EVENTS


Jul
5
7:00 PM19:00

VERNISSAGE: HOLY VESTEMENTS

 For the purpose of in-situ valuation of the ecclesiastical textiles, I needed to travel for the first time to Mount Athos in 2008. During the research of the Vestments that were going to be exposed for the first time in history at the Petit Pallet’s exhibition in France, I came across the golden costume of Nikiforos Fokas, the Byzantine Emperor from 963 to 969. This historical object has never been published till today, despite its uniqueness as a Byzantine costume design. Inspired by this object of M. Lavras Monastery’s Museum, I decided to create a wearable sculpture made of painted golden ping-pong balls, such as a ‘holy underwear, that could complete the collection of the luxurious vestments.  Yiannis Pappas is a Berlin based artist. Throughout Pappas’ work runs a deep fascination for the relation between space and the human body in natural and urban environments. His visual language is rich and varied, encompassing multiple forms of expression, such as video work, photography, performative, installative and interventionist practices, all of which bear the signs of Pappas’ anthropological and phenomenological approach toward his subjects. Underscored by a critical interest in space, as sites of physical and symbolic enactment, his artistic work and research explores how different places are sustained collectively and individually throughout history.   www.kulturfolger.ch  Idastrasse 46 8003 Zurich

For the purpose of in-situ valuation of the ecclesiastical textiles, I needed to travel for the first time to Mount Athos in 2008. During the research of the Vestments that were going to be exposed for the first time in history at the Petit Pallet’s exhibition in France, I came across the golden costume of Nikiforos Fokas, the Byzantine Emperor from 963 to 969. This historical object has never been published till today, despite its uniqueness as a Byzantine costume design. Inspired by this object of M. Lavras Monastery’s Museum, I decided to create a wearable sculpture made of painted golden ping-pong balls, such as a ‘holy underwear, that could complete the collection of the luxurious vestments.

Yiannis Pappas is a Berlin based artist. Throughout Pappas’ work runs a deep fascination for the relation between space and the human body in natural and urban environments. His visual language is rich and varied, encompassing multiple forms of expression, such as video work, photography, performative, installative and interventionist practices, all of which bear the signs of Pappas’ anthropological and phenomenological approach toward his subjects. Underscored by a critical interest in space, as sites of physical and symbolic enactment, his artistic work and research explores how different places are sustained collectively and individually throughout history.

www.kulturfolger.ch
Idastrasse 46
8003 Zurich

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Jun
30
8:00 PM20:00

ARTIST TALK: SILVIO VUJIČIĆ

 ABOUT:  Silvio Vujičić (HR, 1978) graduated from the Academy of Fine Arts and the Faculty of Textile Technology in Zagreb. As a visual artist he is interested in the cultural position and construction of fashion, in transformation processes due to crystallisation, corrosion, flora, viruses and similar. All of these techniques are manifested in his clothing, graphics, drawings, performances and installations, which vanquish the "natural" position of things and produce visions that are more concerned with undefined desires than predictable pleasures. Vujičić seeks processes in which specific technologies of art and science mutually inflate to produce hybrid concepts, feelings, and techniques. He has presented his work at numerous independent and group exhibitions in Croatia and abroad (Frac des Pays de la Loire, translife, International Triennial of New Media Art, Beijing, Device_art 3.010, Miraikan - National Museum of Emerging Science and Innovation, Tokyo, Inner Colors , Munich, T-HT Museum of Contemporary Art, Zagreb, Touch Me Festival, Zagreb, Device_art 2004, Zagreb / Velika Gorica, Linienstrasse113, Berlin, Aspects of Collecting, Essl Museum, Klosterneuburg, Big Torino 2000, Biennial of Emerging Artists, Turin, Uncommon Bloom in Basel, Villa Renata, etc).  http://www.silviovujicic.com/

ABOUT:

Silvio Vujičić (HR, 1978) graduated from the Academy of Fine Arts and the Faculty of Textile Technology in Zagreb. As a visual artist he is interested in the cultural position and construction of fashion, in transformation processes due to crystallisation, corrosion, flora, viruses and similar. All of these techniques are manifested in his clothing, graphics, drawings, performances and installations, which vanquish the "natural" position of things and produce visions that are more concerned with undefined desires than predictable pleasures. Vujičić seeks processes in which specific technologies of art and science mutually inflate to produce hybrid concepts, feelings, and techniques. He has presented his work at numerous independent and group exhibitions in Croatia and abroad (Frac des Pays de la Loire, translife, International Triennial of New Media Art, Beijing, Device_art 3.010, Miraikan - National Museum of Emerging Science and Innovation, Tokyo, Inner Colors , Munich, T-HT Museum of Contemporary Art, Zagreb, Touch Me Festival, Zagreb, Device_art 2004, Zagreb / Velika Gorica, Linienstrasse113, Berlin, Aspects of Collecting, Essl Museum, Klosterneuburg, Big Torino 2000, Biennial of Emerging Artists, Turin, Uncommon Bloom in Basel, Villa Renata, etc).
http://www.silviovujicic.com/

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Jun
29
8:00 PM20:00

PERFORMANCE: BALZ ISLER

 ABOUT:  Balz Isler (*1982), is a thinker, musician, performer and stimulator. Visual and acoustic fragments are rearranged to form new relations through strategies of assembly, repetition and projection. With the application of voice and its digital replica, Balz Isler communicates personal thoughts about the “world behind the world” embedded in the images. His artistic work entangles the physical and subjective experience with the flood of digital images in abstract ideas, which implicate an endlessness of subjective perception, experience and navigation.  http://www.balzisler.org/   

ABOUT:

Balz Isler (*1982), is a thinker, musician, performer and stimulator. Visual and acoustic fragments are rearranged to form new relations through strategies of assembly, repetition and projection. With the application of voice and its digital replica, Balz Isler communicates personal thoughts about the “world behind the world” embedded in the images. His artistic work entangles the physical and subjective experience with the flood of digital images in abstract ideas, which implicate an endlessness of subjective perception, experience and navigation.

http://www.balzisler.org/

 

