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Wednesday, 27.08.2008
18:00h -
Sunday, 14.09.2008

 

Ausstellung
Things from "A La Mode"
Aude Lehmann, Lex Trüb
 

Anlässlich der Buchvernissage von "Whyart - A La Mode" zeigt Corner College Kleider von Aude Lehmann und eine Edition von Lex Trüb. Die Objekte sind bis zum 15.9.2008 im College zu sehen.


Lex Trüb - Edition für Whyart (1/6, 250.-)


Posted by Urs Lehni

Monday, 15.09.2008 -
Wednesday, 15.10.2008

 

Ausstellung
Ich will wieder mal mit dir (II)
Alexis Saile
 

Alexis Saile, Poet und Versager, be­sitzt einen Schlüssel zum Schaufenster im Corner College und agiert dort zwischen dem 15. September und 15. Oktober 2008 un­verkennbar, kurzschlussmässig und (fast) jeden Tag.


No. 1



No. 2


Posted by Urs Lehni

Thursday, 16.10.2008
14:00h -
Sunday, 19.10.2008

 

Ausstellung / Vortrag
Bicycle Film Festival
Max Knight, Mediengruppe Bitnik, Peter Sutherland, Wood Wood
 

Im Rahmen des Bicycle Film Festival 2008, das in Zürich v.a. im Xenix statt findet, zeigt Corner College künstlerische Arbeiten mit Bezug aufs Radfahren von Wood Wood, Peter Sutherland, Max Knight und der Mediengruppe Bitnik. Mehr Details und ein vollständiges Programm des Fetivals finden Sie bald hier: Bicycle Film Festival.


"Walk Bike", Max Knight

Posted by Urs Lehni

Saturday, 13.12.2008
13:00h

 

Ausstellung
The Unbreakables
Mickry3
 

Seit zehn Jahren in einem Schuh und glücklich dabei. "Die drei Weichen, ein Schuh, ein Auge und ein Ei" ist die neueste Arbeit von Mickry3. Sie wird in zwei Varianten aus PU-Weichschaum produziert und von Hand bemalt. Jedes Objekt wird nummeriert und von den Künstlerinnen signiert und kann für Fr. 100.– (Objekt A) bzw. Fr. 350.– (Objekt B) erworben werden.


Die drei Weichen, ein Schuh, ein Auge und ein Ei


Der Erlös aus dem Skulpturen-Verkauf kommt der Finanzierung der geplanten Monographie "10 Jahre Mickry3" zugute – ein Rückblick auf das zehnjährige Schaffen der drei Künstlerinnen, mit unzähligen Einblicken, Fotos und Zeichnungen. Das zweisprachige Buch (d/e) umfasst ca. 200 Seiten; mit Texten von Mark Divo (Künstlerfreund), Thomas Hämmerli (Journalist), Heike Munder (Direktorin migros museum für gegenwartskunst) und Susanne Schrödter (Kunsthistorikerin). "10 Jahre Mickry3" erscheint im Frühjahr 2009 beim Kunstbuchverlag edition clandestin, Biel/Bienne.

Posted by Urs Lehni

Thursday, 18.12.2008
18:00h

 

Ausstellung
The Unbreakables
Mickry3
 

Seit zehn Jahren in einem Schuh und glücklich dabei. "Die drei Weichen, ein Schuh, ein Auge und ein Ei" ist die neueste Arbeit von Mickry3. Sie wird in zwei Varianten aus PU-Weichschaum produziert und von Hand bemalt. Jedes Objekt wird nummeriert und von den Künstlerinnen signiert und kann für Fr. 100.– (Objekt A) bzw. Fr. 350.– (Objekt B) erworben werden.


Die drei Weichen, ein Schuh, ein Auge und ein Ei


Der Erlös aus dem Skulpturen-Verkauf kommt der Finanzierung der geplanten Monographie "10 Jahre Mickry3" zugute – ein Rückblick auf das zehnjährige Schaffen der drei Künstlerinnen, mit unzähligen Einblicken, Fotos und Zeichnungen. Das zweisprachige Buch (d/e) umfasst ca. 200 Seiten; mit Texten von Mark Divo (Künstlerfreund), Thomas Hämmerli (Journalist), Heike Munder (Direktorin migros museum für gegenwartskunst) und Susanne Schrödter (Kunsthistorikerin). "10 Jahre Mickry3" erscheint im Frühjahr 2009 beim Kunstbuchverlag edition clandestin, Biel/Bienne.

Posted by Urs Lehni

Friday, 08.05.2009
18:00h -
Saturday, 30.05.2009

 

Ausstellung
Vanity Fair
(An Experience with Certain Pictures)

Bis zum 30. Mai bleibt Corner College geschlossen. Die Räumlichkeiten werden von der Ausstellung "Vanity Fair - An Experience with Certain Pictures" verwendet:


Vanity Fair Back



Vanity Fair Front


Für Informationen: www.wartesaal.ch

Posted by Urs Lehni

Wednesday, 26.08.2009
18:00h -
Saturday, 19.09.2009

 

Ausstellung
Go With The Guts
- - -
 

Go With The Guts at Corner College is a group show featuring prints by artists from www.gowiththeguts.com, an online shop that started December 2008 and went online February 2009 selling prints by Zurich artists. All prints are made from either one of the traditional printmaking techniques such as: woodblock, linocut, intaglio including etching, aquatint and drypoint, stencil including screenprinting and pochoir, and monoprint.

During the exhibition period at Corner College, there will also be a screening, an excursion and a workshop.


.


http://www.gowiththeguts.com

Posted by Urs Lehni

Wednesday, 25.11.2009
18:00h

 

Ausstellung / Vortrag
Beschlagnahmt: Rolf Heissler
Objekte aus dem Gefängnis

Joachim Baur
 

Rolf Heissler war Mitglied der Roten Armee Fraktion (RAF). In den 22 Jahren seiner Haft von 1979-2001 wurde seine Post überwacht, knapp 2000 Sendungen wurden beschlagnahmt. In ausgewählten Objekten zeigt die Ausstellung von Joachim Baur den Kampf um Kontrolle und die Kommunikation und Projektion unter den Bedingungen der Isolation. Sie wirft damit einen anderen Blick auf die lange Geschichte der Konfrontation von RAF, Staat und politischer Bewegung.


.


Die Veranstaltung läuft im Rahmen der Reihe "Ästhetik@Subversion" der zHdK. Kommende Gäste in der Reihe sind Klaus Theweleit (Freiburg), 9.12.2009 und Dmitry Vilensky (St. Petersburg/Moskau), 13.1.2010

http://www.zhdk.ch/?vth

Posted by Urs Lehni

Wednesday, 16.12.2009
17:00h

 

Ausstellung / Präsentation
Graphic Design for and Against Cities
Axel John Wieder
 

"Salon de Recherche": Axel John Wieder, Curator Künstlerhaus Stuttgart (with Ruedi Baur, Miguel Robles-Duran, Vera Kockot, Jesko Fezer and Matthias Görlich)

The first Civic City Display in the Showcases of Corner College is centered around the question of a critical representation of urban issues. It presents graphic works by Zak Kyes and Metahaven.

"Graphic Design for and Against Cities" refers to the research exhibition by the Amsterdam based design collective Metahaven "Stadtstaat. A Scenario for Merging Cities", previously shown in Künstlerhaus Stuttgart and Casco, Utrecht, and the group exhibition "Dubai Düsseldorf" at Kunstverein für die Rheinlande und Westfalen, which included work by London graphic designer and publisher Zak Kyes. Around the same time in 2009, both exhibitions were concerned in different ways with imaginary merged cities as a phenomenon of globalization. The works of Metahaven and Zak Kyes deal with the potentials of visual communication in the representation of such cities as well as with the possibility of graphic critiques of strategies for urban marketing and its image politics.

Duration of the exhibition: 17.12.09–10.01.2010

> Download Invitation

Posted by Urs Lehni

Thursday, 17.12.2009
20:00h

 

Ausstellung / Präsentation
Graphic Design for and Against the City
Metahaven
 

Exhibition opening and "Salon de Recherche": Metahaven (with Ruedi Baur, Miguel Robles-Duran, Vera Kockot, Jesko Fezer and Matthias Görlich)

The first Civic City Display in the Showcases of Corner College is centered around the question of a critical representation of urban issues. It presents graphic works by Zak Kyes and Metahaven.


Dubai Düsseldorf


"Graphic Design for and Against Cities" refers to the research exhibition by the Amsterdam based design collective Metahaven "Stadtstaat. A Scenario for Merging Cities", previously shown in Künstlerhaus Stuttgart and Casco, Utrecht, and the group exhibition "Dubai Düsseldorf" at Kunstverein für die Rheinlande und Westfalen, which included work by London graphic designer and publisher Zak Kyes. Around the same time in 2009, both exhibitions were concerned in different ways with imaginary merged cities as a phenomenon of globalization. The works of Metahaven and Zak Kyes deal with the potentials of visual communication in the representation of such cities as well as with the possibility of graphic critiques of strategies for urban marketing and its image politics.

Duration of the exhibition: 17.12.09–10.01.2010

> Download Invitation

Posted by Urs Lehni

Saturday, 09.01.2010
19:00h -
Sunday, 24.01.2010

 

Ausstellung
Fair Value
- - -
 

Eröffnung Samstag 9.1.2010 ab 19 Uhr
Dauer 10.1. – 24.1.2010 Di – So 14 – 18 Uhr

Die ökonomische Krise hat nicht nur Anleger und Banker ratlos gemacht. Auch in der Kunst fragen sich Galeristen, Auktionatoren, Sammler und nicht zuletzt Künstler, wie viel die Kunstwerke heute noch wert sind, um die sich die Käufer gestern noch gerissen haben. Waren die Millionenpreise von gestern märchenhafte Fiktion? Ist der Preisverfall heute Ignoranz gegenüber dem Guten und Schönen und den ewigen Schätzen der Kunstgeschichte? Und kommt es überhaupt aufs Geld an? Kann man Ideen in barer Münze messen?

Das Ausstellungsprojekt Fair Value ist eine Antwort auf diese Fragen. Gerrit Gohlke, Chefredakteur des artnet Magazins mit Sitz in Berlin, hat mit einer studentischen Arbeitsgruppe der F+F Schule für Kunst und Mediendesign Zürich die Frage nach dem Wert der Kunst gestellt. Wie lässt sich der Wert messen? Nach welchen Maßstäben entscheidet der Markt, entscheiden Kenner über Kunst und ihre Qualität?

Als Ergebnis wurden alle Studentinnen und Studenten der F+F aufgefordert, ein eigenes Kunstprojekt einzureichen und sich der schulinternen Bewertung zu unterwerfen. Alle TeilnehmerInnen hatten darüber zu entscheiden, welches die besten und wertvollsten Werke sind. Über eine durch den Berliner Medienkünstler Karl Heinz Jeron realisierte Online-Plattform sollte darüber abgestimmt werden, welche Werke in eine Ausstellung aufgenommen werden würden.

So verwandelten sich Wert, Konkurrenz, Markt, Evaluation von abstrakten Begriffen in ein doppelbödiges Spiel um Urteil und Vorurteil, Selbstbehauptung und Fremdwahrnehmung. Der Markt war keine exterritoriale Außenwelt, sondern fand innen statt. Was sich durchsetzt, bestimmten die TeilnehmerInnen selbst. Würden angehende KünstlerInnen vernünftiger entscheiden als Sammler und Investoren? Würde das Publikum am Ende der Auswahl das beste Kunstwerk zu Gesicht bekommen oder nur das konformistischste? Würden soziale Erwartungen entscheiden oder formale Qualität?

In der am 9. Januar 2010 eröffneten Ausstellung wird beides zu sehen sein: Die ausgewählte und ausgezeichnete Kunst ebenso wie das System, nachdem sie benotet wurde. Das Publikum hat die Chance, hinter die Kulissen eines Projekts zu blicken, das so objektiv wie möglich Wert ermitteln wollte und selbst zum spekulativen Marktplatz werden musste. Die Ausstellung zeigt neben den Kunstwerken auch die Bewertungskriterien und den Projektverlauf. Sie ist überdies dank der Ausstellungsgrafik des jungen Zürcher Designers Yves Kellenberger, einem F+F-Absolventen, ein verführerisches Vexierbild über Wert und Bewertung. Sie zeigt nicht nur Kunst, sondern auch die formale Qualität von Zahlen und Daten. Die Bewertungsmaschinerie wird zum anschaulichen und unterhaltsamen Ausstellungsgegenstand.


Fair Value Invitation


Die KünstlerInnen: Tonjaschja Adler, Johanna Bossart, Jonas Bürgi, Rita Capaul, Sheryl Dang, Mia Diener, Joachim Florineth, Yvonne Good, Dominik His, Markus Huber, Leandro Marangoni, Christian Massler, Eva Moline, Miriam Mura, Sabine Mörig, Stina Kasser, Elena Könz, Duncan Phillips, Gregor Röthlisberger, Thomas Schlup, Monika Schmid, Simone Steinegger, Ryan Subramaniam, Silvia Popp, Jana Vanecek, Valentina Vujovic, Judith Weidmann, Karin Wiesendanger, Xiaoqun Wu, Lauren Wildbolz.

Ein Projekt von Gerrit Gohlke und Karl Heinz Jeron für die F+F Schule für Kunst und Mediendesign Zürich. Realisiert von Gerrit Gohlke und Karl Heinz Jeron. Koordiniert von Denise Altermatt, Eva Moline und Silvia Popp. Ausstellungsdesign: Yves Kellenberger

> Download Invitation

Posted by Urs Lehni

Thursday, 11.03.2010
11:00h

 

Ausstellung / Performance
Unter einer Decke &
INDEXTINE

- - -
 

Die beiden Kunstschaffenden Asia Andrzejka Amorin und Mirko Baselgia zeigen ihre neuesten Arbeiten – eine Veranstaltung initiiert von Aline Juchler.

Während Amorin sich in ihrer Malerei mit der Ambivalenz von Eingrenzung und Ausgrenzung verschiedener Individuen in einem sozialen, kulturellen, politischen Milieu beschäftigt, fordert die räumliche Installation der Gemälde den Betrachter zu ungewohnten Sichtweisen. Auch führt sie in einem fiktiven Kontinuum zwischen Absehbarkeit und Offenheit spezifische Handlungen an öffentlichen und halböffentlichen Orten aus, welche sich in verschiedene Situationen des alltäglichen Lebens übertragen lassen, sei es in soziale, ökonomische oder in interkulturelle Bereiche.

INDEXTINE ist eine Inszenierung in 11 Akten. Die junge Wissenschaftlerin Tine (Christine Milz) stellt fest, dass sie bei ihren Forschungen an der Welt, auf sich selbst zurückgeworfen wird. Sie versucht in einer Reihe von Versuchen mehr über sich selbst herauszufinden, um vielleicht auch mehr über die Welt zu erfahren. Tatsächlich führen die Spuren häufig zu ihrer Mutter, welche bei der Übertragung der Strukturen durch die Muttersprache ein dichtes Muster hinterlassen hat. Die gestalterischen Experimente sind teilweise spielerisch angelegt und teilweise durch schweres Scheitern gekennzeichnet.


.


Ausstellung
Asia Andrzejka Amorin, "Unter einer Decke"

Inszenierung
Mirko Baselgia, "INDEXTINE", Inszenierung in 11 Akten

Text/Regie
Michèle Graf und Mirko Baselgia

Schauspiel
Christine Milz

Musik
Ursina Braun (Komposition)
Alexander Fickel (Perkussion)
Andrea Siri (Horn)
Barbara Oehm (Violoncello)
Sarah Tysman (Celesta)
N.N. (Kontrabass)
N.N. (Oboe)

Dank an
Holzpunkt AG
www.triptrap-holzpflege.ch

Posted by Urs Lehni

Wednesday, 25.08.2010
18:00h -
Saturday, 11.09.2010

 

Ausstellung
THREE NEW BOOKS
Roma Publications Amsterdam
mit Uta Eisenreich, Jan Kempenaers, Louis Lüthi

- - -
 

26. August - 11. September 2010
Eröffnung: Mittwoch, 25. August, 18 - 22 Uhr
Öffnungszeiten: Donnerstag, Freitag 12 - 19 Uhr / Samstag 12 - 17 Uhr

Als der Künstler Mark Manders und der Graphic Designer Roger Willems 1998 den Verlag Roma Publications in Amsterdam gründeten, rechneten sie kaum damit, dass sie bis im Sommer 2010 mehr als 140 Bücher publiziert haben sollten.

Die Künstlerin Uta Eisenreich studierte Fotografie sowie Grafik. Von ihr erschien „A NOT B“ (Roma Publication Nr. 138), ein Buch das massgeblich auf Intelligenztests für Kinder basiert und dadurch die Frage von Normierung unseres Denkens anspricht. Sie wird eine Video-Installation zeigen. Louis Lüthi arbeitet als Graphic Designer und veröffentlichte „On the Self-Reflexive Page“(Roma Publication Nr. 139). Seine Publikation ist als ein Essay aus Zitaten und Anspielungen zu verstehen, das in der Ausstellung in ein neues Display überführt wird. Zusätzlich wird Lüthi an der Vernissage am 25. August um 19 Uhr einen Vortrag über seine Arbeit halten. Der Fotograf Jan Kempenaers veröffentlichte mit „Spomenik“ (Roma Publication Nr. 142) ein Bildband monumentaler Betonplastiken aus dem ehemaligen Jugoslawien. Kempenaers wird mehrere Fotos aus dem Buch im grossen Ausstellungsraum zeigen sowie an der Eröffnung ein Gespräch mit Publikum (20 Uhr) durchführen.

THREE NEW BOOKS kann durchaus als eine Reminiszenz an die Kraft und Stärken des Papiers gelesen werden. Sie ist aber ebenso eine Feststellung, die auf der Beobachtung basiert, dass heute immer mehr kleinere Verlage im Kunstbereich entstehen. Diese messen sich nicht an den Richtlinien profitorientierter Unternehmen, sondern setzen sich selbst eine sorgfältige und inhaltliche Beschäftigung mit Themen als Messlatte, die durchaus auch ethische Züge tragen kann. Die Druckerzeugnisse, die nicht durchwegs die Form eines Buches tragen, unterlaufen die Lesegewohnheiten einer breiten Leserschaft: Irritationen und Umwege beim Lesekonsum sind also vorprogrammiert. Die Beweggründe für dieses Vorgehen sowie die Absichten einer solchen Arbeitsweise wird der Verleger Roger Willems am Donnerstag 26. August um 18 Uhr im Perla-Mode weiter erläutern. Weitere Veranstaltungen werden kurzfristig über die Website und per Newsletter angekündigt.


...


Die Ausstellung wird in Kooperation mit Motto Distribution Zürich präsentiert.

Posted by Stefan Wagner

Wednesday, 01.09.2010
18:00h

 

Ausstellung / Urban Art Surveillance
Eröffnung
Rémi Jaccard
 

Der Kunsthistoriker Rémi Jaccard eröffnet sein dreimonatiges Feldforschungsprojekt Urban Art Surveillance für seine Dissertation über Streetart.


...


Teile der Stadt Zürich werden über längere Zeit auf Spuren von Streetart untersucht und dokumentiert. Das Dokumentationsmaterial wird während dieser Zeit im Schaufenster Seite Brauerstrasse ausgestellt und regelmässig aktualisiert. Begleitend werden Diskussionen und Begehungen stattfinden.

Posted by Stefan Wagner

Tuesday, 21.12.2010
20:00h -
Sunday, 02.01.2011

 

Ausstellung
«Hier, Chimäre, halte ein.»
«Nein; niemals»

Emma Nilsson
 


...



„Da kann man nichts einwenden,“ sagte er, seine Überlegungen zusammenfassend; „der Mensch vermag in wenigen Jahren eine Zuchtwahl zu erreichen, die die träge Natur nur nach Jahrhunderten zustande bringen kann; im Lauf der Zeiten sind die Blumenzüchter sicherlich die einzigen und wahren Künstler.“

Joris-Karl Huysmans, À Rebours, 1884


Die Künstlerin Emma Nilssons lässt aus Naturdarstellungen des 19. Jahrhunderts artifizielle, visionäre oder phantastische Wesen entstehen. Sie fertigt diese aus zerschnittenen Radierungen, die sich teils idealisiert oder vermeintlich wissenschaftlich geben, aber stets der Phantasie entspringen. So entstehen Bildwelten, die sich offensichtlich auf reale Gegebenheiten in unserer Welt beziehen, sich aber in einer distanzierten Künstlichkeit von eben dieser wiederum abheben.

Über die Festtage wird Emma Nilsson ein Schaufenster im Perla-Mode mit ihren Bildwelten bespielen und so einen angenehmen Gegensatz zu den künstlich naturalistisch inszenierten Weihnachtauslagen anderer Geschäfte schaffen.

Diese Veranstaltung findet in Zusammenarbeit mit dem Artist-in-Residence-Programm von Index - Wort und Wirkung statt und wird von Miriam Erni begleitet.

Posted by Stefan Wagner

Thursday, 09.06.2011 -
Sunday, 26.06.2011

 

Ausstellung
Book Notes 1998-2010 (2h 3min)
Christoph Schifferli
 

During three weeks Corner College shows a two hour slide show of the passionated book collector Christoph Schifferli. Since more than ten years he measures his collecting activities - books, artists, sellers and places - with his camera.


Screenshot


"I started using a digital camera in the late 90s, mostly in art exhibitions were I took pictures of the artwork together with the small tags on the side stating the name of the artist, etc. I later started using the camera also for books, taking a quick picture of the cover with some spreads and the impressum (and possibly of the price if it was a rare book). Since the date is automatically registered when you take a digital picture, I still had to take note of the location (these were pre-GPS times). So I started taking pictures of the gallerist, artist or bookdealer to keep a record of the place or context. Anyway - I still do this all the time. Finally these pictures also became a visual diary - but this happened more coincidentally and as a side effect, and I became aware of the diary effect much later in the process.For the one-sentence description: it's really a visual notebook with pictures recording and documenting my collecting finds and wants."

Christoph Schifferli

Posted by Stefan Wagner

Sunday, 19.06.2011 -
Sunday, 26.06.2011

 

Ausstellung
Die Spur eines Bisses im Nirgends
Tomás Cunha Ferreira
 




Auch sie
musst du bekämpfen,
von hier aus.

Paul Celan


"Die Spur eines Bisses im Nirgends" is a poem by Paul Celan and the motto for a new series of small format paintings on paper by Tomás Cunha Ferreira. The paintings, 23 x 23 cm squares, are made by juxtaposed layers in different combinations between watercolor, oil, casein and wax crayon. The whole series will be on display at the window of Brauerstrasse, 24h a day.

Posted by Stefan Wagner

Friday, 24.06.2011
18:00h -
Sunday, 26.06.2011

 

Ausstellung
Die Schönsten Schweizer Bücher 2010


...


Das Bundesamts für Kultur veranstaltet jährlich den Wettbewerb der schönsten Schweizer Bücher. Dieses Jahr haben sich die Modalitäten und der Ort im Gegensatz zu den Vorjahren geändert. Neu findet die Ausstellung während drei Tagen im Helmhaus Zürich statt. Das Corner College wurde vom Bundesamt für Kultur eingeladen, zwei Gesprächsrunden zu gestalten. Diese finden am Samstag 25. Juni, um 15 Uhr und Sonntag, 26. Juni um 11 Uhr statt.

Programm:

18 Uhr Eröffnung Ausstellung im Helmhaus
18-22 Uhr Bookshop
19 Uhr Begrüssung
ab 20 Uhr Essen und Musik

Detailliertes Programm:

> Einladungskarte
> Invitation Card

Posted by Stefan Wagner

Thursday, 30.06.2011
19:00h -
Saturday, 16.07.2011

 

Ausstellung
Eine Grammatik der dritten Person
Stephane Barbier Bouvet, Lovis Caputo, David Heitz, Sarah Küng, Kai Linke, Xabier Salaberria, Clemens Seilles, Jochen Weber
 


...


Die Regeln der Grammatik sehen verschiedene Möglichkeiten vor, über die dritte Person zu sprechen. Mit den Charakterzügen einer Person oder eines Gegenstands ausgestattet, stellt dieses „Etwas“ immer eine Distanz zur ersten Person des „ich“ her. Zwischen den Standpunkten der ersten und der dritten Person entwirft die Gruppenausstellung einen Raum, der von privaten Interieurs, Warenauslagen und musealen Displays geprägt ist.

Corner College freut sich mit „Eine Grammatik der dritten Person“ eine Ausstellung zu präsentieren, die massgeblich im Rahmen eines Forschungsprojekts der Kuratoren Tido von Oppeln und Burkhard Meltzer an der Zürcher Hochschule der Künste seit 2009 entstanden ist.

"Eine Grammatik der dritten Person" wird ermöglicht durch die finanzielle Unterstützung der Pro Helvetia, Schweizer Kulturstiftung, der Spanish Cultural Action AC/E, dem IFA, Institut für Auslandbeziehungen und dem Institut für Theorie (ith).

Posted by Stefan Wagner

Thursday, 08.09.2011
19:00h -
Saturday, 17.09.2011

 

Ausstellung / Performance
INTELLECTUAL SEDUCTION
Larry's
 


Exhibition



i really wanted to be a professional athlete / when i was younger.


you're much better looking /
than i thought..

women
have tremendous influence
17
and a pair
of blue jeans..

focus / on the spring

nautical outdoorsy
athletic /
a rugged
expedition..
planting the seeds..

be very humble / because
you can never tell
when
we're on a roll.

when i went business
he said
"what would you like?"
and i said
" a new ...
to get rid of my button down shirts.."

classic

when i left it was
"man,
business /
is trouble.. "



Exhibition open from Thursday to Friday 12am to 7pm,
Saturday 12am to 5pm.

Posted by Stefan Wagner

Thursday, 13.10.2011
19:00h -
Saturday, 29.10.2011

 

Ausstellung / Corner Cuisine / Lecture / Performance
The Double of the Object is that I Desire it
Karl Larsson
 


Designed by Urs Lehni

Der in Brüssel und Berlin lebende Schriftsteller und bildende Künstler Karl Larsson schwankt mit seinen Arbeiten zwischen Literatur, konkreter Poesie, Skulptur, Installation und Performances. Er legt Spuren, spielt auf historische Referenzen an, um diese auch gleich wieder zu verwischen.


...

In seiner Ausstellung "The Double of the Object is that I Desire it" hat Karl Larsson eine bühnenhafte Situation aus Postern, Bronzeskulpturen und einen Teppich erschaffen, die eine offene Erzählung andeuten.


...

Öffnungszeiten: Do und Fr 13 - 19, Sa 12 - 17 Uhr.


Corner College freut sich auf Ihren Besuch!

> Exhibition text by Karl Larsson (English)

Posted by Stefan Wagner

Thursday, 10.11.2011
19:00h -
Saturday, 26.11.2011

 

Ausstellung
Tearing Down, Building Up
Vanessa Billy, Les frères Chapuisat, ortsofort, Christine Zufferey
 

Zürich dehnt sich in Richtung Westen aus: Diverse in die Höhe spriessende Gebäude wandeln das Stadtbild rasant. Die Konsequenz dieser Veränderungen sind zahlreiche Baustellen, die lebendige Produktionsstätten darstellen. Sie entwickeln sich, wachsen stetig und bieten Raum für vielfältige Möglichkeiten. Mittels der Ausstellung "Tearing Down, Building Up" soll sowohl die tatsächliche als auch die metaphorische Barriere der Baustelle aufgebrochen werden.




Für die Ausstellung wurden verschiedene Künstlerinnen und Künstler eingeladen. Vanessa Billy, Les Frerès Chapuisat, Ort Sofort und Christine Zufferey untersuchen die dynamischen Prozesse einer Baustelle, befassen sich mit den verschiedenen Materialien, nähern sich diversen bautechnischen Abläufen an und setzen sich mit Begriffen wie Mikrokosmos und Work-In-Progress auseinander.

Gerahmt wird das Ausstellungsprogramm von zwei Veranstaltungen. Am Samstag den 12. November um 13:45 Uhr findet eine Vorführung mit zwei Filmen im Kino Xenix in Zürich statt. Gezeigt werden Blight (UK, 1996, 11 min) des britischen Künstlers John Smith sowie En Construcción (E, 2001, 125 min) des spanischen Regisseurs José Luis Guerín. In beiden Filmen offenbaren sich die vielseitigen Verknüpfungen zweier sehr unschweizerischen Baustellen und die damit einhergehenden Reaktionen: Die menschliche Facette rückt stärker in den Aufmerksamkeitsbereich.

Am 23. November wird in der Debatten-Serie Art + Argument der Künstler Colin Guillemet, der Kunstwissenschaftler Michael Hiltbrunner, der Kritiker Daniel Morgenthaler und die Kuratorin Sabine Rusterholz die Rolle der Kunst in einer sich stetig weiter entwickelnden Stadt in einem Gespräch in Frage stellen. Die Veranstaltung wird in Englisch geführt und von der Kuratorin Aoife Rosenmeyer moderiert.

Öffnungszeiten: Do - Fr: 13 - 19 Uhr; Sa 12 - 17 Uhr.

Die Ausstellung wird von dem Kuratoreninnenduo OPEN FIELD kuratiert, einem Zusammenschluss von Isabel Münster und Aoife Rosenmeyer.

„Tearing Down, Building Up“ wird finanziell unterstützt durch Kultur Stadt Zürich und Ernst und Olga Gubler-Hablützel Stiftung.

Posted by Stefan Wagner

Wednesday, 23.11.2011
19:00h

 

Ausstellung / Dialog
Art slows the progress of a modern metropolis
art + argument, Colin Guillemet, Michael Hiltbrunner, Daniel Morgenthaler, Sabine Rusterholz
 

Colin Guillemet, Michael Hiltbrunner, Daniel Morgenthaler and Sabine Rusterholz debate the place of art in developed cities. They are divided in two opposing teams debate and discuss a motion that they have been assigned. Each participant has been given a position opposing or defending the motion, and each has five minutes to argue their case uninterrupted. Thereafter the speakers challenge each other, and the audience may in turn question the speakers. The event ends with a vote for the more persuasive team.


...


art + argument is a forum for discussing culture where the unspeakable may be said, founded by Aoife Rosenmeyer. Each speaker must play his or her assigned role, regardless of whether they agree or not. Speakers benefit from temporary immunity: what they say during the debate is not necessarily their opinion and they cannot be held to their word afterwards.

This debate takes place in the context of Tearing Down, Building Up, an exhibition with Vanessa Billy, Les Frerès Chapuisat, ortsofort & Christine Zufferey, curated by OPEN FIELD (a collaboration between Isabel Münster & Aoife Rosenmeyer) which continues until 26 November.

Posted by Stefan Wagner

Saturday, 03.12.2011 -
Sunday, 18.12.2011

 

Ausstellung
Simultaneous Slide Show
The Carousel Collection
 

Established in 11.11.2011 in New York by artist Triin Tamm, this nomadic collection is assembling, archiving and exhibiting art in the form of 35 mm slides in a looping carousel. The evergrowing project will accessible to the public through various "Slide Shows" organized by guest curators and Triin Tamm herself. Confirmed shows for 2012 include Contemporary Museum of Art, Estonia (Tallinn), Sans Serriffe (Amsterdam), KIM? Contemporary Art Centre, (Riga) and Primetime (New York).


.


Including slides from more than 60 artists, "Simultaneous Slide Show" will be on display in the Corner College until the 18th of December 2011. If you happen to be in the area, please pass by and submit a slide!



.


Contributions by: Benjamin Artola, Johanne Birkeland, Serge Comte, Audrey Cottin & Kelly Schacht, Clôde Coulpier, Stéphane Déplan, Martine Derks, Maarten Dings, Joachim Naudts, Egon Van Herreweghe, Daniel Eatock, Adam Etmanski, Dénes Kalev Farkas, Andris Feldmanis, Kasia Fudakowski, Séverine Gorlier, Sam de Groot, Morten Norbye Halvorsen, David Horvitž, Unndór Egill Jónsson, Krõõt Juurak, Tuukka Kaila, Laura Kaminskaitė, Lucie Kolb, Jiří Kovanda, Paul Kuimet, Mikko Kuorinki, Laura Kuusk, Camille Laurelli, Jürg Lehni, Urs Lehni, Anna Lindal, Nicolas Matranga & Žiga Testen, Fanette Muxart, Rick Myers, Corina Neuenschwander, Aapo Nikkanen, Serge Onnen, Eléonore Pano-Zavaroni, Jurgis Paškevičius, Elise Pautard, Ryan Rivadeneyra, Jani Ruscica, Tõnis Saadoja, San Serriffe, Ellen Henriette Suhrke, Triin Tamm, Laura Toots, Lex Trüb, Stephanos Tsivopoulos, Anja Ulset, Timm Ulrichs, Anu Vahtra, Grant Watkins, Walter Warton and others.



.


"It's not called the Wheel. It's called the Carousel."
-- Don Draper

Posted by Stefan Wagner

Thursday, 19.01.2012
19:00h -
Saturday, 21.01.2012

 

Ausstellung / Buchvernissage
TWO NEW BOOKS
Marc Nagtzaam und Jan Kempenaers

- - -
 


...


Roma Publications Amsterdam is back in Zürich with two new books. After the exhibition in August/September 2010 (Exhibition archive) Roma has invited Marc Nagtztaam to present new drawings out of his book "Reissue" (Roma Publication Nr. 164) as well as Jan Kempenaers with photos from the book "Picturesque".

Program:

19h Opening
19:01h Corner Cuisine
20h Talk with Marc Nagtzaam, Jan Kempenaers and ROMA-Editor Roger Willems (in English).

Corner College and Motto Zürich Store are very happy to welcome Roma Publications again.

Posted by Stefan Wagner

Wednesday, 16.05.2012 -
Saturday, 26.05.2012

 

Ausstellung
Stray Topology
- - -
 


...

Stray Topology is a group show of photographic works by students from the F+F Schule fur Kunst und Mediendesign Zurich. The works have been produced in response to an open ended dialogue on the perception of place and its representations. The show includes a screening and discussion as part of Theory Tuesdays.

Taking the position that place is both exactly where it is and a digression from itself, the project examines the encounter with place through perspectives on urbanism, architecture and literature.

These vantage points animate our relationship to place, suggesting a meshing of subjective experience with the processes of recollection. The project considers the politics of place in relation to the selection, construction and mediation of the photographic image.

Project coordinator: Mary Maclean

Opening: Wednesday, 6:30 - 8:30pm
Opening hours: Saturdays, 12am - 5pm or by appointment

Posted by Stefan Wagner

Monday, 28.05.2012 -
Thursday, 31.05.2012

 

Ausstellung / Workshop
Pursue Other Avenues
Flurin Bisig, Clare Kenny, Isabelle Krieg
 


...


Pursue Other Avenues is an experiment which takes the form of an open and public "exhibition making workshop". By showing the negotiation, research, and dialogue that typically finishes before the vernissage this experiment aims to give participants an understanding of artists and their work, greater to that of seeing a mere static display of material products. This experiment views all participants as producers, audience, critics, and curators, and with the aid of Isabelle Krieg, Clare Kenny, and Flurin Bisig everyone present will contribute to the development of the exhibition process. This experiment will display the traditionally private stages of an exhibition—doing away with the traditionally public stage entirely. Contrary to most exhibitions, Pursue Other Avenues will not be pure documentation of prior actions, discussions, or collaborations, but the exhibition will be the discourse and connections as they are created. The exhibition becomes flexible and public, and by the time it ‘matures’ it will not then be arrested and stagnate, but this will signal its end.

Schedule:

Monday May 28, 2012 6pm-9pm
Artists talks and open discussions.

Tuesday May 29, 2012 6pm-9pm
part one- Connect and contrast the artists work. Thematic? Non-thematic?
part two – Which works would we (all participants) showcase by each artists? If new works were created what would they look like?

Wednesday May 30, 2012 6pm-9pm
part one – Discuss space and the effect that different spaces would have on the artist and their works.
part two - Effect that context can have on meanings of work and how this could change what we (all participants) know about the work.

Thursday May 31, 2012 6pm-?
part one – How could we communicate these artists' work effectively to people who did not take part in this process?
8pm – vernissage

Find more informations on the Pursue Other Avenues-Blog

Organized by Lindsey Sharman.

Contact pursueotheravenues@gmail.com

> Invitation Card "Pursue Other Avenues"

Posted by Stefan Wagner

Wednesday, 06.06.2012
19:00h -
Saturday, 09.06.2012

 

Ausstellung / Kino / Lecture
A PARADISE OF LETTERS (AN EXHIBITION THAT NEVER TOOK PLACE)
Jonas (J) Magnusson, Kim West
 


...


For a long time, Letterism – established by Isidore Isou – has remained the unknown avant-garde of European Post-war art. Using copies and documents, A Paradise of Letters looks at two aspects of the movement’s production: their notion of a ”metagraphic” or ”hypergraphic” novel, and their experiments with a ”discrepant”, ”chiseling” and ”nuclear” cinema. The display and accompanying lectures will ask the speculative, hypothetical question: what would be the result if these largely forgotten practices were reinscribed into the narrative of post-war poetry, art and cinema?


...


