As close as you can for as long as it lasts, 2017Morgane Tschiember piece and Sounds by Douglas Gordon.
Same Same Joy, 2017
test pattern [nº11], 2017
Due to bad weather conditions, the chair lift Eggli Gstaad and Bergrestaurant Eggli are closed tonight.
North Pole Food & Bar
Performance starts at 8.00pm
Special Thanks – Marcello Mazzocchi, Parco Naturale di Panavegio, Val di Fiemme Province of Trento. Regione Autonoma Trentino Alto Adige.
Cecilia Bengolea is a performance artist with a particular interest in dance anthropologies. Her reflections on antropological dance are represented in paroxysmal performances, both modern and primitive, civilised and pre-civilised. Animals fascinate her as a force, a fear that also exists in dance and sex among her.
She has collaborated with a number of visual artists, including Dominique Gonzalez-Foerster, Jeremy Deller and Damion Wallace. During her residency at Delfina Foundation Bengolea will be developing a new collaborative film with Jeremy Deller, commissioned by the Sao Paulo Biennale and Hayward Gallery London. She will also be exhibiting a new film installation and performance commissioned by Art Night London 2016.
Since 2005 she has collaborated with François Chaignaud, their works Pâquerette (2005-2008) and Sylphides (2009) won the award de la critique de Paris and the Young Artist prize at Gwangju Biennale in 2014. Other collaborative works include Castor et Pollux (2010), Danses Libres (based on choreographies from François Malkovsky, 2010), (M)IMOSA (with Trajal Harrell and Marlene Monteiro Freitas, 2011), Altered Natives Say Yes To Another Excess – TWERK (2012) and DUB LOVE (2013). In 2014 they were commissioned by the Opera de Lyon to a ballet piece entitled How Slow the wind, music composition Toru Takemitsu. In 2015 they were commissioned by the Ballet de Lorraine to produce a ballet entitled DEVOTED (2015) set to music by Philip Glass. In September 2015 they premiered The Lighters, Dancehall Polyphony, a piece for Pina Bausch's Tanztheater Wupperhal. Bengolea and Chaignaud are currently preparing for an exhibition of new and old works for Dia:Beacon and Chelsea Galleries due 2017. Together they have recently exhibited at Centre Pompidou Paris, the Kitchen New York, Tokyo Spiral Hall, La Biennale de la Dance de Lyon, Sadler's Wells Theatre London, Faena Art Center Buenos Aires and Fig-2 at ICA London.
Since the late 1990s, artist Sarah Morris has produced a large body of work using both painting and film, which create a new language of place and politics.
Within the framework of the city, Morris’ work plays with social and bureaucratic typologies to implicate occluded systems of control. President Bill Clinton, Chase Bank, Philip Johnson, Robert Towne, the film industry, poster design, the Olympics, the banking system, Oscar Niemeyer, J.G. Ballard, perfume, lunar cycles, pharmaceutical packaging, birdcages and even fruit are all fair game.
Morris’ paintings, known for their distinct use of color, streamline a way of perception as much as a virtual architecture, which is suggested through her titling. In Funcke’s words: “She wants to be both author and protagonist, and to her that means using compromised personalities and places as portals into entanglements of power, generating a sense of dizzying simultaneity that she translates into motives and resources for her paintings and a flow of images for her films, all of which add up to topologies of a moment in the life of power and style.”International solo exhibitions include M Museum, Leuven (2015); Kunsthalle Bremen, Bremen (2013); Musée National Fernand Léger, Biot (2012); Wexner Center for the Arts, Columbus, Ohio (2012); Museum für Moderne Kunst in Frankfurt (2009); Museo d’Arte Moderna di Bologna (2009); Fondation Beyeler, Riehen/Basel (2008); Palais de Tokyo (2005); Moderna Museet, Stockholm (2005); Nationalgalerie im Hamburger Bahnhof, Hamburg and Museum für Gegenwart, Berlin (2001); Kunsthalle Zürich, Zurich (2000); Museum of Modern Art, Oxford (1999).Collecting institutions include the Solomon R. Guggenheim Museum, New York; Museum of Modern Art, New York; Tate Modern, London; Victoria & Albert Museum, London; Museum of Contemporary Art, San Diego; Miami Art Museum, Miami; Cooper Hewitt Smithsonian Design Museum, New York; Centre Pompidou, Paris; Collection, London and Fondazione Prada, Milan
Studies and collages: The Return of Pablo
Art group SUPERFLEX was founded in 1993 by Danish artists Jakob Fenger, Rasmus Nielsen and Bjørnstjerne Christiansen. Renowned for their playful, subversive analysis of our economic and social structures, their oeuvre consists of large-scale installations, films and long-term, process-based projects, all of which are known as ‘tools’. Seeing their work as something to be actively put to use, the tools are designed to affect or influence their social and economic context, often inviting participation from the visitor. Superflex’s work continues to confront issues of copyright, intellectual property and trademark infringement.
