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«Ornament as the Science of Passionate Disinterests», Ronny Hardliz
2014, 05:40
Exhibition: 05. March — 27. March 2021
// What can be seen in your video? // Three storylines running side-by-side show me in seemingly everyday office situations: with an open laptop on the table, reading a text with a concentrated expression, standing in front of the desk. Only on closer inspection does it become clear that other forces are at work here, that the floor shown is actually a wall, and that the person supposedly sitting or standing is instead acting from the floor in a lying position. // All too familiar scenes in the current lockdown, in which numerous employees are forced into the isolation of the home office. So is this about Corona-art dealing with the constraints and crushing burden of lockdown in the pandemic? // No, the video was made back in 2014. It's about forces that affect us without us being able to influence them directly. Climate change, migration, digitalization, they are simply there as a condition. When we read a book, we consciously expose ourselves to linguistic forces. Next to the sex drive, gravity is perhaps the most effective and enigmatic, unconditional force. Gravity cannot be eliminated. But one can deal with it, apparently annul it. I use gravity in the video as an artistic visual strategy to explore possibilities of invalidating forces. // What does this mean and how does it become apparent in relation to the current situation? //I call such forces "affectless", because they act on us without passion. This is the general core of the video, which can be interpreted as a symbol of our slapstick way of dealing with the virus and the restrictions imposed on us. Like Buster Keaton, we perform the most ornamental contortions with a serious face.// // Is this how the video relates to the title? // Yes. The title refers to the French sociologist Gabriel Tarde who explained economy as the science of passionate interests. The video attempts reflecting his thesis into an anti-economy—while reading Tarde.
«Credits», Karen Amanda Moser
2018, Video-Loop Projektion, 5:46
15. January — 20. February 2021
The video «Credits» shows exhibition-shots taken in the different museums of Genova IT. A text, similar to credits on the end of a movie is considering roles of a hypothetic viewer, but also of the exhibit, the collection. There is a correlation between the seen and the one that sees. Since the concept of public museums arose with the birth of the nation-state, the exhibition was thought of by the artist as a tool to "create" culture, the citizen can identify with. As much this is a construction, it is a challenge to find new ways to deal with collections we inherit, to reconsider such.Unfortunately, the showroom at PROGR will only be open on Friday, January 15, 2021 from 2-6pm and on Saturday, January 16, 2021 from 12-4pm. However, the video can be viewed daily 10am - 10pm in our video window in Bienzgut/Bümpliz through the showroom window for the entire duration of the exhibition until February 20, 2021.
« zu Gast im PZM-Weltenfenster: BiglerWeibel und Dieter Seibt», BiglerWeibel, Dieter Seibt
Exhibition: 19. December — 31. December 2020
Die Ausstellung kann bequem durch das Schaufenster von Aussen betrachtet werden. Wir freuen uns über Ihren Besuch!Adresse: PZM-Weltenfenster, Gerechtigkeitsgasse 72, 3011 Bern (Bus Nr. 12 / Rathaus)
«Vororte der Körper / Peripheries of Bodies», Yves Netzhammer
2012, Video-Animation, 17:10
04. December — 19. December 2020
«Peripheries of bodies» is a consequential animation film which casts the medium of film back on its origin, the image. Beginning with divers on a platform in the sea, the viewer is simultaneously immersed in pictorial spaces in pictorial worlds, whose associative inner logic collides with the customs of conventional narration. Topics such as encounter, separation, the dissolution of boundaries and the radius of what can be physically experienced are examined for their echoes in the semiotic echo chamber and the possible vocabulary of the mental stage space of the earlier works is substantially supplemented.
«"Dream", 2017 - "Passers", 2012», Beate Gördes
Exhibition: 30. October — 28. November 2020
Accompanied by gentle, poetic sounds, fragments of childhood memories pass by in the video work «dream» from 2017. A plant gracefully bending in the wind, the roaring of the sea on the beach, circling birds on the horizon - from black and white to bright colours. Images and sounds that symbolize for Gördes her strong longing for freedom. A longing whose first signs she recognized in some early childhood dreams. In «passers» from 2012, shadows of passers-by hurry across the pavement to strangely jumping sounds. The camera's viewing angle cannot be assigned and works against the normal view of the viewer. It is small tricks and magic, colours, sounds, words or sentences through which Beate Gördes alienates, shifts and transcends her familiar, urban environment. The foreign merges with the familiar or every day. One is always somewhere and nowhere, restless and quiet at the same time. Beate Gördes lets us travel in a playful, surreal way through space and time, somewhere above or below the surface of things. Beate Gördes (*1961 in Herten (NRW), DE) studied fine art and painting in Cologne from 1987-1992. Since 1985 she has regularly been represented in exhibitions and with participations both in Germany and abroad and has participated in numerous international short film festivals. Beate Görde's artistic work is multi-layered and interdisciplinary. Since 2006 the medium film/video and sound has complemented her artistic work. In recent years, her main focus of work has developed into video compositions in combination with electro-acoustic sounds. She is the founder and curator of the event series BLAUE STUNDE, which presents video screenings by video artists at various locations. Beate Gördes lives and works in Cologne.
