Gallen) Kunstmuseum St Gallen 07.07-02.09 Kunsthalle, Bern Francis Picabia (1879-1953): Werke von 1909 bis 1924 (Marseille-Bern) 4 Amerikaner: Jasper Johns, Alfred Leslie, Robert Raushenber, Richard Stankiewicz (Stockholm-Amsterdam-Bern) Moderna Museet, Stockholm/Stedelijk Museum, Amsterdam 13.10-25.11 Städtische Galerie, Biel Harry Kramer: Automobile Skulpturen-Marionetten-Filme 20.10-25.11 Kunsthalle, Bern Kunst aus Tibet 1963 16.02-24.03 Kunsthalle, Bern Auguste Herbin (1882-1960) (Bern-Amsterdam) Stedlijk Museum, Amsterdam 20.04-19.05 Städtische Galerie, Biel Englebert van Anderlecht, Bram Bogart (Bern-Bruxelles) Palais des Beaux-Arts, Bruxelles 04.05-03.06 Kunsthalle, Bern Alan Davie (Baden-Baden – Bern – Darmstadt – London – Amsterdam) Staatliche Kunsthalle, Baden-Baden Piotr Kowalski 12.07-18.08 Kunsthalle, Bern William Scott (Bern-Belfast) Ulster Museum, Belfast Victor Pasmore 18.08-15.09 Städtische Galerie, Biel Heinz-Peter Kohler, Gregory Masurovsky 24.08-15.09 Kunsthalle, Bern Bildnerei der Geisteskranken-Art Brut- Insania pingens 21.09-27.10 Kunsthalle, Bern Louis Moillet 02.11-01.12 Kunsthalle, Bern Etienne-Martin (Bern-Amsterdam – Eindhoven) Stedelijk Museum, Amsterdam/Stedelijk van Abbemuseum, Eindhoven Major Exhibitions Live In Your Head: When Attitudes Become Form (1969) Happening and Fluxus (1970) Documenta 5 (1972) Der Hang zum Gesamtkunstwerk (1983) Live in Your Head: When Attitudes Become Form Live In Your Head: When Attitudes Become Form was a landmark show for Post-Minimalist American artists in 1969 at the Kunsthalle Bern. Following the opening of the exhibition "12 Environments" in the summer of 1968, which featured the works of Andy Warhol, Martial Raysse, Soto, Jean Schnyder, Kowalski, and Christo, Harald Szeemann was asked to do a show of his own. Representatives of Philip Morris, American Tobacco Company, and Rudder and Finn, Public Relations Firm, visited Szemmann in Bern to recruit his expertise for a project. This project would entail substantial funding, with the additional benefit of collaborating with the Stedelijk (sponsored by the Holland American Line), and complete artistic freedom. This was an entirely new opportunity for Szeemann therefore he accepted the sponsored proposal. The project was initially conceived whenever Szeemann, with the Director of the Stedelijk named de Wilde, traveled through Switzerland and Holland to select the works of younger artists for national shows. When visiting the studio of a Dutch painter, Reinier Lucassen, Szeemann was immediately impressed with the work of the painter's assistant Jan Dibbets. Jan greeted Szeemann from behind two tables; one of which had neon light coming out of the surface and the other one was covered in grass which he watered. Szeemann was thereafter inspired to focus the upcoming exhibition on behaviors and gestures. Shortly after the conception the show developed quickly. A published diary of