About

jevouspropose is a curatorial series by Sabina Kohler and accomplices. Several times a year, jevouspropose invites a personality to propose an artist with a specific group of works. The works will be installed in the space of jevouspropose, celebrated with an opening and remain on view for a while. At the same time, the respective presentation is expanded and continued in virtual space: on the jevouspropose Instagram account, the proposer and the artist will have a chat, a visual ping-pong on the works and themes on display.

en passant is a side project playing with the storefront window. Whenever the sequence of the curatorial series jevouspropose is interrupted, an artist will be invited to work with the storefront window. While passing by, the resulting works can be viewed from the street both by day and by night.

jevouspropose
Molkenstrasse 21
8004 Zürich
info_at_jevouspropose.ch
Open on Thursdays 12 - 6 pm and by appointment

Current

jevouspropose#18
Rituals of Tenderness
Eugénie Rebetez vous propose Jessica Huber

Exhibition: 25 September - 15 December, 2024

Join us for the last Rituals of Tenderness LIVE:

• Sunday, 15 December
• Meeting point: 12 pm at Idaplatz in Zurich
• Walk to jevouspropose via Friedhof Sihlfeld
• Get together at jevouspropose from 1 to 2 pm

For jevouspropose#18, Eugénie Rebetez (performing artist and choreographer) invites the performance artist and choreographer Jessica Huber (Zurich).

Jessica Huber's artistic work glides back and forth between different performance worlds: while her early works were primarily choreographic in nature, her current projects vary in terms of their form and character. What Jessica Huber's works have in common, however, is the search for connection, a practice and aesthetic of sharing and exchange, and the lived desire for collaboration. Many of her works arise from a longing for spaces in which different voices and bodies can exist side by side and co-create together. For jevouspropose, Jessica Huber presents newly developed elements and practices from her research titled Rituals of Tenderness (2020 - ongoing), including a video work created in collaboration with the dancer and choreographer Cosima Grand and the film maker Michelle Ettlin, both based in Zurich.

Press release

Eugénie Rebetez
Eugénie Rebetez (*1984) grew up in the French-speaking Swiss countryside. She works with the body and the voice, which are her tools as a performing artist to create a sensual, emotional and humorous language. Her early works are all solo performances: Gina (2010), Encore (2013), and Bienvenue (2017) were presented in performing arts venues throughout Switzerland and in Europe. She also created works for galleries and museums, including One night only (2014, Kunst Halle St. Gallen), Unfertig (2015, Hauser & Wirth Zürich), as well as two performances made for Pipilotti Rist’s exhibitions: Flesh, Heart and Soul (2015, Kunst Halle Krems) and Geduld (2016, Kunsthaus Zürich). From that point on, a new period began during which the artist gave birth to and raised two children while creating projects with other performers. She directed a rebel parade with a large group of musicans and dancers from Jura, her native region, entitled Le défilé droit direct du Jura (2019) and presented as part of La Fête des Vignerons in Vevey. She created the infernal trio Nous trois (2019), the Young Audience project Ha ha ha (2021), and Rendez-vous (2022), an intimate cabaret that draws its power from gentleness. The film version based on the piece was directed by Carmen Jaquier Rendez-vous film (2023), Radio Télévision Suisse and Point Prod). Eugénie Rebetez’s company is supported by the City of Zurich for the period 2024-27 through Konzeptförderung. Her newest work Comeback (2025) is a One Woman Show and will mark her return to the stage as a solo artist. www.eugenierebetez.com

Jessica Huber
Jessica Huber’s artistic work glides back and forth between different performance worlds: while her early works were primarily choreographic, her current productions vary in terms of their form and format. What unites her works, however, is the search for a practice and aesthetics of sharing and exchange and the lived desire for collaboration. Accordingly, Jessica Huber has made collaboration with other artists and non-artists her primary working method.
Jessica trained in contemporary dance, choreography and dance & theater science at the Laban Centre, at City University London and at Goldsmith College. She has danced for several groups and showed her work in theaters and festivals in Europe and abroad. Together with Karin Arnold, she is a founding member of the Zurich performance collective mercimax.
Recently she started showing her work also in other contexts: i.e. In 2022 at the architecture Biennale in Venice and at the HOW Museum Shanghai.
In 2018 she received the Anerkennungspreis Tanz (City of Zürich) and in 2023 the Landis & Gyr Werk-Stipendium. The long-term project „the art of a culture of hope“ (in collaboration with James Leadbitter aka The Vacuum Cleaner) was awarded at the Politik im Freien Theater Festival 2018 at the Münchner Kammerspiele. www.jessicahuber.ch

Past

jevouspropose#17
Ketuta Alexi-Meskhishvili and a film by Jonas Mekas
30 May - 14 July, 2024

For jevousproose#17, Christina Lehnert (curator) proposes the Georgian artist Ketuta Alexi-Meskhishvili (*1979, lives and works in Berlin).

The exhibition shows works by the artist Ketuta Alexi-Meskhishvili in juxtaposition with artist Jonas Mekas’ film “As I Was Moving Ahead Occasionally I Saw Brief Glimpses of Beauty” (2000). Both - the contemporary artist Alexi-Meskhishvili and the filmmaker and artist Mekas, who died in 2019 - work with personal diaries: portable images and memories captured by the camera. These are daily observations that change in meaning against the backdrop of historical incisions, political conflicts, protests and wars. The image of a flower is transformed from an image of the beauty of everyday life to a symbol of resistance in protests. Everyday life and its surroundings are coined by their times and epochs and linger between their beauty and the reason and meaning in the course of history.

Press release
Contemporary Art Pool link

Christina Lehnert
Christina Lehnert has been curator at Kunsthalle Baden-Baden since 2022. From 2018 to 2022 she was curator at Portikus in Frankfurt am Main. Previously, she was interim director of the Kunstverein Braunschweig and received a curatorial fellowship from the Gebert Foundation for Culture in Switzerland. She has worked at various institutions, including the Kunstmuseum Lichtenstein, where she remains a member of the international acquisitions committee. In recent years, she has developed a series of exhibition projects focused on art as an expression of political moments, with an emphasis on sound and performance. This has resulted in projects with artists such as Thuy-Han Nguyen-Chi, Theresa Hak Kyung Cha, William Pope.L, Georgia Sagri, Lydia Ourahmane, Willem de Rooij, Alia Farid, Hajra Waheed, Leo Asemota and Nástio Mosquito, among others.