«I MISS YOU», Peter Aerschmann
2020, 10:00 loop
24. September — 24. October 2020
We are no longer in the place where our body is. We are constantly on digital or medial journeys, everywhere present, and yet nowhere really present. With smartphones and tablets we are always connected, sending selfies out into the Internet and receiving messages and information from all over the world. We are in different places at the same time and still miss many things, including ourselves. The video installation I MISS YOU deals with this contradiction that the individual is exposed to in the face of the profusion of places and activities in the virtual offer of the 21st century.
«Creative Estonia», Flo Kasearu
2012, 1:00
14. August — 12. September 2020
The video work «Creative Estonia» by Flo Kasearu deals with the production mechanisms of the creative industries. To this end, the artist has set up a conveyor belt for art production in the basement of her eponymous house museum «Flo Kasearu's House Museum». The video shows how, step by step, exquisite and richly decorated objects of art are produced by hand from simple glass containers. The production of art takes place around the clock, so that thousands of beautiful objects are produced on the conveyor belt every day.Founded in 2013 by Flo Kasearu and self-proclaimed «House Museum» is a site- and theme-specific exhibition of the artist's work in her house. Not only have many site-specific works been created here, but the contexts of private and public are constantly shifting, for example when the artist conducts guided tours in her own house. The setting of the video is also a living museum in which the artist lives, creates and stores her works and shows them to the public. «Creative Estonia» is also the name of a development centre that promotes and develops the creative industries and creative businesses in Estonia.
«Auferstäubung», Andrea Vogel
2018, 5:00 Min., Loop
28. May — 04. July 2020
From above we see a woman's body stretched out lengthwise on the slab floor and covered with flour dust. It starts with the head moving, then the upper body slowly straightens up. The woman will gradually stand up and, in doing so remove the flour dust from her skin and leave the visual space. Only the traces of her body - the outlines of her previous silhouette drawn with flour - remain. White on black, they bear witness to Andrea Vogel's "Auferstäubung", refer to the ephemeral presence of the artist, blurring physicality and disembodiment.The stop-motion and fading effects that Andrea Vogel used in her photographed performance "Auferstäubung" further reinforce this impression. The video, which consists of a sequence of single images strung together, was created in 2018 as part of the work-in-progress art project "Kunstversuchsanstalt #4 Universum", which was realized together with the artist Olivia Notaro (as part of the project series of the same name initiated by Olivia Notaro) in the former bakery Vogel in Oberdiessbach. Andrea Vogel's return to her parents' former bakery awakened in her the need to feel the flour on her own skin and led to an examination of her own origins. Andrea Vogel says, she was "born into the flour dust and returned as an artist forty-four years later".Notice "Meet the artist": Artist Andrea Vogel will be on site at the showroom on Saturday, May 30, 2020 12-4 pm and is looking forward to your visit.Please note our modified opening hours: Thu/Fri 2-6pm, Sat 12-4pm (Wed closed)
«Hard Edge Ride», Dominik Stauch
2011, 05:11
27. April — 27. May 2020
«Merci», Boyband CHIC
2020, 4:50
29. March — 16. May 2020
Since its formation in summer 2018 the Berne-based artists' collective around the semi-fictional Boyband CHIC has landed one pop smash hit after another. With texts in dialect and a large portion of (self-)irony, the three members of Bern's youngest boyband deal with popular cultural themes in their video performances, making hearts melt and, incidentally, reviving feelings and memories of the 1990s. In their latest video performance «Merci» - premiered in the showroom - the three boyband members slip into the role of burglars who gain access to the Franz Gertsch Museum in Burgdorf. They interweave - musically and scenically - two different storylines, which refer to each other and for which the song text marks the starting point. The song, which shows a striking dichotomy, deals in a first, for the boyband CHIC untypically melancholic part with the difficulties that a multitude of young artists are confronted with within the art business and denounces the lack of appreciation. The second, overly euphoric part of the song propagates the seemingly derived solution and encourages the creation of art that pleases everyone. On a visual level reminiscent of the appearance of a Hollywood film, the staged museum break-in illustrates how the boy band CHIC finds its way into the noble halls of high culture.
