Walter Steiner war lange Zeit der einzige relevante Skipringer der Schweiz bevor Gold-Simi an Weltmeisterschaften und Olympiaden abräumte.
Walter Steiner nach dem Absprung
1974 drehte der Regisseur Werner Herzog mit "Die grosse Ekstase des Bildschnitzers Steiner" einen Dokumentarfilm über Steiner. Darin spricht der Skispringer unter anderem über seine Schnitzerein, die er bis in die 90er Jahre anfertigte.
Walter Steiner erklärt seine Skulptur
Wir freuen uns ausserordentlich, dass der heute in Schweden lebende Walter Steiner für ein Gespräch ins Corner College kommt. Er wird über seine künstlerische Arbeit sprechen und über die Dreharbeiten mit Werner Herzog berichten. Das Gespräch wird moderiert von Stefan Wagner.
Anschliessend an das Gespräch wird im Kino "Die Obsessionen des Bildschnitzers Steiner" (Werner Herzog, BRD 1974) gezeigt.
The relationship between curator and artist is the most decisive and probably most complex factor in the development of an exhibition project. Notions like trust, accomplishment and responsibility are keystones in the strengthening of this relationship. The curator is profiling his exhibition program, is choosing the artists, is setting up the best possible spatial, financial, physical and other necessary conditions and is responsible for the mediation of the artistic message. In a small series of talks, Rein Wolfs (Artistic Director of Kunsthalle Fridericianum, Kassel/Germany) will invite artists who hold a strong and specific position in the force-field of curating.
Danh Vo, WE THE PEOPLE (Detail), Foto: Nils Klinger
Danh Vo (1975, Vietnam, resides 2012 in Basel) presented in his solo-show JULY, IV, MDCCLXXVI at Kunsthalle Fridericianum among other pieces a duplicate (original technique of hammered copper; original size and weight) of the Statue of Liberty, entitled WE THE PEOPLE. The exhibition touched fundamental questions in terms of production, finances and logistics, next to more philosophical and political questions. After the show in Kassel, parts of WE THE PEOPLE (will) appear in other exhibition spaces (New Museum New York, Kunstraum Innsbruck, Art Institute and Renaissance Society Chicago, etc).
Danh Vo discusses with Rein Wolfs the 'Making of WE THE PEOPLE' and the different questions being evoked by this seminal piece.
A conversation organised by The Postgraduate Programme in Curating, ZHdK.
The strength of Printemps érable-protests is rooted in anonymity. The movement allows the common to flow through dispersal, reaching into the solitude of each protester. Each one recognizes her situation in that of the others; affective resonance is transmuted to a point of fusion. Repression can only break up linear collectivities; here, at every turn, at every corner, the common returns in a swarm.
Still from Printemps Érable
In the wake of the Quebec student movement against tuition hikes an entire public mobilization has lead to a resurgence and insurgence of active political engagement of Quebec's population in spring 2012. The protests tie together not only problems of a culture of indebted men but also environmental and social issues throughout all strata of society. Insurgence is an expression, a movement of thought becoming a movement of felt sensation. Based on struggles against social isolation for the last decades Printemps Érable underlines contemporary transversal modes of activism beyond ideological boundaries making the complexity of relation felt in their emergence(y). Writer, theorist and activist Érik Bordeleau will show the film "Insurgence" followed by a discussion with the audience.
Tears of a Swan / 2013 / sculpture
Quynh Dong takes us on a journey into her studies of movement, of what has to be done from the vanishing point. The artist maps or sketches the affectual orientation and disposition of her practices, concerned with the politics of movement and its formal aesthetics. They confront her immediately with the affect and its practical and theoretical implications, as the affect always brings something unstable in the encounter between forces and mutable matter, through performative inversions of a choreographic web, like a dance of space/time whose distortions affect, able to induce the migration of the image or to decolonize bodies, as affect is resistance, too.
The artist’s interest in the affect lies in its potentiality of opening her practices towards an ethico-aesthetic paradigm in which race, class and sex become affective forms that are not directly inscribed in the bodies and the subjects, but are political spaces. This moves the bodies and subjects away from identitarian constructions and their cultural limitations. Identities, understood as projections of the signifier, are dispersed in the field of the affect with is forces liberating them, which become able to create themselves as a process of self-organizing and self-inventing subjectivities.