Leichtmetallräder, Schloss, Oslo (2016)
Norwegian, born in Braunschweig, Germany, 1982
Lives and works in Berlin, Germany
2010 Meisterschüler Bildhauerei, Staatliche Hochschule für Bildende Künste – Städelschule, Frankfurt am Main, Germany
2006 Universität für angewandte Kunst Wien, Vienna, Austria
Schloss, Oslo, Norway
VERTICALSEAT, Kunsthalle Basel, Basel, Switzerland
Earthling, Stuart Shave/Modern Art, London
World of Hope II, Neue Alte Brücke, Frankfurt am Main, Germany
World of Hope, Galerie Neu, Berlin, Germany
ars viva 2014/15, Hamburger Kunsthalle, Galerie der Gegenwart, Hamburg, Germany; Bonner Kunstverein und Artothek, Bonn, Germany; Grazer Kunstverein, Graz, Austria
Economy Class Legs, 032c Workshop, Berlin, Germany
Original Spare Part, Stuart Shave/Modern Art, London
Extended Operations, Rogaland Kunstsenter, Stavanger, Norway
Launch of Hater Head, Société, Berlin, Germany
Deutschland Du Opfer Gib Handy, Neue Alte Brücke, Frankfurt am Main, Germany
sensitive to detergent, Autocenter, Berlin, Germany
Parasagittal Brain, Johan Berggren Gallery, Malmö, Sweden
Half Asleep to the 2010 Hot 1001, Neue Alte Brücke, Frankfurt am Main, Germany
Bed Call, Landings Project Space, Vestfossen, Norway
Joining Forces with the Unknown, Fondation Galeries Lafayette, Paris, France
III Seen III Said, White Flag Projects, St Louis, MO, USA
Theories of Modern Art, Stuart Shave/Modern Art, London
9th Berlin Biennale, Berlin, Germany
WAR GAMES, Curated by Benjamin Godsill, Moran Bondaroff, Detroit, MI, USA
Quiz 2, based on an idea by Robert Stadler, Mudam Luxembourg, Luxembourg
System of a Down, Ellis-King, Dublin, Ireland
Life. Within Such Limits, Carl Kostyal, Stockholm, Sweden
The Noing Uv It, Bergen Kunsthall, Bergen, Norway
REFRACTION. THE IMAGE OF SENSE, Blain|Southern, London
Galerie Chantal Crousel, Paris, France
Works from selected collections, Mehringdamm 72, Berlin, Germany
Chat Jet (Part 2) Sculpture in Reflection, Künstlerhaus KM, Graz, Austria
Platform, Almine Rech Gallery, Brussels, Belgium
Shattered Preface, OSL Contemporary, Oslo, Norway
And Life Goes On, Between Bridges, Berlin, Germany
surplus living, km temporaer, Berlin, Germany
Second View, Johan Berggren Gallery, Malmö, Sweden
Archeo, High Line Arts, New York, NY, USA
Open Shape, Fall, curated by Jasper Spicero, Eisenhower park in East Meadow, Long Island, NY, USA
Speculations on Anonymous Materials, Fridericianum, Kassel, Germany
Unstable Media, curated by Anne de Vries, Martin van Zomeren, Amsterdam, The Netherlands
Open Shape, Spring, curated by Jasper Spicero, Waterside Park Playground 11th Ave & W 23rd St, New York, NY, USA
Smiler’s Delicatessen in Times Square, New York, NY, USA
___340&CA NNOT&DINNER&782___, No5A, New York, NY, USA
Out of Memory, curated by Eleanor Cayre, Marianne Boesky Gallery, New York, NY, USA
False Optimism, Crawford Art Gallery, Cork, Ireland
