Reflexiv

Die reflexive Arbeit ist ein Gefäss, in dem die Kunst über sich selbst nachdenken kann via Künstler*In, eine Einladung, an diesem Denken teilzunehmen, Fragen zu stellen und in ein Gespräch zu geraten. Dieses Gefäss ist jeweils zu erfinden, deshalb ist die reflexive Arbeit ein Experiment. Es geht nicht um fertige Texte, Abhandlungen, Meinungen, theoretische Erörterungen, etc., sondern um eine jeweils spezifische Form der Selbstbestimmung. weiter...

Fachhochschule Nordwestschweiz FHNW
Hochschule für Gestaltung und Kunst
Institut Kunst Gender Natur

Oslo-Strasse 3
4142 Münchenstein b. Basel
Kontakt, Facebook, Instagram

Die reflexive Arbeit ist ein Gefäss, in dem die Kunst via Künstler*in über sich selbst nachdenken kann, sie ist eine Einladung, an diesem Denken teilzunehmen, Fragen zu stellen und in ein Gespräch zu geraten. Dieses Gefäss ist jeweils zu erfinden, deshalb ist die reflexive Arbeit ein Experiment. Es geht nicht um fertige Texte, Abhandlungen, Meinungen oder theoretische Erörterungen, sondern um eine jeweils spezifische Form der Selbstbestimmung.

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Reflexiv



Die reflexive Arbeit 1
ist ein Gefäss, in dem die Kunst über sich selbst nachdenken kann via Künstler*In, eine Einladung, an diesem Denken teilzunehmen, Fragen zu stellen und in ein Gespräch zu geraten. Dieses Gefäss ist jeweils zu erfinden, deshalb ist die reflexive Arbeit ein Experiment. Es geht nicht um fertige Texte, Abhandlungen, Meinungen, theoretische Erörterungen, etc., sondern um eine jeweils spezifische Form der Selbstbestimmung. Sie muss nicht sprachlich sein, nicht schriftlich und auch nicht in irgendeinem Medium festgehalten werden. Entscheidend ist ihre Möglichkeit, Räume zu öffnen fürs Denken und Sprechen und einzustimmen in die mentalen Umgebungen der Werke. Eine reflexive Arbeit kann ein mündlicher Bericht über Lektüre sein, es können Interviews, Schlafprotokolle, Filme, Musik ... Mitschriften von nie stattgefundenen Treffen sein, wichtig ist: sie sollte sich öffnen wollen, ein Gesprächsangebot machen, sie sollte Lust haben und Lust darauf machen, etwas in die Karten zu schauen, sich in die Karten schauen zu lassen, ins Handwerk, in die Motivation, in das Nichtwissen, in den Antrieb und in die Wege der Kunst. Es geht um kein schweres schwitzendes Beackern und Zerhacken der eigenen Kreationen, sondern auch um den inspirierenden und leichten, mutigen und oft paradoxen, verblüffenden Funken beim Denken. Und ja, dieser denkende Moment wohnt dem Kunstwerk selbst natürlich bei und inne. Die reflexive Arbeit macht per leichter Verschiebung und Betonung darauf aufmerksam.


reflexive work 1
is a container in which art can think about itself via artists, an invitation to participate in this thinking, to ask questions and to get into a conversation. This container has to be invented, therefore the reflexive work is an experiment. It is not about finished texts, essays, opinions, theoretical discussions, etc., but about a specific form of self-determination. It does not have to be linguistic, written or in any medium. What is decisive is its ability to open spaces for thinking and speaking and to tune into the mental environments of the works. A reflective work can be an oral report about reading, it can be interviews, sleep logs, movies, music... It can be a record of meetings that never took place, important: it should want to open itself, make an offer to talk, it should have desire and make desire to look something into the cards, to let itself be looked into the cards, into the craft, into the motivation, into the ignorance, into the drive and into the ways of art. It's not about heavy sweating and chopping up your own creations, but also about the inspiring and light, courageous and often paradoxical, astonishing spark of thought. And yes, this thinking moment is naturally inherent in the work of art itself. The reflexive work draws attention to this by means of a slight shift and emphasis.