Ketuta Alexi-Meskhishvili
Ketuta Alexi-Meskhishvili (*1979, Tbilisi) is a Georgian photographer living in Berlin. Where a photograph is classically understood to freeze a moment in time, Ketuta Alexi-Meskhishvili’s work undoes such claims of fixity, positing the medium instead as a process of developing and revealing. Typically staging her compositions in the window of her studio or directly on the surface of a negative film emulsion in a “camera-less” method, she melds experimental analogue techniques and digital scanning to make images in which the residual details of this deliberately precarious production shape their subject matter. Homing in on porous boundaries between life and art Alexi-Meskhishvili melds the grotesque, beautiful, abject, feminine, uncanny in ambivalent cohesion.

Ketuta Alexi-Meskhishvili’s recent solo exhibitions include A Week of DEATHBEDVISIONS, The Frame, New York; making food out of sunlight, LC Queisser, Tbilisi (2024); Georgian Ornament, 300 Aragveli Metro Station, Tbilisi (2023-2024); Fugues, Helena Anrather, New York (2023); Flush, Galerie Molitor, Berlin; Verkleidung, back wall project, Kunsthalle Basel, Basel; The Wet Material, (with Rooms Studio), galerie frank elbaz, Paris; Confines, (with Jakub Czyszczoń), June, Berlin (2022); Dog Smile, Siegfried Contemporary, Saanen (2021); Boiled Language, LC Queisser, Tbilisi (2020); mother, feelings, cognac, galerie frank elbaz, Paris (2019).
Her work has been included in group exhibitions at SculptureCenter, New York; Staatliche Kunsthalle Baden-Baden, Baden-Baden (2024); LC Queisser, Tbilisi (2023); LC Queisser, Tbilisi; ECHO, Cologne (2022); Kristina Kite Gallery, Los Angeles; ung5, Cologne; Museum für Photographie Braunschweig, Braunschweig; Palazzo Tamborino Cezzi, Lecce; Capitain Petzel, Berlin; Bureau, New York (2021); Angela Mewes, Berlin; Berghain, Berlin; Sprüth Magers, Berlin (2020); Musée d’Art Moderne de la Ville de Paris, Paris (2019).

jevouspropose#16
Maria Ceppi
28 February – 5 May, 2024

For jevouspropose#16, Elisabeth Bronfen (cultural critic, author and curator) proposes the artist Maria Ceppi (*1963, lives and works in Valais, Switzerland).

Talk between Maria Ceppi and Elisabeth Bronfen german english
Kunstbulletin weekly, text by Dominique von Burg here
Contemporary Art Pool link

Elisabeth Bronfen
Prof. Dr. Dr. h.c. Elisabeth Bronfen is Professor Emerita of English and American Studies at the University of Zurich as well as Global Distinguished Professor at New York University.
She earned her PhD at the University of Munich with her work on literary space in the work of Dorothy M. Richardson’s novel Pilgrimage, as well as her habilitation on representations of femininity and death, Over Her Dead Body. She has written articles and books in the area of literature, philosophy and political theory, gender studies, psychoanalysis, film, cultural theory and visual culture. She works as a curator and writes for exhibition catalogs. More recently she has also published a cookbook and a novel. bronfen.info

Maria Ceppi
Maria Ceppi is a visual artist based in Valais. The wide repertoire of her art production extends from small scale works on paper to monumental installations and sculptures. She is concerned with the everyday poetry which she discovers in unassuming tools, gadgets, materials we surround ourselves with. These objects become heroes of stories and find themselves disassembled and brought together in astonishing new constellations. Though seemingly purposeless and alienated, they retain stories of their origins and thus create new narrative potentials of the uncanny and absurd through this act of re-composition and reveal an autonomous sculptural presence. mariaceppi.com

jevouspropose#15
Doris Stauffer. Photography. Insights into the Archive
27 September - 25 November, 2023

For jevouspropose#15, Marianne Burki (art historian and curator) proposes Doris Stauffer (1934–2017).

The work of artist, art educator, and activist Doris Stauffer is incredibly diverse, a resolute combination of life and art that was often misunderstood. “I am a snowplow,” the artist declared. “I pave the way for those who come after me.” The Doris Stauffer archive, housed within the Swiss National Library's Prints and Drawings Department, offers a comprehensive window into her deliberate fusion of disciplines. A photography graduate from the Zurich School of Applied Arts, Stauffer incorporated photography throughout her work in myriad forms. A search for traces.
Download PDF here

THEMATIC TALKS

The exhibition has been accompanied by a series of thematic talks. Language German. Moderated by Marianne Burki, art historian and curator of the exhibition.

• Doris Stauffer: Fotografie. Reportage. Archiv
  Das Archiv von Doris Stauffer in der Graphischen Sammlung der Nationalbibliothek in Bern ist der Ausgangspunkt der Ausstellung, die einen Einblick in das noch kaum erforschte fotografische Werk von Doris Stauffer gibt. Fragen nach dem Umgang mit dem Archiv und nach dem Werkbegriff stehen im Zentrum der Diskussion.
  Mit: Teresa Gruber (Fotohistorikerin, Kuratorin, Dozentin. Leiterin Ausstellung und Vermittlung Fotostiftung Schweiz), Simone Koller (Grafikdesignerin / Studio NOI. Mitherausgeberin „Doris Stauffer. Eine Monografie“), Monika Stauffer (vormals Physiotherapeutin, passionierte Hobbyfotografin, Tochter von Doris Stauffer)
  
  
• Doris Stauffer: Politisches Engagement und Kunst
  Doris Stauffer war u.a. Mitbegründerin der Frauenbewegung FBB, zu der sie durch Gertrud Pinkus stiess. Sie engagierte sich künstlerisch, politisch und gesellschaftlich mit unterschiedlichsten Mitteln, Formaten und aussergewöhnlichen Aktionen, meistens ausserhalb das klassischen Kunstbetriebes. Wie liessen sich diese Felder damals verknüpfen? Wie sieht es heute aus?
  Mit: Olivia Heussler (Fotografin), Gertrud Pinkus (Filmregisseurin), Josiane Imhasly (freischaffende Kuratorin), Salome Stauffer (Frauengeschichtsforscherin, Tochter von Doris Stauffer)
  