A Paradise of Letters is organized by Jonas (J) Magnusson and Kim West. Both will give a lecture (each 1h) about the following topics:

”Hypergraphics, or the art of re-reading and re-writing our world-text” by Jonas (J) Magnusson

Jonas (J) Magnusson will discuss the hypergraphic novels by Isidore Isou (Les Journaux des Dieux, ”The God's Diaries”, 1950; Initiation à la haute Volupté, ”Initiation to High Voluptuousness”, 1960; Jonas ou le corps à la recherche de son âme, ”Jonah, or the Body Searching for its Soul”, 1984), Gabriel Pomerand (Saint Ghetto des Prêts, ”St Ghetto of the Loans”, 1950) and Maurice Lemaître (Canailles, ”Riff-raff”, 1950).
Metagraphics (or post-writing), invented by Isodore Isou in 1950, and four years later renamed hypergraphics (or super-writing), aimed both at subverting the novel as it was known at the time, and at extending Letterist painting to the totality of characters of all writing systems in their existing or invented transcriptions, seen through their ideographic, lexical and alphabetic categories.

”Nuclear cinema: Letterist film experiments” by Kim West

With their first Letterist films, Traité de bave et d’éternité and Le film est déjà commencé? (both 1951), Isidore Isou and Maurice Lemaître wanted to radically extend cinema’s scope of possibilities. Scratching the film frames, separating images and sounds, voices and bodies, and employing the cinema theater as an aesthetic element, they introduced a number of innovative techniques that predated the experiments of ”structural” and ”expanded” cinema, as well as the renegotiations of film language by the Nouvelle Vague filmmakers.
In his combined lecture and screening, Kim West will discuss Isou’s and Lemaître’s classic films, as well as the work of other Letterist filmmakers such as Marc’O (”Nuclear Cinema”, 1952, Closed Vision, 1954, Les Idoles, 1968), Gil Wolman (L’anti-concept, 1952), and Roland Sabatier (such as Pensiez-vous (vraiment) voir un film de Roland Sabatier?, 1973).


Isidore Isou, Les journaux des dieux


Opening hours: Thursday and Friday, 5-7pm; Saturday, 12am-5pm

The project is made with support by Moderna Museet, Stockholm and Allianz Kulturstiftung.

Posted by Stefan Wagner

Friday, 29.06.2012

 

Ausstellung / Kino / Workshop
Construction School
James Langdon
 


Photograph courtesy Jim Wood


James Langdon will present an ongoing research project on the subject of the Construction School, an experimental design programme in Bristol, England (1964 to 1979).

Program:

2-3pm
James Langdon will give an illustrated presentation of his ongoing research into Norman Potter's (1923-95) 'Construction School' at Bristol, 1964 to 1979. The presentation will include documentary audio and visual material to give an account of the nature and activities of the school.

3.30-5.30pm
A discussion with designer and design historian Christopher Burke, artist Susanne Kriemann and James Langdon. The two guests will each make a short presentation of their own practice, followed by a conversation covering various subjects, including visual research methodologies, the ethics of 'activating' archival materials in artistic production, and the complexities of handling partial or subjective narratives.

6-7.15pm
A group reading from the script of Norman Potter's play 'Icarus' (1975). The play is deeply informed by Potter's experiences at Bristol and his reflections on the international student movement of 1968.

8pm
Grill and drinks.






Posted by Stefan Wagner

Friday, 19.10.2012
19:00h

 

Ausstellung
Ein Buch bei Nacht
Objekte aus der Bibliothek Andreas Züst
19. - 21. Oktober

So kompakt sich ein Buch gibt, in jedem einzelnen schlummern Welten, die – im Sinne eines Objektes mit Körper und Seele – darauf warten, geblättert, betrachtet und gelesen, gerochen, gefühlt und, in ihrer höchsten Form, in die Gedankenwelt des Betrachters, der Leserin übertragen zu werden. Diese «Bücherwelten», in einer Bibliothek Buchrücken an Buchrücken gereiht, führen nicht nur in andere Zeiten, Gegenden und Gedankenwelten, sondern stehen immer auch mit derjenigen Person, die sich einem Buch annimmt, in Verbindung. Ohne ein Gegenüber ist ein Buch nicht mehr als etwas Papier und Druckerschwärze, mit einem Gegenüber wachsen Bücher weit über dies hinaus. Dochin welche Form? Um dem nachzukommen, wurden unterschiedliche KünstlerInnen und angewandte GestalterInnen eingeladen, ihren ganz spezifischen Zugang zu einem bestimmten Buch (oder auch mehreren) der Bibliothek Andreas Züst in ein Objekt zu überführen. Diese Objekte werden nun, zusammen mit den dazugehörigen Büchern und Buchreihen, in einer kleinen Wanderausstellung dem Publikum präsentiert.


...


As consolidated as a book seems, each one consists of slumbering worlds, which, in the sense of an object with a body and soul, are waiting to get flipped through, to be looked at and read, felt and in its highest form, be transformed into the mind of the beholder and transmitted to the reader. Those “book worlds”, stacked spine next to spine in a library not only guide to different times, areas and intellectual worlds, but are also always in some way connected to the person, who looks at it. Without this counterpart, a book is no more than some paper and ink. With a counterpart, books can go far beyond. But in which form? To explore this, various artists and practical designers were invited to transform their perspective of one (or several) books of the library of Andreas Züst into an object. These objects, together with the corresponding books or book series are now presented to the public in a small circulating exhibition.

19th to 21th October 2012

-

Programm Freitag:

19 Uhr:
Eröffnung Ausstellung Habib Ahmed Afsar, Ivo Mendes Barão Teixeira, Beni Bischof, Gabi Deutsch, Daniel Gafner, Mariano Gaich, Estelle Gassmann, Peter Hutter and Nobert Möslang

ab 19 Uhr:
This book - organized by Veronika Spierenbrg

Artist Veronika Spierenburg will talk with people who have an interesting connection with the
medium of books.

Barnaby Drabble – A talk about a book about books inside a library as part of an exhibition inside a museum
Moritz Küng – Curating the Library
Hans Witschi – oeuvretotal.com
Erik Kessel – In almost every picture
Moritz Küng – Peter Downbrough
Romy Rüegger & Garrett Nelson – my book your book
Eva Kovakovsky – Grasbücher
Vincent Romagny
Dominique Hurth – séance de lecture  – on the physical manifestation of the book
Rob van Leijsen – Art Handling in Oblivion
Sophie Nys
Karma – karmakarma.org
David Senior


Ein kleiner Imbiss wird während des Abends serviert.

-


Ein Buch bei Nacht wird organisiert von Samuel Bänziger und Mara Züst.

Mehr Infos?

http://www.ebbn.ch

Posted by Irene Grillo

Sunday, 21.10.2012
19:00h

 

Ausstellung / Vortrag / Workshop
Ein Buch bei Nacht
Objekte aus der Bibliothek Andreas Züst


...


Programm Sonntag, ab 19 Uhr, stündlich:

Simone Koller:
Handle with care (mehr oder weniger)
(Vortrag)

Chris Jaeger Brown:
Rhythmischer Unfug
(drum solo)

C.E.Meier:
Dreizeilern
(Workshop)

Philipp Messner:
Papierformat und Wissensorganisation
(Vortrag)

Habib Ahmed Afsar:
Silent Friend
(Performance)

Ein kleiner Imbiss wird während des Abends serviert.

Mehr Infos:

http://www.ebbn.ch

Posted by Stefan Wagner

Tuesday, 06.11.2012
18:30h -
Saturday, 17.11.2012

 

Ausstellung
Aus der unmittelbaren Unwirklichkeit
6. - 17. November 2012

Christoph Brünggel
 

Der Künstler Christoph Brünggel präsentiert im Corner College einen ersten Einblick in seine fortlaufende Werkreihe „Aus der unmittelbaren Unwirklichkeit“, die sich mit der Auflösung und der Bildung von Form und Struktur auseinandersetzt.


Dying Swan, 2012, Christoph Brünggel


„Der Schwebezustand, das noch Ungeformte interessieren mich. Dieses Dazwischen, das Oszillieren zwischen Gegensätzen ist Antrieb und auch Ort meiner Kunst“ beschreibt der Künstler seine Arbeit. Zu sehen ist der Versuch, durch unterschiedliche Techniken ein eigenes Sensorium für die Transformation der Dinge an der Bruchstelle zwischen Wirklichkeit und Unwirklichkeit zu entwickeln. Gezeigt werden Arbeiten auf Papier, die durch eine teils diffus verklärte und abstrakte Ästhetik überzeugen. Als Ausgangslage der ausgestellten Arbeiten dienten dem Künstler eigene Fotografien, Bildmaterial aus Archiven sowie Filmausschnitte, deren Bewegung er mittels eines Langzeit-Scans auf Papier bannen konnte.
Christoph Brünggel begann den Bilderzyklus während seines diesjährigen Atelieraufenthaltes in Berlin und wird ihn auch nach dieser Ausstellung laufend weiter entwickeln.


6. November, 18.30 Uhr
Eröffnung der Ausstellung

15. November, 20.00 Uhr
Lesung aus M. Blechers Werk mit Florian Steiner


Öffnungszeiten
Do 18-21 Uhr / Fr 15-19 Uhr / Sa 14-17 Uhr oder auf Anfrage

Posted by Jeannette Polin

Thursday, 22.11.2012
19:00h

 

Ausstellung / Präsentation
Syria - Here and There
Rayelle Niemann
 

The difficult and complex situation in Syria leads to a fragmentation of society into various isolated parts. Some of these parts seem to be in line with each other better than others. Sometimes it appears to be a unified. And then again it falls to pieces. Syria as concept has become a synonym for itself and all the questions that arise when the line is crossed: be they existential, ethical, humanitarian, political, religious, economic, military or in terms of international law.

Presentation "Social Media tools in Times of Transition" (in English language) at 7.30pm:

In order to understand the development in Syria we take a closer look at the Egyptian revolution and the struggle for information, media coverage and connectivity. Battuta, Muhammed Radwan is an engineer, activist and social media entrepreneur from Cairo. He visualises and analyses the complexity and multiple layers of the Egyptian revolution, and its use of language on the basis of flyers, stickers, etc. Also, besides Facebook and Twitter, other transnational social media platforms with a simplified operation mode, such as Bambuser or Ushahidi, are used to promote identities and opinions. Battuta draws on his own experiences from the streets, digital spaces and the financial market. He links this to the opportunities of social media tools in times of transition and their field of application – a cultural landscape oscillating between representation and archive; one of his theses states that the speed of technical development is overtaking history.

for sale: "sold out... for now", original revolution T-shirts from Cairo.

to see: collection of printed things, stamps, stickers and flyers

music and open bar with Ashraf Osman, Architect from Beirut, Lebanon / Switzerland.

concept: Rayelle Niemann


the people - revolution of the people power to the people


Die schwierige und komplexe Situation in Syrien produziert viele einzelne, isolierte Teile. Manche Teile scheinen besser zueinander zu passen als andere. Manchmal erscheint das Bild klar. Und dann zerfällt es wieder. Syrien ist ein Synonym geworden, für sich selbst und für alle Fragen, die gestellt werden, wenn die rote Linie überschritten wird: existentielle, ethische, humanitäre, politische, religiöse, wirtschaftliche, militärische, völkerrechtliche.

Beginn Präsentation "Soziale Medienwerkzeuge in Übergangszeiten" (in Englischer Sprache) um 19:30 Uhr:

Eine erste Spurensuche rund um Syrien führt über den Kampf um Information, Medialität und connectivity nach Ägypten. Muhammed Radwan Battut stammt aus Kairo und ist Ingenieur, Aktivist und Unternehmer für soziale Medien. Anhand von bewährten zugehörigkeits- und meinungsbildenden Mitteln wie Flyer, Sticker etc. erläutert Battuta die visualisierte Vielschichtigkeit der Ägyptischen Revolution und deren Sprache. Länder überschreitend werden parallel Internetplattformen für Information und Aktion benutzt, die neben Facebook und Ttwitter mit einfachen Bedienungs- und Benutzermodi arbeiten, wie Bambuser und Ushahidi. Battuta greift auf seine eigenen Erfahrungen auf der Strasse, in digitalen Räumen und dem Finanzmarkt zurück. Er spannt einen Bogen zu den Möglichkeiten sozialer Medienwerkzeuge in Übergangszeiten sowie deren Anwendungsbereiche – eine Kulturlandschaft zwischen Präsentation und Archiv; Eine seiner Thesen ist, dass die Schnelligkeit technischer Entwicklungen die Geschichte überholt.

Neben der Präsentation gibt es T-Shirts (sold out …… for now > Verkauf von original revolutionären T-Shirts aus Kairo) zu kaufen sowie eine Sammlung gedruckter Dinge, Briefmarken, Sticker und Flyer anzusehen. An der Bar legt Ashraf Osman, Architekt aus Beirut, lebt in der Schweiz, Musik auf.

Konzept Rayelle Niemann.

Die Veranstaltung wird am 25. November im Cabaret Voltaire.
The presentation will be continued on November 25th at Cabaret Voltaire.

> Invitation/Einladung

Posted by Stefan Wagner

Friday, 21.12.2012 -
Wednesday, 26.12.2012

 

Ausstellung / Buchvernissage / Kino
Tsunami Architecture
Christoph Draeger, Heidrun Holzfeind
 


...


To celebrate the End of the World, Corner College is pleased to announce the book launch of Tsunami Architecture, a new book by Heidrun Holzfeind and Christoph Draeger. At this occasion, the 60-minute documentary "Tsunami Architecture" will be shown at 7PM, followed by a Q+A session and drinks.
The 280-pages book is the final result of a longterm research project, which was presented as an multi-media exhibition at the OK Centrum for Contemporary Art (which commissioned the project) in Linz, Austria in early 2012.


...


The 2004 Indian Ocean Tsunami was one of the worst natural catastrophes in history. While international attention has faded, post-tsunami challenges continue to have an impact on affected communities. Six years later and just weeks before Fukushima, Christoph Draeger and Heidrun Holzfeind looked at what has been achieved, what went wrong and what challenges remain. On a three month trip from December 2010 to February 2011 to the five countries most affected – Thailand, Aceh/Indonesia, Sri Lanka, Maldives and India – the artists investigated the current state of architecture built or reconstructed in the aftermath of the Tsunami. Using video and photography, they documented the long-term effects of the disaster through conversations with survivors, eyewitnesses, aid workers and rescue personnel. They also established a collection of footage of the disaster and the reconstruction efforts.

Additionally, Corner College will be exhibiting two related slide projections in the windows. The site-specific installations will be running over Christmas time including December 26, the 8th anniversary of the Indian Ocean Boxing Day tsunami.

- ¨
Schedule Friday, 21st December

7pm Opening

7:30pm Film Screening Tsunami Architecture
Video, HDV, 60 min, 2012

8:30pm Drinks and Food

Later DJ Strawberry Soda Pop
http://www.eastvillageradio.com/shows/theholyshitsoundsystem

Come and clebrate the End of the World with us!

-

Exhibition:

22. - 26. December

Slide and film projections

Always Nighttimes
Always Outside




Posted by Stefan Wagner

Thursday, 31.01.2013 -
Sunday, 10.02.2013

 

Ausstellung
FFF - Fergangenheit, Fake, Fiktion
Nicole Biermaier, Françoise Caraco
 




Nicole Biermaier und Françoise Caraco setzen sich in ihren neu für die Ausstellung im Corner College realisierten Arbeiten mit den Lebensgeschichten ihrer Grossväter auseinander. In der Arbeit «Ein Bild vom Wegsehen» nutzt Biermaier einen Teil ihrer Familienbiografie – und zwar die Erinnerung an die Geschichte ihres Grossvaters - um sich mit den historischen Ereignissen des Nationalsozialismus auseinanderzusetzen. Ausgehend von Familienfotos und Informationsbruchstücken aus Briefen, die ihr Grossvater, Sohn eines sefardisch-jüdischen Einwanderers aus Istanbul, aufbewahrt hatte, erstellt Françoise Caraco in der Arbeit «Familienfotos» eine Versuchsanordnung, um sich mit den Grenzziehungen der familiären und gesellschaftlichen Zugehörigkeit auseinander zu setzen. Die zwei Künstlerinnen greifen somit mittels «Fake Documentary» und Archivarbeit aktiv in die aktuelle Debatte der Verknüpfung zwischen Kunst, Geschichte und Fiktion ein.




Eröffnung: Donnerstag, 31. Januar 2013, ab 19 Uhr
Lecture-Performance von Nicole Biermaier und Françoise Caraco: Donnerstag, 7. Februar 2013, 20 Uhr

Öffnungszeiten: von 15 bis 20 Uhr
Montag und Dienstag geschlossen


«FFF - Fergangenheit, Fake, Fiktion» wird ermöglicht durch die finanzielle Unterstützung von Ernst Göhner Stiftung und Georges und Jenny Bloch Stiftung.

Posted by Irene Grillo

Saturday, 16.02.2013 -
Sunday, 17.02.2013

 

Ausstellung / Diskussion / Exkursion
Aufgesockelt
Eine Veranstaltung zum Thema Denkmal

Com&Com, Tobias Hotz, Georg Kreis, Kunstbibliothek im Sitterwerk, Jonas Oehrli
 

Was ist ein Denkmal? Seit den Hochkulturen des Vorderen Orients werden Denkmäler als Stätten der Erinnerung errichtet. Das Denkmal kann dabei sakrale, kultische oder politische Ansprüche bedienen. Entscheidend für unser heutiges Verständnis ist das bürgerliche Denkmal des 19. Jahrhunderts. Das politische immer einflussreichere Bürgertum löste einen regelrechten Boom des Persönlichkeitsdenkmals aus. In Konkurrenz zum dynastischen Denkmal, das den Wert von Geburt und Stand pries, demonstrierte das bürgerliche Denkmal vor allem den Wert persönlicher Leistung. 

Ist das Denkmal auch heute noch eine angemessene Form des öffentlichen Erinnerns?

Der Künstler Horst Hoheisel schlug für ein angemessenes Holocaust-Denkmal vor, tausend Jahre lang Holocaust-Denkmal Wettbewerbe abzuhalten, anstatt eine finale Lösung zu finden – eine anhaltende Diskussion anstelle eines statischen Denkmals. Angesichts des rasenden Medienzeitalters kann man sich auch fragen, ob öffentliches Erinnern gar nicht mehr anzustreben ist? Wird das individuelle Erinnern wichtiger? Und was bedeutet das für den öffentlichen Raum? Inwieweit soll die öffentlich Meinung in den Errichtungs-Prozess eines Denkmals eingreifen? 

An welche Ereignisse, Werte und Ideologien sollen sich zukünftige Generationen noch erinnern?

Sowohl das Denkmal im engeren Sinn wie auch das Baudenkmal dienen der Erinnerung. Ersteres wurde aber genau zu diesem Zweck errichtet, letzterem werde dieser Zweck erst im Laufe der Zeit auferlegt. Gerade in den vergangenen Jahren wurden in Zürich viele Gebäude unter Denkmalschutz gestellt. Dies hat Folgen. War das unter Denkmalschutz stehende Haus in den 60er und 70er Jahren ein progressives Instrument zur Steuerung der Stadtentwicklung, wird es heute mehr und mehr zum Verkaufsargument. Erinnerungskultur hat Hochkonjunktur und so muss man sich fragen, welche Formen von Denkmalschutz in Zukunft sinnvoll sind. Vielleicht sollte neu, nebst Industrie- oder Landwirtschaftszonen, auch Kulturzonen geschaffen werden.


...


Wer und welche Kriterien entscheiden über die Erhaltung und Zerstörung von Denkmälern? Das Denkmal als politisches Instrument untersteht dem Wandel der gesellschaftlichen Gegebenheiten. Im Zuge eines Machtwechsels müssen oft auch die damit verbundenen öffentliche Zeichen weichen. Als Symbol der herrschenden Macht dient das Denkmal in Zeiten der Rebellion als Angriffspunkt, wird attackiert und beschädigt. In gleicher Weise wird das Entfernen oder Zerstören von Denkmälern als ein symbolischer Akt gesehen, mit einem Kapitel der Geschichte abzuschliessen. Doch reicht dies zur Vergangenheitsbewältigung? Immer wieder finden sich Überbleibsel vergangener Tage. Was passiert mit leeren Denkmalsockeln? Haben Denkmalsockel ohne Denkmal überhaupt eine Funktion? 
Diesen und anderen Fragen versuchen wir mit Hilfe von Experten aus den Bereichen Kunst, Wissenschaft und der Denkmalpflege nachzugehen.

Im Rahmen der Veranstaltung Aufgesockelt wird der Zine-Sezession-Eiswürfel, ein Denkmal zu Ehren der 3. Zürcher Zine Sezession, aufgesockelt und feierlich eingeweiht.

 Am Samstag 16.  Februar 2013  von 13:00 – 24:00 finden Vorträge, Diskussionen und eine Stadt-Führung mit Johannes M. Hedinger (Com & Com, Künstlerkollektiv), Tobias Hotz (Konservator-Restaurator, Steinbildhauermeister), Prof. Dr. Georg Kreis (Historiker), Tatiana Lori (Denkmalpflege Stadt Zürich), Kunstbibliothek Sitterwerk, Stefan Wagner (Kunsthistoriker, Kurator) statt. Anschliessend Party mit Ton-Bild-Mix von Jonohr (Grafiker)

-

Programm:

Samstag, 16.2.2013

13 Uhr
Visueller und gedanklicher Spaziergang durch die schweizerische Denkmallandschaft.
Publikumsdiskussion mit Prof. Dr. Georg Kreis (Historiker)

14:30
Das St. Jakobs-Denkmal (1872): Verwitterungsprozesse, Untersuchungsmethoden, Restaurierung.
Vortrag von Tobias Hotz (Konservator-Restaurator, Steinbildhauermeister)

15:30
Denkmalpflege rund ums Corner College 
Stadtführung: Tatiana Lori (Denkmalpflege Stadt Zürich).
Anschliessend Diskussion mit Stefan Wagner (Kunsthistoriker, Kurator)

17:30
Mocmoc, das ungeliebte Denkmal
Screenings und Diskussion mit  Johannes M. Hedinger, Com&Com (Künstlerduo)

19 Uhr
Aufsockeln
Feierliche Eingeweihung des Zine-Sezession-Eiswürfel, ein Denkmal zu Ehren der «Last Zürich Zine Sezession»

ab 19:30
Apéro und Party
Monumentaler Ton-Bild-Mix von Jonohr

-

Sonntag, 17.2.2013

14 - 19 Uhr
Ausstellung Lesedenkmal u.a. mit Büchern aus der Sitterwerk Bibliothek zugänglich.


Aufgesockelt wird organisiert von Anna Haas und Annett Höland
. Für Frühjahr/Sommer 2013 ist die Publikation "Aufgesockelt" mit weiteren Beiträgen geplant.



Posted by Stefan Wagner

Tuesday, 04.06.2013 -
Saturday, 08.06.2013

 

Ausstellung
CAS/MAS Bilden – Künste – Gesellschaft
«Künstlerische Bildung im Gespräch»

Philip Matesic
 


...


Wie lehrt die Kunst? Studierende des Studiengangs „Bilden-Künste-Gesellschaft“ der Zürcher Hochschule der Künste gehen der Frage nach, wie und wo sich das Künstlerische in Bildungsprojekten manifestiert und was es bewirken kann. Sie haben hierzu eine räumliche Inszenierung entworfen, welche die Form eines Schaukastens besitzt. Die Ausstellung kann also nur von aussen eingesehen werden. Diskussionsgrundlage bildeten die thematischen Schwerpunkte „Ziviler Ungehorsam“, „Jugendrepräsentation“ und „Tragik der Allmende“. Die Ausstellung sowie das Gespräch wurde in Zusammenarbeit mit dem Künstler Philip Matesic erarbeitet.

Vernissage: Dienstag, den 4. Juni 2013, 19 h.
Ausstellungsgespräch: Dienstag, den 4. Juni 2013, 20 h.

Posted by Stefan Wagner

Saturday, 06.07.2013
18:00h

 

Ausstellung
Brothers Milk in Umber, Schwarz & Ultra-violet
Ian Rodney Wooldridge
 


...


Brothers Milk in Umber, Schwarz & Ultra-violet, is the first of four chapters from a larger body of work: Allergy to Feathers & Cream by artist Ian Rodney Wooldridge.

This first chapter focuses on male portraiture and questionable masculine structures that are developed from metabolic architecture, modernist patterns and digital pixilation.

Each chapter will take the form of a mixed media installation within the corner college gallery space for a single evening.

Following chapter one are:

Sexual Orchid & the Marimo Foot Bounce 16.08.13
Lady Boy Snooker Match 06.09.13
Allergy to Feathers & Cream 16.11.13

The four events will happen throughout 2013 and are interwoven by strategies of colour coding, numeric compositioning and non-linear narrative continuations that create a camp hyper-fluidity.

Posted by Stefan Wagner

Friday, 16.08.2013
19:00h

 

Ausstellung
Sexual Orchid & the Marimo Foot Bounce
Ian Rodney Wooldridge
 


...


Sexual Orchid & the Marimo Foot Bounce is the second of four chapters from a larger body of work: Allergy to Feathers & Cream by artist Ian Rodney Wooldridge. The four events will happen throughout 2013 and are interwoven by strategies of colour coding, numeric compositioning and non-linear narrative continuations that create a camp hyper-fluidity. Each chapter will take the form of a mixed media installation within the corner college gallery space for a single evening.

This second chapter thematically derives from subtle erotic bouncing rhythms in nature.

Following chapter two are:

Lady Boy Snooker Match 06.09.13
Allergy to Feathers & Cream 16.11.13



Posted by Stefan Wagner

Friday, 06.09.2013
19:00h

 

Ausstellung
Lady Boy Snooker Match
Ian Rodney Wooldridge
 




Lady Boy Snooker Match is the third of four chapters from a larger body of work: Allergy to Feathers & Cream by artist Ian Rodney Wooldridge. The four events will happen throughout 2013 and are interwoven by strategies of colour coding, numeric compositioning and non-linear narrative continuations that create a camp hyper-fluidity. Each chapter will take the form of a mixed media installation within the corner college gallery space for a single evening. This third chapter plays with gender, material fetishism and game strategies.

Following the third chapter:

Allergy to Feathers & Cream 16.11.13

Posted by Stefan Wagner

Saturday, 16.11.2013
18:00h

 

Ausstellung
Allergy to Feathers & Cream
Ian Rodney Wooldridge
 


...


Allergy to Feathers & Cream is the concluding chapter of a larger body of work by artist Ian Rodney Wooldridge. This concluding chapter reflects on camp superfluous intuition and human physiology.

The four events will happen throughout 2013 and are interwoven by strategies of colour coding, numeric compositioning and non-linear narrative continuations that create a camp hyper-fluidity.

Each chapter will take the form of a mixed media installation within the corner college gallery space for a single evening.

Posted by Stefan Wagner

Thursday, 30.01.2014 -
Saturday, 08.02.2014

 

Ausstellung
Trouble Boy
Archives and Collections of

Markus Edelmann, Steven Shearer, Martin Stricker, Supernaught
 


...


Gesellschaftliche Randständigkeit und Gewaltphantasien gehörten zur Pose und Lebenshaltung der kulturellen Szene rund um den Heavy Metal, der sich in den späten 70er Jahren formiert hat. Diese Bewegung, die die kleinbürgerlich christlichen Werte zu erschüttern versuchte, stellte sich in einer spielerischen Inszenierung mit archaisch-kriegerischen Outfits und Gesten dar, in einer Zeit, in der Zensur das politische Klima in Ländern wie England und den USA prägte.

Das Männerbild in dieser Counter-Culture zeichnete sich im Vergleich zu dem der vorgängigen Hippiebewegung durch Aggressivität, Kraftdemonstration und Autodestruktion aus.
Gerade durch diese Eigenschaften stellten sich die Männer dieser Szene wieder mit geschlechterspezifischen Attributen dar und rückten sich in Abgrenzung zur Frau in den Mittelpunkt. Dass dabei der „Misfit“ zum Idol gemacht wurde, dockt an die heutigen gesellschaftlichen Debatten und Identitätsfragen rund um den jungen Mann an und bietet Gelegenheit, männliche Aggression und Obession in der bildlichen Darstellung zu thematisieren.



„Trouble Boy“ ist eine Ausstellung über Archivmaterial und Sammlungen, die das Männerbild im Dunstkreis der Heavy-Metal-Szene auslotet. Zwei Schweizer Musiker aus dem Genre, Martin Stricker alias Martin Eric Ain, Bassist der Deathmetal-Ikone Celtic Frost und Marky Edelmann, alias Marquis Marky, Schlagzeuger der eben wiedervereinigten Schweizer Thrashmetalband Coroner, treffen auf den international agierenden, kanadischen und der Metalszene verpflichteten Künstler Steven Shearer. Diese drei sich persönlich honorierenden Bekannten breiten nun zusammen ihre Archive aus und treffen sich dabei nicht nur in der Leidenschaft zum Heavy Metal, sondern auch in ihrer Affinität zum Ansammeln von Erinnerungsstücken und Insignien ihrer Szene.



Phantasies of violence and marginality belong to the attitude of the Heavy Metal scene which was founded in the late '70s. This movement broke with the rules and morals of the christian middle class in their reenactment of archaic-warrior representations and gestures at a time when censorship started to have a political impact especially in the UK and the US. In opposition to the male role model of the hippies, Heavy Metal staged aggression, destruction and demonstration of power.

Thereby men could once again distiguish themselves from women by referring to gender-related attributes. This worship of the „misfit“ adopted in today's debates about male identity offers the opportunity to bring up subjects associated with male aggression and obsession in visual culture. "Trouble Boy" is contextualized in the socio-cultural milieu of gender and Metal through the display of archives and memorabilia of artists and musicians.

Two Swiss musicians from the genre, Martin Stricker aka Martin Eric Ain, a bassist for the iconic Death Metal band Celtic Frost, and Marky Edelmann, aka Marquis Marky, a drummer for the newly reunited Swiss thrash metal band Coroner, met Steven Shearer, the internationally active Canadian artist committed to the metal scene. These three individually accomplished acquaintances are now developing their archive together and are connected not only by the passion for heavy metal, but also in their affinity for accumulating memorabilia and insignia from this scene.

-

Programm Eröffnung/Opening

18 Uhr Türöffnung/Door opens
20 Uhr Reading Poems from Steven Shearer by Martin Stricker

oder ausserhalb der Öffnungszeiten nach Vereinbarung unter +41 78 722 36 31
-

Öffnungszeiten/Opening hours

Do-Fr/Th-Fr 16 - 19 Uhr
Sa 14 - 18 Uhr

or outside opening hours by appointment contact +41 78 722 36 31
-

"Trouble Boy" ist ein Ausstellungsprojekt von Pascal Häusermann in Unterstützung von Corner College. "Trouble Boy" is an exhibtion project from Pascal Häusermann with support from Corner College.


Posted by Stefan Wagner

Friday, 14.02.2014 -
Saturday, 22.02.2014

 

Ausstellung / Buchvernissage
Beobachtung und Überwachung
Christof Nüssli, Christoph Oeschger, Miklós Klaus Rózsa
 


...


Die Ausstellung "Beobachtung und Überwachung" basiert einerseits auf Fotografien von Miklós Klaus Rózsa (*1954) und anderseits auf die über ihn in jahrelanger Überwachung (1971–1989) erstellten Staatsschutzakten der Bundespolizei, Kantonspolizei und Stadtpolizei Zürich. Das verwendete Material stammt vollumfänglich aus dem persönlichen Archiv von Rózsa, bewusst wurde auf die Verwendung von Bildern und Staatsschutzakten aus anderen Quellen verzichtet. Christof Nüssli und Christoph Oeschger, welche die Ausstellung organisieren und dazu ein Buch herausgeben, wollen am Beispiel einer Einzelperson die Tragweite der gesamten Bewegung und Gegenbewegung fassbar machen.

Dies war in dieser Form nur mit dem Archiv von Klaus Rózsa möglich, das seine Fotografien und die ihn betreffenden Staatsschutzakten beinhaltet. Diese Doppelperspektive, ist faszinierend, die Tatsache, dass beide Seiten von demselben Ereignis berichten, aber dieses jeweils anders schildern. Basierend auf der Idee der autonomen Berichterstattung, erstellte der Fotograf und politische Aktivist Rózsa ein umfangreiches Bildarchiv, welches in verschiedensten Szenepublikationen, Flugblättern und in der Presse Verwendung fand. Neben dem dokumentarischen Gehalt der Bilder war für Rózsa das Fotografieren immer auch ein politischer Akt. Rózsa schoss mit der Kamera zurück, versuchte Spitzel zu enttarnen und hielt die Brutalität der Polizei fest. Aus den Akten ist herauszulesen, wie empfindlich die Polizei auf diese Rückbespitzelung Rózsas reagierte. Seine Sicht auf die Ereignisse formuliert Rózsa außerdem in einem für die vorliegende Publikation entstandenen Erlebnisbericht. Die Staatsschutzakten bilden das Gegenstück zu den Fotografien. Sie enthalten Karteikarten, schweizerisch „Fichen“ und Dossiers. Diese bestehen aus Polizeirapporten, Mitschriften von abgehörten Telefonaten, Fotografien, Zeitungsausschnitten, Flugblättern und Filmaufnahmen. Das Collagieren der beiden Quellen ergibt neue Bilder, die die Geschichte einer bewegten Zeit aus zwei Perspektiven erzählen.


...


The exhibtion "Observing and Surveillance" with comes along with a book consists photographs of political activist Miklós Klaus Rózsa (born 1954) from 1971 to 1989 as well as state security files on Rózsa, as reported by the Federal Police, the Cantonal Police, and the Zurich Police Department. The use of pictures and state security files from other sources has been intentionally excluded as the curators Christof Nüssli and Christoph Oeschger intent is to make the scope of the whole movement and counter movement tangible through one exemplary individual. This single-sourced form was only to be made possible through the comprehensive archive of Klaus Rózsa. The duality is fascinating, the fact that both sides subjectively report about the same event, but in quite different ways.

Motivated by autonomous reporting, Rózsa assembled an extensive picture library which was used for all kinds of publications in the scene, for leaflets, and press materials. Besides the inherent documentary value of the images, Rózsa considered his photography to be a political act. Rózsa “shot back” with his camera, trying to uncover informants and to capture police brutality. The files reveal the sensitive ways in which the police reacted to Rózsa’s counter-spying. Rózsa also formulated his view of the events in a personal essay specifically written for this publication.

-

Eröffnung und Buchvernissage / Opening and book launch:

Freitag 14. Februar, 19 Uhr
Friday February 14th, 7pm

-

Öffnungszeiten Ausstellung / Opening hours exhibition

Do-So 14-19 Uhr
Th-Su 2-7pm

-

Weitere Veranstaltungen / Events during the exhibtion

19.2.14
Lesung "entgegen gegenteiliger Angaben"
mit Karin Sarah Ley, Gianna Molinari, Werner Rohner

20.2.14.
Präsentation "Sozial-, Aufwertungs- und Stadtmanagement - Urbane Sicherheitsarchitektur im 21. Jahrhundert"
mit Walter Angst

-

Weitere Informationen zur Publikation über Miklós Klaus Rózsa sind im Verlag von Christof Nüssli und Christoph Oeschger zu finden.

Find more details about the publication of Miklós Klaus Rózsa on Christof Nüssli and Christoph Oeschgers press.

http://www.cpress.ch

Posted by Stefan Wagner

Thursday, 06.03.2014 -
Saturday, 08.03.2014

 

Ausstellung / Buchvernissage / Diskussion
Book Machine
Beat Huber
 


...


Bilderfluten, Bilderberge: Schier überwältigt von den Dimensionen einer scheinbar masslosen Bildproduktion schaffen wir uns metaphorische Landschaften, durch die wir als blinde Schwimmer und rastlose Wanderer ziehen. Aber wer oder was hindert uns eigentlich daran, innezuhalten, Rast zu machen und mitten im Malstrom, an den Endmoränen des Gletschers Bilder zu suchen, zu finden und neu zu betrachten?

Anhand von den drei Buch-Publikationen "Vue par...", "Rast & Tank" und "Quality Control" unternimmt der Künstler Beat Huber Exkursionen, die uns über den Tellerrand hinaus in Spielfelder der Stadtentwicklung und schliessliche in sein eigenes Fotoarchiv führen. Als flanierender Beobachter hält er gesellschaftliche und städtebauliche Entwicklungen fest und produziert mit seinen Aufnahmen Bildreihen, die zugleich öffentlich und privat sind und über das Dokumentarische hinausweisen.

Anlässlich der Buchvernissage findet im Weiteren ein Gespräch über Archive als Energiefelder mit Verena Kuni, Medien- und Kunstwissenschaftlerin, Veronika Spierenburg, Künstlerin und Beat Huber, moderiert von Daniel Morgenthaler, Kurator Helmhaus Zürich, statt. Die Bücher werden anschliessend von Freitag bis Samstag ausgestellt und können erworben werden.

- -

PROGRAMM

Donnerstag 6. März

18 Uhr
Türöffnung

19 Uhr
Gespräch mit Verena Kuni, Medien- und Kunstwissenschaftlerin und Veronika Spierenburg, Künstlerin und Beat Huber, Künstler, moderiert von Daniel Morgenthaler, Kurator Helmhaus Zürich, über Archive und Energiefelder.

