Exhibitions

I LOVE #ArtisteDici

C'est pas demain la veille
130 x 270 cm
Acrylic and spray on board
I LOVE #ArtisteDici group show, Fonds Municipal d’Art Contemporain (FMAC), Geneva, CH
2020
©Raphaëlle Mueller

C'est pas demain la veille (“It’s not for tomorrow”) answers the question: when will there be an unconditional basic income for cultural actors?

institutions.ville-geneve.ch/fr/fmac/fmac/fmac-mobile/en-cours/i-love-artistedici

Pourquoi les boites de pizza sont-elles carrées ?
Yvan Alvarez + Paul Hutzli

Pourquoi les boites de pizza sont-elles carrées ?
Duo show by Yvan Alvarez & Paul Hutzli
Soul2Soul, Ressources Urbaines, Geneva, CH
2020
©Yvan Alvarez

Yvan Alvarez, through photography, installation and sculpture, creates surprising confrontations, often using everyday objects that conceal a story. His works contain a subtle contradiction that does not give itself away, giving them a strange aura. 
Paul Hutzli also draws inspiration from everyday life. He uses different mediums like painting, drawing,sculpture and installation and combines them through various crafts and practices, such as trompe l’oeil, carnival or stained glass. 
The two artists have a common interest in what is to be perceived as normal, established, in order to question the way in which this norm is established.
They talk about everyday life, not excluding humorous or intimate subjects.
In this respect, this proposal resembles more a studio party than an exhibition. 
Do not sit on the chairs, they are made of papier-mâché. 

ressources-urbaines.ch/exposition-en-duo-de-paul-hutzli-et-yvan-alvarez

Wie zu Hause, wo ich nicht bin

Wie zu Hause, wo ich nicht bin
Group show (cur. Niels Trannois)
With Jacopo Belloni, Johana Blanc, Constance Brosse, Vicente Lesser, Henrique Loja, Sara Ravelli, Niels Trannois, Paulo Wirz and works from Archivio Conz
And guests: Ahoulou Meldem, Geraldo de Barros, Jeremy Dafflon
Project Space, Centre d'Art Contemporain, Geneva, CH
2020
©Raphaelle Mueller

centre.ch/fr/exhibitions/wie-zu-hause-wo-ich-nicht-bin

XXaf

On fait le tour de la maison!
Group show (cur. Véronique Pittori, Marie Pittet & Stéphane Fretz)
XXaf Festival, art&fiction, Les Arches, Lausanne, CH
2020

Ten typewritten punchlines on raw painter's canvas and then printed on ten polyester flags.
Based on a description of ten book displays, by Stéphane Fretz, for one of the twenty events of the XXaf Festival, celebrating the twenty years of the art&fiction publishing house.

artfiction.ch/xxaf/xxaf-4

Sans chemise, sans pantalon
(w. Brigida Bocini)

Sans chemise, sans pantalon
Flag raising with Brigida Bocini
Works by Basile Dinbergs, Agathe Frasson-Cochet, Paul Hutzli, MACACO Press, Trystan Matthey, La Soupe collective and books produced at HEAD-Genève's micro-edition workshop around Friedman’s work.
Musée Sans Bâtiment by Yona Friedman (dir. Nader Seraj), Sculpture Garden (cur. Balthazar Lovay), Geneva Biennale, CH
2020
©Brigida Bocini

A celebration without frame, without wall, without plinth. 
An intervention with flag raising, open books and a collective meal.

sculpturegarden.ch/events

Space Invasion

Space Invasion
Group show
Galerie Fabienne Levy, Lausanne, CH
2020
©Neige Sanchez, courtesy of Fabienne Levy

fabiennelevy.com/artist/space-invasion

Sealed for your protection
JULIE SANDO + VANESSA URBEN

Sealed for your protection 
Duo show by Julie Sando + Vanessa Urben
With a musical performance by Katia Kotelskaya
Soul2Soul, Ressources Urbaines, Geneva, CH
2020