  
• Doris Stauffer: Kunstausbildung
  Doris Stauffer war Mitbegründerin der F+F Schule für experimentelle Gestaltung in Zürich. Dabei spielten Teamarbeit, kollektives Engagement und der öffentliche Raum eine zentrale Rolle. Mit den «Hexenkursen» richtete sie sich ausschliesslich an Frauen, die kreative Analyse des Alltags war zentral für ihr Denken. Eine Diskussion über Kunst und Ausbildung.
  Mit: Andrea Gohl (Künstlerin, Studiengangsleiterin HKB Hochschule der Künste Bern), Michael Hiltbrunner (Kulturanthropologe, Kurator, Spezialist für die Geschichte der F+F und alternative Kunstausbildung), Veit Stauffer (Musikexperte, (Rec Rec), Sohn von Doris Stauffer)

Marianne Burki
Marianne Burki is a freelance art historian and curator with a focus on art and society and cultural strategies. Since 2020 she is the director of TaDA - Textile and Design Alliance, which brings together artists and designers with the textile industry of Eastern Switzerland. Together with Li Zhenhua she holds the artistic direction of Sequerciani Arte Clima. In 2021, she has co-curated the exhibition "Balance. 1970–1990: Kunst, Gesellschaft, Umwelt” (Balance. 1970-1990: Art, Society, Environment) at the Solothurn Museum of Art.
From 2006 to 2019, she was Head of Visual Arts at the Swiss Arts Council Pro Helvetia and responsible, among other things, for the Swiss Pavilion at the Venice Biennale. Previously, she was director of the Kunsthaus Langenthal and worked as project manager of the "Catalogue Raisonné Paul Klee" at the Paul Klee Foundation. She is the author of the film «Mariann Grunder, Bildhauerin» (Mariann Grunder, Sculptress).

Doris Stauffer
Doris Stauffer (* 1934 in Amden/CH, † 2017 in Zurich/CH) described herself as an "artist, photographer, activist, housewife and art mediator". Her work often found expression in the form of happenings and performances, with Doris Stauffer often preferring public space to institutionalised exhibition formats. For her assemblages, she used everyday materials from her private environment such as discarded toys and sewing utensils and other objects - the proximity to life are important elements of her work at the time, which is characterised by an anti-patriarchal stance.
Stauffer was a co-founder of the F+F Schule für Kunst und Design (F+F School of Art and Design) as well as the Frauenbefreiungsbewegung (FBB) (Women's Liberation Movement). She was committed to an education that also met the needs of women. Her unconventional teaching methods, such as the “Hexenkurse” (Witches courses), polarised in the 1960s and 1970s. In 2015, she received from the City of Zurich the “Preis für besondere kulturelle Verdienste” (award for special cultural merits) and in 2019, her first and only institutional solo exhibition entitled "Je peux faire disparaître un lion” opened at the Centre Culturel Suisse in Paris. Doris Stauffer’s archive was transferred to The Swiss National Library’s Prints and Drawings Department in 2019.
In this very archive the presentation at jevouspropose was developed.

jevouspropose#14
Sarah Ancelle Schönfeld. Tout Doux: Gong Bath
2 June - 16 July, 2023 (extended until 27 August)

For jevouspropose#14, Elise Lammer (Swiss curator and author) invites the artist Sarah Ancelle Schönfeld (*1979, lives and works in Berlin).

Tout Doux: Gong Bath features three sonic sculptures whose form evokes the figures of female bodies. Made of blue-coated steel, each figure comprises two gongs that are hung at chest level. Like two breasts, the bronze gongs can be touched, or rung in an implicit invitation geared at the viewers.
Drawing on her long-time interest in myths and magical attributes associated with the female body, the artist produced a series of simple line drawings, which she translated into the three-dimensional figures formed from single steel round bars.
Reflecting on Homo sapiens’ unique cognitive capacity for abstract thinking, which enables us to understand ideas and forms, the artist streamlined the figures of Tout Doux: Gong Bath to a point where they could only be fully realised through human interpretation. With a minimum amount of visual clues, a human body appears. The economy of means and the modesty of expression reinforce the figures’ allegorical presence, while their perfectly round, dangling breasts transform them into incredibly fleshly creatures. Full text by Elise Lammer here.

Elise Lammer
Elise Lammer (born in Lausanne, CH) is a curator engaged with exhibition making, public programming, archiving, teaching and gardening. Her work is committed to questions related to the role of space (public, domestic) in defining the construction of identity. Working across media and with a transgenerational and intersectional approach, her work aims to question and re-assess narratives that have suffered from monolithic, one-sided integration within History, while looking at such issues from a contemporary prism.
She is currently a PhD candidate at Institute Art Gender and Nature in Basel, and University Linz, Austria, producing research on the garden of British artist, filmmaker, author and gay rights activist Derek Jarman (UK, 1942-1994). Since 2019, she’s been developing a garden in homage to Jarman's Prospect Cottage at La Becque | Artists Residency, La Tour-de-Peilz, where she’s also putting together an archive and artistic programme aimed at raising awareness around Jarman's legacy.
In 2015 she founded the research platform and collective Alpina Huus, a performance-led project and research collective dedicated to investigating the relationship between performance and domestic space. Alpina Huus has authored projects Europe-wide, including at Fondation Beyeler, Riehen; the Gulbenkian Museum, Lisbon; mumok, Museum Ludwig, Vienna; the Schinkel Pavillon, Berlin; and Arsenic, Contemporary Performing Arts Center, Lausanne.

