Local TV From mid-February, the cable network company Cablecom will be distributing the Züri Plus program, a new local television project that has emerged from the former Hasli-TV.Lokal-TV From mid-February, the cable network company Cablecom will be distributing the Züri Plus program, a new local television project that has emerged from the former Hasli-TV.
which emerged from the former Hasli-TV. Originally, Züri Plus wanted to launch a one-hour program last autumn, but Cablecom refused to switch it on at the time. Now the
cable network operators have bowed to an arbitration ruling by the Federal Office of Communications, Züri-Plus initiator Peter Steinmann told Werbewoche. Steinmann, who already produces the travel magazine "Globe TV" for various regional broadcasters, wants to get started at the beginning of April.

Local TV The regional television station Telebasel recorded an average of 10,500 viewers a day in January, the first time that the station has had more than 100,000 viewers in a month without broadcasts from Fasnacht. The independent broadcaster has an operating budget of 3.2 million francs and operates debt-free.

The development curve of gross advertising expenditure over the past ten years is a wild chase - with an abrupt end in 2001. Particularly annoying: In 2000, gross advertising expenditure almost reached the 4 billion mark, with only a good million Swiss francs still missing. But 2000 will go down in the history of advertising spending as the absolute highflyer year, with top results unlikely to be repeated so quickly.A look at the development shows: The period between 1993 and 2000 was one big party. Only in 1996 was there a small slump. But this drop of around 94 million Swiss francs hardly hurt after the glaring profits of the previous years - 1995: plus 261 million Swiss francs, 1994: plus 333 million Swiss francs.
But it was not much more than a short sleep off before the next high. As early as 1997, things were moving forward again - in even bigger steps and without interruption for the following three years. All in all, gross advertising expenditure has risen by an impressive 60 percent or CHF 1.4 billion over the last ten years. This results in an average annual growth rate of around six percent - and this over ten years in a row.
The slump in advertising at the end of the seemingly endless party caught the industry on the wrong foot. This is one of the reasons why the advertising market slump of 2001 and 2002 is perceived to be much worse than it actually was.
Taken together, the Swiss advertising market lost only CHF 235 million in these two crisis years (2001: CHF -134 million; 2002: CHF -101 million). This is actually very little compared to the significantly higher volume growth with which the media had been showered in previous years (2000: +356 million Swiss francs; 1999: +390 million Swiss francs). And there is something else to consider: In 2002, total gross advertising spending was still almost CHF 120 million higher than in 1999.
All in all, things don't look so bad - little Moritz thinks to himself. But appearances are deceptive. The overall downward trend was anything but evenly distributed among the individual media groups. As much as 82 percent of the decline in 2001 and 2002 was accounted for by daily newspapers.
But it was not only in the last two years that daily newspapers lost ground at an above-average rate. A look at the development of advertising market shares over the past ten years (see chart on page 12) also shows newspapers to be by far the biggest losers among all nine media groups.
Within just one decade, the advertising market share of daily newspapers shrank from 51.4 percent (1993) to just
41.7 percent (2002). This development also reflects the fact that daily newspapers were no longer able to profit from the advertising boom in the past boom years to the same extent as in earlier years. In addition, the subsequent advertising slump hit them harder than average.
Other print media have also been hit hard in the last ten years. The number two in the advertising market, general-interest magazines, have seen their share of the market fall from 20 percent in 1993 to 18.5 percent today. However, there is hope that they will catch up, as magazines only recorded minimal losses in 2001 and 2002.
Among the long-term losers were trade magazines, whose market share fell from 6.1 to 5.7 percent in a ten-year comparison. Not surprising is the poor performance of Internet banner advertising, whose sales almost halved between 2000 and 2002.
Joy children poster and radio
But there are also high-flyers that were spared the slump. These were radio and outdoor advertising. Both grew even in the crisis years. Outdoor advertising - thanks to innovative expansion of its range - even grew particularly strongly (plus 6.9 percent).
Television did not fare quite so well in the past two years - it had to digest a loss of over ten million francs in sales. Nevertheless, over the past decade, television is the clear winner. Its market share rose from 10.6 percent in 1993 to 17 percent today. And television also achieved the absolute top value in terms of revenue growth, up 158 percent to over CHF 639 million.
> Prognos researcher Josef Trappel talks about the future of the media in an interview on page 12.
The ten-year comparison of gross advertising expenditures shows a kink after 2000 for seven of nine media categories.
Print is losing advertising revenue in all categories.
Difference 2000 to 2002 (in 1000 Fr.)
Poster +27 732
Radio + 5 919
Cinema - 1 911
Teletext - 3 821
Consumer magazines - 6 477
Television - 10 832
Internet banner - 14 204
Trade journals - 38 086
Daily newspapers - 194 249
Total - 235 929
Daniel Schifferle