SEALED FOR YOUR PROTECTION is the phrase taken from a protective washer on a food jar (hermetically sealed before opening the package). In this context, the artists found this sentence both comical and absurd. While the washer is only a protection of poor quality food ensuring the hygiene of the industrial product, the sentence seems excessive and seems to refer more to an authority, or even an emergency.
The artists have decided to take up the sentence and reinterpret it in a broader way around the theme of "protection", and more precisely the use of this term by the power/authorities.
In this context, the notions of soft power and hard power challenge them. They approach them in a metaphorical way, while questioning their sometimes absurd - or even abusive - uses (manipulations, media, politician's speeches, police violence, etc.) through an installation thought out in pairs, mixing texts, drawings, objects, textures and videos.

ressources-urbaines.ch/une-exposition-de-julie-sando-et-vanessa-urben-sur-une-proposition-de-sylvain-gelewski

Sammelsurium
(bureau des questions fondamentales)

Sammelsurium (bureau des questions fondamentales)
Group show
With Vesna Bilanovic & David Sentkar, Bianca Maria Guala, Luca Kasper & Antoine Siron, Julie Marmet, Diane Rivoire
Support for production: Geneva Cantonal Fund for Contemporary Art (FCAC)
Espace Cheminée Nord, Usine Kugler, Geneva, CH
2019
©Yann Haeberlin & Antoine Siron

Group exhibition in which eight artists explore the meaning of the term “Fundamental.”
A Fundamental Questions Bureau is set up in the corner.
A table and a chair borrowed from a museum, the 19th edition of the Brockhaus Encyclopeadia in 24 volumes + 1 appendix placed on top, a handmade ink pad and stamp reading “OF NO INTEREST” purchased in Paris, and anonymous letters of rejection for grant applications displayed in recycled frames.
A golden mural painted in collaboration with Diane Rivoire, small wooden lettering forms the question “FONDAMENTAL?“ (FUNDAMENTAL?).
During the opening, Diane performs Passe-muraille; she passes through a human-sized wooden cuckoo clock placed in front of the golden wall, and involves three associates, Lucie Cellier, Annabelle Galland and Ekaterina Kotelskaya.
A piece by Bianca Maria Guala consists of a few tree branches placed in a rectangle on the ground and plastic cushions filled with water in the middle. A projector is hung from the ceiling and projects edited footage from the preparation of the exhibition.
A piece by Luca Kasper & Antoine Siron recreates the interior of the bedroom of two conspirators, one of the web and one of popular contemporary art. Two old-fashioned computer screens and small machines printing out slogans are placed on a corner desk. The sound and image of the looping videos are distorted.
A few copies of Julie Marmet’s book Rémunérer les artistes are placed on a display at the entrance. The display is brought to life through the authors lecture “Un travail annexe : les enjeux de la rémunération des artistes* à Genève” performed during the opening night and in parallel to another event Atelier (rrr)ouvre-toi, where a large number of artists’ studios in Geneva open their doors to the public. After le lecture, soup is served by Lorraine Baylac in the exhibition area.
At the end of the evening, a sculpture by Vesna Bilanovic & David Sentkar is activated through their duo performance En attendant la mer, where text written in charcoal on a wall is recited and played on speakers throughout the space.
The papier-mâché structure made of unpaid bills is partially covered with chalk drawings made by the artists, whose costumes are then scattered on the floor.

visarte-geneve.ch/expo/sammelsurium-bureau-des-questions-fondamentales

Fridges are not frigid

Fridges are not frigid
Group show (cur. Niels Trannois)
With Johana Blanc, Jacopo Belloni, Constance Brosse, Vicente Lesser, Henrique Loja, Sara Ravelli, Niels Trannois, Paulo Wirz
Archivio Conz, Berlin, DE
2019
©Jacopo Belloni 