Open Shape, Winter, curated by Jasper Spicero, Generation Works, Witchita, KS, USA
Shell-Reflexives, curated by Agatha Wara, Downtown ArtHouse, Miami, FL, USA
Domino Effect, Catherine Bastide, Brussels, Belgium
Neue Alte Brücke and Real Fine Arts, Galerie Valentin, Paris, France
Pinot Noir, Tomorrow, Toronto, Canada
Standard Operating Procedures, curated by Piper Marshall, Blum & Poe, Los Angeles, CA, USA
Nicolas Ceccaldi / Yngve Holen, Pro Choice, Vienna, Austria
Entourage VIP Backstage Pt.1, Gasmesserhaus, Arbeitsgemeinschaft Zürcher Bildhauer, Schlieren, Switzerland
Images Rendered Bare. Vacant. Recognizable., Stadium, New York, NY, USA
FREEBIES, Emanuel Layr, Loos Bar, Vienna, Austria
Grouped Show, Tanya Leighton Gallery, Berlin, Germany
TruEYE surView, W139, Amsterdam, The Netherlands
based in Berlin, KW Institute for Contemporary Art, Berlin, Germany
The Smart Frrridge, Kunstverein Medienturm, Graz, Austria
Absolventen Austellung, Städelschule, Frankfurt am Main, Germany
The Garden of Ilja, Frankfurt am Main, Germany
Something Blue, Neue Alte Brücke, Frankfurt am Main, Germany
Enchanted, school of development, Berlin, Germany
Kiss-You-Through-The-Phone, Paloma Presents, Zürich, Switzerland
21st Century, Chisenhale Gallery, London, UK
What is not but could be if (Part 2), Neue Alte Brücke, Frankfurt am Main, Germany
Approximately Infinite Universe, New Jerseyy, Basel, Switzerland
For a Blank Implies Space, Torstrasse 165, Berlin, Germany
Co-curator of the exhibition The Smart Frrridge, Kunstverein Medienturm, Graz, Austria
Co-curator of the exhibition Kiss-You-Through-The-Phone, Paloma Presents, Zürich, Switzerland
Awards and Grants
ARS VIVA 2014/15, Kulturkreis Prize for Fine Arts
Allora & Calzadilla live and work in San Juan, Puerto Rico. Born in Philadelphia, Pennsylvania, USA in 1974, Jennifer Allora received a BA from the University of Richmond in Virginia, USA (1996) and an MS from the Massachusetts Institute of Technology, USA (2003). Guillermo Calzadilla was born in 1971 in Havana, Cuba and received a BFA from Escuela de Artes Plásticas, San Juan, Puerto Rico (1996) and an MFA from Bard College, USA (2001). Collaborating since 1995, Allora & Calzadilla represented the USA in the 54th Venice Biennale, Italy (2011). Solo exhibitions include Art Gallery of Alberta, Canada (2015), Philadelphia Museum of Art, USA (2014), Indianapolis Museum of Art, USA (2012), Haus der Kunst, Munich, Germany (2008), Stedelijk Museum, Amsterdam, The Netherlands (2008), Kunsthalle Zurich, Switzerland (2007) and Walker Art Center, Minneapolis, USA (2004). Among numerous group exhibitions, they participated in the 10th Gwangju Biennale, Gwangju, South Korea, documenta 13, Kassel, Germany (2012), Performance 9 at the Museum of Modern Art, New York, USA (2011) and the 29th São Paulo Biennial, Brazil (2010).