Die reflexive Arbeit 2
ist ein Gefäss, dass jeweils neu zu erfinden ist. Es möchte Raum für Einsicht bieten, Innenansichten, Aussenansichten, Eigeneinsichten und ein Gespräch suchen mit anderen Ansichten und Sehansätzen. Zunächst möchte dieses Gefäss der Kunst und dem Kunstwerk, der künstlerischen Arbeit, Möglichkeit bieten, mit sich selbst zu sprechen und dann den Künstlerinnen und Künstlern, ihre Positionen, Haltungen, Zweifel, Methoden und Vorbilder, Absichten, Geheimnisse und Motivationen, Lieben und Ängste denkend und somit denkend handelnd, auszuprobieren. Denken ist immer persönlich. Mut gehört dazu, Mut Fehler zu mache, nackt da zu stehen, sich zu verirren oder etwas zu denken, was weh tut. Die reflexive Arbeit möchte dies arteigen tun, mit Leichtigkeit abheben, schweben, fliegen oder auch mit Schwermut, ackernd wie ein Gaul. Sie weiss, dass sie in ihrer eigenen Zeit statt findet und für sie blind ist. Sie sucht nach Selbstbestimmung und Selbstsetzung und sie weiss, dass Sätze alleine noch gar kein Anzeichen von Bewusstsein sind. Oder denkt das Ornament? Der Mut und die Freiheit selbst zu denken ist nicht selbstverständlich und besonders in Ausbildungszusammenhängen ein kostbares und zu schützendes Gut. Die reflexive Arbeit kann in jedem Medium statt finden. Es kann eine Beerdigung sein, ein Konzert, eine Führung, Brot backen, Menschen bauen, Steine hauen, Sendemaste vergolden, Tarotkarten deuten, ... wichtig ist, dass sich in ihr das künstlerische Tun und Treiben selbst begegnet, begehbar ist und offen, Lust auf die sogenannte Begegnung hat mit dem was gerade nicht Kunst ist und Kunst als Kunst erkennen will.


reflexive work 2
is a container that must always be reinvented. It wants to offer space for insight, interior views, exterior views, personal insights and a conversation with other views and visual approaches. First, this container of art and the work of art, of artistic work, wants to offer an opportunity to speak to oneself and then to try out the artists, their positions, attitudes, doubts, methods and role models, intentions, secrets and motivations, loving and fearing and thus thinking. Thinking is always personal. Courage requires courage to make mistakes, to stand naked, to get lost or to think something that hurts. The reflexive work wants to do this with ease, take off, float, fly or even with melancholy, farming like a horse. It knows that it takes place in its own time and is blind to it. It is looking for self-determination and self-setting and it knows that sentences alone are no sign of consciousness. Or does the ornament think? The courage and freedom to think for oneself is not a matter of course and, especially in educational contexts, a precious commodity that must be protected. Reflective work can take place in any medium. It can be a funeral, a concert, a guided tour, baking bread, building people, cutting stones, gilding transmission masts, interpreting tarot cards,... it is important that in it the artistic activity meets itself, is accessible and open, has desire for the so-called encounter with what is not art and wants to recognize art as art.


Die reflexive Arbeit 3
ist eine leichte und schöne Sache. Bevor sie leicht und schön ist kann sie hart, schwer und unangenehm sein. Meist läuft sie durch einen Nullpunkt von gar nichts will mehr gehen und verstehen, dann öffnet sich das Gate wie von alleine.



reflexive work 3
is an easy and beautiful thing. Before it is light and beautiful, it can be hard, heavy and unpleasant. Usually it runs through a zero point of nothing wants to go and understand anymore, then the gate opens by itself.


Die reflexive Arbeit 4
gibt es nicht. Sie ist immer anders. Sie ist lebendig. Füttern und streicheln erlaubt!
the reflexive work 4
there is not any. It is always different. It is alive. Feeding and caressing allowed!



Birgit Kempker

Marisabel Arias

Susi (perfectly together)

Susi (perfectly together), Edition of 25 copies.
A short essay-poster, regarding the origin of the shape heart and other issues.
for a copy write to mial.lambre@gmail.com




➝ Susi (perfectly together) (.PDF) version

carolina brunelli

raízes de rios

wren cellier

vwv








composition, lyrics, production & graphics © wren cellier 2022, digital format
co-production © blue yogurt - tbilisi, georgia

upcoming on blueyogurt.bandcamp.com

songs :
blanche biche
fleurir mourir
megacyclone
petite île
anathea
taille douce
pastel acide

voice, guitars & hurdy-gurdy : wren cellier
vibraphone & piano : antoine cellier
mixing & mastering : wren and antoine cellier

thank you :
gàbor barta
famille katranzis
eva quartet
sounding soil
baptiste gaillard
marie madeleine klopfenstein
anaïs balmon
alexandre cellier
nicole cellier
jessica voelke
aurore grosclaude

➝ download lyrics

vwvren.com

Dimitra Charamandas

Osmotic Flow

Essence of cucumber and crème fraîche, lemon oil, tomato foam, cress and basil oil, young garlic butter and coffee oil, lemonade and elderflower whey; These were the smooth milieus for pickled char and cucumber, backed potato, smoked fava and homemade fresh cheese, beetroot carpaccio, carrot caviar and salad, marinated sprouts, braised aubergine and elderflower pearls.