Sarah Ancelle Schönfeld
Based on the assumption that our western liberal understanding of the world is not sufficient to cope with the ever increasing global mess, Sarah Ancelle Schönfeld continuously designs various mysterious laboratories, treatments and environments, in which solutions, healing and meaning are attempted to be generated anew with diverse interdisciplinary methods. Schönfeld is jestingly looking for relevant updates of so-called folk wisdom. Her labs materialize through installations, performances, sculptures, instruments, photographs and collages. She includes approaches from various fields in her practice like science, religion, mythology, magic and technology. She investigates different kinds of knowledge — and truth-production which constitute, control and reproduce the human self and reality in our world. 
Sarah Ancelle Schönfeld lives and works in Berlin, Germany. Her works have been shown in numerous solo and group exhibitions including Kunstsammlungen Chemnitz (2023), Art Geneve Musique (2022), HKW Berlin (2021), Belo Campo Lisbon (2021), Berghain (2014/2020), Strasbourg Biennale (2019) Staatliche Kunsthalle Baden-Baden (2018), MAK Wien/Vienna Biennale (2017), Staatliche Museen zu Berlin (2017), Kunstverein Wolfsburg (2016), Hamburger Kunsthalle (2012) and Berlinische Galerie (2010/2011). Schönfeld was granted a travel scholarship by the DAAD to Siberia in 2005, has been a resident at Villa Aurora Los Angeles in 2011, received the FOAM Talents Award of the Foto-Museum Amsterdam in 2014 and a grant of Stiftung Kunstfonds Bonn in 2012 and 2020 and a research grant from the Berlin Senate in 2022. She was commissioned a public sculpture by the New Mexico State University in 2020. Website

en passant #1 / episode 2
Klodin Erb: Orlando
1 November, 2022  - 31 January, 2023

Much has happened since Klodin Erb's last project for en passant #1 at jevouspropose in 2020, most notably the artist being awarded the Swiss Grand Award for Art / Prix Meret Oppenheim a few months ago.

What a pleasure to have her back at jevouspopose with a fantastic project: a selection of 80 paintings from the Orlando series, arranged in a salon-style hanging.

Taking Virginia Woolf’s novel “Orlando” as both a starting point and an inspiration, Erb’s Orlando features nearly 200 portraits, executed between 2013 and 2021, that loosely refer to different themes of the novel – the connection between fact and fiction, gender and social conformation. Playfully executed, using different techniques and canvas sizes, Erb’s work is not only an investigation of painting, of colours, brushstrokes and forms and a reflection on the history of portrait and its contemporary relevance, but also an exploration of the complexity of the human character and the various selves that make up a human being.

Link to Contemporary Art Pool

Klodin Erb
In her expressive and fantastical pictorial worlds, Klodin Erb (*1963, Winterthur, Switzerland) reacts like a seismograph to the social and media moods and situations of the present day. Her core medium — the basis of her work — is painting. Often, the theme dictates the form: she tailors her techniques to the topic she is dealing with, underlining, emphasising, accentuating and interweaving form and content to maximise the expressive power of painting. The content of her pictures is always located in the present moment. Formal influences come from popular and web culture and from art history, together with a love of experimentation and a continual probing of the limits of painting. A precise observer of her surroundings, and of the world in which we live, Klodin Erb is interested in how our social structures are changing, and the challenges we face in the here and now. Just as people — and thus our society — evolve, so she constantly interrogates and renews her work as an artist, driving it constantly forwards. Forays into other media, such as film, installation and collage, prove to be extremely inspiring and fruitful ways of generating new kinds of image, which she then incorporates into her painting. klodinerb.com

en passant #3 / episode 2
Book Launch
Conradin Frei: Dorade Royale
23 September, 5 - 8 pm

In the economic boom from the 1950s to the 1970s, beach holidays became affordable for the masses. On the Adriatic, Mediterranean, and Atlantic coasts, a gigantic infrastructure was built to create a stage set for the good times. Conradin Frei has photographed these dream factories on the beach for a number of years. He revels in the artifice of these places, their incongruous admixture of nature and civilisation, their crudely eclectic mixture of architectural styles. «Dorade Royale» is a poetic and playful visual travelogue, whose subtle mastery of colours ironically evokes the elusive utopias of bygone summers.

Published by cpress, graphic design Studio Nüssli+Nuessli, with a text by Martin Jaeggi

jevouspropose#13
Monia Ben Hamouda: The Eye, the Hands, the Lunacy of Lunar Sightings
11 May - 30 July, 2022

For jevouspropose#13, Anissa Touati (French exhibition maker and independent curator) proposes the artist Monia Ben Hamouda (*1991, lives and works between al-Qayrawan and Milan).

The Eye, the Hands, the Lunacy of Lunar Sightings is an exhibition about how the behavior of animals and humans changes in relation to the moon. Especially how the vision of the moon is conceived within Monia Ben Hamouda’s family and her cultural context. Indeed, the moon and its phases are an important element in the Muslim religion. Ramadan takes place during the ninth lunar month, and the end of the daily fast is marked by seeing the moon. Monia Ben Hamouda remembers it today as a ritual, a ritual of waiting for the moon. Full text by Anissa Touati here 

Link to Contemporary Art Switzerland
Link to Contemporary Art Pool

Anissa Touati
Anissa Touati is a French exhibition maker and an independent curator trained as an archeologist. She also serves as the founding director of the cultural organization Octavia. She is the curator-at-large of Paris Internationale, the curator of the pavilion for a Mediterranean nation of the Biennial of Lagos 2023 (Nigeria) and the curator in chief  of the launch of the Thalie Foundation in Arles (France). She is the former artistic director of Contemporary Istanbul and the former associate director of the Chalet Society in Paris. Since 2021, She is a committee member of the MAH Geneva, a member of the acquisition committee of the FRAC Corse.

Monia Ben Hamouda
Monia Ben Hamouda (b. 1991, Milan) lives and works between al-Qayrawan and Milan. Following the belief that each individual is inextricably connected to their family tree and the psychological universe of their ancestors, she attempts to master her influences in a contemporary and constantly changing landscape. Born into a Muslim community as the daughter of an Islamic calligrapher, the artist navigates and confronts her generational heritage through what she calls a shamanic process – creating works that act as gestural exorcisms of the expectations placed upon her by tradition and the politicized present, drawing their power from the urgency of expression. Her visual language, which translates into a broad range of formal approaches, is steeped in cultural-religious symbology and rituals. Her work has been presented in various venues such ChertLüdde, Berlin; Et.Al, San Francisco; Ada, Rome; Galerie Valeria Cetraro, Paris; Universitätssammlungen Kunst, Dresden; Alios 16me Biennale d’Art Contemporain, La Teste de Buch; Marselleria Permanent Exhibition, Milan.   Awards include: Torino Social Impact Art Award x Artissima; Art Business Accelerator Grant Artwork Archive + Redline Contemporary Art Center; DUCATO Contemporary Art Prize Special Award. Website

