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«TEKTONIK. The Journey», Com&Com
2018, 12:32
Exhibition: 29. November — 22. December 2018
TEK, TO und NIK sind drei naturbelassenen, sechs bis elf Tonnen schwere Verrucano-Steine aus dem UNESCO-Welterbe Tektonikarena Sardona, das dieses Jahr sein 10-jähriges Bestehen feiert. TEK steht für Glarus, TO repräsentiert St.Gallen und NIK verkörpert Graubünden. Die drei Steine touren von Februar bis November 2018 durch die Schweiz und besuchen dabei mehrere andere UNESCO-Welterbestätten. Im März waren sie auf dem Waisenhausplatz in Bern platziert. Anfang November wurden die Steine wieder an ihre Fundorte zurückgebracht. Die filmische und fotografische Dokumentation dieser Reise wird in der Ausstellung STONES in der Galerie Bernhard Bischoff & Partner und bei videokunst.ch vom 29. November bis 22. Dezember 2018 ausgestellt.
Upcoming
  • «Future Me», Lena Maria Thüring
    Opening Showroom: Thursday 10. January 2019, 18–20 h
    Opening Videowindow Houdini Kino/Bar: Friday 11. January 2019, 18–20 h
    Exhibition until 16. February 2019
Agenda
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In her video piece "Labor of Sleep, Have you been able to change your habits??" Elisa Giardina Papa investigates the impact of digitalization on basic human needs such as sleep. Gathering data about our bodies has become a central part of our lives through smartphone apps that map our diet, exercise and menstrual cycle. Within this culture of relentless self-optimization, even the surveillance of sleeping habits becomes a sport – relaxation is now a matter of training, bad habits must be kicked and new techniques acquired.

Giardina Papa visualizes this imperative of efficient relaxation using a visual language reminiscent of Instagram ads. Some of the scenes are shot from above, the image composition and the combination of pastel colours carefully selected to reference current graphic design trends. Between the perfectly staged surfaces, a female computer voice offstage supplies instructions and commands, making the animated female protagonist increasingly uneasy. The chatbot is barely capable of responding to human emotional states, and the automated lawn mower is just as insensitive in relation to the plant arrangements in the short clips.
Is this a sign of the precarious relationship between humans and intelligent machines?
«Im Nebensinn von Dagmar und Doris», BiglerWeibel
2016, 2-Kanal Videoinstallation, 06:28
20. September — 20. October 2018
«In the next sense of Dagmar and Doris» formally relates meticulously composed images of a women’s friendship. Dagmar and Doris, portrayed by the two artists Jasmin Bigler and Nicole Weibel, establish skillful powers of observation in relation to one another and to their surroundings. The pictorial forming bodies receive an abstract, almost sculptural impact without loosing the expression of friendly intimacy. Once registering themselves in the urban architecture, another time explicitly exposed, they record apparently unapparent details of urban space.

Following clear visual concepts, the individual scenes build a coherent succession of grey and pink, soft and hard materials within urban and nearly natural urban space. Individual elements such as hair or stockings and the soaking up and pressing out of water from sponges return again and again. Dagmar and Doris are unapologetic in their femininity and genuine in their gestures. The humorous and absurd lightness of the work only benefits more from this.
««Naluns», 2012/ «Zopf auf Erde», 2013 /«Einhämmern», 2013», Franziska Bieri
Exhibition: 16. August — 15. September 2018
videokunst.ch is screening three performative video works by Franziska Bieri to open the fall semester 2018. In these three videos the artist misappropriates staple foods, increasing their symbolic value all the more. Eggs, milk and bread have always been the resources of agricultural civilization and carry powerful meaning in Christian iconography. The egg is the symbol of the beginning of life, milk is the original food of the mother for the child and bread is seen in the Catholic Mass as the true body of Christ. In „Bread on Earth” (Zopf auf Erde) the artist creates something new from these resources - braided yeast bread - however, unfit for human consumption. In the mixing of flour and milk upon the open field the original ingredients that emanate from them are returned to the earth. A service of the artist for nature?