➝ find the (.PDF) documentation of the event here











Charles Benjamin

Hotelly Tissot










Hana El-Sagini

The Museum of My Bygones


My Grandmother from Irma & Fred Brocki driving a convertible car from my Childhood toys


An Alter Boy from Petersplatz Flohmarkt carrying weights from Brocki Auf Dem Wolf


A Hausa Leader from Mercate Del Encantes BCN wearing Golf Shoes from MarktHallen Hallenflohmarkt Düsseldorf


Plastic doll face badly covered with fabric from my neighbor's garbage lying beside my Turkish coffee kanaka


A Flat Soldier from Benrath Flohmarkt posing beside his horse from Palm Sunday that was in my Father's Studio



The Museum of My Bygones

From some broken clay objects found under the sands of some desert…

Entire civilizations were discovered…
Millions of stories were forged ….
Tens of thousands of glass boxes were built…
Hundreds of millions of people were in awe….
In love with the stories and belongings of our bygones…..

And from digging in boxes of Flea markets…
Is how I know cities…
Imagine their people…
Make friends….
Feed my accumulation hunger…
And belong….

And from some things left behind my father…
Is how I tell his stories…make up some….lie about others…
Talk to him…
And Kiss him…..

And because I have been doing this all my life…

I created my own Museum of Bygones.
 



Home, Cairo, Egypt

Sebastian Gisi & Diego Kohli

FEDORA / Temporary Artspace

“Fedora is a four-day show conformed by a group of 14 multidisciplinary artists who exhibit their art work. Meanwhile, guests have a culinary experience in an old family house at the heart of Basel.”


The Gerbergässlein winds its way through a maze of small, winding streets, stairways, alleys and lanes in the old town of Basel, between the Marktplatz and the Barfüsserplatz. Narrow, closely and high. There stands house number ten, "Zum Roten Hahnen". On the façade it dates from 1429.
Until recently, there was an upholsterer's and decorator's shop on the ground and first floor of this house. Now only traces of the former craft remain. Wallpaper, a few cupboards, a few needles lying around somewhere and a pair of scissors.

Sebastian, who spent a lot of time in this house because it belongs to his grandparents, had in mind to do something there. An empty room in an old house in the centre of Basel is surely an opportunity to be seized. Reflexive work offers the opportunity. But alone? No way. Immediately, Diego and Hana joined.

We decided to turn the 1st floor of Gerbergässlein 10 into a temporary exhibition space for a few days during the Art Basel week. What motivates us even more, apart from organising and curating an exhibition, is the fact that we have never done this before.
That sweet thrill of doing something for the first time.
To approach something with this somewhat naïve innocence, where you don't have any experience yet and can therefore be quite unbiased.
Quite amateurish. Quite unspent. Quite like that, let's just do it.
We'll find out what it takes. The important thing is to approach it with a certain enthusiasm and not to see mistakes as mistakes but as an opportunity to find new solutions.
To this end, we have consciously decided not to develop a clever and well thought-out curatorial concept on the basis of which we then invite artists, design the space, etc. (We are in no way saying that this is bad) We simply wanted a different approach.
However, an important aspect for us was that everyone was welcome, regardless of their background and financial situation, and that it was not a profit-oriented project.
100% of the proceeds from a sale go to the artists themselves.

We were interested in experiencing and learning what it takes to make an exhibition.



Learned:

Communication is important.
Honest communication is more important.
Transparent, open, clear, non-judgemental, constructive communication is the most important thing.

It doesn't take much.

However a lot of work, coordination and communication.
There is a lot to think about to coordinate and organise a multidisciplinary event.
Working hours do not matter.

People who want to achieve something TOGETHER get further than they do alone.

Food and drink are essential components of an opening. It is not a side dish, it is the main course and must be treated just as sensitively as the works of art.

You can create high-quality culinary delights with simple resources and little money.

Good food connects people and keeps visitors in a good mood.

Light is important but not crucial.
Advertising is essential but not significant.

Bouquets of flowers elevate spaces.
A good relationship with your neighbours is a great advantage.

Collection works.

Everything takes longer than you think.
Everything, really everything, takes longer than you think.

An empty room in an old house holds infinite possibilities.

This list is incomplete.


At the end, on behalf of Fedora, we would like to thank all the artists involved for their trust and commitment. Without you, this project would not have been possible to realize. Our thanks go to the following artists:

Marisabel Arias, Charles Benjamin, Rapheal Burger, Julian Burkhard, Manuela Morales Délano, Hana El-Sagini, Lara & Noe Castro Lema, Luise Maier & Regina Dürig, Ivan Mitrovic, Kerstin Mörsch, Joan Pallé, Flurin Randulin, Nina Rieben, Benoît Schmidt


Instagram: @fedora.basel










Silas Heizmann

DELAY







Everybody was young very body was tired.
I was on the run from everything.

I came to stay.
I was late.
I was late.
I came to stay.

„You wanna see this place we found?“
It was intense, a real rush.
I will never forget that.

I came to stay.
I was late.
I was late.
I came to stay.

This life, this city, this sense of…
Everything changed from one day to the next.
„We will never forget that.“
I did not really care at that time. And when I think about it now, I still don`t care.

Only now do we start to understand
Everything was open, everything was possible

Was it too late?
Was I too early?
Was I too late?
Was I too late?

