosmonaut No. 1, 2006 Oil on canvas Courtesy Vladimir Dobrovolski





Cristina de Middel Afronauts, 2013 Installation of photographs Courtesy of the artist

Mönchsberg 32 5020 Salzburg Austria T +43 662 842220-101 F +43 662 842220-700 [email protected] www.museumdermoderne.at

1/5 Wall texts Fly Me to the Moon. The Lunar Landing, 50 Years Later

Fly Me to the Moon The Lunar Landing, 50 Years Later July 20―November 3, 2019 Mönchsberg [4] Wall texts Introtext “Fly me to the moon / Let me play among the stars …”, Frank Sinatra sings in an ode to Earth’s satellite, whose influence is felt not only in the ebb and flow of the tides but also in cyclical patterns that pervade life on our planet. Humans have always been deeply fascinated by the moon, as is reflected both by centuries of scientific scholarship and by the art that its powerful allure has inspired across media and genres. This summer, the Museum der Moderne Salzburg dedicates a special exhibition to the moon to mark a major anniversary: fifty years ago, on July 20, 1969, the first human being set foot on its surface—the successful landing of the lunar module Eagle ended the race to the moon between the Soviet Union and the United States. By bringing back images of the Blue Planet as seen from space, the mission also sparked a new awareness of the fragility of Earth’s—and hence our own—existence. With a focus on visual art from the twentieth and twenty-first centuries, complemented by excursions into the history of science, literature, and music from the seventeenth century to the present, the show presents illustrative examples of humanity’s multifaceted engagement with its moon. The exhibition is divided into three thematically organized sections: the investigation of the moon, its surface, and its influence over man and nature; the conquest of the moon, with the drama and heroics of space travel; and a survey of how human perspectives on the moon have shifted, with utopian projects for lunar colonies, the cultural discourse on Earth’s pull and zero gravity, and the growing understanding of how sensitive our home planet’s climate is.


Wall texts I. Mapping the Moon The Moon has not only been a source of great fascination for humankind through the ages, but also influences the Earth and all life on it. It controls the ocean tides and the rhythm of the seasons, thereby forming a close link with humanity itself. Early on, scholars began to observe the Moon and try to depict and explore it using simple devices. The oldest surviving representation of the Moon in crescent form can be found on the Nebra sky disk (2100 to 1700 BCE), which is now held at the State Museum of Prehistory in Halle (Saale), Germany. Pointing the way was Galileo Galilei’s determined look through a Dutch telescope, thus laying the foundations for a new view of the world. His volume Nuntius Sidereus, first published in 1610 with a relatively high initial print-run of 550 copies, soon became widely known. However, the Roman-Catholic Church rejected his groundbreaking findings as heresy. Until the arrival of more advanced technologies, the only way to explore the universe was through optical instruments such as telescopes that enabled scientists to map the surface of the Moon. Eventually, the continuous development of observation devices and the rise of photography in the nineteenth century afforded ever more detailed views of the Earth’s natural satellite. This scientific research also gave birth to notions of traveling to the Moon and conquering it. Earlier fantastic tales of journeys into space, such as Jules Verne’s From the Earth to the Moon Direct in 97 Hours 20 Minutes (1865) and other science fiction stories—a term that first emerged as a literary genre in 1851—served as a blueprint for later scientists and space engineers. II. Moonlight and Moon Shadow The magical, enigmatic character of moonlight has fascinated painters and poets from the Renaissance to this day. Especially in the early days of industrialization and with the invention of photography, moonlight became a popular subject. Artistically more or less neglected until the nineteenth century, the Moon’s increasingly detailed scientific exploration now also brought it to the attention of visual artists such as Knud Andersen Baade, Johan Christian Dahl, or Friedrich Nerly in the Romantic era, and, later, Expressionists like Ernst Ludwig Kirchner, Edvard Munch, or Marianne von Werefkin, and the Surrealists Max Ernst and René Magritte. A landscape at night, bathed in the moon’s cool, indirect light with its dramatic shadows has its own very particular appeal. It accentuates silhouettes and creates a certain monumentality—somewhat surprisingly, considering that the light of the full moon is 400,000 times weaker than sunlight.


III. Moon Sickness and Extreme Experiences The Moon and its influence on humans has not only positive connotations, especially when it comes to the human psyche. Indicative of this are words like “lunatic” (from “luna,” the Latin word for moon) or “moonstruck” (which can mean infatuated or madly in love, but also mentally deranged) as well as malevolent folkloric beasts, such as werewolves, which, as creatures of the night, are associated especially with the full moon. Scientists dealing with what for ordinary mortals were sheer unimaginable dimensions, seemed to be walking a fine line between genius and madness. In many cases, however, it later became apparent that those who had been declared crazy at the time were right after all and had to be rehabilitated. The most famous among them was Galileo Galilei. IV. The Modern Space Age: Cold War and Space Race In 1957, the satellite Sputnik (Russian for “companion”) was the first artificial object to be placed in orbit around the Earth, heralding the start of a “space race” between the USA and the USSR. In the aftermath, which became known as the “sputnik shock” in the West, the USA founded its own space program NASA a year later. The USSR retaliated with a major sensation: on 12 April 1961, the Russian cosmonaut Yuri Gagarin became the first human being to travel into space. In his space capsule Vostok 1 (Russian for “East”) he took one orbit around the Earth, a flight which lasted 108 minutes in total. This event prompted John F. Kennedy to proclaim in his now-famous speech in May 1961: “I believe that this nation should commit itself to achieving the goal, before this decade is out, of landing a man on the Moon … No single space project in this period will be more impressive to mankind.” Today, in the post-Soviet era, critical reflection on the space race has taken a new course. In Cosmonaut No. 1, Vladimir Dubossarsky and Alexander Vinogradov combine two icons of the competing factions: a Barbie doll, introduced to the world market in 1959, and Yuri Gagarin, who became part of the history of mankind two years later. The piece also highlights the lack of diversity among the twenty-four astronauts who went to the Moon (twelve of them actually set foot on it): they all were white, male, and US Americans. Of the 550 people who have traveled into space so far, only sixty have been women; at the same time, there have been—and are—many female scientists contributing behind the scenes to a space mission’s success.


V. Heroes and Anti-Heroes: Mediatization of Space For a long time, Yuri Gagarin and Neil Armstrong were the world’s heroes of the race for supremacy in space. However, any number of sacrifices have to be made for such heroes to emerge, and space travel is a prime example demonstrating how many people stand behind the few who are in the limelight. In her installation Moon Golem (2009), Amalia Pica draws attention to this issue, referencing Van Hoeydonck, who in 1971 was commissioned by NASA to make a small statuette to commemorate the eight astronauts and six cosmonauts who had given their lives in the service of space exploration. The list is not complete, however. For example, Robert Henry Lawrence Jr. is missing, the first Afro-American astronaut, who died during a practice flight in 1967. In the course of the Apollo 15 mission, astronauts David Scott and James Irwin left behind Van Hoeydonck’s figurine at the Moon landing site. Forty-eight years later, Pica’s installation recalls this event. VI. The Colonization of the Moon: Projection Screen for New Utopias In the course of its “colonization,” Apollo missions 11, 12, 14, 15, 16, and 17, and further unmanned lunar missions left behind a whole host of objects on the Moon (weighing a total of around 187,400 kg) including, most emblematically, six US flags. In the light of the 1967 UN Outer Space Treaty, which stipulates that the exploration of the Moon should take place only in the interest of all nations, this hoisting of flags must have seemed a provocation to many. The gesture was all the more ambivalent as it took place during an age of decolonization on Earth, which, if not in cultural or economic terms, had by this point at least been making some progress in political terms. Very few people today know that, in addition to the US astronauts and USSR cosmonauts, there had also been a nascent “Afronaut” space program, for example in Zambia in 1964, but had to be abandoned due to lack of finance. Precisely because the Moon had previously been reserved to a small, exclusive group, it remains a projection screen for the most imaginative hopes and desires of all those who did not have this opportunity, and this is encapsulated in the term “Afrofuturism.”


VII. Micro and Zero Gravity The history of space travel begins around 1900 with the development of prototypes for later rockets and space technology. Konstantin Tsiolkovsky is considered the father of modern astronautic theory and first published on the theory of rocket propulsion in 1903. One of his many discoveries was that, when leaving orbit, the forces of gravity are overcome and the body enters a state of weightlessness. One highlight of the history of levitation is undoubtedly the orbit of cosmonaut Yuri Gagarin, who in 1961 was the first man to orbit the Earth. Ascending into the sky and entering other spheres is a dream as old as humanity itself. It is captured, for example, in the ancient story of Icarus, and in the late 1960s it gained further impetus, not only in the journey to the Moon, but also in the context of the hippie movement. VIII. The Blue Planet Although the civil rights and peace movement of the late 1960s was initially somewhat ambivalent about the Moon landing, it was precisely this image—the Earth seen from the Moon—that was to become an icon, in particular for the emerging environmental movement. The image of our blue planet seen from space was hailed—not without a certain irony—in the US counterculture magazine Whole Earth Catalog as the starting point of a creative evolutionary leap for humanity: “We are as gods and might as well get good at it.” With humanity’s responsibility in view of the devastating consequences of the climate crisis, this statement now harbors a new significance in that it will essentially be up to us whether the Earth remains habitable for humans in the not-so-distant future. Already there are plans for human settlements on Moon and Mars, and conflicts of interest are arising between space agencies, the world’s powerful nations, and private businesses, who want to use the Moon as a stopover for further missions, but are also looking to exploit it for future energy resources such as helium-3.

The determinative event on this lunar journey was not the destination, but the starting point ... not the Moon, but the Earth. Günther Anders Die Selbstbegegnung der Erde, 1969/70

On 4 October 1957, the satellite Sputnik (Russian for ‘companion’) was the first artificial object successfully put into Earth’s orbit. At the same time it was the starting signal for the space race between the US and the Soviet Union. The event known as ‘Sputnik shock’ in the West subsequently led to the founding of NASA in 1958. On 12 April 1961, the USSR upped the ante by successfully launching Juri Gagarin into space in the space capsule Vostok 1 as the first human and, after one orbit around the Earth lasting 108 minutes, actually bringing him back to Earth unscathed. This event was the obvious reason for US President John F. Kennedy to programmatically proclaim on 25 May 1961, in his Moon speech to the US Congress: ‘I believe that this nation should commit itself to achieving the goal, be-fore this decade is out, of landing a man on the Moon and returning him safely to the Earth. No single space project in this period will be more impressive to mankind […].’ This speech was well received and met with acceptance, since the 1950s as a so-called cultural ‘space age’ had already prepared large sections of the American population for what was to come. Symptomatic for the latter was a popular but for our contemporary taste also curious TV- programme with the future NASA chief engineer Dr Wernher von Braun as narrator, A Man in Space, which aired on 9 March 1955 and was actually a Walt Disney production. Many, sometimes unspectacular spheres of life addressed space travel, such as the seemingly all but forgotten vase design, which aesthetically celebrates the structure of the lunar surface and now has become the focus of attention in an installation by Sonia Leimer (cat. 281, p. 111).

While in the 1950s space travel was glorified ideo- logically on both sides of the Iron Curtain, the competing powers in the 1960s gained momentum with training and test runs, the US — with a staff of 400,000 engineers and scientists — expended a budget $ 24 billion to transport the massive rocket Saturn V to its presidentially declared destination. The state-funded manned space flight entered, after its (also medial) peak on 20 July 1969, a gradually progressing crisis of confidence triggered by the civil rights movement in 1968, which then manifested itself at the latest with the Challenger disaster witnessed in real time on TV by millions of people some 33 years ago. And yet, in 2005, George W. Bush did nonetheless announce plans to establish a permanent manned Moon station by 2020. It should, however, come to pass quite differently, as we know. In the meantime, the use of the Moon has become much more pragmatic — space law has turned the celestial body from an entity to be annexed into a matter of negotiation within the framework of the UN Office for Outer Space and ESA, among others. In view of the growing danger of a military and commercial use of orbital space by various types of satellites, and the accumulation of space debris as a consequence, space law has become an integral part of an attempt at a cooperation within the

Fly me to the Moon — and back! (an introduction) Cathérine Hug

This exhibition and the book at hand on the occasion of the 50th anniversary of the Moon landing follow on from an exhibition honouring 50 years of manned space travel that took place in 2011 at Kunsthalle Wien, organised in cooperation with the Museum of Natural History and other partners. Its rather exciting continuation together with the DLR (Deutsches Zentrum für Luft- und Raumfahrt / German Aerospace Centre) included the participation of artists in the twentieth parabolic flight campaign.

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international community. The work of the Committee on the Peaceful Uses of Outer Space has produced five international treaties to date: the 1967 Outer Space Treaty, which stipulates that space exploration and exploitation should be for the benefit of all nations and for peaceful purposes, and four other contracts concluded between 1968 and 1979 to regulate non-commercial use of the Moon. An important though not quite uncontroversial resolution for the purpose of updating and developing the treaties, particularly with a view to avoiding the commercialisation and militarisation of space, was passed in 2002 at the UN Gen-eral Assembly in New York. The commercial use of the Moon, however, has increasingly evolved into a subject of controversy instead of being solved, as ironically addressed by artist Zhen Wang in a short film (cat. 295, p. 286). From a historical point of view, the Moon has always been a mystery that fascinated and continues to fascinate all cultures of the world from the Stone Age to the present day. The oldest cultural assets of humanity, such as the Nebra sky disk (2100 to 1700 BC, State Museum of Prehis-tory, Halle, Germany) with the first known representation of a crescent moon, are testimonies of this long fascination for the nearest celestial body. The exploration of the Moon is closely linked to the technical development of optical and visualisation devices and the recording of observations, which from the outset inevitably led to a productive alliance between technology and the visual arts. An inconvenient truth that should not be ignored here is the development of rocket propulsion technology under the leadership of the aforementioned Wernher von Braun, a scientist as success-ful as he was controversial, who first served at Peene- münde testing ground in the service of Nazi Germany and was later working for the US at NASA. The book at hand documents, contextualises and complements an exhibition that sees itself as a journey through the history of artistic exploration of the Moon since Galileo Galilei and the invention of the telescope. Looking back on several centuries of human fascination with the Moon, with an emphasis on the twentieth century and the present, it includes copperplate prints and paintings as well as photographs, video art, and multimedia installations. The starting point for the exhibition project was the col-lection of Kunsthaus Zürich with around 50 paintings and works on paper referencing the Moon. A spectacular opening is provided by Robert Delaunay’s large-format work Circular Forms. Sun and Moon that the painter worked on from 1912 to 1931 (cat. 118, p. 158). Its extended period of creation alone illustrates the perseverance Delaunay showed in his search for the perfect form. In addition to the stock of works from the collection and as the fruits of several years of research since 2010, we have included at least as many works on loan from international museums and private collections in Western and Central Europe,

Russia, Algeria, Botswana, Ghana, South Africa and New York. Our concept actually aims to highlight a geographical as well as a gender-specific diversity in the discourse around the subject of the Moon. Furthermore, in the light of the anniversary of the manned Moon landing, particular attention has been paid to taking into account both the western and the eastern perspective on the space race. And in view of the precarious socio-political situation of Afri- can Americans during the period of the Apollo programme in the 1960s and 1970s, as well as the critical notion that Moon (landing) exhibitions mostly follow the dominant discourse of western hegemonic thought, an attempt was made to counteract this tendency with relevant art and text contributions. The exhibition course as well as the book at hand are divided into eight sections that follow a content-related as well as a formal-associative structure: I) Astronomy and gestalt; II) Moonlight and -shadow; III) Moon sick-ness and extreme experiences; IV) Modern cosmonautics: cold war and space race; V) Heroes and anti-heroes: mediatisation of space; VI) Colonisation of the Moon: projec-tion screen for new utopias; VII) Micro and zero gravity; and finally VIII) The Blue Planet. The approach in general and within the in-dividual chapters is as much epochal as it is cross-medial, encouraging by this a networked way of thinking in the face of such a complex topic. British-born and Brooklyn-based conceptual artist Liam Gillick wrote the audio guide for 22 artist contributions, venturing into unfa-miliar territory, like an astronaut, to explore new possibilities in terms of language and interpretation (cat. 180, p. 180). I Astronomy and gestalt

For centuries, the lunar surface has engaged countless thinkers from the fields of astronomy, literature and philosophy. With his purposeful look through a Dutch tele-scope and his notes, Galileo Galilei set the course for a new era of our understanding of the world. The volume Nuntius Sidereus, first published in 1610 in a rather large edition of 550 copies was soon widely known (cat. 178, p. 93). As long as a flight to outer space was impossible, there was no other option than to resort to scientific magnifying apparatus to map the surface of the Moon. This mapping activity was kept going by the continuous evolution of observational tools, and had been revolutionised in particular by the advent of photography in the nineteenth century. From his roof top in New York City in 1865, Lewis Morris Rutherfurd (1816—1892), using an 11-inch camera lens, succeeded in capturing the first precise image of the lunar surface, which remained the norm for over three dec-ades and was printed and distributed globally, including in Camille Flammarion’s popular reference work Les terres du ciel (1877, cat. 158, p. 100).