Freitag 7. März

Ausstellung offen 15 bis 19 Uhr

Samstag 8. März

Ausstellung offen 14 bis 18 Uhr

- -

Die 3er-Edition ist 2013 anlässlich des BOOK MACHINE PRESS - - BOOK MACHINE (Paris) und Le Nouveau festival du Centre Pompidou in Paris entstanden.

Die Buchvernissage und Ausstellung wird finanziell unterstützt von Netcetera.


Posted by Stefan Wagner

Thursday, 20.03.2014 -
Saturday, 05.04.2014

 

Ausstellung
www.corner-college.com
Delphine Chapuis Schmitz
 

Als Delphine Chapuis Schmitz im Herbst 2013 in einem Gespräch über eine mögliche Ausstellung vorschlug, den Hintereingang des Corner College als Haupteingang zu benutzen, hatte sie eine räumliche Konfiguration von dem angeboten, was sie mit ihrer Ausstellung „www.corner-college.com“ nun realisiert. Geht man davon aus, dass es auch heute noch möglich sein sollte, eine institutionskritische Perspektive zur Befragung des Kunstbetriebes einzunehmen, dann sind räumliche Operationen charmant zu bedenken, im Kern aber treffen diese Konfigurationen wohl kaum mehr die relevanten Fragestellungen, die den Kunstbetrieb und deren Institutionen betreffen. In der gegenwärtigen Ökonomie – von Kapitalismus zu sprechen würde eine unerwünschte Ideologiekritik nach sich ziehen und das Interesse auf eine andere Ebene lenken – ist jede Option, die sich anbietet, aus einer Mehrwertperspektive zu denken. Kritik, das andere Mögliche zu entwerfen, wird sofort verschlungen, das Bestehende gestärkt anstatt verändert.

Kunst ist entgegen jeder romantischen Vorstellung zum Konsumgut geworden, dem Blockbuster in den von den Unterhaltungsindustrie kontrollierten Cinemakomplexen ähnlich. Das wiederum ist weder eine neue Erkenntnis von dem was bereits Theodor Adorno mit dem Begriff Kulturindustrie beschrieben hat, noch entwirft Delphine Chapuis Schmitz das „Neue“, eine Aufbruchstimmung, die im Gewand der Avantgarde-Bewegung gerne als nächster Hype verkauft wird. Eher schon thematisiert sie damit geschickt wie Kunst im kognitiven Kapitalismus positioniert ist. Damit wiederum animiert sie darüber nachzudenken, wie kulturelle und intellektuelle Arbeit vermessen wird. Wie und wer schöpft die ökonomischen Gewinne aus der symbolischen Mehrwertproduktion ab?

Mit der „Neumodellierung“ der Corner College-Website schneidet Delphine Chapuis Schmitz dieses komplexe Thema von einer ersten Seite an. Nicht demonstrativ, sondern auf den ersten Blick eher spielerisch, das Webseitenpublikum dazu animierend, die Lesart des Bestehenden neu zu organisieren. Während zweieinhalb Wochen vom 20.3. bis zum 5.4.2014 werden die Inhalte der Website nicht mehr so zu sehen sein, wie üblich. Die Worte und Sätze sind im weissen Rauschen des Hintergrunds verschwunden und tauchen nur dann auf, wenn man mit dem Cursor über den Textbereich streicht. Der Webseitengebrauch wird dadurch zu einem scheinbar willkürlichen Leseakt, die Cursorsteuerung zum inhaltgenerierenden Fakt.



...


Alors que nous discutions, à l'automne 2013, de la possibilité d'une exposition, Delphine Chapuis Schmitz évoquait l'idée de déplacer l'entrée du Corner College à l'arrière du bâtiment, suggérant ainsi une configuration spatiale de ce qu'elle réalise maintenant avec l'exposition "www.corner-college.com". En supposant qu'il soit encore possible, à l'heure actuelle, d'adopter une perspective de critique institutionnelle pour mettre en question le fonctionnement de l'art, les interventions spatiales ont certes un certain charme, mais elles ne parviennent plus vraiment à toucher le coeur des problèmes importants que soulèvent le fonctionnement de l'art et de ses institutions. Du point de vue de l'économie actuelle – parler ici de capitalisme impliquerait une critique idéologique qui n'a pas sa place ici et conduirait à un autre débat – toute option qui se présente doit être pensée à partir de la question de la valeur ajoutée. La critique, de même que l'esquisse d'alternatives, est aussitôt récupérée, et le système en place se voit renforcé plutôt que modifié.

Contre toute représentation romantique, l'art est aujourd'hui devenu bien de consommation, il est comparable en cela aux blockbusters que l'on trouve dans les cinémas multiplex de l'industrie du divertissement. Ce n'est là rien de nouveau, Theodor Adorno avait déjà décrit ce phénomène avec son concept d'industrie de la culture. Et Delphine Chapuis Schmitz ne fait rien de "nouveau", ni ne propose un "renouveau" qui pourrait se vendre sous les atours d'un mouvement d'avant-garde comme "hype" à venir. Au contraire, elle thématise avec habileté le positionnement de l'art dans le champ du capitalisme cognitifet, de la sorte, donne à réfléchir à la manière dont travail culturel et intellectuel sont aujourd'hui évalués. À qui profitent les gains économiques générés par la production de valeur ajoutée symbolique, et de quelle manière?

Delphine Chapuis Schmitz aborde un premier aspect de ce thème complexe en remodelant le site internet du Corner College. De façon non pas démonstrative mais ludique au premier abord, elle invite le public du site internet à réorganiser son mode de lecture. Pendant 2 semaines et demie, du 20 mars au 5 avril, le contenu du site ne sera plus visible comme il l‘est d‘habitude. Les mots et les phrases disparaitront dans le bruit blanc de la page pour ne réapparaitre que furtivement, lorsque le curseur les effleure. L‘usage du site internet devient ainsi un véritable acte de lecture, en apparence seulement arbitraire, et la manipulation du curseur un fait générateur de contenu.

- - -

Am Samstag 22. März 2014 um 11 Uhr macht Delphine Chapuis Schmitz im Corner College eine Führung durch ihre Ausstellung "www.corner-college.com".

Vom 27. Februar bis zum 7. September 2014 wird sie im Haus Konstruktiv eine Audioarbeit zeigen.


Samedi 22 mars 2014 à 11h, Delphine Chapuis Schmitz fera une visite de son exposition à Corner College.

Du 27 février au 7 septembre 2014 elle présente un travail audio au Museum Haus Konstruktiv.

Posted by Stefan Wagner

Monday, 29.09.2014 -
Sunday, 05.10.2014

 

Ausstellung
A4
Tom Menzi
 

Die mit "A4" überschriebene Ausstellung von Tom Menzi zeigt seine neusten Werkgruppen. Menzi beschäftigt sich intensiv mit Sprache und Kommunikationstechniken im Kunstbetrieb. Er verwendet werkrelevante Entscheidungen verschiedenster Künstlerinnen und Künstler. Er komprimiert diese Sätze und legt so eine eigene erzählerische und sprachliche Dimension vor. Oder aber er verdichtet durch Repetition Sprachsequenzen verschiedener Kunstinstitutionen, die oft in schwurbeligem und zumeist gestelztem Deutsch verfasst sind. Die repetitiv präsentierten Sätze winden sich zu anschmiegsamen Slogans und geben einen Kunstbegriff vor, der zwischen den unvereinbaren Versprechungen nach Autonomie und Gesellschaftsrelevanz hin und her schwankt.


Aus: Geister dürfen höher bieten (Tanzfigur), Tom Menzi,2014


Menzi treibt seine Suche nach Bedeutungsschärfe in einem bildgebenden Verfahren weiter und bedient sich einem der medizinisch und gesellschaftlich hochdotiertesten Untersuchungstechniken, dem der Magnetresonanztomographie-Untersuchung. Er liess seine Hirnaktivität im Labor aufzeichnen während ihm ein unbekannter Text zu seiner eigenen Ausstellung vorgelesen wurde. Durchaus ist hier eine Ironie auszumachen, mit der Künstler den allgegenwärtigen Wahrhaftigkeitsansprüchen die an Kunst gestellt werden, karikiert.

Die Ausstellung A4 entwirft ein fragiles Bezugsnetz an Anspielungen aus dem Kunstbetrieb. Das wird auch an den an konkrete Malerei erinnernden farbigen Collagen deutlich, die auf Museums- und Galerieinseraten basieren. Auch hier drückt eine humorvolle Geste durch, indem Menzi mit ernsthafter Geste mit der allzu oft drögen Ernsthaftigkeit des Kunstbetriebs Achterbahn fährt.

- - -

Programm Eröffnung Montag, 29. September

19 Uhr Türöffnung und Corner Cuisine mit Andrés Curries
20 Uhr Die Schauspielerin Meret Hottinger liest aus "Er ersetzt (Varoius Plots)"

Öffnungszeiten: Mittwoch/Donnerstag 17-19 Uhr, Samstag/Sonntag 14-17 Uhr

---

Mit freundlicher Unterstützung des Institut für Neuroradiologie, Universitätsspital Zürich, Dr. phil. L. Michels.


Posted by Stefan Wagner

Thursday, 06.11.2014 -
Sunday, 16.11.2014

 

Ausstellung
I Dreamt of You so Much That...
Stefan Constantinescu
 

In his stirring 1926 poem, J’ai tant reve de toi, (J’ai tant reve de toi que tu perds ta realite) Robert Desnos laments the impossibility of real love with the young woman he tries to capture in his dreams. Desnos remains in a state of longing, lost between reality and the idealised image he creates of her, the carnal and the immaterial. He takes refuge in his dreams, the space where he can hold on to her, and as he does, his lover recedes more and more away from reality. Therefore, hope for true connection is futile – the two lovers are but shadows to each other, existing only in the imagination, a third space, or heterotopia to quote Foucault, that mixes reality and fantasy, and allows them to make the impossible possible.


...


Much like in Desnos’s poem, the imagination of the characters in Stefan Constantinescu’s three films (of a future seven-film series), Troleibuzul 92, Family Dinner, and Six Big Fish, which in this case is activated through the use of technology, plays a central role to the conflicts and tensions that well up within the relationship of today’s heterosexual couple. And yet, Constantantinescu’s open-ended stories do not cling to the specific events depicted– they reveal larger societal realities, hypocricies, and deformations that force the viewer to question himself and his role as spectator, but also participant, in everyday human dramas. This calling into question of societal structures is an aspect that Jean-Luc Godard considered essential to making films politically today, by ”creating moments of openness and undecidability: moments that also question the structural principles of cinema and the filmer-filmed-viewer contract."

The exhibition, which in addition to the films also features a photo essay and journal, Northern Lights, revealing private moments, anxieties, and longing typical of the immigrant experience, as well as a pop-up book, The Golden Age, juxtaposing the artist's biography to the history of Romania, his native country, is built as a living room where one hosts friends and relatives, a third space between the public and the private, and yet a bit of both. Here we encounter the artist's most intimate disclosures, transforming us from mere spectator to participant and even more so, a partaker in the artist's life. We are forced to question our role as audience and explore new relationships with art and our environment, an essential element in today's political cinema and art.

Opening:

Thursday November 6th, 7-10pm

During the vernissage Stefan Constantinescu will cook and serve a meal for the guests.

Opening hours exhibition:

Thursday/Friday 4-7pm
Saturday/Sunday 2-5pm

The exhibtion is organized by Olga Stefan.

Posted by Stefan Wagner

Friday, 13.02.2015
19:00h -
Saturday, 14.03.2015

 

2015 / 201502 / 201503 / Ausstellung
Collecting the Future
2014–2006–2016
A Sinopale Exhibition


Petra Elena Köhle & Nicolas Vermot Petit-Outhenin, Research material for the group of work Exercice d’isolation Digital image, Sinop, Turkey, 2012


Sinopale, International Sinop Biennial for Contemporary Art, Turkey
in collaboration with Corner College, Zürich
present:

COLLECTING THE FUTURE

2014–2006–2016

A SINOPALE EXHIBITION


13 February to 14 March 2015

With Amélie Brisson-Darveau, Quynh Dong, Benjamin Egger, Esther Kempf, Franziska Koch, Petra Koehle & Nicolas Vermot Petit-Outhenin, Daniel Marti, Garrett Nelson, Cat Tuong Nguyen, RELAX (chiarenza & hauser & co), Romy Rüegger, Riikka Tauriainen, and works from the collection of Sinopale by Alpaslan Baloğlu, Nezaket Ekici, Shilpa Gupta, Ashley Hunt, Emre Koyuncuoğlu, Monali Meher, Lerzan Ozer, Adrien Tirtiaux, XsentrikArts (Bahanur Nasya & Yılmaz Vurucu), Eşref Yıldırım.

Curated by T. Melih Görgün, founder and artistic director of Sinopale, and co-curated by Dimitrina Sevova

Sinopale Newspaper (printable as PDF 3.35MB).


Opening Hours during the exhibition / Öffnungszeiten während der Dauer der Ausstellung:

Monday closed. Montag geschlossen.
Tuesday closed. Dienstag geschlossen.
Wednesday: 3 pm - 7 pm. Mittwoch: 15 - 19 Uhr.
Thursday: 3 pm - 9 pm. Donnerstag: 15 - 21 Uhr
Friday: 3 pm - 7 pm. Freitag: 15 - 19 Uhr.
Saturday 2 pm - 6 pm. Samstag 14 - 18 Uhr.
Sunday 2 pm - 6 pm. Sonntag 14 - 18 Uhr.


The exhibition collects in a non-linearly organized display at Corner College reflections, documentation, archive and research materials as well as some art works from the five editions of Sinopale – International Sinop Biennial, in-between its past, present and future. Especially for this exhibition, the Swiss participants in the past two editions reflect on their work at Sinopale in contributions between archive, research and art work.

Friday, 13 February, 19:00h Opening with the performance Exercice d’Isolation (Tagblatt) by Petra Elena Köhle and Nicolas Vermot Petit-Outhenin, continuing into the next day’s activities

Saturday, 14 February, 16:00h Talk, screening and performances

16:00h Presentation of Sinopale by T. Melih Görgün, founder and artistic director of Sinopale

18:00h Screening of The Sea in Me by XsentrikArts (Bahanur Nasya & Yılmaz Vurucu), 2012, Sinopale 4, documentary, 60ʹ

20:00h Performance My Mondays roll into my Tuesdays, and my Tuesdays roll into my Wednesdays by Riikka Tauriainen

Throughout the afternoon and evening, the performance Exercice d’Isolation (Tagblatt) by Petra Elena Köhle and Nicolas Vermot Petit-Outhenin, continuing from the opening night


Riikka Tauriainen, My Mondays roll into my Tuesdays, and my Tuesdays roll into my Wednesdays.


One can say that Sinopale is a peripheric and young biennial of contemporary art on the map of the International Biennials of the art world system, and rather alternative to the so-called “biennial phenomena” and their genre. If it has been in a position of weakness with respect to the center and its political, economic and aesthetic dominance, indeed it mobilizes personal and collective collaborative efforts on the creative edge, where crossing over local and global perspectives, south and north and east and west, it analyzes and re-signifies the biennial discourses dominated by a logic of globalization, traveling art lovers and the shipping of expensive art works.

With its less spectacular exhibition and more humble project, it embraces a rather pragmatic approach to its structures, which in its generosity functions in the mode of new institutionalism rather than institutional critique, and even generates a rupture with the representational models of the big-scale art world projects from the center. It has the advantage to re-invent the relevance of the relation between contemporary art practices and daily life, and re-define the paradoxes of the creation of the value and status of art on the limit. It re-situates and re-articulates the notion of art and its institutionally driven formats and betrays the established network of distribution of art, such as the art markets or the circuit of commercial galleries. Where art, in a real situation, can be seen as an object that acts as ambiguous support or medium or catalyst of existential change and new ways of transference of relations, i.e., art practices can be seen as transversal tools for social change that can dissolve in the existing context as they externalize and modulate it and can productively cast new bridges to reconnect the land-space-town, with responsibility towards relational and new ecologies and their potentialities that engender the conditions for creation.

This transversality is not given, but a matter of a pragmatics of existence, a kind of openness and progressive deterritorialization from existing modelization. “Transversality still signifies militant, social, undisciplined creativity” (Félix Guattari), where art practices work as urban guerilla. [1]

Sinopale puts a finger on the painful points and dynamics in the post-industrial and neoliberal conditions of living in-between urbanized and rural environments in which the commercialization and permanence of the economic crises threaten the communities and challenge daily-life existence. Sinopale is a Biennial for all, with its broad and open stage for an aesthetics and politics of art that can empower the quality and quantity of life and bring new experiences in which the present memory and historical past interweave towards the future, with the social and cultural commitment and self-valorization.


[1] Hou Hanru emphasized at the beginning of the 10th International İstanbul Biennial manifesto that “We are living in a time of global wars,” and stated that “In such a debate, artistic actions, including the Biennial itself, can certainly find their roles in prompting cultural and social changes through innovative forces of intervention – a form of urban guerrilla.” 10th International İstanbul Biennial, Hou Hanru, “Not Only Possible, But Also Necessary: Optimism in the Age of Global War” (Istanbul: İstanbul Foundation for Culture and Arts, 2007).


Adrien Tirtiaux, The sinking of the Göke, 2008. Performance with cardboard-ship, Sinopale 2, Sinop, Turkey.




Organized by




Special thanks to






for their support!

> The full text about Sinopale at Corner College can be found here in PDF format.

Posted by Corner College Collective

Saturday, 14.03.2015
19:00h

 

2015 / 201503 / Ausstellung / Dance/Music
Finissage:
Collecting the Future
2014–2006–2016
A Sinopale Exhibition

Corner College Collective, T. Melih Görgün
 


Petra Elena Köhle & Nicolas Vermot Petit-Outhenin, Research material for the group of work Exercice d’isolation Digital image, Sinop, Turkey, 2012


Finissage of the exhibition:

COLLECTING THE FUTURE
2014–2006–2016
A SINOPALE EXHIBITION


13 February to 14 March 2015

With Amélie Brisson-Darveau, Quynh Dong, Benjamin Egger, Esther Kempf, Franziska Koch, Petra Koehle & Nicolas Vermot Petit-Outhenin, Daniel Marti, Garrett Nelson, Cat Tuong Nguyen, RELAX (chiarenza & hauser & co), Romy Rüegger, Riikka Tauriainen, and works from the collection of Sinopale by Alpaslan Baloğlu, Nezaket Ekici, Shilpa Gupta, Ashley Hunt, Emre Koyuncuoğlu, Monali Meher, Lerzan Ozer, Adrien Tirtiaux, XsentrikArts (Bahanur Nasya & Yılmaz Vurucu), Eşref Yıldırım.

Curated by T. Melih Görgün, founder and artistic director of Sinopale, and co-curated by Dimitrina Sevova


The exhibition collects in a non-linearly organized display at Corner College reflections, documentation, archive and research materials as well as some art works from the five editions of Sinopale – International Sinop Biennial, in-between its past, present and future. Especially for this exhibition, the Swiss participants in the past two editions reflect on their work at Sinopale in contributions between archive, research and art work.


Finissage with a DJ set by Nicki Manij, hot vegetarian soup and bar.

> The full text about Sinopale at Corner College can be found here in PDF format.

Posted by Corner College Collective

Thursday, 23.04.2015
18:00h -
Friday, 22.05.2015

 

2015 / 201504 / 201505 / Ausstellung
Spooky Action at a Distance
(Artes Mechanicae and Witch's Cradle)

Amélie Brisson-Darveau, Andreas Marti, Conor McFeely, Mareike Spalteholz
 


Invitation flyer for the exhibition.


With Amélie Brisson-Darveau, Andreas Marti, Conor McFeely, Mareike Spalteholz.

Opening on 23 April, finissage on 22 May 2015.

Both at the opening and at the finissage, there will be a sound intervention, Lointain (2015) by Brandon Farnsworth, Benjamin Ryser and HannaH Walter.

Curated by Gabriel Gee (TETI) and Dimitrina Sevova (Corner College).

An accompanying program of talks and screenings will be announced shortly on this website.




Invitation flyer for the exhibition.


This exhibition brings together works by Zurich-based artists Amélie Brisson-Darveau, Andreas Marti, Mareike Spalteholz, and the Northern Irish artist Conor McFeely that explore and question the technological premises on which our human societies are built.

The exhibition is organized by Corner College in collaboration with the TETI group (Textures and Experience of Transindustriality).
http://www.tetigroup.org/


Curatorial text by Gabriel Gee
Darkroom notes underneath the artes mechanicae

The codification of the artes mechanicae at the turn of the 12th century served as a starting point to consider the binary between material and virtual realities in the beginning of the 21st century. The medieval invention of the artes mechanicae underlined the contributions of practical arts such as agriculture, metallurgy, but also medicine and architecture to the shaping of the world. They provided categories to complement those of the liberal arts, noble practices such as arithmetic, logic and rhetoric. This historical process could be used as a guiding thought when transposed into the present world, where the multiplication of images, virtual fluxes and platforms increasingly dislocate the embodied experience of the world. Social-robots and post-human hybrids are certainly fascinating creatures and futures. Yet an attention to the actors who command our 21st century nascent imaginaries appears appropriate, and given the remoteness of the design agencies fuelling our screens and mind, a practical exploration of the mechanics of creation offers a possible pathway to bring some light into often inscrutable processes. It is in other words the recognition of embodied practices as valuable and definable, that can analogically be used to unravel the nature of our digital present.

In the present exhibition, a common thread explored by all four artists revolves around a mise-en-abîme of creative conduits, a mode of framing artistic invention and underlining its components for the benefit of the visitor. One particular mode of appreciating this focal attention onto the mechanics of creation is channeled both in a concrete and metaphorical sense by the Camera Obscura. The camera obscura, or darkened room, is a phenomenon and device known since Antiquity: in a dark room, through a small aperture, a reversed image of the outside world can be projected. Subsequently, in the late 16th century, the principle was adapted to a pinhole box equipped with lenses and mirrors, enabling the projection to become mobile. From there on, the optical camera was developed, used in mapping as well as an aid to painting, it became a model for the understanding of the eye, culminating in the 19th century seminal discovery of how to stabilize the imprint of the reversed image on silver iodide coated paper.
The camera obscura functional concentration of matters pertaining to optics, coupled with its long and uncertain journey to provide material visual evidence, are echoed in the works presented hereby; furthermore, the pieces presented also explore through their anatomy the two terms themselves and for themselves: the room, and obscurity.

See the full curatorial text by Gabriel Gee as a PDF file here


Curatorial text by Dimitrina Sevova

Magic is an art of radical immanence, but immanence is precisely what has to be artfully created, the usual regime of thinking being that of transcendence that authorizes a standpoint and a judgment, the art of magic has been disqualified, prosecuted.
(Isabelle Stengers, The Cosmopolitical Proposal)

Magical criticism as a manifestation of the highest stage of criticism.
From Walter Benjamin’s note “Criticism as the Fundamental Discipline of Literary History,” in his diary The Destructive Character (1931)

Intro-action!

With this exhibition we are trying to perform and materialize a new agency or to re-work the agential conditions of possibilities, as they bring creativity, criticism and resistance both to the practices of art and to daily life. Through these agential conditions, magical criticism is a practice of diffraction and agential separability, to be understood not as separation but as deviation, as making new connections and new commitments. My curatorial proposal is to follow here Karen Barad’s concept of quantum mechanical entanglement, where “diffraction can be a metaphor for another kind of critical thought,” which can be employed in the practices of Arts as well, to provide new insight into the notion of performativity, and how it matters.

In the collaboration on this exhibition with co-curator Gabriel Gee, who gave the initial drive with his idea of Artes Mechanicae, as a result of which we bring on display the works of Amélie Brisson-Darveau, Andreas Marti, Conor McFeely and Mareike Spalteholz, my curatorial effort is to engage the context of the project with feminist thought and practices through which we can activate the aesthetic perception and polemic discussion between the spectators and the art objects, and the space created through their relational structures. Another idea that troubles me is how an exhibition and art practices can be infused with magical criticism (Walter Benjamin), and how they can be a way to approach agency, e.g. the agency of unknown witch actants (Isabelle Stengers) or agential realism (Karen Barad). In the chemistry of magical criticism, the agents or catalysts are the critical mass that link the artistic practices to realism and materiality without being directly part of the art objects. They embody and embed their ability to manipulate objects in the performative aspects of traveling fluxes of matter and culture. Through artist practices and their art objects, the Arts’ actants can empower the spectators to feel and sense what it means to stay with the trouble. (Donna Haraway)

Talking about the materiality of art practices and the actants of magical criticism brings us to the idea that discourse did not start with language, but with material forms, as in Foucault’s prison-form. In this fashion, the artists critically incorporate in their installations in the exhibition industrial forms like moving images, elements of interfaces and of their ideological superstructures as well as historical materials from technological apparatuses and scientific and cultural dispositives, re-enacting collected parts in a new network of relations, where the material production and the performative stream of non-semiotic signs and characters trigger new agency. This is thus an expression of radical empiricism that can engage the spectator with phenomena and their material performativity, as in what Rosi Braidotti calls double vision. Which means that an exhibition produces both aesthetic relations and alternative forms of knowing, and opens towards perceptions of the oppositional consciousness or counter rationality and its micrologics, where one can abandon and reject the dualistic tradition and its practices of making such oppositions, between critique and creativity, or analytics and aesthetics.

In times of the Anthropocene and Capitalocene, their dispositives and synthesis of power-knowledge, science-technology, labor-capital have reached their limit, and their crisis cannot be overcome by just re-thinking them. New relations may arise by casting the spell of magical criticism and activating the new agency of witch actants in the ecological, social, and cultural environment. Let’s call our exhibition proposal a visionary alternative constructed by situated objects, knowledge and concepts in-between art, aesthetics, politics, and science. In this proposal, magical criticism and agential realism are practices of combination driven by subjectivity, creating self-organized patterns of cultivating differences. My wish is that the context may embrace Stengers’ cosmopolitical proposal, where one can take a feminist perspective seriously, as a feminist engagement with the subject matter, with the curatorial, with art practices and the space of the exhibition, inspired by a speculative feminism that provides the ground for a new materialism – i.e., a radical materialist metaphysics within material thought and the materiality of the art practices, that makes critical thought perform and take shape in its practical expressions in the entanglements of the materialized objects. In our dystopian non-localization we must create a situation in which one can grasp the fatal hinge between science and capitalism, which produces the techno-scientific knowledge economy and increased militarization. Some hope may come from an ethos of care, which is a matter of care, created with care.

This exhibition as a hexagram

This exhibition is a knot or an entanglement of six positions and their intra-acting agencies of phenomena of ontological disjunctions and speculative commitment to neglected things. These performative temporalizations draw invisible lines in the form of a hexagram of extra relations in the fourth dimension between the traced objects, ideas and their modulations, as the present birth of affective facts. As all assemblages, the collective artistic and curatorial endeavors in this exhibition are a product of transversal relations and forced movement. It is the affirmation of the movement or the second movement in itself, and correspondingly a matter of care, as Stengers might say – something artfully created to disturb, trouble or confuse “the usual regime of thinking.” It is an affectual and sensual vortex, a web of little events that is able to de-familiarize how one looks at something else, which is a sobering process in which what was understood as normal, as good behavior that serves as a protection layer against empathic reactions, is dispersed. Here, with Donna Haraway, it is time to prolong the process of de-familiarization with a series of de-normalization, in order to destabilize the world of thinking with other thoughts, or the world of images with other images, or the world of art and the finesse of the liberal arts with the return of the notion of Artes Mechanicae, as an act of resistance. As Deleuze said, speaking of Bach’s speech act: “his music is an act of resistance, an active struggle against the separation of the profane and the sacred. This act of resistance in the music ends with a cry.” Magic is an art of radical immanence, is la vida loca, the carnivalesque that comes from a critical mass or multitude, where the agency of witch actants generates the miracle of slowing down, without which there can be no creation, no generative radiation of resistance. “A return of the Arts reveals much in the way of study and praxis, as we soon become aware of the manifold arts that cease to inform (or perhaps marginally) the revolutionary practice of living la vida loca.” (Raiders of the Lost Arts, Tactical Magic Manifesto)

The techniques of slowing down, which also bring the idea of coming back, are a call for action that embraces “the crisis as a new form of discourse” to abandon the premises of material progress of a society based on techno-scientific information. It “demands immediate convolution of all discourses and disciplines,” to turn away one’s dazzled eyes from the blind spot left by looking into the sun in our melancholy and loneliness and try to undertake the journey back, to return home – to the Earth, i.e., to the body, to the mundane and small sins, to the plane of truth outside the norms. To slow down is to express a disappointment and disillusionment with the medium of traveling at great speed in the sky of heaven – which in any event makes no sense, since there is neither outside nor inside.

Coming back home, which means returning on the ground with its formless and muddy functions, is Donna Haraway’s proposal. It can be taken seriously as an alternative concept to those of rationality, which is the basis of the rationalization of all aspects of life that leads to cognitive commercial operations in the knowledge economy. Along this line, we urgently have to re-read “pre-scientific” and non-rational knowledge and practices that can be the beginning of a counter-movement to the Copernican revolution, making space for prayer, contemplation and knowledge to take place. The legending of the fabulations of science fiction and scientific fact this time does without the heroic stories of the walking signifier. If one comes back home, is rather a reverse engineering, a releasing of stigmatized thought, a mind journey back from the universe or universalism to the kakosmos (Bruno Latour) and then to the immanence of the radical plane of consistency of the cosmopolitical proposal, where the political affirms the cosmic, which is not equivalent to any particular cosmos. Stengers’ cosmos, like Nietzsche’s, is an event (a cosmic event or becoming). In the cosmos and cosmopolitics there are no representatives. They can protect us from an entrepreneurial version of politics, not limiting pragmatic thought or emotional, intellectual and material skills to the logic of the scientific organization of the labor, accumulation, extraction, producing technology for profit. According to Donna Haraway we have to go back to the Middle Ages to investigate the formation of the market and the accumulation of wealth.

Often, the revolutionary aspect lay not in the act of invention itself, but in its technological refinement and application to political and economic power.
(Wikipedia, entry on Medieval technology)

See the full curatorial text by Dimitrina Sevova as a PDF file here



Amélie Brisson-Darveau
http://www.ameliebd.com/


Amélie Brisson-Darveau, Shadow Theater


Amélie Brisson-Darveau's initial interest focused on shadows in relation to literature. More specifically on the loss of the shadow as a means of disturbing (multiplying) the subjectivity of its owner and to interrogate its materiality.

In the current project, she turns her attention towards film noir. These movies, coming from an economic and politically “dark” period (Great Depression and WW II), are particularity appealing because of their visual qualities of shadow play and explicit contrasts of lights. Dark, they are influenced by German expressionist movies (and concrete aesthetics by extension), and the neorealist Italian movies foregrounding the use of shadows to demonstrate monstrosity (a clear reference to WW II).

Film noir, like the literature regarding persons who lost their shadow (by E.T.A. Hoffmann, De Chamisso, Anderson, and Hofmannsthal) which was the basis of my recent works, have one point in common: the character is depersonalized by the deformation and multiplication/disappearance of his/her shadow. Both features, a perishing shadow or one that is projected in an elongated series, activate a “matrix” of fear or threat. The person who lost his/her shadow is excluded, while the one whose shadow is deformed becomes threatening, sometimes monstrous.

This project consist in three small essays on the depersonalization of the shadow. The essays take the form of theatres investigating ways of distortion, transformation and depersonalization of the figure through textures of light and shadow on different stenographical structures. Three theatre boxes generate resonances between different areas of my researches on shadow theatre and marionettes (from Sophie Taeuber Arp), dream, scenography (costume and architecture), studies on movement and film noir.

Mareike Spalteholz
http://www.mareikespalteholz.com/

Simultan

The urban living space is a complex construction. By intersecting/overlapping rooms/areas and topics there seem to be infinite (im-)possibilities. Everything is connected and nearly impossible to divide again.
A cubus-like object showing different photographs of different areas. By moving the single pieces of the object, the images will «melt» into each other and become hard to separate.
A qr-code leads you to a website explaining the various options.

Im Getriebe/ Inside the machine

Something that grows out of sight. A secret world of its own. A cosmos somewhere growing inside. Rotten, disturbing and somehow fascinating at the same time. The beauty of ugly(ness). Structures, landscapes and living things overlap and connect each other.
Macro-photography of self-created coffee-mould/fungus-landscapes.

75%


Mareike Spalteholz, 75%


As the title says: the imperfect of perfection. The work focuses on the simulated, never really coinciding and represented semblance of reality with the help of technical instruments that promise the human being to be able to get closer to things: see more, feel more, be more connected. But the complete opposite is the case.
You always see something that isn’t what you think you see. It can only get you close to an idea of a situation or action. Immediate experiences gets covered by a technical layers (by the reproduction of the reproduction, etc.) that promises closeness and intimacy. Instead, the layers make the immediateness disappear more and more completely. The human being is always connected but never living the moment anymore.
Photography of an iPhone showing a livestream of the partial solar eclipse of 20 March 2015 in Zürich.

Andreas Marti
http://www.andreasmarti.ch/


Andreas Marti, Testing a Test of Tests


Andreas Marti's practice incorporates a range of mediums, including paper, paint, photography and chemical substances, with a predilection for sculptural and installation forms of displays. Recent pieces have explored the mechanics of creation through kinetic structures, as well as performances investigating the thin line between matter’s permanence and change.

Conor McFeely
http://www.mentalimage.org.uk/mentalimage.html

Prisoner's Cinema


Conor McFeely, Prisoner's Cinema


Conor McFeely has been developing work based on an ongoing interest in the phenomenon of The Prisoners Cinema and the Ganzfeld effect which refers to a condition (an optical illusion) created by perceptual deprivation in the eye and brain experienced by people kept in long term darkness or confined to cells for lengthy periods of time. He has been playing with this notion on various levels. Firstly in relation to the idea of the Prisoner’s Cinema/ Ganzfeld effect as thought of in terms of the biological /neural condition, through audio and video and sculpture, and secondly that of an actual, if somewhat collapsed cinema for one person. The is structure is modeled on a specific and partly collapsed site I have been documenting on and off over a number of years in North West Donegal. This was a former colonial naval fort fallen into disuse after Independence. The extracts included in “Spooky Actions” are indicative of the notion of cinema as a place where contemporary myths and illusions are constructed and shaped. One purpose of the project is to take viewers on a perceptual journey to probe the senses and the intellect. It is known that hallucinations caused by sensory deprivation can, like ganzfeld-induced hallucinations, turn into complex scenes. Conor McFeely has been working with short video montages, “vignettes” using sampled footage from early cinema which combined with my own footage and audio represent the core of the project. The video sequence for this project is one of these and contains sampled footage and outakes from Metroplois. The photographs have a similarly faux Gothic appearance. This is a play on the nature of objective and subjective experience and the imagery used points to possible narratives with socio-political and biological undertones.


Brandon Farnsworth, Benjamin Ryser and HannaH Walter

Sound intervention at the opening and at the finissage, Lointain (2015).

Lointain (2015) is a performance installation developed by Benjamin Ryser and Brandon Farnsworth, performed and interpreted by HannaH Walter. The work explores the production and regulation of an intimate virtual space, as well as its relationship to the outside.

The title of the piece, Lointain, is the French term to describe something distanced from the observer in space and time. It is also a musical term used by composers to describe a certain sound quality (timbre) that evokes this feeling of distance. A body delineating and creating its position on the inside of a space by simulating one on the outside.


Brandon Farnsworth, Benjamin Ryser and HannaH Walter, Lointain (2015)

> The full curatorial text by Dimitrina Sevova as a PDF file

Posted by Corner College Collective

Friday, 22.05.2015
18:00h

 

2015 / 201505 / Ausstellung / Diskussion / Finissage
Finissage
Spooky Action at a Distance
(Artes Mechanicae and Witch's Cradle)
with a discussion between the artists and the curators
and a talk by Cathérine Hug on "The" Black Square

Amélie Brisson-Darveau, Brandon Farnsworth, Gabriel Gee, Catherine Hug, Andreas Marti, Conor McFeely, Benjamin Ryser, Dimitrina Sevova, HannaH Walter
 

Finissage of the exhibition Spooky Action at a Distance. Artes Mechanicae & Witch's Cradle, which opens on 23 April and closes today on 22 May 2015.


Invitation flyer for the exhibition.




18h00: Discussion between the artists and the curators, with Amélie Brisson-Darveau, Andreas Marti, Conor McFeely, Mareike Spalteholz, Gabriel Gee and Dimitrina Sevova.



19h00: Discussion with Cathérine Hug on "The" Black Square.


From Robert Fludd, The Metaphysical, Physical, and Technical History of the Two Worlds, Namely the Greater and the Lesser, Oppenheim 1617.




With a sound intervention, Lointain (2015) by Brandon Farnsworth, Benjamin Ryser and HannaH Walter.

Posted by Corner College Collective

Friday, 05.06.2015
19:00h -
Friday, 26.06.2015

 

/ 2015 / 201506 / Ausstellung
DISPLAYING HUMANS

6. BIS 26. JUNI 2015
Eröffnung am 5. Juni um 19:00 Uhr

Mit: Elisa Foster, Janette Barber, Mariana Matveichuk/Larissa Venediktova, Mike The Intern, Maccadole, Rachel Mayeri, LadyLila12, Séverine Urwyler und Trevor Yeung

Kuratiert von Benjamin Egger

Öffnungszeiten:
Mittwoch: 16:00 bis 18:00 Uhr
Donnerstag: 18:00 bis 20:00 Uhr
Freitag: 16:00 bis 18:00 Uhr
Samstag: 14:00 bis 18:00 uhr


Ausstellungsflyer


Die Ausstellung DISPLAYING HUMANS befragt das Körperverständnis des Menschen in Bezug zur kulturellen Konstruktion des Tieres. Die Fähigkeit des Tieres, den eigenen Körper im Affekt zu benutzen, wird mit der menschlichen Vorstellung von authentischem Körperausdruck gedacht. Es gibt kein zurück zum Tier - nur ein nie hier gewesen sein.