I walked the streets, the houses smelled like basements.
Everybody was young and everybody was tired.
I don’t know how often I had to come back.
I don’t know how often I always had to.

I was too early
I missed it
Finally
Everybody has already left

//

DELAY took place on May 4th, 2022 at the Lysbüchel Areal in Basel in collaboration with Xenia Wiener and Flavio Alfeo. Images: Christian Knörr


Golnaz Hosseini

The parts you put together

Ana Jikia

persona sentimental




Josefina Leon Ausejo

Skeleton of a rational yet emotional process

Claire Masset 保坂 めぐみ

already so late but can't move

the earth is my room

full of treasures


overflooding information

still a recognisable palette


please take off your shoes

welcome

a tour guide in my reflex brain mode


what is important ?

we have to make decisions

before the choice paralysis


too late

my laptop is breathing loud

or is my hard drive singing ?

the lullaby gets on our nerves

they both are too full

私もパンクしそう


----



i want to talk with my heart and my guts

i want to be my own lover

ay eye aille 愛

shiny shiny me

all those bruises on my creamy skin

turning roasting golden

ran all the way holding my boobs dancing

bumping and crashing in everything on the way


----



deadline is at my footstep

you really need to give something because now it will ring


tears of sweat are sparkling

everything is warming up


where does the trash go ?

does it burn does it flow

鏡に映る私

反射は燃えないゴミ



pee squat is the best work out

and reflex is brain work out

お腹アタック

let’s poop this feeling


----



ring

the gong reverbs silently as time shows 23:59

ving-trois heures cinquante-neuf

一瞬目が泳いだ



it’s now

i dive




Manuela Morales Délano

Idea 25


Cruel Nature Has Won Again, 2022 (Idea 25)


Ideitas
Small Ideas

1. Pelota o algo autografiada por los maestros de al lado de mi casa
1. Ball or something autographed by the constructer workers from next door

2. Latas de cervezas aplastadas en pista de atletismo como starting blocks
2. Beer cans smashed on an athletic track as starting blocks

3. Cuadro de quemadas de cigarro
3. Painting of cigarette burns

4. Quemar cosas y decir q es una performance, Manuel Delgado
4. Burning things and saying it is a performance, Manuel Delgado

5. Bodies of women dead in TV shows

6. Me frozen- as the opposite of womanly warmth?

7. Trabajo remunerado 1 the barn
Trabajo remunerado 2 trámites Charlie
7.Paid work 1 The Barn, Paid work 2 paperworks for Charlie

8. Pedirle a la Pía su versión de lo que pasó ese día, en el estadio Nacional, el día del Golpe Estado junto al poema de su marido torturado y chile jugando futbol contra oponente fantasma y metiendo 1 gol, ganando el partido
8. Ask Pia for her version of what happened that day, at the National Stadium, the day of the coup, next to the poem of her tortured husband and Chile playing soccer against a ghost opponent and scoring 1 goal, winning the game

9. Performance de la vida real; en el trabajo con mi polera Ausländerbehörde, casándome con velo 98 metros, desnuda en espacios donde puedo estar desnuda, pilcha en la ducha (Naked in allowed places)
9. real life performance; at my work with my Ausländerbehörde t-shirt, getting married with veil 98 meters, naked in spaces where I can be naked, pilucha in the shower (Naked in allowed places)

10. Poleras con oración adelante: Born to die, Survival for life
10. T-shirts with sentence: Born to die, Survival for life

11. Auto en el último piso de una escalera de emergencia
11. Car on the top floor of an emergency staircase

12. Hombre que estaciona autos mueve la cabeza de un lado al otro para indicar hacia donde van los autos. Poner el video en las montañas donde las vacas mueven la cabeza de un lado al otro
12. Man parking cars moves his head from one side to the other to indicate where the cars are going. put the video in the mountains where the cows move their heads from one side to the other.

13. Pinturas yo y mi muerte en diferentes ataúdes
13. Paintings of me and my death in different coffins.

14. Bolso con stickers denunciando compañías donde trabaje, stickers contra BVG
14. Bag with stickers denouncing companies where I worked, stickers against BVG.

15. Pintar con spray telas que cubren escombros
15. Spray painting fabrics covering debris

16. Árbol con chilenos trepados y yo (49 chilenos) o yo y mis compañeros de trabajo en otro árbol
16. Tree with Chileans climbing and me (49 Chileans) or me and my co-workers in another tree.