Cathérine Hug

As for the early photographic coverage of the lunar surface from ‘close proximity’, James Nasmyth (1808—1890) and James Carpenter (1840—1899) came up with some- thing rather ingenious: since photographing details of the lunar surface was not yet possible, the engineer Nasmyth completed drawings of what he saw through the telescope. He then made plaster models of the lunar surface on the basis of size calculations that the astronomer Carpenter had made with the help of the initial drawings. The resulting plaster models were then photographed. The deception is astonishing, scientific ingenuity and artistic beauty meet here in exemplary fashion (cat. 244, p. 99). Before turning to the myriad photographs that the Apollo 11 astronauts made of the lunar surface, let us first turn to the oldest Moon representations and interpretations in human history. The Nebra sky disc is the oldest known representation to date. A particularly interesting category includes artefacts related to but not directly representing the Moon, as examined by Darren Almond in his photo series Present Form (2012/13, cat. 8, p. 90). Proto-Celtic names such as Prír or Còig refer to the current location and the unique-ness of these boulders known as ‘standing stones’. They were positioned about 4,000 years ago on the Scottish Northern Isles, suggesting an understanding of the lunar cycles already during the Bronze Age. At the time it had already become apparent that the lunar orbit moved, and the stones served to better recognise this continuous displacement in front of flat landscape. It is not a huge stretch to asso- ciate the archaic beauty and mysterious function of these stones with the stone desert of the Moon. Although water is considered to be the source of all life, it is primarily rock that explains the origins of the universe and therefore also of life. In this sense, the greatest merit of the lunar missions — our ‘self-encounter with the Earth’ (Günther Anders, 1969) — is that they brought back to Earth nearly 400 kilogrammes of stone samples for research purposes … along with countless photographs. Nowadays this trove of images is publicly accessible and free to use by indicating the NASA- entry. The fact that the photographs of the missions always had an individual creator (the respective astronauts) and that they used high-quality camera material, such as the Hasselblad 500EL and 70mm films during Apollo 11, raises the question of the whereabouts and further use of the original prints. Incidentally, the Soviet space missions were much less offensive and productive in terms of pub- licising imagery legitimising its work, not least because it wasn’t deemed necessary to convince the citizens of the usefulness of their work. A delightful aspect of the prints, which were printed on photographic paper and hallmarked with the NASA stamp, is that their dissemination enabled them to function as advertisements for the space agency, and that now they allow conclusions to be drawn about governmental selection criteria. The largest private col-lection in Europe of around 1,200 vintage prints, including

prints of all Apollo missions, is owned by Victor Martin- Malburet in Paris. It provides information, for instance, on other images of the dawn of the Moon and the Earth that had been taken in addition to the one reprinted millionfold (cat. 15 — 64, cover and p. 117 a.o.).

II Moonlight and -shadow

The transition from the lunar surface to the moon-light is made by Katie Paterson’s installation Earth — Moon — Earth (2007, cat. 246, p. 107), where Ludwig van Beethoven’s Moonlight Sonata from 1802 travels to the Moon and back before sounding on the automated grand piano. More specifically, the score was converted into Morse code, sent via Earth-Moon-Earth (EME) radio frequency, and bounced back to Earth from the lunar surface (‘moonbounced’), whereby, as might be expected, some information was lost. The absence of certain sounds that disappeared on the way or remained on the Moon lends this museal interpretation of Beethoven's most famous work an idiosyncratic, literally ‘moon-defined’ character.

The enigmatic nature of the cool, indirect moonlight has long been the focus of painters in particular, such as the romantic painters Johan Christian Dahl, Albert von Keller and Friedrich Nerly, the expressionists Ernst Ludwig Kirchner, Edvard Munch, Marianne Werefkin as well as the surrealist Max Ernst (pp. 137 — 161). At a time when the Moon landing was still in the distant future, though the term ‘space age’ was already in use, Max Ernst examined the physical and mystical effects of the Moon on Earth dwellers. Earth and Moon are eternally interconnected celestial bodies that quite specifically affect our everyday life, one need only think of the tides for instance. The painting The Twentieth Century (1955, cat. 155, p. 161) is both a tribute to technological progress and a warning call to a century already battered by two world wars and genocide. The ruins of a self-destruc- tive civilisation to viewers appeared rather similar to ‘lunar landscapes’, and this conclusion does indeed have its reasons: the cool moonlight, emitted indirectly from the lunar surface makes night landscapes appear much more dramatic and accentuates features such as monumentality and silhouette, which otherwise might be experienced as less precise — a startling assessment, given that sunlight is three million times brighter than moonlight. Early ground-breaking exceptions in terms of moon-light are the paintings by Johann Heinrich Füssli (1741—1825) and the photographs by Edward Steichen (1879—1973): both picked up in their particular ways on the fascination and mystery of the moonlight, yet not by picturing it as a source of light but rather by focusing on the respective illuminat-ed subject. In both cases, the Moon sheds light onto the subconscious and illuminates things that would otherwise remain hidden (cat. 174, p. 134; cat. 283, p. 146).

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III Moon sickness and extreme experiences Although the starting point of our exhibition is the Moon landing, we will also look at motifs that relate to the relationship between the Moon and the Earth and in turn its influence on us humans. After all, is it not this three- way constellation that has sparked off our yearning and the concomitant endeavour to travel to the Moon in order to fathom its force? The turning of the tides is an example of such an effect, and so is obviously our division of the year into twelve months, that is: moons. The lunar effect, Moon sicknesses, and in particular those suffering from sleep-walking, had long been under suspicion of suffering from the influence of the light of the full moon (which has actually been refuted by scientific evidence). Captivatingly atmos-pheric, yet controversial from a gender-critical perspective, are Albert von Keller's interpretations of this theme that discern the phenomenon exclusively among women. They thus join the ranks of Jean-Martin Charcot’s spectacular hysteria-case studies, which were also considered ‘typically female’ (1893). Ugo Rondinone revisits the theme of the twelve months as mood-determining factors in his wall installation Moonrise (cat. 265, p. 181); the masks display grotesque faces oscillating in quality between eerie and insane. They do call to mind Franz Xaver Messerschmidt’s impressive Character Heads (53 versions between 1771 and 1783); above all though the artist manages to bridge the gap to the ritual of wearing a mask as a global phenomenon. The originals stem from a variety of sources, from tribal culture to cheap carnival props, thus referencing intercultural cross-border contexts. Furthermore, scientists, astronauts and astronomers, who had to deal with unimaginable dimensions and there-fore often remained misunderstood, time and again served as examples for the fine line between genius and madness — such as Ernst Wilhelm Leberecht Temple (1821—1889) who was greatly revered by Max Ernst. In many cases, it did later transpire though that the presumably crazy researchers were correct, and had to be rehabilitated. In Peter Schamoni’s film Maximiliana — The Illegal Practice of Astronomy (cat. 170,

p. 182), Max Ernst emphatically symbolises this lack of understanding through the development of a new typeface that initially seems cryptic, but can be comprehended when deciphered according to the criteria of basic research. On the other hand, Pierre Mennel’s astronaut in his film of the same name (cat. 236, p. 184) draws the impressive portrait of a person whose experience of the Moon and space travel gradually plunges him into an ever-greater and ultimately barely sustainable existential crisis, since he does not suc- ceed in satisfactorily communicating the essence of his borderline experience to his immediate environment, let

alone an expectant public. Communicating the experience of flying to the Moon and transmitting it medially to the world was, from the outset, a declared goal of both the Soviet and American space programmes; offering evidence was essential for the legitimacy of the efforts and expenditures of the space race. IV Modern cosmonautics Cold war and space race

It has been repeatedly mentioned and also pointed out in this volume, notably by Liam Gillick and D. Denenge Duyst-Akpem, that artists of all genres were mostly critical of the billion-dollar Moon landing project. There were too many social issues of much greater urgency on the agenda, such as racial segregation, the Vietnam War, the brutal crackdown on student revolts and Watergate. At the time of its cessation, the cost of the Apollo programme amounted to $ 25.4 billion, according to Congressional records from 1973. Bear in mind that President Kennedy, in his famous 1962 Moon speech — his phrase ‘for all mankind’ at the time announced NASA’s project as a humanistic project — originally estimated the cost at $ 7 billion, whereby he drew the (in today’s terms hardly meaningful) comparison that the per-capita tax expenditure was still lower than the average expenditure on cigarettes per person. However, the costs of the most expensive American research project was successfully compensated by its completion. With the arrival in the space business of other major powers such as India and China during the last fifteen years, and the prompt upgrade reaction by the Trump-administration, Gil Scott-Heron’s poem Whitey on the Moon (1970) appears rather timely, which, like a battle cry, rejects the hegemonic claims of white people to the Moon. Much less is known about the budget of the Soviet and later Russian space programme, which is, of course, due to their continuous restraint in publishing such data. Data by the CIA already released in 1985 showed that between 1965 ($ 8 billion) and 1984 ($ 23 billion), costs had also skyrocketed beyond the Iron Curtain, highlighting again the competitive dynamic of the space race. What is less well known: soon as it was founded in 1958, NASA had already considered the involvement of artists as an integral part of their media strategy, as illus-trated by NASA administrator James Webb’s statement at the time: ‘Just what NASA should do in the field of fine arts to commemorate past historic events, such as Shep-ard’s and Glenn’s flights, as well as future historic events that we know will come to pass.’ Ten years later, according to his apodictic choice of words, Webb did indeed have no further doubt about the purpose of artists at NASA, when he described them as ‘eyewitnesses to space’. Yet, al-though the art programme benefited from expert advisors such as John Walker, director of the National Gallery of

Cathérine Hug

Art in Washington, there was a flaw in his basic idea: affir- mative logging of facts and critical thinking are mutually exclusive. It might therefore appear today as if this irresolv-able contradiction was reflected in the selection of artists by NASA, which contains a large majority of art that is of rather inferior historical relevance. In the more than five-decade-long programme, however, some names stand out, such as Laurie Anderson, Vija Celmins, Nam June Paik, Terry Riley and Andy Warhol, and most productive above all Robert Rauschenberg. As one of the great representatives of Pop Art, Rauschenberg was able to go along with the Moon landing from the perspective of mass culture due to its iconic character, and he also wasn’t going to miss out on the personal NASA invitation (along with ten other artists) for the launch of Apollo 11. Years later, Rauschenberg described the collaboration as follows: ‘In one day Apollo 11 had digested me. I was some of its muscle. Photographic files open to me. Thousands of photos further reaffirming and informing awesome details. […] Apollo was airborne. Lifting everyone’s spirits with it. Nothing will already be the same.’ According to art critic Donald Karshan, the ap-proximately 33 lithographs that Rauschenberg produced in the years that followed under the title Stoned Moon (cat. 249,

p. 200) belong to the best and most ‘avant-garde’ ones that had been created in printmaking at the time. In the post-Soviet era, critical reflection on the space race changed. This has been demonstrated rather con- cisely and not without self-irony by Moscow-based artist duo Vladimir Dubossarsky and Alexander Vinogradov. One essential characteristic of their work is the connection between socialist realism on a formal level and western consumer-ism in terms of content. In Cosmonaut No. 1 (cat. 120, p. 210), the painters combine two icons of the warring factions: a Barbie that had debuted on the world market on 9 March 1959, and Juri Gagarin, who went down in history with his space flight on 12 April 1961. It is remarkable and typical of so-called Sots Art that the artists remain impartial, but instead mock the commercial exploitation of either. Although the 27 astronauts who reached the Moon were all white, male and American, it must be pointed out for the sake of com- pleteness that the ‘Miss Astronaut Barbie’ did actually pre- cede Neil Armstrong at least in advertising terms, after all, she already set foot on the Moon in 1965. V Heroes and antiheroes Mediatisation of space

The lunar astronauts were all white American men; the majority had a military background and some had civilian careers as engineers. This fact inevitably raises the question who and what this mission was actually for, even if it was propagandistically termed as a giant leap for man-kind. There have hitherto been no women on the Moon, no Blacks, no Asians, no opponents of the army or pacifists,

no homosexuals — they just sat in front of their TV screens as spectators, if that. Hannah Höch (1889—1978) explores this exclusion mechanism in her collage Dedicated to the Men Who Conquered the Moon (cat. 189, p. 213). The work pres-ents a subtle critique on the absurdity of this endeavour in the face of unresolved conflicts on Earth. As the title suggests, it is not simply a peaceful mission, but a physical and technological annexation. At the same time, Höch recognises within the exploration of the sky at the highest technological level the fascinating search for the origin of humankind. Höch’s fascination for outer space in general and the Moon in particular stems not from the first Sput- nik orbiting the Earth, but had already been awakened in her childhood. As the following statement by the artist dem- onstrates, space exploration offered an opportunity to point out the — difficult to balance yet still rather necessary — interdependence of pluralism and unity on our Earth: ‘I want to show […] that there are millions and millions of other justifiable points of view besides yours and mine. Today, I would portray the world from an ant’s-eye view and tomorrow, as the moon sees it, perhaps, and then as many other creatures may see it. I am a human being, but on the strength of my imagination — tied as it is — I can be a bridge.’ We ought to keep in mind that bringing forth all these space heroes requires quite a lot of sacrifices, there are many people standing behind or in support of the few who are in the limelight. In her installation Moon Golem (cat. 248, p. 221), Amalia Pica draws attention to this issue. She thematises the second work of art on the Moon by Belgian artist Paul Van Hoeydonck (cat. 191, p. 220). Together with the Moon Museum (cat. 296, p. 219) initiated by Forrest Myers and sent to the Moon on the Apollo 12 mission, Van Hoeydonck’s figurine is the only art so far to be found on the Moon itself. The latter was commissioned by NASA in 1971 to produce a small statuette to commemorate as heroes those eight astronauts and six cosmonauts, who had put their lives in the service of space exploration and had directly or in consequence lost their lives, including the crew members Virgil I. Grissom, Roger B. Chaffee and Edward White II of the Apollo 1 mission (27 January 1967), as well as Juri Gagarin (27 March 1968). The result is the Fallen Astronaut, a small aluminium figurine of 8.5 cm in height representing a stylised, with respect to ethnicity neutrally represented astronaut. On 1 August 1971 during the Apollo 15 mission, the small sculpture was installed together with a metal plate engraved with the names of the deceased astronauts by David Scott and James Irwin at the landing site on the Moon. Forty-eight years later with the rediscovery by Pica, the small astronaut, ‘fallen’ as an angel rather than a soldier, celebrates its entry into the contemporary art world, radiating brightly in the spotlight. This list of names though does have its pitfalls since, despite all good inten-tions, it becomes increasingly inadequate as time progress-

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Cathérine Hug

es in view of additional accidents — although it had already been incomplete at the time of its creation. It fails to men-tion Robert Henry Lawrence Jr. (1935—1967), for instance, the first African-American astronaut who lost his life on a test flight on 8 December 1967. It was not until 1997 that a commemorative plaque was dedicated to him at the Ken-nedy Space Centre, a late tribute that the Bahamas-born artist Tavares Strachan admonishes in his monumental neon-text work Invisibles (2018). The visible and the invisible also feature in Darren Almond’s sculptural work Apollo (cat.