The interventions are more destructive in the other two works. The trampling of the eggs visualizes the fragility of this potent symbol and at the same time questions the role of men within this constellation. The imposing, mountainous landscape of Engadin underlines these contrasts of fragility and strength, which we ascribe to the egg as a symbol. Likewise, the nailing down of the bread upon the kitchen table in „Drive“ (Einhämmern) has something violent, especially since the significance of the gesture is not revealed within the first moment. One interpretation is critique of the rigidity of reoccurring traditions, which are no longer useful to us.
«Multiple Contexts», Peter Aerschmann, Gabriela Löffel, Jürg Neuenschwander, Dominik Stauch
Exhibition: 29. June — 03. August 2018
In cooperation with AroundSpace gallery in Shanghai videokunst.ch is showing positions of Swiss videoart in China the exhibition Multiple Contexts.

The exhibition Multiple Contexts features four established video artists from Switzerland: Peter Aerschmann, Gabriela Löffel, Dominik Stauch and Juerg Neuenschwander. Recommended as the first group of exhibition artists by the non-profit video platform videokunst.ch (Bern, Switzerland), they are at the forefront of their fields of video art. The exhibition includes representative works that reflect their varied and unique styles. In Switzerland, cultural activities are not homogeneous. Rather, they incorporate multiple cultures and reflect the contexts of the country’s four major language regions. Video art has been thriving in Switzerland for the past 40 years. The four artists are participants in and witnesses to the evolution that is helping Swiss video art to develop outstanding depth, breadth, maturity and diversity.
«Assembly Line Projects: A Packet of Salt», Li Xiaofei
2013, 07:23
24. May — 30. June 2018
The video work "A Packet of Salt" is part of the series "Assembly Line Projects", which the Chinese artist Li Xiaofei began in 2010. The videos were filmed in factories in Norway, Sweden, the USA, New Zealand and China and address the worldwide social changes caused by the assembly line - for the artist the ultimate symbol of capitalism.
A salt factory in China forms the setting for the documentary scenes in "A Packet of Salt". The historical, indeed almost romantic-seeming transportation of salt mountains upon small rafts stands in contrast to the problems addressed in the video of soil contamination through salt production. Salt always was regarded as a purifying remedy and was essential in preserving food. The question of what meaning the resource salt is assigned in today’s post-Fordism is delivered inherently within this work.

In cooperation with the AroundSpace Gallery in Shanghai.
«The world», Tian Xiaolei
2007, 04:10
05. April — 19. May 2018
"The world" is an early animation of the Chinese artist Tian Xiaolei. The black and white, abstractly moving forms veritably lure the viewer into an undertow of this foreign, yet peculiar, known world. The associative space is relatively clearly defined through the background noise: the underwater world with sounds of the sea develops into an environment of automated sequences of a machine, finally finding itself in the air, accompanied by a flock of birds, circling with the wind around imposing skyscrapers. The world sketches a picture of a civilizing development; from the portrayal of fauna and flora culminating into architectural and industrial mechanisms of humanity.
«Small Paths», Wenfeng Liao
2010, 2-channel video-installation, 04:13
22. February — 31. March 2018
Small Paths precisely sketches a poetic portrait of its two protagonists through the specific omission of information. On the left we follow the explorations of an ant, which is repeatedly moving out of the camera’s depth of field. The focus on the ant’s habitat -extremely magnified for the human eye- makes us empathetic for it’s tragic destiny. To the right it is a moving camera, which feels it’s way along a woman’s body without showing her face. We accompany the woman as she walks through a garden with a pond and maybe we wonder what brought her here. Liao Wenfeng examines textures and surfaces with extreme precision. With an effective, almost ethnographic eye the subtle connecting of elements from both videos becomes apparent and the viewer is sensitized to the symbolic details.