Michaël Borremans's drawings, paintings, and films present an evocative combination of solemn-looking characters, unusual close-ups, and unsettling still lifes. There is a theatrical dimension to his works, which are highly staged and ambiguous, just as his complex and open-ended scenes lend themselves to conflicting moods—at once nostalgic, darkly comical, disturbing, and grotesque. His paintings display a concentrated dialogue with previous art historical epochs, yet their unconventional compositions and curious narratives defy expectations and lend them an indefinable yet universal character.
Borremans was born in 1963 in Geraardsbergen, Belgium. In 1996, he received his M.F.A. from Hogeschool voor Wetenschap en Kunst, Campus St. Lucas, in Ghent. Since 2001, the artist's work has been represented by David Zwirner. Previous solo exhibitions at the gallery in New York include The Devil's Dress (2011), Taking Turns (2009), Horse Hunting (2006), and Trickland (2003), which marked his United States debut. Black Mould marked his first solo presentation at David Zwirner, London, on view June 13 through August 14, 2015.
Over the past decade, Borremans's work has been the subject of solo exhibitions at a number of prominent institutions. In 2014, a major museum survey, Michaël Borremans: As sweet as it gets, consisting of one hundred works from the past two decades, was presented at the Palais des Beaux-Arts in Brussels. The exhibition traveled later in the year to the Tel Aviv Museum of Art, followed by the Dallas Museum of Art in 2015. Also on view in 2014 was the artist's first museum solo show in Japan, Michaël Borremans: The Advantage, at the Hara Museum of Contemporary Art, Tokyo. In 2011, a comprehensive solo show, titled Eating the Beard, was presented at the Württembergischer Kunstverein Stuttgart, which toured to the Műcsarnok Kunsthalle, Budapest and the Kunsthalle Helsinki. In 2010, he had a solo exhibition at the Kunstnernes Hus in Oslo as well as commissioned work on view at the Royal Palace in Brussels. Other venues which have hosted solo exhibitions include kestnergesellschaft, Hanover (2009); de Appel Arts Centre, Amsterdam (2007); Kunsthalle Bremerhaven, Germany; and the Museum für Gegenwartskunst, Basel (both 2004). In 2005, he had a one-person exhibition of paintings and drawings at the Stedelijk Museum voor Actuele Kunst (S.M.A.K.), Ghent. The paintings then traveled to Parasol unit foundation for contemporary art, London and The Royal Hibernian Academy, Dublin, while the drawings traveled to the Cleveland Museum of Art, Ohio.
Work by the artist is held in public collections internationally, including The Art Institute of Chicago; Dallas Museum of Art; High Museum of Art, Atlanta, Georgia; The Israel Museum, Jerusalem; Musée d'Art Moderne de la Ville de Paris; Museum of Contemporary Art, Los Angeles; Museum of Fine Arts, Boston; The Museum of Modern Art, New York; National Gallery of Canada, Ottawa; San Francisco Museum of Modern Art; Stedelijk Museum voor Actuele Kunst (S.M.A.K.), Ghent; and the Walker Art Center, Minneapolis, Minnesota. Borremans lives and works in Ghent.
Gordon is a conjurer of collective memory and perceptual surprise whose tools include commodities and mechanisms of everyday life. Into a diverse body of work—which spans narrative video and film, sound, photographic objects, and texts both as site–specific installation and printed media—he infuses a combination of humor and trepidation to recalibrate reactions to the familiar.
