Bötschi asks Rolf Knie (part 1) "When Gaston Häni died, a part of me went too"

Rolf Knie retired as an artist and actor in spring. But the 76-year-old is not retiring. A conversation about his new project, the death of stage partner Gaston Häni and what triggered the criticism of his painting.

Rolf Knie, I'm going to ask you as many questions as possible over the next 45 minutes. And please answer as briefly and quickly as possible. If you don't like a question, you can also say "Next" once.

All right.

Red or blue?

People keep asking me about my blue eyes.

Rapperswil-Jona in the canton of St. Gallen or Santa Ponsa on Mallorca?

Clearly: Rapperswil-Jona.

Tiger or elephant?

It depends on the character of the animal. But basically: I have better access to elephants.

I have to admit, I hated you as a teenager.

So, so ... well, life has taught me that you can't please everyone.

About the author: Bruno Bötschi

blue News

blue News editor Bruno Bötschi regularly talks to well-known personalities from Switzerland and abroad for the question-and-answer game "Bötschi fragt". He asks them lots of questions - always direct, often funny and sometimes profound. It always remains open until the very last question as to where the fast-paced ping-pong will lead.

I was a circus Knie fan from an early age and always laughed myself to death during your clown performances with your long-standing stage partner Gaston Häni.

(Rolf Knie looks astonished)

I'll never forget the crazy-genius badminton game in the "Knie" ring. And that's why: when you ended your circus career in November 1983, I couldn't understand it and was angry with you.

Now I understand what you're getting at ... and between you and me: when Gaston Häni died on December 20, 2023, a part of me left too. The time I spent with him was wonderful - also because we both appreciated and complemented each other as artists. We didn't envy each other, we each begrudged the other their success.

Because we had to perform new acts at Circus Knie every year, we didn't stand still artistically, we were constantly renewing ourselves. But after 30 different clown acts, I began to worry that we might be repeating ourselves in the circus ring. So I suggested that we should switch from the circus to the stage.

As a result, we were given a two-year leave of absence from the "Knie". Our stage program was so well received that we were soon able to perform in Germany - and at some point we decided not to return to the circus ring.

Do you like goodbyes?

I don't like 90 percent of farewells.

And the remaining 10 percent ...

... I like because a farewell is always a new beginning.

Which farewell has been the hardest for you so far?

I will never forget the days when I drove my son to Zurich airport because he had to fly back to the USA, where he was studying. After checking in, Gregory and I howled like two castle dogs every time.

Last spring, after 70 years in the circus ring and on stage, you decided that enough was enough. What finally prompted you to retire as an artist and actor?

It has to do with age, of course. But also because I know that an artist is only as good as their last performance. I wanted to stop before the audience lost interest in me. I know enough actors who didn't make it out in time.

Did your departure from the limelight go as you had imagined?

Yes, yes ... totally.

Will there be a biography now?

No. Take a look at the books I've published in recent years, they already contain everything about my life as an artist.

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It feels like you've led four lives: as a clown and artist, as an actor, as a painter and as an event organizer. What has been your most important motivation over the years?

I wanted to be able to validate myself without constantly being asked about the big K on my back.

I assume you are referring to your family name. Was the name Knie a burden for you - or more of a door opener?

Both was the case. At some point, however, it became too close to the family. In a circus company, the tracks of life are laid as soon as a child is born: The first-born does this, the second-born does that and so on. The older I got, the more I struggled with these family structures.

Has success changed you?

No - but my friends changed. Because at some point they got the feeling that I was a pink elephant and shouldn't be disturbed. So they called me less and less. That hurt and was complete nonsense.

Happy with your career - or are there ideas and dreams that you still want to realize?

I have been able to achieve much more in my life than I ever dreamed possible - and in a wide variety of fields.

What motivates you more: criticism or compliments - and why?

Both motivate me equally - criticism, however, only if it is expressed fairly. My father criticized me regularly, both artistically and in business. However, I didn't see his criticism as negative, but felt that he wanted to help me with his advice.

And what about the compliments?

As a successful artist, you get tons of compliments. In a situation like that, it's important not to lose your footing because of all the praise.