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May
23
to Jun 6

VERNISSAGE: DRIVE[N] BY

 A drone is delivering my Amazon order through a window.  A self-driving car is cruising around the corner.  An automatic coffee maker is already responsible for my morning gymnastics or the mental breakfast ritual.  I'm sitting and programming my day, while writing poems, enjoying the life around me.  Digital ghosts surround me.  As digitized devices, things or services are provided with own consciousness. In what appears to be a controlled modesty, we look at the evolution of the algorithmic material world, to which we increasingly delegate our worries, freedoms, hopes, dreams and decision-making power. The question is what kind of relationship can we cultivate to automatons?  There are algorithms that are written to do what we do not want to be bothered with. But if we think that all rational accumulation of historical experiences can be boiled down to an algorithm, and given to computers they can do better than any humans, then we lose the game. Artificial Intelligence has granted us with many beautiful things, which decide for us and offer themselves to us as partners for a dialogue. Physically we are no longer dependent on them, but mentally they allow us to see things differently.  The problem arises when we allocate the same ego (I) that resides in human intelligence to the artificial intelligence.  To think of the "I" as of the same kind, means that different intelligences are in direct competition. Some might call it the beginning of dystopian scenarios, others just a new step of humanities towards a cognitive decline, liquidizing the inner request of an identity. But appropriate coexistence of both requires understanding of their uniquely different modes of processing information.  If we are able to understand that plant intelligence, objective intelligence, artificial intelligence and human intelligence are different kinds, then the question that arises is that of communication and forming of communities, and not of competition. It is the question of politics.  Development of autonomous vehicles is momentarily entirely driven by the private sector and large corporations dealing with them. All the choices they will make are private choices that deal with collective values, which enforces a tremendous change in social legislation, challenging common practices in public spaces. Autonomous vehicles will barely occupy garages more than the luxurious achievements of aesthetic perfection, but most likely they will displace the understanding of the public spaces. It is easy to imagine coming across cars without drivers in the near future, maybe even without passengers. This can trigger unexpected social reactions within mixed spaces of humans and devices as autonomous cars. What becomes crucial is the notion of responsibility - even if everything is automated. Making critical choices in critical moments is still a very valuable task on the side of human intelligence. AI can calculate risks and give potential effects, and give statistics.  The question is then how to train humans to devices around them?  In order to breach this issue of unexpected encounters with artificial intelligence, a driver school for autonomous driving, as prime example, is installed at Kulturfolger, offering variable manuals and objects, which might serve to train the relationship to autonomous subjects in a digitized surrounding.  Hannes Brunner favors ephemeral materials in installations. In his contextual art projects, different media are combined with social processes, from digital communication into real, physical space. Recently, in Berlin, he proposed a project for the installation of a robot on a square, which, like a street artist in an acrobatic act, spits out algorithms from research laboratories as metal threads and forms them into a giant ball of yarn. In the US, he has had his own relationship with an industrial robot cast in iron. For Kulturfolger, he will comment on the process of changing relationship to autonomous cars.   http://www.hannesbrunner.com/d-kurzbiographie/

A drone is delivering my Amazon order through a window.

A self-driving car is cruising around the corner.

An automatic coffee maker is already responsible for my morning gymnastics or the mental breakfast ritual.

I'm sitting and programming my day, while writing poems, enjoying the life around me.

Digital ghosts surround me.

As digitized devices, things or services are provided with own consciousness. In what appears to be a controlled modesty, we look at the evolution of the algorithmic material world, to which we increasingly delegate our worries, freedoms, hopes, dreams and decision-making power. The question is what kind of relationship can we cultivate to automatons?

There are algorithms that are written to do what we do not want to be bothered with. But if we think that all rational accumulation of historical experiences can be boiled down to an algorithm, and given to computers they can do better than any humans, then we lose the game. Artificial Intelligence has granted us with many beautiful things, which decide for us and offer themselves to us as partners for a dialogue. Physically we are no longer dependent on them, but mentally they allow us to see things differently.

The problem arises when we allocate the same ego (I) that resides in human intelligence to the artificial intelligence.  To think of the "I" as of the same kind, means that different intelligences are in direct competition. Some might call it the beginning of dystopian scenarios, others just a new step of humanities towards a cognitive decline, liquidizing the inner request of an identity. But appropriate coexistence of both requires understanding of their uniquely different modes of processing information.

If we are able to understand that plant intelligence, objective intelligence, artificial intelligence and human intelligence are different kinds, then the question that arises is that of communication and forming of communities, and not of competition. It is the question of politics.

Development of autonomous vehicles is momentarily entirely driven by the private sector and large corporations dealing with them. All the choices they will make are private choices that deal with collective values, which enforces a tremendous change in social legislation, challenging common practices in public spaces. Autonomous vehicles will barely occupy garages more than the luxurious achievements of aesthetic perfection, but most likely they will displace the understanding of the public spaces. It is easy to imagine coming across cars without drivers in the near future, maybe even without passengers. This can trigger unexpected social reactions within mixed spaces of humans and devices as autonomous cars. What becomes crucial is the notion of responsibility - even if everything is automated. Making critical choices in critical moments is still a very valuable task on the side of human intelligence. AI can calculate risks and give potential effects, and give statistics.

The question is then how to train humans to devices around them?

In order to breach this issue of unexpected encounters with artificial intelligence, a driver school for autonomous driving, as prime example, is installed at Kulturfolger, offering variable manuals and objects, which might serve to train the relationship to autonomous subjects in a digitized surrounding.

Hannes Brunner favors ephemeral materials in installations. In his contextual art projects, different media are combined with social processes, from digital communication into real, physical space. Recently, in Berlin, he proposed a project for the installation of a robot on a square, which, like a street artist in an acrobatic act, spits out algorithms from research laboratories as metal threads and forms them into a giant ball of yarn. In the US, he has had his own relationship with an industrial robot cast in iron. For Kulturfolger, he will comment on the process of changing relationship to autonomous cars.

http://www.hannesbrunner.com/d-kurzbiographie/

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May
16
7:00 PM19:00

VERNISSAGE: ON CONCAVE MIRRORS

 ABOUT:  The short exhibition unfolds a live coding performance from 10th March 2018 in Kulturfolger, through an installation format, that previously explored the melting borders between internet profiles and played with a fictional narration divided in eight notes of a future present.  In the struggle for identity, the manifold of representations and self-made constructions of the individuals that currently over-floods the internet, shows a paradoxical state. The individual cannot exist without the acknowledgement of society. Every self-presentation shared over the internet confirms a reciprocal inter-dependency in the seek of uniqueness, which consequently becomes invisible in the noise.    BIO:  Andrés Villa Torres  Born in Mexico City (Mexico) in 1985. Since 2012, Andrés has been active as a media artist, performer and researcher in the field of contemporary  and future technologies. He mainly works with data, web, algorithms, electronic and audiovisual media. His current work deals with issues of data politics, technology and digital society.  

ABOUT:

The short exhibition unfolds a live coding performance from 10th March 2018 in Kulturfolger, through an installation format, that previously explored the melting borders between internet profiles and played with a fictional narration divided in eight notes of a future present.

In the struggle for identity, the manifold of representations and self-made constructions of the individuals that currently over-floods the internet, shows a paradoxical state. The individual cannot exist without the acknowledgement of society. Every self-presentation shared over the internet confirms a reciprocal inter-dependency in the seek of uniqueness, which consequently becomes invisible in the noise.