The artist deliberately exaggerates the femininity of her female characters, such as to affirm the ongoing feminization of affective labor inherent in the post-colonial landscape of late global capitalism. This embodied femininity, with its fragility and weakness, has the power to induce a creative melancholic opening that intensifies the flowing ephemera, re-appropriating them and the affect from the post-Fordist economic relations and recent rapid technological developments. She sets out, by means of art, to fill the atmosphere with fleeting implications of e-motions and sentiments that make the spectator feel how their perceptions depend on the conditions and the angle of their position in the space. The affect is for real, which means that its arrival serves as a force on her work that sometimes is rather non-work, which in the range of the affect lose their opposite values as the artistic practices are extended to the aesthetics of existence, i.e., “how to affect and how to be affected.”
Despite the apparent solidity of Quynh Dong’s sculptural installations, where she abandons the human subject in the fever of disjointed pieces of glossy ceramic leaves from the chalices of moribund flowers running away from each other. They are sculptural assemblages of oversize copies of pieces of dying matter, which emphasize their partial relations in the generating structures. In close-up, their surface becomes quantized, which leads to the idea that the world has a resolution. Their assembled ontology is a convoluted space oriented towards the virtual, trapping the perception into an installation process embodying optimistic cruelty that performs with striking effects to model the space in patterns patterning the plane. It brings the spectator directly to the heart of phantasm. The phantasm and the apparent solidity of the object are both flux and concrete, one turning into the other depending on the spectator’s distance to the object, which changes their picture of the world.
“Art is an object of Beauty!” states Quynh Dong about her work. She sees the position of the artist in old fashion as the copyist of nature who questions reality, reaching a romantic overmodel of it and even kitsch. The copyist’s gesture evokes the law of the copy and the matrix in a biopolitical sense. The copyist-artist can be seen as embodying the dark side of grace, as the artist gets access to the weak forces of a second nature of something artificial and plastic, which breaks the symmetry of the laws of physics and can capture and sustain the natural glamour and attraction of the dying flower like the frozen ripples of space/time, modeling the reality of decay and the noise of the entropic process. Could this be the noise coming from the degrees of microscopic freedom of the entropic process? Indeed, there is hidden information in the solid objects, which can be understood as the intervals between “the infinity of little affective events,” induced by the relation of rest and accelerated movement of the virtual images blocked between the particles of solid matter. These oscillations are the creative resistance of the material. The waving reality of the hysteresis of the forces within the clay and their virtual potentialities meet the hesitating line the artist traces into it. In this sculptography, the network of objects becomes a system that claims that “the social is always more than human,” as assemblages are always social, and the social lies in the principle of connectivity. The links between them have to be composed by the audience walking among them. One can never be sure where these delusive statements are the noise of the ripples of laughter, or the artist’s own laughter, and where it has to be taken very seriously.
Text: Dimitrina Sevova
Video still of work in progress during residency at Artist on a Hill, 2015.
This summer Erica van Loon lives and works in Wald ZH (CH) at Artist on a Hill, a residency organized by Arts Atrium. Here she researches for new works, gathering input from her new surroundings and through visits to, i.a., the department of earth sciences at ETH University in Zürich and the Jung Institute in Küsnacht.
Through an extensive range of media she studies possible relations to our natural environment, often taking the human body as a starting point. During her work presentation at Corner College she will show a special compilation, consisting of existing works and new thoughts and sketches of what she explored during her residency in the nearby hills.
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):
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.
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.
Presentation by the curators Bénédicte le Pimpec and Isaline Vuille, together with the artists Uriel Orlow and Riikka Tauriainen, of the exhibition project darker and darker grows the landscape (la possibilité d'une île), as guests at the Corner College exhibition Cold. War. Hot. Stars. The Iron(y) Helmet of the Intellect.