The exhibition DISPLAYING HUMANS emerges questions about the human body awareness in relation to the cultural construction of the animal. The capability of the animal to use its body in the heat of the moment is thought through the human concept of authenticity. There is no return to the animal – just a never-have-been-here.


PROGRAMM:


The Human Animal

Screening: The Human Animal part 1 to 3
(in Englisch)

Part 1: Language In The Body
Part 2: The Hunting Ape
Part 3: The Human Zoo

The Human Animal ist eine BBC Dokumentarfilmserie von und mit Desmond Morris. Die Erstausstrahlung war am 27. Juli 1994 in England. Morris beschreibt die Serie als eine Studie des menschlichen Verhaltens aus einer zoologischen Perspektive. In der Serie bereist er filmend die Welt – auf der Suche nach Bräuchen und Gewohnheiten in verschiedenen Regionen und ihrem gemeinsamen Ursprung.

The Human Animal is a BBC nature documentary series written and presented by Desmond Morris, first transmitted in the United Kingdom from 27 July 1994.
Morris describes it as "A study of human behavior from a zoological perspective." He travels the world, filming the diverse customs and habits of various regions while suggesting common roots.






The Human Animal

Screening: The Human Animal part 3 to 6
(in Englisch)

Part 4: The Biology of Love
Part 5: The Immortal Genes
Part 6: Beyond Survival

The Human Animal ist eine BBC Dokumentarfilmserie von und mit Desmond Morris. Die Erstausstrahlung war am 27. Juli 1994 in England. Morris beschreibt die Serie als eine Studie des menschlichen Verhaltens aus einer zoologischen Perspektive. In der Serie bereist er filmend die Welt – auf der Suche nach Bräuchen und Gewohnheiten in verschiedenen Regionen und ihrem gemeinsamen Ursprung.

The Human Animal is a BBC nature documentary series written and presented by Desmond Morris, first transmitted in the United Kingdom from 27 July 1994.
Morris describes it as "A study of human behavior from a zoological perspective." He travels the world, filming the diverse customs and habits of various regions while suggesting common roots.






How to Act Like an Animal

Workshop: How to Act Like an Animal
Mit Rachel Mayeri (L.A.)
(in Englisch)

Auf Anmeldung (nur 10 Teilnehmerinnen): cornercollege@gmail.com

Der Workshop erkundet die Kommunikationsformen und die soziale Struktur von Primaten. Die Teilnehmerinnen werden Videos von Verhaltensformen bei Wildtieren beobachten und lernen wie sich ein Affe gebärdet, bewegt und ausdrückt. Es werden Techniken aus dem Theater angewendet und wir werden uns im Verhalten von Schimpansen und Bonobos üben.

This performative workshop explores primate communication and social organization and leads to a videotaped wildlife film, part of the Primate Cinema series. Participants will watch videos of animal behavior in the wild, learning how apes act, move, vocalize, and express their feelings. We'll try physical theatre techniques and improvise in chimpanzee and bonobo acting exercises.





Rachel Mayeri mit Carla

Werkpräsentation von Rachel Mayeri
(in Englisch)

Rachel Mayeri ist eine in Los Angeles lebende Medienkünstlerin. Sie arbeitet an der Schnittstelle zwischen Kunst und Wissenschaft. Ihre Projekte erkunden die Geschichte von Special Effects bis hin zum menschlichen Tier. Die Videos und Installationen waren u.a. am Sundance Festival, der Berlinale, der Documenta 13, an der Ars Electronica, im Getty Museum oder im MoMA PS1 zu sehen.

Rachel Mayeri is a Los Angeles-based media artist working at the intersection of science and art. Her projects explore topics ranging from the history of special effects to the human animal. Her videos and installations have shown at Sundance, Berlinale, Documenta 13, Ars Electronica, The Getty Museum, and MoMA PS1.





How to Act Like an Animal

Workshop und Videodreh: How to Act Like an Animal
Mit Rachel Mayeri (L.A.)
(in Englisch)

Auf Anmeldung (nur 10 Teilnehmerinnen): cornercollege@gmail.com

Der Workshop erkundet die Kommunikationsformen und die soziale Struktur von Primaten. Die Teilnehmerinnen werden Videos von Verhaltensformen bei Wildtieren beobachten und lernen wie sich ein Affe gebärdet, bewegt und ausdrückt. Es werden Techniken aus dem Theater angewendet und wir werden uns im Verhalten von Schimpansen und Bonobos üben. Die Ergebnisse des Workshops werden am Schluss auf Video aufgezeichnet.

This performative workshop explores primate communication and social organization and leads to a videotaped wildlife film, part of the Primate Cinema series. Participants will watch videos of animal behavior in the wild, learning how apes act, move, vocalize, and express their feelings. We'll try physical theatre techniques and improvise in chimpanzee and bonobo acting exercises. The outcome of this workshop will in the end be captured on video.





Trevor Yeung’s Encyclopedia

Werkpräsentation von Trevor Yeung (Hong Kong)
(in Englisch)

Trevor Yeung ist ein in Hong Kong lebender und arbeitender Künstler. Er schloss 2010 an der Academy of Visual Arts, HKBU in Hong Kong ab und ist zurzeit an einer Arbeit über Haustiere und der Rechtssituation von Tieren als Ausstellungselementen. Seine Arbeiten waren u.a. an der Art Basel Hong Kong, im Para Site in Hong Kong ode rim CAFA Art Museum Beijing zu sehen.

Trevor Yeung is a Hong Kong based artist born in Guangdong. He graduated 2010 from the Academy of Visual Arts, HKBU in Hong Kong and currently lives and works in Hong Kong. At present he’s researching on pet animal and the legal situation of animals in art spaces. His works were shown among other places at the Art Basel Hong Kong, Para Site in Hong Kong or at the CAFA Art Museum in Beijing.

Posted by Corner College Collective

Thursday, 16.07.2015
19:00h -
Saturday, 08.08.2015

 

2015 / 201507 / 201508 / Ausstellung
Zwei Sätze à zwölf Wiederholungen
Hannah Gieseler, Esther Kempf
 


Einladungsflyer für die Ausstellung.


Hannah Gieseler & Esther Kempf
Ausstellung im Corner College, 17. Juli – 8. August 2015
Eröffnung: 16. Juli um 19.00 Uhr


Wir neigen und dehnen uns beim Kleiderwaschen, wir recken und strecken den Körper zum Fensterputzen, wir trainieren beim Treppensteigen, wir vollziehen Kniebeugen beim Ausräumen der Abwaschmaschine oder beim Schuhe binden. Die Ausstellung Zwei Sätze à zwölf Wiederholungen zeigt Resultate von Experimenten, die Bezüge zwischen Bewegungen aus zwei unterschiedlichen Kontexten untersuchen: Bewegungen, die im Fitnessstudio ausgeführt werden und Bewegungen, die wir beim Erledigen des Haushalts und im alltäglichen Leben vollbringen.

Hannah Gieseler und Esther Kempf haben beide an der Gerrit Rietveld Academie in Amsterdam, NL studiert. Beide beschäftigen sich in ihren Arbeiten mit der Wahrnehmung und den Möglichkeiten, diese zu täuschen oder von ihr getäuscht zu werden. Zudem haben sie eine Vorliebe für ausgeklügelte und eigentümliche bis zwecklose Gerätschaften. 2006 hatten sie eine Duo-Ausstellung im Projektraum 1646 in Den Haag, NL. Zu dieser Zeit teilten sie sich eine Wohnung, die sie mit hyper-praktischen Vorrichtungen ausstatteten – wie zum Beispiel einem Bett, das zu einer Bühne umgebaut werden konnte, ein Ventilator, der als Schneemaschine für ein improvisiertes Krippenspiel fungierte, oder einen überdimensionierten Haken, mit dem man vom Balkon aus im Garten das Inventar der Vormieter angeln konnte, einen Backofen der nur über eine Leiter zu erreichen war und ein Küchenradio, das durch einen Flaschenzug mit dem Gewürzregal verbunden war.

Hier knüpfen Gieseler und Kempf an und führen ihre Recherchen weiter; sie analysieren und interpretieren alltägliche Aktionen, ihre Bedeutungen und Nebenbedeutungen sowie die Verbindung zwischen Körper und Gegenständen im Haus und im Fitnesscenter – zwischen Klischee und Realität.

Nach dem Studium ist Gieseler nach Berlin und Kempf nach Zürich gegangen. Über die Distanz führen Sie nun ihre Recherche und Beobachtungen der alltäglichen Aktionen weiter. Die Ausstellungsvorbereitungen passieren somit an drei Orten: in Berlin, in Zürich und online. Auf dem Blog housekeepingandbodybuilding sammeln die Künstlerinnen Ideen, Referenzen und erste Ansätze. So haben sich bereits Kategorien wie „Schwierige Übungen“, „Gerätschaften“, „Schuhe binden“, „Formen“ und “Archiv“ gebildet in denen die Recherche und Ideen gesammelt, kommentiert, weiterentwickelt und erste Experimente vorgestellt werden.

Gieseler & Kempf gehen humorvoll mit den gegenwärtigen Klischees des Fitnesswahns und der häuslichen Arbeit um und provozieren den Betrachter mit ihrer scherzhaften Ernsthaftigkeit.­



Experiment 1: waschen und stretchen.



Skizze für mögliche Gerätschaft #1: Jedem Besucher wird die Tür durch Schulter rückwärtiges ziehen des Bodybuilders geöffnet.



Aus der Blog-Kategorie „Schwierige Übungen“. Balance halten auf einem runden Ball.


Blog: https://housekeepingandbodybuilding.wordpress.com

Posted by Corner College Collective

Friday, 14.08.2015
20:00h -
Friday, 21.08.2015

 

2015 / 201508 / Ausstellung / Buchvernissage / Sound Performance
accumulations
Andrea Brunner, Andreas Glauser, Julia Kälin, Silvan Kälin
 


1/10 of accumulation no. 6


Buchvernissage und Ausstellungseröffnung
von Julia Kälin und Silvan Kälin (Editora Aplicação)
mit einer Sound Performance von Andrea Brunner & Andreas Glauser.

Wenn das Wetter mitspielt, gibt es auf dem Vorplatz des Corner College ein barbecue. Bringt eure Lieblings-Grilldelikatessen mit. If the weather works out, there will be a barbecue in front of Corner College. Please bring your favorite grillables.


Eröffnung und Buchvernissage: 20.00 Uhr
Soundperformance: 21.30 Uhr

Ausstellung: 15.8. bis 21.8.2015
Öffnungszeiten Ausstellung
Sa, So, Di, Mi, Fr: 15 - 18 Uhr
Do: 15 - 20 Uhr

Anlass für die Ausstellung und die Buchvernissage im Corner College ist die Publikation 1/10 of accumulation no. 6, welche während Julia Kälins Aufenthalt in Recife (Brasilien) in Zusammenarbeit mit dem Verlag Editora Aplicação entstanden ist.

Silvan Kälin von Editora Aplicação wird während des Abends weitere Publikationsprojekte vorstellen, die er zusammen mit Priscila Gonzaga in Brasilien herausgegeben und produziert hat.

Anschliessend lassen Andrea Brunner und Andreas Glauser in ihrer experimentellen Soundperformance Frequenzen schwingen, Lärmpartikel kollidieren und Tieftöner brummen.

Mehr Informationen: Andrea Brunner / Andreas Glauser, Silvan Kälin, Julia Kälin

Andreas Glauser: http://www.brainhall.net/artproduction_perf.htm
Andrea Brunner: http://www.andreabrunner.com/
Julia Kälin: http://www.brainhall.net/juliakaelin/choice.htm
Editora Aplicação: http://editoraaplicacao.com.br
Silvan Kälin: http://amarelo.ch

Posted by Corner College Collective

Friday, 04.09.2015
19:00h -
Friday, 25.09.2015

 

2015 / 201509 / Ausstellung
(un)earthed
Sarah Burger
 


Sarah Burger, (un)earthed Object No1, 2015, Stoff und Polyesterfaden, ca. 50 cm × 35 cm × 9 cm.


eine Ausstellung von Sarah Burger
Eröffnung: Freitag, 4. September 2015, 19 Uhr
Ausstellung bis 25. September

Öffnungszeiten:
Mi/Fr/Sa: 14:00h - 18:00h
Do: 15:00h - 19:00h

Kollaborationen mit Erde, Stoff und Polyester.
Umgekehrte Archäologie.
9 Objekte vergraben an 8 Orten.
Ein Projekt über das Verschwinden und darüber, was dabei zu Tage tritt.

Sarah Burgers Projekt (un)earthed besteht aus 9 Skulpturen/ Objekten aus kompostierbarem Stoff und Polyesterfaden, die sie an 8 unterschiedlichen Orten vergraben hat und im Abstand von etwa 3 Wochen immer wieder aufsucht, der Erde entnimmt, beobachtet, dokumentiert und wieder vergräbt.

Die Ausstellung im Corner College gibt einen Einblick in den Prozess, nimmt seine Strukturen auf und erweitert ihn räumlich um Bilder, Videos, Installationen und Gespräche.

Gespräche in der Ausstellung:

Donnerstag, 10. September, 19 Uhr
Michael Wagner (Architekt), Romy Rüegger (Künstlerin), Gioia Dal Molin (Kunstwissenschaftlerin) und Sarah Burger

Donnerstag, 24. September, 19 Uhr
Michael Günzburger (Künstler), Gioia Dal Molin und Sarah Burger


Das Projekt (un)earthed wird unterstützt von der Ernst und Olga Gubler-Hablützel Stiftung.
Danke auch der Firma Freitag für F-ABRIC©.

Posted by Corner College Collective

Wednesday, 07.10.2015
20:00h -
Thursday, 05.11.2015

 

2015 / 201510 / Ausstellung
Shipwreck Study Notes
(What Rises From the Depths Cannot Help But Break the Surface)

Graeme Thomson & Silvia Maglioni
 




An exhibition by Silvia Maglioni & Graeme Thomson

Opening hours:
Wed/Fri: 16:00h - 18:30h
Thu: 16:00h - 20:00h
Sat: 15:00h - 17:00h

(See English text below.)

L’exposition se constitue à partir d’un assemblage de fragments dispersés d’un film « naufragé » (épreuves de tournage, images, sons, textes, éléments du décor et de la recherche) installés dans l’espace de Corner College. Tourné pendant une traversée de l’Atlantique sur un paquebot de Lisbonne à Sao Paolo sur des variations du roman L’Amérique de Franz Kafka, le film explore des états d’épuisement et d’effondrement sur le fond de la crise financière, dont les effets sont cachés et différés par un régime de divertissement et de consommation forcés. Pour l’exposition Shipwreck Study Notes, l’ambiance sonore dans l’espace et l’installation de certains éléments seront activées et modifiées par des micro-interventions orchestrées par les artistes pendant leur séjour à Zurich. Ces micro-interventions seront improvisées, avec la complicité du public, selon une série de suggestions mi-aléatoires (Study Notes), une performance et une action collective musicale (musicking). L’objectif est de transformer l’espace en un lieu de vie, de réflexion, de soin et de mise en accord de longueurs d’ondes fluctuantes et imprévisibles.

Commissariat: Dimitrina Sevova

Nous tenons à remercier l'Ambassade de France en Suisse de son soutien.

(Texte en français ci-dessus.)

What Rises From the Depths Cannot Help But Break the Surface is a modular installation of variable dimensions that reconfigures material related to the film Disappear One (2015) in an open, experimental environment.

The exhibition constitutes itself on the basis of an assemblage of dispersed fragments of a "shipwrecked" film (rushes, images, sounds, texts, elements of the props and research) installed in the space of Corner College. Shot during a transatlantic cruise from Lisbon to Sao Paolo on an ocean liner over variations of Franz Kafka's novel America, the film explores states of exhaustion and collapse on the backdrop of the financial crisis, whose effects are hidden lag in time due to a regime of compulsory entertainment and consumption. For the exhibition Shipwreck Study Notes, the sound environment and the installation of certain elements will be activated and modified by micro-interventions orchestrated by the artists during their stay in Zurich. These micro-interventions will be improvised, with the complicity of the audience, following a series of semi-random suggestions (Study Notes), a performance and a collective musical action (musicking). The aim is to transform the space into a place of life, reflection, care and tuning of fluctuating and unpredictable wave lengths.

The conception of different installation modules of Disappear One marks the continuation of Silvia Maglioni and Graeme Thomson’s research into the possibilities of ‘exploded’ or dispersed forms of cinema, moving on from the various exhibitions and installations they have created with and around several films: Wolkengestalt (2007-2015), Facs of Life (2009-2015) and In Search of UIQ (2011-2015).

For the artists, the installation of a film necessary involves a formal and material mutation, a process of virtualization that reverses the actualized film into the problematic field of its making, and, one could also say, of its unmaking or undoing. This also implies a redistribution of time. Spatial montage allows this transformation of the interstitial spaces between elements into cracks in time, letting in a draught of ‘elsewhere wind’ that may loosen the viewer’s hold on their own time.

The topos of the shipwreck is a condition which envelops and permeates the filmic material, the Atlantic crossing the artists made with the UEINZZ Theatre Company and other fellow travellers, Kafka’s novel (already an abandoned fragment of a dispersed oeuvre) and the exhibition form itself - which at the formal level consists of redistributed visual, aural and textual flotsam that breaks the surface in a different configuration of elements each time the work is displayed.

Curated by Dimitrina Sevova



This exhibition is kindly supported by the French Embassy in Switzerland.



This dual film/installation project was selected and supported by the patronage committee of FNAGP (Fondation Nationale des Arts Graphiques et Plastiques). The film Disappear One was co-produced by Spectre, Le Fresnoy Studio National d'Arts Contemporains and Terminal Beach.

Posted by Corner College Collective

Saturday, 10.10.2015
15:00h

 

2015 / 201510 / Artist Talk / Ausstellung / Sound Intervention / Workshop
Shipwreck Study Notes Marathon Session: Artist Talk, Wreckship, Musicking, Dinner
Graeme Thomson & Silvia Maglioni
 




Artist talk by Silvia Maglioni & Graeme Thomson

The artist talk will gradually merge into the Shipwreck Study Notes sessions (Wreckship & Musicking), and be followed by a dinner.

Shipwreck Study Notes #1 (Wreckship):
Making a life raft (‘weg von hier’)


The workshop/wreckship takes up dispersed textual fragments as materials for constructing an assemblage that may function as materials for a life raft, one whose logs do not close ranks but are loosely fastened to allow the passage of water between them, yet at the same time their ties permit the raft to ‘hold fast’. One of the aims will be to think this notion of the raft in the shadow of past, recent and ongoing catastrophes of displacement. Through the score provided by the Study Notes, the functioning of the reading group will be steered towards a more floating, poetic dynamic (including texts by Kafka, Woolf, Pessoa, Gombrowicz, Lispector, Deligny, Deleuze, Guattari, Agamben).

Shipwreck Study Notes #2 (Musicking):
Aquaosmosis


Elements of the aquatic sound environment in the exhibition space become the basis for a group improvisation using existing/invented instruments or sound-making devices provided by the participants and by Corner College. The group’s deployment of these will be guided by a number of rites chosen from the Shipwreck Study Notes. The improvisation will focus on music making as a collective, participative act or activity involving heterogeneous and not-always strictly musical means of expression, rather than as the interpretation or constitution of a musical work or object.

Dinner

This event is part of the exhibition Shipwreck Study Notes (What Rises From the Depths Cannot Help But Break the Surface) by Silvia Maglioni and Graeme Thomson.

The event and the exhibition are kindly supported by the French Embassy in Switzerland.

Posted by Corner College Collective

Wednesday, 09.12.2015
19:00h -
Friday, 29.01.2016

 

2015 / 201512 / 2016 / 201601 / Ausstellung / Performance / Sound Performance
Cold. War. Hot. Stars.
The Iron(y) Helmet of the Intellect

Denise Bertschi, Jackie Brutsche, Thomas Galler, Andreas Glauser, Andreas Marti, Nicolasa Navarrete, Sandra Sterle
 


Denise Bertschi, SECOND TO NONE FIRST, 2014.


A group exhibition with

Denise Bertschi, Jackie Brutsche, Thomas Galler, Andreas Glauser, Andreas Marti, Nicolasa Navarrete, Sandra Sterle

From 09.12.2015 to 29.01.2016.
Opening on 9 December 2015, 19:00h.

At the opening
reading performance peace pills by Jackie Brutsche
and sound performance signal by BUG (Andreas Glauser and Christian Bucher).

With artist talks and parallel events (to be announced).

Curated by Dimitrina Sevova
Organized by Corner College

Opening hours:
Thu: 15:00h - 19:00h
Fri: 15:00h - 18:30h
Sat: 14:00h - 17:00h


[Deutscher Text unten]

The exhibition Cold. War. Hot. Stars. The Iron(y) Helmet of the Intellect displays a dystopian landscape produced by asymmetric relation of delirious realism and rigorous fiction in the time of global capital, with a certain sense of alienation, coldness and distance. It intensifies these affects and creates a space of reflection and a heterogeneous perceptual field that is simultaneously a close-range haptic space of proximity, on the backdrop of the recent mass media rhetoric announcing a new global crisis in which the world has never been closer to a New Cold War, a security crisis that escalates the fears of a future nuclear “option.” The exhibition inquires into some of these scenarios for the future from the past, and traces various historiographic lines or directions through the artistic practices and art works as seismographs of global social change. They sense the current symptoms “where everything is played in uncertain games, ‘front to front, back to back, front to back …,’ ”  as consequences of the politico-social and economic developments after WW II, and the so-called Cold War, a period of propaganda, technologization and militarization of civil life in the competition between Western and Eastern blocs. The segmentary forms of the fight for control and domination altered the North and South lines of longitude and deepened the gap between the so-called Third World and the Western or advanced technological-industrial societies with their current development of a knowledge and service based economy. The exhibition undermines the stereotypes produced by binary abstract machines that overcode the divisions into a homogeneous West and a homogeneous East, into the “rich” North and the “poor” South. It proposes rather other focal points as thresholds to the outside, through which the South can be thought as a new trajectory of knowledge, aesthetics and practices of critique of cultural, ideological and technological hegemony, from which can emerge new lines of resistance and the potentiality of new cooperations, as everybody has their own South with electric palm trees, not only geographic and economic but personal and political, too.

The participating artists, through their practices based on research, appropriation, poetic displacements and personal aesthetic reflections on memory, cognition, attention, mass media, territory and technologies critically interrogate the past/future tensions and give a passage to the present impossibility of isolation through securitization, militarization and ideological separations in order to increase the modes of connection. With the irony of the intellect, which is a qualitative duration of consciousness, the exhibition aims to intensify and empower movements of deterritorialization that fabulate and produce desires to repeat over and over again the melody of The Plastic Ono Band’s Give Peace a Chance, grasped as a cosmopolitical proposal for the upcoming winter – not a military machine, but a mutating living machine on which one can take a flight or just stay in bed.

Text: Dimitrina Sevova

You can find a longer curatorial text in full length as a PDF on our materials website.


[Englisch text above]

Die Ausstellung Cold. War. Hot. Stars. The Iron(y) Helmet of the Intellect (deutsch etwa: Kalter. Krieg. Heisse. Sterne/Stars. Der eherne/ironische Helm des Intellekts) zeigt eine dystopische Landschaft, produziert aus der asymmetrischen Beziehung eines berauschten Realismus mit einer rigorosen Fiktion in Zeiten des globalen Kapitals, mit einem gewissen Gefühl der Entfremdung, der Kälte und der Distanz. Sie intensiviert diese Affekte und begründet einen Reflektionsraum und ein heterogenes Wahrnehmungsfeld, das gleichzeitig auch ein haptischer Raum im Nahfeld ist, vor dem Hintergrund neuerer Medienrhetorik, die eine neue globale Krise ankündigt, in der die Welt noch nie so nah an einem Neuen Kalten Krieg sein soll, eine Sicherheitskrise, die die Ängste vor einer zukünftigen nuklearen “Option” anheizt. Die Ausstellung erkundet einige dieser Szenarien für die Zukunft aus der Vergangenheit und zeichnet durch die künstlerischen Praktiken und Kunstwerke als Seismographen globaler sozialer Veränderungen unterschiedliche historiographische Linien nach. Sie spüren die aktuellen Symptome, “wo sich alles in ungewissen Spielen abspielt, ‘von vorn nach vorn, von hinten nach hinten, von vorn nach hinten …,’ ”  aufgrund der politisch-sozialen und ökonomischen Entwicklung nach dem zweiten Weltkrieg und des so genannten Kalten Krieges, einer Periode der Propaganda, der Technologisierung und Militarisierung des zivilen Lebens im Wettlauf zwischen dem West- und dem Ostblock. Die segmentären Formen des Kampfes um Kontrolle und Vorherrschaft veränderten die nördliche und südliche Line der Längengrade und vertiefte den Graben zwischen der so genannten Dritten Welt und dem Westen bzw. den fortgeschrittenen technologisch-industriellen Gesellschaften mit ihrer derzeitigen Entwicklung einer wissens- und dienstleistungsbasierten Wirtschaftsform. Die Ausstellung untegräbt die Stereotypen, die von binären abstrakten Maschinen herrühren, die die Einteilung in einen homogenen Westen und einen ebenso homogenen Osten, in einen “reichen” Norden und einen “armen” Süden übercodieren. Sie schlägt vielmehr, als Schwelle zum Aussen, andere Schwerpunkte vor, durch die der Süden als neue Trajektorie des Wissens, der Ästhetik sowie der Praktiken der Kritik kultureller, ideologischer und technologischer Hegemonie, aus der neue Linien, aus welchen heraus neue Widerstandslinien und das Potential neuer Kooperationen auftauchen können, da jede_r ihren eigenen Süden hat mit elektrischen Palmen, nicht nur geographisch und wirtschaftlich sondern auch persönlich und politisch.

Durch ihre auf Forschung, Aneignung, poetischer Verschiebung und persönlicher ästhetischer Reflektionen über Erinnerung, Erkenntnis, Aufmerksamkeit, Massenmedien, Territorium und Technologien basierten Kunstpraktiken hinterfragen die teilnehmenden Künstler_innen kritisch die vergangenen/zukünftigen Spannungen und machen den Weg frei auf die gegenwärtige Unmöglichkeit der Isolation durch Sicherheitsmassnahmen, Militarisierung und ideologischer Auftrennung, um die Verbindungsmodi zu vermehren. Mit der Ironie des Intellekts, die einer qualitativen Dauer des Bewusstseins entspricht, macht sich die Ausstellung daran, Deterritorialisierungsbewegungen zu intensivieren und ermächtigen, die fabulieren und Begehren herstellen, immer von Neuem die Melodie von Give Peace a Chance von The Plastic Ono Band zu wiederholen, verstanden als kosmopolitischen Vorschlag für den kommenden Winter – nicht eine Militärmaschine, sondern eine mutierende lebendige Maschine, auf der man fliegen kann oder auch einfach im Bett bleiben.



Denise Bertschi

State Fiction


Denise Bertschi, State Fiction, book cover, 2014.


The project State Fiction is an exploration of the notion of Swiss neutrality, which utilizes the example of the Swiss ‹neutral› command in the Korean DMZ, which has been in operation since 1954 until the present. Bertschi has worked with material which has emerged from an investigation into a Swiss military archive of mostly self-representing documents about the life of Swiss soldiers during their mission in the DMZ. Her work interweaves found images and text-slogans into objects, which behold a sense of contradiction: they present both the feeling of the domestic and at the same time grotesque violence regarding the very geopolitical situation that these materials stem from.

Within the visual language used by the armed forces, Bertschi found a striking number of flower photographs, shot in a meticulously precise manner. Mobilizing a quiet and subtle tone, she questions the status of these images and what they tell us about the people who originally produced them.
The artist book STATE FICTION focuses on self-represented leisure activities of the DMZ command, photographed by Swiss personnel in the military camp located in the DMZ. The artist’s collection of these images questions the bizarre construction of ‹Little Switzerland› set within the militarized frontiers between North and South Korea.

Bertschi interprets neutrality as a sort of fiction, which forms the very identity of Swiss nationality and nationalism; meanwhile, being neutral is an extremely fragile state of being. ‹Helvetia Mediatrix› can be understood as a cover under which it leaves an open space for realities both unseen and unknown.

This project by Denise Bertschi is discussed by Nico Ruffo in the following article: http://www.srf.ch/kultur/kunst/schnappschuesse-aus-dem-koreanischen-sperrgebiet



Jackie Brutsche

UTOPEACE


Jackie Brutsche, Peacekeeper I, 2015.


In her latest work, UTOPEACE, developed in 2015 during a 3-week residency in Amsterdam, among other things the peace symbol of the "white dove" is staged variously as a heroin and as a quasi tragic figure.



Thomas Galler

American Soldiers


Thomas Galler, American Soldiers, video still, 2012.


2012
Single channel video, color, stereo sound, 5:22

American Soldiers features a collection of cover versions of Toby Keith's American Soldier (USA/2003) based on appropriated footage, originally published on YouTube by Jeffery, Joe, Zack, Debbie, The Scillan Family, Colin, Patrizio, Tasia, Shanda, Stephany, Kathy and some unknown.


Untitled (Rihanna)


Thomas Galler, Untitled (Rihanna), 2010. Blow-up of an appropriated magazine image. Inkjet print, 136 x 107 cm.




Andreas Glauser

Mladost 2


Andreas Glauser, Mladost 2, video installation, 2000.


Audio / video installation, 2000.

« Das Wohngebiet Mladost 2 befindet sich ausserhalb des Stadtzentrums von Sofia und wird von Plattenbauten aus dem Sozialismus dominiert. « Mladost 2 » heisst übersetzt « Jugend 2 » . Dieses Wohngebiet, in welchem ich wohnte, inspirierte mich sehr. Eindrücke wie Stagnation, Verwilderung, Zerfall und Langeweile brachten mich dazu, die Fotografien als verschwommene, schwarz-weisse Videobilder nochmals in Erinnerung zu rufen. Die Videobilder werden von einer Audiospur, welche Rauschen und undefinierbare Geräusche zu einem dichten Netz verwebt, begleitet. Die Kombination von Bild und Ton spielt eine zentrale Rolle. »

« The neighborhood Mladost 2 lies outside the city center of Sofia and is dominated by prefabricated buildings from Socialist times. In translation, « Mladost 2 » means « Youth 2 » . This residential district, in which I lived, inspires me deeply. Impressions of stagnation, wilderness, decay and boredom brought me to recall the memory of the photographs as blurred, black-and-white video images. The video images are accompanied by a sound track that weaves noise and undefined sounds to a dense web. The combination of image and sound is key. »

Text: Andreas Glauser



Andreas Marti

Default Error


Andreas Marti, Default Error, 2011, photograph mounted on aluminum, 29.7 x 21cm.



Changed Condition


Andreas Marti, Changed Condition, 2010/07, photograph mounted between acryl.




Nicolasa Navarrete

Drawings


Nicolasa Navarrete, Untitled (The figure of the Chronicler), 2015. 200 x 150 cm, pencil on paper.


Thinking about the Cold War I started to (re)consider all the myths that were built about this conflict in our societies, a large part of which are still functional remnants of the subsequent historical defeat. Take for instance its own name: Cold War. Is it not an oxymoron? Can a war be cold? It was rather a hot war and I needed to go search for the myth that perfectly embodied this historic conflict. In a somehow Benjaminian endeavor, trying to unravel the threads on which these myths were constructed and that bind us to this imaginary past could be helpful to start rethinking about our past (building an alternative theory of the history that Benjamin call Historical materialism) and consequently about our future.

But again the impossibility to do it, only a text that refers to the text itself, as the story inside the story or the myth that appears in the myth. How I could grasp this historical past? The history is not a text, is fundamentally non-narrative and non-representational[...]However, the history is inaccessible to us except in textual form, the reality is; there is nothing but a text (1). And maybe there is not outside-text.

So then, how to be a genuine philosopher of the history?

How to be capable of respecting the specificity and radical difference of the social and cultural past, its forms, structures, experiences, and struggles,[...] with those of the present day? (bis) Maybe the only way to do so is through the history of the oppressor and oppressed, because the history of all hitherto existing society is the history of class struggles (bis). And finally, the text contain the key for understand “the text”. Inside-text.

(1) Fredric Jameson. The Political Unconscious: Narrative as a Socially Symbolic Act (NY: Cornell UP, 1981)

Text: Nicolasa Navarrete



Sandra Sterle

The Fortress of Utopia


Sandra Sterle, The Fortress of Utopia, 2015. Film still.


2015, color, stereo, PAL, 28 min. Production Kazimir, HAVC Croatian Audio Visual Fund.

The Fortress of Utopia is an experimental short
 film set in the former military bases of the Island of Vis in Croatia. The remains of its impressive military architecture serve as a stage for performances through which the author explores the nostalgia of the socialist past and its future perspectives. Not approaching the history of Yugoslavia directly, but merging facts and fiction in a peculiar way, the author introduces personages of contemporary tourists and stylized figures from the past in the same time and space, emphasizing the nature of memory (both personal and collective) and decay.



BUG (Andreas Glauser & Christian Bucher)


BUG at Institut für Neue Medien (INM), Frankfurt am Main, Germany, on 16 January 2015.


Sound performance signal at the opening.

Andreas Glauser: Synthesizer and modulated mixing desk
Christian Bucher: Drums and percussion



Jackie Brutsche


Jackie Brutsche, Peace Pills, 2015.


Reading performance peace pills at the opening.

Posted by Corner College Collective

Thursday, 17.03.2016
19:00h -
Sunday, 17.04.2016

 

2016 / 201603 / 201604 / Ausstellung
No-where? Now-here!
The Molecular Books of Life – Colleges of Unreason
An idea-driven group exhibition about the practices of writing and the book on one page.

Denise Bertschi, Delphine Chapuis Schmitz, Jonas Etter, Henrik Hentschel, San Keller, Petra Elena Köhle, Julie Sas, Triin Tamm, Riikka Tauriainen, Alexander Tuchaček, Nicolas Vermot Petit-Outhenin, Anne Käthi Wehrli, Martina-Sofie Wildberger, Sophie Yerly
 

With Denise Bertschi, Delphine Chapuis Schmitz, Jonas Etter, Henrik Hentschel, San Keller, Petra Elena Köhle & Nicolas Vermot Petit-Outhenin, Julie Sas, Triin Tamm, Riikka Tauriainen, Alexander Tuchaček, Anne Käthi Wehrli, Martina-Sofie Wildberger, Sophie Yerly

Curated by Dimitrina Sevova in collaboration with Alan Roth

From 17.03.2016 to 17.04.2016.
Opening on 17 March 2016, 19:00h.
Performance {reclaim the twelfth camel} < code of practice at the opening, 21:00h, by Alexander Tuchaček.

Artist talks in three sessions on Sundays, 20 March, 3 April, and 17 April at 17:00h (for details follow the links).


Opening Hours during the exhibition / Öffnungszeiten während der Ausstellung

Wed 3pm - 6pm / Mi 15:00h - 18:00h
Thu 3pm - 7pm / Do 15:00h - 19:00h
Fri 3pm - 6pm / Fr 15:00h - 18:00h
Sat 2pm - 5pm / Sa 14:00h - 17:00h



Flyer for the exhibition. Design: code flow.



Piero Gilardi, Richard Serra, Hans Haacke, in: Dokumente zur aktuellen Kunst 1967-1970. Material aus dem Archiv Szeemann. Texte von Georg Jappe, Aurel Schmidt und Harald Szeemann (Luzern: Kunstkreis AG Luzern, 1972).


An idea-driven group exhibition project about how and why an idea(l) book can be only a single page, which explores the strange connection between writing and biopower. Unfolding in two chapters (or two episodes) it searches for micro approaches to the paradox of practices that emerge as Art Writing and Anagrammatic Writing, between writing and life and between published/exhibition – both being forms of display (movable vs. durational). The exhibition/publishing project brings together artists who actively experiment with writing and text, whose practices are at the fringe of the visual and narrative or in-between, neither visual nor narrative, always constructed by collectively exhaustive events.

No-where? Now-here! The Molecular Books of Life – Colleges of Unreason displays art practices that rupture with representative and institutionalized forms of writing and open up to the heterogeneity of productive forces, diagrammatic dynamism and the virtual potentiality of the network of text-image-work-in-progress, to the performative relations producing this process. In a Deleuzian sense, “it is a process, that is, a passage of Life that traverses both the livable and the lived.”


Read here the expanded curatorial text and research by Dimitrina Sevova in collaboration with Alan Roth.