BIO:

Andrés Villa Torres

Born in Mexico City (Mexico) in 1985. Since 2012, Andrés has been active as a media artist, performer and researcher in the field of contemporary  and future technologies. He mainly works with data, web, algorithms, electronic and audiovisual media. His current work deals with issues of data politics, technology and digital society.
 

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May
7
8:00 PM20:00

TALK: BONNIE ORA SHERK

 ABOUT:  Bonnie Ora will be visiting Zürich in occasion of her the exhibition “The God Trick”at Parco Arte Vivente in Turin curated by Marco Scotini, and will introduce the concept of A Living Library to Zurich residents and public agencies, with the idea to encourage the development of a unique Zurich Branch Living Library & Think Park in the area over time with diverse sectors of the community.  A Living Library or A.L.L. for short, links local resources: human, ecological, economic, historic, technological, aesthetic - seen through time - past, present, future.   http://www.alivinglibrary.org/    BIO:  Bonnie Ora is an artist, landscape designer and educator. Her artistic praxis entails issues of community, sustainability, and ecology since the early 70’s, making of her a radical pioneer of performing art. Her work has been exhibited, among others, at SFMOMA, University of California in San Diego, SFAI, Los Angeles Institute of Contemporary Arts, ICA in London, Neuer Berliner Kunstverein and Kunstraum Kreuzberg/Bethanien in Berlin, Art Institute in Chicago, DeYoung Museum in San Francisco, Museu d’Art Contemporani in Barcelona, MAK in Vienna, Museum of Contemporary Art in Tokyo, MOCA in Los Angeles, Van Abbe Museum in Eindhoven, MoMA PS1 in New York, Parco Arte Vivente in Turin, and at the 57th Venice Biennale.

ABOUT:

Bonnie Ora will be visiting Zürich in occasion of her the exhibition “The God Trick”at Parco Arte Vivente in Turin curated by Marco Scotini, and will introduce the concept of A Living Library to Zurich residents and public agencies, with the idea to encourage the development of a unique Zurich Branch Living Library & Think Park in the area over time with diverse sectors of the community.

A Living Library or A.L.L. for short, links local resources: human, ecological, economic, historic, technological, aesthetic - seen through time - past, present, future.

http://www.alivinglibrary.org/


BIO:

Bonnie Ora is an artist, landscape designer and educator.
Her artistic praxis entails issues of community, sustainability, and ecology since the early 70’s, making of her a radical pioneer of performing art.
Her work has been exhibited, among others, at SFMOMA, University of California in San Diego, SFAI, Los Angeles Institute of Contemporary Arts, ICA in London, Neuer Berliner Kunstverein and Kunstraum Kreuzberg/Bethanien in Berlin, Art Institute in Chicago, DeYoung Museum in San Francisco, Museu d’Art Contemporani in Barcelona, MAK in Vienna, Museum of Contemporary Art in Tokyo, MOCA in Los Angeles, Van Abbe Museum in Eindhoven, MoMA PS1 in New York, Parco Arte Vivente in Turin, and at the 57th Venice Biennale.

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May
1
to May 6

OPEN STUDIO: KLANGWERKSTATT with bittelangsam

 Klangwerkstatt Während fünf Tagen betreibt bittelangsam im Kulturfolger eine experimentelle Klangwerkstatt, welche ganz dem Ausstellungsraum selbst gewidmet ist. Die Frage nach der Abbildbarkeit von Räumen steht im Mittelpunkt der Untersuchungen und bildet den Auftakt für das Ausstellungsthema „Space – Vector – Density“. Mit dem Medium Klang wir ein sinnlich, erlebbares Abbild generiert, in welchem verschiedene zeitliche Momente, sowie unterschiedliche atmosphärische Element verschmelzen. Der Geist des Kulturfolgers, seine Vergangenheit und Präsenz wird eingefangen und in einem multimedialen Abbild gebündelt. Tonaufnahmen, die im Vorfeld während diverser Veranstaltungen im Kulturfolger gemacht wurden bilden das Ausgangsmaterial. Während der Klangwerkstatt wird nach Möglichkeiten gesucht, diese über verschiedene technische Mittel mit den aktuellen Sinneserfahrungen in Beziehung zu setzen. Lichtsensoren, Drucksensoren und Mikrophone werden die Bausteine bilden, welche den Raum über sein visuelles Abbild hinaus ausweiten und ihn selbst zu einem Instrument werden lassen. Die Klangwerkstatt im Kulurfolger bildet den Auftakt einer Experimentierreihe von Andrea und Heiko, welche Teil ihrer gemeinsamen Masterarbeit sein wird.    bittelangsam  Seit 2017 arbeiten Andrea Züllig und Heiko Schätzle zusammen unter dem Namen «bittelangsam». Ihre Projekte bewegen sich zwischen Kunst und Design, zwischen Spontanität und Langfristigkeit, Ortsbezogenheit und Universalität. Mit der Intention diese Schnittstellen zu untersuchen übertragen sie Wissen und Denkstrukturen auf neue Kontexte und Umgebungen. Ihre Arbeit widmet sich dem Entdecken und Wandeln von sinnlichen Ereignissen in eine räumliche, ästhetische Erfahrung. Auf einer sphärischen, nonverbalen Ebene untersucht und kreiert bittelangsam Raum und Klang, Ästhetik und Kultur. Andrea Züllig studiert Integrative Design im Masterstudio an der HGK Basel. Sie hat langjährige Berufserfahrung als selbständige Grafikdesignerin. Zusätzlich ist sie im Fotomuseum Winterthur im Ausstellungsumbau engagiert. Fasziniert von Zeichen, Sprache und Klängen, begeistert sie im Spiel mit den Grenzen des Übersetzbaren und der non-verbalen Kommunikation. Heiko Schätzle studiert im Master Transdisziplinarität an der ZHdK. Er arbeitete als Landschaftsarchitekt im Bereich Entwurf in unterschiedlichen Büros und Kontexten; studierte Philosophie und Kunstwissenschaft. Das Entdecken von Orten und Kulturen als Teil des Entwurfes inspiriert ihn, sich zwischen verschiedenen Diskursen und Disziplinen zu bewegen.  www.bittelangsam.ch