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«Protein Fix», U5
2015, 07:39
14. December 2017 — 17. February 2018
Die Videoarbeit Protein Tracer gibt Einblick in die reiche Formensprache des Kollektivs U5. Die einzelnen Objekte und Oberflächen des Videos generieren sich aus den installativen Arbeiten. U5 arbeiten mit den unterschiedlichsten Materialen, vom 3D Scan über Wattestäbchen bis zu Plastikboxen von Proteinnahrung und fügen diese in raumgreifenden Ensembles zusammen. Protein Tracer funktioniert in diesem Sinne als Kondensator des kaleidoskopischen Werks von U5.
«Zwischen den Zeiten Lieder Singen II», Dieter Seibt
2017, Videocollage, 17:30
02. November — 02. December 2017
Die starken Charaktere Dieter Seibts manifestieren sich in Zeichnungen, Fotografien, skulpturalen Installationen ebenso wie auf Video. Seine Figuren sind Archetypen der Gewinner respektive der Verlierer im aktuellen Weltgeschehen denen er in seinen Werken eine Bühne gibt. Für die Videocollage «Zwischen den Zeiten Lieder Singen II» wurden einzelne Aufnahmen zusammengefügt und mit Kompositionen der Kapelle Clairmont unterlegt. Es ist ein Potpourri aus bewegten Stilleben von Seibts immer wiederkehrenden Protagonisten und Alltagsbeobachtungen, die in ihrer Trivialität eine ganz eigene Ästhetik erhalten. Die Collage ist somit Dokumentation und neue Werkform zugleich.
«Bubble #6», Mika Rottenberg
2016, 01:40
28. September — 28. October 2017
The «Bubble 1- Bubble 6» edition consists of excerpts from the film «NoNoseKnows», which Mika Rottenberg presented for the first time at the Venice Biennale in 2015.
The cinematographic video work of Rottenberg questions today’s post-Fordist production systems through humorous-ludicrous sceneries. Originally the soap bubbles are film sequences from the setting of a cultured pearl farm staged in China. The soap bubbles focus the attention to the «non-place» of the corridor and become poetic parentheses in the absurd daily routine of the factory. In the short sequences we see soap bubbles slowly floating, fantastically warping themselves and finally bursting. This happens within the backdrop of peculiar vestibules with numerous doors, whose colorful walls should hide the fact of the gloom of artificial lighting and frugal amenities.
«Inside My Head», Dominik Stauch
2016, 03:47
17. August — 23. September 2017
«Inside My Head» is a systematically composed choreography of six different forms yielding and partly emerging one after the other. The analogy to theater is evident, since the individual forms display their own colors and their movement patterns like their own different characters, betake to their own «stage» and interact with one another and only to disappear again. Every form is assigned the sound sequence of a wooden xylophone. The interaction of the melody sets the rhythm of the movement. The clear structure is broken through the altered succession of the participants. New colors and forms are created in the overlap of the ellipses and allow for complex sequences of images to develop. In his video work Dominik Stauch understands the moving color fields as a reference to painting. The initially faint colors run together with other mixed colors, similar to the techniques of watercolor. The selection of color fell deliberately not on vibrant, pure color shades, but rather towards in between shades, - which however, give off a surprising effect in the combination.

Stauch sees these optical effects as an analogy to our everyday life, where new memories overlap with the old and add a new dimension to our experiences. We are compelled to constantly judge our experiences anew, based on cumulated, added experiences. Consequently, memory is never a succession, but rather a consecutive reevaluation of past experiences.

