Dispatches from the Alps, 3
The eastern end of the Valais hosts the headwaters of the Rhône that originate from a glacier of the same name. The famous body of ice which once rested as far down as the valley floor has retreated during the last 150 years up an enormous cliff, the icefall leaving behind a series of waterfalls. Now the glacier itself is hidden behind a bench of polished granite high above us. Two historical passes branch off from this end of the valley: the Grimsel Pass headed north into central Switzerland, and the narrow Furka Pass road, which is closed for eight months out of the year due to snow. Built atop Furka in the late 1800s were two hotels.
The older hotel, built at top of the road’s arc, was where Queen Victoria spent time in 1868 making watercolors of what was by then an established destination in the Alps. The second and more modest structure, was a ten-room traveller’s chalet built in 1892 just east and down the pass a few hundred yards. In 1902 a large cube of 27 additional rooms was added, which included a wood paneled, square dining room. The pass and its two hotels were at first an exotic destination for European and British travelers come to experience the sublime, a term in large part created to describe the beauty and terror of the vertiginous alpine environment of Switzerland. But, as rail and then automobiles came to the area early in the 20th century, the pass became more of a transit area and a viewpoint stopped at only briefly for a coffee and a photograph. As we near the top, we can look back and see the Matterhorn and Weisshorn, which are visible intermittently through the gathering clouds.
The first hotel was eventually condemned and then torn down by the military as a demolition exercise. By the late 1970s the second hotel was also closed, but in 1983 Swiss gallerist Marc Hostettler started an artists retreat in the smaller hotel. James Lee Byars was first to arrive, followed by Marina Abramovic, Hamish Fulton, Ian Hamilton Finlay, Jenny Holzer, Richard Long and dozens of others, all leaving site-specific works either in the landscape, or on and in the hotel.
By the time we finish winding our way up steep horseshoe turns and reach the top it’s almost one p.m. and the weather is closing in. But we stop to examine the work designed by Max Bill in 1994, the year of his death, four granite plinths surrounding a small fire pit. Nearby is a chimney-like stack of un-mortared bricks that is taller than a person and split vertically with a narrow fissure through which the inside can be viewed. Built by Per Kirkeby in 1986 using materials from the older hotel, it is a delicate, even fragile reminder of the past. Joseph Kosuth’s quote of Goethe is nearby, as are many other works hidden in the fog, so we continue down to the second hotel.
As we drive up we can see the distinctly stripped shutters painted by Daniel Buren from 1986-1988, the latter the year that Rem Koolhaus finished work on the chalet part of the hotel. Koolhaus made a number of very clean modernist interventions on what is still his only project built in Switzerland, a cafe carved out of the bottom floors of the early structure, and rooms above to house hotel staff. Now the entire south wall has been opened to provide a panoramic view of—well, this afternoon, the clouds and sleet that is starting to fall. But the cafe is inviting, open, and a great setting for a conversation.
Hostettler ended his involvement with what was known as Furk’art in 2003, and the hotel cube next door as a residency facility turned into a house museum and archive. Now it is managed by Janis Osolin, who acts as curator, archivist, and in some ways as an installation artist in his own right, although he is a modest man and I believe would probably deny the last role as presumptuous. We sat down for lunch with Janis and then a tour of the property.