Klangwerkstatt
Während fünf Tagen betreibt bittelangsam im Kulturfolger eine experimentelle Klangwerkstatt, welche ganz dem Ausstellungsraum selbst gewidmet ist. Die Frage nach der Abbildbarkeit von Räumen steht im Mittelpunkt der Untersuchungen und bildet den Auftakt für das Ausstellungsthema „Space – Vector – Density“. Mit dem Medium Klang wir ein sinnlich, erlebbares Abbild generiert, in welchem verschiedene zeitliche Momente, sowie unterschiedliche atmosphärische Element verschmelzen. Der Geist des Kulturfolgers, seine Vergangenheit und Präsenz wird eingefangen und in einem multimedialen Abbild gebündelt. Tonaufnahmen, die im Vorfeld während diverser Veranstaltungen im Kulturfolger gemacht wurden bilden das Ausgangsmaterial. Während der Klangwerkstatt wird nach Möglichkeiten gesucht, diese über verschiedene technische Mittel mit den aktuellen Sinneserfahrungen in Beziehung zu setzen. Lichtsensoren, Drucksensoren und Mikrophone werden die Bausteine bilden, welche den Raum über sein visuelles Abbild hinaus ausweiten und ihn selbst zu einem Instrument werden lassen. Die Klangwerkstatt im Kulurfolger bildet den Auftakt einer Experimentierreihe von Andrea und Heiko,
welche Teil ihrer gemeinsamen Masterarbeit sein wird.



bittelangsam

Seit 2017 arbeiten Andrea Züllig und Heiko Schätzle zusammen unter dem Namen «bittelangsam». Ihre Projekte bewegen sich zwischen Kunst und Design, zwischen Spontanität und Langfristigkeit, Ortsbezogenheit und Universalität. Mit der Intention diese Schnittstellen zu untersuchen übertragen sie Wissen und Denkstrukturen auf neue Kontexte und Umgebungen. Ihre Arbeit widmet sich dem Entdecken und Wandeln von sinnlichen Ereignissen in eine räumliche, ästhetische Erfahrung. Auf einer sphärischen, nonverbalen Ebene untersucht und kreiert bittelangsam Raum und Klang, Ästhetik und Kultur.
Andrea Züllig studiert Integrative Design im Masterstudio an der HGK Basel. Sie hat langjährige Berufserfahrung als selbständige Grafikdesignerin. Zusätzlich ist sie im Fotomuseum Winterthur im Ausstellungsumbau engagiert. Fasziniert von Zeichen, Sprache und Klängen, begeistert sie im Spiel mit den Grenzen des Übersetzbaren und der non-verbalen Kommunikation.
Heiko Schätzle studiert im Master Transdisziplinarität an der ZHdK. Er arbeitete als Landschaftsarchitekt im Bereich Entwurf in unterschiedlichen Büros und Kontexten; studierte Philosophie und Kunstwissenschaft. Das Entdecken von Orten und Kulturen als Teil des Entwurfes inspiriert ihn, sich zwischen verschiedenen Diskursen und Disziplinen zu bewegen.
www.bittelangsam.ch

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Apr
25
8:30 PM20:30

CONCERT: CHRISTOPH ERB, FRANTZ LORIOT & MORISHIGE YASUMUNE

 Christoph Erb  tenor and soprano saxophones / bass clarinet / improviser / music presenter Born in Zurich, Switzerland in 1973. Erb performs regularly in Europe and the U.S with many musicians including: Jim Baker, Fred Lonberg-Holm, Michael Zerang, Jason Roebke, Jason Adasciewicz, Josh Berman, Keefe Jackson, Tomeka Reid, Frank Rosaly, Nate Wooley, Jamie Branch, Jeb Bishop, Paul Lovens, Hans Koch, Urs Leimgruber, Peter Schärli, Julian Sartorius, Christian Weber, Frantz Loriot and many others. In 2007 he has formed his own Label veto-records, and 2011 after a four month residence in Chicago the sublabel veto/exchange. Via veto/exchange he also documented those collaborations—his ongoing Exchange series includes sixteen titles so far, all with artwork by Chicago design duo Sonnenzimmer. 2012 he received the Culture Award from the City of Lucerne. There are more than 20 albums to his credit.  www.erb.li   www.veto-records.ch/exchange   Frantz Loriot  French-Japanese violist Frantz Loriot performs solo as well as in various ensembles by way of improvisation and electronics, crossroads of different musical genres: improvised music, experimental, rock, contemporary music and electronics. He has contributed to multidisciplinary projects related to dance, image and poetry. Frantz Loriot leads two large ensembles, the European Notebook Large Ensemble (10 piece ensemble) and the NYC based (12 piece) Systematic Distortion Orchestra in which Frantz reunites some of the finest NYC based improvisers. Frantz Loriot performs regularly in Europe, USA and Japan and appears on records released on international labels such as (a.o.) Clean Feed, Creative Sources, Intakt, Peira, FMR, Sickcore, Edible Onion, Komma Null, Klein, Neither/Nor, OutNow, Intonema etc.  www.frantzloriot.com   Morishige Yasumune  As one of Japan's most unique voices of the cello, improvising musician Morishige Yasumune continues to collaborate with a wide array of dancers and musicians both in Japan and around the world. His improvisational approach looks to extend the cello's sonic possibilities, expanding the vocabulary of the instrument into rich unexplored territories. In addition to his improvisational work, he also composes his own vocal works, accompanying his voice with either cello or piano.  www.mori-shige.com   Door open 20:00 UHR Concert: 20:30 UHR Entry free with Kollekte  

Christoph Erb

tenor and soprano saxophones / bass clarinet / improviser / music presenter
Born in Zurich, Switzerland in 1973. Erb performs regularly in Europe and the U.S with many musicians including: Jim Baker, Fred Lonberg-Holm, Michael Zerang, Jason Roebke, Jason Adasciewicz, Josh Berman, Keefe Jackson, Tomeka Reid, Frank Rosaly, Nate Wooley, Jamie Branch, Jeb Bishop, Paul Lovens, Hans Koch, Urs Leimgruber, Peter Schärli, Julian Sartorius, Christian Weber, Frantz Loriot and many others.
In 2007 he has formed his own Label veto-records, and 2011 after a four month residence in Chicago the sublabel veto/exchange. Via veto/exchange he also documented those collaborations—his ongoing Exchange series includes sixteen titles so far, all with artwork by Chicago design duo Sonnenzimmer. 2012 he received the Culture Award from the City of Lucerne. There are more than 20 albums to his credit.
www.erb.li
www.veto-records.ch/exchange

Frantz Loriot

French-Japanese violist Frantz Loriot performs solo as well as in various ensembles by way of improvisation and electronics, crossroads of different musical genres: improvised music, experimental, rock, contemporary music and electronics. He has contributed to multidisciplinary projects related to dance, image and poetry.
Frantz Loriot leads two large ensembles, the European
Notebook Large Ensemble (10 piece ensemble) and the
NYC based (12 piece) Systematic Distortion Orchestra
in which Frantz reunites some of the finest NYC based improvisers. Frantz Loriot performs regularly in Europe, USA and Japan and appears on records released on international labels such as (a.o.) Clean Feed, Creative Sources, Intakt, Peira, FMR, Sickcore, Edible Onion, Komma Null, Klein, Neither/Nor, OutNow, Intonema etc.
www.frantzloriot.com