Der Empirismus ist der Mystizismus des Begriffs, sein Mathematismus. Aber er behandelt den Begriff eben als Gegenstand einer Begegnung, als ein Hier-und-Jetzt, oder eher noch als ein Erewhon, aus dem in unerschöpflicher Folge die immer neuen und anders verteilten „Hier und Jetzt“ ausfließen. Nur der Empirist kann sagen: Die Begriffe sind die Dinge selbst, aber in einem freien und wilden Zustand, jenseits der „anthropologischen Prädikate“. (Deleuze)

Dieses Projekt zeichnet einige Verbindungslinien, die, so scheint es, nicht oft gezogen werden, zwischen der Philosophie von Gilles Deleuze und Félix Guattari, und Deleuzes geliebtem Science-Fiction-Roman Erewhon von Samuel Butler, die wenig erforscht sind, sei es im akademischen Bereich oder in Feld der Kunst. Sowie die selten untersuchten Verbindungen zwischen Deleuze und Guattari und einem der häretischen Studenten Freuds, Otto Rank, der den sexuellen Trieb seines Meisters mit der unpersönlichen Individuation analytischer Praxen auf der Basis von Objektrelationen ersetzte, der über die Überwindung der Todesfurcht schrieb. Dies steht der Art und Weise nahe, wie Deleuze in seinem Aufsatz Immanenz: Ein Leben die vitalen Kräfte konzeptualisiert. Weiter folgt es der Verbindung zwischen Deleuze und Guattaris maschinischer Theorie und Samuel Butlers molekularem Gedanken in der Evolution des maschinischen Universums. Die Praxen des Schreibens setzen einen wilden Empirismus voraus, der von der „einstimmigen Ontologie“ herrührt, und dessen Raum ist „der Mystizismus des Begriffs, sein Mathematismus“. Sol LeWitt operiert ähnlich wie Deleuzes Programmierung, wenn er sagt: „Konzeptkünstler sind viel eher Mystiker als Rationalisten. Sie eilen zu Schlussfolgerungen, die der Logik nicht erschlossen sind.“



Denise Bertschi


Denise Bertschi, T.R.U.S.T.


“TRUST. Five extremely demanding letters.” I believe every word you say! Words construct ‘trust’ as well as disbelief. Denise Bertschi continuously engages with language, the social and political fabric of language and manipulation of information. For the work T.R.U.S.T. Denise Bertschi collects slogans from marketing representation of the biggest Swiss private bank Pictet based in Geneva – “collecting as forms of writing”. Selling words, language of radicality turned into a marketing spoof, pseudo-poetry and corporate rethorics. Contemporary advertising slang, calculated usage, market research, finding selling words – Rhetoric matters! But how are these words surrounding us just leave us empty? “Can I trust these words?”



Delphine Chapuis Schmitz




Die Zumutung [L'affront]
Video, Projection, Loop. 2016.

Il s’agit d’écrire un texte qui ressemble à une page, c’est-à-dire qui ait autant de réalité qu’une page. Mais dans son genre.

Le genre de page sur lequel on écrit de nos jours, ni blanche, ni une, ni bi-, ni même tri-dimensionnelle. Une page à multiples layers, des possibles (fast) END-LOS.

Les textes de la vidéo / projection ici présentées sont issus de l’ensemble de textes généré lors de l’exposition www.corner-college.com, réalisée en 2014 sur le site internet de Corner College.


Die Zumutung
Video, Projektion, Loop. 2016.

Es geht darum, einen Text zu schreiben, der einer Seite ähnlich sieht, was bedeutet, dass er so wirklich sein soll wie eine Seite. Aber in seiner Art.

Die Art von Seite, auf der heutzutage geschrieben wird, weder weiss noch ein-, zwei- oder dreidimensional. Eine Seite mit vielfältigen Schichtungen, (fast) END-LOSE Mögliche.

Die Texte der Video / Projektion, die hier vorgestellt werden, entstammen der Menge von Texten, die während der Ausstellung www.corner-college.com generiert wurden, die 2014 auf der Webseite des Corner College realisiert wurde.



Jonas Etter

Untitled (Fountain II)
3D printer reduced to 1D, 2016




“You cannot define electricity. The same can be said of art. It is a kind of inner current in a human being, or something which needs no definition.” (Marcel Duchamp)

A 3D printer, an industrial object, is elevated to the dignity of art, not only because literally, Jonas Etter makes this claim by fixing the machine to one of the white walls of Corner College like An Oak Tree (one can refer here to Michael Craig-Martin’s eponymous conceptual work from 1973). On every working day of the exhibition, the 3D printer moves repetitively back and forth and prints material according to a predesigned code installed by the artist, as it melts a synthetic wire to a fine thread which after escaping from the nozzle cools down to room temperature and solidifies. The artist’s preoccupation is with how he can retranslate three-dimensional reality into a one-dimensional or multi-layer topographic landscape, or how the pixelated image can be written in vectorized line segments. He scanned a handwritten to-do-list. The image of this sheet, vectorized and encoded, after being printed out turns into both the paper and the imprinted writing, into lines of unconscious machinic scribbles which are a tabula rasa in which no text will ever be imprinted, but one can say that it becomes a growing text, or texture, by itself. Two of the three dimensions were taken away by the artist from a the 3D printer, assembled from commercially available components piece by piece by the artist as a Do-It-Yourself engineered small machine. The printing machine constructs a mere projection of an object onto a line, which again unfolds in the space, the uncanny and non-sense, or simply junk, of the growing waste of synthetic constructivism. Since the foundation or floor of the 3D printer was left out in the assemblage, the threads fall on the floor, constructing a drawing across the space or rather growing an n-dimensional object of multi-layered, tiny one-dimensional lines.

Text: Dimitrina Sevova




Henrik Hentschel


Henrik Hentschel, Untitled, 2016.


Untitled
2016

German Chancellor Angela Merkel stated “We will cope!” at the beginning of the refugee crisis. Since then, this sentence has been connected to her political position and future.

The work transforms this sentence into a picture and rephrases it to a singular person. Each letter is light-written into the air, graffiti-like, onto a single negative.

The second part of the work consists of three texts written by members of the literature association „Literatur für das was passiert“. (https://www.facebook.com/Literatur-f%C3%BCr-das-was-passiert-1698443547055500/timeline) The association sets up events, where different writers compose texts by request. The collected money goes to help people on the move.


Ohne Titel
2016

Die deutsche Kanzlerin Angela Merkel sagte zu Beginn der Flüchtlingskrise, „Wir schaffen das!“ Seither bleibt diese Aussage mit ihrer politischen Stellung und Zukunft verbunden.

Die Arbeit verwandelt diesen Satz in ein Bild und formuliert es in die erste Person Einzahl. Jeder Buchstabe ist, ähnlich einem Graffito, auf ein einziges Negativ in der Luft lichtgemalt.

Der zweite Teil der Arbeit besteht in drei Texten, verfasst von Mitgliedern des Literaturvereins „Literatur für das, was passiert“. (https://www.facebook.com/Literatur-f%C3%BCr-das-was-passiert-1698443547055500/timeline) Der Verein veranstaltet Anlässe, bei denen Schriftsteller_innen an Schreibmaschinen Texte auf Wunsch verfassen. Das gesammelte Geld kommt Menschen auf der Flucht zugute.



San Keller


San Keller, The Real On Kawara, 2008.


The Real On Kawara
2008
Liquitex auf Leinwand (ausgeführt von Manuel Krebs), 25.5 × 33 × 4 cm.

San Keller schenkte seinem Vater zur Pensionierung in Anlehnung an On Kawaras Today Series den gemalten Bindestrich zwischen seinem ersten (20. April 1965) und letzten (31. Oktober 2008) Arbeitstag beim Kantonalen Personalamt Bern.

Der Bindestrich ist weiss. Der Hintergrund ist die Mischfarbe aus sämtlichen Farben, welche On Kawara bisher in der Today Series verwendete. Ausstellungen: Weihnachtsausstellung 2008 / 2009, Kunsthalle Bern.
Besitzer: Museum San Keller, Sammlung Marianne u. Fritz Keller.


The Real On Kawara
2008
Liquitex on canvas (executed by Manuel Krebs), 25.5 × 33 × 4 cm.

San Keller gave as a gift to his father the painted hyphen between his first (20 April 1965) and last (31 October 2008) working day at the Cantonal Office of Personnel Bern, in reference to On Kawara’s Today Series.

The hyphen is white. The background is the mixed color from all colors used to date by On Kawara in the Today Series. Exhibitions: Christmas Exhibition 2008 / 2009, Kunsthalle Bern.
Owner: Museum San Keller, collection of Marianne and Fritz Keller.



Petra Elena Köhle & Nicolas Vermot Petit-Outhenin


Petra Koehle + Nicolas Vermot Petit-Outhenin, A kind of palimpsest, 2016.


A kind of palimpsest
Print on flag

The artists produced two flags with to the same imprinted text fragment or traces of what remains of the two novels Don Quixote under the ultimate decay of time, those by Miguel de Cervantes and by Pierre Ménard. The two short phrases of text apparently coincide, yet we would be mistaken to assume that they are copies of each other. As the flags unfold they reveal what was hidden inside the space, a hand written phrase by a friend – the ideal book. The artist’s mysterious duty towards that friend manifests itself in a statement by the artists Petra Elena Köhle + Nicolas Vermot Petit-Outhenin, who throughout their recent work have experimented intensively with the notion of repetition, to re-play and force the act of repetitiveness to its limit, to try over and over again, in order to displace the object, where an errant and random difference in itself can appear as a sign of immanent change, demonstrating how the meaning is performed by the specificity of the context.

Later, the two flags will be installed on the façade of Corner College to the accidental gaze of the pedestrians passing by. They confront the viewer with the impossibility to distinguish them, to remain indifferent to their sameness and ambiguous meaninglessness. And then suddenly it seems almost true that the printed text on one of the flags is a bit diminished. Or it is just an optical illusion? There might be some obstacle to really distinguish the two texts, which are indeed identical excerpts imprinted on the two flags as a matter of appropriation by the artists. One of them is from the “original” version of Don Quixote written by Miguel de Cervantes in 1703, while the other is from the more fragmentary Don Quixote written by Pierre Ménard, according to the short story by Jorge Luis Borges, 200 years later. Pierre Ménard wrote it at the beginning of the 20th century, confronting the impossibility of any reasonable argument why Don Quixote might be relevant today.

Ménard has the divine modesty of pursuing his peculiar idea to repeat “a pre-existing book in a foreign tongue.” The process implies an idiotic methodology of repeating the writing process of Cervantes by his own experience. “He did not want to compose another Don Quixote – which would be easy – but the Don Quixote.” He puts himself in the place of Don Quixote in so radical a manner that he rewrites the novel word for word and line for line. Ménard does not write about Don Quixote. He embodies and becomes himself Don Quixote through his rigorous writing. That makes the difference in the repetition. It is a micro composition of a molecular book, written in a foreign language. Ménard’s writing is no doubt metabolistic, a bodily function from which a contemporary Don Quixote appears in the play of the two flags, too – a “solitary game” in-between two poles of perpetual displacement or de-familiarization between I-Don Quixote and me-Don Quixote. Don Quixote remains the same Don Quixote. Only I is another in the interiority of an unwritten novel, through the infinity of combinations of the eternal return of the fiction, inorganic and extra-human, a “vast ocean of indifference.” It is an expression of life itself, whose value lies outside the closed system of the text.

The actor employed by the artists for their performance at the finissage of the exhibition will read the Borges short story in the passage between the flags outside the exhibition space, his essential voice with his own specific accent carrying a “mournful” and “humid Echo.” He will deny to embody the autobiographical lines in the short story of Borges about Pierre Ménard, just as Pierre Ménard as Don Quixote refuses to re-write, and even forces himself to exclude the autobiographical prologue of Cervantes in the second part of the novel in order to arrive at the fictional personage of Don Quixote as Pierre Ménard and nobody else. If anything, it is the interjection of Edgar Allan Poe that intervenes in this process, not Cervantes’. Ménard’s Don Quixote is not however a copy but a work in its own right. Analyzing the two texts, Borges ascribes to Ménard’s version a greater subtlety and fragmentarity than to its predecessor. It is an open work that remains forever unfinished.

Through their work, Koehle + Vermot question the role of the author and the relation of the text/art work to the context, by means of repetition and the aesthetics of appropriation as an affirmative politics, and the meaninglessness of art as a gesture of perpetual justification of “absurdity” and inconclusiveness, where ambiguity is a richness, an ultimately useless intellectual exercise. It is a metaphysical demonstration, as the artists’ “ultimate goal” seems to be only chance and nothing else. They do not operate a mechanical transcription of the text to display it on the flags, but replay it over and over again and open it up to non-human forces to deploy or unfold the statement of a concept, which not only does not exclude, but actually carries within itself the action, i.e., the manifestation, like the performative unfolding of a private statement in a public space, as in the unfolding of a flag, which combines within itself as a performative opening both the action and the display of I-other.

Text: Dimitrina Sevova


The complete short story “Pierre Ménard – Author of Don Quixote” by Jorge Luis Borges is available next to the flags.


Die Kurzgeschichte „Pierre Ménard – Autor des Don Quixote“ von Jorge Luis Borges liegt in voller Länge bei den Fahnen auf.


… la verdad, cuya madre es la historia, émula del tiempo, depósito de las acciones, testigo de lo pasado, ejemplo y aviso de lo presente, advertencia de lo por venir …

… truth, whose mother is history, who is the rival of time, depository of deeds, witness of the past, example and lesson to the present, and warning to the future …

… Wahrheit […], deren Mutter die Geschichte ist, die Nebenbuhlerin der Zeit, Aufbewahrerin der Taten, Zeugin der Vergangenheit, Vorbild und Belehrung der Gegenwart, Warnung der Zukunft …



Julie Sas


Julie Sas, La vérité dans le texte (Je cherche un homme), 2015. Video still.


La vérité dans le texte (Je cherche un homme)
2015
video couleur, son, 3:36, en boucle

À l’image, un personnage hybride (composé des figures antagonistes de Diogène - philosophe antique - et Des Esseintes - esthète et dandy, personnage principal du roman A rebours de Joris-Karl Huysmans) tape en boucle, sur une machine à écrire, la phrase «Je cherche un homme». Cette phrase, directement empruntée au philosophe cynique Diogène, est une proposition ironique visant à réfuter la théorie platonicienne selon laquelle il existerait un «homme véritable», un «idéal humain». Trois plans se succèdent, rejouant le mouvement mécanique de la machine à écrire (frappe des barres à caractère), tandis qu’un décalage entre le son et l’image intervient dans le plan principal de la vidéo.


La vérité dans le texte (Je cherche un homme) [Die Wahrheit im Text (Ich suche einen Menschen)]
2015
Video, Farbe, Ton, 3:36, in Schleife

Auf dem Bild tippt eine hybride Person (zusammengesetzt aus den antagonistischen Figuren des Diogenes – des Philosophen der Antike – und Des Esseintes – dem Ästheten und Dandy, Hauptfigur von Joris-Karl Huysmans’ Roman Gegen den Strich) in Schleife auf einer Schreibmaschine den Satz „Ich suche einen Menschen“. Dieser Satz, unmittelbar dem zynischen Philosophen Diogenes entliehen, ist eine ironische Aussage, die darauf abzielt, die platonische Theorie zu widerlegen, laut der ein „wahrer Mensch“, ein „menschliches Ideal“ existieren soll. Drei Einstellungen folgen aufeinander und spielen immer aufs Neue die mechanische Bewegung der Schreibmaschine durch (den Anschlag der Typenhebel), während eine Phasenverschiebung zwischen dem Ton und dem Bild in die Haupteinstellung des Videos eingreift.


La vérité dans le texte (Je cherche un homme) [Truth in the Text (I am looking for a man)]
2015
Video, color, sound, 3:36, looped

On the picture a hybrid character (composed of the antagonistic figures of Diogenes – Ancient philosopher – and Des Esseintes – the aesthete and dandy, main character in Joris-Karl Huysmans’ novel Against Nature) types in a loop on a typewriter the sentence “I am looking for a man.” This sentence, borrowed directly from the cynic philosopher Diogenes, aims to refute the platonic theory claiming the existence of a “true human,” a “human ideal.” Three shots in sequence replay the mechanical movement of the typewriter (the keystrokes of the type bars), while a time lag between sound and image intervenes in the main shot of the video.



Triin Tamm




i'm late…

Text on doormat, 2016.



Riikka Tauriainen

Ignore All Signs


Zeno's Paradox


Consider a system in a state A, which is the quantum state of some measurement operator. Say the system under free time evolution will decay with a certain probability into state B. If measurements are made periodically, with some finite interval between each one, at each measurement, the wave function collapses to an eigenstate of the measurement operator. Between the measurements, the system evolves away from this eigenstate into a superposition state of the states A and B. When the superposition state is measured, it will again collapse, either back into state A as in the first measurement, or away into state B. However, its probability of collapsing into state B, after a very short amount of time t, is proportional to t², since probabilities are proportional to squared amplitudes, and amplitudes behave linearly. Thus, in the limit of a large number of short intervals, with a measurement at the end of every interval, the probability of making the transition to B goes to zero.



Alexander Tuchaček


Alexander Tuchaček, {reclaim the twelfth camel} < code of practice, 2016.


{reclaim the twelfth camel} < code of practice

In der Arbeit {reclaim the twelfth camel} < code of practice geht es um den Versuch einer Sprachgenerierung für eine Wiederaneignung des algorithmischen Raums, eines Raums, der uns abhanden gekommen ist, verlorengegangen oder schlichtweg geraubt wurde.

Dafür wird ein spezielles Tier in den Raum geführt, ein Kamel, das zugleich Text, Bild, Programm, Erzählung und Aufführung ist. In der Arbeit geht es um einen Verteilungskonflikt, der scheinbar gut gelöst wird und alles wieder ins Lot bringt. Bei dieser scheinbar guten Lösung gerät aber das Verhältnis von Text und Aufführung aus den Fugen. Eine dritte Figur, das sich selbst aufführende Shell-Programm, das sich aus dem Kamelbild entschlüsselt, fordert seine Mitsprache ein. Dabei schreibt es die Geschichte vom zwölften Kamel (vor). Aber wer spricht hier den Text der Geschichte und aus welcher Position? Vielleicht geht es um einen ganz anderen Verteilungskonflikt, um die Zeit und den Raum der Erzählung, und um die Frage, wer und wie die Neuverteilung dieses Raums zurückfordern kann?

Eine Mehrzahl von Performer_innen in Form von bots, scripts und Figuren treten in Erscheinung. Das Projekt startet zur Eröffnung am 17. März mit einer Performance um 21 Uhr und wird im Laufe der Ausstellung weitere Protagonist_innen und Aufführungen folgen lassen.


{reclaim the twelfth camel} < code of practice

The work {reclaim the twelfth camel} < code of practice is about an attempt to generate language to reappropriate algorithmic space, a space that has gone amiss, got lost or was just plain stolen from us.

To this end, a special animal is led into the room, a camel that is simultaneously text, image, program, narrative and enactment. The work is about a conflict over distribution that ostensibly is resolved well, balancing everything out again. This apparently good solution however throws the relation between text and enactment out of joint. A third figure, the self-executing shell program that decodes itself from the image of the camel, demands to have its say, all the while writing, or prescribing, the story of the twelfth camel. But who is it that speaks the text of the story, and from what position? Might it not be about an utterly different conflict over distribution, about time and space of the narrative, and about the question of who and how can reclaim the redistribution of this space?

A multiplicity of performers in the form of bots, scripts and figures make their appearance. The project starts out on the opening date on 17 March at 21:00h and will be followed during the exhibition by further protagonists and enactments.



Anne Käthi Wehrli




Die Frau als Einstiegsloch
Ist es ein Krimi? Forschung? Expedition?
Ein Abenteuer mit Fragen.

Die Frau, das Einstiegsloch für die Infra-Quark Entität im Film In Search of UIQ* ist tot, das merkte ich sofort. Wieso und warum? Stimmt es wirklich oder ist es nur meine Einbildung, mein Gefühl, ausgelöst durch die Art und Weise, wie diese Videoaufzeichnungen, die im Film vorkommen, von dieser Frau, die man da noch sprechen sieht, und später nicht mehr vorkommt, gemacht wurden?

Sie muss nun ermitteln. Sich auch mit der Frage befassen: Was ist eigentlich der Unterschied zwischen Trieb und Todestrieb? Nachforschungen anstellen über die Schwangerschaft, diese spezielle Art des Zusammenlebens, und ältestes Grundthema von Science Fiction Romanen. Und vieles noch ungewisses mehr.

Ich werde mich diesem Text zuhause aber auch vor Ort in der Ausstellung widmen, die aktuellen Fassungen werden als Fanzine jeweils ausgedruckt und aufgelegt.

Es lohnt sich also vorbeizuschauen, um die neuen Entwicklungen zu erfahren, aber auch, um das, was später rausfliegen wird, vorher noch zu lesen.

*Im Film In Search of UIQ von Graeme Thomson und Silvia Maglioni aus dem Jahr 2013 geht es um das damals unveröffentlichte Science-Fiction Drehbuch Un amour d'UIQ von Félix Guattari.


Die Frau als Einstiegsloch [The Woman as Entry Hole]
Is it a detective story? Research? An expedition?
An Adventure with Questions.

The woman, the entry hole fort he infra-quark entity in the film In Search of UIQ,* is dead, I realized that at once. Why? What for? Is it actually true, or is it just my imagination, my feeling triggered by the way these video recordings that occur in the film, of this woman whom one can still hear speaking then, and who later is no longer there, were made?

Now she has to investigate. She will also be faced with the question: What is in fact the difference between life drive and death drive? Inquire about pregnancy, that special kind of co-existence, one of the oldest topics of science fiction novels. And other things uncertain.

I shall dedicate myself to this text at home, but also on the spot in the exhibition. The respective current version will be available printed out as a fanzine.

It is worth dropping by to find out about the latest developments, but also to read, before it is no longer there, what will later be ditched.

*The film In Search of UIQ by Graeme Thomson and Silvia Maglioni, from 2013, is about the then still unpublished science fiction movie script Un amour d'UIQ by Félix Guattari.



Martina-Sofie Wildberger




Dream comes true #1
I want to stand up, in a city that never leaps.

Performative installation, slideshow, video projection, duration 20s – 10min40s, 2016.

This work is an excerpt of the ongoing learning process of the artist. Having recently moved to New York for an artist residency, she is writing a poem every day in order to find out how the city influences language – her language. Arriving with fairly limited knowledge of English, it expands over time and becomes vital through the duration leaving its imprints. New influences, ways of thinking and very common encounters mark her architectural writing. The unknown is appropriated and becomes known in language and the city. The artist wants to know how and when this transformation happens.

Every day the poem she writes is added simultaneously to this slideshow starting with the first day. Her piece is installed in the space in Zurich. The slideshow gets longer and longer as the exhibition goes on. Through this cumulative writing we follow her in an abstract and distant yet personal way through the city, her life and the appropriation of a language.


Dream comes true #2
I want to wake up, in a city that never sleeps.




Text animation, iPad, 2016.

In this work, possibilities of translation are explored through the medieval form of labyrinth poems. How can one thing be two things at the same time? Where and when does one become another, how is transformation and transposition embodied.

In Baroque cubes, a specific form of Carmen Figuratum, a small text substrate offers many different ways of reading. This maze reflects also the artist's experience arriving in unknown New York for a residency, through which she has to find her way. As in the poems, there is no right or wrong way, but it is the didactic experience that counts. The artist changes slightly the structure of these poems. She extends the small text substrate by its translation in German or English. Starting from the same point, one translation runs horizontally and one appears vertically through the shift of one letter at a time. Throughout the exhibition more and more animated poems are added.



Sophie Yerly




Too expensive and not enough to eat
2016
http://www.eineseite.ch

Attention artists! Perhaps you employ language in your work. You may be highly literate. But you don’t have to say what your art means or even is about. Furthermore, don’t do that. It’s my job. You make the stuff. Let critics talk about it. Making is superior to talking, so you have the better end of the deal. I try to be big about that. For your part, keep your eye on the ball, which is not a ball of talk.

I’m thinking of those of you who are on the young side. The future is yours. I’m on the old side and running out of future. This slackens my interest in what’s new. When I go to look at art for pleasure now, it’s to the Metropolitan Museum of Art or the Frick Collection. My ‘we’ is yellowing around the edges. Any ‘we’ that has nearterm potential must be one that tastes right in your mouths, when you say the word.
Peter Schjeldahl, Frieze magazine Issue 137, March 2011
http://frieze.com/article/ourselvesandouroriginssubjectsart

Posted by Corner College Collective

Sunday, 24.04.2016
18:00h -
Saturday, 07.05.2016

 

2016 / 201604 / 201605 / Ausstellung
Just Add Water
Carla Doorn, Brandon Farnsworth, Benjamin Ryser, Eva Lin Yingchi
 


Flyer for the exhibition. Design: code flow.


Just Add Water: A score, a set of instructions. Do this and you'll get that, guaranteed. Fill in the blank and it's done, easy! It's already been prethought for you, precomposed, predetermined. There's a cost of course; it's straightforward, but always the same. Reliable yet totally uninteresting. We need to experiment, see how we can shake things up. Maybe: It's never the same water that gets added in, always slightly different. Alpine water, or imported from China, we've already found some wiggle room. We wiggle some more, stay within our structure, our enabling constraints, but never seem to stop discovering. We begin to tell stories, abstract ones, using our tactics to fashion props, switching between Alpine and Chinese, creating a rhythm, building and breaking expectation. A makeshift stage. Then the illusion collapses; what are we talking about anyway? Who knows, but we felt something, that's the most important. We begin again…
Text: Brandon Farnsworth

A composer, choreographer, dancer, and singer in a performance exhibition at Corner College. Over a two-week period, this interdisciplinary ensemble will perform and experiment, developing an immaterial milieu of feeling and potentiality that will fill the space with its traces.

Curated by Brandon Farnsworth.

Benjamin Ryser, Composer
Brandon Farnsworth, Music Curator
Carla Doorn, Dancer
Eva Lin Yingchi, Choreographer

Vernissage: Sunday, 24 April 2016, starting at 18:00h


Opening Hours
Wednesday, 27 April – Friday, 29 April, 15:00h – 18:00h
Saturday, 30 April + Sunday, 1 May, 17:00h - 20:00h
Wednesday, 4 May – Friday, 6 May, 15:00h – 18:00h
Further performances during opening hours TBA.


Finissage: Saturday, 7 May. Doors open at 17:00h, performance begins at 18:00h.


The project is part of the Corner College platform Transferences: The Function of the Exhibition and Performative Processes in the Practices of Art – Questions of Participation, initiated by Dimitrina Sevova and Alan Roth.

Posted by Corner College Collective

Tuesday, 10.05.2016 -
Saturday, 14.05.2016

 

2016 / 201605 / Ausstellung
Occasionally Human
A Curatorial Research on Sociality

Francesca Brusa
 


Flyer for the exhibition. Graphic by Tim O. Haesler.


“Relationships to the other does not proceed through identification with a preexisting icon, inherent to each individual. The image is carried by a becoming other, ramified in becoming animal, becoming plant, becoming machine and, on occasion, becoming human.” Felix Guattari


How is contemporary aesthetic production affected by interactions and relations among its productive agencies?
In post-Fordist and post-human conditions of creative and artistic labour, what is the impact of collaborative realms on the production of aesthetic and cultural discourses?
To what extent can we link the value of cultural and artistic production to the specificities of the relations underneath it? To which field of relations (collaborators, friends, akin humans?) can we ascribe the specific relation between artists and curators?

The project seeks to write a chapter in the definition of the ontological nature of the relation between two specific productive agencies, curator and artist, and the impact of this relation on aesthetic production.
The conditions underneath creative production will be examined by the analysis of the relations among its productive bodies, considering the consequences of the contemporary modes of production of subjectivity.
The research aims to explore the extent of a relational and collaborative method to be embedded in the processes of definition of new cultural, aesthetic, affective and existential territories.

The research investigates different artistic and curatorial approaches to sociality as a productive skill, and it will be conducted through a series of conversations where communication, based on language and affinities, will be recorded and analysed in a television-like set.


A project by Francesca Brusa


Curators:
Nadja Baldini, Mateo Chacon-Pino, Daniel Morgenthaler, Julia Moritz, Dimitrina Sevova, Agustina Strüngmann

Artists:
Johanna Bruckner, Luc Mattenberger, Mediengruppe Bitnik!, Philemon Otth, Martin Schick, Paulo Wirz

Saturday, 14 May at 18:00h: Public presentation of the outcome of the project “Occasionally Human” by the researcher and the participating artists and curators. With apéro.

Program on Saturday, 14 May 2016
18:00h public interview with Julia Mortiz
18:30h public interview with Paulo Wirz
19:00h public presentation of the research by Francesca Brusa


The project is realized in collaboration with the post-graduate program in Curating at ZHdK. http://oncurating.org



Photo documentation of the event on Facebook: https://www.facebook.com/cornercollege/photos/?tab=album&album_id=566327370214439

Posted by Corner College Collective

Friday, 27.05.2016
18:00h -
Sunday, 26.06.2016

 

2016 / 201605 / 201606 / Ausstellung
New Buenos Aires
Anne Brand Galvez, Marie Carangi, Damian Christinger, Jonathas de Andrade, Distruktur (Melissa Dullius and Gustavo Jahn), Luciana Freire D'Anunciação, Mariano Gaich, Oscar Gardea Duarte, Pascal Häusermann, Silvan Kälin, Cristiano Lenhardt, Jso Maeder, Ana Roldán, Dimitrina Sevova, Lena Maria Thüring, WORMS Künstler_innengruppe
 


Flyer for the exhibition. Design: code flow.


A group exhibition project with
Jonathas de Andrade, Anne Brand Galvez & Company, Mariano Gaich, Óscar Gardea Duarte, Pascal Häusermann, Silvan Kälin, Cristiano Lenhardt, Jso Maeder, Ana Roldán, Lena Maria Thüring, WORMS Künstler_innengruppe,

and performances by Anne Brand Galvez & Company, Marie Carangi, Distruktur (Melissa Dullius & Gustavo Jahn), Luciana Freire D'Anunciação, Ana Roldán.

Curated by Damian Christinger and Dimitrina Sevova, co-curated by Silvan Kälin.

Friday, 27 May 2016 - Sunday, 26 June 2016

Öffnungszeiten / Opening Hours

Mi 15:00h - 18:00h / Wed 3 pm - 6 pm
Do 16:00h - 20:00h / Thu 4 pm - 8 pm
Fr 15:00h - 18:00h / Fri 3 pm - 6 pm
Sa 14:00h - 17:00h / Sat 2 pm - 6 pm
(Am Samstag, 28. Mai, am Tag nach der Ausstellungseröffnung, bleibt Corner College zu. / On Saturday, 28 May, on the day after the opening, Corner College will remain closed.)


Vernissage: Friday, 27 May 2016 at 18:00h
Skype performance at the opening, Porosidades do espaço temporalizado [Porosities of a temporalized space] by Luciana Freire D'Anunciação;
20:00h Performance Cerati a la Cumbia by Anne Brand Galvez & Company, with Philip Frowein (DE), Fernando Noriega (MX), Alex Martinez (MX), Pablo Miguez (ARG), Moritz Mayer (CH).

Sunday, 29 May 2016:
17:00h Door opening
17:30h Artist talk and screening of a selection of his works by Cristiano Lenhardt.
19:00h Skype performance Teta Lírica [Lyric tits] by Marie Carangi.
20:00h Screening program The Uprising of the Body curated by Silvan Kälin.

Sunday, 5 June 2016: Performance / screening Éternau Alterstereo by Distruktur (Melissa Dullius & Gustavo Jahn).

Sunday, 26 June:
16:00h Discussion on the curatorial concept between the curators, Damian Christinger and Dimitrina Sevova, and the artists present, Mariano Gaich, Pascal Häusermann, Jso Maeder, Ana Roldán.
17:00h Talk 7 Reasons for the Re-Colonization of Latin America by Thomas Haemmerli.
17:30h Presentation (Chr.K.) by Jso Maeder (auf Deutsch).
18:00h Performance Banana as Tourist by Ana Roldán.
18:30h Performance Misti haca masuru* = (Hombre vida ayer) by Roland Wagner.


New Buenos Aires NoW and Therefore!

New Buenos Aires has a peculiar mobile and turbulent geography that designates neither a particular place nor a particular time. It is an event, i.e., an atmospheric function of the exhibition. It can exhibit itself. Events are exhibitions, wrote the old philosophers Gilles Deleuze and Félix Guattari in their late work What Is Philosophy? They see the potentiality of the event becoming an exhibition, making the concept visible, setting up various displays and the “exchange of ideas,” a zone de voisinage that can be offered to the viewer.

New Buenos Aires is not a thematic exhibition. It embodies an extra-subjective assemblage by the participating artists with their heterogeneous practices in the drift of a new conceptual wind that blows with necessary slowness and immediate urgency to express the practical dimensions of de-colonizing thought at a time of environmentalist discontent, of changes in the intellectual climate of global transformation in a new, ecologically oriented history of capitalism in the ‘age of capital’ – with the dilemma of global art, or the art of the Capitalocene, as the work of art is a work of opinion. The exhibition display confronts the epistemic violence of ‘big history’ to create a counter-space of ecological justice, in a labyrinth of ‘wonderful and messy tales’ and other, equally enigmatic multiplicities – a labyrinth alive with the movements of crowded people, and other creatures.

Excerpt from the curatorial text by Dimitrina Sevova.



New Buenos Aires, 20th of September 2048

Dear Osmond

This letter reaches you three days ahead of the official investigation as a personal favour, a gesture of treachery (you so much admire in the classics), and as proof of a friendship that has connected us for more than thirty years.

The official document will state, as always, nothing, and I thought that you might be interested in my personal thoughts and insights, as this case contains everything that you and I find interesting.

When a cult of this extreme persuasions scrambles to protect a ship at all costs, that is for all purposes of the sane mind completely useless (it is not fit to be put on water for example) then the authorities will want answers, as you know, and when the case is as it is, they will even call upon an arcane archaeologist as myself.

Excerpt from the curatorial text by Damian Christinger.


Jonathas de Andrade

Pacifico [Pacific]
2010
Super8 transferred to DVD, 12 minutes


Jonathas de Andrade, Pacifico, 2016. Video still.



Jonathas de Andrade, Pacifico, 2016. Video still.


A massive earthquake erupts over the Andes, detaching Chile from the South American continent. As a consequence, the sea returns to Bolivia restoring its lost coastline, Argentina gains coasts with both the Pacific and the Atlantic oceans, and Chile becomes a floating island adrift in the seas.



Anne Brand Galvez & Company

Cerati a la Cumbia
Performance











Mariano Gaich

Prosthesis & Fetish – The Journey of Exoticized Reason


Mariano Gaich, Prosthesis & Fetish – The Journey of Exotized Reason.


During centuries of hegemonic reason and global trade’s domain, a utopian world shaped by travelling in the quest for unknown paradises – the “exotic,” “alien” or “outlandish” – depicts a transparent, crystalline display through which (un)material human production can be watched and therefore classified.

These “exotic” objects of adoration get appropriated by an entire fetishistic web that – after creating divisions in nationalities – reproduces cultural and national identities as merchandises, from raw material to goods such as art. Exoticism becomes marketing and promotion.

These same objects, wherever you might find them, in a ship, a storage, in a museum or even a library with travel novels in a XIX century fashion or contemporary science fiction ones, are placed in a way that a whole juxtaposition of different times and spaces suggests a heterotopic entity with its dystopic side of uses and abuses by a large (post)colonial history.

The installation inverts the logic of capitalistic reason, understood as a vessel of accumulation: crystalline displays become un- and over-exoticized at the same time, showing a narrative of decolonization, rests and remains, traces of past, present and future ongoing greediness.


Flaming Prostheses for Autonomy and Mutation (Ritual Manifesto)


Mariano Gaich, Flaming Prostheses for Autonomy and Mutation (Ritual Manifesto).


Action, ritual of manifestation, an installative Manifesto, incorporating prostheses with body, escaping from genderification, categorization and slavery, racism, (post)colonial abuses.
Breaking chains and mutating DNA chains, to a diversity of “in-betweens” becoming fluidity, autonomy.



Óscar Gardea Duarte

La Fosa [The Pit]
Video documentary, installation, 2016


Óscar Gardea Duarte, Fosa, 2016.


A white building stands in the middle of the desert, it is run by a former so called gang member turned Christian, his acolytes serve as translators of both realms which collide at this precinct. “You will learn darkness”. A sinister pit that holds a deep entrenched problem of: What veils them unknown and unwanted, and where is their place? Slums of the future, residents that are classified by the leader or his subordinates as aggressive, non-amicable or a threat to the veil of reason will be then confined to a one meter by one eighty cell that remains locked until the keepers think it is plausible to end seclusion. There is no official census to the facilities population and non-provided for, to the pertinent institutions that have solicited it. It is an asepsis solution for social cleansing of both border cities by method of segregating from practical functional society, abused, policed and no knowledge based exclusion of diverse individuals whom are intentionally shunned and forsaken to a discourse that supposes greater than their existence, one of so called altruism, political correctness and modernity´s progress rhetoric. Concentration camp for rational diversity where the master is veiled as a beloved figure of masculine yet benevolent mythological stature who claims “Nobody wants them, except for myself”. The edifices´ boundaries are reduced to the sensibility for the interpretation of the real, limits defined by the smell of blood and urine.