Media PubliGroupe posted a net loss of 30 million francs for the 2002 financial year. After a loss of 185 million francs in the previous year, the Lausanne-based advertising group wanted to return to profit in 2002, with sales falling by 18 percent to 2.15 billion francs.

The Zurich advertising agency Weber Hodel Schmid (WHS), Zurich, has been commissioned by the celebrity magazine Glückspost with a reader campaign that will appear in print at the end of February, according to Yvonne Boller, Managing Director of WHS. Another agency will remain responsible for direct mail and advertising, she told Werbewoche. This agency is Soldini Bienenfeld (SB), Zurich. SB only took over the Glückspost budget in November. Frank Bienenfeld assumes that WHS will realize a publicity campaign. He added that SB itself does reader and subscriber advertising for Glückspost.

Print As a passionate wine drinker, I find myself thinking every now and then about delirium tremens—that drunken delirium that clouds the mind and perception to such an extent that hallucinations are mistaken for reality and suddenly seem within reach. Much like these two Drambuie Cream Whiskey ads. They get under your skin—or rather, to your very core—so much that you wonder whether the advertiser is familiar with this mental state or suffers from an equally dangerous condition: acute misogyny. Whiskey won’t help here; only a psychiatrist will. (ck)

Car advertising Sometimes they are loners like Humphrey Bogart. Sometimes they are goddesses like Marilyn Monroe. Or rebels like James Dean. What all these icons of film history have in common is that they once drove a Chrysler. In 1956, "Bogey" chauffeured a certain Sabrina through the movie of the same name in a Chrysler Imperial. Marilyn fell in love with the millionaire and his Chrysler Phaeton Convertible in the movie "How to Hook a Millionaire". James Dean drove around the set in an Imperial Roadstar in "Giants". And Ernest Hemingway also liked to feel like a good American behind the wheel of an American in Cuba, namely in a Chrysler New Yorker Deluxe. BBDO Detroit revealed these little secrets in a "cinematic" brochure. DaimlerChrysler Switzerland in Zurich and the Matter & Partner agency are now also using this international advertising medium to drum up support for the Geneva Motor Show from March 6 to 16. "Bogey" loved a Chrysler Imperial.

