Oasis on the siding of Europe
The Künstlerhaus Boswil in the 70s – between green fields and iron curtain
Thomas Meyer
The Künstlerhaus Boswil, which was initially established as a home for older artists, developed into a space for new music and cultural-political discussions in the late 60s and 70s. A decisive moment was the launch of composition seminars initiated by Klaus Huber from 1969. It became a growing encounter hub for composers from Eastern Europe, especially from East Germany – a process of bridge building which had far-reaching consequences for both sides.