EVENT during ZURICH ART WEEKEND

The Truth of Reason, the Truth of Feeling
Saturday, 11 June, 2022: 4 - 6 pm

Aiming to reproduce the "One thousand and one night" way and mood of telling stories, visitors are invited into the space to hear one or more Tuareg and North African tales chosen and translated by Monia Ben Hamouda and read by actors of the Art in the midst of Monia Ben Hamouda's exhibition The Eye, the Hands, the Lunacy of Lunar Sightings. Participants: Yasmin Afschar (Curator), Monia Ben Hamouda (Artist), Rebekka Burckhardt (Actress and Singer), Mayar El Bakry (Designer / Artist / Researcher), Barbara Higgs (Schauspielhaus Zürich), Susanna Koeberle (Journalist), Samantha Leiva (Artist / Healer), Florian Lüdde (Gallery Co-Owner ChertLüdde, Berlin), Michèle Sandoz (Global Head of VIP Relations Art Basel), Diana Segantini (Cultural Storytelling), Raphael Tandler (Philosopher), Anissa Touati (Curator).
Visitors were free to come and go during the duration of the event.

jevouspropose#12
Soojin Kang
4 March - 30 April, 2022

For jevouspropose#12, Georgina Casparis (curator, consultant and project manager) proposes the artist Soojin Kang.

While working with the artist on her inaugural exhibition in Zurich, my big challenge would be contextualising her work without over conceptualising it. As chance would have it, I came across Rot by Daisy Jacobs: Compellingly simple, these few words poetically allegorise the layers of complexity of Soojin’s newest piece while nonetheless leaving the work open to interpretation. May its candour honour the artist’s intention, and may Soojin’s work speak for itself, as it has done for me, time and time again.
Full text by Georgina Casparis and poem by Daisy Jacobs here

Link to Contemporary Art Pool

Georgina Casparis
With 15 years of experience working with galleries, museums, biennales and artists, Georgina Casparis (*1982) has a diverse background in both the commercial and non-profit sectors. Since co-curating the Biennial Manifesta 11, she works as a curator, consultant and project manager designing cultural strategies, her focus lies in working closely with artists on project-related art works and site specific commissions. Georgina recently took over as Curator of Art Vontobel and is working on a five-part art in public project for the Swiss National Bank. georginacasparis.com

Soojin Kang
Soojin Kang (b. 1978, Seoul) is a South Korean artist living and working in Germany. Embracing accident and chance, her practice – spanning woven sculpture, tapestry, installation and video – is inspired by ancient artisanship and emotional sustainability. Since graduating from Central St. Martins in 2006, Kang’s work has since been exhibited in selected solo and group shows, such as at Ben Hunter, The Victoria & Albert Museum or Unit 9 in London (UK), The Texture Museum in Kortrijk (Belgium) and Movement Lab in Busan (Korea). In 2016, Kang was the winner of a Grant for Arts by Arts Council England, and has been invited to residencies in Italy, Mexico and India. Kang’s work is included in the permanent collection of the Victoria & Albert Museum, London. soojinkang.net

Kindly supported by the Ernst und Olga Gubler-Hablützel Stiftung

jevouspropose#11
Not All Who Wander Are Lost
Michael Günzburger, Uriel Orlow, Nives Widauer
Curated by Susanna Koeberle
30 September -  5 December, 2021

For jevouspropose#11, Omanut (association for the mediation and promotion of Jewish art in Switzerland) invites the artists Michael Günzburger (*1974, lives and works in Zurich), Uriel Orlow (*1973, lives and works in Lisboa and London) and Nives Widauer (*1965, lives and works in Vienna) for the group show Not All Who Wander Are Lost, curated by Susanna Koeberle.

Speaking of Heimat, we often use the term rootedness. But roots are not static either; they move around in search of food. Migration is even vital for certain organisms such as fungi. Humans have a lot in common with plants. More than that: our existence depends on them! The survival strategies of plant organisms are certainly related to ours. Visually and in terms of content, the metaphor of the plant and especially the root offers an intriguing field. In the works of Michael Günzburger, Uriel Orlow and Nives Widauer plants and their characteristics are also repeatedly present. For the exhibition at jevouspropose, the three artists have specifically dealt with roots. In doing so, they break with common attributions and renegotiate the complex theme in dialogical togetherness.

Text by Susanna Koeberle here

Reading Rämistrasse #69, Text by Giulia Bernardi

Omanut
The cultural association Omanut was founded in the war year of 1941 by emigrants from the music, theatre and art world, who wanted to provide a forum for the endangered Jewish culture. The founding members are hardly known today, but they enriched Zurich's cultural life at the time: The baritone Marko Rothmüller and the dancer Heinz Rosen were both engaged at the Statttheater, today's opera house. Kurt Hirschfeld and Leopold Lindtberg were eminent figures at the Zurich Schauspielhaus. Alexander Schaichet and Toni Aktuaryus were also tirelessly active as cultural mediators, as orchestra director and gallery owner, respectively. In its beginnings, Omanut's program was based on an initiative developed within the Jewish community also to support those in need, but it increasingly formed the basis for an open intercultural dialogue. Meanwhile, the association has become deeply anchored in the cultural life of the city of Zurich. On the occasion of its 80th anniversary Omanut presents a program with various events and exhibitions.

Michael Günzburger
Michael Günzburger (*1974), lives in Zurich. The production of drawings, prints and performances with all their materials and research formats is the backbone of his work. He maintains an extensive exhibition, publication, presentation, and studio practice, and the work he has produced has been shown and received in galleries, museums, art spaces, and public places since 2001, as in addition to winning several awards. Since 2012, several publications have appeared, including "Contact" (2018) - An artist's book in collaboration with the writer Lukas Bärfuss and the book designer Kripin Heé (Edition Patrick Frey). At the Zurich University of the Arts (ZHdK), he is involved in research on the documentation of artistic-technical processes in print as well as in the doctoral group for the arts around Florian Dombois and the Linz University of the Arts.

Uriel Orlow
Uriel Orlow’s (*1973) practice is research-based, process-oriented and multi-disciplinary including film, photography, drawing and sound. He is known for single screen film works, lecture performances and modular, multi-media installations that focus on specific locations and micro-histories and bring different image-regimes and narrative modes into correspondence. His work is concerned with residues of colonialism, spatial manifestations of memory, blind spots of representation and plants as political actors. Orlow’s work has been presented in many international survey shows including 54th Venice Biennale (2011), Manifesta 9 and 12, 13th Sharjah Biennial 13 (2017), 7th Moscow Biennial (2017), EVA Biennial (2016, 2014), 8th Mercosul Biennial, Brazil (2011) amongst others. Orlow’s work has also been shown widely in museums and galleries internationally including in London at Tate Modern, Tate Britain, Whitechapel Gallery, ICA and Gasworks; in Paris at Palais de Tokyo, Fondation Ricard, Maison Populaire, Bétonsalon; in Zurich at Kunsthaus, Les Complices, Helmhaus and Shedhalle; in Geneva at Centre d’Art Contemporain and Centre de la Photographie; as well as in Berlin, Ramallah, Marseille, Cairo, Alexandria, Istanbul, Mexico City, Dublin, San Sebastian, New York, Chicago, Toronto, Vancouver and elsewhere. In 1997 he was awarded the Omanut Prize. He lives in Lisbon and London.