Agencies Hesskiss is considered a hot store among the newly founded advertising agencies. Roland Hess and Tamás Kiss always put their employees in a good mood. The company has now been named the best newcomer agency in Switzerland in 2002. Things are looking bleak in the Swiss advertising landscape at the moment. Not so in Zurich's Köchlistrasse, where the windows of the Hesskiss agency are brightly lit. The team is still sitting at computers in the 300 square meter premises of a former print shop. In the meeting room, the champagne is in the ice bucket and the sushi canapés gleam under the foil. Roland Hess and Tamás Kiss are about to share the good news with their staff, namely that their team has been named best newcomer agency of 2002.nine years ago, art director Roland Hess and copywriter Tamás Kiss decided to embark on the unfathomable paths of advertising together. After a six-year journey, they arrived at the joint agency Hesskiss. Since then, in addition to their joys and sorrows, they have also shared the cash register.
The Newcomer award means a lot to the two young entrepreneurs, "because the competition doesn't just assess the creative work of young agencies, but also their commercial success". It also confirms that Hess and Kiss are on the right track with their hotshop. The pair's aim has always been to create sexy advertising that impresses with its simplicity and originality. "It's nice when our ideas are reflected in ADC awards, but first and foremost they should have an impact on our clients' balance sheets," emphasize Hess and Kiss. The duo learned that the customer is the emperor at major agencies such as Weber Hodel Schmid (WHS), Zurich, or Jung von Matt on the Elbe. Both swear not only by precision and speed, but also by a personal relationship with the client.
Cutting out the superfluousCreative minds have nothing to do with pompous company mission statements. They prefer to trust that the good is often very close at hand. The symbol of their philosophy is therefore a simple working tool: scissors. "After all, good advertising is characterized by cutting away the unnecessary and conveying the message with the help of a razor-sharp idea," Hess and Kiss are convinced. To demonstrate this way of working and as inspiration for sharpened briefings, customers always receive a pair of Hesskiss scissors to start with. And because the company attaches great importance not only to the internal, but also to the external appearance, the creative team dresses in tailor-made suits for important presentations - in the corporate colors brown and white.
To ensure that newcomers quickly become familiar with the spirit of the company, they are given a "company bible" on their first day of work. The "Ten Commandments" contain the most important information about the store's guidelines and working systems. However, there is no question of dogmatization, as the "Lord's Prayer" not only prays for budgets, but also for a great agency climate. And Hess and Kiss certainly don't see themselves as holy super-creatives. On the contrary, the work in the team is characterized by a very flat hierarchy: "The important thing is not who has the decisive idea, but that we have it."
Whether through the development of innovative working methods or identity-forming elements such as the corporate color brown - Hesskiss wants to show that they "tick a little differently" than other agencies. Roland Hess and Tamás Kiss were already ticking differently when they first met at WHS in 1994: As a "rookie team" at the time, they had concocted a "fractal campaign" for the Tages-Anzeiger youth supplement Ernst and got to know - and appreciate - each other. A shared sense of humor and good effects, coupled with sympathy and complementary know-how, allowed the dream of their own agency to mature in their hearts and minds.
Seven years later, they began working together as a freelance team for agencies. The foundation stone for Hesskiss was laid in December 2000. Nicole Mayer, another kindred spirit from the WHS days, joined in mid-2001 to strengthen the team in the areas of strategy and consulting. Today, Hesskiss makes the advertising landscape unsafe with a team of six permanent employees.
Clients such as Trojka Vodka, Radio Zürisee, FC Zürich, Kunsthaus Zürich, Migros Kulturprozent, British Tourist Authority and The e-Firm have already benefited from this. The agency's latest client, the free newspaper project "Express" (previously Zürich Express), is a coveted fish in the net.
Design guru Tyler Brûlé even praised ideas from Köchlistrasse in Wallpaper's "Switzerland Special". Hesskiss have already made their mark at the Swiss ADC, winning silver once and bronze seven times. So there is plenty of reason to celebrate at Köchlistrasse. The founding fathers are "more than happy" with the development of their baby. Together they want to continue to grow with good customers. Their wish for 2003 is twofold: "Stay healthy, both privately and in business, and always have a good laugh. Then it will definitely be good."
Roland Hess (l.) and Tamás Kiss: In their hotshop, the
Work can also be fun.
Bernie's When the wooden coat hanger drifts in spring, it's time for Hesskiss to update the wardrobe: Ad for Bernie's.
James Blunt Victory sign for the Zurich Hemp Shop.
Radio Zürisee radio waves from the bottom of the lake.
20 Minuten For the commuter magazine's World Cup special, the agency took off a footballer's shoes and socks to dramatize the countdown to the final match with his toes.
Roland Hess: Creative Direction Roland Hess (32) graduated from the Basel School of Applied Arts. From 1988 to 1993, he worked as a graphic designer at DDB cR; from 1994 to 1998, Hess worked as an art director at Weber Hodel Schmid, Zurich. He then moved to Jung von Matt/Hamburg, where he was responsible for AD Bild, Deutsche Post, Deutsche Bahn, Seidensticker, Welt am Sonntag, Jever and Brigitte.
Tamás Kiss: Managing Director & CopywriterTamás Kiss (35) studied law at the University of Zurich. After graduating, he began an internship at Honegger von Matt in Zurich in 1993. He then moved to WHS, Zurich, as a copywriter. In 1998, Kiss made a detour to JvM in Hamburg and returned to WHS, Smart Factory, as deputy creative director in the same year. In 1999 Kiss looked after his own clients such as Stefan Angehrn, FC Zurich and the Schauspielhaus Zurich.
Nicole Mayer: Strategy & ConsultingNicole Mayer (30) completed a commercial apprenticeship at TBWA, Zurich. She then spent four years as a junior consultant at WHS, Zurich. As a qualified advertising assistant, she moved to Heye+Partner, Unterhaching/Munich in 1995. In 1998, Mayer became unit manager at JWT+H+F and was responsible for brands such as Heineken, Elida Fabergé, J&B Whisky and Siemens.
Jahrbuch der WerbungA 19-member independent jury has awarded the agency Hesskiss the special prize "Newcomer Agency of Switzerland 2002". The competition is organized exclusively by the Jahrbuch der Werbung. Its aim is to give newly founded advertising agencies a public platform. Contact via Peter Strahlendorf, editor-in-chief and co-publisher of the Advertising Yearbook: 0049 40 60 900 911.
(ww)
Carole Koch