Have you ever doubted your work?

I still have existential fears to this day, although there is no reason to.

You didn't always have it easy with your painting. When you quickly achieved sales success after your first exhibitions, art critics laughed at what they saw as "kitschy pictures". What did that do to you?

The criticism offended me. At the same time, every time I went to the Füdli, it felt like a tank of gas in the engine. I always said to myself: now more than ever. And today I can admit it: The criticism of my art was partly justified. The name "Knie" gave me too much attention at the beginning of my career as a painter, even though the product was not yet 100 percent right.

In 1995, you said in "Schweizer Illustrierte" on the subject of "criticism": "Artists are proud people, they need recognition".

I am still of this opinion.

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Is it really true that cabaret artist Emil Steinberger has been your best critic over the years when it comes to your paintings?

That is true. This story began in 1977, when painter Hans Falk accompanied Circus Knie on tour for several weeks. In the same year, Emil appeared with us as a star guest. I was thrilled by Falk's pictures and started painting myself.

One day I was standing with the easel by the elephants when Emil suddenly stood behind me and said: "But you're still having problems with the perspective." You need to know that Emil Steinberger is a trained graphic artist. Over the next few weeks, he taught me how to draw in perspective. A similar story happened to Gustav Zumsteg, the owner of the "Kronenhalle" in Zurich, who died in 2005.

Please tell me about it.

Gustav was a passionate art collector. He always visited my exhibitions the day before the vernissage - usually accompanied by his mother Hulda Zumsteg-Durst. Afterwards, he always wrote me a long letter telling me what he thought of my paintings. This attention did me good - not least morally, because Gustav was not a purrrrfect person.

Despite your retirement as an artist and actor, your life will not go on entirely without spectacle. On Thursday, September 18, your "Salon Spectacle" will celebrate its premiere in a mirrored tent in Rapperswil-Jona SG.

It should be a show that appeals to all the senses. But of course I am aware that there are already many dinner shows in the world. However, with the invention of the two circuses Salto Natale and Ohlala, I proved a long time ago how circus can be done differently and still be successful.

In an interview, you said of your "Salon Spetacle": "I want to do it in a way that has never been done before." Can you be more specific?

How do you explain that? When a guest enters the "Salon Spetacle", they are not greeted by a waiter, but by an artist. This artist will also accompany them to their table. It will all be very colorful. And between courses, show acts will enchant the audience - including balancing artist Rubel Medini and quick-change artists Sos & Victoria. And not to be forgotten: Singer Fabienne Louves will be making several appearances.

I have a suggestion for you: you could be the emcee for the evening ...

... no, no. But I will act as Sali-Siech and greet the guests at the entrance. You know, as director of the show, I have to be on site every day anyway. So I can say hello to all the guests just before the show starts.

In an interview with SRF last March, you said: "I neglected my friends for a long time. I ran away. I spent 35 years in Mallorca in solitude, in anonymity, so that I could live out my life as a painter. Now I'm back in Rapperswil-Jona."

Today I really enjoy living in Switzerland again. I couldn't do that in the 1990s because I was too distracted and would hardly have been able to paint.

In 1995, you said in "Schweizer Illustrierte": "Switzerland has become too cramped for me. The southern way of life suits me better."

Rapperswil-Jona is my home. I grew up here, this is where my roots are. It's also too hot for me in Mallorca these days - probably a sign of old age. We used to lie in the sun like sausages on a barbecue (laughs).

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What significance does Mallorca have for your life as an artist?

The years I spent there were extraordinary. I worked extremely hard - not just as a painter, but also as an entertainment producer. When my team visited me on Mallorca, we would sit together at a long table, think about new ideas and take a quick dip in the swimming pool to cool off.

Did you ever think in the 1990s that you would return to Switzerland?

I don't remember. But maybe today I'm behaving like an old elephant returning to the place where it was born to die. Even if my death hopefully won't become an issue any time soon ...

You can read the second part of the interview with Rolf Knie next Sunday, August 24, on blue News. The 76-year-old talks about the ailments of old age and his most embarrassing performance as a clown at Circus Knie.

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