Morishige Yasumune

As one of Japan's most unique voices of the cello, improvising musician Morishige Yasumune continues to collaborate with a wide array of dancers and musicians both in Japan and around the world. His improvisational approach looks to extend the cello's sonic possibilities, expanding the vocabulary of the instrument into rich unexplored territories. In addition to his improvisational work, he also composes his own vocal works, accompanying his voice with either cello or piano.
www.mori-shige.com

Door open 20:00 UHR
Concert: 20:30 UHR
Entry free with Kollekte
 

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Apr
4
to Apr 18

VERNISSAGE: COLIN GUILLEMET + CHRIS FITE-WASSILAK "TRANSCENDENTAL STUFF"

 Chris Fite-Wassilak is a writer and critic based in London. He is a regular contributor to Apollo, Art Monthly, Art Papers, ArtReview and frieze. He is a contributing editor of ArtReview, and co-organiser with artist Anne Tallentire of the event ‘hmn’. His short book of essays, Ha-Ha Crystal (2016) is published by Copy Press.  Colin Guillemet is an artist based in Zurich. He makes works wherever and any which way sculpture and conceptual approaches happen to meet; and is generally fond of the space which opens up when the viewer understands something but doesn’t yet understand what he or she understood. His work has been shown internationally, including recently in Dienstgebaude, Zurich; La Sécu, Lille; Aksioma Institute for Contemporary art and Galerija Skuc, Ljubljana; and Ha Gamle Prestegard, Stavanger, Norway.  Transcendental Stuff will be presented:  a) as a contract between (i) sender and receiver, (ii) form and content; b) and as an entity embodying all instances of interaction thereof.  Abiding to the following statutes, Transcendental Stuff: (c) will contain all projections, interjections and objectifications within the timeframe of fourteen days; (d) cannot be taken as the last word on the subject matter; (e) cannot be used as a precedent or evidence. All equivalences between unfolding, exuberance and elevated states – of any kind – will remain subject to discretionary confidentiality between all respective parties as outlined in a) (i) and a) (ii).

Chris Fite-Wassilak is a writer and critic based in London. He is a regular contributor to Apollo, Art Monthly, Art Papers, ArtReview and frieze. He is a contributing editor of ArtReview, and co-organiser with artist Anne Tallentire of the event ‘hmn’. His short book of essays, Ha-Ha Crystal (2016) is published by Copy Press.

Colin Guillemet is an artist based in Zurich. He makes works wherever and any which way sculpture and conceptual approaches happen to meet; and is generally fond of the space which opens up when the viewer understands something but doesn’t yet understand what he or she understood. His work has been shown internationally, including recently in Dienstgebaude, Zurich; La Sécu, Lille; Aksioma Institute for Contemporary art and Galerija Skuc, Ljubljana; and Ha Gamle Prestegard, Stavanger, Norway.

Transcendental Stuff will be presented:

a) as a contract between (i) sender and receiver, (ii) form and content;
b) and as an entity embodying all instances of interaction thereof.

Abiding to the following statutes, Transcendental Stuff:
(c) will contain all projections, interjections and objectifications within the timeframe of fourteen days;
(d) cannot be taken as the last word on the subject matter;
(e) cannot be used as a precedent or evidence.
All equivalences between unfolding, exuberance and elevated states – of any kind – will remain subject to discretionary confidentiality between all respective parties as outlined in a) (i) and a) (ii).

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Mar
25
8:00 PM20:00

CONCERT: BANDIT VOYAGE

 Robin Arthur Girod, in der Szene schon länger als legendärer Musiker diverser Bands wie Duck Duck Grey Duck oder Mama Rosin bekannt, formt mit Anissa Cadelli ein eigentümliches Duo, welches uns mit ihrem Projekt Bandit Voyage ein kurzweiliges Eintauchen in den Lo-Fi Kosmos der beiden Weltenbummler erlaubt. Zur Drum-Machine Begleitung wird auf Französisch und Englisch gewispert und gesungen. Das Sonntagabendkonzert im Kulturfolger gibt uns schon mal einen Einblick in ihr in Kürze auf Girod's eigenem Label Cheptel Records zu erscheinenden Album, 'Le Gang'.  Eintritt frei für Sonntagabendträumer. Und für alle Anderen auch.  Bar 20:00 Uhr. Show 20:30 Uhr.   https://www.youtube.com/watch?v=KMYVaLq6dvs   https://www.youtube.com/watch?v=ic6DbPv8OF4

Robin Arthur Girod, in der Szene schon länger als legendärer Musiker diverser Bands wie Duck Duck Grey Duck oder Mama Rosin bekannt, formt mit Anissa Cadelli ein eigentümliches Duo, welches uns mit ihrem Projekt Bandit Voyage ein kurzweiliges Eintauchen in den Lo-Fi Kosmos der beiden Weltenbummler erlaubt.
Zur Drum-Machine Begleitung wird auf Französisch und Englisch gewispert und gesungen. Das Sonntagabendkonzert im Kulturfolger gibt uns schon mal einen Einblick in ihr in Kürze auf Girod's eigenem Label Cheptel Records zu erscheinenden Album, 'Le Gang'.

Eintritt frei für Sonntagabendträumer. Und für alle Anderen auch.

Bar 20:00 Uhr. Show 20:30 Uhr.

https://www.youtube.com/watch?v=KMYVaLq6dvs
https://www.youtube.com/watch?v=ic6DbPv8OF4

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Mar
21
8:00 PM20:00

MAGAZINE LAUNCH: KULTURFOLGER ISSUE 2 "UNCOMMON"

 Making a publication shows a certain decadence that is suited to art. It needs to be abstraction, it is necessary to celebrate abundance, the beauty of the world, the beauty of the mind, in an uncommon way.  And we have finally made it - our long-awaited Issue 2 is finally out!  Contributions by: Baggenstos & Rudolf, Delphine Chapuis-Schmitz, Piero Good, Roxy Grand, huber.huber, Dominic Oppliger, Catherine Schelbert, David Schildberger  Graphic Design: Martin Mur  - Join us for a talk, poetry reading, insect tasting, and a dancing night!  20:00 - Talk: Murmuring Uncommon - 20:30 - Reading:  Delphine Chapuis-Schmitz Roxy Grand Dominic Oppliger David Schildberger - Insect Apéro! - After 21:00 - smooth dj tunes

Making a publication shows a certain decadence that is suited to art. It needs to be abstraction, it is necessary to celebrate abundance, the beauty of the world, the beauty of the mind, in an uncommon way.