Text: Stefanie Marlene Wenger
«Potemkin'sche», Erik Dettwiler
2002, 03:20
24. May — 01. July 2017
Dettwiler alludes to the work’s place of origin with the title, specifically, the Potemkin Steps in Odessa. The stairs obtained their name through Sergei Eisenstein’s iconic 1925 silent film «Panzerkreuzer Potemkin». The film loosely orients itself on the chain of events that led to the onset of the Russian Revolution in 1905. The scene on the steps in which the mass of people streaming towards the port is brutally shot down by the czaristic army, would become one of the most famous and most cited moments in film. One of the reasons why this early work revolutionized film history at the time, is Eisenstein’s new form of editing, which no longer followed a narrative but rather set as it’s goal, the emotional claims of an audience. Dettwiler stages himself as a floating ghost in a gesture of condensed ease at this historically significant place, and creates herewith his own tribute to Eisenstein’s oeuvre.
«Erfan’s Notebook», David Zehnder
2016, 16:13
06. April — 20. May 2017
The work Erfan’s Notebook arose through a personal acquaintance of the artist with Erfan, a young man from Afghanistan whom he met in the transit center for asylum-seekers in Zollikofen. Even more than the progression of his language skills, the notebook allows us an insight of Erfan’s personal history - his flight from Afghanistan through Turkey into Switzerland. Empty or torn out pages, a rudimentary sketch of Europe with names of countries, telephone numbers and email addresses, give witness to the daily life in a dangerous journey of an unknown outcome. Supposedly mundane language exercises in Erfans’s notebook such as “Can I see your passport?” and “Have a good trip“ suddenly obtain a whole different significance with this background knowledge. OKRA (Robert Aeberhard and Oli Kuster) added a soundtrack to Erfan’s Notebook. Erfan’s journey is musically reconstructed and made to come acoustically alive through piano and field recordings, static noises and lost harmonies.
«Mare Mosso», Judith Albert
2015, 03:44
23. February — 01. April 2017
Die Videoarbeit «mare mosso» gewährt einen Blick auf ein ruhiges Meeresufer, das in Bewegung gerät sobald die Projektionsfläche aus Papier von den Händen der Künstlerin traktiert wird. Ein Blatt nach dem anderen wird entlang der Uferlinie abgerissen, das zweidimensionale Videobild erweitert sich um die dritte Dimension des sich wölbenden Papiers. Die vom rechten Bildrand eintretende Protagonistin balanciert vorsichtig der Uferlinie und den Wellen des Papiers entlang während sich das leise Meeresrauschen mit dem Geräusch des Reissens vermengt. Ein Stimmungsbild entsteht, das sinnbildlich ist für das Leben, das sich oft als Gratwanderung zwischen den Elementen auf bewegtem Untergrund erweist.
«IT, HEAT, HIT», Laure Prouvost
2010, 07:20
12. January — 18. February 2017
Die verschiedenen Elemente der Videoarbeit «IT, HEAT, HIT» von Laure Prouvost korrelieren nur teilweise miteinander. Die schnelle Abfolge von Videobildern wird unterbrochen von Text-ausschnitten und bedrohlichen Geräuschen, während die Stimme der Künstlerin aus dem Off einen weiteren Erzählstrang hinzufügt. Alle Informationen aufzunehmen ist unmöglich, die Reizüberflutung somit Teil der Rezeption. Das Stilelement der direkten Ansprache zielt auf die physische Präsenz der Betrachterin und bildet, da eine Narration nur schwer zu finden und schnell wieder verloren ist, die einzige Konstante, die durch die 6 Teile des Videos führt.
«IT, HEAT, HIT» kann als Metapher auf die Aufmerksamkeitsökonomie gelesen werden, auf die Verführung der Medien und unseren Versuch, uns im konstanten Überflutung aus Informationen zu navigieren.
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«Sweet Noel», Quynh Dong
2013, 07:53
01. December — 23. December 2016
The subject women in a garden in the lacquer painting «Vuon Xuân Trung Nam Bac» by Nguyen Gia Trí, serves as starting point for Dong's work «Sweet Noel». Identity can be adapted and changed by history, it is always in transformation. It may be that Nguyen Gia Tri was inspired by Monet's paintings, also Monet was inspired by Japanese prints with the subject woman in the garden. Male actors are playing women's roles in japanese Kabuki. The body becomes form. Dong is creating a body language that overdraws the idea of a vietnamese and asian looking woman with references from the asian mass- and pop-culture. Eleven women hold static poses for seven minutes. Like in a Music Video, the women are waiting, standing, sitting, lying in the garden filled with colorful plastic flowers. The women remain in their positions and wait for their turn in the love song «Hai Mua Noel».