10, p. 259), which consists of twelve polished lead-filled bronze cylinders. They correspond to the relative weight of the twelve astronauts upon stepping onto the Moon and — like the standing stones described earlier — are symbolically placed in the exhibition space between the visitors and the Moon. The drawings by Konstantin Ziolkowski (1857—1935) are aesthetically pleasing and at times disarming in their lucid naiveté. It is the first time that, with a selection of nine works, they are given considerable amount of space in the context of an art exhibition dedicated to the Moon (cat.

306 — 315, pp. 188 — 190). His fundamental scientific contribution to the international development of space technology was first acknowledged in 2014 at the Science Museum London. However, Ziolkowski’s drawings not only contributed to the work of rocket designer Sergei Koroljow (1907—1966), the driving force behind Soviet cosmonautics, but were also illustrative testimonies of the ‘cosmic philosophy’ primar-ily elaborated on by his fatherly friend Nikolai Fjodorow (1829—1903) that artists like Alexander Rodtschenko, Kasimir Malewitsch and his disciples Ilja Tschaschnik and Nikolai Suetin felt committed to (cat. 289, p. 192). One important aspect of the idea of a better life was escaping the forces of gravity, to which he dedicated a series of drawings from his sketchbook Cosmic Journeys from 1933 (cat. 307 — 315, pp. 188 — 189). A short time later in 1936, Vassili Jouravlev’s film Cosmic Journey, based on Ziolkovsky’s Beyond the Planet Earth (1920), opened in cinemas and, as a state-sponsored project and with the aid of the press such as the tabloid Komsomolskaya Pravda, it reached a significant audience (p. 191). It is telling that Ziolkowski, who understood his space mission as peace-promoting and accordingly as internationally oriented, was engaged in an exchange with well-known rocket engineers such as the American Robert H. Goddard with whom he regularly shared his publications — an attitude that seems to deserve all the more credit in times of globalisation with — para- doxically — a simultaneous resurgence of protectionism and nationalism. VI Colonisation of the Moon Projection screen for new utopias

In his standard work on the cultural history of the Moon, Joachim Kalka points to the remarkable fact that in

most languages the Moon is female, except in German where it is male. In this context, the fact that so far only men have travelled to the Moon is all the more contentious. In the course of its ‘colonisation’ a whole series of objects was left behind on the Moon, including most symbolically the US flag, which was rammed into the ground during the Apollo missions 11, 12, 14, 15, 16 and 17 respectively and that accordingly has remained there in sextuplicate. In view of the 1967 UN Space Treaty, which stipulates that the exploration and use of space may only be practiced in the interests of all nations, this hoisting of the flag must have seemed like a provocation to many. The gesture ap-peared rather ambivalent since the age of decolonisation had progressed significantly, though, if not culturally and economically, then at least politically. Against this back-ground, it is not surprising that especially the countries con- cerned as young nations deliberately integrated the motifs of the Moon landing and space travel into their political communication, albeit with a different kind of integrity of the message than the Americans. In contrast to the latter, the nations struggling for independence were not involved in proxy wars, as was the case for the US with the invasion of the Bay of Pigs, the Vietnam War and the coup in Chile, for instance, which coincided with the Apollo missions. Kader Attia, a French artist of Algerian descent, discusses this in a series of paintings depicting the cosmic motifs sym-bolising the dawn of independence on old stamps among others from Djibouti, Chad, Liberia, Burundi and Tanzania (cat. 66 — 71, p. 253). Another iconic instance of mark-making was Neil Armstrong’s shoe print that became part of collective memory like no other, and served as a source of inspiration — and advertisement — for the probably least aesthetic fashion shoe in history: the ‘Moon boot’. Sylvie Fleury refers to this historical constellation in her poetic work High Heels on the Moon (cat. 164, p. 249) in two ways: on the one hand, the high-heel shoe as a typically feminine accessory reminds us that so far no woman has set foot on the Moon and, on the other hand, that although the half-life of the chunky trend shoe Moon Boot® as footwear was rather short-lived, it has still found its way into the German dictionary Duden and some others as well under its brand name. Gianni Motti’s First Step in Belgium (2010, cat. 240, p. 233) is of bizarre political topicali-ty, firstly because for many Swiss, i.e. non-EU citizens, the European capital Brussels appears as far away as the Moon. Secondly, the anticipation at the time of the lunar shoeprint in the then boulevard press was similar to that of Motti, as Anna Meschiari shows in her installation (2015—2019, cat. 237, p. 128). Since the Moon landing, the term ‘lunar landscape’ has become an integral part of our vocabulary. It is com-monly used to describe landscapes that in their inaccessi-bility (the Alps or more generally mountains that extend beyond the tree line) and misanthropic appearance (rocky

Fly me to the Moon

and barren) resemble the Moon, as meticulously docu- mented in the photographs by Guido Baselgia, but also exemplified in the postcard series Moonwalk (Piz Glina) (cat. 82, p. 120; cat. 14, p. 248). A particular segment of the discourse both in our exhibition and in the book at hand are works that can be summarised under the term ‘Afrofuturism’. Turner Prize Winner Yinka Shonibare MBE reflects on the issue of colonisation on and beyond planet Earth, and thus generally moves alterity into focus by uncovering analogies in the lunar hegemonic aspirations of white people and terrestrial colonisation, and then in turn challenging these rather ironically using ‘Afronauts’ dressed in wax print fabrics (cat. 273, p. 251). Today only a few people are aware that in addi-tion to the American and Soviet space programmes, there was also a Zambian lunar programme, which artists Cristina de Middel and Nuotama Frances Bodomo respond to in for-mally quite different ways with documentary and fantastic elements (cat. 9, p. 252; cat. 238, p. 254). It is clear that such a pro-gramme in Zambia, though no less inspired by the concept of competitiveness, is today still politically explosive in nature, in spite of or perhaps because of the much lower available financial resources; after all, large projects always start out as ideas. Professor D. Denenge Duyst-Akpem, who teaches at the School of the Art Institute of Chicago, explores this exciting and, for our age, justifiably meaningful postcolonial discourse in this volume. VII Micro and zero gravity

In 1960, Yves Klein jumped headfirst into space and landed on the pavement apparently entirely unscathed — such is the stubbornly sustained legend of this oft-cited and reproduced photograph, which, when speaking of flying and weightlessness, has always been counted among the most important icons of the twentieth century. One of the seminal exhibitions was Weightless: The Dream of Flying in Modern Art, curated by Jeannot Simmen, in Berlin in 1991. Quite surprisingly yet entirely justified, it also featured René Magritte’s La Sortie de l’Ecole (1927, cat. 229, p. 265). In this extra- ordinary masterpiece of Surrealism there are three discern-ible distinct elements: the rectilinear floor contrasting with the cloudy sky; a mysterious room blocked by a filigree fan; and finally, prominently in the centre of the image, an oil stain floating randomly in the absence of gravity. For the Surrealists, this oil leak was the ‘writing on the wall’ of a society where blind belief in progress and mass hysteria unite in an uncontrollable way to form an amorphous entity. Oil in water behaves very much like liquids in the absence of gravity — evoking images of astronauts and cosmonauts drinking water etched in our collective memory. Any liquid leaking into a space capsule would look very much like the floating liquid of Magritte’s La Sortie de l’Ecole, painted some 42 years before television images of the eating and

drinking astronauts of the Apollo 11 mission in 1969 had been seen across the globe.

The ascension to and immersion into other spheres is an ancient human desire, harking back to Icarus and Greek antiquity; in the late 1960s, there was another stimu-lus in addition to the flight to the Moon, namely in the context of the hippie movement. Their different forms of borderline experiences, ranging from natural and com- munitarian lifestyles and the exploration of erotic fantasies to the consumption of hallucinogenic drugs, were all aimed at the expansion of consciousness, whether collectively or as individuals. Pipilotti Rist’s Your Space Capsule (cat. 264, p. 272)

ought to be seen in this context: the infinity of the universe and its possibilities, the poetry of the Moon and its surface might also be discovered in the immediate vicinity and, most importantly, within our own mind. The concept of an exploration of outer space, which starts in our heads and is inspired by space travel, can be found in architectural ideas of the time by Archigram and Coop Himmelb(l)au (cat. p. 242 — 245). Or, in Novalis’s words: ‘We dream of travels throughout the universe: is not the universe within us?’ But who was first — weightless and gracious looking down onto the world — hovering? God, of course, as well as his angels. It is difficult to talk about weightlessness and the heavens in general as the dwelling place of the Moon, without at any particular point referring to God and, more importantly, ‘His’ angels. Because who’s doing the house-hold? Who is roasting the delicious chickens in paradise? Who combs God’s beard (cat. 234, p. 260)? Exactly! There we go again: HE is in the foreground while his employees are forgotten. Astronauts, after all, have Saint Joseph of Coper- tino (1603—1663), who is said to have levitated about seventy times over the course of seventeen years, as their patron saint. Similarly, Rosa Barba in her film installation The Color Out of Space (cat. 81, p. 171) explores, seemingly impos-sible at first sight, the subtle relationship between the ulti-mate questions of astronomy and religion. The statements of the scientists revolve around sets of problems such as visibility versus concealment and the dimensionality of space and time, whereby everything seems to culminate in the question: How do you make the unimaginable imagina-ble, the unknowable recognisable? In astronomy, all kinds of ‘tricks of visualisation’ are used to make the black and white astromosaics readable — not least with colour filters, such as those used in Barba’s installation. The artist reveals that, starting from existential philosophical-religious questions, the speculative methods of gaining knowledge in art are similar to those in natural sciences. A definitive highlight of the history of levitation is cosmonaut Juri Gagarin’s space flight in 1961 as the first man to orbit the Earth, thereby becoming the ‘ultimate figure of exile’. His flight did electrify renowned humani-

295

ties scholars such as the psychoanalyst Jacques Lacan and the philosopher Emmanuel Lévinas, who made the to date most eloquent prognosis about the long-term effects of this event. Thus he prophesied the ‘shaking up [of] sleepy civil- isations’, ‘eroding the heavy dullness of the past’ and an evaluation of all the ‘cumbersome and obscure things that burden human particularisms’. VIII The Blue Planet

John Baldessari is among those artists who have repeatedly examined the subject of the mediatisation of the Moon, whereby he focuses on the newly opened aspects of the Earth-Moon-relation in particular, including our keen awareness of the vulnerability of our home planet. With his trademark colourful dots that appear to correspond to the nature of the respective dancers in If This Then That (cat. 76, p. 281), he connects the physicality of human beings with the respective moon shown below with varying distances to the camera. Our gravitational relationship to Earth has never been as keen in our awareness as when humans first left the gravitational field behind, or rather below them. As the title If This Then That suggests, everything in our universe is connected to everything. Distance and closeness are the central factors within this relationship — between the dancer and the audience, between the Earth and the Moon, between our fellow human beings and us. Examining the relationship of all the different celestial bodies in Baldessari’s work will reveal that the ‘planet’ marked 228,200 is actually the Moon, insofar as the number is its distance to Earth (in miles, which equals 367,199 km). Surprisingly enough, however, it had been 393,309 km at the time of the Moon landing, so about 26,000 km more than on Baldessari’s photomontage (and 10,000 km more than the average dis-tance). This allows the conclusion that even the supposedly fixed dimensional constellations of the planetary orbits show great variability. The iconic image that rocked everything by implicating ‘Earth’s self-encounter’ is First Earthrise seen by human eyes from 1968, a photograph taken by astronaut William Anders on the Apollo 8 mission (cat. 26, p. 279). Quite surprisingly it was this image that became an icon, especially for the subsequent environmental movement, despite the 1968 pro- test movement’s scepticism about the Moon landing. It graced the Whole Earth Catalog published repeatedly by Stewart Brand in different versions, an impressive alter-native list of goods featuring contributions from important architects such as Richard Buckminster Fuller alongside astronomers and farmers (1969, 1971, 1980, cat. 128 — 130, p. 281). The heavenly view of the Earth is — not without a pinch of irony — clearly fixed in the preamble as the starting point for a creative evolutionary leap of man: ‘We are as gods and might as well get good at it.’ With the growing responsibility in the face of the alarming consequences of global warm-

ing, this statement regains significant power. Whether the Earth will remain habitable for people in the middle and distant future will essentially be up to us. Moon and Mars may provide a fantastic sanctuary, but they do not actually present a viable alternative. Or at least for the moment, and it is with critical attention that we need to follow the plans of space agencies, powerful nations and private corporations to use the Moon as a stopover for further missions, but also for the exploitation of the energy resource Helium-3 (cat. 295, p. 286). However, astrophysicist Fatoumata Kébé points out that if humanity does not soon tackle the problem of space debris, life on earth and the success of future lunar missions will be jeopardised.

Cathérine Hug Fly me to the Moon

Participants of the twentieth

parabolic flight campaign in Sep-

tember 2012 included the following

artists: Julieta Aranda, Clemens

Berger and Thomas Ruff. They

were invited at the suggestion of

Cathérine Hug and the project

was initiated by Peter Zarth. See:

http://www.dlr.de/pw/desktop-

default.aspx/tabid-6056/9942_

read-35403/; http://www.dlr.

de/pw/desktopdefault.aspx/

tabid-7966/13557_read-37793/;

also: http://www.nhm-wien.ac.at/

ausstellung/ archiv/weltraum_die_

kunst_und_ein_traum; http://www.

kunsthallewien.at/#/de/ausstellun-

gen/vergangene- ausstellungen/

weltraum-die-kunst-und-ein-traum

(last retrieved 10.11.2018). The

catalogue to the exhibition:

Cathérine Hug and Gerald Matt

(eds), Space, about a dream, exh.

cat. Kunsthalle Wien, with text

contributions by Walter Famler,

Justin Hoffmann, Sigmund Jähn,

Christian Köberl, Michael Ryklin

and Kai-Uwe Schrogl, Nuremberg,

2011.

