Zurich Airport & Power Station Discard Works by Renowned Light Artist Christian Herdeg – Urgent Breaking News
Zurich, Switzerland – October 30, 2025 – A quiet controversy is illuminating the often-overlooked fate of public art. Christian Herdeg, a celebrated light artist whose work has graced spaces from Zurich Airport to Basel’s Kunstmuseum, has discovered that at least two of his major installations have been discarded by state-affiliated companies without his knowledge or consent. The news, breaking this morning, has ignited a debate about artistic ownership, the responsibility of public institutions, and the very definition of art in the public sphere. This is a developing story with significant implications for artists and cultural heritage preservation.
The Disappearance of Light: A 30-Year Legacy Erased?
The first work to vanish was “So near – so far,” a sprawling light tube installation created in 1986 for Zurich Airport’s Terminal A. Costing approximately 250,000 Swiss francs (taxpayer money), the installation featured argon-filled tubes within prismatic Plexiglas, captivating millions of travelers for decades. More recently, Herdeg learned that his “light sail” – a 1995 commission for the Zurich power station (EWZ) – had also been removed, its fate equally unknown. He discovered this only when inquiring about bulb replacements, a detail that underscores the casual disregard shown for his work.
This situation echoes a famous art world moment from 1986, when a caretaker removed Joseph Beuys’ “Fettecke,” prompting the question: “Is this art, or can it go away?” Herdeg, now 83, approaches the situation with a wry humor about his age, but is resolute in defending his artistic rights.
Copyright & Code of Conduct: A Legal Battle Brewing
Andreas Ritter, a Zurich-based art law specialist representing Herdeg, asserts that the disposals represent clear copyright violations. Swiss law mandates that if a work is no longer desired, it must first be offered back to the artist, even at scrap value. “That’s Swiss law, and it was ignored in both cases,” Ritter stated. Furthermore, the actions potentially violate the code of conduct expected of institutions like EWZ and Flughafen Zürich AG.
The EWZ claims the “light sail” was removed during renovations and deemed “not an art-in-building object,” thus exempting them from copyright requirements. However, this justification has been met with skepticism. Airport officials have gone even further, suggesting that guidelines regarding the Canton of Zurich’s art collection simply don’t apply to them – a surprising stance given the Canton’s majority ownership.
A History of Innovation: Christian Herdeg’s Artistic Journey
Christian Herdeg’s career is a testament to artistic evolution and dedication. Beginning as a photographer and lighting technician, including work for National Geographic, he found his calling in the 1960s with neon art in New York. Returning to Switzerland, he quickly gained recognition, expanding his medium through collaborations with chemists to develop 300 unique shades of phosphor powders. His work has been exhibited alongside luminaries like Dan Flavin and James Turrell, and celebrated for its “virtuoso play with the physical properties of light.”
Herdeg’s installations aren’t simply decorative; they’re explorations of color, space, and the very essence of light. His 1982 work, “Seven stereometric light bodies on the water level,” continues to shine brightly on Bärengasse fountain, meticulously maintained by UBS, demonstrating a commitment to preserving public art when it exists.
A Mixed Record: Preservation vs. Disregard
The contrasting fates of Herdeg’s installations highlight a troubling inconsistency in how public art is valued. While UBS actively maintains and showcases his work, the airport and EWZ appear to have treated his creations as disposable assets. The University Hospital of Zurich (USZ) offers a positive example, having repaired and restored “Eight Rings of Light” in 1996, even temporarily removing and then reinstating it during the pandemic, recognizing its “identity-forming effect” on the emergency room environment.
Herdeg isn’t seeking financial compensation; he wants accountability and a shift in mindset. He hopes this situation will encourage decision-makers to prioritize the preservation of art in public spaces and protect the rights of artists, particularly those who may lack the resources to fight for their work. He’s already looking forward, with a new LED installation planned for the Chur Cantonal Hospital next spring, proving that his creative spirit remains undimmed.
This case serves as a stark reminder that art, even when publicly displayed, requires active stewardship and respect. The ongoing debate surrounding Christian Herdeg’s work will undoubtedly shape future conversations about the role of art in our communities and the responsibilities of those who hold it in trust. Stay tuned to archyde.com for further updates on this developing story and in-depth coverage of art, culture, and legal issues.