«Zen for Internet», Com&Com
2014, 05:00
26. May — 17. August 2016
«Zen for Internet» is a contemporary interpretation of «Zen for Film» (1962-64) by Nam June Paik. Using the iconography of the internet and computer, the work features an endlessly rotating «loading wheel» on a white background. Typically, the «loading wheel» would be a temporary, in-between state before seeing the fully loaded image. «Zen for Internet», however, indefinitely freezes the in-between-ness; the viewers never see the desired image. The artists conceived of this work existing in multiple iterations in a variety of media: as a website (www.zen-net.org), a endless looped video, a painting, or as various types of merchandise including prints, t-shirts, and a tod bag. «Zen for Internet» speaks to the inherent changeability of the concept. Rather than existing in a single instantiation, this work can exist in a variety of formats, just as «Zen for Film» existed in an assortment of contexts, all of which were still «authentically» the work.
«Montag», Renata Bünter
2012, HD Video, 02:00
14. January — 20. February 2016
The video «Monday» belongs to the cycle of works entitled «sieben Tage/seven days» by Renata Bünter. In order to emphasize everyday routines, the Bernese artist named the work according to the days of the week. «Monday» seduces the viewer into the personal childhood memories of the artist, influenced by the rural surroundings of Central Switzerland and a catholic extended family. The shooting locations, the settings and the props have been faithfully taken over in part. Rita Siegfried painted the view from the window in «Monday»: a dreamlike room illusion emerges - a moment of disassociation. The moving pictures in a lucid artistic language allow the viewer to immerse in a poetic and surreal world.
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«Walking with Richard», Dominik Stauch
2014, 21:35
26. November — 19. December 2015
«Walking with Richard» has his source by an engagement over several years with the major oeuvre of Richard Wagner «Der Ring des Nibelungen». It’s a combination of performative and graphical videos of Stauch. The artist condenses the opulence of the opera in a sort of seven subject based video clips. The whole work is made by Dominik Stauch himself and this aspect of an overall work of art is what interested him in the opera of Richard Wagner as model. There are autobiographical elements blended with literature, or aspect of art and cultural history brought into the present time. The work captivates the spectator by an accurate interplay between image and audio. The dynamic of the geometrical shapes, the colours and the sound turns into an optic and audio experience. The work ties up on the tradition of the experimental movies of the avant-garde of the 1920 years, the abstract respectively the concrete art, but shows also influences of the minimal and the pop art. The contemplative rhythm and the time coupled with poesy and irony create ample association spaces which blow up for own imaginations. (Text: Bernhard Bischoff)
«Clima(c)tic Changes #1», Michael Spahr
2015, 5-teiliges Video, 01:00
20. October — 19. November 2015
«Clima(c)tic Changes» is a dreamlike video collage from the Bernese artist Michael Spahr, a.k.a. VJ Rhaps. The socio-critical video is based upon photographs of Swiss mountains that slowly change; even the surroundings of the mountain ranges transform themselves, creating a new climate, in turn influencing the alpine world. Time and again short climaxes occur. The progressing climate change and the impact of the constant concrete smothering of the alpine regions are confirmed. «Clima(c)tic Changes» is a vision of the global climate changes, addressing the unsettling, gridlocked perceptions of the alpine myth.
«Breaking Bread», Janine Mackenroth
2012/2015, 12:12
13. August — 12. September 2015
For the Happening «Breaking Bread» Munich artist Janine Mackenroth blew up 194 old, inedible loaves of bread arranged as a global map (194 countries of the world). The overall duration of the explosion lasted barely 10 minutes. This corresponds, on the average, to an explosion every 3 seconds – the same period of time in which people are dying globally as a result of hunger. Furthermore, Janine Mackenroth is consciously playing with another daily taboo: the destruction of food.