Health insurance companies The Bernese advertising agency Lang Gysi Knoll (LGK) wants to arouse curiosity about the newly created Internet platform of the health insurance company KPT with deliberately irritating subjects. At least that's how the people in charge at KPT see it. There are many ways for patients, doctors and insurers to exchange information digitally. With its new KPTnet Internet platform, the Bern-based health insurer is already focusing on customer care at the click of a mouse. And is thinking out loud about reducing costs in the medium term. What's more, with its new website, KPT has become the first provider to implement "electronic health insurance". The platform massively improves transparency and information for the insured. This new service is being publicized by KPT's in-house agency LGK with a national poster campaign. The Bern-based agency explicitly wanted to work with a campaign that "stands out pleasantly from the soft-spoken industry monotony of other health insurers", as CD Simone Quast explains. The health insurance company wanted to attract attention with unconventional subjects. And thus also "highlight the innovative strength of KPT", Quast explains the choice of surprising image motifs.
The posters are therefore primarily used for image advertising, as KPT is not primarily looking for new customers, but wants to "upgrade" existing customers and inform them about new services. Quality strategy instead of expansion strategy.
"We want to be the leading health insurer in the service sector," explains Mathias Marti, Head of Communications at KPT. As a health insurer, it also wants to do something to ensure that its members "don't go to the doctor for every bobo", but first of all find out for themselves on the health insurer's website. This is why there is also a "disease lexicon" and answers to 160 questions about health and healthcare. Funny "illnesses" such as "hair loss" or "exam nerves" are also discussed.
However, the new homepage not only contains tips on these "diseases". KPT customers and employees work on the same platform: insured persons can view their policy data at any time, check invoices, change payment modalities online or adjust insurance policies. "As with e-banking, KPT's customers are also becoming employees," says Marti. "The back office is effectively being transferred to the customer."
Well entertained
As Simone Quast explains, the agency was looking for a "surprising implementation" for KPT's customer-oriented approach. The message is captivating because it is reduced to funny situations. An almost empty pickle jar, for example, is intended to appeal to women who want to discuss a question about pregnancy with their health insurer. Quast: "We want to give the viewer the feeling that KPT is making a constructive contribution to reducing costs. If we also entertain them well, we can expect a few plus points on the image scale for our customers."
The nationwide poster campaign with B12 and B200 was launched at the end of January.
Reduced to unusual subjects: LGK image campaign for KPT's e-health insurance.
Andreas Panzeri

The advertising agency Metzgerlehner Worldwide Partners has been commissioned by Sefar AG to develop a new communication concept that will serve as the basis for appearances in all important markets around the world. The first step will be a series of advertisements to be used in the international and national trade press. Sefar manufactures fabrics and applications for screen printing.