Abbreviated transcript of

the speech at https://www.nasa.

gov/vision/space/features/jfk_

speech_text.html (last retrieved

10.11.2018).

Sean Topham (ed.), Where’s

my space age? The rise and fall of

futuristic design, Munich 2003.

‘NASA Authorization Act of

2008 — Section 404 — Lunar Out-

post’, Library of Congress, https://

www.congress.gov/bill/110th-con-

gress/house-bill/6063/text (last

retrieved 10.11.2018).

The complete texts of the

treaties and resolutions can be

found on the website of the United

Nations Office for Outer Space

Affairs (UNOOSA) and its Com-

mittee on the Peaceful Uses of

Outer Space: http://www.unoosa.

org/ oosa/en/ourwork/spacelaw/

treaties.html (last retrieved

10.11.2018).

Complete resolution in

English at http://www.unoosa.org/

pdf/publications/STSPACE11E.pdf

(last retrieved 9.12.2018).

Wernher von Braun’s past

in Nazi-Germany was kept largely

from the public in the US for fear

of damaging their reputation, and

this misconception also becomes

apparent in literature. Among

critical literature of recent times

is: Stefan Brauburger and Gundula

Bavendamm, Wernher von Braun:

ein deutsches Genie zwischen Unter-

gangswahn und Raketenträumen,

Munich 2009; Wayne Biddle, Dark

side of the moon: Wernher von

Braun, the Third Reich, and the

space race, New York 2009; Bob

Ward, From Nazis to NASA: the

life of Wernher von Braun, Sutton

2006; Rainer Eisfeld, Mondsüchtig:

Wernher von Braun und die Geburt

der Raumfahrt aus dem Geist der

Barbarei, Reinbek/Hamburg 1996.

The precious original

designs, created in November

and December 1609, can be

found at the Bibliotheca Nazio-

nale Centrale Firenze; they were

exhibited as a spectacular loan

under the catalogue number 59

in the exhibition curated by Marie

Laurberg, The Moon — From Inner

Worlds to Outer Space (exh. cat.)

from 13 September 2018 to

20 January 2019 at Louisiana

Museum of Modern Art in

Humlebæk (Denmark).

The lunar orbit goes through

a 18.6-year cycle until it returns

to its original position. For more

information on the relationship

between the standing stones and

the Moon’s orbit see: http://www.

bbc.com/earth/story/20161012-

the-strange-origin-of-scotlands-

stone-circles (last retrieved

2.12.2018).

Ralf Jaumann and Ulrich

Köhler, «Extraterrestrische Mate-

rie», in Der Mond, Deutsches Zen-

trum für Luft- und Raumfahrt e.V.

(DLR), Cologne 2014, pp. 103—13.

NASA continuously uploads

and shares images of its mis-

sions and participating missions,

the keyword search Apollo 11

yielded 1009 results, see: https://

images.nasa.gov/ (last retrieved

2.12.2018).

David Meerman Scott and

Richard Jurek, Marketing the

Moon. The selling of the Apollo

lunar program, Cambridge 2014.

It must however be pointed

out that the distance between the

Moon and the Earth is constantly

changing ever so slightly as the

two celestial bodies move away

from one another due to the

expansion of the universe. Ulrich

Koehler in his essay within this

volume explains why, in half a

billion years, our days will last 27

hours, ref. p. 308.

James Attlee, Nocturne:

A Journey in Search of Moonlight,

Chicago 2011, p. 68.

‘Month, a measure of time

corresponding or nearly corres-

ponding to the length of time

required by the Moon to revolve

once around the Earth. […] As a

calendrical period, the month is

derived from the lunation—i.e., the

time elapsing between successive

new moons (or other phases of

the moon). A total of 12 lunations

amounts to 354 days and is,

roughly, a year.’ Online at https://

www.britannica.com/science/

month (last retrieved 19.1.2019).

On the history of Som-

nanbulism see: Dietlinde Goltz,

‘Nachtwanderei, Mondsucht und

Somnambulismus — Eine Nacht-

seite der Medizingeschichte’, in

Medizinhistorisches Journal, vol.

28, issue 4, Stuttgart 1993, pp.

321—43. Online unter https://www.

jstor.org/stable/25805074?se-

q=1#page_scan_tab_contents


Georges Didi-Huberman,

Invention de l’hystérie : Charcot et

l’iconographie photographique de

la Salpêtrière, Paris 2012.

On pan-European feedback see:

http://www.spiegel.de/eines-

tages/jean-marie-charcot-

und-die-hysteriefoschung-

in-der-pariser-salpetriere-a-

951005.html (last retrieved

17.11.2018).

See Liam Gillick’s catalogue

contribution on pp. 318—322.

D. Denenge Duyst-Akpem

on pp. 330—340. Liam Gillick on

pp. 318ff. For an estimate of a

contemporary witness see e.g.

Ayn Rand, ‘Apollo 11’ (1969);

reprint in The Voice of Reason:

Essays in Objectivist Thought, New

York 1989, pp. 161—77.

United States, Congress

House, Committee on Science

and Astronautics, NASA

authorization Hearings, Ninety-

third Congress, Washington 1973,

p. 1271. Online at https://catalog.

hathitrust.org/Record/003212095


John F. Kennedy, ‘Address

at Rice University on the Nation’s

Space Effort’, speech held on

12.9.1962. Online as audio file

and transcript at John F. Ken-

nedy Presidential Library and

Museum, Boston: https://web.

archive.org/web/20100506113709/

http://www.jfklibrary.org/Histor-

ical%2BResources/Archives/

Reference%2BDesk/Speech-

es/JFK/003POF03SpaceEf-

fort09121962.htm (last retrieved

18.11.2018).

Matthis Chiroux, ‘Whitey on

the Moon, Again?’, in HuffPost

News, New York, 1.10.2012. Online

at https:// www.huffingtonpost.

com/matthis-chiroux/whitey-on-

the-moon-again_b_1188220.html


I am grateful to Gesa Schneider

for pointing this out to me.

General CIA records, ‘USSR:

Cost of the Space Program’,

Washington 1985. Available online

since 2011 at https://www.cia.gov/

library/readingroom/document/

cia-rdp86t00591r000200200004-7


James Webb to Hiden Cox,

16 March 1962, copy at NASA Art

Program History files, Aeronautics

Division, National Air and Space

Museum, Washington.

James Dean et al.,

Eyewitness to Space, New York

1971.

Rauschenberg, Stoned

Moon, Robert Rauschenberg

Archive, New York 1981; in James

Dean and Bertram Ulrich (eds),

NASA/ART, 50 years of explora-

tion, New York 2008, p. 11.

Donald Karshan, ‘Robert

Rauschenberg’, in Art in America,

New York, November/December

1971, pp. 48f.

Regina Khidekel (ed.), It’s the

real thing: Soviet and Post-soviet

sots art and American pop art, exh.

cat. Frederick R. Weisman Art

Museum, Minneapolis, Minneap-

olis 1999.

Karoline Hille, ‘Loch im

Himmel. Kosmische Abenteuer’,

in Karoline Hille and Inge Herold,

Hannah Höch. Revolutionärin der

Kunst. Das Werk nach 1945, exh.

cat. Kunsthalle Mannheim; Kunst-

museum Mülheim an der Ruhr,

Berlin 2016, p. 102.

Hannah Höch, Berlin 1949,

cit. after Hille 2016 (see note 29),

p. 101.

For more information on the

Moon Museum see Tristan Weddi-

gen’s catalogue contribution on

pp. 325.

Incidentally, it was a CBS

broadcast by news anchor Walter

Cronkite who revealed the exis-

tence of this artwork on the Moon

since the Apollo 15 mission. Paul

Van Hoeydonck subsequently do-

nated a replica to the National Air

and Space Museum, see: https://

airandspace.si.edu/collection-

objects/sculpture-fallen-astronaut


297

Cathérine Hug

I am grateful to the art

historian Dr. Pamela Kort for

introducing me to Tavares

Strachan’s work.

Elena Timoshenkova,

‘Rocket Man’, in Doug Millard (ed.),

Cosmonauts. Birth of the Space

Age, exh. cat. Science Museum

London, London 2014, pp. 42—73.

The Cosmic Philosophy (1935)

is the synthesis of a series of

previous programmatic texts by

Ziolkowski, among them: Die

ideale Lebensordnung (1917), Das

lebende Universum (1918), Die

Organisation der Menschen auf

der Erde (1918) and Neue Erkennt-

nissphären (1931—33). Wieder-

abdruck in Boris Groys, Michael

Hagemeister (eds), Die Neue

Menschheit. Biopolitische Utopien

in Russland zu Beginn des 20.

Jahrhunderts, Frankfurt/Main

2005, pp. 236—390.

Konstantin Ziolkowski,

Beyond the Planet Earth (original

title: Vne zemlji, transl. from the

Russian by Kenneth Syers), New

York 1960. More on Jouravlev’s

film and the connection to

Ziolkowski at http:// project.met-

tavant.fr/kosmicfilm.htm


Timoshenkova 2014

(see note 34), p. 48.

Joachim Kalka, Der Mond,

Berlin 2016, p. 33.

See her catalogue

contribution on pp. 330—340.

Jeannot Simmen (ed.),

Schwerelos — Der Traum vom

Fliegen in der Kunst der Moderne,

exh. cat. Große Orangerie

Schloss Charlottenburg,

Ostfildern 1991, pp. 140f.

Novalis, ‘Blüthenstaub’,

Berlin 1798, cit. after: Novalis,

Die Christenheit oder Europa und

andere philosophische Schriften,

Cologne 1996, p. 103.

I am ever so grateful to

Hugo Keune for pointing out to

me the significance of angels and

general Christian iconography in

the context of weightlessness and

levitation, as well as for coming

up with the title ‘Fly me to the

Moon’ for this publication and the

connected exhibition.

Thomas J. Craughwell,

‘A Patron Saint for Astronauts’,

in The Arlington Catholic Herald,

Arlington 2007. Online at https://

www.catholiceducation.org/en/

faith-and-character/faith-and-

character/a-patron-saint-for-

astronauts.html (last retrieved

24.11.2018).

Cf. Henriette Huldisch,

‘Dark matter and deep time: Rosa

Barba’s uncertain landscapes’, in

Karen Kelly, Barbara Schroeder

(eds), Rosa Barba. The Color Out of

Space, Brooklyn 2016, n. p.

‘In brief, Gagarin is the

ultimate figure of exile: a man

without roots in a cosmic desert

without horizon or end.’ Aaron

Schuster, ‘The cosmonaut of the

erotic future’, in Cabinet, issue 32,

Brooklyn 2008. Online at http://

www.cabinetmagazine.org/is-

sues/32/schuster.php


Emmanuel Levinas, Difficult

Freedom: Essays on Judaism, trans-

lated by Seán Hand, John Hopkins

University Press, 1997, p. 231.

Günther Anders, ‘Die Selbst-

begegnung der Erde’ (1969), in

Der Blick vom Mond. Reflexionen

über Weltraumflüge, Munich 1994,

p. 89.

Steward Brand, ‘Purpose’,

in Whole Earth Catalog: access

for tools, Santa Cruz 1970. On

the lasting effect of this book

see: Diedrich Diederichsen and

Anselm Franke (eds), The Whole

Earth. Kalifornien und das Ver-

schwinden des Außen, exh. cat.

Haus der Kulturen der Welt, Berlin

2013.

This statement nowadays

entails the demand that humans

shall understand themselves

as an integral part rather than

as a dominant authority of the

entire world structure to be able

to cope in particular with the

urgent ecological challenges.

In the context of art, see the

exhibition and online-discourse

Das Anthropozän-Observatorium.

Kulturelle Grundlagenforschung

mit den Mitteln der Kunst und der

Wissenschaft of the Haus der

Kulturen der Welt (HKW) Berlin

www.hkw.de/anthropozaen (last


See e.g. https://www.esa.

int/Our_Activities/Preparing_

for_the_Future/Space_for_Earth/

Energy/Helium-3_mining_on_

the_lunar_surface (last retrieved

28.1.2019).

See e.g. http://www.space-

women.org/space-women/fatou-

mata-kebe/. Kébé wrote a PhD on

space debris at the UPMC in Paris

and has been listed by Vanity Fair

as one of the 50 worldwide most

influential French people 2018,

see https://www.vanityfair.fr/

pouvoir/medias/story/

classement-vanity-fair-les-50-

francais-les-plus-influents-

du-monde-en-2018/4521 (last


Charles Duke

1935 Charlotte, North Carolina USA

Panoramablick auf das Lunar-Modul Orion, vom Mondmobil aus gesehen, das

an der Mondwissenschaftsstation, Station 10, parkiert ist, Apollo 16, April 1972

Panoramic view of the lunar module Orion seen from the lunar rover parked at the

lunar science station, Station 10 prime

Je / each 39 × 19 cm

NASA AS16-117-18815 — AS16-117-18818

Collection Victor Martin-Malburet

Kat. / cat. 54

299

1/40 List of Works Fly Me to the Moon. The Lunar Landing, 50 Years Later

Fly Me to the Moon The Lunar Landing, 50 Years Later July 20―November 3, 2019 Mönchsberg [4] List of exhibited works Works are listed by the artists’ names and in chronological order. Authorized official titles are set in italics. Dimensions are given as height by width by depth. Photographs from the Apollo missions, Publications and ephemera can be found at the end of the list. Darren Almond 1971 Appley Bridge, GB―London, GB Fifteen Minute Moon, 2000 Chromogenic print Sheet: 121.2 × 121.2 cm Courtesy of the artist Fullmoon@Yenisey Mouth, 2003 Chromogenic print Sheet: 121.2 × 121.2 cm Courtesy of the artist Fullmoon@Rügen V., 2004 Chromogenic print Sheet: 121.2 × 121.2 cm Courtesy of Galerie Max Hetzler, Berlin / the artist Fullmoon@Albion, 2004 Chromogenic print Sheet: 121.2 × 121.2 cm Courtesy of the artist Fullmoon Impression, 2011 Chromogenic print Sheet: 121.2 × 121.2 cm Courtesy of White Cube, London / the artist Moonbow@Fullmoon, 2011 Chromogenic print Sheet: 121.2 × 121.2 cm Courtesy of the artist Maui North Star, 2012 Chromogenic print Sheet: 121.2 × 121.2 cm Courtesy of Matthew Marks Gallery, New York / the artist


Apollo, 2013 6 pairs of polished bronze and lead cylinders Dimensions variable Courtesy White Cube Fullmoon Towards Monte Rosa, 2014 Chromogenic print Sheet: 121 × 121 cm Ed. 5 + 2 EA Courtesy Galerie Xippas Fullmoon@Flendruz, 2014 Chromogenic print Sheet: 121 × 121 cm Ed. 5 + 2 EA Courtesy Galerie Xippas Anonymous Moonwalk (Piz Glina), 2018 Postcards as giveaway in postcard stand Courtesy the artist Kader Attia 1970 Dugny, FR―Berlin, DE Mahra State South Arabia 41 × 41 cm Republique du Tchad 27.8 × 40 cm Tanzania 28.8 × 40 cm Republique de Guinee 27.5 × 40 cm Republique de Djibouti 24.2 × 40 cm S. Tome e Principe 27.2 × 40 cm Liberia 29.8 × 40 cm Republique Togolaise 40 × 23.5 cm