«El Saludo (Der Gruss)», Adela Picón
2008, 05:37
16. January — 21. February 2015
Every encounter begins with a greeting. One welcomes with a handshake, with a hug, a gesture...Greetings are a generalized standardization; they are polite rituals that help us to come into contact with others and strengthen our relationships. The video « The Greeting » (orig: « El Saludo ») from Adela Picón shows these moments of greeting. The encounters are entirely different: sometimes formal, sometimes euphoric. Yet, every time the encounter ends up the same: in the moment of greeting, the one person blends into the other until only the white screen is left to see. «The Greeting» was created for an exhibition in the historical museum Sant Feliu de Guixols (Spain) in collaboration with the people of the city. Adela Picón is interested in the dealings with the different. She plays with notions such as tradition, past, public and private sphere, social integration or the careless usage of rules and allocation.
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«Berg und Beton», Simone Zaugg
2013, 07:39
28. November — 20. December 2014
The video «Mountain and Concrete» (orig.: «Berg und Beton») deals with the Albigna Dam in Bergell, a transit valley between St. Moritz and Italy. The historical - political events and personal histories have been translated into performative video images, questioning the fascination of the dam and the controversy of this gigantic, structural intrusion in the Bergell Valley. The video moves within the tension between architecture and nature, between give and take, between survival and existence, between mountain and concrete, between body and work, between past, present and future. The dam is acoustically explored as a body of sound parallel to the development of film sequences. Only the combination of image and sound allows the viewer to feel and understand the spatial and temporal dimensions of this imposing structure. In 2014 the video «Berg und Beton» was nominated for the Bernese Film Prize.
«Current Status: Declaration», Istvan Balogh
2012, 17:33
24. October — 22. November 2014
Die Videoarbeit «Current Status» ist eine quasi-dokumentarische Arbeit, in welcher der partielle Kontrollverlust der Sprache thematisiert wird: Ein junger Mann, der unter einer starken neurologischen Fehlfunktion, dem Tourette-Syndrom, leidet, liest die 30 Artikel der «Allgemeinen Erklärung der Menschenrechte». Durch das ständige Zerhacken des Textes und das unkontrollierte Einschieben von Fluchwörtern – ein typisches Symptom für Tourette – wird auf das defizitäre und kaum eingelöste Versprechen der Menschenrechte hingewiesen. Die Arbeit zeigt hier eine eindeutig politische Komponente. Die Art des Vorlesens repräsentiert den «Current Status» der «Declaration of Human Rights ». Zum anderen nimmt die Arbeit eine Methode der «Arts Incohérents» auf, einer kurzlebigen Kunstbewegung, die Ende des 19. Jahrhunderts in Paris entstand: Hierbei werden bestehende Texte oder Lieder expressiv ausgelotet, indem sie von Personen mit neurologischen Fehlfunktionen wiedergegeben werden.
Istvan Balogh spielt auf subtile Weise mit der Inszenierung, um genau diese in Frage zu stellen. Entlang der Grenze von Kontrolle und Kontrollverlust lässt Balogh neue Bedeutungen entstehen.
«Global Vulva», Myriam Thyes
2009, 6:20
22. August — 30. August 2014
The animation «Global Vulva» connects female figures and vulva symbols from different times, countries and cultures, while they morph into each other - the cultural meaning of the female genital becomes visible again. You'll see paleolithic engravings, the Greek goddess Baubo, a winged woman from an ice-age culture in Siberia, an Irish Sheila-na-gig, drawings of vulvas and of their symbols, the Indian goddess Kali and a Yoni stone, the Tibetan goddess Naljorma Dewa, a statue of a noble ancestor of the lwena in Angola, the Aztec goddess Mayahuel, the Black Stone at the Kaaba in Mecca, a double-tailed mermaid from a church in Tuscany, the protecting Dilukai from Micronesia, hands forming the mudra « Lotus and Bee » in a labyrinth, an amulet of the Egyptian goddess Hathor, a winged sun disk, and the oldest human figure ever found, the so called Venus of Hohle Fels. Thyes’s work revolves steadily around social and cultural symbols, their meanings and their transformations. With the pictorial work on symbols she would like to enhance our imagination, open new perspectives and encourage interaction.