17. Poster de diferentes peinados hecho por artistas (para Mario Kreuzberg)
17. Poster of different hairstyles made by artists (for Mario Kreuzberg)

18. Mop dog

19. Pilucha en la ducha impresa en cortina de baño
19. Naked in the shower printed on shower curtain

20. Muchos palitos siguiendo la figura de un árbol
20. Many sticks following the figure of a tree

21. Personas colgando del árbol haciendo formas o abrazados al árbol con las piernas uno arriba del otro
21. People hanging from the tree making shapes or hugging the tree with legs one above the other

22. Convertir un Mazda en Mercedes o viceversa
22. Converting a Mazda into a Mercedes or vice versa

23. Trees grilling marshmallows

24. Project Cybersyn de Salvador Allende hecho con naturaleza o de cartón y palos
24. Project Cybersyn of Salvador Allende made with nature or made of cardboard and sticks

25. Pinhead retrato con púas, retrato como cactus
25. Pinhead portrait with spikes, portrait as cactus

26. Cantar en inglés canciones sin saberme la letra
26. Singing songs in English without knowing the lyrics

27. Decir frases en alemán comunes mal
27. Saying common German phrases wrong

28. Lista de lo que he ganado en cada trabajo en euros y lo que he gastado en universidad
28. List what I have earned at each job in euros and what I have spent on university

29. Muro con ruedas, blanco y arriba tiene vidrios rotos de botellas
29. Wall with wheels, white and above it has broken bottle glass

30. Pizza selfie, foto de torre de pizzas quemándose o torre de pizzas del mismo porte que yo
30. Pizza selfie, photo of pizza tower burning or pizza tower of the same size as me.

31. Mi contrato de trabajo donde me han tachado 935 euros por 925 euros, para algo debe servir
31. My work contract where they have crossed out 935 euros for 925 euros (it must be good for something)

32. Caminar con pies de dinosaurio
32. Walking with dinosaur feet

33. Pared de bricks con ropa atrapada
33. Brick wall with trapped clothes

34. Expo de dibujos, donde los dibujos están aplastados por cuerpos (piernas y torsos) poleras y pantalones rellenos, ojalá ropa sport
34. Drawing exhibition, where the drawings are flattened by bodies (legs and torsos), t-shirts and padded pants, hopefully sportswear

35. letrero del ausländerbehörde en otros lados, como en la estación de policía
35. ausländerbehörde sign in other places, like at the police station

36. Survival book - for students in Basel

37. Foto tupperware con un canapé dentro, poster del show
37. Photo tupperware with a canapé inside, poster of the show

38. lo que no hice antes de estar aquí, comer chunchules (el larguito barato de los asaos)
38. what I didn't do before I was here, eating chunchules (the cheap large one from the bbq)

39. Escultura de mochila lo más al revés que se pueda
39. Sculpture of backpack as upside down as possible

40. Cast de puño hecho de pan y una parte del puño esta comida
40. Cast of fist made of bread and a part of the fist is eaten

41. Árbol catapulta
41. Catapult tree

42. Esquina de un espacio se hace soft, ósea circular, en vez de ser esquina es curva
42. Corner of a space is made soft, i.e. circular, instead of being a corner it is curved

43. Escultura de metal con pies en la arena, de forma pies en metal y arena adentro
43. Metal sculpture with feet in the sand, in the form of feet in metal and sand inside

44. dibujo con pies cochinos o viceversa
44. drawing with dirty feet or viceversa

45. Calcetín pájaro
45. Bird sock

46. Spaghetti pomodoro con parche curita (estilo Bruce Nauman)
46. Spaghetti pomodoro with band-aid patch (Bruce Nauman style)

47. Masturbation Poses

48. Corán dentro de caja de zapatillas, libros que caben perfecto en cajas de zapatillas
48. Koran inside a shoe box, books that fit perfectly in shoe boxes

49. ColoColo transparente con sombra enorme, de plástico. Batman al revés
49. ColoColo transparent with huge shadow, made of plastic. Batman upside down

50. Undercover Fan. Foto de modelos con ropas de marca alemana, ejemplo adidas(ask Stefi Klof)y fantasma hecho de polera con hoyitos (ocupar la de Deutschland ya que muchos la tienen, vale 1.90)
50. Undercover Fan. Photo of models with German brand clothes, e.g. adidas (ask Stefi Klof) and ghost made of T-shirt with holes (take the Deutschland T-shirt because many have it, it costs 1.90)

51. Undercover fan 2 uñas del ColoColo, Birsfelden Parcour (hacer en art nails Manuela, abajo de la casa)
51. Undercover fan 2 nails of ColoColo, Birsfelden Parcour (make in art nails Manuela, below the house)

52. Brown Monochrome

53. Fotos frame monedas, unreacheable
53. Photos frame coins, unreacheable

54. Cocaína (polvo verde de hoja de coca que me regalo Edinson) en campo de golf pero un cuadradito, verde sobre verde
54. Cocaine (green coca leaf powder that Edinson gave me) on golf course but a little square, green on green

55. Pintura “Charla de Paisaje” con nombres tejidos dentro de una sala y afuera timbres para prender la luz pero que suenan tonos diferentes, son muchos (color posible de sala y de timbres verde)
55. Painting "Landscape Talk" with woven names inside a room and outside bells to turn on the light but they sound different tones, they are many (possible colour of room and bells green)