And we have finally made it - our long-awaited Issue 2 is finally out!

Contributions by: Baggenstos & Rudolf, Delphine Chapuis-Schmitz, Piero Good, Roxy Grand, huber.huber, Dominic Oppliger, Catherine Schelbert, David Schildberger

Graphic Design: Martin Mur

-
Join us for a talk, poetry reading, insect tasting, and a dancing night!

20:00 - Talk: Murmuring Uncommon
-
20:30 - Reading:

Delphine Chapuis-Schmitz
Roxy Grand
Dominic Oppliger
David Schildberger
-
Insect Apéro!
-
After 21:00 - smooth dj tunes

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Mar
10
7:00 PM19:00

PERFORMANCE: ANDRÉS VILLA TORRES + ZURICH ART SPACE GUIDE 2018

 ANDRÉS VILLA TORRES live coding performance  Short Notes on Concave Bubbles  In the struggle for identity, the manifold of representations and self-made constructions of the selves that over-flood, the internet shows a paradoxical state. The individual cannot exist without the acknowledgement of society, still every shared manifestation confirms the interdependency in the seek of uniqueness. A social-individual hybrid space is created and the artist recognises it as a concave bubble: an imaginary shape that describes the physical space which covers the totality of a given universe except for its interior - the negative space within a bubble. Short notes on concave bubbles is a live coded performance reflecting on personal experiences of the partly-fictional every day life of a programmer, the recollection of interviews conducted over online chats, and profiles' information extracted from different online social platforms.  andresvillatorres.work   ZURICH ART SPACE GUIDE launch edition 2018 Independent artist-run exhibition spaces are also known as off-spaces. These structures, which serve as platforms and spaces for experimentation are typically non-profit initiatives. The guide has been produced as much for locals than for visitors. It aims to make more visible and accessible the vibrant independent Zurich art scene. Published by: Verein Zurich Art Space Guide Designed by:  Badesaison   www.artspaceguide.ch

ANDRÉS VILLA TORRES
live coding performance

Short Notes on Concave Bubbles

In the struggle for identity, the manifold of representations and self-made constructions of the selves that over-flood, the internet shows a paradoxical state. The individual cannot exist without the acknowledgement of society, still every shared manifestation confirms the interdependency in the seek of uniqueness. A social-individual hybrid space is created and the artist recognises it as a concave bubble: an imaginary shape that describes the physical space which covers the totality of a given universe except for its interior - the negative space within a bubble. Short notes on concave bubbles is a live coded performance reflecting on personal experiences of the partly-fictional every day life of a programmer, the recollection of interviews conducted over online chats, and profiles' information extracted from different online social platforms.

andresvillatorres.work


ZURICH ART SPACE GUIDE
launch edition 2018
Independent artist-run exhibition spaces are also known as off-spaces. These structures, which serve as platforms and spaces for experimentation are typically non-profit initiatives. The guide has been produced as much for locals than for visitors. It aims to make more visible and accessible the vibrant independent Zurich art scene.
Published by: Verein Zurich Art Space Guide
Designed by: Badesaison
www.artspaceguide.ch

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Feb
21
8:00 PM20:00

CONCERT: THIS DIFFICULT TREE

 ABOUT:  The quartet of the Zurich based bass player and singer Silvan Jeger connects roots and branches of song type and world music with jazz and free improvisation. Resembling a gnarled tree that sprawls in all directions, strangely flourishing, bearing unusual fruit. The compositions are positioned like sculptures and objects in a white cube – however, they are held together by the sound of the group’s members who act as subtle bonsai-botanics and yet brave woodchoppers. The debut Double Sun outlines in its artwork the materiality and the two-sidedness of the medium. The Zurich based artist Jonas Etter uses a grinding machine on the printed typography which doesn’t offer a clear front or rear side, bringing forth a serial of 300 different and therefore unique cover artworks.  Silvan Jeger – Contrabass, Vocals, Shrutibox Silvan Schmid – Trumpet Frantz Loriot – Viola Vincent Glanzmann – Drums  Door open 19.30h. Free Entry with Kollekte

ABOUT:

The quartet of the Zurich based bass player and singer Silvan Jeger connects roots and branches of song type and world music with jazz and free improvisation. Resembling a gnarled tree that sprawls in all directions, strangely flourishing, bearing unusual fruit. The compositions are positioned like sculptures and objects in a white cube – however, they are held together by the sound of the group’s members who act as subtle bonsai-botanics and yet brave woodchoppers.
The debut Double Sun outlines in its artwork the materiality and the two-sidedness of the medium. The Zurich based artist Jonas Etter uses a grinding machine on the printed typography which doesn’t offer a clear front or rear side, bringing forth a serial of 300 different and therefore unique cover artworks.

Silvan Jeger – Contrabass, Vocals, Shrutibox
Silvan Schmid – Trumpet
Frantz Loriot – Viola
Vincent Glanzmann – Drums

Door open 19.30h. Free Entry with Kollekte

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Feb
14
8:00 PM20:00

PERFORMANCE: YARA MEKAWEI

 Yara Mekawei is a Cairo-based electro-acoustic music composer and sound artist. A prolific artist and scholar, Yara‘s sonic bricolages draw inspiration from the flow of urban centers and the infrastructure of cities. In her work she integrates exotic visual elements of the society into fusion progressive of her projects.      Pistachio, Mind, Map     I was afraid of climbing heights I can not wear gloves It is possible to stop drink wine for five minutes and drink a cup of coffee without sugar A visitor enters the kitchen and everyone is silent for minutes ... He begins to speak asking for a glass of milk .. He holds the milk cup saying: “I used to smoke in the kitchen while I was drinking milk, so there is no law preventing me from doing so.” There is a word to define two jobs in Egypt, “prompter”, the person who prompts religious words after the death in the coffin and the person who prompts actors on the theater He closes his phone on Friday evening, when he reads, so he can not hear the surround sounds around him. Can you wear a sports shoe with a classic suit? The color of your nails changes, the size of things around you varies irregularly, your breathing rate changes and you realize you are a different person every hour and a half.    http://yaramekawei.wixsite.com/yaramekawei

Yara Mekawei is a Cairo-based electro-acoustic music composer and sound artist. A prolific artist and scholar, Yara‘s sonic bricolages draw inspiration from the flow of urban centers and the infrastructure of cities. In her work she integrates exotic visual elements of the society into fusion progressive of her projects.