«Merci», Boyband CHIC
2020, 4:50
27. February — 28. March 2020
Since its formation in summer 2018 the Berne-based artists' collective around the semi-fictional Boyband CHIC has landed one pop smash hit after another. With texts in dialect and a large portion of (self-)irony, the three members of Bern's youngest boyband deal with popular cultural themes in their video performances, making hearts melt and, incidentally, reviving feelings and memories of the 1990s. In their latest video performance «Merci» - premiered in the showroom - the three boyband members slip into the role of burglars who gain access to the Franz Gertsch Museum in Burgdorf. They interweave - musically and scenically - two different storylines, which refer to each other and for which the song text marks the starting point. The song, which shows a striking dichotomy, deals in a first, for the boyband CHIC untypically melancholic part with the difficulties that a multitude of young artists are confronted with within the art business and denounces the lack of appreciation. The second, overly euphoric part of the song propagates the seemingly derived solution and encourages the creation of art that pleases everyone. On a visual level reminiscent of the appearance of a Hollywood film, the staged museum break-in illustrates how the boy band CHIC finds its way into the noble halls of high culture.
«Two Books», Peter Wüthrich
2016, loop
16. January — 22. February 2020
"Two Books" was created from the 3-dimensional work series also entitled "Two Books". Therefore two books with linen covers of different colour and size were placed on top of each other. This resulted in almost endless possibilities as well as an unlimited interplay between the most diverse books, their contents and their outwardly appearing painterly colorfulness. In the video, 400 photos from this work series are lined up in the shortest time intervals (1/10 second) and are underlaid with a sound-rhythm carpet corresponding to the speed, in collaboration with "Electronica Nu Jazz, London".
«great white», Ursula Palla
2017/18, Videoinstallation, 05:22
28. November — 21. December 2019
In Ursula Palla's video installation «great white», an assembled horde of snowmen and women, all formed from three snow globes and with a face made of three pebbles, are made to suffer their fate. They melt away as if they had been caught in the warm spring sun, losing their eyes, mouth and head and falling down; until the belly and torso of the snow figures slowly dissolve and only a puddle of water with pebbles remains of them.Ursula Palla was able to carry out her long-planned concept with the first snow of winter 2017. The artist, who grew up in Chur, brought a carload full of snow from the Black Forest into her studio without hesitation. As soon as the snowmen and women were set up, they melted away. «great white» reveals the process of disintegration in real time and, with the partly speeded-up passages, embeds itself, intentionally or not, into the current global political debates around climate change, inspiring reflection.
With his video work «Cool clouds that look like they should be spelling something, but they don't» artist Stefan Karrer gives an insight into his PC desktop. In an endless loop, picture after picture, cloud after cloud after cloud opens up. Karrer found them during an online research when he searched for keywords like «cloud» and «wave» in connection with adjectives like «cool», «crazy» or «lonely». A monotonous, computer-generated female voice leads the viewer through the folders of this collection of images and keywords. She reads the comments with which the photos of clouds and wave formations were originally posted. Karrer's desktop video reflects contemporary media use in a humorous and rhetorically clear way. It strikingly illustrates the pitfalls of online research, when the seemingly subjective moments in nature become uniform sensations through the constant descriptions and classifications of the images on the Internet. The fact that the shared images on the Internet do not correspond to the real moments is also made clear in the comments.
«crystallization», Olga Titus
2017, 06:49
19. September — 19. October 2019
The video work «crystallization» by Olga Titus is a cinematic collage that combines frame by frame from fragments of perception and memory into a colorful and symbolic visual world. Underscored by the soft sounds of a carillon, fragmentary landscapes, rhythmically choreographed hands, enigmatic faces and masks are lined up to create an animated landscape of memories. It is an exotic world full of wonders and magic that moves across the screen as if moved by the wind, alluding to the transience of perception. The large, multicolored glittering crystal stands as an antithesis to this, uniting and crystallizing the moving images of memory. He is also the starting point of the intuitively created work, which developed without a storyboard in a flowing working process. As a Swiss artist with Malay-Indian roots, Olga Titus's artistic work is strongly based on her own biography and deals in numerous works with her multicultural identity, self-perception and external perception.
«Spezialprogramm zum Jubiläumsfest 100 Jahre Bern Bümpliz im Videofenster Bienzgut», Michael Spahr
Exhibition: 29. August — 01. September 2019
Anlässlich des 100 Jahre Jubiläums der Eingemeindung von Bümpliz durch Bern zeigen wir als Spezialprogramm zum Jubiläumsfest im Videofenster Bienzgut die Videoarbeit «Remember Bümpliz...?!» von Michael Spahr. «Remember Bümpliz...?!» ist eine düstere Vision des Berner Stadtviertels Bümpliz in einer postapokalyptischen Welt – am 9. Januar 2119 – am 200. Jahrestag der Eingemeindung. Die überflutete und kurz darauf als trockene Matschwüste gezeigte Ansicht ruinierter Bümplizer Wahrzeichen ist eine surreale Verfremdung des Alltäglichen. Michael Spahr thematisiert somit nicht nur die befürchteten Gefahren der aktuellen Klimapolitik, sondern übersetzt und platziert diese in die Gegenwart unseres unmittelbaren Umfelds.