Ciudad Juarez, Chihuahua, Mexico, May 2016

The work consists of the documentation of a 5 × 5 × 5 meter pit which comes covered by a cement surface with an aperture of 20 cm × 2.5 meters, in situ at the facility at Kilometer 35 of Ciudad Juarez, Chihuahua, Mexico. It includes documentation of the seclusion wing called “ocho” and its inmates.



Pascal Häusermann

Sketches of a Gringo
24 papers, watercolour on Xerox, A3, 2015


Pascal Häusermann, Sketches of a Gringo, 2015.


In 1831 the German engraver and drawer Moritz Rugendas travelled to Brazil in the frame of the expedition of Freiherr von Langsdorff, where he documented landscape, culture and habits of the people in hundreds of drawings. Back in Europe, he could publish the work, which became very famous under the name “Voyage pittoresque dans le Brésil”, with the help of Alexander von Humboldt. The photocopies of a copy of a original print of that book from the public library Zentralbibliothek Zurich became a sort of a diary during my residency in São Paulo in spring 2015.

It is a documentation about the daily confrontation and identification with Brazilian culture, the ambivalence between the European heritage coming from the colonial past, and the strangeness of this “new” culture, a mix with indigenous and African roots.

The gesture to overdraw the erstwhile documentation contains an assumption that the guilt coming out of the colonial conquest can be assimilated by superimposing one's experiences on the historical events. Meanwhile, history keeps on being present. It has been put on the backburner through a new personal perception.

(Pascal Häusermann)


The drawings by Pascal Häusermann are on loan from Kantonale Kunstsammlung Appenzell Ausserrhoden. // Die Zeichnungen von Pascal Häusermann sind eine Leihgabe der Kantonalen Kunstsammlung Appenzell Ausserrhoden.



Silvan Kälin

Mormaço
2016
Animated video


Silvan Kälin, Mormaço. Video still.



Silvan Kälin, Mormaço. Video still.


A climatic situation of heat and humidity, the everyday life of a tropical city in which the machines and the sweat of its inhabitants mingle, forming unexpected gardens.


The Uprising of the Body

Screening program curated by Silvan Kälin, 29 May 2016

Performance expresses itself as a need of bodily manifestation against an inescapable, given reality.



Cristiano Lenhardt

Polvorosa
Video.


Cristiano Lenhardt, Polvorosa. Video still.


Electronic supernatural phenomenon magnetizes two bodies and brings them close.



Jso Maeder

Werkgruppe Fig. - Speicher
seit 2012 - in progress


Jso Mäder, Werkgruppe Fig. - Speicher, work in progress since 2012.


Das modell der „zivilgesellschaft“ erscheint im zeichen der heutigen kapitalistischen plankultur in hinblick auf eine gedankliche oder künstlerische autonomie in konfigurationen institutionaler leitsysteme blockiert; *) das moderne programm, im grunde die gesellschaftliche eigenprojektion als ein kanonischer bezugs- bzw. bewusstseinshorizont, im leerlauf in systemischer einrichtung. – Zyklomoderne (Demuth), bestenfalls noch ideologische reproduktion als soziales monument und als moment abstrakter dominanz.

Die letzte historische möglichkeit der moderne entspräche daher der art nach einer matrix abstrakter dominanz, 'modern' rein noch aufgrund der in ihrer sprache sowie deren textuellen zirkularen mittelbaren progammatik, - selbstverständigung, interpretament in der konstanten umwälzung und modifikation eines zwanghaften korrelats der chiffren und zeichen.

• Daher frage nach dem capital fixe, einem 'wissen' im motiv des auf|bewahrens/be-haltens: archiv/speicher unter den voraussetzungen abstrakter dominanz.
Wenn die moderne sich ideologisch eine kontinuität in der kanonischen setzung eines gesellschaftlichen erwartungshorizonts gibt, während die 'gesellschaftlichen lebens-prozesse' und praxen sich hingegen provisorisch, unter produzierten bedingungen als jeweilige modalitäten der produktion realisieren - wie, anhand welcher kriterien und welcher 'formen', lokalisiert, reflektiert 'gesellschaft' sich dann im verhältnis zu ihrem historischen entwurf? - Und insbesondere: wie bezeugt, quasi belegt oder dokumentiert sie sich hinsichtlich des ihrer eigenbehauptung immanenten kulturellen leistungsan-spruchs, wenn der prozess unablässiger verfremdung (titel 'wachstum/fortschritt') eines
je gültigen oder bestehenden die 'lebenswelt' kennzeichnet?
Und noch konkreter: Wie funktioniert (sofern überhaupt) hierbei kunst im rahmen der abstrakten programmatik einer vergesellschaftung, gerade unter gesichtspunkten ihrer impliziten logik des (sozialen aus-)tauschs?


*)>>> Indem 'produktion' nicht allein eine erzeugung von waren meint, sondern sie durch ihre bedingungen zugleich muster und mittel eines herrschenden wissens ('general intellect') fabriziert, festschreibt, ist sie strukturelle kraft in gesellschaftlicher formation. Auch i.s. der legitimation deren herrschaftlicher dispositve oder der politischen massgabe, da im rahmen systematischen wissens ('knowledge'), d.h. mitunter, einer universitär-disziplinären, institutionellen wissenschaft, die 'produzierte Produktivkraft eines wissens in gesellschaftlicher funktion' abstrakt, als formular einer sprachlich-textuellen oder zeichenhaften ebene reproduziert ist. I.s. eines hintergründigen reglements des 'capital fixe', als momentum abstrakter dominanz, fungiert die produktion im beziehungsraster (cf. (aus-)tauschabstraktion) des vergesellschafteten lebens gleich einer äusserlichen, objektiven gegebenheit.
cf. hierzu, im rekurs auf Marx' 'Grundrisse' (wie hier zitiert, insbesondere das Maschinenfragment (MEW, Bd. 42)), nebst dem späteren werk Althussers:
– die analysen Antonio Negris und Maurizio Lazzaratos, sowie weitere schriften zur theorie des postoperaismus.
– ausserdem konzept der 'wissensgesellschaft' (Lane, Bell), als ablösung industrieller waren- durch spezifische wissensproduktion i.s. einer ressource der wertschöpfung.


Under the sign of today’s capitalist plan culture in view of an intellectual and artistic autonomy the model of “civil society” appears blocked in configurations of institutional control systems; *) the modern program, which consists at bottom of the social self-projection as a canonic horizon of reference and consciousness, running idle in a systemic facility. Cyclomodernity (Demuth), at best ideological reproduction as a social monument and a moment of abstract domination.

The last historical opportunity of modernity would thus correspond in kind to a matrix of abstract domination, remaining modern only on the basis of the program mediated by its language and its textual circulars – self-understanding, a key to interpretation in the constant upheaval and modification in the forced correlation of codes and signs.

• Hence the question of fixed capital, a knowledge in the motif of retaining/holding on to: archive/store under the conditions of abstract domination.
If modernity claims for itself a continuity in making canonical a social horizon of expectations while the social life processes and practices on the other hand are realized provisionally, under produced conditions, as the respective modalities of production – how, according to what criteria and what forms, localized, is society reflected in relation to its historical blueprint? – And, especially: how is it testified, quasi proven or documented in view of the cultural claim to performance inherent to its self-affirmation, when the process of unrelenting alienation (title growth/progress) of the respectively valid or established, characterizes the living environment?
Even more concretely: How does art function (if at all) in the framework of the abstract program of a socialization, especially from the point of view of its implied logic of (social ex-) change?

Translated from German by Alan Roth

*)>>> As ‘production’ intends not only the production of goods but through its conditions at the same time the fabrication and perpetuation of the patterns and the means of predominant knowledge (‘general intellect’), it is the structural force of societal formation. Also in the sense of legitimizing its social dispositifs or political conditions, since in the framework of systematic knowledge, i.e., a sometimes universitarian-disciplinary, institutional science, “the powers of social production [that] have been produced, not only in the form of knowledge, but also as immediate organs of social practice, of the real life process” are reproduced abstractly, in the formula of a linguistic-textual or semiotic plane. In the sense of the hidden rule of fixed capital, as a moment of abstract domination, production acts as a quasi-external, objective factor in the pattern of relations (cf. abstraction of exchange) of socialized life.
cf. with reference to Marx’s Grundrisse (as quoted here, especially the Fragement on the Machines, as well as the later work of Althusser:
– the analyses by Antonio Negris und Maurizio Lazzarato, as well as other writing on the theory of post-operaism.
– also the concept of society of knowledge (Lane, Bell), as the displacement of industrial production of goods by specific knowledge production in the sense of a resource adding value.



Ana Roldán

Negative Bodies (The Utopic Body)
2016
Neon
30 x 32 cm


Withering Paradisiaca
2014
Table, glass table top, banana flower
65 x 70 x 100 cm (table), flower size variable


Ana Roldán, Withering Paradisiaca, 2014.



This is boring. No, it's not.
2016, 25 x 15 x 5 cm


Ana Roldán, This is boring. No, it's not. 2016, 25 x 15 x 5 cm



Vanilla Overseas
2016
Installation
Variable


Banana as Tourists
2016
Performance Sunday, 26 June 2016, 18:00h
Inspired on “Nature” by Ralph Waldo Emerson

“Nature is not fixed but fluid; to a pure spirit, nature is everything”
Ralph Waldo Emerson


In the tropics reigns perpetual youth. Within the domesticated plantations of goods, the work and value empires, a perennial festival is dressed, and the guest can not imagine how he or she should get tired of it in a thousand years. In the tropics we return to reason and faith. There I feel that nothing can befall me in life, which nature cannot repair. Standing on the bare ground, all mean egotism vanishes. I become a transparent eye-ball; I am nothing; I see all; the currents of the Universal Being circulate through me; I am part, I am a particle of Nature. I am the lover of uncontained and immortal beauty.

In the boiling wilderness and especially in the curved lines of odours bananas, one beholds somewhat as beautiful as one’s own nature. As bones, as bananas. The greatest delight which the tropics minister is the suggestion of an occult relation between people and the vegetable. Yet it is certain that the power to produce this delight, does not reside in nature, but in human, or in a harmony of both. The heat of man or woman labouring under calamity, illuminate the Nature wearing all the colours.



Lena Maria Thüring

Future Me

HD Video, single channel, 16:9, colour, sound, 11 min 45 sec, German subtitles


Lena Maria Thüring, Future Me. Video still.



Lena Maria Thüring, Future Me. Video still.


Die künstlerische Arbeit Lena Maria Thürings beginnt häufig mit Gesprächen, die sie mit anderen führt und zu Texten und Videofilmen weiterverarbeitet. Dabei interessiert Thüring die Frage, wie man anhand individueller Geschichten über gesellschaftliche Systeme und die ihnen zugrunde liegenden Konstruktionen nachdenken kann. Im Rahmen der Education Projekte lud das Museum für Gegenwartskunst die Künstlerin ein, um gemeinsam mit Schülerinnen und Schülern ein neues Werk zu produzieren. In Zusammenarbeit mit der Künstlerin verfassten die Schülerinnen und Schüler ihre Memoiren - von der Geburt bis zum Tod. So entstand eine Reihe semi-fiktiver, teils erfundener, teils autobiografischer Texte, in denen die Grenze zwischen Dokumentation und Fiktion berührt wird – zwischen Erinnerung und Inszenierung. Die Texte wurden anschliessend bearbeitet, verdichtet und verfremdet. Das Resultat dieses Prozesses ist ein Skript, das den Ausgangspunkt für einen Videodreh bildet. So entsteht ein Film, der Züge eines Musikvideoclips hat. Die teils tänzerischen, teils kämpferischen Choreografien und Inszenierungen vor der Kamera füllen die Bildebene. Die von den Schülerinnen und Schülern gesprochenen Memoiren erscheinen als Offstimmen auf der Tonebene – ein polyphoner Sprachteppich im Rhythmus der Bilder.

Søren Grammel, Museum für Gegenwartskunst Basel, Switzerland


Lena Maria Thüring’s art often grows out of conversations with others she translates into texts and videos. Thüring’s guiding question is how individual stories can help us think about social systems and the constructions that underlie them. As part of its Education Projects series, the Museum für Gegenwartskunst invited the artist to collaborate with high school students on a new work. She led the students in a workshop in which they wrote their memoirs, from birth to death, producing a series of semi-fictions: partly invented and partly autobiographical texts probing the boundary between the documentary and fictional registers—between recollection and dramatic imagination. Edited for greater density and added effect, the texts served as the basis for a script used in a subsequent video shoot. The result is a film that bears the hallmarks of a music video. The choreographies and dramatic scenes staged for the camera burst onto the screen with a mix of dancelike grace and combativeness, while the soundtrack features the students’ own offscreen voices reading their memoirs—a polyphonic verbal fabric in the rhythm of the images.

Søren Grammel, Museum für Gegenwartskunst Basel, Switzerland



WORMS Künstler_innengruppe

timewheel-oracle for feminist politics of complexity

on selected dates a one-minute oracle will be transmitted to corner college on midday and midnight. concrete dates will be announced soon.





The one-minute-oracles act as a call to feminist politics of complexity, in search for a joint memory - binding and linking the past, present and future. The oracles have been a fluid practice within Worms since summer 2013 in the context of an intense exchange with the artist duo coexistent. They will be expanded and exchanged throughout the exhibition at Corner College between different artists/groups and collectives.

The rotating future­past­present-wheel will help to bring memories, dreams and predictions together, conjuring a transtemporal place towards a collective déja vu.

The recorded one-minute oracles will be available as documentation in the exhibition, as materials on the Corner College website and on vimeo.

Transmission dates:

26 May midnight https://vimeo.com/168362750
27 May ­midnight https://vimeo.com/168407213
8 June midnight https://vimeo.com/169940078
11 June ­midday https://vimeo.com/170333472
14 June ­midnight https://vimeo.com/170683628
25 June midday https://vimeo.com/172203856



Luciana Freire D'Anunciação

Porosidades do espaço temporalizado [Porosities of a temporalized space]

Skype performance at the opening


Carolina Bergonzoni and Luciana Freire D'Anunciação, An empty house (full of air), Vancouver Fringe Festival, September 2015. Photo: Ash Tanasiychuk.


The project Porosities of a Temporalized Space is a durational performance that plays with time-space possibilities in order to question the way we perceive the chronological time. How can one use the body to temporalize the space or spacialize the time? Possible answers will come with my proposed action: the repetition of gestures. In a defiant way towards the success of such failure driven action, I will subject my body into the gesture repetition exhaustion, and with it I will be open to accidents and its continuous potencial to change the gesture. I will consider everything around me as stimuli, be it the the city sounds, the architecture and objects within the space. Hence I will consider my body a porous entity, which both accumulates and let go experiences and time-space stimuli. In a subtle way the perfomance will go through changes that will be perceived accordingly to the relation which audience member will create within the time spent with the performance.



Distruktur (Melissa Dullius & Gustavo Jahn)

Éternau Alterstereo

Performance / screening on Sunday, 5 June 2016
2 X 16mm, digital sound | Brazil, Germany | 25min | 2011


Distruktur (Melissa Dullius & Gustavo Jahn), Éternau Alterstereo. Poster.



Distruktur (Melissa Dullius & Gustavo Jahn), Éternau Alterstereo. Video still.


Éternau Alterstereo is a performance by Distruktur in the finest tradition of expanded cinema: a dual 16-mm projection accompanied by a collage soundtrack.

The juxtaposition of the 2 screens affects the viewer experience and the images in different ways such as echoing, mirroring, or complementing. Visual stereo hi-fi. The use of distortion lenses during the projection can be applied to invade the projection space beyond the screen's surface.

The soundtrack comments and adds new layers to the images involving the audience in a warm tempest of sound.

The "filmperformance" revisits and multiplies the short film Éternau, a colorful tropical fantasy that pays tribute -not without irony- to genres and clichés of the XX century cinema, eccentric film stars, exoticism and orientalism, by reproducing and reinventing this imagery from a timely and spatial distance.

All the 16mm footage used in the performance was shot in studio and locations in south Brazil between 2004 and 2006. Éternau screens regularly all over the world in film festivals, museums, art spaces and cine-clubs since 2006.

Exhibitions

2015
(S8) MOSTRA DE CINEMA PERIFÉRICO | A CORUÑA
FILMESPERFORMANCE | Academie Minerva Beeldende Kunst & Vormgeving| GRONINGEN

2014
WE ARE ANIMALS | Austellungsraum, Bilingua e.V. | BERLIN

2012
LEERSTAND . 012 / 13 | Kitev | OBERHAUSEN
TRUE TRUE NAME - MAD KATE'S PERFORMANCE SALON | Exit | BERLIN
FILMESPERFORMANCE | PERFORMA PAÇO, Paço das Artes | SÃO PAULO

2011
INTRICATE MACHINES | Mica Moca Project Space | BERLIN
TUDO È Guest Nation Brazil | Ex-Esattoria | FLORENCE




Marie Carangi

Teta Lírica [Lyric tits]

Skype performance on Sunday, 29 May 2016


Marie Carangi, Teta Lírica. Video still.



Marie Carangi, Teta Lírica.


Teta Lírica é uma performance que envolve a relação de atrito entre o movimento do corpo e o instrumento musical theremin. Esse instrumento possui uma antena que emite um campo vibracional no ar, onde as notas musicais se distribuem reagindo à proximidade do corpo. Enquanto o corpo se sacode, as tetas balançam tocando aleatoriamente as notas nesse campo gerando sons. O grau de aproximação entre tetas e antena, associado à velocidade de movimento, gera picos de agudo variáveis, resultando num canto lírico estridente.


Lyric Tits is a performance that involves the frictional relationship between the movement of the body and the musical instrument theremin. This instrument has an antenna that emits a vibrational field in the air, where the notes are distributed reacting to the proximity of the body. As the body is shaking, the tits swing randomly, playing the notes in this sound-generating field. The degree of proximity between tits and antenna, combined with the velocity of the movement, generates peaks of variable pitch which result in a strident lyrical song.


We would like to thank Hauser & Wirth for their support in loaning Corner College the art transport crates used in building the architecture of the exhibition.




Many thanks also to the Präsidialdepartement Basel-Stadt, Kulturabteilung for their supporting the participation of WORMS / Saman Anabel Sarabi / Stefan Wegmüller in this exhibition.






A kind of palimpsest
by Petra Elena Köhle & Nicolas Vermot Petit-Outhenin
consisting of two flags on display on the façade of Corner College, makes a passage from Chapter I to Chapter II of the exhibition/publishing project No-where? Now-here! The Molecular Books of Life – Colleges of Unreason. It will remain on display throughout the time between the two chapters.


Petra Elena Köhle & Nicolas Vermot Petit-Outhenin, A kind of palimpsest.


Chapter I took place from 17.03.2016 to 17.04.2016.
Chapter II is due to take place in November/December 2016.
A text about the work is available in the space, as well as on the website of Corner College.

Posted by Corner College Collective

Sunday, 26.06.2016
16:00h

 

2016 / 201606 / Ausstellung / Finissage
Finissage: New Buenos Aires
with Performances, Talks and Discussions

Mariano Gaich, Thomas Haemmerli, Pascal Häusermann, Jso Maeder, Ana Roldán, Roland Wagner
 

A group exhibition project with
Jonathas de Andrade, Anne Brand Galvez & Company, Mariano Gaich, Óscar Gardea Duarte, Pascal Häusermann, Silvan Kälin, Cristiano Lenhardt, Jso Maeder, Ana Roldán, Lena Maria Thüring, WORMS Künstler_innengruppe.

Curated by Damian Christinger and Dimitrina Sevova, co-curated by Silvan Kälin.

Friday, 27 May 2016 - Sunday, 26 June 2016


Program of the Finissage


16:00h
Discussion on the exhibition concept of New Buenos Aires between the curators, Damian Christinger and Dimitrina Sevova, and the artists Mariano Gaich, Jso Maeder, Ana Roldán.


17:00h
Talk 7 Reasons for the Re-Colonization of Latin America by Thomas Haemmerli.





17:30h
Presentation (Chr.K.) by Jso Maeder (auf Deutsch).




1. Keine exegese.
Denn mir erschiene es hinsichtlich des NBA-projekts gleich einer versäumten gelegenheit, versetzten wir uns nicht in die lage deines briefautors, und liessen die frage zu: was ist das?
/> JM. ‘the grey sphere problem/ cologne version:
«you want to see art and find stuff», 2013
//> wie schon erwähnt: analog zu Canguilhems wissenschaftshistorischer/-theoretischer ausgangsfrage: wovon reden wir überhaupt bei der interpretation/kritik/theorie/geschichte von kunst?

2. (Chr.K.) als rauschen. störung, oder information, die nicht entschlüsselt werden kann? - Irritation ist hier immanenz eines konflikts, da sich assoziativ, d.h. im rekurs auf die bekannten instrumente nicht unbedingt eine botschaft bzw. deren deutung ergibt. Darin liegt eine ähnlichkeit mit der albernheit.

3. Hebt ein sinn mit dem/durch das wort ‘kunst’ das rauschen oder die störung auf - ist dies dann gleich einer information?

4. Was aber ist dann mit der wirklichkeit des rauschens? - Löst es sich als solche auch als konflikt auf, wenn es ‘kunst’ ist - oder hat man sich - dissoziativ - in den konflikt zu begeben/auf das fremde einzulassen/einzufinden, um vielleicht ein drittes, eine vorfällige eventualität eines sinns in betracht zu nehmen. Ein übergang in den möglichkeiten der surprise.

JM/06-016


1. No exegesis.
For it would seem to me, with respect to the NBA project, to be an opportunity forgone if we did not put ourselves in the shoes of the author of your letter, and allow the question to arise: what is this?
/> JM. ‘the grey sphere problem/ cologne version:
«you want to see art and find stuff», 2013
//> as mentioned: in analogy to Canguilhem’s initial question of science history/theory: what are we talking about at all in the interpretation/critique/theory/history of art?


2. (Chr.K.) as noise. Disturbance, or information that cannot be deciphered? – Irritation is here the immanence of a conflict, since a message or its interpretation does not necessarily come associatively, i.e., making use of the familiar instruments. There lies a similarity to silliness.

3. Does a meaning with or through the word ‘art’ extinguish the noise or the disturbance – is this then equal to information?

4. But what about the reality of the noise? – Does it, as such, dissolve as a conflict if it is ‘art’ – or does one have to – dissociatively – enter into the conflict/engage with the other in order perhaps to take into account a third, an early eventuality. A transition in the possibilities of surprise.

JM/06-016



18:00h
Performance Banana as Tourist by Ana Roldán, with the voice of Jen Prosperi.


Ana Roldán, Banana as Tourist.


Inspired by “Nature” by Ralph Waldo Emerson

“Nature is not fixed but fluid; to a pure spirit, nature is everything”
Ralph Waldo Emerson

In the tropics reigns perpetual youth. Within the domesticated plantations of goods, the work and value empires, a perennial festival is dressed, and the guest can not imagine how he or she should get tired of it in a thousand years. In the tropics we return to reason and faith. There I feel that nothing can befall me in life, which nature cannot repair. Standing on the bare ground, all mean egotism vanishes. I become a transparent eye-ball; I am nothing; I see all; the currents of the Universal Being circulate through me; I am part, I am a particle of Nature. I am the lover of uncontained and immortal beauty.

In the boiling wilderness and especially in the curved lines of odours bananas, one beholds somewhat as beautiful as one’s own nature. As bones, as bananas. The greatest delight which the tropics minister is the suggestion of an occult relation between people and the vegetable. Yet it is certain that the power to produce this delight, does not reside in nature, but in human, or in a harmony of both. The heat of man or woman labouring under calamity, illuminate the Nature wearing all the colours.


18:30h
Performance Misti haca masuru* = (Hombre vida ayer) by Roland Wagner.



Dreizehn 'interaktive' Erzählungen.

* Lexikon der Aymara-Sprache:
http://www.perou.org/dico/index.php?lg=es
http://www.ilcanet.org/clasesyservicios/clases.html



We would like to thank Hauser & Wirth for their support in loaning Corner College the art transport crates used in building the architecture of the exhibition.




Many thanks also to the Präsidialdepartement Basel-Stadt, Kulturabteilung for their supporting the participation of WORMS / Saman Anabel Sarabi / Stefan Wegmüller in this exhibition.



Posted by Corner College Collective

Saturday, 09.07.2016
18:00h -
Friday, 05.08.2016

 

2016 / 201607 / 201608 / Ausstellung
Emporium of Benevolent Data
Adrien Guillet, Quentin Lannes
 

An exhibition project by Adrien Guillet and Quentin Lannes

curated by Dimitrina Sevova and Alan Roth.

Sat 09.07.2016 - Fri 05.08.2016

Opening on Saturday, 9 July 2016 at 18:00h.

Sunday, 10 July 2016 at 16:00h: Artist Talks, presentations and discussion.

Finissage on Friday, 5 August 2016 at 18:00h in the presence of the artists.


Opening Hours / Öffnungszeiten:

Wed 15:00h - 18:00h
Thu 16:00h - 19:00h
Fri 15:00h - 18:00h


Emporium of Benevolent Data is an exhibition project by Adrien Guillet and Quentin Lannes, in collaboration with Corner College, based on the two artists’ long-term friendship and discussions. It puts on display their recent works Citracit, a site-specific research-based installation by Adrien Guillet, and the two video installations #IamRebekah and The Next Round by Quentin Lannes.

The title of the exhibition project is inspired by the story “The Analytical Language of John Wilkins.” The latter is a scientist from 17th century enlightenment whose “ambiguities, redundancies and deficiencies remind us of those which doctor Franz Kuhn attributes to a certain Chinese encyclopaedia entitled ‘Celestial Empire of benevolent Knowledge’” with its taxonomy of animals. The exhibition especially considers the distinctive character, listed in this encyclopaedia under the letter “(f)”, of being “fabulous,” as a method of fabulation on historical materials, modern ruins, commodities, and the recent rapid move of virtual-reality technologies into the medium mainstream, revealing a new geopolitics of the virtual and a crisis of representation of the body that inevitably follows from it. The dialogical format of the exhibition invokes a benevolent methodology that breaks with genealogy and linear narrative, détourning ‘cognitive technologies’ to actively speculate and generate deviated narratives that remain open in their “inherent formlessness,” providing the viewer with a “groundless basis of the aesthetic experience.” This methodology is both anachronistic and futurist, which inevitably come together in a live structure, in what Shklovsky describes as a “ludic ruin/construction site that lays a foundation for the subversive practice of estrangement.” The connecting principle of the works on display is the interplay of de-coding and encoding of the technological dispositifs, colonial history, and material knowledge. As their collective motto, the artists refer to what the Red Queen says to Alice about remembering events before they happen as well as events that have happened: “It’s a poor sort of memory that only works backwards.”

The Celestial Emporium of Benevolent Knowledge, to which Emporium of Benevolent Data refers, was an important inspiration for Michel Foucault when writing The Order of Things: An Archaeology of the Human Sciences, for his fabulation on epistemological models out of “the laughter that shattered” and its echo “continuing long afterwards to disturb and threaten with collapse our age-old distinction between the Same and the Other.” This echo shall be heard from the depth of the exhibition, rather than forms of mediation of the ambivalent.

Excerpt from the curatorial text by Dimitrina Sevova and Alan Roth.


Adrien Guillet

Citracit


Adrien Guillet, Citracit view, modified. 2016.


[English and German below]

Citracit est une uchronie, une fiction dystopique et anachronique qui explore les relations problématiques qu’a noué le constructeur automobile Citroën avec le continent africain. Ce projet prend corps par la création d’un ensemble de produits promotionnels modifiés, de sculptures et d’accessoires de facture artisanale africaine. Ces deux types de productions répondent à l’énoncé suivant : « On a retrouvé des cadeaux souvenirs Citracit qui devaient être vendus dans les boutiques des bordjs-hôtels Citroën. Ils ont échappé à l’ordre de destruction d’André Citroën ! ».


[ French above; German below ]

Citracit is a uchronia, a dystopian and anachronistic fiction that explores the problematic relations weaved by the automobile constructor Citroën with the African continent. The project takes shape through the creation of a number of modified advertising products, sculptures and accessories of African artisanship. These two types of productions respond to the following statement: “Citracit souvenir gifts have been found that were to be sold in the boutiques of the Citroën bordjs hotels. They escaped André Citroën’s order that they be destroyed!”

What does Citracit consist of?

As Alison Murray explains in her essay “Citroën Tourism” (see at the end of this document), the failure of the Trans-African Company was skillfully hushed up, so that Citracit was completely forgotten. The main objective of my project is to dig up the Trans-African Company following a strategy reverse to that of André Citroën. Since the communication material of the Trans-African Company was destroyed, I take care of producing them from scratch.

In my project, Citroën no longer exists, and is replaced by Citracit. In this uchronia, the founding of the Trans-African Company went well, and Citroën has not defaulted. In this parallel reality opened up by the Citracit project, Citroën is no longer a constructor of cars but embodies the very notion of exoticism, adventure and travel in the way of popular travel agencies.

I chose to call my project Citracit in order to bring back to the present the history of the Trans-African Company. This tourism project for a chain of camping sites and hotels in Africa was also called Centracit or CEGETAF. From Citroën to Citracit it is enough to delete a “oën” and replace it by “acit.” Three of the letters to append are already present in Citroën. As for the suffix “a,” it is easily created from the “r” of Citroën. In this play of typographical détournement lies the essence of the Citracit collection. Observing more precisely the Citracit logo that can be found ahead of this article on the first page, one can observe that the “acit” of Citracit is pixelized. What looks accidental is done on purpose and bears witness to the détournement style of the Citroën brand, a raw and DIY kind of détournement. The two chevrons of the logo become sacred clan symbols. We discover them once more on the sculptures, as motifs and texture.

Rather than attempting to find out what might have actually been sold in the souvenir gift boutiques of Citroën’s bordjs hotels in Africa, Citracit is taken as a starting point for a sculptural and conceptual reflection. Far from a historical reconstruction, the elements of the Citracit collection of souvenir gifts are a marriage between the African artisan codes and techniques, and a selection of second-hand promotional Citroën products. Online market places (Le Bon Coin, Ebay, Price Minister and Delcampe) allow me to collect at moderate cost advertising objects and tourist souvenirs from Africa I am interested in. The collection process in itself says something about our times, in the sense that it is mainly about online buying and postal shipping. This dematerialization of the act of buying breaks any possibility of a personal narration, and raises questions about the problem of recycling of symbols. Indeed the value of the souvenir gifts brought back from Africa by travelers is almost nil, since they consist of an ersatz of traditional African art, produced for tourists (airport art). While the great majority of Citroën advertising products are initially free, and intended to be given away (notion of reward and of communication) to clients, future clients, employees and institutions. These are thus indeed symbols, intrinsically poor fetish objects to which a strong history is attached.

The artefacts mixing the visual identity of Citroën and African aesthetics take the form of statuettes, clothes, bags, belts, gadgets, etc., where references cross and symbols enter into confrontation. Each element is the stage of a merciless struggle between the visual identity of Citroën and that of Citracit, between Europe and Africa, between cars and tourism, success and failure, serial production and manually produced work. The status of these creations is ambiguous, both travel memories via a tour operator that has never worked, and counter-advertising products, problematic in that they evoke a chapter of French colonial history that has been completely blanked out.


















[French and English above]

Citracit ist eine Uchronie, eine dystopische und anachronistische Fiktion, welche die problematischen Beziehungen auskundschaftet, die der Autohersteller Citroën mit dem afrikanischen Kontinent gewoben hat. Das Projekt nimmt Gestalt an über die Schaffung einer Anzahl von abgeänderten Werbeprodukten, Skulpturen und Zubehör afrikanischen Handwerks. Die beiden Arten der Produktion entsprechen der folgenden Aussage: „Es wurden Citracit-Souvenirs gefunden, die in den Boutiquen von Citroëns Bordjs-Hotels hätten verkauft werden sollen. Sie entgingen André Citroëns Anweisung, sie sollten alle zerstört werden!“

Worin besteht Citracit?

Wie Alison Murray in ihrem Aufsatz „Citroën-Tourismus“ erklärt (siehe Anhang zu diesem Dokument), wurde das Versagen der Trans-Afrikanischen Gesellschaft so geschickt vertuscht, dass Citracit gänzlich in Vergessenheit geriet. Das Hauptziel meines Projekts liegt darin, die Trans-Afrikanische Gesellschaft auszugraben, einer Strategie folgend, die jener von André Citroën gegenläufig ist. Da das Kommunikationsmaterial der Trans-African Company zerstört wurde, mache ich mich daran, diese von Grund auf herzustellen.

In meinem Projekt existiert Citroën nicht mehr und wurde durch Citracit ersetzt. In dieser Uchronie ist die Einweihung der Trans-Afrikanischen Gesellschaft gut gegangen, und Citroën ist nicht Pleite gegangen. In der Parallelwirklichkeit, die das Citracit-Projekt aufmacht, ist Citroën nicht mehr ein Autohersteller, sondern verkörpert geradezu den Begriff des Exotismus, Abenteuer und Reisen in der Art begehrter Reisebüros.

Ich habe für mein Projekt den Titel Citracit gewählt, um die Geschichte der Trans-Afrikanischen Gesellschaft in die Gegenwart zurückzubringen. Dieses touristische Projekt für eine Reihe von Campingplätzen und Hotels in Afrika lief auch unter dem Namen Centracit oder CEGETAF. Um von Citroën zu Citracit zu gelangen, genügt es, ein „oën“ mit „acit“ zu ersetzen. Drei der Buchstaben, die es zu ersetzen gibt, sind bereits in Citroën zu finden. Das Suffix „a“ hingegen lässt sich einfach aus dem „r“ von Citroën herleiten. In diesem Spiel des typographischen détournement liegt das Wesen der Citracit-Sammlung. Eine genaue Betrachtung des Citracit-Logos, das diesem Artikel auf der ersten Seite voransteht, zeigt, dass das „acit“ von Citracit pixelisiert ist. Was zunächst als Zufall erscheinen mag, ist durchaus Absicht und verweist stilistisch auf das détournement der Marke Citroën, eine rohe und DIY Art des détournement. Die beiden Sparren des Logos werden zu heiligen Clan-Symbolen. Wir entdecken sie erneut in den Skulpturen, als Motiv und Textur.


Quentin Lannes

#IamRebekah

2015. HD video, color, silent, 3’20 looped and sound, 7’40 looped.

Dans l’installation vidéo / son #IamRebekah (2015), l'artiste a développé une fiction d’anticipation à partir de deux véritables personnalités publiques – Zoltan Istvan, candidat transhumaniste à la présidence des États-Unis en 2016 et Rebekah Marine, mannequin en situation de handicap et ambassadrice de la compagnie de prothèse Touch Bionics – dont il a imaginé les trajectoires politiques pour les années à venir sur fond de campagne électorale et de cyber-activisme.


In the video / sound installation #IamRebekah (2015), the artist developed an anticipatory fiction on the basis of two true public characters – Zoltan Istvan, transhumanist candidate to the US presidency in 2016, and Rebekah Marine, differently able fashion model and ambassador to the prosthetics company Touch Bionics – of which he imagined the political trajectories for the years to come, on the backdrop of an electoral campaign and cyber-activism.


The Next Round


Quentin Lannes, The Next Round. Video still, 2016.


2016. HD video.

L'installation vidéo et sonore VR Boxing (The Next Round) que l'artiste a développé pour le Corner College se situe dans le prolongement de l'installation #IamRebekah présentée aux Bourses de la Ville en décembre 2015 - janvier 2016 au Centre d'Art Contemporain, Genève. Il y poursuit ses recherches sur les relations entre corps humain et nouvelles technologies. Ici encore, il propose une fiction d'anticipation ancrée dans un futur proche, proposant
un regard sur l'évolution de nos pratiques actuelles.

Il s'est penché sur le récent développement des dispositifs permettant l'immersion dans une réalité virtuelle : par la vue (casques Oculus Rift et HTC Vive), le déplacement (plate-forme de mouvement Omni) et le
toucher (combinaison vibrante Teslasuit). Étonnamment, la plupart de ces dispositifs dits innovants existent
depuis le début des années 90 mais n'avaient pas trouvé un assez large public à l'époque, pourtant tourné vers
les années 2000. Je m'interroge sur les raisons qui amènent le grand public à enfin s'y intéresser aujourd'hui,
presque 30 ans plus tard.

La fiction VR Boxing questionne donc les pratiques du corps – ici le sport et plus précisément la boxe – à l'ère de ces dispositifs de réalité virtuelle.

Un boxeur, dont les mouvements sont enregistrés par des capteurs n'est pas confronté physiquement à son adversaire sur un ring mais combat une simulation numérique d'un autre boxeur, présent dans un autre espace physique, à des centaines de kilomètres de lui. Lorsqu'un coup atteint sa cible, une décharge électrique est envoyée à l'adversaire via sa combinaison. Une journaliste interroge le boxeur sur l'évolution de son sport, son appréhension de la douleur, son rapport au dispositif numérique remplaçant des interactions physiques, etc.

Le tournage s'effectue en deux temps :
captation vidéo traditionnelle à l'École de Boxe Erdal Kiran 1887, Genève.
captation de mouvement réalisée à Artanim, Meyrin.

















The Next Round

The video and sound installation VR Boxing (The Next Round) that the artist developed for Corner College is situated in the prolongation of the installation #IamRebekah presented at the City Grants in December 2015 to January 2016 at the Contemporary Art Center in Geneva. In it, he continues his research on the relations between human body and new technologies. Once again, he proposes an anticipative fiction anchored in a near future, proposing a view on the evolution of our current practices.