 Fridges are Not Frigid is a variation on the title of an artwork by Lawrence Ferlinghetti (Bronxville, New York, 1919, ”This Fridge Leaves me Frigid”), part of the Francesco Conz collection, which was assembled in Conz’s lifetime (Cittadella, 1935 – Verona, 2010) and now exists as the Archivio Conz. Developed with students of the HEAD’s Visual Arts Masters (workMaster) in Geneva, the project based on this collection is itself a variation of, if not a digression from, the dialogue students develop with art history. 
 During a year of research between Geneva and Berlin I worked with a group of eight students to experimentally set up the components of a transgenerational discussion ruled by the principles of equality and empathy favourable to the handling of both historical and contemporary artworks. Here, it isn’t about standing on the shoulders of a giant*, namely the Conz collection, but rather playing and speculating freely on this historical material. Consequently, we were able to take the artworks out of the archive, making them visible in an installation in which they mingle with our own works, produced for the occasion. 
 By taking artworks out of an archive, be it for them to be studied or exhibited, our idea was to reveal the idea of returning these artworks (or the thinking underpinning them) to the present, to reactivate their contemporaneity in the light of a time which is no longer that of their creation. While loaded with their own history, as well as that of their time, artworks nonetheless remain sensitive. An archive is a living material open to historical narratives: “Fridges are Not Frigid.” Consequently, despite being kept and archived, artworks from a segment of history (specifically Fluxus and the complex web around it) are not frigid to the time of their reactivation; they are infused, expanding as a result of the time that has passed since they were created. Behind this thinking appears an erotic of the archive, driven by the interpenetration of time; a non-linear vision of history where – rather than simply following on from one another – layers and events interlock. 
 The CNRS researcher Olivier Costa de Beauregard said of quantum mechanics that it allowed for “a considerable weakening of the concept of a physical reality existing independently from the observers**,” leading to the fact that a thing which is observed is irreversibly affected by the observation. 
 Thus, making visible one or several artworks from an archive and positioning them with contemporary artworks is also a way to activate their metamorphosis. In fact, we are resolutely siding with a quantum appreciation of the archive. At the risk of being iconoclastic, we preferred to favour the spirit and the irreverent nature of the Fluxus rather than follow strict museographical rules when it comes to showing historical pieces. 
 The modes of reading an archived artwork which has been activated in the present are therefore intensified. This principle is one of the angles from which we approached the Francesco Conz archive: Francesco Conz assembled his collection organically through the sense of kinship he maintained with his artist friends, and so we also wanted to address his legacy (as a collector) this way. Investigating the works of artists from the archive, we put ourselves in the position of researchers looking into the catalogue to find points of agreement between thoughts from which art history and our respective practices have stemmed. We are searching for connections. 
 These connections were made possible by the expertise of the Archivio Conz’s administrators, who took on the role of transgenerational go-betweens. Each member of our group was assigned one or several artists which Francesco Conz collected. Through the connections that were made and the discussions that ensued, we let ourselves be penetrated by practises 60 years older than us, as a way to better rethink our present. Quite naturally, our artistic thinking became influenced by the poetical concepts, the humour and devious spirit of the artists whose work we studied. In return, it seemed essential that these considerations not be unilateral, and for the influence to be mutual. It fell to us to formally create the ground for this mutuality, and so the research presentation is a display of this. 
 The choice of location for the display is far from inconsequential. The space in question is where Francesco Conz’s collection is stored and being archived: the installation is set up where pieces are photographed to catalogue the archive. Our intervention marks a pause in what is usually a workspace, offering a temporary shift in the appreciation of a subject as well as evoking a parallel action. Archived artworks, or artworks in the process of being archived, are no longer historical objects. For the duration of the exhibition, as the accomplices of the digression we authored, they write their history again. 

 * The metaphor is attributed to Bernard de Chartres, the 12th-century philosopher. It is used to show the importance for anyone with intellectual ambitions to rely on the works of great thinkers from times past (the “giants”).
 ** Costa de Beauregard, Le Temps déployé, passé, futur, ailleurs, Monaco: Éditions du Rocher, 1988

hesge.ch/head/projet/vues-lexposition-fridges-are-not-frigid
archivioconz.com

Nothing is something (to an observer)

Nothing is something (to an observer)
Group show (cur. Christophe Kihm)
Live In Your Head, Geneva, CH
2019
©Raphaelle Müller  

hesge.ch/head/evenement/2018/nothing-something-observer-transit-permission-pass-through-liyh

Carnets

Carnets
Group show
Halle Nord, Geneva, CH
2018
©Halle Nord

act-art.ch/event/carnets-2
vimeo.com/279265568