Rep. de Guinea Ecuatorial 31.6 × 40 cm All: oil on canvas Courtesy of Galleria Continua, San Gimignano / Beijing / Les Moulins / Habana Knud Andreassen Baade 1808 Skjold, NO―1879 Munich, DE Ein norwegischer Fjord im Mondschein, 1855 (Norwegian Fjord in Moonlight) Oil on canvas Image: 99 x 86 cm; frame: 127.2 x 115 x 8.3 cm Kunsthaus Zürich, Donated by Margit and Rolf Weinberg John Baldessari 1931 National City, CA, US—Santa Monica, CA, US If This Then That, 1988 2 black-and-white photographs with vinyl paint Frame: 213.4 × 177.8 cm UBS Art Collection Inv. 043439 (PW00031) Hans Baluschek 1870 Wrocław, PL―1935 Berlin, DE Tod und Trinker, ca. 1895 (Death and drinker) Watercolor on cardboard 24 × 19 cm Inv. 73-007 Obdachlose, 1919 (Homeless People) Mixed media on cardboard 99.5 × 69 cm Inv. 73-021 All: Brohan-Museum, Landesmuseum für Jugendstil, Art Deco und Funktionalismus, Berlin Rosa Barba 1972 Agrigento, IT―Berlin, DE The Color Out of Space, 2015 HD video ( color, sound) 36 min. 5 colored glass filters, steel base Object: 125 × 112 × 56 cm, Courtesy the artist, Berlin


Guido Baselgia 1953 Chur, CH―Malans, CH Weltraum 12. N67°47’/E24°52’, Levi, Sirkka, 540m ü.d.M./ 14.10.2002, 2002 (Space 12. N67°47’/E24°52’, Levi, Sirkka, 540m a.s.l./ 10/14/2002) Gelatin silver print on baryte paper Ed. 7 + 2 AP Sheet: 82.5 × 104 cm Weltraum 25. N69°14’/E21°30’, Veajetjvrrit, Halti, 845m ü.d.M./ 26.9.2003, 2003 (Space 25. N69°14’/E21°30’, Veajetjvrrit, Halti, 845m a.s.l./ 09/26/2003) Gelatin silver print on baryte paper Ed. 7 + 2 AP Sheet: 82.5 × 104 cm Weltraum 31. N69°03’/E20°50’, Saana Kilpisjärvi, 720m ü.d.M./ 6.10.2002, 2002 (Space 31. N69°03’/E20°50’, Saana Kilpisjärvi, 720m a.s.l./ 10/06/002) Gelatin silver print on baryte paper Ed. 7 + 2 AP Sheet: 82.5 × 104 cm Light Fall 43. Einen Abend lang, 29. September 2012, 0°, Ecuador, 2012 (Light Fall 43. All evening, September 29, 2012, 0°, Ecuador) Gelatin silver print on baryte paper Ed. 5 + 2 AP Sheet: 96 × 120 cm Light Fall 56. Piz Languard, eine Nacht lang, 2./3. August 2013, N46°, Schweiz, 2013 (Light Fall 56. Piz Languard, all night, August 2/3, 2013, N46°, Switzerland) Gelatin silver print on baryte paper Ed. 5 + 2 AP Sheet: 96 × 120 cm Lungo Guardo – Mondnacht, 29./30.9.2015, 20:50-05:30 Uhr, N46°, 2015 (Lungo Guardo – moonlit nights, 05/29-30/2015, 8:50 pm—5:30 am, N46°) Gelatin silver print on baryte paper Ed. 5/5 + 2 EA Sheet: 50 × 60 cm All: Courtesy of the artist Oliver van den Berg 1967 Essen, DE―Berlin, DE Raketennamen II, 2013 (Names of Rockets) Wooden concrete form boards Ca. 350 × 500 × 20 cm Galerie Kuckei + Kuckei, Berlin


Nuotama Frances Bodomo 1988 Accra, GH—New York, NY, US Afronauts, 2014 HD video (color, sound) 14 min. Courtesy of the artist Philippe Bradshaw 1965 Uppingham, GB―2005 Paris, FR Astronaut, 2004 Anodized aluminium chains Rail: 180 cm, chain: 290 cm Heidi Horten Collection Uwe Bremer 1940 Bischleben DE―Berlin, DE Curiosa der Galaxis, 1967 Portfolio of 9 color etchings Ed. 5/21 Sheet: each 76 × 48 cm - Darstellung des Planeten Merkur & einer fliegenden Untertasse sowie ein Bewohner seiner Zwielichtzone (Representation of planet Mercury & a flying saucer as well as a resident of its twilight zone) BA 10923_1-9_1 - Darstellung des Planeten Venus – verschiedener Himmelskörper & einer Venusianerin (Representation of planet Venus—various celestial bodies & one Venusian) BA10923_1-9_2 - Darstellung des Planeten Mars – seine 2 Monde & der Sonne sowie 1 Martier Manuscript in Martischer Sprache und Schrift (Representation of planet Mars—his two moons & the Sun as well 1 Martian manuscript in Martian language and writing) BA 10923_1-9_3 - Darstellung des Planeten Jupiter & seiner 11 Monde sowie seinr Bewohner (Representation of planet Jupiter & his 11 moons as well as his residents) BA 10923_1-9_4 - Darstellung des Planeten Saturn & verschiedener Monde sowie einige seiner Ringe mehrere UFO und einer seiner Bewohner (Representation of planet Saturn & diverse moons as well as some of his rings several U.F.O.s and one of his residents) BA 10923_1-9_5 - Darstellung des Planeten Uranus & seiner 5 Monde sowie ein Uranitter (Uranus-Zwitter) [Representation of planet Uranus & his 5 moons as well as a Uranite (Uranus-hermaphodite)] BA 10923_1-9_6


- Darstellung des Planeten Neptun sowie 3 seiner Monde und einer seiner intelligenten Bewohner (Representation of planet Neptune as well as 3 of his moons and one of his intelligent residents) BA 10923_1-9_7 - Darstellung des Planeten Pluto & der Inhalt einer Flaschenpost (Representation of planet Pluto & the contents of a drift bottle) BA 10923_1-9_8 - Darstellung des Planeten Erde und ihres Mondes sowie ein Raumschiff und ein Erdbewohner (Representation of planet Earth and its moon as well as a spaceship and a terrestrial resident) BA 10923_1-9_9 Collection Museum der Moderne Salzburg Inv. BA 10923_1-9_1—BA 10923_1-9 Coop Himmelb(l)au (founded in Vienna, AT, in 1968 by Wolf D. Prix, Helmut Swiczinsky and Michael Holzer) Villa Rosa II, undated Collage and pencil on paper Sheet: 47.5 × 82 cm STAMPA Galerie, Basel Villa Rosa. Prototyp für eine pneumatische Wohneinheit, 1968 (Villa Rosa. Prototype for a pneumatic living unit) Installation view photographed by Felix Waske; exhibition print 21 x 29.7 cm Courtesy of Wolf D. Prix & Partner ZT GmbH, Wien Herzraum―Astroballon I. Feedback-Umgebung, Installation, 1969 (Heart Space―Astro Balloon I. Feedback environment, installation) Pencil on Aquafix paper, mounted on card Sheet: 43 × 48.5 cm Courtesy of Wolf D. Prix & Partner ZT GmbH, Wien Herzraum―Astroballon I. Feedback-Umgebung, Installation, 1969 (Heart Space―Astro Balloon I. Feedback environment, installation) Installation view; exhibition print 29,7 x 21 cm Courtesy of Wolf D. Prix & Partner ZT GmbH, Wien Herzraum―Astroballon I. Feedback-Umgebung, Installation, 1969 (Heart Space―Astro Balloon I. Feedback environment, installation) Installation view; exhibition print 21 x 29.7 cm Courtesy of Wolf D. Prix & Partner ZT GmbH, Wien Wolkenstudie, Innenraum C, 1969―1971 (Cloud study, interior C) Pencil and colored pencil on paper Framed: 51 × 102 cm STAMPA Galerie, Basel


Communications-System, 1971 (Kommunikationssystem) Pencil and colored pencil on paper Sheet: 84 × 100 cm STAMPA Galerie, Basel Hoverkugel, 1971 (Hover sphere) Collage, pencil and colored pencil on paper Sheet: 59 × 61 cm STAMPA Galerie, Basel Contact. Ein Tag mit Coop Himmelb(l)au, 1971 (Contact. A day with Coop Himmelb(l)au) Collage and pencil on paper Sheet: 21 × 29.7 cm STAMPA Galerie, Basel Glashaus mit zwei Betten, 1972 (Glasshouse with two beds) Pencil and colored pencil on paper Sheet: 45 × 62.5 cm STAMPA Galerie, Basel Kugelhimmel in rosa Haus, 1973 (Globe-shaped sky in pink house) Lithograph Sheet: 54.5 × 75.5 cm STAMPA Galerie, Basel Coop Himmelb(l)au Ephemera Peter Schnetz, The three founding members of the group Coop Himmelb(l)au, 1971 Black-and-white photograph 22.5 × 17 cm STAMPA Galerie, Basel Coop Himmelb(l)au, „Rückblick,” in: Architektur aktuell, July 1971, p. 16 Newspaper article 29 × 21 cm STAMPA Galerie, Basel „Coop. Himmelb(l)au zur Ausstellung in Basel, Galerie Stampa und im ‚offenen Saal‘, Kunsthalle,” in: Kunst Nachrichten, issue 10, June 1971, unpaginated Magazine 25 × 18 cm STAMPA Galerie, Basel Coop Himmelb(l)au. Contact, flyer for the exhibition in der Galerie Stampa und der Kunsthalle Basel, May―June 1971 29.7 × 21 cm STAMPA Galerie, Basel


Gert Winkler, Coop Himmelb(l)au (Sie leben in Wien). Eine Ausstellung und ein Buch, Peter Weiermair (ed.), Innsbruck: Galerie im Taxispalais, 1975 (Coop Himmelb(l)au [They live in Vienna]. An exhibition and a book) Book STAMPA Galerie, Basel Johan Christian Dahl 1788 Bergen, NO―1857 Dresden, DE Blick auf die Elbe bei der Brühlschen Terrasse, 1824 (View of the Elbe near the Brühlsche Terrasse) Oil on paper on canvas 21 × 35 cm Kunsthaus Zürich, Donated by Christen Sveaas, 2018 Inv. ZKG.2018.0010 Honoré Daumier 1808 Marseille, FR―1879 Valmondois, FR O Lune!... inspire-moi ce soir quelque petite pensée un peu grandiose!... car je t'aime ainsi, lorsque tu me présentes en entier ta face pâle et mélancolique!... mais, ô Lune, je t’affectionne moins lorsque tu m'apparais sous la forme d'un croissant.... parce que alors tu me rappelles tout bonnement mon mari!... From the 40-part cycle “Les Bas-Bleues”, published in Le Charivari, Paris 1844 Color lithograph Image: 23.4 × 18.2 cm; sheet: 33.2 × 25.5 cm Collection Museum der Moderne Salzburg Inv. BA 14709 Robert Delaunay 1885 Paris, FR―1941 Montpellier, FR Formes circulaires. Soleil, lune, 1913―1931 (Circular Forms. Sun, Moon) Oil on canvas 200 × 197 cm Kunsthaus Zürich, Purchased with a contribution from Dr. Franz Meyer, 1957 Inv. 1957.0027 Vladimir Dubossarsky / Alexander Vinogradov 1964 Moscow, RU—Moscow, RU 1963 Moscow, RU―Milan, IT Earth Wins!, 2004 Oil on canvas 295 × 390 cm Courtesy the artists / The Cultural Foundation EKATERINA, Moscow


Cosmonaut No. 1, 2006 Oil on canvas 195 × 195 cm Courtesy Vladimir Dobrovolski Beate Engl 1973 Regen, DE―Munich, DE ___ SPACE IS A PLACE, 2004/05 Handbook and location study for a critical art practice in public outer space 11.5 × 16.5 cm Die beste aller Welten, 2009 (The best of all worlds) Wood, plexiglass, aluminium, blower, tin globe, switch 60 × 60 × 160 cm The mothership has landed, 2018 Street lamp from the 1970s, metal, plexiglass, LED spots, gobo, LED lamps, fog machine, speakers, bass shaker, DMX control, money slot Sound: 3:05 min. All: Courtesy of the artist Søren Engsted 1974 Ringsted, DK―Copenhagen, DK Levitation, 2017 Installation Video (color, sound) 12:18 min. Chair from concrete, acrylic glass, oxid pigment, steel, brass, concrete sealant 40 × 50 × 55 cm Courtesy of the artist Ernst Schotte & Co. 1861―1940 Berlin, DE Tellurium, 1875―1900 6 parts, metal, ceramics, glass 54 × 83 × 15 cm ETH-Bibliothek Zürich, Sammlung Sternwarte, Zürich Ref.-Nr. KGS-001-x


Max Ernst 1891 Brühl, DE―1976 Paris, FR Moonmad, 1944 Bronze 92.6 × 32.1 × 29.8 cm Ed. 10 Fondation Beyeler, Riehen/Basel, Sammlung Beyeler Inv. 97.6 Humboldt Current, 1951―1952 Oil on canvas 36 × 61 cm Fondation Beyeler, Riehen/Basel, Sammlung Beyeler Inv.Nr. 73.2 Nir Evron 1974 Herzeliya, IL – Tel Aviv, IL La Solitude, 2016 (Solitude) Film, 16mm (color, sound), transferred to 2K video 26 min. Courtesy of the artist and Chelouche Gallery for Contemporary Art, Tel Aviv Lyonel Feininger 1871―1956 New York, NY, US Mondschein am Strande, 1921 (Moonlight on the beach) Woodcut Image: 13.4 × 14.2 cm; sheet: 25.4 × 27 cm Collection Museum der Moderne Salzburg Inv. BA 1040 Sylvie Fleury 1961 Genf, CH First Spaceship on Venus, 1997 Fake fur, wood, Styrofoam, loudspeaker 355 × 130 × 130 cm Sammlung Ringier, Switzerland First Spaceship on Venus. Soft Rocket in Gold (2), 1999 Acrylic fleece, cotton, foam, and synthetic material 250 × 80 × 80 cm Private collection, Switzerland


First Spaceship on Venus, 1999 Stitched rocket made of shiny metallic silver fabric with red tip, stuffed with cotton wool Ca. 100 × 230 × 145 cm Private collection High Heels on the Moon, 2005 Neon installation 115 × 200 cm SCHAUWERK Sindelfingen Inv. 2705 Lucio Fontana 1899 Rosario de Santa Fe, AR―1968 Varese, IT Concetto spaziale, 1949/1950 (Spatial concept) Unprimed canvas, perforated 112 × 109 cm Kunsthaus Zürich, Donated by Teresita Rosini Fontana, 1976 Inv. 1976.0039 Agnes Fuchs 1965 Vienna, AT—Vienna, AT Sonnenfinsternis auf dem Mond, 1914 / Fig. 63, 1911, 2006―2007 (Solar eclipse on the Moon, 1914 / fig. 63, 1911) Oil on acrylic paint on canvas 33 × 58 cm Mondgestein, 2006 (Lunar rock) Acrylic paint on canvas 35 × 41 cm Lunar Surface. Scale model of the Lander, for the Lunar Expeditionary Complex, 2007 Acrylic paint on canvas 82 × 89 cm Ein Mondgebirge Fig. 62. / Ca. 1911, 2007/08 (A Moon range) Acrylic paint on canvas 102 × 82 cm Free Fall, ―to Lunar Surface, ca. 2007 Oil and acrylic paint on canvas 82 × 60 cm Display 1, 2010 Acrylic paint on canvas 150 × 120 cm All: Courtesy of the artist and semina rerum—Irene Preiswerk