Nives Widauer
Nives Widauer (*1965) lives and works in Vienna. Her singular artistic cosmos, in which life and art often osmotically combine at the interface between the digital and the analog, breaks through the genre boundaries between video art, installation, photography, painting and sculpture. She is interested in layers and history(s) and is currently working on an archival project with the NY Philharmonic, among others. Her recent exhibitions have included Centre Culturel Suisse Paris, Palazzo dei Diamanti Ferrara, Museum Belvedere Vienna, Kunsthistorisches Museum Vienna, Museum Lentos Linz, Kunsthaus Zurich and Kunstmuseum Olten. In 2016 she was a guest at Omanut and presented her art and communication project "Pomeglobe" at Museum Rietberg.

Susanna Koeberle
Susanna Koeberle (*1967) is a freelance journalist who writes on design, art and architecture for various Swiss media (such as NZZ, Z Magazin, Hochparterre, Das Magazin, Swiss-Architects or Das Ideale Heim). She studied German literature, comparative literature, philosophy and art history in Zurich and Paris. Growing up multilingual, she feels at home in different worlds and geographical zones. Her special interest lies in the intersections of and a dialogue between different disciplines.

jevouspropose#10
Mathilde Rosier: Sketches in the Margin
11 June - 26 September, 2021



For jevouspropose#10, Mareike Dittmer (Director of Public Engagement at TBA21-Academy) proposes the artist Mathilde Rosier.

We are dancing upon the field of consciousness with wild abandon. We sense the electric body in intensive fields. We share this view that is precarious, fragile and ephemeral. Tenderly feeling into the world of peasants, a life in the margin within vernacular culture, folk traditions and living ancestors. We tell the stories along the paths we walk. Or perhaps, it is the stories that are paving the way.
Full text by Mareike Dittmer here

Mareike Dittmer
Mareike Dittmer is Director of Public Engagement at TBA21-Academy. From 2018 to 2020 she was director of Art Stations Foundation CH / Muzeum Susch, and since 2019 she is teaching at ZHdK, the Zurich art academy. Until 2018 Mareike was associate publisher of frieze magazine. 2016, together with Julieta Aranda, she became a chairperson of the 9th Futurological Congress 2016-2018 convening in Warsaw, Tel Aviv and Munich. From 2017 to 2019 Mareike conceived and chaired the annual Disputaziuns Susch. She lives and works in Zurich (CH) and Berlin (D).

Mathilde Rosier
Mathilde Rosier currently lives and works in Burgundy, France, and in Basel. She creates art that comments on and illustrates the need to return to harmonious ways of integrating human activity with the ‘natural environment’, including pre-industrial practices that might seem anti-rational, observing the world from the vantage of the present-day countryside. Mathilde Rosier’s works draw on her interest in the physical and psychological experience of ancient rites and rituals. Her art often embodies fictional offshoots or parts of a narrative, where constellations of self-made costumes, mystic representations of animals and nature often seem like props, an abandoned stage set, or solitary protagonists of an unfamiliar yet compelling reality. Through the combination of painting, film, dance and music, Rosier constructs oneiric situations that allow the beholder to lose any sense of space and time, opening a portal between conscious and unconscious realms. Recent solo exhibitions were shown at MADRE Naples (2020), MASP Sao Paulo (2020). Solo exhibitions and performances have been shown at Camden Arts Center London, Museum Abteiberg Mönchengladbach, Serpentine Gallery London, Kunstverein Hannover, Musée du Jeu de Paume Paris. She took part in group exhibitions including Castello di Rivoli, Turin, Galleria de Arte Moderna, Milan, Kunsthaus, Graz, Abteiberg Museum, Moenchengladbach, Staatsgalerie Stuttgart, Kunsthalle Baden-Baden.

en passant #3
Conradin Frei
3 March - 24 May, 2021

Every summer, during the high season, photographer Conradin Frei (*1983) is drawn to the tourist hotspots of Europe's coastal regions. He is not interested in the colorful, lurid attractions of the vacation industry, but looks for the unspectacular, the slightly shabby situations that are often overlooked in the hustle and bustle. Using the softest light he can find, he carefully photographs these remnants, restoring their lost beauty while highlighting their fragility and melancholy.

For en passant #3, a huge photograph over three meters long takes up almost the entire storefront. On view are lemons that Conradin Frei photographed through a viewing window on one of his trips. Alienated by the enlargement, the lemons appear slightly surreal, repulsive and attractive at the same time. In its in-between state, the image invades our thoughts and triggers memories of the South.
This fall, “Dorade Royale”, the publication on the project, will be launched.
Full text in German

jevouspropose#9
Reinhard Voigt: Hör zu
24 November 2020 - 30 January, 2021

For jevouspropose#9 Susanne Neubauer (writer, curator) proposes the artist Reinhard Voigt.