«Black Bullets», Jeannette Ehlers
2012, 05:05
13. June — 05. July 2014
The Danish artist Jeannette Ehlers deals with slavery and colonialism repeatedly in her work. In the video « Black Bullets » she uses the Haitian Revolution as her theme.
In 1804 the French colony of Saint-Domingue fought for their independence. The slave revolt, which preceded the revolution, is the only successful slave revolt in history. It began with the legendary Vodou ceremony at Bois Caïman (Crocodile Forest) in the northern part of Saint-Domingue. According to legend, a black pig materialized and was sacrificed in a ritual in which hundreds of slaves drank the pig’s blood. The blood gave these slaves the power to fight for their freedom. The result is the world’s first black republic: Haiti. With her video « Black Bullets », Jeannette Ehlers reminds us of the history of slavery and pays tribute to the revolution. The video was filmed in the Citadel Laferrière in Haiti.
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«Black Magic at The White House», Jeannette Ehlers
2009, 03:46
31. May — 06. July 2013
In the video «Black Magic at the White House», Ehlers is performing a voodoo dance in Marienborg which has a strong connection to the triangular trade. It was built as a summer residence for the Commander Olfert Fischer in 1744, who since sold it to merchant Peter Windt, who also had created a great deal of wealth from the slave and sugar trade, and who even brought slaves with to his home in Denmark. Several others of the period’s trading men have owned and put their stamp on Marienborg, and today it still plays an important role in Denmark, in terms of its position as the official residence of the country’s prime minister. The video is part of the large project ATLANTIC. Jeannette Ehlers, with ATLANTIC, brings focus on a dark chapter in Danish history: its intensive participation in the slave trade and colonialism. Through digitally manipulated photographs she puts in a poetic way reflections on the Danish slave trade.
«Hard Edge Ride», Dominik Stauch
2011, 05:11
26. April — 25. May 2013
«BABEL», Peter Aerschmann
2012, 04:00 Loop
04. April — 20. April 2013
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«vom kühlen Reiz selbsterdachter Welten – f (Q)», Pia Maria Martin
2012, 16 mm auf DVD, 01:00
14. November — 22. December 2012
In February 2012, Pia Maria Martin worked as the first residency.ch artist in the live-in studio at the PROGR_Center for cultural production. The water in the basins of the fountains in the city of Berne formed huge icebergs at 14° C. Inspired by these ice landscapes, she tried to reconstruct them in a freezer in the cellar of the PROGR. In a number of freezing processes, Pia Maria Martin created her own film sets with balloons, condoms and surgical gloves filled with water. By employing a separate switch, the camera (a 16mm Bolex fitted with a motor) allowed her to capture slow motion exposures. She not only found the meditative aspect alluring, but the experiment of allowing time to work for her as well.
«Pimpolis», Michael Spahr
2012, 12:00
11. April — 07. July 2012
In his digital collage PIMPOLIS he „pimps-up“ Bumpliz (medieval spelling: Pimpenymgis/Bimplitz) creating a pulsing city (greek: Polis). Michael Spahr constructs a (sub) urban dreamworld from hundreds of photographs, all of which were shot in Berne-West. A habitation emerges, vanishes and morphs itself. The (sub) urban village becomes an unexpected urban metropolis. Fascinating metamorphoses occur within the surreal animation, touching thereby on such urban themes as „gentrification“, „migration/ multiculturalism“ or „urban sprawling“.