Douglas Gordon was born in 1966 in Glasgow, Scotland. From 1984 to 1988, Gordon studied at Glasgow School of Art, Scotland, and from 1988 to 1990, he studied at The Slade School of Art, London. Gordon has had numerous solo exhibitions including ARC Musée d’Art Moderne de la Ville de Paris, France (2000); Deste Foundation for Contemporary Art, Athens (2000); Museu de Serralves, Portugal (2000); Fondacio Joan Miro, Barcelona (2001); MOCA at the Geffen Contemporary, Los Angeles (2001, traveled to Vancouver Art Gallery, Canada; Museo Rufino Tamayo, Mexico City; and Hirshhorn Museum and Sculpture Garden, Washington, D.C., through 2004); Towner Art Gallery and Museum, England (2002); Kunsthaus Bregenz, Austria (2002); Van Abbemuseum, The Netherlands (2003); Museo Tamayo and Instituto Nacionale de Bellas Artes, Mexico (2003); Andy Warhol Museum, Pittsburgh (2003); Rooseum Center for Contemporary Art, Sweden (2003); Deutsche Guggenheim Museum, Berlin (2005); Museo di arte moderna e contemporanea di Trento e Rovereto (MART), Italy (2006); The Museum of Modern Art, New York (2006, traveled to Museo de Arte Latinoamericano de Buenos Aires–Colección Constantini, Buenos Aires); MALBA Colección Costantini, Museo de Arte Latinoamericano de Buenos Aires, Argentina (2007); British School at Rome, Italy (2007, traveled to San Francisco Museum of Modern Art, California); Kunstmuseum Wolfsburg, Germany (2007); La Collection Lambert en Avignon, France (2008); Garage Centre for Contemporary Culture, Moscow (2008); Van Abbe Museum, The Netherlands (2009); The Tate Britain, London (2010); Museum fur Moderne Kunst, Germany (2011); Tel Aviv Museum of Art, Israel (2013); Museum Folkwang, Germany (2013); Musée d’Art Moderne, Paris (2014); Australian Centre for Contemporary Art, Australia (2014); and Museu d’Art Contemporani d’Eivissa, Spain (2015). Gordon’s film works have been invited to the Festival de Cannes, Toronto International Film Festival (TIFF); Venice Film Festival; and Edinburgh International Film Festival among many others.
Gordon has received several awards including the Turner Prize, London (1996); Premio 2000, Venice Biennale, Italy (1997); Hugo Boss Prize, Guggenheim Museum SoHo, New York (1998); Roswitha Haftmann Prize, Kunsthaus Zürich, Switzerland (2008); and Käthe–Kollwitz–Preis, Akademie der Künste, Berlin (2012).
Gordon currently lives and works in Berlin, Glasgow, and New York.
Thomas Schütte was born in Oldenburg, Germany in 1954. He studied at the Kunstakademie in Düsseldorf until 1981. Schütte’s oeuvre spans a diverse range of mediums and themes. His earlier works are mostly architectural models that comment on the role of the artist in society and on the art institution itself. Over the years, his preoccupations about the human condition in general as well as the cultural, social and political elements of everyday life have merged within his work. This myriad of themes comes to life through sculptures, prints, drawings, watercolors and photographs that employ figuration as a pivotal means of expression, particularly in his works of the late 1980s and 1990s. Schütte is well known for a series of three monumental-scale anthropomorphic figures cast in aluminum entitled Large Ghosts, 1996 through which he explores the expressive potential of the human form. He is also well known for United Enemies, 1993, a series of sculptures and photographs that comment on the contradictory nature of the human condition.
Thomas Schütte has exhibited extensively throughout the United States and Europe. Recent solo exhibitions of his work have been held in institutions such as the Museo de Arte Renia Sofia in 2010, the Haus der kunst in Munich in 2009 and the Kunstmuseum Winterthur in Switzerland in 2003. He has also participated in exhibitions in major institutions such as the Los Angeles County Museum of Art, the Stedelijk Museum in Amsterdam and the Fondation Beyeler in Basel. Schütte participated in the 2005 Venice Biennale, where he was awarded the Golden Lion. His work has been featured in multiple publications. Thomas Schütte lives and works in Germany.