He investigated the recent developments of dispositifs that allow immersion into a virtual reality: through sight (Oculus Rift helmets and HTC Vive), movement (Omni movement platform) and touch (vibrating Teslasuit). Surprisingly, most of these so-called innovative dispositifs have existed since the beginning of the 1990s but had not found a sufficiently large public at the time, which was turned towards the years 2000. He raises questions about the reasons that are finally stoking an interest with a larger public today, almost 30 years later.

The fiction VR Boxing thus raises questions about the practices of the body – here, sports, or more precisely, boxing – in the era of these virtual reality dispositifs.

A boxer whose movements are registered by captors is not physically confronted with his adversary in a ring but fights a numerical simulation of another boxer, present in another physical space hundreds of kilometers away. When a punch hits its target, an electrical discharge is sent to the adversary through his suit. A journalist interviews the boxer on the evolution of his sport, his perception of violence, his relation to the numerical dispositif that replaces physical interaction, etc.

The shooting takes place in two phases:
Capturing of traditional video at the École de Boxe Erdal Kiran 1887, Geneva.
Capturing of movements operated at Artanim, Meyrin.



Two flyers for the exhibition. Design: code flow.



This exhibition was made possible by the kind support of the French Embassy in Switzerland.


Posted by Corner College Collective

Friday, 05.08.2016
18:00h

 

2016 / 201608 / Ausstellung / Finissage
Finissage: Emporium of Benevolent Data with Adrien Guillet and Quentin Lannes
Adrien Guillet, Quentin Lannes
 

Finissage: Friday, 05 August 2016, at 18:00h in the presence of the artists.


Emporium of Benevolent Data. Exhibition views from the opening. Photo: code flow.


An exhibition project by Adrien Guillet and Quentin Lannes

curated by Dimitrina Sevova and Alan Roth.

Sat 09.07.2016 - Wed 04.08.2016


Emporium of Benevolent Data is an exhibition project by Adrien Guillet and Quentin Lannes, in collaboration with Corner College, based on the two artists’ long-term friendship and discussions. It puts on display their recent works Citracit, a site-specific research-based installation by Adrien Guillet, and the two video installations #IamRebekah and The Next Round by Quentin Lannes.


This exhibition was made possible by the kind support of the French Embassy in Switzerland.

Posted by Corner College Collective

Saturday, 20.08.2016
18:30h -
Friday, 23.09.2016

 

2016 / 201608 / 201609 / Ausstellung
#work #dance #labor #movements
Johanna Bruckner, Discoteca Flaming Star
 

An exhibition by Johanna Bruckner and Discoteca Flaming Star

curated by Dimitrina Sevova and Alan Roth.

Opening: Saturday, 20 August 2016, starting at 18:30h

with a performance by Discoteca Flaming Star at 20:00h.

Saturday, 20 August 2016 - Friday, 23 September 2016


Opening Hours / Öffnungszeiten
Wednesday / Mittwoch, 15:00h – 18:00h
Thursday / Donnerstag, 16:00h – 19:00h
Friday / Freitag, 15:00h – 18:00h
Saturday / Samstag, 14:00h – 16:30h
(Closed on Thursday, 15 September 2016)


[English below]

Die Ausstellung #work #dance #labor #movements vereint die Installation und Performance Love Any Out of (90 Seconds) End von Discoteca Flaming Star mit den Research-Prozess-basierten Video Installationen Rebel Bodies (Episodes I & II) und Total Algorithms of Partiality von Johanna Bruckner.

Beim Ausstellungsprojekt geht es um die Freude am Anderen, und darum, aus polyphonischen Melodien und gemeinschaftlichen Rhythmen einen unpersönlichen Refrain zu erzeugen. Die Ausstellung bezieht bewusst die aktuellen post-fordistischen Bedingungen und die prekäre Lage kreativer Arbeiter_innen und immaterielle Aspekte der Produktivität heute ein, um auszumalen, wie wir alle als Agent_innen in einem Netzwerk von Beziehungen dringend unsere materiellen Körper am Limit tanzend erfinden müssen. Das veranlasst jede_n von uns unweigerlich, unsere Beziehungen zum Anderen neu zusammen zu setzen. In dieser Bewegung des Zusammenspiels, in der man sich um den Anderen sorgt, „kann das Limit nicht ausgeschöpft werden.“ Das, was Franco „Bifo“ Berardi als für die Produktion von Affekt und Potentialität notwendiges Limit definiert, für ein positive und aktive Verfremdung, die es erlaubt, der technologischen Entfremdung zu entgehen, die auch eine soziale ist. In der Überschneidung der Praktiken von DFS und Bruckner zeigt die Ausstellung Techniken der Bewegung, die für das tägliche Proben in unserem Alltag verwendet werden können, um ihr Publikum linguistisch, affektiv und politisch einzubeziehen. Dazu sind keine besonderen Tanzfähigkeiten vonnöten. Es kann experimentiert und improvisiert werden, um einen „Mutationspunkt“ der Bewegungen eines Körpers zu finden, der präzis eine Praxis des Tanzes definiert – eines Tanzes, der nichts Exklusives verlangt. Die Arbeiten von DFS und Bruckner gehen alltäglichen Praktiken von Tanz und Bewegung nach, Praktiken, die der Wiederholung und der konsistenten Imperfektion bedürfen. Die Probetechniken der Improvisation sind molekulare Werkzeuge, die dazu dienen, Sand ins Getriebe der Kontrollapparate und der kognitiven Automation, die sie im Sinn einbetten – Werkzeuge zur Herstellung anderer Dynamiken in der Beschleunigung der Alltags im maschinischen Kapitalismus. Die flexiblen tanzenden Körper, die wie ein Fischschwarm Bogen schlagen zwischen persönlicher und sozialer Zeit, entrinnen den üblichen Koordinaten des Bodens.

#work #dance #labor #movements ist ein Ausstellungsprojekt in Bewegung, das Tanzbewegungen als persönlichen/sozialen Prozess betrachtet, der den sozialen Körper neu zusammen setzt, einen Körper als besonderes Ding, als temporär stabile dauerhafte Konstruktion aggregierter Teile, eine Konstruktion, die niemals ausserhalb ihres Wesens als Beziehung erfasst werden kann. Sie ertastet, wie der konkrete Körper kollektiv hergestellt wird in Bezug auf Bewegung und Ruhezustand seiner zusammengefügten Teile und deren affektive Resonanzen. Die Bewegung hat ihre eigene Präsenz, schreibt Simone Forti, eine individuierende Kraft des unpersönlichen, verkörperten sozialen Wissens, das es in biopolitischen Begriffen, also mit dem Körper zu denken gilt. Affekt ist eine andere Art, über Macht und die innerliche Konstruktion des Körpers, die Macht zu affektieren oder affektiert zu werden. Der Affekt ist die Macht des widerständigen Körpers, des tanzenden Körpers, von Körper-Kämpfen. Der Affekt verteilt die Körper über einen grossen Raum, offen gegenüber mannigfaltigen Dauern. Der Affekt ist eine Körperpolitik. Foucault stellt fest, dass in Machtkämpfe immer „Körperaktionen“ wirken, und affektive Macht ist produktiv, da sie „die Wirklichkeit ebenso postuliert und herstellt, als sie ihr Grenzen auferlegt.“ In Deleuzes Worten: “Was ein Körper tun kann, entspricht dem Wesen und den Grenzen seiner Fähigkeit, affektiert zu werden.“ Am Limit zu tanzen, affektiert den Körper mehr, als es die Repräsentation tut. Es gibt uns den Schlüssel zum Verständnis affirmativer Politik. Der tanzende Körper vermag es, Negativität zurück zu drängen, sich von ihr zu entflechten.

Affirmative Praktiken betreffen alles, was zum Sinn gehört, affektive Resonanzen zwischen den Teilen der Körper und ihre Differenz, alle Mannigfaltigkeiten und ihre Variabilität und Intensitäten totaler Freude im körperlosen, immateriellen und unpersönlichen Ereignis. „Die Frage des Sinns wird eins mit der Politik.“ Die Ästhetik und Politik des Sinns, in Bezug auf radikale Metaphysik und Bio-Macht gedacht, erotisiert den Körper sowohl in seiner Alltags-Existenz, als auch in der digitalen Sphäre, unregelmässige Körper miteinander verbindend, um die wettbewerblichen Prinzipien in jedem Fragment des sozialen Lebens zu hintertreiben – sinnliche Körper der Solidarität, der Gerechtigkeit und des Rechts. Die Art und Weise, wie sie in ihren künstlerischen Praktiken die Ästhetik des Sinns und die Biopolitik angehen, überschneidet sich in den Positionen und den Arbeiten für diese Ausstellung der Künstler_innen Discoteca Flaming Star und Johanna Bruckner.

Auszug aus dem kuratorischen Text von Dimitrina Sevova und Alan Roth.


[Deutsch siehe oben]

The exhibition #work #dance #labor #movements brings together the installation and performance Love Any Out of (90 Seconds) End by Discoteca Flaming Star, and the research-process-based video installations Rebel Bodies (Episodes I & II) and Total Algorithms of Partiality by Johanna Bruckner.

The exhibition project is about the pleasure of enjoying the other, and sets out to produce an impersonal refrain made of polyphonic tunes and collaborative rhythms. It consciously considers the current post-Fordist conditions and the precarious situation of creative labor and the immaterial aspects of productivity today, to outline how all of us as agents in a network of relations, urgently need to invent our corporeal bodies dancing at the limit. It inevitably prompts each of us to recompose one’s relation to the other. In this movement of interplay, when one takes care of the other, “the limit cannot be exhausted.” What Franco “Bifo” Berardi defines as the limit necessary to the production of the affect and of potentiality, for positive and active estrangement to overcome technological alienation, which is also social alienation. At the intersection of the practices of DFS and Bruckner, the exhibition dis-plays techniques of movement that can be used for rehearsals every day in our daily life, to linguistically, affectively and politically engage its audience. It does not require particular dance skills. One can experiment and improvise, to find a ‘mutation point’ of a body’s movements that precisely defines a practice of dance – a dance that does not require something exclusive. The works of DFS and Bruckner trace the everydayness of practices of dance and movement, practices that need repetition and a consistency of imperfection. The rehearsal techniques of improvisation are molecular tools for putting a spoke in the wheels of apparatuses of control and the cognitive automation they embed in the sensible, tools for introducing other dynamics in the acceleration of everyday life in machinic capitalism. The flexible dancing bodies that arc as a fish swarm between personal and social time, elude the usual coordinates of the floor.

#work #dance #labor #movements is an exhibition project in motion that considers dance movements as a personal/social process that recomposes the social body, a body as a particular thing, as a temporally stable, durational construction of aggregated parts, a construction that can never be conceived outside its conjunctional nature. It probes how the concrete body is collectively produced with respect to motion and rest of its conjoined parts and their affective resonances. The movement has its own presence, writes Simone Forti, an individuating power of impersonal, embodied social knowledge, to be thought in biopolitical terms, i.e., thought with the body. Affect is another way to talk about power and the body’s internal construction, the power to be affected and to affect. Affect is the power of the resisting body, of body struggles, of the dancing body. Affect distributes bodies across a larger space open to multiple durations. Affect is a body politics. Foucault asserts that power struggles always involve ‘body actions,’ and affective power is productive since it “posits and produces reality as much as it sets limits on it.” As Deleuze put it: “What a body can do corresponds to the nature and limits of its capacity to be affected.” To dance at the limit affects the body more than representation. It gives the key to an understanding of affirmative politics. The dancing body can de-limit negativity, disentangle itself from it.

Affirmative practices concern everything that belongs to the sensible, affective resonances between the bodies’ parts and their differences, all multiplicities and their variabilities or intensities of total joy in the incorporeal, immaterial and impersonal event. “The question of sensibility becomes one with politics.” The aesthetics and politics of the sensible, thought in terms of radical metaphysics and biopower, eroticizes the body both in its everyday existence and in the digital realm, conjoining irregular bodies to undermine competitive principles in every fragment of social life – sensible bodies of solidarity, justice and rights. The way they treat, in their artistic practices, the aesthetics of the sensible and biopolitics, intersects in the positions and the works for this exhibition of the artists Discoteca Flaming Star and Johanna Bruckner.

Excerpt from the curatorial text by Dimitrina Sevova and Alan Roth.



Johanna Bruckner

Rebel Bodies
Episodes I & II




The artist Johanna Bruckner continues her research on the organization of collective bodies with “Rebel Bodies”, part II. This large-scale work picks up the Workers Dance League’s inquiry into the possibilities of forming subversive embodied collective subjects. Bruckner’s research based approach sets off from an approximation to marginalized archives of knowledge, and thus creates space for the enunciation of matters which were excluded from hegemonic historiographies. Yet, this process can in no way be reduced to a purely discursive revision or alternative representation (of historiography). “Rebel Bodies” does not only present past (labor) struggles corporeally, but also calls them into the present performatively. Bruckner’s work transposes aspects of subversive choreographic approaches and of worker struggles from the 1930s, the times of industrial capitalism, into the present post-crisis phase of “cognitive” finance capitalism, temporally and spatially; to be more precise, to the Hafencity, which is a prime example of neoliberalism and proceeding gentrification.

(Marius Henderson)


Total Algorithms of Partiality

Hamburg’s Hafencity is currently characterised by continuous transformation. Interest in the most ʻintelligentʼ possible management of the districtʼs infrastructure is being tested by the introduction of new monitoring systems in Hafencity. The concept of logistics is becoming increasingly centralized, to enable optimal co-ordination of commercial, digital and social interactions. In Total Algorithms of Partiality dance scores examining the potential of an altered social logistics in Hamburgʼs Hafencity are developed, during the course of which I look at the current role of contemporary labour organisation and its possible course of action as it is confronted with the controversial developments in Hamburg’s Hafencity. What stance does the trade union take in relation to the complex, unstable situation in the new ʻghost townʼ and what forms of co-operative resistance are set in motion? The artistic work is to be presented in the form of a video installation, a performance, and research material.

This project is concerned with the possibilities of understanding art as an affirmative practice within society and its interwoven infrastructures, deriving from an intensive artistic and scientific examination of the complex logistical developments in Hamburg’s Hafencity and its significant international position.




Discoteca Flaming Star

Love Any Out of (90 Seconds) End




Love Any Out of (90 Seconds) End is a spatial installation and dance performance construction in two different planes. Love Any Out of (90 Seconds) End is a dance piece in which no one ever appears to dance, like in Dance Construction Clothes by Simone Forti. The fabric and its surface are the interiority of the movement itself, which produces an immersive environment not only to look at, but one which the audience walking in the space can feel or inhabit through their moving bodies. Pieces of fabric cut to different sizes, cut across the existing space other temporalities. They are part of the long-term practices of Discoteca Flaming Star with banners, pieces of fabric, glued together and painted or collaged with text which appears irregularly on their surface in poetic lines that make another movement to that of the freely folding, hung fabric. They serve both as backdrop curtains for performances and as an independent, formless architecture within the existing architecture that unframes the space. The movements of the banners shuffle the space; they are a spatial deterritorialization whose disorder forms into words. The interplay between the words makes a sensitive bricolage of Discoteca Flaming Star’s own reflections and the cryptic thoughts that pass through them on everything they are interested in at the moment, which they sometimes carry around with them for months. Sometimes they are concepts, or poems. In the words of DFS, they are think-text-iles.

For their live performance dance construction Love Any Out of (90 Seconds) End, Discoteca Flaming Star take the case of the little girl Esther who trained ambitiously to become a rhythmic gymnast. She wishes to develop to the extreme in her exercises her athletic excellence, to display perfect physical agility, coordination and grace. As it turns out, under the pressure of her parents, Esther eventually left the field of gymnastics to undertake another education that would give her a better future. Now Esther is a woman who graduated from university, which has indeed given her greater opportunities in her life. Her memory has retained, inscribed in her body, the rigorous training of the movements of rhythmic gymnastics. These inscriptions in her body remind her that she did not manage to realize her childhood dream. In the duration of the performance, the dance movements bring her back to the time of her childhood, as they evoke her memory through her body. They follow the dance score of Esther’s 90 seconds of multiple becoming in its imperceptible time, becoming child, becoming animal – A-ESTHER-BECOMING-DIVINE HORSEWOMAN, becoming an imperceptible-impersonal molecule, becoming one and many at the same time in the vanishing time of a 90 seconds duration. A molecular becoming of one/many, to the event of the groundless and infinitely small milieus of a collective action. Esther does not designate a proper name. Esther does not represent a subject, but a desiring assemblage, a collective persona of three and more, as everything written above in capital letters. She is a collective enunciation. The instruction is to love any out of these 90 seconds. To love. A verb in the infinitive! To mark processes like to walk, to love, to dance. The infinitive marks movements of deterritorialization.

Esther dances together with Cristina, and Wolfgang sings. Their dance supposes proximity and distance at the ground level, but in the proximity of their dancing bodies they do not necessarily follow each other’s movements. Their disjointed movements start to intersect more and more often to modulate an invisible diagram of individuation. “I am you” in this passage, with all its intensive components of variability at once. Their movements are at the limit of their bodies and at the limit of their language. Logomotions and body movements interrelate. They double in the becoming of Esther. She is an assemblage – a material production of desires. Esther starts betraying her own memorized techniques of rhythmic gymnastics, displacing them with more improvisational and free movements, eluding the repressive apparatus and disciplining process to lose control, to push her desires to the real life experience, with the sensible quality of emotions and the fabulating movements coming from language. Cristina’s movement techniques are elaborated on the basis of Maya Deren’s and Simone Forti’s systems of movements and techniques, and philosophy.

Love Any Out of (90 Seconds) End opens a new path of imaginary/experience in order to give her a score to become conscious of her difference, embodied in the singularity of the therapeutic process. It is not remodeling Esther’s subjectivity. It is a new production in the dance movements “to recompose her existential corporeality and to get out of her repetitive impasses.” It is both a politics and an aesthetics of irreversible duration.

Love makes the movements a dance of refusal. Love is not work! “dance! no work!” Dance forms life! Dancing molecules, disconnected and at the same time all together. Every movement becomes a joyful autonomous event in a mass tune that gives the courage to Esther to traverse the abyss of the 90 seconds of death, of non-being and crying. “I die. I die.” Which means, paradoxically “I leave. I leave.” And give her the power to fight for the world. “I am you.”

Excerpt from the text on DFS's work in the exhibition, by Dimitrina Sevova and Alan Roth.

Posted by Corner College Collective

Saturday, 08.10.2016
18:00h -
Friday, 21.10.2016

 

2016 / 201610 / Ausstellung / Performance
begone before somebody drops a house on you too
Gregory Hari
 




An exhibition by Gregory Hari

with the support of Lavdrim Dzemailji

curated by Dimitrina Sevova and Alan Roth.

Opening: Saturday, 08 October 2016, starting at 18:00h
with a performance by Gregory Hari at 19:00h.

Saturday, 08 October 2016 - Friday, 21 October 2016

Further performances by Gregory Hari on Friday, 14 and Friday, 21 October 2016, 20:00h (door opens 19:00h).


Opening hours during this exhibition / Öffnungszeiten während dieser Ausstellung

Wed 15:00h - 18:00h // Mi 15:00h - 18:00h
Thu 16:00h - 19:00h // Do 16:00h - 19:00h
Fri 15:00h - 18:00h // Fr 15:00h - 18:00h


begone before somebody drops a house on you too


“Suddenly, this story came in and took possession. It really seemed to write itself.” L. Frank Baum, the author of The Wonderful Wizard of Oz (1900)


With his exhibition project at Corner College, Gregory Hari undertakes an experiment with the medium of exhibition and performativity, site specificity and the relation between mapping and performance. He further explores issues on belonging and territory, home and journey, inspired by the contexts of the novel The Wonderful Wizard of Oz, written by Lyman Frank Baum and published in 1900, and its most successful and popular movie/musical adaptation starring 13-year-old Judy Garland, which launched in 1939 to six Oscar nominations, and become influential for the new era of Walt Disney and the later Disney Empire, and by their aesthetic, social and political impact in the mainstream and in subculture.

The artist generates a performative map or diagram of movements and fragments that will open up a process, and project power-knowledge relations that reveal the hidden social and political issues and their potential to aesthetically and critically engage the audience. But the production of the event is not an ‘exchange of knowledge for power,’ nor a symbolic force. The performance confronts the audience with its archival moment across various narratives structures, and scatters in an-other geography of a journey as a vehicle for metamorphoses that go through contradictory permutations, as every act activates on this topography the performing strategies of an Odyssey. The topography becomes a “science of the sensible – the science of total joy,” a chaosmos journey of micro-physical mapping and mind-map of micro-desires. They are a journey as a cognitive concept and narrative future of a body, interwoven with Gregory Hari’s research materials, which displays the source of his movements and directions.

The artist situates himself on a yellow strip around one meter wide, where his performance takes place. He improvises ‘across seemingly exhaustive ground.’ It is a process of taking place – a particular place and a particular time. The performance transforms these temporal and spatial categories to a “threshold” that un-rolls an-other flexible and self-multiplying strip of impersonalized and individuated, self-constructed temporal and spatial relativity that constitutes a world yet to be explored. The artist’s performance starts from this particular coordinate of time and space where it takes place and places things in context. With this, the artist emphasizes a dependence of his performance on its specific chronotope (Bakhtin) that animates a process of ‘endlessly’ expanding its performative territory with the time of the body’s movements and the “time space” of the traveler who carries this place with themselves as they travel through it. A journey like a blank page.


“Green clothes the earth in tranquillity, ebbs and flows with the seasons. In it is the hope of Resurrection. We feel green has more shades than any other colour, as the buds break the winter dun in the hedges. Hallucinatory sunny days.” (Derek Jarman)

“Did they secretly drag up in all those emerald dresses that the girls had cast off?” (Derek Jarman)


Hallucinatory sunny days and perception of landscape in a journey, a journey in colors separated in a three-strip process by diffraction and subtraction! Transferences! For this dazzling rainbow palette, “brilliant, gorgeous, painted, gay”:


Red stands for the ruby slippers/red shoes
Yellow stands for the yellow brick road
Green stands for the Emerald City of Oz
(Gregory Hari)

Green: “Green is a colour which exists in narratives … it always returns. The grass is always greener on the other side of the fence.”
Yellow: “The nimbus of the saints, haloes and auras. These are the yellows of hope.
The joy of black and yellow Prospect Cottage. Black as pitch with bright yellow windows, it welcomes you.
Yellow is a combination of red and green light. There are no yellow receptors in the eye.”
Red: “Red protects itself. No colour is as territorial. It stakes a claim, is on the alert against the spectrum.”
“Red explodes and consumes itself.”
“Liverpool. Early 1980s. I join the march. V. (REDgrave) says, ‘Derek, you carry a red flag.’ There are fifty of us. The ghostly galleon of revolution past. We march through the deserted and derelict city with the sound of the wind whipping through the flags, a rosy galleon on the high sea of hope. The sunlight dyeing us red. Shipwrecked on the last coral-reef of optimism. Someone says to me, ‘The red of the square is beautiful. The root of the red is life itself.’”
(Derek Jarman)


Excerpts from the curatorial text by Dimitrina Sevova (PDF, 181KB).


Diese Ausstellung ist Teil der Plattform Transferences: The Function of the Exhibition and Performative Processes in the
Practices of Art – Questions of Participation
von Corner College, konzipiert von Dimitrina Sevova und Alan Roth, und wird unterstützt vom Nachwuchsförderungsprogramm der Pro Helvetia.

Posted by Corner College Collective

Saturday, 21.01.2017
18:00h -
Sunday, 19.02.2017

 

2017 / 201701 / 201702 / Ausstellung
Theorem 4. Aesthetic Agency and the Practices of Autonomy
Part I: Critique de l’économie politique de l’atelier d'artiste

Lisa Biedlingmaier, San Keller, Vadim Levin, Maria Pomiansky
 




A group exhibition with Lisa Biedlingmaier, San Keller, and Maria Pomiansky in collaboration with Vadim Levin

curated by Dimitrina Sevova and Alan Roth,
curatorial interns Miwa Negoro and Swati Prasad.

Saturday, 21 January – Sunday, 19 February 2017

Opening: Saturday, 21 January at 18:00h
Finissage: Sunday, 19 February at 17:00h

Artist talks and other accompanying events to be announced.

Opening Hours
Wed/Fri 15:00h – 18:00h
Thu 16:00h – 19:00h

The exhibition/project will take place in two parts, of which this is the first:
Part 1: Critique de l’économie politique de l’atelier d'artiste
Part 2: Der Prozess / The Trial



Part 1: Critique de l’économie politique de l’atelier d'artiste

The focal point is on the relation between the studio, artist labor, art-work, aesthetic practices and their economic conditions. The studio might be a space where a certain degree of autonomy can be detected. The exhibition/project expresses how productivity in art depends on the relation between the artist’s liberty and the economic and social conditions of art production. The studio is part of the productive flow of relations, subjectivities, institutions, places, materials, techniques. At the same time it is in the grammar of autonomy, aesthetics and politics. There are many possible places and non-places of the studio, but it can still be put mainly in two orbits, as an independent space of a solitude where the artwork is produced, and a more open idea of the studio, where the artwork is performed by artist-labor. It is often a shared space, a space of collaboration that engages with the performative domain of the aesthetics and politics of art production and its economic and social reality.

Lacan’s statement “I replaced Freud’s energetics with political economy” goes one step further and openly engages psychoanalysis with the ‘immanent’ critique of liberal capitalist society. Following psychoanalytic practices, the project Part I: Critique de l’économie politique de l’atelier d’artiste incorporates ‘immanent’ critique in the politico-economic relations in the production of art to reflect and analyze in terms of movements and vectors the current conditions of artist-labor and art-work-life social relations.

It also adopts the critique of the political economy as a method to look at the studio space and the practices there, its social and political impact on art, on the labor and life of the artist. To what extent can the studio support the autonomy of the artist’s practices, and what is its emancipatory political potential? Giorgio Agamben attributes to the Situationists an “unavowed awareness that the genuinely political element consists precisely in this incommunicable, almost ridiculous clandestinity of private life.” The art labor and art-work are inevitably incorporated in the critique of a broad socio-economic process. At the same time, they will remain ‘ridiculously clandestine’ attitudes of free labor outside of the labor-power. In this way the project looks at how a return to critique and autonomy practices can perpetuate an emancipatory politics in art. They can be used as a model for an exit from the ‘hegemonic’ capitalist discourse and capitalist production of value. Autonomy practices, aesthetic immanent critique and politics invent new living forms and socio-economic relations outside of capital, like generic commons, undercommons, etc.

The project reflects on self-organized and self-managed aspects of the artist studio space, the conditions of the artist’s labor and the productive process of art-work there. Work is here used not necessarily to designate an art object. The working environment of the studio can be seen from many angles. At the same time, it remains a place where (un)productive forces play disalienated forms of labor in the work and life of the artists. The artist remains a free laborer who betrays the labor-power and slows down, or accelerates a virtuoso productivity.

The project inevitably asks, can the artist make a living from their art? How can they sustain their working environment relying on income from their artistic labor and art-work. Often, they inhabit the studio mostly in the time in-between several other jobs, while the studio is transformed and adapted to multitasked functions driven by project-oriented work, digitalization and internet. The productive process is automated between two applications for grants, in a diversity of institutional commands by e-mail and research work mostly based on Google searches. Being an artist is a day-to-day job of professional occupation, and at the same time a form of life that can scatter into a new sociality.

At the same time there is indeed a reality gap between the image of the autonomous artist and the actual working conditions of living artists, and how their productivity and the conditions of art production are socially evaluated and valued, between the relative ‘autonomy’ of the studio and today’s institutionally driven art, complemented by the erosion of the autonomy of art by different neoliberal dynamics and the restructuring (financialization, digitalization, gentrification) and the ideology of the free market that inevitably machinically signifies the social production and art, too. Although the artist precariat is potentially revolutionary and resistive, Hito Steyerl describes the instrumental precarization in the third stage of institutional critique that leads merely to “integration into precarity” of artist labor and working and living conditions. “What remains hidden in this – a new ‘hidden abode,’ the practicing artist remains outside of the employment.” At the same time, nowadays the art production process has been connected to digital productive flows, automated and highly professionalized by accelerated competition on a global scale, that disempowers the possibilities for collective, community forms of art, work and life.


Theorem 4. Aesthetic Agency and the Practices of Autonomy

The operations of Moral and Politics, Aesthetics and Immanent Critique, invite a re-thinking in the sense of the moral fight (Nietzsche), as Gilles Deleuze puts it in his essay about Foucault: “A man-form, then, appears only in very special and precarious conditions,” as a dissolved man. All form is a combination of all forces, a mix of human and non-human in the process of individuation. This precarious man-form is the extra-human ethical being of politics. Indeed, in Deleuze and Guattari’s words, “Politics precedes being. Practice does not come after the emplacement of the terms and their relations, but actively participates in the drawing of the lines; it confronts the same dangers and the same variations as the emplacement does.”

The notion of autonomy is investigated and reflected from various perspectives, without a model, as it takes place in the realms of aesthetics and of politics, in the social and the personal, art and practices. Autonomy is distinct from knowledge. As an intensification of power it regroups and redistributes. Despite this, the term of Autonomy has become increasingly derided in art and criticised as egotistical or even attributed to the hegemonic western ideology of the individual, as a result of the connection between the autonomy of art and the autonomy of the artist, and the equalization of both to aesthetic autonomy.

Aesthetic autonomy goes beyond the art context to embrace life as a whole. Aesthetic experience as a practice of philosophy has never been necessarily attached to the field of art and the artwork, and has mutated to the concepts of aesthetics of existence and of life as a work of art (in Foucault’s conceptualization) – “existing not as a subject but as a work of art.” The aesthetics of the ephemeral of the event of political subjectivity and of temporary autonomous zones are dispositions of time or of a brain. They draw “new cerebral pathways, new ways of thinking.” As Deleuze says: “I think subjectification, events, and brains are more or less the same thing.” What can emerge from these practices is the creative struggle that is resistance and invention. Art is resistance, too. These new subjectivities are precarious minor social formations, and to the extent that the artist is part of the precariat in the informal economy, they practice aesthetic autonomy, too. Peter Osborne writes that “aesthetic autonomy is indifferent to the art/non-art distinction,” which is close to Jacques Rancière: “To the extent that the aesthetic formula ties art to non-art from the start, it sets that life up between two vanishing points: art becoming mere life or art becoming mere art.” 


Excerpt from the curatorial text by Dimitrina Sevova in collaboration with Alan Roth (in printable format as PDF, 276KB)



Lisa Biedlingmaier

undefined
2014. HD video.


Lisa Biedlingmaier, undefined. 2014. Video still.


For centuries, the studio has been perceived not only in its pragmatic function as a workshop or thought laboratorium but to a much larger extent as a place in which the premises of individual artistic identity can be fathomed.

The interior, whether a home office or a study room, provides clues to the personality living or working there.


Das Atelier wurde über Jahrhunderte nicht nur in seiner pragmatischen Funktion als Werkstätte oder gedankliches Laboratorium registriert, sondern in viel grösserem Masse als ein Ort empfunden, an dem die Prämissen für die individuelle künstlerische Identität ergründet werden können.

Das Interieur, ob Privatzimmer oder Arbeitszimmer liefere Indizien über die in ihm wohnende bzw. arbeitende Persönlichkeit.



San Keller

At Work (Cuckoo)


San Keller, At Work (Cuckoo). 2008–2011. Series of 36 photographs. Studio of Rosen/Wojnar, Berlin 28.06.2010.


In At Work (Cuckoo) lässt sich San Keller von seinen Künstlerfreunden in deren Ateliers und an deren Arbeit fotografieren.


The L-Word - No mas metales
2015. HD video, 56 min.

Der Schweizer Konzeptkünstler San Keller (1971) reist mit der Absicht nach Los Angeles, auf der Strasse einen Kunstsammler anzutreffen, der ein Werk der amerikanischen Pop-Art-Ikone Andy Warhol (1928-1987) aus seiner Sammlung gegen sämtliche Werke des politischen Zeichners und Karikaturisten Martin Disteli (1802-1844) im Besitz des Kunstmuseum Olten tauschen würde.

Auf seinen Streifzügen rund um Hollywood entfernt sich San Keller immer weiter vom ursprünglichen Ziel, einen Sammler zu finden, der einen Warhol gegen den Oltner Disteli-Nachlass tauschen würde. In den Vordergrund rückt stattdessen die Suche – die Suche an sich, oder aber die Suche nach dem Bild. The L-Word - No mas metales ist jedoch auch eine filmische Reflexion über ein mysteriöses L-Word (Los Angeles, Liebe, Langeweile, Loch oder Liberalismus?), über die Suggestionskraft von Bildern, die Macht des Geldes und vor allem über die Freiheit - die Kernthemen Distelis also.



Maria Pomiansky in collaboration with Vadim Levin

In situ studio


The artist’s studio. Photo: Maria Pomiansky. Courtesy the artist.


What is the role of the painter's atelier in contemporary art practice? The archaic features are mixed with the needs of today's life. A painter 's atelier is one of the last bastions of non-computer activities. It can be interpreted as a manifestation of humanity. And it’s not by chance that technique is put back on stage and reworked through the lenses of conceptual art to produce paintings that elaborate on the reality surrounding us.

I would like to produce a painting which would change during the time of the exhibition and would be an attempt to view the atelier as a sacral symbol, a game where the human brain, the hand and the eyes play the leading roles.

Posted by Corner College Collective

Friday, 24.02.2017
19:00h -
Sunday, 19.03.2017

 

2017 / 201702 / 201703 / Ausstellung
Theorem 4. Aesthetic Agency and the Practices of Autonomy
Part II: Der Prozess / The Trial

Robert Estermann, Jakob Jakobsen, Lara Jaydha, Jso Maeder, Aya Momose, Josefine Reisch, Saman Anabel Sarabi
 


Invitiation card for the exhibition. Still from Orson Welles’ The Trial, 1962. Graphic design: code flow.


A group exhibition with Robert Estermann, Jakob Jakobsen, Lara Jaydha, Jso Maeder, Aya Momose, Saman Anabel Sarabi & Josefine Reisch

curated by Dimitrina Sevova and Alan Roth,
co-curated by Miwa Negoro and Swati Prasad.


Opening: 24 February 2017, 19:00h

Opening Hours / Öffnungszeiten
Wed/Fri 15:00h – 18:00h
Thu 16:00h – 19:00h


Saturday, 25 February 2017, 17:00h (doors open 16:30h)
17:00h Screening and artist talk by Aya Momose, followed by a discussion between Aya Momose, Miwa Negoro and the audience.
Japanese artist Aya Momose will screen Exchange Diary (2015-; 48 min), made in collaboration with Korean artist Im Heung-soon.
19:00h Discussion between the artists Robert Estermann, Jakob Jakobsen, Jso Maeder, Saman Anabel Sarabi & Josefine Reisch and the curators Dimitrina Sevova and Alan Roth.


Thursday, 2 March, 19:00h
Screening of The Judgment, video by Kosta Tonev, and discussion with the artist.


Saturdays, 4 and 11 March, 14:00h
INTERMEZZO (locus solus), in which the audience is invited to a public visit of Jso Maeder's storage to select a few wrapped pieces or parts of installations, based on their wrapped shape, without seeing them. They will then be transported to Corner College for a public mis a nu par un objet.

14.00h: Meet at Bhf. Oerlikon, bus stop 62 direction “Schwamendingerplatz”, or
14.15h: Werkerei Schwamendingen, Luegislandstr. 105, 8051 ZH (Eingang Halle)
17.30h: Corner College (le public mis a nu par un objet)


Sunday, 19 March, 16:00h
Celebrating high times on a Sunday afternoon with a small reading out of the book Josefine, a special high time music set, some tea and gin. high times at Corner College: http://www.hightimepublishers.com


“The machine has to be rediscovered under the sensibility which is no more than a theatrical effect of it.” (Jean-François Lyotard) 1
“Someone must have traduced Joseph K., for without having done anything wrong he was arrested one fine morning.” Despite that “K. claims to be innocent and doesn’t even know the Law,” he has been convicted.

The novel Der Prozess by Franz Kafka is appropriated for the title and gives the direction of the second part of the exhibition project Theorem 4. Aesthetic Agency and the Practices of Autonomy. Written between 1914 and 1915, it pulls the reader into a maze of ambiguous biopower entity control by a remote authority, where the nature of the crime is never revealed to either the character Josef K. or the reader. The world is subject to rules and obeys laws – there is order in this world, and knowledge of this world comes by knowledge of its ‘law,’ as Isaac Newton might have said. At the same time, it is haunted by a radical instability. Laws can change. They can be valid for a time but not eternally. The novel remained uncompleted, in a state of ever incompleteness, which turns out to be a concept. Some lines cross over between The Trial and In the Penal Colony, a short story written in October 1914 and published 1919, which describes a sophisticated machine, a device of torture and execution that carves the sentence on the skin of the condemned prisoner before letting him die, all in the course of twelve hours. Kafka, who himself studied law and performed an obligatory year of unpaid service as a law clerk for the civil and criminal courts, was obsessed with the system of justification and the process of justice, of law and aesthetics.