The three islands of the north are blocked with ice;
The finest theories refuse to make sense;
It is said somewhere a lake has collapsed
And dead continents rise back to the surface
-- Michel Houellebecq, The possibility of an island, 2005
darker and darker grows the landscape (la possibilité d'une île), exhibition view, 2015. Photo: Raphaëlle Mueller
The exhibition darker and darker grows the landscape (la possibilité d’une île) was organized last July by Bénédicte le Pimpec and Isaline Vuille at BAC – Bâtiment d’art contemporain in Geneva.
Most of the artists presented in the exhibition proceed by long-time investigation, whether in archives or on site, use anecdotes and details in order to set up new narratives. By focusing on human’s relations to nature and science, through the prism of botany, entomology, zoology and, more broadly, the natural sciences, they operate a change of focus and doing so they reveal wider contexts, they describe specific socio-political or historical situations.
After a short presentation of the exhibition project by the curators, Uriel Orlow will elaborate in a performance-lecture on his installation Grey, Green, Gold that enlightens a correlation between the history of a native South African plant and Nelson Mandela’s struggle against Apartheid. On her side, Riikka Tauriainen will do a performance-lecture updating on her research for her piece Contact zone that links together an Arctic expedition to the history of a major company and a science-fiction short story, and develops towards feminotopias and women travel writing.
Künstler_innengespräche und kuratorische Einführung mit
Denise Bertschi, Jackie Brutsche, Thomas Galler, Andreas Glauser, Andreas Marti, Nicolasa Navarrete, Sandra Sterle im Gespräch mit der Kuratorin des Projekts Dimitrina Sevova
im Rahmen der Corner College Ausstellung Cold. War. Hot. Stars. The Iron(y) Helmet of the Intellect.
Artist talks and curatorial introduction with
Denise Bertschi, Jackie Brutsche, Thomas Galler, Andreas Glauser, Andreas Marti, Nicolasa Navarrete, Sandra Sterle in discussion with the curator of the project Dimitrina Sevova
in the context of the Corner College exhibition Cold. War. Hot. Stars. The Iron(y) Helmet of the Intellect.
Left: Andy Warhol appropriated by Julie Sas. Right: Henrik Hentschel, Untitled, 2016.
With a performance-artist-talk by Julie Sas and an artist talk by Henrik Hentschel.
Anne Käthi Wehrli
Lesung aus Die Frau als Einstiegsloch
Ist es ein Krimi? Forschung? Expedition?
Ein Abenteuer mit Fragen.
Sie ist am ermitteln. Zurzeit beschäftigt sie sich mit dem Raum der Vagina und der Gebärmutter, diesem Leerraum den Frauen hätten.
Phantasien sind hier das Thema. Ich habe bemerkt dass mich insbesondere auch Phantasien und Konzepte über Weiblichkeit von Männern interessieren.
Ich rede hier natürlich vom Penisneid.
Nun will sie das einmal unter die Lupe nehmen.
Was dabei herauskommt ist noch unbekannt.
Die neusten Fassungen des Texts Die Frau als Einstiegsloch, der während der Dauer der Ausstellung geschrieben wird, liegen jeweils zum mitnehmen und lesen auf.
An der Lesung werden zudem weitere Materialien verwendet, und ich stehe natürlich auch für Fragen zur Verfügung.
Untitled (Fountain II)
Artist talk. Discussion.
Left: Flyer for the exhibition. Design: code flow. Right: Top row: Petra Elena Köhle & Nicolas Vermot Petit-Outhenin; Julie Sas; Alexander Tuchaček; Triin Tamm. Center row: Delphine Chapuis Schmitz, Martina-Sofie Wildberger; Alexander Tuchaček, Denise Bertschi; Riikka Tauriainen, Alexander Tuchaček, Anne Käthi Wehrli; Martina-Sofie Wildberger, San Keller. Bottom row: Jonas Etter; Anne Käthi Wehrli; Martina-Sofie Wildberger, Triin Tamm; San Keller, Sophie Yerly, Jonas Etter, Hendrik Hentschel. Photos: code flow.
Throughout the event, performance Too expensive and not enough to eat by Sophie Yerly.
Modern science makes us understand the true character of the machine, of rationalization and of standardisation. All of that leads to one thing only: the economy. Economy attempts (is) the symmetricalisation of forces.