Untitled Chair 2014
Born in 1976, in Brest, Morgane Tschiember was awarded the 'Diplôme National Supérieur d’Expression Plastique (D.N.S.E.P) de Quimper' and then went on to join the École des Beaux arts de Paris, where she got her 'Diplôme National des Arts Plastiques D.N.S.A.P' with 'félicitations du jury (honours) of the E.S.N.A.B. Shortly after arriving in Paris, in 2002, she received the 'Prix Ricard'. Aged 24 at the time, the Fondation Entreprise Ricard, offered her her first personal exhibition, 'BLASON'. She continued with a series of in situ projects in the city like 'CHAIRS' in 2003 with the support of Agnès B. In 2004, Tschiember worked with Catherine Bastide, in Bruxelles, and Lange et Pult in Switzerland. Tschiember shared her artist's studio with Olivier Mosset for five years. Many exhibitions came from this like 'ZONES ARIDES' at the MOCA, in Arizona, as well as a second part at the Lieu Unique in Nantes in 2007 or again 'FRIENDS' at the Loevenbruck gallery. Since 2007 she has worked with the Loevenbruck gallery in Paris, of which the 'IIRON MAIDEN' exhibition will be most prominent. She hopped over to Austria for 'SUITE FRANCAISE' at the Krinzinger gallery, in Vienna, and then took part in the Biennale de l’Estuaire, in Nantes, France. Mathieu Poirier proposes 'MONOCHROME SOUS TENSION', at the Tornabuoni gallery in 2010. She worked with Fabienne Fulchéri, 'REVES d’ARCHITECTURES' at the Espace de l'art Concret, Mouans-Sartoux, and received the 'Prix Sanofi' in 2012. Morgane flew off, in 2009, to New York, for a year at the International Studio and Curatorial Program (ISCP), and then to Kyoto, Japan to work with Super Window Project, Kyoto, Japan. She recently took up the Nuove//Residency, Nove, Italie, in 2013, directed by Géraldine Blais who invited her to both parts of LADIES AND GENTLEMEN PLEASE MAKE YOUR SELF COMFORTABLE, Itineraries in Carlo Scarpa, Venise, Italie, 2015 and 2016. Tschiember set up in the central hall for the exhibition 'THE OTHER SIGHT’, Contemporary Art Center, Vilnius, Lithuania, designed by Julija Cistiakova in 2014 and these Shibaris will be presented at the Musée de design et d'arts appliqués contemporains 'Nirvana. Les étranges formes du plaisir', Lausanne in 2015.' Equally in 2015, The Musée des Beaux arts de Dôle has dedicated a personal exhibition to her, 'TABOO', as well as the Tracy Williams Gallery in New York. A personal exhibition is currently dedicated to her at the MAC VAL 'Six soleils', Musée d'Art Contemporain du Val de Marne, Vitry-sur-Seine, France.
A number of institutions and foundations keep her work today : le Fond National d’Art Contemporain in Paris, the museum ‘Les abattoirs de Toulouse’, the Musée des Beaux Arts of Rennes, and that of Dôle, or again of Brest, the 21C Museum collection, Louisville, Kentucky, the Dior collection, Paris, the Collection de la Société générale, Paris or the SACEM, Paris.
born in 1966 in Gifu, Japan
lives and works in Paris, France and Kyoto, Japan
Japan’s leading electronic composer and visual artist Ryoji Ikeda focuses on the essential characteristics of sound itself and that of visuals as light by means of both mathematical precision and mathematical aesthetics. Ikeda has gained a reputation as one of the few international artists working convincingly across both visual and sonic media. He elaborately orchestrates sound, visuals, materials, physical phenomena and mathematical notions into immersive live performances and installations.
Alongside of pure musical activity, Ikeda has been working on long-term projects through live performances, installations, books and CD’s such as 'datamatics' (2006-), 'test pattern' (2008-), 'spectra' (2001-), ‘cyclo.’ a collaborative project with Carsten Nicolai, ‘superposition’ (2012-), 'supersymmetry' (2014-) and ‘micro | macro’ (2015-).
He performs and exhibits worldwide at spaces such as Museum of Contemporary Art Tokyo, Singapore Art Museum, Ars Electronica Center Linz, Elektra Festival Montreal, Grec and Sonar Festivals Barcelona, Aichi Triennale Nagoya, Palazzo Grassi Venice, Park Avenue Armory New York, The Whitechapel Gallery, The Barbican Centre and Somerset House London, Museo de Arte Bogota, Hamburger Bahnhof Berlin, DHC/Art Montreal, Festival d’Automne Paris, Sharjah Biennale, Carriageworks Sydney, Auckland Triennale, MONA Museum Hobart – Tasmania, Ruhrtriennale, Telefonica Foundation Madrid and Kyoto Experiment Festival, among others.