“Baumgarten published his Aesthetica, the first aesthetics, in 1750. Kant would say of this work simply that it was based on an error. Baumgarten confuses judgment, in its determinant usage, when the understanding organizes phenomena according to categories, with judgment in its reflexive usage when, in the form of feeling, it relates to the indeterminate relationship between the faculties of the judging subject.” (Lyotard)

The flashing K-function in the middle is a micro intra-process of reflective actions in a pre-reflexive impersonal consciousness – the real(ity) of virtuality, the power to affect and to be affected, what Deleuze defines to be a theater without a stage. There is no personal inputs by the actors, who do not embody characters, but are only masks behind which there is nothing, just another mask. Their performance of repetitive clothing veils the plane, and is the collective acting of the three avatars Percept, Affect, Concept, which constitute the forces of individuation and the positive estrangement or displacement that clothe the event and transform it.
In Hegel’s negative dialectics, they are Abstract, Negative, Concrete, or Immediate, Mediated, Concrete. In Deleuze, they are transformed into the positive affirmation of No! The immanence evokes the masks and hiding, crime, and the false (the fancy, or funky). The politics of justice, which is not only in the ethical but also in the aesthetic domain, deals with the distribution of force between the layers of violence and control.

The exhibition tests the ‘other’ logic of Labor of negativity (Hegel), which resonates in Karl Marx’s Theories of Surplus Value, in which he constructs the notion of an “other” to “consciousness” or an “other” to “productive” labor as the case may be. The ability of labor to recognize itself in terms of its own otherness, or to ‘create a void in front of themselves.’ (Althusser) Only in the void can solidarity become concrete. There is a striking proximity between the theory of surplus value and the aesthetic sublime, that in the economy of translation comes even closer the politics, aesthetics and economics.

Excerpts from the curatorial text by Dimitrina Sevova, in collaboration with Alan Roth.

We also refer you to the first section of the curatorial text for Part I of this exhibition project, which applies to both chapters.



Robert Estermann

Out of the Fog
2016. Video, HD, 20′35″, looped.




I let the rider ride. I set up a spectacle („I“ not being a less speculative claim than „spectacle“). Everywhere (prism-like), are uncounted drum-like cylinders (to use an image) with reflecting surfaces autonomically revolving around themselves, deflecting the light from all the other cylinders. The wobbling „man with the movie camera“ is just one of these revolving cylinders in this beach-scape. There is no relationship between them – none. Out of the fog is being recorded just after sunrise. Coming out from the cold into the warm, the glasses of the camera are foggy when starting recording. During the video, the fog on the glasses is slowly fading away. Speaking of revolving cylinders, the earlier work Distant Riders consists of a larger-than-life model of a zoetrope, a revolving cylinder with vertical slices on it, one of the first cinematographic devices.

„In this larger-than-life zoetrope, the individual riders merge, so to speak, into a single rider. The landscape in the background of the nine photographs also seems to coalesce into a hyper-landscape. The background does not refer to a concrete geography more closely defined in temporal and spatial terms, but is rather the visual correspondence of a more diffuse kind of “beach-likeness” with a heavily metaphorical element: distance, culturally protected zone, state of emergency. Once again we are dealing not with a literally political discourse - for which read sexually reformist, generally “liberationist” – although it is also possible to discern an atmosphere of this kind in Distant Riders. This atmosphere is produced by the hallucinatory effect of the signifiers of the 1970s which Estermann is quoting here, apparent in the slightly voyeuristic gaze with which the riders enter the field of vision. One consequence of this hallucinatory treatment of signs may be that another context interposes itself over the sexually reformist and generally “liberationist” discourse of the 1970s: the question of the economic, political or even erotic relationship between humans and animals. But how does this theme arise, when it is neither formulated as an ethical programme nor idealised as a mythical unity from the past? As has already been discussed, the slight sexualisation of the motif of the girl rider is too faint to locate the sequence of images in the sphere of the obscene, let alone the perverse. And the atmosphere of the images, with their location in a distant, undefined coastal zone is too restrained to be subjected to a moral discourse. One key may be the landscape. Its significance as a trope may be better understood if we compare it with the function of the scenic refuge zone commonly featured in dystopias: usually this is portrayed as a zone contrasting with the civilised space, which is why it is depicted alternately as an inaccessible desert far from city life, as in Brave New World, as a hidden, protected forest at the end of the last railway line as in Fahrenheit 451, or as a distant coastal zone as in Distant Riders. This counter-world is rich in sensations and full of sensual freshness (in Fahrenheit 451, this is represented by the constant light snowfall in the protected zone of the forest). But as it is freed from the everyday, and its inhabitants are often in a kind of temporally and/or culturally exceptional condition, there is always something unreal – phantasmatic – about the counter-world. This makes its psychological function all the more important: it allows the citizens to experience sensomotoric renewal or even awakening (as opposed to social anaesthesia), psychical continuity (as opposed to schizoid fragmentation), and develop ethical care (as opposed to moral cynicism).“
Excerpt from: Improper Thinking by Daniel Kurjakovic
in: Robert Estermann, Pleasure, Habeas Corpus, Motoricity. The Great Western Possible, ed. Susanne Neubauer, Kunstmuseum Luzern, Museum of Art Lucerne, edition fink, Zurich, 2007, ISBN 978-3-03746-105-1


Scenic Tongical
2015, two artist’s newspapers, concept with Georg Rutishauser, Edition Fink, Zürich.






Jakob Jakobsen

Antiknow Scene 2. The Body Event (Plumbing). On improvisation, unlearning and antiknow
2013-2017. Work-papers from the Antiknow Research Group and one speaker playing unskilled music. From Antiknow. A pedagogical theatre of unlearning and the limits of knowledge. Directed by Jakob Jakobsen.




The installation Antiknow is a collective effort into unlearning and nonknowledge as critical strategies. This, in a time where institutional and frozen forms of knowledge and learning shaped by economic forces increasingly characterise education and society in general. The term ‘Antiknow’ was originally introduced by John Latham as his course title for the Antiuniversity of London in 1968. It is doubtful whether this course ever took place.

During his six-month residency at Flat Time House, starting in April 2013, visual artist Jakob Jakobsen engaged in elaborating possible meanings and consequences of the term Antiknow in the current context of so-called knowledge economy. Jakobsen set up the Antiknow Research Group, involving young artists from FTHo’s MFI Graduate Group as well as a number of artists, writers and therapists with whom Jakob has collaborated for many years. This led to a series of meetings focusing on Antiknow in relation to work, politics, art and resistance. Marina Vishmidt, Maria Berrios, Howard Slater and John Cunningham were invited to reflect on specific themes within these fields of social practice. Also involved in the group were John Hill, Mary Vettise, Henrik Heinonen, Claire Louise Staunton, Katriona Beales, Mohammad Namazi, Danny Hayward, amongst other incidental participants.




This installation is one of the consequences of Antiknow and involves experiments into drama for non-actors, unskilled music and free drawing. The installation refers to FTHo as a ready-made stage, using as a point of departure the anthropomorphic scheme that John Latham proposed for the building, where each room is dedicated to a specific part of the body: The Mind, The Brain, The Body Event (Plumbing), and the Hand. In the space, a mechanical theatre was developed. The various themes investigated by the Antiknow Research Group are presented as a drama (or anti-drama) between sets of loudspeakers and synchronised lighting. The scripts have been produced collectively using transcriptions of the Antiknow Research Group meetings. The improvised/unskilled music is produced together with Paul Abbott and Gabriel Humberstone.



Lara Jaydha

Broken and open
2017. Moving Image | A series of digital collages (work in progress)




We reach out for a real connection to stay afloat in a sea of submerged emotions. From a deep sense of longing for connection, comes the desire to open and share parts of ourselves. We allow ourselves to be vulnerable and in doing so realize the fragility of our existence. There is an attempt to hold on to the present but everything keeps slipping away. Endings are often unresolved.

This existential truth is terrifying but at the same time, I find there is a sense of beauty and calm in it. I am interested in exploring how we perceive the idea of fragility and its association with gender, form and stereotypes. Why is it looked at a sign of weakness? How can we change this notion? Can we look at it without judgment? Could it symbolize a source of inner strength?



Jso Maeder

INTERMEZZO (locus solus)
2017. Two visits to the artist's storage, on 4 and 11 March 2017. Public mis a nu par un objet.


B°N-BATTERIE
2017. Video installation.




B°N-BATTERIE. amuse-um/TRICKSTER’S TANK

„We are getting rid of ownership“ - John Cage, „Silence“

The trickster, showing up like sort of keeper of the gap as far as he widens out a line normally/normatively marking a dualities’ explicit distinction/discrimination, that appearingly determines and legitimises a difference between two positions like also hierarchic classification (true/contingent, active/passive, dominant/submitted to etc.), to a proper area in between (thus: a gap), compromising/corrupting these positions and so far the ‚system’ of segregations establishing them as obligatory rules valid by its law/language.

Therefore, like a dissimilation by not correctly choosing a position but taking the gap, the trickster breaks the dialectic matrix of a historiography basically reflecting differences as functions of volition and, by consequence, a notion of rationalism of decision making character, whose logics always justify that some corpus has/is to rule: a fix scheme of continiouity or change in an antagonistic scenario, succession or revolving replacement regarding dominant positions as given by an abstract order within rulers/winners and victims/loosers (reproduced in terms of ‚culture & science‘ by modern disciplinarity in theory like economics as a referential construction of social efficiency). So an agent provocateur, if on purpose or not, disobidient and without respect in a way of not reaching any given part in such dispositions, one hardly can localise the trickster’s ambitions or motivations.

Like an analog concept of dis-sense and an incongruousness under that aspect of being regardless of culturally prevalent principles/the institution’s régimentality, his trouble making behaviour/inter-actement is morelike similar to a setting/display like the one of bricolage’s (a way of disobidience in/through matters of knowledge in comparison to the ingenieur/professional standards): what is brought together/assembled and taking place in a combination, is not functionally predefined by controlling instances nor can consequently become conclusion of this kind - there’s more the occasion/opportunity than a goal in the bricoleurs parapractice, a non-repetitve making of also temporally, not a stepwise efficient development from a to b, or a specific sense that predetermines logically the actions, which also and finally means that they remain conflicting as they cannot automatically be assumed as useful being connected with an intentionally positive assertion.

Text: Jso Maeder



Aya Momose

Lesson (Japanese)
2015. Video, HD, 7′16″, looped.




Employing theatrical techniques, Momose often depicts situations in which voices and bodies diverge, or departures from stated intentions, to generate new shades of meaning. In this work, in the bottom of the screen, there is a Japanese written with a roman character / pronunciation and English translation distorted as an “(fictional) Educational Video for Japanese Language Learners”. The sign language is false after all, the definition and the context which the gesture and the voice (sound) sends becomes separated eventually. The separation is suddenly broad between the expression on her face and the voice, and the parole subjective becomes ambiguity / multiple. Here, there’s a fight for ethnicity and the language, between the sorrow and the grievously of the oppressed / enforced, and the cruelty and deception by the oppressing / enforcing. Beyond its non-expression mask, there’s an alternation theater made by their change of the voice’s intonation.


To Cuddle a Goat, a Poor Grammar Exercise
2016. Single channel video, HD, 13′50″.




Distinguished by its adroit ability to overturn the link between voice and body, Momose’s works have dealt with misunderstandings and discrepancies associated with communication, and reversals in the relationship. In the recent work, To Cuddle a Goat, a Poor Grammar Exercise, which includes scenes filmed in Mongolia, she explores different approach to the previous, and expresses the ambiguous nature of its subjects and the uncertainty of relationships with others. The work implies the oppressed subjects and bodies in the history beyond any boundaries.



Saman Anabel Sarabi & Josefine Reisch

How to sing in the midst of the capitalization of art: the desirable table of Josefine. An orientation device
2017. Installation, table, cloth.




Saman Anabel Sarabi and Josefine Reisch have drafted their own orientation device to orient themselves through the cliffs and institutions, waters and archives, mountains and walls, cities and channels, forests and schools, - finally through the horizontalities and flatnesses of 2017. Extending, stretching and flipping the semi-autobiographical short story of Franz Kafka titled Josefine die Sängerin oder das Volk der Mäuse they use their rather specific orientation device to articulate questions on the autonomy of art in our time within which the capitalization of art has been already fully articulated. Through the perspective and voice of Josefine and with the help of her device they will put urgent questions on the table in the near future, starting at Corner College on 24 February 2017.


Posted by Corner College Collective

Saturday, 01.04.2017
16:30h -
Saturday, 06.05.2017

 

2017 / 201704 / 201705 / Ausstellung
Uriel Orlow personal exhibition
Geraniums Are Never Red

Uriel Orlow
 




Corner College, 01 April - 6 May 2017

Opening on Saturday, 01 April, 16:30h

17:00h Discussion between Uriel Orlow and TJ Demos

You can find here and read an interview with Uriel Orlow by Dimitrina Sevova in the context of the exhibition (also printable as PDF 3.65MB)

Opening Hours / Öffnungszeiten
Wed/Fri 15:00h – 18:00h
Thu 16:00h – 19:00h
or by appointment (+41-79-792 77 44)
Additionally open on Saturday, 6 May, from 14:00h to 18:00h


[English below]

In seiner Ausstellung im Corner College betrachtet Uriel Orlow die botanische Welt als Bühne für Geschichte und Politik im Allgemeinen. Die gezeigten Arbeiten wurden in den letzten zwei Jahren entwickelt und befassen sich mit dem Vermächtnis der botanischen Forschungsexpeditionen, Pflanzenmigration, Blumendiplomatie und botanischem Nationalismus aus dem doppelten Blickwinkel Südafrikas und Europas.

Die in der Ausstellung gezeigten Arbeiten sind Teil von Uriel Orlows laufendem Rechercheprojekt Theatrum Botanicum. Das Projekt sieht Pflanzen nicht einzig als passive Objekte der Natur, des ästhetischen Genusses, der Klassifizierung, der Bewirtschaftung oder des Naturschutzes; sondern sowohl als Zeugen als auch als Akteure der Geschichte, als dynamische Agenten, die Natur und Menschen, Tradition und Modernität verbinden, und das über unterschiedliche Geographien, Geschichten und Wissenssystemen hinweg, mit heilenden, spirituellen und ökonomischen Kräften.


[Deutsch oben]

In his exhibition at Corner College Uriel Orlow looks to the botanical world as a stage of history and politics at large. The work in the exhibition was developed over the last two years and engages with the legacies of botanical exploration, plant migration, flower diplomacy and botanical nationalism from the dual vantage points of South Africa and Europe.

***

European colonialism in South Africa – as elsewhere – was both preceded and accompanied by expeditions that aimed at charting the territory and classifying its natural resources, in turn paving the way for occupation and exploitation. 'Newly' discovered plants were often named after the botanist who first described them and eventually classified according to the Linnaean system and its particular European rationality.


What Plants Were Called Before They Had a Name (2016-17) is an audio plant dictionary created from nine indigenous South African languages. Conceived as a surround sound installation, the work serves as an aural repository of local knowledge that was originally passed from generation to generation through oral tradition but was displaced by European writing and nomenclature, which it now confronts in the exhibition space.

Geraniums are never Red (2016-17) revisits the bright red geraniums that trail from the balconies of Swiss chalets and clamber up palm trees in California. Botanically speaking they aren’t geraniums at all–nor are they Swiss or Californian. They are in fact pelargoniums. They were first brought to Europe – and misidentified – after 1652, when the Dutch East India Company established a permanent settlement and a Company Garden at the Cape and started to explore the surrounding flora to bring back new botanical treasures, which apart from pelargoniums included proteas, ericas and many other mainstays of European gardens. By the time the confusion between the two species was resolved, ‘African geraniums’ had been around for 150 years and British commercial growers and gardeners were reluctant to give up the familiar name.

In 1963, on the occasion of the 50th anniversary of the founding of Kirstenbosch, the national botanical garden of South Africa in Cape Town a series of films were commissioned to document the jubilee celebrations and their ‘national’ dances, pantomimes revisiting the colonial conquest, the visit of international botanists and the history of the botanical garden itself. The films’ cast of botanists and visitors are mostly white and when we see Africans they are engaged in menial labour.

These films have not been seen since 1963 and were found by the artist in boxes in the cellar of the library of the botanical garden. The Fairest Heritage (2016-7) is an attempt to watch these documents today and speak back to the archive. Orlow collaborated with the actor Lindiwe Matshikiza who inhabits and confronts the found footage and its politics of representation, sending up the botanical nationalism and flower-diplomacy of apartheid era South Africa.

Exotics were the pride of European gardeners for a long time. But new species were not just brought to Europe to satisfy horticultural demand and other colonial economic interests. Some plants also arrived as stowaways; seeds in animal feed or other shipments. The consequences of newly introduced species were not always predictable and in recent decades botanists have highlighted the threat of some of these new-arrivals to local biodiversity. A number of national organisations deal with the problem of invasive neophytes producing information campaigns and so-called blacklists of exotics that are illegal and need to be eradicated. The management of ‘invasive aliens’ and the language accompanying it produces new forms of botanical nationalism that inadvertently mirror public discourse on human migration. The series of posters Blacklisted (Was wir durch die Blume sagen) re-mixes information gathered from the Zurich office for the control of neophytes and uses quotes from literature and websites across Switzerland.

***

The work in this exhibition is part of Uriel Orlow's ongoing research entitled Theatrum Botanicum. The project considers plants not solely as passive objects of nature, aesthetic pleasure, classification, cultivation or conservation; but as both witnesses and actors in history and as dynamic agents linking nature and humans, tradition and modernity– across different geographies, histories and systems of knowledge, with curative, spiritual and economic powers.


Mit der freundlichen Unterstützung der Stiftung Erna und Curt Burgauer und der Ernst Göhner Stiftung.


Posted by Corner College Collective

Saturday, 13.05.2017
19:00h -
Saturday, 10.06.2017

 

2017 / 201705 / Ausstellung
PRESENT PROGRESSIVE
Abel Auer, Lisa Biedlingmaier, June Crespo, Ulrika Jäger, Bernadette Wolbring
 

[English below]

PRESENT PROGRESSIVE

Corner College, Zürich
Kuratiert von peekaboo! (Lisa Biedlingmaier & Bernadette Wolbring)

Teilnehmende KünstlerInnen: Abel Auer (DE), Lisa Biedlingmaier (CH / DE), June Crespo (ES / NL), Ulrika Jäger (DE), Bernadette Wolbring (DE / SE)

Eröffnung Samstag, 13. Mai 2017, 19:00h
Finissage Samstag, 10. Juni 2017, 17:00h

Zusätzliche Veranstaltungen siehe unten.

Samstag, 13. Mai - Samstag, 10. Juni 2017

Öffnungszeiten
Mi: 15:00h - 18:00h
Do/Fr: 17:00h - 19:00h




Present Progressive; Zeitform, Englisch

Das Present Progressive ist eine Verlaufsform der Gegenwart. Dieses Tempus kann sich sowohl auf die Gegenwart als auch auf die Zukunft beziehen: Zum einen wird das Present Progressive für Handlungen, die jetzt gerade stattfinden, verwendet, zum anderen für sich ändernde Situationen und bereits vereinbarte Handlungen in der Zukunft. Dabei kommen vor allem Verben zum Einsatz, die einen Plan oder eine Bewegung von einem Ort oder einer Bedingung zur anderen vermitteln. Das Present Progressive ist eine Zeitform, die es im Deutschen nicht gibt.

peekaboo! präsentiert die Arbeiten von fünf KünstlerInnen, die sich mit Vorstellungen von Zeit und dem Ineinandergreifen von Vergangenheit, Gegenwart und Zukunft beschäftigen. Recalling, reenacting und rewriting zum Beispiel sind Strategien, die wiederholt eingesetzt werden, um das Gewicht der Geschichte zu verlagern. Die Zeitreise wird als eine Möglichkeit vorgestellt, die Zukunft zu gestalten. Angeregt durch Chris Kraus´ „naive Vorstellung, dass es möglich ist dem Unglücklichsein zu entkommen, indem man einfach den Kanal wechselt“, hebt die Ausstellung Present Progressive die Gleichzeitigkeit von Ereignissen hervor – sei es in Vergangenheit, Gegenwart oder Zukunft.

Das Ausstellungsdesign besteht aus einem genau 68,38 m langen Gewebestreifen, der in Erinnerung ruft, dass es auch andere Vorstellungen von Zeit und zeitlichen Zusammenhängen gibt. Die Maße und die Materialität des Streifens beziehen sich nämlich auf den Teppich von Bayeux (entstanden im 11. Jh., 0,53m × 68,38m). Der Mediävist Peter Czerwinski stellt die These auf, dass im Mittelalter ein anderer Zeitbegriff existiert habe, der im Gegensatz zur heutigen Wahrnehmung der Zeit von einer Simultanität ausgehe (in Gegenwärtigkeit: Simultane Räume und zyklische Zeiten, Formen von Regeneration und Genealogie im Mittelalter, 1993). Kausal zusammenhängende Ereignisse, die in unterschiedlichen Zeitebenen stattfanden, wurden – laut Czerwinski – als gleichzeitig gedacht. Vergangenheit und Gegenwart sind in dieser Zeitvorstellung mithin nicht klar unterscheidbar. Darum werden auch auf dem Teppich von Bayeux Ereignisse, die nicht zeitgleich stattfanden, im selben Raum dargestellt, der lediglich durch Architekturelemente unterteilt wird.



Grundriss mit Skizzen für das Ausstellungsdesign für „Present Progressive“. // Floor plan with first drafts of the exhibition design for „Present Progressive“.


[Deutsch oben]

PRESENT PROGRESSIVE

Corner College, Zurich
curated by peekaboo! (Lisa Biedlingmaier & Bernadette Wolbring)

Participating artists:
Abel Auer (DE), Lisa Biedlingmaier (CH/DE), June Crespo (ES/NL), Ulrika Jäger (DE), Bernadette Wolbring (DE/SE)

Opening Saturday, 13 May 2017, 19:00h
Finissage Saturday, 10 June 2017, 17:00h

Additional events see below.

Saturday, 13 May - Saturday, 10 June 2017

Opening hours
Mi: 15:00h - 18:00h
Do/Fr: 17:00h - 19:00h

­Present Progressive, tense, English

This tense is used to suggest either the present or the future. It can indicate that an action is going to happen in the future, especially with verbs that convey the idea of a plan or a movement from one place or condition to another.


peekaboo! presents the work of five artists that are dealing with perceptions of time and how past, present and future are interconnected. Strategies of recalling, reenacting and rewriting are applied in order to shift the weight of history. Travelling in time is presented as a way of shaping the future. Encouraged by Chris Kraus’s “naive recognition that it might be possible to escape from unhappiness just by changing the channel,” the show highlights the simultaneity of events – be it in the past, present or future.

The exhibition design consists of a 68.38m long strip of fabric running through the space to evoke a different idea of how time can be perceived. The strip’s measurements and materiality refer to the Bayeux Tapestry (0.53m × 68.38m). The German medievalist Peter Czerwinski claims that in the Middle Ages a different notion of time existed (in Gegenwärtigkeit: Simultane Räume und zyklische Zeiten, Formen von Regeneration und Genealogie im Mittelalter, 1993). In contrast to today’s chronological perception of time, the tapestry – like other medieval works of art – depicts a notion of time that assumes simultaneity. Here past and present are not clearly distinguishable – therefore causally related events are depicted in the same space, separated merely by elements of architecture.

Additional Events

Listening Sessions: RSI 92.3 FM Douala, Cameroon or any other proposals

Friday, 19 May, 5-6 pm
Thursday, 25 May, 5-7 pm
Friday, 26 May, 5-7 pm

“emotion reigns, information governs” is a thematic radio station dedicated to sports, music, and culture.

RSI is an avant-garde radio station featuring sports and cultural content. Created four years ago by Martin Camus Mimb, a renowned sports reporter on the African continent, the station is today the most listened-to radio in Douala, the economic capital of Cameroon. In the unique field of sports, we aim to give listeners a new vision of information, thanks to an experienced team of specialized reporters.

with Lisa Biedlingmaier

Posted by Corner College Collective

Saturday, 08.07.2017
16:00h -
Saturday, 29.07.2017

 

2017 / 201707 / Ausstellung
Studium, nicht Kritik
Lucie Kolb
 




Ein Ausstellungsprojekt von Lucie Kolb

08.07. 16:00h Opening
17.07. 20:00h Bildungsfernsehen #1: «The Question of Sovereignty», D103 pt. 7, Society and social science: a foundation course (D103) [Prof. Stuart Hall], Open University, UK, 1990/91
24.07. 20:00h Bildungsfernsehen #2: «The Politics of Equal Opportunity», D103 pt. 8, ibid.
29.07. 20:00h Bildungsfernsehen #3: «Television, Images, Messages and Ideologies», D103 pt. 9, ibid.

Weitere Veranstaltungen siehe unten.

Opening Hours // Öffnungszeiten
Thu/Fri/Sat 16:00h–19:00h

08 - 29 July 2017


Ich habe mir kürzlich die Science-Fiction-Serie «The 100» angesehen. Eigentlich nicht die Serie, sondern bloss die Storyline von Clarke und Lexa: Zwei Teenagerinnen, die in einer postapokalyptischen Welt rivalisierende Gemeinschaften anführen. In der siebten Folge der dritten Staffel stirbt Lexa kurz nachdem sie mit Clarke im Bett gelandet ist – ein Moment der über zwei Staffeln aufgebaut wurde.

Auf Twitter wird Lexas Tod unter dem Tag #lesbiandeathtrope diskutiert: Das Vorantreiben einer Geschichte durch den Tod eines lesbischen Charakters wird nicht akzeptiert. Die Fans lancieren eine Kampagne in deren Verlauf nicht nur eine Reihe von Drehbuchautor_innen zur Unterzeichnung eines offenen Briefs gewonnen werden, Geld für LGBT-Zwecke gesammelt wird, sondern den Produzenten der Serie auch Todesdrohungen erreichen. Dieser reagiert mit einer offiziellen Entschuldigung. Was zeigt sich hier? Die Macht von Nutzer_innen, die ihr Recht geltend machen, bei der Ausarbeitung einer fiktionalen Geschichte mitzusprechen? Im digitalen Raum verändern sich wirkmächtige Vorstellungen von Autorschaft und Storytelling und machen Platz für Neues. 
Die Fans sind abgetaucht in die Abgründe der Fan Fiction. Sie schreiben eine Geschichte mit Lexa weiter, in der sie lebt und regiert. Die Story ist Teil von «The 100», aber nicht von ihr. Sie isoliert sich nicht, weicht aber von der Serie ab, überzieht sie.

+ Study
«When I think about the way we use the term ‹study›, I think we are comitted to the idea that study is what you do with other people. It’s talking and walking around with other people, working, dancing, suffering, some irreducible convergence of all three, held unter the name of speculative practice. The notion of a rehearsal – being in a kind of workshop, playing in a band, in a jam session, or old men sitting on a porch, or people working together in a factory – there are these various modes of activity. The point of calling it ‹study› is to mark that the incessant and irreversible intellectuality of these activities is already present.»
Fred Moten

Beiträge von Zoran Popović und Jasna Tijardović

Texte von u.a. YGRG, Tyna Fritschy, Stephan Geene, Barbara Kapusta & Cathrin Mayer, Ludovica Parenti, Marion von Osten: http://www.brand-new-life.org/b-n-l/tag/study

Bildungsfernsehen mit Philipp Messner: «Society and Social Science – A Foundation Course» (Stuart Hall, Open University/BBC, 1991)

Screening/Talk «Struggle in New York» 1976 with Zoran Popović und Jasna Tijardović at Migros Museum für Gegenwartskunst Zürich (06.07., 19:00h) and Forde Genève (07.07., 19:30h).


The project is part of the Corner College platform Transferences: The Function of the Exhibition and Performative Processes in the Practices of Art – Questions of Participation, initiated by Dimitrina Sevova and Alan Roth.

Posted by Corner College Collective

Saturday, 05.08.2017
17:00h -
Thursday, 31.08.2017

 

2017 / 201708 / Ausstellung
Black Quarry
Form(les)s Dwellers of Life

Nora Schmidt, Katharina Swoboda, Kosta Tonev
 

The exhibition is concerned with the production of space or elliptical sense between the three positions and the works on display by Nora Schmidt, Katharina Swoboda, and Kosta Tonev, and to what extent the aesthetic use of research or research creation (lightening of sense) refers to what Jean-Luc Nancy calls the “knowledge of a condition of possibility that gives nothing to know.” It is rather about “the syndrome known as life,” or “the sense of being which calls for more form.”

Curated by Dimitrina Sevova & Alan Roth.

Saturday, 5 - Thursday, 31 August 2017.

Opening: Saturday, 5 August 2017, 17:00h

Finissage: Thursday, 31 August 2017, 19:00h
with, starting 19:30h,
Performative reading Altered State by Nora Schmidt
Lecture-performance Practice as Research – Research as a practice (Video Narratives) by Katharina Swoboda
Lecture-performance Wilfred Wyman by Kosta Tonev

Sunday, 6 August 2017, 16:00h - 19:00h: Guided tour with the curators and Kosta Tonev, with coffee, tea and cake.

Opening Hours
Thu/Fri/Sat: 16:00h - 19:00h
or by appointment



Nora Schmidt

Altered State
2017. Installation and performative reading.




[English below]

Prolog: Alles, was ich während meines Aufenthaltes an jenem Ort tat, war, das Innen mit dem Aussen abzugleichen.
Das, was scheinbar offenbar war, im Negativ zu zeigen. Nahm Mass an den Objekten, die diesen Ort mitbestimmten.
Dass die Oberfläche, die ich zu sein glaubte, die mich umschloss und in welche ich gleichzeitig eindrang, die Form eines Poetischen Faktums annahm…

“[…] Zu unterscheiden ist das poetische Faktum von der poetischen Kunst – die zum Ziel hat, solcher Art Faktum zu produzieren oder zu provozieren oder zu präparieren oder zu isolieren.
Jedes Ereignis, jeder Eindruck, der von sich aus Erregung, Produktion von ungebundener Energie bewirkt, ohne auf ein präzises Bedürfnis, eine unmittelbare Handlung zu zielen, ohne Vorhaben, ein Begehren hervorzurufen (ausser der Bewahrung, Fixierung, Erfassung dieser Erregung selbst) – ist ein poetisches Faktum, Objekt oder Ereignis.”
(Paul Valéry, Cahiers/Hefte: Die vollständige Pléiade-Edition)






[Deutsch oben]

Prologue: Everything I did during my stay in that place was to match up the inside with the outside.
To show what was seemingly obvious, in the negative. Took the measure of objects that contributed to defining this place.
That the surface I believed to be, that enclosed me and into which I penetrated at the same time, took the form of a poetic fact…


“[…] The poetic fact is to be distinguished from poetic art - which has as its aim to produce or to provoke or to prepare or to isolate facts of this kind.
Every event, every impression that of itself effects excitation, production of unbound energy without aiming at a precise necessity, an immediate action, without a plan to evoke a desire (besides the preservation, fixing, capture of the excitation itself) - is a poetic fact, object or event.”
(Paul Valéry, Cahiers/Notebooks)



Katharina Swoboda

Marguerite’s Desires
2017. Site-specific installation, video, archive materials, wallpapers.




Marguerite’s Desires is a video work about French Feminist Marguerite Durand (1864-1936). The work makes a connection between two places founded by Durand: the pet cemetery Cimetière des Chiens and the Bibliothèque Marguerite Durand in Paris. Durand, a former actress at Comédie-Française, became interested in politics after the Congrès féministe international in 1896. She then founded the journal La Fronde (The Sling), a journal solely written and edited by women. Marguerite had a lion, which she lovingly called tiger and which brought her also publicity for her political campaign. In 1899 she founded the pet cemetery Cimetière des chiens in Asnières-sur-Seine, close to Paris. Although an animal lover, she founded the cemetery for purely hygienic reasons. In 1932, she donated her extensive collection of journals and literature to the government, and the Bibliothèque Marguerite Durand was founded. It was the very same place where Durand died in 1936 of a heart attack.






Practice as Research – Research as a practice (Video Narratives)
Lecture-performance (at the finissage on 31 August 2017)

As a strategy, I often use historical, actual or fictive female characters to install a multilayered biopic inside the exhibition. In Marguerite’s Desires, I use the figuration of Marguerite Durand to explore her progressive ideas and their relevance today. My video interact with other material like discourses in cultural theory, press releases or even the exhibition text on the wall. In this sense, the audio-visual fragments, that I produced, are or can be read in an actual and abstract relationship to other texts, videos, photographies, performative elements and events.


This project was supported by Kulturamt der Stadt Graz.



Kosta Tonev

Wilfred Wyman
2014-2017. Object and sound installation, 23′30″.




The project constructs and narrates the life story of a fictional, late-Victorian artist named Wilfred Wyman (1859-1939). Set against the backdrop of real, historical events, Wyman’s life witnessed the developments in post-Darwinian science and their dire consequences. The human body is a recurrent theme in Wyman’s own work, which resonates with the scientific and intellectual discourses of his time. A collection of documents and relics forms a narrative reflecting the intricate relationship between 19th-century biology and the totalitarian ideologies of the 1930s.







The project is part of the Corner College platform Transferences: The Function of the Exhibition and Performative Processes in the Practices of Art – Questions of Participation, initiated by Dimitrina Sevova and Alan Roth.


Mit der freundlichen Unterstützung des Bundeskanzleramts Österreich.

Posted by Corner College Collective

Sunday, 10.09.2017
18:00h -
Sunday, 08.10.2017

 

2017 / 201709 / 201710 / Ausstellung
knowbotiq
The Swiss Psychotropic Gold Refining
what is your mission?

knowbotiq (Yvonne Wilhelm & Christian Huebler)
 




[English below]

Eröffnung: Sonntag, 10. September, 18h-20h
verschiedene performative Settings und Heilungen von post-/kolonialer Amnesie:
DJ Fred Hystère und Nina Bandi (molecular listening session),
Martina Buzzi (golden acupuncture/charming the ghost points) und
Gabriel Flückiger (meditation on pure gold)

Donnerstag, 14. September
Workshop trans-shine mit Gabriel Flückiger: 18h-20h, Anmeldung erforderlich
Rohit Jain und knowbotiq im Gespräch über Swiss Psychotropic Gold und latente Archive, 20h

Finissage: Sonntag, 8. Oktober, 16h-19h

Öffnungszeiten
Do– Sa 16:00h – 19:00h
oder nach Vereinbarung


Detailliertere Infos: corner-college.com und knowbotiq.net/psygold

Seit mehr als drei Jahrhunderten ist der Schweizer Rohstoffhandel Teil von kolonialen, postkolonialen und neoliberalen Verflechtungen. Er ermöglichte sowohl die frühe moderne Industrialisierung als auch die Konstituierung des Finanzplatzes der Schweiz. Er brachte aber auch spezifische ästhetische, affektive und moralische Ökonomien hervor. Der Schweizer Mythos der Neutralität verwandelt die “schmutzigen” Materialitäten und Geschäfte mit den Rohstoffen zu einer opaken und diskreten Form von Technokratie, Sicherheit, Philanthropie und weißer Vorherrschaft.

The Swiss Psychotropic Gold Refining fabuliert über den Rohstoffhandel und das Raffinieren von Gold. Am hochglänzenden, zärtlich schützenden Metall molekularisieren sich die Narrative über Gewalt, Zugriffe auf schwarze Körper, derivative Bereicherungen, psychotrope Energien und wechselseitige Schulden. Das calvinistische Gold durchläuft, einmal gefördert, einen sich wiederholenden Zyklus von Reinigung/Raffinierung, Verarbeitung und Wiedereinschmelzung – es wird aber nie gezeigt. Es eignet sich für jegliche Form von Spurenlöschung und Anonymisierung als auch Heilung von post-/kolonialer Amnesie.

in Zusammenarbeit mit ifcar, Institute for Contemporary Art Research Zurich


[Deutsch siehe oben]

10 September – 8 October 2017

Opening: Sunday, 10 September, 18h-20h
different performative settings and healings of post-/colonial amnesia:
DJ Fred Hystère and Nina Bandi (molecular listening session),
Martina Buzzi (golden acupuncture/charming the ghost points) and
Gabriel Flückiger (meditation on pure gold)

Thursday, 14 September
Workshop trans-shine with Gabriel Flückiger: 18h-20h, registration required
Rohit Jain and knowbotiq in conversation about Swiss Psychotropic Gold and latent archives, 20h

Finissage: Sunday, 8 October, 16h-19h

Opening Hours
Thu – Sat 16:00h – 19:00h
or by appointment


Further information: corner-college.com and knowbotiq.net/psygold

For more than three hundred years, Swiss commodity trading has been part of a mesh of colonial, postcolonial and neoliberal entanglements. It enabled both early modern industrialization and the constitution of Switzerland as a financial center. It also brought about specific aesthetic, affective and moral economies. The Swiss myth of neutrality turns dirty materialities and trades in commodities into an opaque and discreet form of technocracy, security, philanthropy and white supremacy.

The Swiss Psychotropic Gold Refining fabulates on commodity trading and refining of gold. Narratives of violence, the access to black bodies, derivative enrichments, psychotropic energies and mutual indebtness molecularise on the high-gloss, tenderly protective metal. Calvinist gold is never shown. It goes through repeated cycles of purification/refinement, processing and remelting – making it suitable for any form of erasing traces and anonymising, as well as the healing of post-/colonial amnesia.

in collaboration with ifcar, Institute for Contemporary Art Research Zurich

Posted by Corner College Collective