Is it all right to admire Switzerland? I am intrigued by this question when I look at Reinhard Voigt’s works for our exhibition in Zurich, which depict women in traditional costume, flag wavers, mountains, flowers and views of lakes. The motifs stir memories of fresh air, peace, unity, a sense of tradition and the “pristine world” as a place that rouses longing. Is it all right to frame a picture of “pristine” Switzerland?
Full text by Susanne Neubauer: German English

Susanne Neubauer
Susanne Neubauer is a curator, art historian, researcher and author. She has a PhD in art history from Zurich University. Her expertise covers Paul Thek, installation art and questions of materiality and documentation, Brazilian art and Postwar modernism, contemporary curating, and human-animal relationships in the context of artistic practices. She has been a curator at Kunstmuseum Luzern and a lecturer and researcher at HBK Braunschweig, Kingston University London, Free University Berlin and University of Brasília where she is currently a researcher. Susanne Neubauer met Reinhard Voigt in conjunction of her exhibition “Paul Thek in Process”, Lehmbruck Museum Duisburg (2012), as a contemporary witness and photographer of Paul Thek’s Christmas play at the museum in 1973/74. susanneneubauer.info

Reinhard Voigt (*1940) is a painter living and working in Berlin. Already in the late 1960s Voigt, an important historical position as a pioneer of what we today may call “Pixel Art“, developed the rastering of form as an opportunity for abstraction. Even before the Computer was able to display or edit images, Voigt tested transferring form into grid, which consequently led towards the edge of representation. The works of Reinhard Voigt comment on the issue of abstraction through proximity respectively extreme enlargement. Thus Voigt’s paintings can be equally representational, abstract, concrete and even “Pop“. An analogue anticipation of the characteristic pixel structure of all those digital images which determine our perception today. His work is part of major collections such as the MoMA New York, Kunstmuseum Stuttgart or Bank of America Collection.

en passant #2
Le musée des 4 chaises
31 October - 7 November, 2020

jevouspropose is very excited to host Le musée des 4 chaises (museum for 4 chairs) for one week in the frame of the series en passant.
Founded by Heinz Günter, the museum is as unique as are its opening hours. Only every 19 years, when the full moon coincides with Hallowe’en, it opens its doors. After the first opening in 2001 in Marrakech, it opened a second time this Hallowe’en in Zurich.
The source of inspiration for Le musée des 4 chaises are two watercolours by Paul Klee: künstlicher Hof (artificial courtyard) and künstlicher Garten (artificial garden) from 1932. In 1995, they were on show in the exhibition Im Zeichen der Teilung at the Kunstsammlung Nordrhein-Westfalen in Düsseldorf. Heinz Günter was enchanted by the two watercolours and immediately saw three-dimensional seating objects in the two-dimensional pictures.Inspired by this encounter with the works by Paul Klee, he drew sketches of chairs and made models on a scale of 1:10. Gradually, four one-to-one chairs were created in the souk of the Forgerons in Marrakech and Le musée des 4 chaises was founded. Besides the four chairs, it comprises drawings and photographs, a museum's own font, a cafeteria and a shop.

For the full story of Le musée des 4 chaises please visit the jevouspropose Instagram account.

jevouspropose#8
Elodie Pong: Our Unknown Known
4 September - 21 October, 2020

For jevouspropose#8 Gesa Schneider (director Literaturhaus Zürich) proposes the artist Elodie Pong.  

For our collaboration, we wanted to share common ground: I come from the field of literature and text, have written on photography and humanities, and as the head of Literaturhaus, I organize readings with writers from around the world. Elodie Pong studied sociology and anthropology. Her artistic practice includes multi-media installations informed by personal histories, collective memory and science. She’s interested in the complexity and playful ambivalence of language, its inherent power structures and how it shapes and challenges us. In our discussions we often return to the uncertainties of knowledge and how fluid approaches have agency. This project was inspired by the heterogeneity of "Que sais-je?" (What do I know?) a French book series taking inventory of "universal culture". With uncertainty as a central point to this exhibition, the space jevouspropose itself takes on a new meaning, making propositions for reading our times. (Gesa Schneider)

Gesa Schneider
Gesa Schneider grew up in Berlin and Lausanne where she studied and obtained her PhD for her thesis on Kafka and Photography. She is the director of Literaturhaus Zürich, an institution dedicated to literature that presents over 100 events and readings a year. She was the co-director of Literaturmuseum Strauhof, where she notably curated exhibitions on science fiction and Teju Cole. Prior to that she was responsible for art, urbanism and sociology related projects at (Martin) Heller Enterprises, and taught Image Theory at the F+F School for Art & Media Design in Zurich. She has been a regular contributor to various publications, and a frequent moderator for cultural events.

Elodie Pong
Elodie Pong is an artist and filmmaker. Her practice includes multi-media installations informed by personal histories, memory and science. She is known for her videos and conceptual work that focus on human relationships and cultural codes. Her latest projects are inspired by Smell as a metaphor for the liquidity of our times. She considers the olfactory space as a playful heterotopia, liberated –yet never far removed– from the hegemony of power and dominant discourses.  She is currently working on a live film performance and developing a feature film on smell induced memories that are identity defining.  Her work has been presented in exhibitions and screenings worldwide and she is the recipient of multiple awards, as recently of the Stiftung Erna & Curt Burgauer for 2019–2021.

Text by Damian Christinger: On Elodie Pong's Essayistic Exhibition @jevouspropose

en passant #1
Klodin Erb: Remember your dreams
12 June - 16 August, 2020

In her expressive, fantastic visual worlds, the painter Klodin Erb reacts seismographically to the social and medial atmospheres and situations of the present. The theme often determines the form: In accordance with the specific topic, the artist uses different painting techniques; she underlines, emphasizes, accentuates and thus interweaves form and content to maximum expressiveness and painting power. The pictures are always set in the present, formally fed by art history, popular and net culture and by a continuous exploration of the boundaries of painting

For en passant #1, Klodin Erb created the storefront installation Remember your dreams in response to the Covid-19 situation, where wild animals partly ventured into the cities and at the same time people increasingly felt the need to visit nature.

jevouspropose#7
19 September - 30 November, 2019

For jevouspropose#7 Francesca Gavin (curator, writer) proposes the artist Rebecca Kressley. 

Choreomania is the name given to the outbreaks of compulsive and sometimes fatal dancing that gripped medieval Europe. Reports described people maniacally dancing for weeks - even months - until they in cases died. The earliest recorded instance from 1021, describes rebellious peasants defying the church and dancing until they were cursed by a priest to dance for a year. Other cases in the 14th century, have more of a plague-like reference where thousands of people hallucinated and compulsively danced until they destroyed and broke their bodies. These later incidents have been linked to ergot, a rye mould that induced LSD-like hallucinations. Text continues here

Francesca Gavin
Francesca Gavin has curated numerous shows in Paris, Oslo, Berlin, Stockholm, New York and London. She is the author of six books and is Art Editor of Twin, Beauty Papers, Good Trouble magazine and editor-at-large of Kaleidoscope. Alongside her monthly art radio show on NTS.live, she is currently working on major exhibition on Mushrooms opening in London this January. This is her first show in Zurich since co-curating The Historical Exhibition of Manifesta11. francescagavin.com

Rebecca Kressley
Rebecca Kressley received her BFA from the School of the Art Institute, Chicago, and her MFA from Slade, London. She has exhibited internationally, including at Auto Italia and Tenderpixel in London and Experimental Sound Studio in Chicago. She lives and works in Amsterdam. This is her first show after a seven year hiatus. rebeccakressley.com

jevouspropose#6
unbeschreiblich weiblich
7 June - 5 September, 2019

For jevouspropose#6 Susanna Koeberle (freelance journalist) proposes Elisabeth Kübler, former gallery owner Maeght (later Lelong) Zurich.  