Johann Heinrich Füssli 1741 Zurich, CH―1825 Putney Hill/London, GB Einsamkeit im Morgenzwielicht, 1797–1799 (Loneliness in the morning twilight) Oil on canvas 111 × 87.5 cm Kunsthaus Zürich, private collection Douglas Gordon 1966 Glasgow, GB―Berlin, DE; Glasgow, GB; New York, NY, US August 12, 1999, 2011 Series of 10 handmade offset prints (Archival Offset Igepa Pure 250 gr) Dimensions variable; image: each 54 × 74 cm Ed. 24 Borch Editions Romeo Grünfelder 1968 in Mutlangen, DE―Berlin, DE […], 2000 Film, 35mm (color, sound), digitized 13 min. Courtesy of the artist Ingo Günther 1957 Bad Eilsen, DE―New York, NY, US World Processor, 2000―ongoing Installation with illuminated globes Dimensions and scope variable Exhibited globes: - [166-2] Labor Migration, 2005 - [252] Satellite Radio Footprints, 2005 - [8-10] Life Expectancy, 2006 - [19-4] Refugee Currents, 2011 - [256-2] Rocket Launch Sites, 2011 - [378] Bird Migration, 2013 - [8-17] Life Expectancy, 2013 - [373] Economic Jurisdiction, 2016 - [366-6] Submarine Fiber Optic Network, 2016 - [357-4] Nuclear Range, 2017 - [402] Maritime Plastic, 2018 Courtesy of the artist


Michael Günzburger 1974 Bern, CH―Zurich, CH The dark side of the moon, 2006 Omelette and ink on acrylic foil 40 × 58 × 5 cm Private collection Richard Hamilton 1922 London, GB―2011 Northend/Oxford, GB Towards a definitive statement on the coming trends in menswear and accessories (a) Together let us explore the stars, 1962 Oil, cellulose paint, and printed paper on wood 61 × 81.3 cm Tate: Purchased 1964 Inv. T00705 Hannah Höch 1889 Gotha, DE―1978 Berlin, DE Schöne Fanggeräte, 1946 (Nice Catching Devices) Collage 30 × 22 cm Berliner Sparkasse Fahrt ins Unbekannte, 1956 (Expedition into the unknown) Collage 30.3 × 23 cm Berliner Sparkasse Paul Van Hoeydonck 1925 Antwerpen, BE—Wijnegem, BE Fallen Astronaut, 1971 Aluminum Height: ca. 8.5 cm Ed. 3 Courtesy of the artist


Philipp Keel 1968 Zurich, CH—Zurich, CH Nebula, 2002 (Fog) Series of 9 Imbue prints Each 45.3 × 34 cm Ed. 1/5 + 1 AP Philipp Keel Ernst Ludwig Kirchner 1880 Aschaffenburg, DE―1938 Davos, CH Mondaufgang auf der Stafelalp, 1917 (Moonrise on the Stafelalp) Oil on canvas 80 × 90 cm Kirchner Museum Davos, on loan from the Rosemarie Ketterer Foundation Illustration zum Gedicht Mond, 1922 (Illustration of the poem Mond) In: Georg Heym, Umbra Vitae. Nachgelassene Gedichte, München: Verlag Kurt Wolff, 1924 Woodcut 23.5 × 16.5 cm Collection Museum der Moderne Salzburg Inv. BA 9687_1-47_12 Yves Klein 1928 Nizza, FR―1962 Paris, FR Relief Planétaire RP 8, 1961 (Planetary relief) Synthetic resin, painted, on wood 60 × 44 × 2.5 cm Kunsthaus Zürich, 1973 Inv. 1973.26 F.H. König (after) Light screen with the depiction of a chapel, ca. 1820 Oil (?) on glass, framed with stand ca. 15.3 × 14 cm Private collection


Kiki Kogelnik 1935 Bleiburg, AT―1997 Vienna, AT Fly me to the Moon, 1963 Oil and acrylic paint on canvas 244.2 × 184.3 cm Inv. K63.1001 Space, 1963 Acrylic paint, India ink, foil, and collage on paper 50 × 65 cm Inv. K63.1030 Untitled (Spaceship), ca. 1963 Acrylic paint, India ink, foil, and collage on paper 50 × 65 cm Inv. K63.1032 Untitled (Spaceship), ca. 1963 Acrylic paint, India ink, and color pencil on paper 21.3 × 29.4 cm Inv. K63.1034 Untitled (Spaceship), ca. 1963 Acrylic paint, enamel, India ink, and foil on paper 33 × 41.5 cm Inv. K63.1035 Moon Baby, 1968 Silkscreen on paper 100 × 70 cm Ed. 14/30 Inv. K68.1047.014 Moon Baby, 1968 Silkscreen on paper 100 × 70 cm Ed. 25/30 Inv. K68.1048.025 I Can See My Footprints, 1969 Silkscreen on paper 70 × 70 cm Ed. 221/500 Inv. K69.1023.221 Mondlandung!, 1969 (Moon landing!) Silkscreen on paper with offset print on paper 14.7 × 21 cm Inv. K69.1025


Moonhappening, 21/7/1969 Film, 8mm (color, silent), transferred to DVD 12:30 min. Inb. K69.1026 All: Kiki Kogelnik Foundation Alfred Kubin 1877 Leitmeritz, CZ―1959 Wernstein am Inn, AT Seegespenst, ca. 1905 (Ghost from the sea) Blends of pigment and glue on cardboard 29.5 × 34.5 cm Collection Museum der Moderne Salzburg Inv. BS 1213 An den Mond (To the Moon) From: Ein Totentanz. Die Blätter mit dem Tod, Berlin: Verlag Bruno Cassirer, Berlin, 1918/1925 Book with 24 line etchings after pen drawings 34.6 × 27.5 cm Collection Museum der Moderne Salzburg Inv. BA 10324_1-25_4 David Lamelas 1946 Buenos Aires, AR―Los Angeles, CA, US; Buenos Aires, AR; Europe A Study of the Relationships Between inner and Outer Space, 1969 Film, 16mm (black-and-white, sound), transferred to video 20 min. Courtesy the artist, Jan Mot, Brussels and Sprüth Magers, Berlin, London, Los Angeles Fritz Lang 1890 Vienna, AT—1976 Los Angeles, CA, US Frau im Mond, 1928/29 (Woman in the Moon) Film, 35mm (black-and-white, silent) 163 min. (excerpt) Fritz-Lang-Film GmbH für Universum Film AG (Ufa) Lena Lapschina 1965 Kurgan, RU—Vienna, AT Bring Me To The Stars, 2019 8 photographs, marker pen Each 101.5 × 74.5 cm Courtesy of the artist


Sonia Leimer 1977 Merano, IT—Vienna, AT Installation of 5 vases, steel, and I-beams, 2014 - Schwarzes Loch #4 (Black Hole #4) Ca. 225 × 30 × 30 cm - Schwarzes Loch #5 (Black Hole #5) Ca. 235 × 30 × 30 cm - Schwarzes Loch #6 (Black Hole #6) Ca. 235 × 30 × 30 cm - Schwarzes Loch #7 (Black Hole #7) Ca. 255 × 30 × 30 cm - Schwarzes Loch #8 (Black Hole #8) Ca. 255 × 30 × 30 cm All: Sonia Leimer & Barbara Gross Galerie Blinder Fleck, 2016 (Blind Spot) 5 silkscreens on foil specially developed for space travel, on a magnetic foil, magnetic ink; copper- colored version Each 120 × 100 cm Courtesy Galerie nächst St. Stephan Rosemarie Schwarzwälder, Wien Zilla Leutenegger 1968 Zurich, CH—Zurich, CH Der Mann im Mond, 2008 (Man in the Moon) Video (black-and-white, sound) 60 min. Ed. 3 + 1 AP + 1 EP Vollmond, 2008 (Full Moon) Installation Wooden construction, lamp, bed 380 × 398 × 170 cm All: Courtesy the artist and Galerie Peter Kilchmann, Zürich


René Magritte 1898 Lessines, BE—1967 Brussels, BE Architecture au clair de lune, ca. 1935 (Architecture in moonlight) Oil on canvas 65 × 50 cm Private collection Le seize septembre, 1956 (Sixteenth of September) Oil on canvas 60 × 50,5 cm Kunsthaus Zürich, Donated by Walter Haefner, 1995 Inv. 1995.0009 Hiroyuki Masuyama 1968 Tsakuba, prefecture Ibaraki, JP—Düsseldorf, DE Die Piazzetta in Venedig bei Mondschein (Nach Friedrich Nerly, 1838), 2018 [The Piazzetta in Venice in Moonlight (after Friedrich Nerly, 1838)] LED light box 75 × 102 × 4 cm Angermuseum Erfurt Georges Mélies 1861—1938 Paris, FR Le Voyage dans la Lune, 1902 (The trip to the Moon) Film, 35mm (black-and-white, sound) Colored and restorated version from 2011, soundtrack: Air 15 min. Lobster Films, Paris; distribution: Praesens-Film AG, Zürich; mk2 Films, Paris Pierre Mennel 1964 Zurich, CH—Zurich, CH Der Astronaut, 1995 (The Astronaut) Film, 35mm (color, sound), digitized 14 min. Produced by ZHdK Courtesy of the artist


Anna Meschiari 1987 Chiasso, Ticino, CH― Saint-Pierre-de-Trivisy, FR Are we alone?, 2015―2019 Installation Tables, light box, stamps, photocopies Dimensions variable Courtesy of the artist Cristina de Middel 1975 Alicante, ES―Uruapan, MX Afronauts, 2013 Installation of photographs Dimensions variable Courtesy of the artist Jyoti Mistry 1970 Durban, ZA―Göteborg, SE 9:21:25, 2010/11 HD video (color, sound) 9:21 min. Courtesy of the artist Gianni Motti 1958 Sondrio, IT―Geneva, CH First Step in Belgium, 2010 Bronze 17 × 56 × 56 cm Ed. 2/3 + 1 AP Courtesy Perrotin Edvard Munch 1863 Løiten/Hedmark, NO―1944 Ekely/Oslo, NO Winternacht, ca. 1900 (Winter Night) Oil on canvas 81 × 121 cm Kunsthaus Zürich, 1931 Inv. 2204


Friedrich Nerly 1807 Erfurt, DE―1878 Venice, IT Die Piazzetta in Venedig bei Mondschein, ca. 1870 (The Piazzetta in Venice by Moonlight) Oil on canvas 81 × 111.5 cm Private collection Nam June Paik / Jud Yalkut 1932 Seoul, KR―2006 Miami Beach, FL, US 1938 New York, NY, US―2013 Cincinnati, OH, US Electronic Moon, Parts 2 and 3, 1967―1969 Film, 16mm (black-and-white, color, sound), transferred to video 4:25 min. (original film 16 min) Courtesy Electronic Arts Intermix (EAI), New York Katie Paterson 1981 Glasgow, GB—Fife, GB Earth-Moon-Earth. Moonlight Sonata Reflected from the Surface of the Moon, 2007 Disklavier Baby-Grand Piano, MIDI file 5:54 min. Courtesy of the artist and Parafin, London Amalia Pica 1978 Provinz Neuquen, AR—London, GB Moon Golem, 2009 Enlarged reproduction of the Apollo15 NASA photograph of Paul Van Hoeydonck‘s Fallen Astronaut (1971) with engraved glass, spot light, mirror, and plinth Installation dimensions variabel; print: 60 × 60 cm Courtesy the artist and the Zabludowicz Collection Robert Rauschenberg 1925 Port Arthur, TX, US – 2008 Captiva Island, FL, US From the Stoned Moon Series Trust Zone, 1969 3 color lithograph on Special Rives paper 102.6 × 83.8 cm Ed. 58/65 Ape, 1969 3 color lithograph on Special Arjomari paper 117 × 84.5 cm Ed. 41/46


Air Pocket, 1970 1 color lithograph on Special Arjomari paper 92 × 129.5 cm Ed. 41/47 Tracks, 1970 4-Farblithografie auf Special Arjomari Papier 112 × 92 cm Ed. 41/54 All: Galerie Ziegler, Zurich Werner Reiterer 1964 Leibnitz, AT—Vienna, AT Anfänge der Raumfahrt, 2004 (The beginnings of space travel) Plastic, clothing, hose, gas bottle Dimensions variable Collection Denise & Günther Leising, Graz, Austria Thomas Riess 1970 Zams, AT—Vienna and Innsbruck, AT draussen, (outside), 2012 Correction tape and acrylic paint on canvas 150 × 150 cm Courtesy of the artist Impacts (Haut), 2013 Correction tape and acrylic paint on canvas 100 × 210 cm Collection Koops Pipilotti Rist 1962 Grabs, CH—Zurich, CH Deine Raumkapsel [Your Space Capsule], 2006 Audiovisual installation: wooden transport crate, turning projector, media player, audio system, with a bed, chair, wallpaper and diverse objects to a scale of 1:6 113 × 84 × 120 cm, 9:59 min. Ed. 3 + 1 AP + 1 EP Ursula Hauser Collection, Switzerland


Ugo Rondinone 1962 Schwyz, CH―New York, NY, US Moonrise, 2004 Series of 12 masks (selection: July, August, September) Rubber Maße variabel / dimensions variable Private collection Tom Sachs 1966 New York, NY, US—New York, NY, US Saturn V (painted version), 2011 Bronze, plinth from plywood Rocket: 142.9 × 26.4 × 26 cm; plinth: 39.4 × 40.6 × 40.6 cm Ed. 2/3 Galerie Thaddaeus Ropac, London / Paris / Salzburg Michael Sailstorfer 1979 Velden, DE―Berlin, DE Cast of the surface of the dark side of the moon, 2005 Fiberglass, spotlights Object: 100 × 500 × 500 cm, composed from 4 parts each 250 × 250 cm Ed. 3 + 2 AP Courtesy of the artist and KÖNIG GALERIE, Berlin/London Niki de Saint Phalle 1930 Neuilly-sur-Seine, FR―2002 La Jolla, CA, US Rocket, 1958/59 Oil, coffee beans, pebbles, corks, nails, pieces of wood, dishes, wooden door, plywood 204 × 80.5 cm Private collection Courtesy Niki Charitable Art Foundation, Santee, and Salon94, New York Peter Schamoni 1934 Berlin, DE―2011 Munich, DE Die widerrechtliche Ausübung der Astronomie, 1967 (The unlawful practice of astronomy) Film, 35mm (color, sound) Directed / screenplay by: Peter Schamoni Camera: Peter Rosenwanter, Petrus Schlomp 12 min. Production Peter Schamoni Film, Munich