56. Dibujos tsunamis y estrellas
56. Drawings tsunamis and stars

57. Robar banderas Suizas y hacer fantasmas
57. Stealing Swiss flags and making ghosts

58. Neumáticos tallados, falsas cerámicas de Erick Von Däniken
58. Carved tires, fake ceramics of Erick Von Däniken

59. Escultura Suiza con papeles de reciclaje TOC, trastorno obsesivo compulsivo(toc)
59. Swiss sculpture with recycling bin OCD, obsessive-compulsive disorder (ocd)

60. Palitos de colores haciendo figuras en los árboles
60. Sticks of colours making figures in the trees

61. Puño dado vuelta florero
61. Fist turned upside down vase

62. Cenicero ojo abierto
62. Open eye ashtray

63. Fantasmas en circulo como Unión Europea
63. Ghosts in circle as European Union

64. Torres popcorn blanco y negro marca Maya
64. Black and white popcorn towers Maya brand

65. Vender popcorn y postcards del viejo (Erick Von Däniken) con edificio popcorn Maya
65. Selling popcorn and postcards of the old man (Erick Von Däniken) with Maya popcorn building

66. Copiar el video del Identitäre Bewegung (yo hablando)
66. Copy video of the Identitäre Bewegung (me talking)

67. Torre de libros conspiración
67. Conspiracy book tower

68. Tumbas de plantas vivas en el suelo natural
68. Living plant graves on the natural soil

69. Cabeza con piojos pero no de madera si no que de metal. Muy El peso del teenagerismo
69. Head with lice but not made of wood but of metal. The weight of teenagerism

70. Sahumerio en la tumba, sarcófago ataúd pero con hoja de weed tallada y una pipa
70. Saumerium in the grave, sarcophagus coffin but with carved weed leaf and a pipe on top

71. Piedras talladas con piojos
71. Carved stones with lice

72. Pie con manicure (todo blanco menos las uñas) quizás tampoco los algodones- plastic entre dedos
72. Foot with manicure (all white except the nails) perhaps also not the cotton balls - plastic between toes

73. Correr lo más rápido sin matar a los gusanos, cuando salen en la lluvia (en subida)
73. Run as fast as possible without killing the worms, when they come out in the rain (uphill)

74. Autopistas con historia - dictaduras(una larga escultura de cemento/o esa cosa asfalto) con líneas y rayados sobre la cosa porque no va a estar mojado. Como cuando graffitean la calle porque el cemento está mojado. Estos pedazos de autopistas van por toda la sala, incluido el techo “la idea del progreso” Franco-Pinochet-Varela
74. Highways with history - dictatorships (a long cement sculpture/asphalt thing) with lines and scratches on the thing because it's not going to be wet. Like when they graffiti the street because the cement is wet. These pieces of highways go all over the room, including the ceiling "the idea of progress" Franco-Pinochet-Varela

75. Pan para hoy, hambre para mañana (Arcoiris de panes quemados)
75. Bread for today, hunger for tomorrow (Rainbow of burn bread fist)

76. De Piedra a Ladrillo, muro
76. From Stone to Brick, wall

Anita Mucolli

PLACES TO CRY

It has been 5 years since I moved to Basel. I still get lost sometimes and actually have to check Google Maps to see where I have to walk or drive through to reach my destination. Although I pass by some streets every day, I could not tell them by their name.


I started taking long walks shortly after I arrived in this city in order to adjust my lack of orientation. I lived in Gundeli at the time and went for walks without a specific destination, just walking and seeing what the neighborhood would offer me. What was then a way to get familiar with a very foreign place became a habit over the years. I still get off at Johanniterbrücke when I'm driving home from university and just walk across the bridge, along Feldbergstrasse, stop at the intersection of Klybeck- and Feldbergstrasse, cross the crosswalk toward Dreirosenbrücke, pass by Vito's, where people are blocking the sidewalks waiting for their slice of pizza, my hairdresser, who every day leaves a sign in front of the entrance saying she still has vacancies, the owners of La fourchette, who sit on the red bench in front of their restaurant after their shift, the chef of Ephesus, who always nods when he sees me to say hello, and finally I pass St. Joseph's Church, whose bells ring every morning at 7 a.m. for about 12 minutes. My average walking speed is 4.3 km/h, and the average number of steps so far this year is 8090 per day.

As soon as I had my first bike here, the city became much smaller (average speed: 25km/h). I started to ride the routes that I would normally walk through, getting to know a new place and a new face of the city every time. On all my numerous walks and rides, I experienced these places in the most diverse ways possible. Early one morning, as I was walking along Klybeckstrasse on my way to work, a woman passed by rapidly and gave me a short glance. She was obviously sobbing and crying and running frantically. I was shocked to see a person in such a state in the middle of the street, so early in the day, and before I could even react, she was gone. In the hours that followed at work, I thought about this incident. What had happened to her? Where had she gone to? Did she have a home to return to?