«Doomsday Doughnut», Philip Ortelli
2018, 05:35
15. August — 14. September 2019
In Philip Ortellis «Doomsday Doughnut» a doughnut with reflecting glaze plays the leading role. Between a bird's eye view of a coastal area, people running towards the sunset on the beach, shots from the middle of a river and fire clouds burning in the distance, we encounter the floating Doughnut. On its surface, its surroundings are reflected which, without a clear pattern of action, depict the basic elements, air, earth, water and fire. Ortelli uses the shape of the doughnut as a metaphor - on the one hand, the unhealthy food stands as a symbol of the American affluent society and the excess of consumption that has spread all over the world and which we are gradually beginning to question. On the other hand, the form of the Doughnut also refers to Kate Raworth's theory of the «Doughnut Economy». The English economist takes the problem of the steady, exponential growth of hypercapitalism as a starting point for the development of her model. However, in her model, the doughnut is not a pastry with negative connotations, but rather a ring describing the safe and just living space of humanity between the basic supply in the inner world and the exploitation of the environment in the outer world of the ring. This «Ecological ceiling» was intended to limit the steady growth in favor of the exploitation of the ecosystem while at the same time securing the basis of human life. Whether the doughnut saves us from the end of the world (Doomsday) or accelerates it depends on the interpretation of the metaphor.
«Tanzrausch: Chantal Michel/ Jeannette Ehlers/ Tian XiaoleiIm Rahmen der Ausstellung Ekstase im Zentrum Paul Klee», , Chantal Michel, Tian Xiaolei
Exhibition: 04. April — 29. June 2019
On the occasion of the exhibition «Ekstase» (Ecstasy) in the Zentrum Paul Klee, presents three video works, which manifest ecstasy through movement. While dancing, energies are unleashed that liberate and trigger undreamt-of forces. Through her compulsive urge to move, the protagonist in Chantal Michel’s work from 1998 «...und ich will» (and I want) shifts in a trance-like state. Jeannette Ehlers’ voodoo dancer in «Black Magic At The White House» (2009) conjures up the powers of her enslaved ancestors through dance. The dancers in Tian Xiaoleis «Myth» (2018) escape reality with extravagant costumes and free dance. The three works demonstrate a spectrum of twenty years of international video creation and enable the viewer to trace the development of the medium.
«Weltruhe», Bodo Korsig
2012, 03:45
21. February — 30. March 2019
For the work Weltruhe the artist Bodo Korsig merges the diciplines dance, poetry, music and video. A poem by Berlin based author Scardanelli (Thorsten Preisser) works as a backdrop for the videowork. Text and music are interpreted by the dancer Christin Braband in a contemporary choreography. Through the medium video the movements are rendered abstract and are turned upside down, which leads to the shadowy appearance of the dancing figure. In the orchestration of these different contributions, the gloomy atmosphere of the poem that is about the inspiring but dangerous environment of the mountains are portrayed.
«Future Me», Lena Maria Thüring
2016, 11:49
10. January — 16. February 2019
Die Videoarbeit "Future Me" von Lena Maria Thüring erzählt semi-fiktionale Anekdoten aus den Biografien von jungen Erwachsenen. In den ineinandergreifenden Erzählfragmenten berichten sie von einschneidenden Erlebnissen aus ihrer Kindheit und spekulieren über die eigene Zukunft. Die persönlichen Schicksale sind geprägt von Migration, prekären Familienverhältnissen und Gewalt. Als Stimmen aus dem Off, sind die Geschichten jedoch nicht den einzelnen Personen zuzuordnen die im Video zu sehen sind. Die Bildebene ist geprägt von simpel choreografierten Kampf- und Tanzszenen der Jugendlichen in gleissendem Neonlicht, die Gesichter zum Teil maskiert oder stark geschminkt. Die Jugendlichen performen zum Rhythmus einer Trommel und wirken ernsthaft bis unbeteiligt. In einigen Momenten filmt die Kamera jedoch weiter, wenn sie aus ihrer Rolle fallen, anfangen zu lachen und einander zu triezen. Dieser Bruch wirkt als Gegengewicht zur Schwere der erzählten Geschichten und lässt die Betrachterin kurz aufatmen.
«TEKTONIK. The Journey», Com&Com
2018, 12:32
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 vom 29. November bis 22. Dezember 2018 ausgestellt.
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 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 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 (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.
«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.
«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 (, 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.
«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.
«Der Lindenbaum. Schuberts Winterreise», Bodo Korsig
2013, 04:58
16. September — 17. October 2015
«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.
«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.
«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
«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 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“.