ADC 7 times gold, 38 times silver, 174 times bronze, three runners-up and many discordant notes: the 2003 judging of the Art Directors Club (ADC) left few advertisers cheering and many perplexed.even ADC Chairman Andreas Prokesch had to smile at the disharmony with which the jurors set the tone for the gold jury day when they serenaded birthday boy and "Advertiser of the Year" Ruedi Wyler at 9.15 a.m. in the World Trade Center. Instead of harmony, there was pure vocal chaos in Zurich-Oerlikon, but the eleven jurors then awarded the coveted ADC gold cubes almost unanimously and without discord: 7 gold cubes were selected from over 219 pre-winning works, which deserved the title of groundbreaking. 2 of these - in the overall campaign and outdoor advertising categories - and 3 silver cubes went to Migros, making it "one of the few major customers". What's more: "Migros was the real bright spot of this year's ADC Awards," the jurors agreed. Urs Schrepfer, jury president of the advertising category: "A major client that dares to do something even in bad economic times is worth its weight in gold."
The two gold ads were also showered with dice and many compliments - the "Uno" ad for a Yes to Uno from Publicis and the "Wiederbelebung" ad for Panasonic headphones with extra bass system from Jung von Matt/Limmat. They prevailed against 293 entries. Both gold winners were praised by the judges for their clear appearance and concise message.
On the other hand, the advertising jury itself caused a shake of the head and great astonishment. "I can't understand how the SonntagsZeitung could win bronze for the reader campaign, but the Weltwoche and Tages-Anzeiger ads came away empty-handed," said André Benker, creative director of Advico Young & Rubicam (AY&R) since last Friday and co-owner of Guye Benker.
However, the jurors were full of praise in the film category. "The film category has clearly improved in recent years," added Benker. The best proof of Benker's statement is provided by the gold winner: Lowe proved with the Orange commercial that advertising made in Switzerland can be funny, fast and international.
Seminar paper impressedThe judges in the Electronic Publishing category were astonished by the remarkably high-quality work. "It was a real pleasure to be able to judge in this category this year," said jury president Patrick "Patman" Spahr. Out of 64 entries, there were 10 bronze, 2 silver and 1 gold. The fact that the gold work from www.freitag. ch/f-cut is a seminar piece that took 18 months to complete and would not have been paid for "under normal conditions". "This work is top class," the judges agreed. "But we would have preferred to have all the silver works
recommended for the gold award", was the opinion of this group. However, the rules prohibit this.
The radio category caused the judges more trouble than joy. "We had a déjà-entendu experience with numerous spots. In addition, many of the spots were full of post-pubertal embarrassment," emphasized jury president Martin Fueter. Instead of winning gold, 31 of the 36 spots submitted were only able to elicit a weary yawn from the jury. The Allianz Suisse commercial by Wirz Werbung at least won silver, and four bronze medals.
Clear winner: PublicisThe winners of the 27th ADC Award Ranking were the creatives from Publicis with Director Markus Gut at the helm (he was involved in 2 gold medals). With 3 gold, 9 silver and 36 bronze cubes, they clearly left their former rivals AY&R behind. After a turbulent year and a mass departure of various top players, AY&R failed to finish in the top 2 for the first time in the last four years and only came third with 4 silver and 13 bronze cubes. Second place with 24 cubes went to the 7-strong Ruf Lanz agency.
What was also striking about this year's edition was the rather high number of entries: With 1050 entries, the third-best submission rate was recorded after the two anniversary years of 1996 (1178) and 2001 (1220). "That's more than I dared to hope for," said Prokesch. The abundance was particularly astonishing because two categories were dropped in 2003 and 2002 was one of the worst order years.
However, this year was also the year of changes. In addition to the trade press and personal use categories, which were abolished, there was a new election procedure. The eleven jury presidents were now elected by all jury members instead of just the respective category members as before. "These changes have made a big difference," said Prokesch.
Some gold jurors were less than pleased with the negligence of some of their ADC colleagues. They were annoyed because in the case of some entries, the proof that the work had actually been published in the required formats was only submitted late. "We have to change that," said Prokesch. In 2004, only works that provide this proof before the judging begins will be judged.
The Publicis TV commercial for "M is at the Expo" is part of the overall campaign package, for which the advertising agency was honored with a Gold Cube.
Publicis not only had the Expo.02 appearance of (M)Igros gilded, but also the UN advertisement of the committee for joining the UN.
CD in luck: Markus Gut from Publicis won the most dice at the ADC.
Funny and well done: Lowe won the coveted gold cube with the orange spot.
In the advertising category, Jung von Matt/Limmat's Panasonic revival campaign also prevailed against 293 advertisements in the competition and was rewarded with gold for its pioneering work.
Won gold for design: the lifestyle magazine soDA.
Publicis: 48 cubes heavy...
With 48 awards - 3 gold, 9 silver and 36 bronze - Publicis presented an impressive solo performance at the 27th ADC Awards ceremony. Behind the success of the Zurich-based advertising agency are personalities such as Fredy Collioud, Jean Etienne Aebi, Pascal Schaub and Markus Gut - and the strategy of thinking creatively, strategically and holistically in terms of media.
Publicis employs around 120 people, generates gross operating income of 31.7 million Swiss francs and occupies first place in the BSW ranking.
Commenting on Publicis' success at the ADC Awards 2003, Markus Gut, Managing Director Creation and Creative Director Publicis, Gold Jury and ADC Board Member, says: "I am of course delighted that Publicis is leading the ADC ranking by such a large margin. But even more so that the awards were predominantly won for large budgets. This proves that large clients are interested in outstanding creation even in difficult economic times!" However, Gut knows: "2002 was also a difficult year for Publicis. But thanks to a perfectly coordinated team and the arrival of Cornelia Harder, we can look back on a very successful new business year. And we also won an ADC cube for many of our new clients."
Comments on the ADC judging 2003 "Unfortunately, there are only a few outstanding campaigns from relevant clients. In addition, some of the most interesting works did not make it past bronze - why not an ADC yearbook as a ring binder in which everyone can judge?" Markus Ruf, Jury President Outdoor Advertising Series
"When there are a lot of young members on a jury, the judging is overly harsh. Some works were unfairly overlooked." Reini Weber, jury president
Display series
"There have been years with more groundbreaking campaigns. But we must not forget that the situation we found ourselves in in 2002 was and still is difficult." Hanspeter Schweizer, Jury President Sales Promotion, Direct Advertising
"The judging was tough but fair." Markus Gut, president of the overall campaign jury
ADC 2003: The gold-winning overall campaigns: Publicis for Migros, with "M is at the Expo".
- Advertisements: Publicis for the initiative committee for joining the UN, with "For a Yes to the UN". And Jung von Matt/Limmat for Panasonic headphones, extra bass system, with the ad "Revival".
- Outdoor advertising: Publicis for Migros, with the poster series "M is at the Expo".
- Film: Lowe for Orange, with the TV commercial series "Barbershop".
- Design: Magazine soDA.
- Electronic Publishing: Betabong Klaus creation for Freitag Custom Bags with www.freitag.ch/f-cut
Press Prize 2003- The magazine advertisements were examined by a press jury that judges independently of the ADC jury. It awarded the following three prizes:
- Gold for VBZ news trailer from Ruf Lanz
- Silver for NZZ Folio reader campaign Ruf Lanz
- Bronze for Tribis-Ferientierheim Matter & Partner
ADC 2003: Advertising Agency RankingRank Submitter Awards Gold Silver Bronze Points Rank 02 Rank 01
1 Publicis 48 3 9 36 69 (1) (2)
2 Ruf Lanz 24 0 3 21 27 (4) since 2001
3 AY&R 17 0 4 13 21 (2) (1)
4 Jung von Matt/Limmat 14 1 2 11 20 (10) (-)
5 Wirz Advertising 14 0 4 10 18 (3) (6)
6 Euro RSCG 12 0 1 11 13 (8) (-)
Source: ADC
Annelies Friedli