As I thought about what makes a city a place with a high quality of life, I began to look more closely. There are public places for almost every human need: Eating, drinking, talking, peeing, and relaxing. What I realized, however, is that experiencing a public space probably always requires one to be in good mental and physical condition when you enter those spaces. The city as a whole is always operating, it never sleeps, and its infrastructure is maintained in order to sustain itself. What a functioning city wants is functioning people who inhabit and use it. One would go to a park to enjoy, but where can we go when we are deeply sad and desperate? Feelings associated with sadness and despair seem to have no place in public urban planning and infrastructure. But what if I do not want to keep those feelings intimate, close them up in my own four walls or get caught up by them while on the way? Can a city create or offer safe spaces that come close to what we call home? In between all the transit- and non-places, consumer zones, kids’ playgrounds, streets for cars and bikes, tramlines, bridges, highways, financial districts, and encapsuled residential areas, does the architecture of a city- even if unconsciously- leave a gap for non-economical places that only serve the human need for emotional detox? Is the city, that as much belongs to everyone as it does not belong to anyone, with its diaphanous, omnipotent character, willing to leave space for such a use of its facilities?


In my opinion, the fact that public restrooms are very popular places to cry and calm down is indicative of the lack of alternatives in public places, and here I also mean alternatives to parks and other green areas. With this in mind, I took my bike, rode my usual and added new routes, and began to look consciously. What I was searching for were public places that - according to my own personal perception - had a certain quality to them. The goal was to reapproach the idea of the city guide and suggest convenient public places to visit when one finds themselves in a difficult emotional state. The list of these places is not yet finished- if it can ever be. Although the suggestions are personal, I still believe that some places offer a quality meant for a collective experience not conducing any economical or functional purpose.





47°34'37.2"N 7°37'19.1"E



47°33'50.2"N 7°36'11.3



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47°32'21.7"N 7°36'25.9"E



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47°32'06.2"N 7°36'15.6"E



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47°34'28.1"N 7°35'55.4"E

Joan Pallé

Mise en Scène












During the two years of my master's degree, I have been developing several projects in which the history of cinema has been central. During this time I have produced different sculptural works based on the sets of films. I have often worked with reduced scales in these works, exploring the narrative potential of the diorama or models.


Upon seeing these works, the stage actor and director Sebastian Gisi invited me to work with him to produce a set for his next play at the Dornach Neues Theater. For me, making a stage design for theatre represented several things. On the one hand, stepping into a world I had never known before; the world of theatre. On the other hand, it meant going deep and reflecting on some of the issues I had previously addressed in my sculptural work but leaving the model format to work in actual size.


The commission I received was very open. The idea was not only to create a set for the stage but to use different spaces of the building to generate a narrative journey through it. I intervened in all those places. From the hall, the offices, the backstage, to the space under the grandstand. I had to implement different strategies to deal with different spaces, sometimes to tell a story and other times conditioning the experience of how the audience could perceive them differently.

 

Paula Santomé

LIQUID FLESH. A Party by Paula Santomé

Benoît Schmidt

pocket paintings - movement 1

In January 2021, I started working on small-sized paintings, oil on wood. In the beginning, it was a
way to explore my pictural language. I could try different compositions, forms, and color
combinations. It allowed me to solve concrete pictural problems more easily.
After producing several paintings, I started to grow a collection. I then named them «pocket
paintings», because they could comfortably fit in a pocket.
Besides that, their sizes offer a performative perspective that contains new possible ways to show
a painting. Carrying it in your pocket, then handling it in your hand to look at it changes the way
one could experience and relate to painting; more intimately and casually. It also opens a potential
wherever-exhibition space outside the walls of an institution. All of this gives a painting more
autonomy and makes it more alive.

The reflexive work offers me a good situation to set up an experiment. I selected five paintings
from the collection to send to each person who will take part in the diploma discussion. I also
made a protective case in collaboration with Camille Chaubert and a letter that describes the
experiment.








Moa Sjöstedt

Islands toward which the ocean rubs (– Hello resistance!)

INTRODUCTION

When I started writing at the end of this year's bleak winter I didn't know what would come
out of the process. My main goal at the time was to better understand the visual world(s) I
keep building in my artistic practice, and to ponder my role as an artist. I was asking myself
where the topics, scenes, motifs, and habits in my practice come from, what meaning they
have to me in the present, and what role they play in my current work. What I did not predict
in the beginning of the year, however, was that I would fall in love with writing.


The structure of the process for my reflexive work was the task of writing 111 words every day
during a period of 12 weeks, and to upload the texts to an online platform. I wrote connected
to a structured writing course held by Andrew Shields at the university of Basel's English
department. Part of the process was the collective critique sessions that took place once a
week, and in which we discussed and critiqued each others' texts from perspectives such as
content, structure, aesthetic quality, syntax and grammar. This script is a collection of all the
texts in accordance to the chronology they were written.