 

Pistachio, Mind, Map


I was afraid of climbing heights
I can not wear gloves
It is possible to stop drink wine for five minutes and drink a cup of coffee without
sugar
A visitor enters the kitchen and everyone is silent for minutes ... He begins to speak
asking for a glass of milk ..
He holds the milk cup saying: “I used to smoke in the kitchen while I was drinking
milk, so there is no law preventing me from doing so.”
There is a word to define two jobs in Egypt, “prompter”, the person who prompts
religious words after the death in the coffin and the person who prompts actors on
the theater
He closes his phone on Friday evening, when he reads, so he can not hear the
surround sounds around him.
Can you wear a sports shoe with a classic suit?
The color of your nails changes, the size of things around you varies irregularly,
your breathing rate changes and you realize you are a different person every hour
and a half.


http://yaramekawei.wixsite.com/yaramekawei

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Feb
7
8:00 PM20:00

THE SEVERAL WAYS I'VE DIED IN MY IMAGINATION

 ABOUT: What began as a quiet investigation of personal anxieties has evolved into the multi-medial storytelling experience: “The Several Ways I’ve Died In My Imagination”. The texts and musical soundscapes of Sarah Reid and Tomek Kolczynski are combined with the visual works of Brigitte Fässler and Niculin Barandun to create a performance that expounds on the question: “Of what parts is my imagination composed, and how can these parts die?” Following the narration of our protagonist through a series of stories that are each representative of one of these parts – ranging from religion and race, to memory and the ability to create – we observe the storyteller die repeatedly. By identifying the elements of her life that inform her imagination, and acknowledging the ways that they are vulnerable and have been harmed, we explore what might merit the fear that the imagination as a whole can die.   http://partone.theseveralwaysivediedinmyimagination.ch/   http://parttwo.theseveralwaysivediedinmyimagination.ch/   TEXT / VOCAL Sarah Reid MUSIC Tomek Kolczynski VIDEO / PHOTO Brigitte Fässler VIDEO / ANIMATION Niculin Barandun ONLINE COORDINATION William Bejedi DESIGN / WEBSITE Julian Humm CO-PRODUCTION Daniel Wernli CO-PRODUCTION Christoph Schön MAKE-UP / BODYPAINTING Bouche Rouge alias Adelina SPECIAL THANKS TO Jannik Giger

ABOUT:
What began as a quiet investigation of personal anxieties has evolved into the multi-medial storytelling experience: “The Several Ways I’ve Died In My Imagination”.
The texts and musical soundscapes of Sarah Reid and Tomek Kolczynski are combined with the visual works of Brigitte Fässler and Niculin Barandun to create a performance that expounds on the question: “Of what parts is my imagination composed, and how can these parts die?”
Following the narration of our protagonist through a series of stories that are each representative of one of these parts – ranging from religion and race, to memory and the ability to create – we observe the storyteller die repeatedly. By identifying the elements of her life that inform her imagination, and acknowledging the ways that they are vulnerable and have been harmed, we explore what might merit the fear that the imagination as a whole can die.

http://partone.theseveralwaysivediedinmyimagination.ch/
http://parttwo.theseveralwaysivediedinmyimagination.ch/

TEXT / VOCAL Sarah Reid
MUSIC Tomek Kolczynski
VIDEO / PHOTO Brigitte Fässler
VIDEO / ANIMATION Niculin Barandun
ONLINE COORDINATION William Bejedi
DESIGN / WEBSITE Julian Humm
CO-PRODUCTION Daniel Wernli
CO-PRODUCTION Christoph Schön
MAKE-UP / BODYPAINTING Bouche Rouge alias Adelina
SPECIAL THANKS TO Jannik Giger

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Jan
31
to Feb 1

"We have all the time in the world” & “Forever Royalties"

 Anna Rubi and Eirini Sourgiadaki became an artistic duo in 2015. Experimentation plays an important role in their work with a focus on unusual narration modes, balancing between fiction and reality and the use of multiple platforms. They met in Zurich while studying Transdisciplinarity in the Arts (ZHDK). Since then they share their interest in culture hacking and travelling to uncommon and common places - mental and geographical ones. Works they realized together have been presented in the Z+Showroom ZHdK (Zurich, 2016), the London Biennale Manila Pollination (Manila - Berlin, 2016) and MyMuseum (Budapest, 2017)  In Kulturfolger they present one video triptych per day, respectively on the topics on Waiting (Time) and Empathy (Luxury), “We have all the time in the world” and “Forever Royalties”, both realized through a complex and restricted way of storytelling.  In the 24hrs Project, they present the two triptychs alongside a third work called “We buy gold ltd” which takes the form of a series of five prints, which tell a metaphorical success-and-failure story about the gold market in the Europe of crisis.   Anna Rubi completed her bachelor studies in the Moholy-Nagy University of Art and Design in the media design in Budapest. After receiving her diploma, she was awarded with the Swiss Government Excellence Scholarship. In 2015 she graduated from the Zürich University of the Arts in transdisciplinary art (MA). She is a member of FKSE (Studio of Young Artists’ Association) and has been working in the field of video art, film and performance. At the moment she is collaborating with Hungarian Civil Liberties Union as a documentary film maker.  Eirini Sourgiadaki holds a BA in Sociology and a MA in Cultural Management from Panteion University of Social and Political Science in Athens. She has also studied Greek and English/American Poetry and has been trained as a dancer. In 2017 she graduated from MA Transdisciplinarity in the Arts, awarded with the Hirschmann Stipendium, ZHdK Fonds Design & Kunst and the ZHdK Avina Fonds with her project “Metaphorai”. Between 2010 and 2017 she has published four books (fiction, poetry) in Athens and Zurich. She is collaborating with the Theaterhaus Gessnerallee Zürich for her event series “The Analog Session” and since November 2017 she is a PhD candidate by Prof. Giaco Schiesser (ZHdK / Kunstuniversität Linz)

Anna Rubi and Eirini Sourgiadaki became an artistic duo in 2015. Experimentation plays an important role in their work with a focus on unusual narration modes, balancing between fiction and reality and the use of multiple platforms. They met in Zurich while studying Transdisciplinarity in the Arts (ZHDK). Since then they share their interest in culture hacking and travelling to uncommon and common places - mental and geographical ones. Works they realized together have been presented in the Z+Showroom ZHdK (Zurich, 2016), the London Biennale Manila Pollination (Manila - Berlin, 2016) and MyMuseum (Budapest, 2017)

In Kulturfolger they present one video triptych per day, respectively on the topics on Waiting (Time) and Empathy (Luxury), “We have all the time in the world” and “Forever Royalties”, both realized through a complex and restricted way of storytelling.

In the 24hrs Project, they present the two triptychs alongside a third work called “We buy gold ltd” which takes the form of a series of five prints, which tell a metaphorical success-and-failure story about the gold market in the Europe of crisis.


