Zurich Covers Nude Painting at Public Pool – Because Children Might See It

The half-transparent film over the glass looks like something from a construction site. Anyone trying to peer through the window sees only vague outlines of large-format paintings. They are works by Berlin artist Sigurd Wendland, currently on display in the exhibition space of Zurich's Letzigraben outdoor pool – the one locals call the Max Frisch pool, after the writer and architect who designed it.

Usually, the room near the entrance is freely visible. Not this time. The city of Zurich finds one of the paintings so objectionable that it wants to shield children and young people from a direct view. The reason: Wendland's "Hide away" – an adaptation of Ferdinand Hodler's famous 1889 work "The Night" – shows naked, writhing women, men, and children.

The 77-year-old artist is now locked in a dispute with the city. "This censorship is a scandal," he says.

An exhibition space in a swimming pool sounds unusual. But the Letzigraben has long had a connection to art. A permanent exhibition on the grounds informs visitors about Max Frisch's work, and a nonprofit association regularly organizes contemporary art shows. This summer's theme: bathing culture and bathing art. Wendland was invited to participate. He has exhibited at the Letzigraben twice before. He feels connected to Zurich; his son lives here.

Wendland paints large-format oil works. He processes social themes like the pandemic and war. He has painted portraits of singer Udo Lindenberg, actor Bruno Ganz, and satirist Wiglaf Droste. And his paintings often include nude figures. "Hide away" is no exception.

The exhibition curator, Sascha Serfözö, selected the painting at Wendland's Berlin studio, along with two others. The artist personally brought the works to Zurich for the May 9 vernissage. The exhibition title: "Not Reality Again!" It now sounds like a premonition.

One day later, the pool's facility manager sent a sharp email to Serfözö. In the message, seen by the NZZ, he wrote: "I assume you are aware that such a painting has no place in public space, especially at a location accessible to children." He demanded that the painting be taken down by the following evening.

It was not taken down. Instead, the glass panel was covered with film.

Tobias Bernhard, head of swimming and ice facilities at Zurich's sports department, defends the decision. He says the facility manager acted proportionately. "When selecting artists, we already pay attention to whether the works are suitable for the broad audience of the Letzigraben pool." He says the department has an agreement with the cultural association that when works could be "interpreted differently," a privacy screen will be installed – in this case, for child and youth protection. The exhibition itself remains accessible.

Bernhard argues that the exhibition space is in a swimming pool, not a museum. "People come here primarily to swim." That is why they decided not to remove the painting but to install a screen – as has been done in previous cases. In the future, the sports department will coordinate even more closely with the cultural association on what kind of exhibits should be shown.

Serfözö says the association does not want the city to dictate what art can be shown in the pool. He finds the intervention irritating. "There is absolutely nothing offensive about this painting." On the contrary, Wendland's works are an enrichment. He has not heard any complaints from bathers. The pool management covered the windows on its own initiative. "Art should be freely accessible, especially in a public environment like a swimming pool," he says. "Art should have an effect and social relevance."

Wendland himself finds his criticized painting harmless. "The buttocks Hodler painted in 'The Night' are much more explicit. No one minds that." He feels the covering of the exhibition space is an affront. He has asked the city to send his paintings back to Berlin.

The paintings are still on display. And the intervention has had at least one positive effect, Serfözö notes: the covered exhibition space is attracting a lot of visitors. Nothing draws a crowd like something hidden.