A. Shmidshteyn СЛАВА ОКТЯБРЮ !. Glory October!, ca. 1961 Oil on canvas 132 × 231 cm Guido Schwarz, Swiss Space Museum Yinka Shonibare CBE 1962 London, GB—London, GB Space Walk, 2002 Screen-printed cotton fabric, fibreglass, plywood, vinyl, plastic, steel Astronauts: each 212 × 63 × 56 cm; spaceship: length 370, diameter 153 cm Courtesy Stephen Friedman Gallery, London Roman Signer 1938 Appenzell, CH―St. Gallen, CH Mondflug, 2017 (Flight to the Moon) Mixed media 148 × 144 cm Collection Thomas Spielmann, Davos Christian Skrein 1945 Vienna, AT―St. Gilgen, AT Cosmonaut Alexeij Leonov during the First Space Conference in Vienna, 1968 Gelatine silver print 49.4 × 39.1 cm Christian Skrein Collection Andrej Konstantinovich Sokolov / Alexej Leonov 1931 Leningrad, RU―2007 1934 Listwjanka, RU Power Station on the Moon, 1967 Watercolor and acrylic paint on wood panel 35.5 × 58 cm Sammlung Bewegung KOCMOC/Wien


Nedko Solakov 1957 Cherven Briag, BG―Sofia, BG The Moon itself. Studies for Romantic Landscapes with Missing Parts (and Tips for the Average Global Citizen―The Moon itself), 2000 Oil on canvas on cardboard 26.5 × 36 cm Inv. 2005.40/e The Castle. Studies for Romantic Landscapes with Missing Parts (and Tips for the Average Global Citizen, 2000 Oil on canvas on cardboard 26.5 × 36 cm Inv. 2005.40/a The Lover’s Bench. Studies for Romantic Landscapes with Missing Parts (and Tips for the Average Global Citizen), 2000 Oil on canvas on cardboard 26.5 × 36 cm Inv. 2005.40/b The Light in General. Studies for Romantic Landscapes with Missing Parts (and Tips for the Average Global Citizen), 2000 Oil on canvas on cardboard 26.5 × 36 cm Inv. 2005.40/l All the Profound Thoughts in the Philosopher’s Head. Studies for Romantic Landscapes with Missing Parts (and Tips for the Average Global Citizen), 2000 Oil on canvas on cardboard 26.5 × 36 cm Inv. 2005.40/m The Fire. Studies for Romantic Landscapes with Missing Parts (and Tips for the Average Global Citizen), 2000 Oil on canvas on cardboard 26.5 × 36 cm Inv. 2005.40/d All: Kunsthaus Zürich, 2005 Nikolai Mikhailovich Suetin 1897 Kaluga, RU―1954 Oblast Leningrad, RU Suprematistische Stadt, 1931 (Suprematist City) Pencil on paperboard 49.4 × 50.5 cm Courtesy Galerie Gmurzynska


Pamela Phatsimo Sunstrum 1980 Mochudi, BW―Toronto, CA To: the Moon, 2014 Animation (color, silent) 2:02 min. Courtesy the artist Wilhelm Thöny 1888 Graz, AT―1949 New York, NY, US Landschaft im Mondschein, 1920/21 (Landscape in the Moonlight) Oil on canvas, on cardboard 35.7 × 45.3 cm Collection Museum der Moderne Salzburg Inv. BA 8197 Ilya Grigorevich Chashnik 1902 Ljuzin, Russian Empire―1929 Leningrad, RU Planiti (planetarische Architektur), 1925 [Planiti (planetarian architecture)] Pencil on paper 17.6 × 21.9 cm Planiti (planetarische Architektur), ca. 1926 [Planiti (planetarian architecture)] Pencil on paper 17.4 × 22.1 cm All: Courtesy Galerie Gmurzynska Konstantin Aleksandrovich Vialov 1900 Moskau, RU―1976 Moskau, RU Entwürfe für Cosmic Constructions, 1920 (Designs for Cosmic Constructions) Watercolor, ink, and pencil on paper, mounted on cardboard 28 × 37 cm Courtesy Galerie Gmurzynska Zhan Wang 1983 Xi’an, CN―London, GB Lunar ecomonic zone, 2014 Animation ( color, sound) Narration: Sumedha Pathak; postcomposition: Alexey Marfin 4:20 min. Courtesy of the artist


John Chamberlain, Forrest Myers, David Novros, Claes Oldenburg, Robert Rauschenberg, Andy Warhol 1927 Rochester, IN, US—2011 New York, NY, US 1941 Long Beach, CA, US—New York, NY, US / Damascus, PA, US 1941 Los Angeles, CA, US—New York, NY, US 1929 Stockholm, SE—New York, NY, US 1925 Port Arthur, TX, US—2008 Captiva Island, FL, US The Moon Museum, 1969 Lithograph of tantalum nitride film on ceramic wafer 1.4 × 1.9 cm Ed. 16 Courtesy Forrest Myers Andy Warhol 1928 Pittsburgh, PA, US―1987 New York, NY, US Moonwalk (yellow), 1987 Silkscreen on paper 96.5 × 96.5 cm Courtesy Ronald Feldman Gallery, New York Marianne von Werefkin 1860 Tula, Russian Empire―1938 Ascona, CH Schlittschuhläufer, 1911 (Ice-skaters) Tempera on paper on cardboard 57 × 75 cm Inv. FMW 0-0-27 Der große Mond, 1923 (The big Moon) Tempera on paper on cardboard 75.5 × 55.5 cm Inv. FMW 0-0-55 All: Ascona, Fondazione Marianne Werefkin, Museo comunale d'arte moderna Nives Widauer 1965 Basel, CH―Vienna, AT Wunderkammer / Challended, 2010/2018 Symbioscreen (projection on photograph), ephemera, and memorabilia connected with the Moon (250 pieces), in showcase Ca. 170 × 100 × 60 cm Loan from the artist


Moonstones, 2016―2018 10 works from the series of 11; historic etching, cut stone Between 38 × 44.8 und 51.5 × 51.5 cm Loan from the artist Moonstones, 2016―2018 Number 11 from the series of 11; historic etching, cut stone Private collection Apollo, 2018/19 Apollo TV from 1969, as a light box for an etching of the Moon in glass, pedestal, mirror, electricity Ca. 40 × 60 × 35 cm Loan from the artist


NASA-Photographs. Apollo and other missions, 1962―1972 John Glenn 1921 Cambridge, OH, US―2016 Columbus, OH, US First human-taken photograph from space; Sunset, Mercury-Atlas 6, 02/20/1962 Chromogenic print (vintage) on fiber-based Kodak paper Image: 20.3 × 25.4 cm NASA S-62-6037 NASA, unidentified photographer Walter Schirra, Donald “Deke” Slayton and Roland “Red” Williams examine the historic first Hasselblad camera to be used in space, Mercury-Atlas 8, 09/20/1962 Gelatin silver print (vintage) on fiber-based paper Sheet: 20.3 × 25.4 cm Gordon Cooper 1927 Shawnee, OK, US―Ventura, CA, US Earth photographed with the first Hasselblad camera used in space; Himalayas, China-Nepal border, Mercury-Atlas 9, 05/15/1963 Chromogenic print (vintage) on fiber-based Kodak paper Sheet: 20.3 × 25.4 cm NASA S-63-6445 NASA, unidentified photographer Dr. Wernher von Braun, the NASA Director of the Marshall Space Flight Center and chief architect of the Apollo Saturn space vehicle with President John F. Kennedy at Cape Canaveral, Florida, 11/16/1963 Vintage-Silbergelatineabzug auf fasebasiertem Papier / vintage gelatin silver print on fiber-based paper Gelatin silver print (vintage) on fiber-based paper Sheet: 12.5 × 18 cm Thomas Stafford 1930 Weatherford, OK, US Close-up of Gemini 7 spacecraft during the first rendez-vous in space, December 1965 Chromogenic print (vintage) on fiber-based Kodak paper Sheet: 20.3 × 25.4 cm NASA S-65-63194 NASA, recorded by a Kodak camera aboard the Lunar Orbiter 1 spacecraft The first view of the Earth from the Moon. Frame 101, Lunar Orbiter 1, 08/23/1966 Gelatin silver print (vintage) on fiber-based paper Sheet: 20.3 × 25.4 cm


NASA, recorded by a Kodak camera aboard the Lunar Orbiter 2 spacecraft The picture of the Century, Crater Copernicus, Lunar Orbiter 2, November 1966 Gelatin silver print (vintage) on fiber-based paper Sheet: 51 × 61 cm NASA, taken by a camera aboard the Satellite ATS 3 The first color photograph of the full planet Earth, Satellite ATS 3, 11/10/1967 Chromogenic print (vintage) on fiber-based Kodak paper Sheet: 20.3 × 25.4 cm Apollo 7 Walter Cunningham 1932 Creston, IA, US The extended Saturn IVB stage, rendez-vous over the Earth, Apollo 7, October 1968 Chromogenic print (vintage) on fiber-based Kodak paper Sheet: 20.3 × 25.4 cm NASA AS7-3-1545 The morning Sun illuminates the Earth over the Florida Peninsula, Apollo 7, October 1968 Chromogenic print (vintage) on fiber-based Kodak paper Sheet: 20.3 × 25.4 cm NASA AS7-8-1933 Apollo 8 NASA, still from a 16mm motion picture film exposed in the Command Module James Lovell having a close-up look at another world for the first time in human history, Apollo 8, December 1968 Chromogenic print (vintage) on fiber-based Kodak paper Sheet: 20.3 × 25.4 cm NASA S-69-35098 William Anders 1933 British Hongkong, HK First Earthrise seen by human eyes, Apollo 8, December 1968 Chromogenic print (vintage) on fiber-based Kodak paper Sheet: 20.3 × 25.4 cm NASA AS8-14-2383 First photograph taken by man of the whole Moon in a perspective not visible from Earth, Apollo 8, December 1968 Chromogenic print (vintage) on fiber-based Kodak paper Sheet: 20.3 × 25.4 cm NASA AS8-14-2506


Frank Borman 1928 Gary, IN, US The Earth just above the Moon horizon, Apollo 8, December 1968 Chromogenic print (vintage) on fiber-based Kodak paper Sheet: 20.3 × 25.4 cm NASA AS8-14-2392 Apollo 9 David Scott 1932 San Antonio, TX, US The lunar module ‘spider’ with landing gear deployed over the Earth, Apollo 9, March 1969 Chromogenic print (vintage) on fiber-based Kodak paper NASA AS9-21-3183 Russell Schweickart 1935 Neptune, NJ, US David Scott in the open hatch of the command module during stand-up EVA, Apollo 9, March 1969 Chromogenic print (vintage) on fiber-based Kodak paper Sheet: 20.3 × 25.4 cm NASA AS9-20-3064 Apollo 10 Eugene Cernan, Thomas Stafford or John Young Orbital panorama over the center of the Moon's far side at Sunrise, Apollo 10, May 1969 Mosaic of 7 vintage gelatin silver prints (vintage) on fiber-based paper Overall size: 85 × 22 cm, sheet: each 19.5 × 77 cm NASA AS10-28-4066 to AS10-28-4073 Eugene Cernan 1934 Chicago, IL, US―2017 Houston, TX, US The Command Module Charlie Brown in Lunar Orbit, First Spacecraft Photographed Over Another World, Apollo 10, May 1969 Chromogenic print (vintage) on fiber-based Kodak paper Sheet: 20.3 × 25.4 cm NASA AS10-27-3873


John Young 1930 San Francisco, CA, US―2018 Houston, TX, US Ascent stage of the lunar module Snoopy returning from the Moon, Apollo 10, May 1969 Chromogenic print (vintage) on fiber-based Kodak paper Sheet: 20.3 × 25.4 cm NASA AS10-34-5110 Apollo 11 Buzz Aldrin 1930 Glen Ridge, NJ, US The astronaut’s footprint on the Moon, Apollo 11, July 1969 Gelatin silver print (vintage) on fiber-based paper Sheet: 20.3 × 25.4 cm NASA AS11-40-5877 The astronaut’s boot in lunar soil, Apollo 11, July 1969 Chromogenic print (vintage) on fiber-based Kodak paper Sheet: 20.3 × 25.4 cm AS11-40-5880 Neil Armstrong 1930 Wapakoneta, OH, US―2012 Cincinnati, OH, US First photograph of a man standing on the surface of another world, Apollo 11, July 1969 Chromogenic print (vintage) on fiber-based Kodak paper Sheet: 27.7 × 35.5 cm NASA AS11-40-5872 Portrait of Buzz Aldrin with the photographer and the lunar module reflected in his goldplated visor, Apollo 11, July 1969 Chromogenic print (vintage) on fiber-based Kodak paper Sheet: 27.7 × 35.5 cm NASA AS11-40-5903 Buzz Aldrin walking in the Sea of Tranquility’s one sixth gravity, Apollo 11, July 1969 Chromogenic print (vintage) on fiber-based Kodak paper Sheet: 20.3 × 25.4 cm NASA G-70-1493 / NASA AS11-40-5942 NASA, Unbekannter Fotograf / unidentified photographer Moon landing, Apollo 11, July 1969 Chromogenic print (vintage) on Kodak paper Sheet: 20.3 × 25.3 cm, image: 18.3 × 17.8 cm Kunsthaus Zürich, Department of Prints and Drawings, 2018 ZKG.2018.0177


Moon landing, Apollo 11, July 1969 Chromogenic print (vintage) on Kodak paper Sheet: 20.3 × 25.3 cm, image: 18.3 × 17.8 cm Kunsthaus Zürich, Department of Prints and Drawings, 2018 ZKG.2018.0178 Moon landing, Apollo 11, July 1969 Chromogenic print (vintage) on Kodak paper Sheet: 20.3 × 25.3 cm, image: 18.3 × 17.8 cm Kunsthaus Zürich, Department of Prints and Drawings, 2018 ZKG.2018.0179 Neil Armstrong examining his lunar-surface Hasselblad camera in preparation for the historic Moon walk, Apollo 11, July 1969 Chromogenic print (vintage) on fiber-based Kodak paper Sheet: 20.3 × 25.4 cm NASA S-69-38489 Apollo 12 Alan Bean 1932 Wheeler, TX, US―2018 Houston, TX, US Panoramic photography with handwritten annotations, Apollo 12, November 1969/2009 Image: 20.2 × 102 cm Guido Schwarz, Swiss Space Museum Charles „Pete” Conrad 1930 Philadelphia, PA, US―1999 Ojai, CA, US “Tourist” picture of Alan Bean, EVA 2, Apollo 12, November 1969 Gelatin silver print (vintage) Sheet: 20.3 × 25.4 cm NASA AS12-49-7281 Apollo 13 Fred Haise, James Lovell oder / or Jack Swigert View of the celebrated “mailbox” which saved the astronauts’ lives, Apollo 13, April 1970 Chromogenic print (vintage) on fiber-based Kodak paper Sheet: 20.3 × 25.4 cm NASA AS13-62-8929


Jack Swigert or Fred Haise The farside Tsiolkovskiy Crater during the single pass around the Moon, Apollo 13, April 1970 Chromogenic print (vintage) on fiber-based Kodak paper Sheet: 20.3 × 25.4 cm NASA AS13-60-8659 Apollo 14 Edgar Mitchell 1930 Hereford, TX, US―2016 West Palm Beach, FL, US Alan Shepard's first steps on the lunar surface, as seen from the lunar module Antares, EVA 1, Apollo 14, February 1971 Unreleased photograph, Chromogenic print (vintage) on fiber-based Kodak paper Sheet: 20.3 × 25.4 cm NASA AS14-66-9229 Panoramic view at station B3 near Cone Ridge, Apollo 14, February 1971 Mosaic of 5 gelatin silver prints (Vintage) Overall size: 77 × 23 cm, sheet: each 70 × 20.5 cm NASA AS14-68-9433 – AS14-68-9438 Piece of fabric with specks of Moon dust, Apollo 14, February 1971 Guido Schwarz, Swiss Space Museum Alan Shepard 1923 East Derry, NH, US―1998 Del Monte Forest, CA, US Views of the lunar module Antares reflecting a circular flare at the Fra Mauro landing site, EVA 1, Apollo 14, February 1971 Chromogenic print (vintage) on fiber-based Kodak paper Sheet: 20.3 × 25.4 cm NASA AS14-66-9306 Apollo 15 David Scott 1932 San Antonio, TX, US Telephoto panorama of a crater on the wall of Hadley Rille lunar canyon, Station 9A, EVA 3, Apollo 15, August 1971 Mosaic of 7 gelatin silver prints (vintage) on fiber-based paper Overall size: 37.5 × 51.5 cm, sheet: 35.5 × 44 cm NASA AS15-89-12057 – AS15-89-12072