Although reading and writing has been a central part of my artistic working process as long as
I can remember, I never considered it to be one of my artistic mediums. During the last years
I've been using mainly drawing and painting as a way to make visceral aspects of existential
situations and affective states tangible. The reflexive work made me discover writing not only
as a process accompanying my visual work, but as a new medium of expression in its own
right, closely interconnected to the worlds I investigate through drawing and painting.



REFLEXIVE WORK:
➝ Download Islands toward which the ocean rubs (– Hello resistance!) by Moa Sjöstedt (.PDF)

Fabio Sonego

When the Water loves Fire

Natural History Museum Basel, June 2022
Organized by Fabio Sonego
In collaboration with Anne Kissmann, Ayaka Gütlin, Samuel Grand and Tamás Vásárhelyi




In a world where war is commonplace, where fear is becoming more and more widespread, I notice in my reflection on love that it is so often missing. Isn't the ability to love stronger than we know? Charity and self-love can be lost, but it is precisely in times when love is needed that it is missing.


I would like us to draw maps where we can orient ourselves, take us along, guide us in order to give love its rightful place in society. That’s how I see this performance, a part on a map, ho don’t show the treasure, rather to emphasize the journey and not the destination.


At the Natural History Museum Basel, where I work at the cash desk, I juxtaposed my love for the house with my personal examination of love. The work "When the Water loves Fire", should be understood as a philosophical tour. Working together with people from the museum, scientists and artists, we developed a tour that led through different stations. Personal decisions were mixed with the skills of the invited performers.


In my performative practice I like to use houses to freeze them for a short moment. To play with the conditions of the environment and to work with people from that house to address current social and personal questions.


*In thoughts, to those people who do not experience love in war or through suffering*.


CHOOSE LOVE
PEACE NOT WAR


Fabio Sonego, August 2022









„A life without love is of no account. Don't ask yourself what kind of love you should seek, spiritual or material, divine or mundane, Eastern or Western. Divisions only lead to more divisions. Love has no labels, no definitions. It is what it is, pure and simple. Love is the water of life and a lover is a soul of fire! The universe turns differently when fire loves water.”
*Elif Shafak




Special thanks go to Basil Thüring CO- Director of the Natural History Museum Basel and to the trust you have given me to make this work possible.


Thanks to Crispin Appius without you I wouldn‘t be in the museum.


Thanks to Patrizia Camarra for allowing me to use the internal library at any time and where the idea for this work developed.


Thanks to Alwin Probst, David Marquez and Loic Costeur for the insight into the collection and the science in your fields of expertise.


Thanks a thousand to the best mentors in the world:
Birgit Kempker, Chus Martinez, Mathilde Rosier, Roman Kurzmeyer and Sophie Jung.


I would like to say a big thank to: Anne Kissmann, Ayaka Gütlin, Samuel Grand and Tamás Vásárhelyi.
Without you, this work would not have been possible, thank you!


A deep thank from the heart to D.S and L.B for the difficult time we went through with love, without you my reflection on love would not have taken place.



As this is also a reflective work, the choice of texts is not accidental. The important and essential literary and academic work of Bell Hooks and Elif Shafak have influenced me and become part of this work.


Bell Hooks: „All about love“ and „Communion, the female search for love.“
Elif Shakak: „The forty rules of love“ and „The island of the missing tree.“


Credits:
Photo: Christian Knörr
Camera: Linus Weber


Sound and audio at the performance:
Jackie Wilson „To Be Loved“
Notes of the Violin, Charpentier „Te Deum“
Herbert von Karajan & Wiener Philharmoniker, „Symphony No 9, from the new World“
NASA, the sun in ultra-high definition

Lukas Stäuble

Continuously


Video, 1080p, 13'20'' Audio, Field Recordings of Water ACC 24Bit Please use Headphones!


Continuously

So somewhere under all oceans there is a layer at wich sound velocity is low, sandwiched
between regions in wich it is higher. By refraction, sound waves from both above and below are
diverted towards the region of minimum sound velocity, and are trapped there. This is the deep
sound channel, a thin spherical shell extending through the world’s oceans.

Audio:
Flowing water itself produces a rushing sound.
This composition was produced with underwater recordings and field recordings of water.

Video:
Water is one of the few elements that cannot be reproduced digitally. Because the patterns of
water never repeat.
Filmed in 120 frames per second, there are always new patterns and combinations.


Jessica Voelke

carosserie-(un)like
hands spray painting (no talking)



I prepared myself (in theory) to follow the basis of car painting technique. The practice and experience of it was also important to me, as I started to better understand specific material properties, the painting tool, the gestures/rhythm. While I was repainting some parts during the process, I was also keeping most of the previous layers of paint underneath. The unevenness of the surface produced an «orange peel» effect on some spots - like fingerprints, it seems to be an unglamorous phenomenon from a car painting perspective. I liked to keep it, as it is an effect on its own, a little trace of the hand that overlaps with the effect of the paint itself.

I am also interested to think of the paint as another dimension of activation for the objects it covers.

(the objects in the video are part of the graduation installation)