In 2015-16, major exhibitions include ‘supersymmetry’ presented at Le Lieu Unique in Nantes, The Vinyl Factory, London and Kumu Art Museum Tallin, Estonia; ‘micro | macro’ at ZKM centre for Art and Media, Karlsruhe, and solo exhibitions at Espai d á rt contemporani de Castelló, Spain and Wood Street Galleries, Pittsburgh. His works were also part of group show exhibitions and festivals at ACT Centre Gwangju (Korea), Singapore Art Science Museum, Kunstverein Hannover, MONA Museum Hobart (Tasmania) and Lichtkunstfestival in Ludwigsburg (Germany) and Kyoto Experiment Festival.
In 2016 he premiered a new acoustic stage piece ‘music for percussion’ in collaboration with ensemble Eklekto (Geneva) currently on tour.
In 2017, he is part of group exhibitions such as Elevation 1049: Avalanche i(Gstaad), Dox Gallery (Prague, Czech Republic), Barbican Center (London, UK), Centre Pompidou (Metz-FR), La Villette/Festival d’Automne (Paris, FR). Solo shows include Galerie Almine Rech - curated by Olivier Renaud Clément (London, UK) and 74 (Istanbul, Turkey).
His albums +/- (1996), 0°C (1998), matrix (2000), dataplex (2005), test pattern (2008) and supercodex (2013) pioneered a new minimal world of electronic music through his razor-sharp techniques and aesthetics. In 2016, ‘The Solar System’ a limited edition vinyl was released by The Vinyl Factory. In 2017 he will release a new CD ‘music for percussion’.
He is the award winner of the Prix Ars Electronica Collide@CERN 2014.
This selection of poems explores our desire to perpetuate and protect synchrony across space and time (as opposed to diachrony) – specifically in the case of immigration (traditions, folktales) – and also in one’s own body (principally though apnea). Penetration Dive weaves together traditional the environment, architecture, water collection, Italian folktales, historical battles, falconry, Sicilian lores of divers, the disappearance of Natalia Malchanova, American and Italian immigration. These short prose poems use word play, biology, and humor, to slow down time and disassemble ordinary moments until they act as building blocks that can be synchronized to work as a whole.
It also investigates the return of poetry in visual art exhibitions and the place we allow poetry in these exhibitions. Often, poetry is limited to the page or the reproduction of the page on a flat surface, such as a wall, sidewalk, or painting. But, we know that poetry isn't defined by words (i.e. image poems and sound poems), but by relationships and interconnections (rhyme, rhythm, visual patterns, etc). Synchronicity is particularly present in the slant rhymes, the manipulation of rhythm, and the superposition of narratives that seem related but have no discernable connection outside this work
In her sculptures, photographs and collages, Nicole Wermers connects formal considerations with a discussion about urban space and its social, economical and psychological aspects. Combining references to art history with modern surfaces and materials, the artist explores fine art aesthetics within the design of daily life, specifically the ways it has been appropriated by consumer culture. Combining and reconfiguring familiar objects into new material forms, Wermers addresses the structures of ritualised social relations and the material objects through which these associations are communicated. These works transform, contain, and frame their environment, prompting a deeper consideration of how surface and design read as social and cultural indicators.
Born in 1971 in Emsdetten, Germany, Wermers is currently based in London. She studied at the Academy of Fine Arts of Hamburg (Hochschule für bildende Künste Hamburg) from 1991-1997 and received an MFA from Central Saint Martins College of Art and Design, University of the Arts London in 1999. She has participated in residencies at Delfina Studio Trust in London (2004) and Camden Arts Centre in London (2005), and received a fellowship at Villa Massimo, the German Academy in Rome (2012). In 2015, Wermers was nominated for the Turner Prize.