Art is to create inequalities.
from Yiannis Isidorou: What Asger Jorn (un)/taught me - a text of 11 positions regarding the movements and tropes of the artist in the symmetrical(ized) world of economy
17:00h Performance The Real On Kawara by San Keller in conversation with his father about his 43 years at the Cantonal Office of Personnel Bern.
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.
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.”
18:00h Performance A kind of palimpsest by Petra Elena Köhle & Nicolas Vermot Petit-Outhenin, „Pierre Ménard – Autor des Don Quixote“ by Jorge Luis Borges, read by Andreas Storm.
18:45h Performance Dreams come true by Martina-Sofia Wildberger.
19:15h Artist talks by Riikka Tauriainen, Alexander Tuchaček.
Discussion with the artists and the curators. Bar, party.
In the context of the group exhibition New Buenos Aires at Corner College.
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.
Marie Carangi, Teta Lírica. Video still.
Cristiano Lenhardt, Polvorosa. Video still.
Diagram by Lia Perjovschi, portraits by Nastasia Louveau.
Starting from Lia Perjovschi’s early performance work of the 1980’s and scrutinizing how it relates to her current artistic practice of opening new spaces of knowledge and re-organizing those spaces, Louveau & Perjovschi want to propose a conversation about performance art, the connection of art and research, and different approaches to filling gaps with art, thus shortcutting 30 years of artistic practice and its context from communism to capitalism, from the local to the global art scene.
On Thu / Fri / Sat, 27 / 28 / 29 October
each day from 14:00h to 18:00h
Public talk and discussion on Saturday, 29 October at 19:00h
Mohammad Namazi presents 'Entropische Iteration' (Entropic Iteration) as a reflection on his residency experience as part of the Freiraum-Stipendium – the index collective residency programme. The artist installs a three-days open laboratory at Corner College, which will end in a public talk and discussion. Namazi shows new work made during his residency in Zurich that utilises the Internet, installation and video formats. In his talk he presents his new experiments and talks about his research and practice in general.
Locating the numerous water fountains that are a feature specific to the urban experience of Zurich, Namazi re-imagines these sites as physical manifestos that are actualised as temporary non-hierarchical social platforms. A series of web pages have been created to map out a selection of these encounters. Through these online networks, linkages and locations - sound recordings, image editing and HTML programming are used to spatialize and demonstrate the physical and off-line reality on the virtual and online environment.
16:30h doors open
17:00h Artist presentation by Maria Pomiansky, followed by discussion between Maria Pomiansky and curator Dimitrina Sevova.
18:00h Spirits Call, a performance by Vadim Levin. Vadim Levin in a dialogue with a dead artist. The name of the artist will be announced later.
Vadim Levin, Spirits Call. Performance, 2017.
This event is part of the exhibition project Theorem 4. Aesthetic Agency and the Practices of Autonomy. Part I: Critique de l’économie politique de l’atelier d'artiste.
Aya Momose in collaboration with Im Heung-soon, Exchange Diary. 2015-, 48 min.
Doors open 16:30h
17:00h Screening and artist talk by Aya Momose, followed by a discussion between Aya Momose, co-curator 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.
This event is part of the exhibition project Theorem 4. Aesthetic Agency and the Practices of Autonomy. Part II: Der Prozess / The Trial.
2015-. Video, HD, 48′09″. In collaboration with Im Heung-soon.
Taking the form of a visual diary, Exchange Diary is a collection of short films recorded and exchanged by two artists over a year, using a unique way in which each artist filmed a short video and sent it to their collaborator who then added their own narration based on their impressions of the visual images. This work incorporates each artist’s personal interpretation of the images combining the differences and similarities of their cultural, social and political values.
Initially, each artist shot a short video of their everyday lives or a place they had visited, and then sent the video to their collaborator. The other artist then watched the video, and added their own narration based on their impressions of the visual images. This artwork incorporates each artist’s personal interpretation of the images combining the differences and similarities of their cultural, social and political values.
Following the screening, Momose will introduce her artistic practices dealing with the issue related to one’s body and voice, including Lesson (Japanese).