Anna Rubi completed her bachelor studies in the Moholy-Nagy University of Art and Design in the media design in Budapest. After receiving her diploma, she was awarded with the Swiss Government Excellence Scholarship. In 2015 she graduated from the Zürich University of the Arts in transdisciplinary art (MA). She is a member of FKSE (Studio of Young Artists’ Association) and has been working in the field of video art, film and performance. At the moment she is collaborating with Hungarian Civil Liberties Union as a documentary film maker.

Eirini Sourgiadaki holds a BA in Sociology and a MA in Cultural Management from Panteion University of Social and Political Science in Athens. She has also studied Greek and English/American Poetry and has been trained as a dancer. In 2017 she graduated from MA Transdisciplinarity in the Arts, awarded with the Hirschmann Stipendium, ZHdK Fonds Design & Kunst and the ZHdK Avina Fonds with her project “Metaphorai”. Between 2010 and 2017 she has published four books (fiction, poetry) in Athens and Zurich. She is collaborating with the Theaterhaus Gessnerallee Zürich for her event series “The Analog Session” and since November 2017 she is a PhD candidate by Prof. Giaco Schiesser (ZHdK / Kunstuniversität Linz)

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Jan
19
6:00 PM18:00

VERNISSAGE: SABINE MAJA BREMERMANN

 This is the First Chapter of writing about Luxury. We don't know how will this text finish, but here we open ourselves to chance. We will let this text to write itself; to be crumpled and unfinished at times, it will crack and flow consistently, and maybe once in a while, it will be done. This chapter should deal with time. But it should also deal with complexity, uncertainty, probability, relativity, entropy and negentropy. It will question history, a complex and non-linear system, which counts in endless feedback loops, couplings and interferences. What makes history non-linear, is that it only understands events when they are lived, effected, but never those who are becoming. The ‘event in its becoming ’ is the level of the historical fact/date that the (discursive) measuring devices of the historical sciences do not grasp. The becoming of the event ‘ has neither beginning nor end, but only a milieu. It is thus more geographical than historical’ (Deleuze). Can we therefore observe time outside the discursive measuring apparatus? The concept of 'history as becoming' tells us that if there is unity, it doesn't mean there is uniformity, but rather exploration of multiplicity, an analysis of variations.  Kulturfolger will in next two and a half months host events that are not islands one to another, with fixed boundaries, but rather actualizations of temporality, of fleetingness. They will have to interact to each other; with time they will sediment in the space, leaving residue, traces of their experimental nature. The result will be in becoming of the event, an opulent cornucopia of aggregations.     First Chapter on TIME - NEGENTROPY - RELATIVITY started on Sat 13-01-2018 6:00pm and it will end on Wed 28-03-2018 11:59pm.  Second section of the First Chapter will take place on Fri 19-01-2018 6:00pm with Sabine Maja Bremermann.

This is the First Chapter of writing about Luxury. We don't know how will this text finish, but here we open ourselves to chance. We will let this text to write itself; to be crumpled and unfinished at times, it will crack and flow consistently, and maybe once in a while, it will be done. This chapter should deal with time. But it should also deal with complexity, uncertainty, probability, relativity, entropy and negentropy.
It will question history, a complex and non-linear system, which counts in endless feedback loops, couplings and interferences. What makes history non-linear, is that it only understands events when they are lived, effected, but never those who are becoming. The ‘event in its becoming ’ is the level of the historical fact/date that the (discursive) measuring devices of the historical sciences do not grasp. The becoming of the event ‘ has neither beginning nor end, but only a milieu. It is thus more geographical than historical’ (Deleuze).
Can we therefore observe time outside the discursive measuring apparatus? The concept of 'history as becoming' tells us that if there is unity, it doesn't mean there is uniformity, but rather exploration of multiplicity, an analysis of variations.

Kulturfolger will in next two and a half months host events that are not islands one to another, with fixed boundaries, but rather actualizations of temporality, of fleetingness. They will have to interact to each other; with time they will sediment in the space, leaving residue, traces of their experimental nature. The result will be in becoming of the event, an opulent cornucopia of aggregations.
 
 
First Chapter on TIME - NEGENTROPY - RELATIVITY started on Sat 13-01-2018 6:00pm and it will end on Wed 28-03-2018 11:59pm.

Second section of the First Chapter will take place on Fri 19-01-2018 6:00pm with Sabine Maja Bremermann.

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Jan
13
6:00 PM18:00

PERFORMANCE: EAT ME

 ABOUT: Eat me challenges social norms in a western society obsessed with diets and self-presentation. Eat Me starts with Julie Peter gets tapped for half a liter of blood. The blood is made in to a traditional Danish blood sausage, which is baked and then fried. The performance will end with a dinner where the audience will be invited to eat the blood sausage and there by be a part of the art work. Vacuum packed blood sausage will be on offer in the end of the performance.  Announcement: It must be stated that there are no health hazards associated with eating Julie Peters blood as it is fully cooked. In accordance to European law it is not illegal to prepare, handle or consume human blood.  BIO: Julie Peter (born 1985) is a danish artist based in Berlin, Germany. Her works explores the absurd in the normal through organic objects, moods and spaces, whose ironic distance is left as dreaming comments to the norms of everyday life. Her work challenges the binaries we continually reconstruct between Self and Other, between our own ‘cannibal’ and ‘civilized’ selves. She finds that the contradictions between believe and behavior reveals an inherent awkwardness, a humor that echoes our own vulnerabilities. Julie Peter has a BA from the Royal Danish Academy of Fine Arts’s and currently studying sculpture at the Weissensee Academy of Fine Arts in Berlin.  www.juliepeter.dk

ABOUT:
Eat me challenges social norms in a western society obsessed with diets and self-presentation. Eat Me starts with Julie Peter gets tapped for half a liter of blood. The blood is made in to a traditional Danish blood sausage, which is baked and then fried. The performance will end with a dinner where the audience will be invited to eat the blood sausage and there by be a part of the art work. Vacuum packed blood sausage will be on offer in the end of the performance.

Announcement:
It must be stated that there are no health hazards associated with eating Julie Peters blood as it is fully cooked. In accordance to European law it is not illegal to prepare, handle or consume human blood.

BIO:
Julie Peter (born 1985) is a danish artist based in Berlin, Germany. Her works explores the absurd in the normal through organic objects, moods and spaces, whose ironic distance is left as dreaming comments to the norms of everyday life. Her work challenges the binaries we continually reconstruct between Self and Other, between our own ‘cannibal’ and ‘civilized’ selves. She finds that the contradictions between believe and behavior reveals an inherent awkwardness, a humor that echoes our own vulnerabilities. Julie Peter has a BA from the Royal Danish Academy of Fine Arts’s and currently studying sculpture at the Weissensee Academy of Fine Arts in Berlin.
www.juliepeter.dk

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