In disquieting, entropic mis–en–scenes, Tatiana Trouvé limns the boundaries between the mental and physical where material space and form converge with immaterial time and memory. Her situations combine intricate scenographic drawings, sculptures both linear and three–dimensional, and spaces that hint at invisible dimensions. Whether found or created, Trouvé’s “environmental dramas” are melancholy yet highly charged, palimpsests containing echoes of other lived spaces and realities, which oscillate between the real, the imaginary and the phantasmic.
Tatiana Trouvé was born in 1968 in Cosenza, Italy. Trouvé’s work has been exhibited in several solo and group exhibitions. Recent solo museum exhibitions include Centre national d’art contemporain de la Villa Arson, France (1997); “Polders,” Palais de Tokyo, Paris (2002); “Aujourd’hui, hier, ou il y a longtemps…” CAPC Musée d’art contemporain, France (2003); “Tatiana Trouvé, juste assez coupable pour être heureuse,” MAMCO, Geneva (2004); “Extraits d’une société confidentielle,” FRAC PACA, France (2005); “Djinns,” CNEAI, France (2005); Centre national d’art contemporain Villa Arson, France (2007); “Double Bind,” Palais de Tokyo, Paris (2007); “4 between 3 and 2,” Centre Georges Pompidou, Paris (2008); FRAC des Pays de la Loire, France (2008); “A stay between enclosure and space,” Migros Museum, Zurich (2009–10); “Bureau of Implicit Activities: archives and projects,” Kunstverein Hamburg, Germany (2009); “Il Grande Ritratto,” Kunsthaus Graz, Austria (2010); “Somewhere, 18–12–95, An Unknown, 1981,” Schinkel Pavillon, Berlin (2014); “I tempi doppi,” Kunstmuseum Bonn, Germany (2014, traveled to Museion, Italy; and Kunsthalle Nürnberg, Germany); and “Desire Lines,” Doris C. Freedman Plaza, Central Park, New York (2015). “S.M.A.K.,” will be shown in Ghent, Belgium, in 2017.
Trouvé currently lives and works in Paris, France.
Grace Hall’s work is strongly influenced by her personal experience: she grew up in a deaf- mute community in Washington’s San Juan Archipelago and her first experience with nonstop chatter was when she attended her last two years of high school in New York City. The artist reacts to this sudden entrance into the city’s never-ending cacophony by constructing works of isolation. She plucks one voice, from her surroundings and invites her public to meet this narrative, this stranger, in an underwater tête-à-tête, on an island made of sound.
The artist began working with water when she moved to Paris, to imitate how the city plunges into silence every morning. Water physically separates the audience from his surroundings, demands a certain commitment and intimacy, and dominates the senses, body, and attention span: the public’s experience of the work is mediated by moxie and lung capacity.
During the last ten years the artist has been collecting detailed biographies, rewriting them into poetry, and constructing pieces for a large underwater biennial (Cycladic Islands, 2017).
Grace Hall (b. 1977, USA) lives and works in Paris, France
Allora & Calzadilla
Breaking into Trunks
Shot on 35mm film
Screening format UHD (3840x2160), colour, stereo sound
Duration: 13:20 minutes (24fps, 16:9)
Courtesy of Allora & Calzadilla; Luma Foundation; Galerie Chantal Crousel, Paris; Gladstone Gallery, New York and Brussels; Lisson Gallery, London and New York
Director -- Jennifer Allora & Guillermo Calzadilla
Director of Photography (DOP) or Cinematographer -- Sebastian Krügler
1st Assistant Camera -- Enno Grabenhorst
Sound Engineer -- Frank Bubenzer
Sound, Design, Mixing and Mastering--Fabián Wilkins
Additional Sound Score--
Additional Sound Score by Fabián Wilkins
Composer and Violin Recording Sessions’ Director-- Guarionex Morales-Matos
Props & wood preparation -- Franziska Paul
Translator & on-location production-- Andrea Soffientino
Editing -- Jennifer Allora & Guillermo Calzadilla
Post Production -- 89mm_minimum.movies, Berlin
Colour Grading -- ARRI Media, Berlin
Special Thanks-- Marcello Mazzocchi, Parco Naturale di Panavegio, Val di Fiemme Province of Trento. Regione Autonoma Trentino Alto Adige