Alfred Worden 1932 Jackson, MI, US Orbital panorama of the central peak of Tsiolkovskiy Crater, Apollo 15, August 1971 Mosaic of 3 chromogenic prints (vintage) on fiber-based Kodak paper Overall size: 28.5 × 38 cm, sheet: each 23 × 33 cm NASA AS15-96-13015 – AS15-96-13017 Apollo 16 Charles Duke 1935 Charlotte, NC, US The command module Casper and the Earth both emerging over the lunar horizon, Apollo 16, April 1972 Unreleased photograph, chromogenic print (vintage) on fiber-based Kodak paper Sheet: 20.3 × 25.4 cm NASA AS16-113-18296 Panoramic view of the lunar module Orion seen from the lunar rover parked at the lunar science station, Station 10 prime, Apollo 16, April 1972 Mosaic of 3 chromogenic prints (vintage) on fiber-based Kodak paper Overall size: 46.5 × 20 cm, sheet: each 39 × 19 cm NASA AS16-117-18815 – AS16-117-18818 John Young 1930 San Francisco, CA, US―2018 Houston, TX, US Panoramic view of Charles Duke observing the lunar scape near Plum Crater, Station 1, EVA 1, Apollo 16, April 1972 Mosaic of 3 chromogenic prints (vintage) on fiber-based Kodak paper Overall size: 21 × 51 cm, sheet: each 19 × 44 cm NASA AS16-114-18427 – AS16-114-18430 Apollo 17 Eugene Cernan, Ronald Evans or Harrison Schmitt One of the last frames taken by man in lunar orbit, lunar terminator, Apollo 17, December 1972 Unreleased photograph, gelatin silver print (vintage) on fiber-based paper Sheet: 20.3 × 25.4 cm NASA AS17-139-21281


Eugene Cernan 1934 Chicago, IL, US―2017 Houston, TX, US Harrison Schmitt with the Earth above the American flag, EVA 1, Apollo 17, December 1972 Chromogenic print (vintage) on fiber-based Kodak paper Sheet: 20.3 × 25.4 cm NASA AS17-134-20384 The lunar module Challenger, the lunar rover, Harrison Schmitt and the American flag, EVA 3, Apollo 17, December 1972 Unreleased photograph, chromogenic print (vintage) on fiber-based Kodak paper Sheet: 20.3 × 25.4 cm NASA AS17-140-20467 Panoramic view of Harrison Schmitt, Split Rock and the lunar rover at the North Massif's Station 6, EVA 3, Apollo 17, December 1972 Mosaic of 2 chromogenic prints (vintage) on fiber-based Kodak paper Overall size: 34 × 21 cm, sheet: each 27 × 19 cm NASA AS17-140-21495 and AS17-140-21497 Panoramic view of Harrison Schmitt and the rover in the valley of Taurus-Littrow, Station 8, EVA 3, Apollo 17, December 1972 Mosaic of 3 chromogenic prints (vintage) on fiber-based Kodak paper Sheet: 23 × 47 cm, 20 × 39 cm (centre photograph) NASA AS17-146-22385, AS17-146-22387, AS17-146-22389 Ronald Evans 1933 St. Francis, KS, US―1990 Scottsdale, AZ, US Crescent Earthrise, Apollo 17, December 1972 Chromogenic print (vintage) on resin coated Kodak paper Sheet: 20.3 × 25.4 cm NASA AS17-152-23274 Harrison Schmitt 1935 Santa Rita, NM, US Eugene Cernan and the Earth above the antenna on the rover, EVA 3, Apollo 17, December 1972 Chromogenic print (vintage) on fiber-based Kodak paper Sheet: 20.3 × 25.4 cm NASA AS17-134-20473 The American flag standing on the Moon after man's last Moonwalk, EVA 3, Apollo 17, December 1972 Unreleased photograph, chromogenic print (vintage) on fiber-based Kodak paper Sheet: 20.3 × 25.4 cm NASA AS17-145-22217


The “Blue Marble,” the first human-taken photograph of Earth fully illuminated, Apollo 17, December 1972 Chromogenic print (vintage), flush-mounted on original NASA card Sheet: 27 × 34.5 cm, card: 40.5 × 51 cm NASA AS17-148-22727 All (unless stated otherwise): Collection Victor Martin-Malburet Publications and Ephemera Johannes de Sacrobosco, Libellus de sphaera, Johannis de Sacrobusto; cum prefacione Philippi Melanthnouis quibusdam typis, qui ortus indicant, Vitebergae: 1540. Book Stiftung Pestalozzianum, Zurich Inv. MG 428 H Galileo Galileo, Siderevs Nvncivs Magna, Longeqve Admiralia Spectacula pandens, suspiciendaque proponens vnicuique, praesertim verò Philosophis, atq[ue] Astronomis, quæ à Galileo Galileo Patritio Florentino ... Nuper à se reperti beneficio sunt obseruata in Lvnæ Facie, Fixis Innvmeris, Lacteo Circvlo, Stellis Nebvlosis, Apprime verò in Qvatuor Planetis Circa Iovis Stellam disparibus interuallis, atque periodis, celeritate mirabili circumuolutis ; ... atque Medicea Sidera Nvncvpandos decrevit, Tommaso Baglioni (ed.), Venetiis: Apud Thomam Baglionum, 1610. Book 20.6 × 15.9 cm Wien, Österreichische Nationalbibliothek, Sammlung von Handschriften und alten Drucken, 72.J.106.Alt-Rara Andreas Cellarius, Harmonia macrocosmica, seu, Atlas universalis et novus, totius universi create cosmographiam generalem, et novam exhibens : in quâ omnium totius mundi orbium harmonica constructio, secundum diversas diversorum authorum opiniones, ut & uranometria, seu totus orbis coelestis, ac planetarum theoriae, & terrestris globus, tam planis & scenographicis iconibus, quam descriptionibus novis ab oculos ponuntur: opus novum, antehac nunquam visum, cujuscunque conditionis hominibus utilissimum, jucundissimum, maxime necessarium, & adornatum / studio, et labore Andreae Cellarii Palatini, Amsterdam: Gerard Valck & Peter Schenk, 1708. Book 19 × 28.5 cm ETH-Bibliothek Zurich Inv. Rar 1517


Johann Heinrich Lambert, Beschreibung und Gebrauch einer neuen und allgemeinen eccliptischen Tafel worauf alle Finsternisse des Mondes und der Erde in ihrer natürlichen Gestalt vorgestellt werden, nebst der leichtesten Art dieselbe und die dabey vorkommenden Umstände zu berechnen und zu entwerfen, Berlin: Realschulbuchhandlung, 1765. Book, 148 pages, 2 foldable spreads ETH-Bibliothek Zurich Inv. Rar 4445 Jules Verne, Bekannte und unbekannte Welten: abenteuerliche Reisen von Julius Verne: 1: Von der Erde zum Mond: directe Fahrt in 97 Stunden 20 Minuten, with illustrations by Henri de Montaut and etchings by Francois Pannemaker, Hartleben, Vienna / Pest, Leipzig: 1865/1874. Book 24.5 × 18 × 2.6 cm Wien, Österreichische Nationalbibliothek, Hauptabteilung Benutzung und Information, 469.404-C.1 Neu Mag Jules Verne, Around the Moon, Sampson Low, Marston & Company, London: 1870/1890. Book, 192 pages 18.5 × 13 × 1.5 cm Guido Schwarz, Swiss Space Museum James Nasmyth / James Carpenter, Der Mond. Betrachtet als Planet, Welt und Trabant, Leipzig: Verlag von Leopold Voss, 1876. Book, 167 pages, with woodcuts, lithographs and light prints 26.7 × 21 × 2.1 cm Kunsthaus Zürich, Archiv Zürcher Kunstgesellschaft and Kunsthaus Zürich Camille Flammarion, Les Terres du ciel. Voyage astronomique sur les autres mondes et description des conditions actuelles de la vie sur les diverses planètes du système solaire, with astrophographies by Lewis Morris Rutherfurd, Paris: C. Marpon et E. Flammarion, 1884. Book, 775 pages, with photographs of the sky, telescope views, maps, and illustrations 27 × 18,5 × 4,5 cm Kunsthaus Zürich, Archiv Zürcher Kunstgesellschaft and Kunsthaus Zürich Paschal Grousset, The Conquest of the Moon―A Story of the Bayouda, London: Sampson Low, Marston & Company, 1889/1894. Book, 334 pages 19 × 13.5 × 3 cm Guido Schwarz, Swiss Space Museum Maurice Loewy / Pierre Henri Puiseux, Atlas photographique de la lune, Observatoire de Paris (Hg.), Imprimerie nationale, 1896–1910. Book with heliogravures 80 × 60.5 cm ETH-Bibliothek Zürich, Alte und Seltene Drucke Inv. Rar 10150


Max Wolf, Stereoskopbilder vom Sternhimmel, 1st series, Leipzig: Verlag von Johann Ambrosius Barth, 1922. Christian Skrein Collection Max Wolf, Stereoskopbilder vom Sternhimmel, 2nd series, Leipzig: Verlag von Johann Ambrosius Barth, 1922. Christian Skrein Collection Gerdt Bernhard von Bassewitz, Peterchens Mondfahrt. Ein Märchen, with illustrations by Hans Baluschek, Verlagsanstalt Hermann Klemm A.-G. / Deutsche Märchenbücherei (14th edition), after 1928. Book, original cover illustrated in color with back in half linen and cover title 27.4 × 19.8 cm Brohan-Museum, Landesmuseum fur Jugendstil, Art Deco und Funktionalismus, Berlin Inv. A 16-031 R. Buckminster Fuller, Nine Chains to the Moon, Anchor Books / Duobleday & Company, Inc., 1938/1971. Book, 346 pages 20.7 × 13.6 × 2.7 cm Kunsthaus Zürich, Archiv Zürcher Kunstgesellschaft and Kunsthaus Zürich Collier’s, „Man on the Moon. Scientists Tell How We Can Land There In Our Lifetime,” with an essay bei Wernher von Braun, 10/18/1952. Magazine, 86 pages 34.5 × 26.8 × 0.4 cm Kunsthaus Zürich, Archiv Zürcher Kunstgesellschaft and Kunsthaus Zürich Collier’s, „Red Grange―I Couldn't Make the Varsity Today! More About Man on the Moon,” 10/25/1952. Magazine, 102 pages 34.5 × 26.8 × 0.4 cm Kunsthaus Zürich, Archiv Zürcher Kunstgesellschaft and Kunsthaus Zürich Collier’s, „Man Will Conquer Space Soon. Top Scientists Tell How in 15 Startling Pages,” 03/22/1952. Magazine, 90 pages 34.5 × 26.8 × 0.4 cm Kunsthaus Zürich, Archiv Zürcher Kunstgesellschaft and Kunsthaus Zürich Collier’s, „Exclusive―World's First Space Suit. How and Where We'll Use It,” 02/28/1953. Magazine, 70 pages 34.5 × 26.8 × 0.4 cm Kunsthaus Zürich, Archiv Zürcher Kunstgesellschaft and Kunsthaus Zürich Collier’s, „The Baby Space Station. First Step in the Conquest of Space,” 06/27/1953. Magazine, 70 pages 34.5 × 26.8 × 0.4 cm Kunsthaus Zürich, Archiv Zürcher Kunstgesellschaft and Kunsthaus Zürich


Collier’s, „Can We Get to Mars? Is There Life on Mars,” 04/30/1954. Magazine, 102 pages 34.5 × 26.8 × 0.4 cm Kunsthaus Zürich, Archiv Zürcher Kunstgesellschaft and Kunsthaus Zürich Sowjetisches technisches Magazin, Ausgabe / issue 12, December 1957 Magazine, 44 pages Guido Schwarz, Swiss Space Museum Technische Zeitschrift, issue 2, February 1959. Magazine, 50 pages Guido Schwarz, Swiss Space Museum Ю Т, issue 12, 1959. Magazine, 80 pages 20 × 13.1 × 0.6 cm Kunsthaus Zürich, Archiv Zürcher Kunstgesellschaft and Kunsthaus Zürich Academy of Sciences of the U.S.S.R. (ed.), First photographs of the reverse side of the moon, Moskau: Foreign Languages Publishing House, 1960. Translated from the Russian by George Yankovsky Book, 36 pages 25.8 × 20 × 0.4 cm Kunsthaus Zürich, Archiv Zürcher Kunstgesellschaft and Kunsthaus Zürich Sowjetisches technisches Magazin, issue 8, August 1961. Magazine, 44 pages Guido Schwarz, Swiss Space Museum Juri Gagarin-memorabilia, Jahre: pennon, record covers, magazines, photographs, Gagarin manuscript in showcase Sammlung Bewegung KOCMOC / Wien R. Buckminster Fuller, Operating Manual for Spaceship Earth, Simon and Schuster, Inc., 1969. Book, 144 pages 20.2 × 13.3 × 0.9 cm Kunsthaus Zürich, Archiv Zürcher Kunstgesellschaft and Kunsthaus Zürich Tages Anzeiger, „Der Mensch auf dem Mond,“ special supplement of 08/08/1969. Newspaper, 24 pages 32.8 × 23.5 cm Private collection Zürich


Pan Am ‚First Moon Flights’ Club Member Card, Nr. 33942, issued to Horst Baumann, ca. 1969 Paper, printed on both sides 6.5 × 9 cm Guido Schwarz, Swiss Space Museum Stewart Brand (Hg.), Whole Earth Catalog. access to tools, Portola Institute, Herbst 1969. Magazine, 128 pages 36.3 × 28.1 × 0.7 cm Kunsthaus Zürich, Archiv Zürcher Kunstgesellschaft and Kunsthaus Zürich Stewart Brand (ed.), The Last Whole Earth Catalog. access to tools, Portola Institute / Random House, 1971. Magazine, 128 pages 36.3 × 28.1 × 0.7 cm Kunsthaus Zürich, Archiv Zürcher Kunstgesellschaft and Kunsthaus Zürich Swissair, Der Schlager! Last Men to the Moon – Zum Apollo-17-Start nach Cape Canaveral, 2.–10. Dezember 1972, ab Fr. 1560. –, 1972, poster, photograph by Georg Gerster 242.5 × 42 cm Guido Schwarz, Swiss Space Museum Stewart Brand (Hg.), THE NEXT Whole Earth Catalog. ACCESS TO TOOLS, POINT / Random House, 1980/81. Magazine, 608 pages 36.7 × 27.6 × 3.2 cm Kunsthaus Zürich, Archiv Zürcher Kunstgesellschaft and Kunsthaus Zürich

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