Kolloquium Warburgs Passage

5.—7. August 2022, ab 17 Uhr
„Es ist höchste Zeit, dass das Denken wieder das wird, was es in Wirklichkeit ist: gefährlich für den Denker.“ Jean-Luc Godard

Wo gibt es Raum für selbstgefährdende Forschungsprozesse, innere Reisen, bei denen wir nichts von dem finden, wonach wir suchen, nur etwas von uns, von dem wir nicht wussten, dass es existiert. Sind Sanatorien, Psychiatrien und Künstlerhäuser nicht auch Häuser derGastfreundschaft, offen für unvordenkliche Empfindungen und Prozesse, die in uns geschehen, die aber nicht wir sind?
Das Kolloquium versteht sich als eine Einladung an die verschiedensten Sprachen und Sprechformen, sich ins Vernehmen zu setzen und zusammen in See zu stechen.
Mehr Informationen

Fundaziun Nairs, Künstlerhaus, Kunsthalle, Kulturlabor
Nairs 509, 7550 Scuol

Embassy by Natalia Peredvigina and Kirill Agafonov (former Gorod Ustinov)

Freitag 5. August 2022 / Friday August 5, 2022
kalte Getränke ab 17:00 / cold drinks at 5pm
Artist Talk ca.18:00 / artist talk around 6pm
Raum 3.11 oder auf der Terrasse / Room 3.11 or on the terrace
(Infos an der Tür des Gastateliers / more info at the door of the guest studio)

Die beiden KünstlerInnen Natalia Peredvigina und Kirill Agafonov sind ein weiteres Mal bei uns zu Gast. Wir freuen uns sehr, sie wieder bei uns begrüßen zu dürfen!
Bis Ende August werden sie im Gastatelier arbeiten und ihr Projekt Embassy gemeinsam mit interessierten Kollaborateuren weiter entwickeln.
Am Freitag, den 5. August, werden sie das Konzept des Projekts vorstellen.

The two artists Natalia Peredvigina and Kirill Agafonov are our guests for another time. We are very happy to welcome them with us again!
Until the end of August they will work in the guest studio and further develop their project Embassy together with interested collaborators.
On Friday, August 5, they will present the concept of the project.

Natalia Peredvigina and Kirill Agafonov:
In the guest studio Gleis70, artists Natalia Peredvigina and Kirill Agafonov will open a joint “Embassy” and present personal “microterritories” that previously made up Gorod Ustinov. 
“Embassy” is a series of meetings / exhibitions where Natalia and Kirill present their works, as well as artifacts of other authors and “microterritories”, offering the public discussion and joint artistic practice. 

“Working at the level of microdiplomacy, we are opening an embassy of our own and close microterritories, interacting with new microterritories of people and places. We propose during the meeting/exhibition to present what supports you, what constitutes the symbolic land on which you live.”
As a point on the map Ustinov does not exist. This was the name of the city of Izhevsk in 1984-1987. In the period 2010-2022, a micro-art-group / collective “microterritory” worked under this name, whose residents were born in 1986 and associated themselves with a place that does not exist, inventing their own space and time.

In continuation of the collective artistic practice, the personal “microterritories” of Natalia Peredvigina and Kirill Agafonov move and exist simultaneously in various locations, participating in Russian and European exhibitions, biennales and festivals of contemporary art. Artifacts of their “microterritories” are in the collection of the MSK Museum of Fine Arts (Ghent, Belgium) and private collections.

Wir freuen uns über Euren Besuch! – We are looking forward to welcoming you!
Natalia Peredvigina und Kirill Agafonov und das Gastatelier Team Gastatelier Gleis70, Hermetschloostrasse 70, 8048 Zürich
https://gastatelier.gleis70.ch/

IMAGES VEVEY AT LA BECQUE 

3-25.09.22 / Denise Bertschi & Andrew Norman Wilson
On the occasion of visual arts biennial Festival Images, the flagship project of Images Vevey, La Becque is pleased to host installations by two of its former residents, Denise Bertschi and Andrew Norman Wilson, curated in complicity with the festival and its 2022 theme, “Together”.

With STATE FICTION. Neutral Only On the Outside, Denise Bertschi explores Swiss involvement in the Demilitarized Zone (DMZ) established in 1953 between North and South Korea, and where several neutral countries were tasked with peacekeeping duties. In the manner of an investigative journalist, Bertschi examines the presence of Swiss soldiers stationed in their “Swiss Camp” until the late 1990s, when the other nations gradually left the DMZ. Using photographs, films, textiles, and documents from the archives of the Federal Administration and Army, she reveals the multitude of images these men took to document their daily lives, their encounters with the local population, and their love of nature. By revealing the discrepancy between reality and the goals of the mission, Bertschi analyzes the construction of a national narrative centered on neutrality, thus questioning Switzerland’s role in the world. 

In 1980, Phil Collins released the song “In the Air Tonight”: the tune, with its emblematic drum break, became an immediate success. An urban legend quickly developed around the origin story of this era-defining hit: one that portrayed the famous British singer as the powerless witness to the drowning of a swimmer and to the cowardice of a man refusing to save him. The song and this peculiar narrative are at the heart of the video installation created in 2020 by Andrew Norman Wilson, a resident at La Becque that same year. The American artist develops In the Air Tonight from several experiences – drawn from different periods of his life – related to the peculiar musical structure of the eponymous song. He revisits the urban legend and synchronizes its climax to Collins’ thunderous drums. This narrative and rhythmic concomitance is revealed in a montage that is as precise as it is poetic. With In the Air Tonight, Wilson questions the role of popular narratives and collective imagination in the construction of a work that has become mythical.