Peter Wyss, Chief Financial Officer of the Basler Mediengruppe (BM) since July 1994, wants to change his career direction. He will therefore be leaving the company in the first quarter of 2003. ...
The head of the Blick sports editorial team, Ulrich Kühne-Hellmessen, is leaving Ringier. He had been head of the Blick/SonntagsBlick sports editorial team since the beginning of January 2002. The position will be taken over ad interim by division head Bernhard Weissberg with immediate effect. In addition to the editor-in-chief, the Blick sports editorial team is also losing its head of soccer, Jürg von Matt. The former player agent is resigning from his post during his probationary period in order to move to the
return to sports marketing. He only joined Blick in November.
...
The Zurich agency Lowe Direct is expanding. Björn Brinkmann joins the team as Creative Director at the beginning of March. He was most recently CD at Grey Complete Communication in Hamburg. The consultancy has been strengthened by Charlotte Walter since the beginning of the year.
...
Hitradio-Z head of music Leander Schüpfer leaves the Zurich-based station
local broadcaster in spring. His successor is still open.
The consulting firm Frei Kirchgessner Partner Communications AG has been strengthened. As a member of the management team, Karin Rodegra is taking over the management of a consulting team and the expansion of the health care sector with immediate effect.
...
Michael Guggenheimer, former Head of Communications at the Pro Helvetia Foundation, and his deputy and producer Marielle
Larré have left Pro Helvetia. Larré will become the new head of the Pestalozzianum publishing house, while Guggenheimer is open to new ideas. The vacancies are to be filled by May.
...
Hermann Suter, Head of the Lucerne Civil Defense, has been elected as the new President of the Truth in the Media Foundation. He replaces Alexander Willi, who has stepped down after 10 years as president. Paul Ehinger, editor-in-chief of the Zofinger Tagblatt, will be the new vice president.