„Zorn und Zärtlichkeit“ ("Anger and Tenderness“): Elisabeth Kübler, then director of the Maeght Gallery in Zurich, showed the works of five artists who were largely unknown at the time under this title in 1980. For an established and internationally active gallery, this was a venture. For Elisabeth Kübler "courant normal": art should also provoke. And with a pure women's exhibition, she did so quite consciously. However, there were concerns about this, also on the part of the artists invited. But: "We need the reservations, we shouldn't approach such a thing without reservations," she wrote to the five artists Annalies Klophaus, Ingeborg Lüscher, Annette Messager, Anna Oppermann and Friederike Pezold in the summer of 1979. The planned exhibition should not function according to a "patriarchal scheme," she continued. So no hierarchical structures, no single authority and authorship, but rather reflecting diversity! She wanted to develop the exhibition in collaboration with (!) the artists. This may seem self-evident, but in many cases it has not yet been so. And certainly not at that time, which made this exhibition even more of a statement. Text continues here

Susanna Koeberle
Susanna Koeberle (*1967) is a freelance journalist who writes on design, art and architecture for various Swiss media (such as NZZ, Z Magazin, Hochparterre, Das Magazin, Swiss-Architects and Das Ideale Heim). She studied German literature, comparative literature, philosophy and art history in Zurich and Paris. Growing up multilingual, she feels at home in different worlds and geographical zones. Her special interest lies in the intersections of and a dialogue between different disciplines.

Elisabeth Kübler
Elisabeth Kübler is the former gallerist of the well-known Galerie Maeght (later Lelong) in Zurich. In 1970 the Galerie Maeght from Paris opened a gallery branch in Zurich, which Elisabeth Kübler first ran with her husband Jörn Kübler and after his death in 1975 alone until 1993. At Galerie Maeght Zurich - renamed Galerie Lelong in 1987 - Elisabeth Kübler was responsible for conceiving the exhibitions and designing the catalogues. Together with the mother gallery in Paris and the representation in New York, she also organized exhibitions in museums and galleries with works by internationally renowned artists represented by the gallery, such as Alexander Calder, Eduardo Chillida, Joan Mirò and Antoni Tàpies. In addition, Elisabeth Kübler exhibited artists at an early stage who were still largely unknown at the time, such as Heidi Bucher in 1977. In 1980, Elisabeth Kübler showed a pure women artists exhibition entitled "Zorn und Zärtlichkeit" (“Anger and Tenderness”) with Annalies Klophaus, Ingeborg Lüscher, Annette Messager, Anna Oppermann and Friederike Pezold. She was also the first gallerist to exhibit the works of Louise Bourgeois in Europe in 1985, which after the retrospective in 1982 at the Museum of Modern Art in New York were only known in America and thus contributed to their growing distribution. Before that, Elisabeth Kübler studied at the Bühnenstudio Zurich from 1951 to 1953, then worked at various theatres (1953 Bienne/Solothurn, 1954-56 Landestheater Hannover, 1956-59 Schauspielhaus Zurich). From 1959 to 1969 she travelled around with the "Circus Knie". She made friends with artists, poets, photographers, museum people and journalists.

Press: Gabrielle Boller, Ich schlage Ihnen vor - zum Beispiel Kunst!, NZZ August 8 2019, p32

jevouspropose#5
13 March - 4 May, 2019

A Torn-Apart Book of Myself (Ein zertrenntes Ich-Buch)

For jevouspropose#5 François Piron (art critic, curator, teacher and publisher) proposes the artist Jules Lagrange.

Jules Lagrange consitently works with the leftovers and debris of a personal and collective history, consciously using obsolescent techniques, tools and material as a way to engage against certain modes of industrial production, and against an accelerated circulation of images and objects. Instead, he pays attention to the vernacularism of certain crafts and traditions and the emotions they convey.

The four sculptures he presents in this exhibition look like altars, cabinets, coffins and memory boxes, which have been patiently and skillfully crafted from wooden planks he has taken away from his family house. These sculptures whisper that they are the relics of a past, carefully transformed into containers of desire and dreams, standing in the limbos of time. They drive our attention toward tiny details: their lockers and drawers suggest that there is always more to guess than to actually see, while scratches, traces and torn-apart photographs stapled on their surfaces show the mark of time and childhood memories, as in the delicate glass cases once made by Joseph Cornell. A shadow puppet theatre, shot and edited in 16 mm film by Jules Lagrange together with a group of school kids, completes this ensemble. Text continues here            

François Piron
François Piron (b.1972) is an art critic, a curator, a teacher and a publisher. He has been a founding member of several institutions in Paris, including the Laboratoires d’Aubervilliers (2000-2006) and the independent art space castillo/corrales (2007-2015). He runs the publishing house Paraguay Press and is the director of the post-graduate program at the Academy of Fine Arts in Lyon. He has worked extensively on the French writer Raymond Roussel, at the Museo Reina Sofia, the Serralves Foundation, the Palais de Tokyo and Daniel Buchholz Gallery. He was the curator of the 5th Biennial of contemporary art in Rennes in 2016, and is now an associate curator at Malmö Konsthall in Sweden, where he curates the forthcoming exhibition « Three Moral Tales », with Joëlle de La Casinière, Ana Jotta and Anne-Mie Van Kerckhoven in June 2019. His recent publications have focused on the work of Katinka Bock, Koenraad Dedobbeleer, Guy de Cointet, Alexandre Estrela, Thomas Hirschhorn, Mangelos and Robert Walser.

Jules Lagrange
Jules Lagrange (b. 1989 in Besançon, France) is a sculptor and experimental filmmaker, based in Brussels, Belgium.
He handcrafts wooden cabinets and makes films on 16mm that serve as containers for affects and political ideas. Jules Lagrange's work has been presented in various exhibitions, most recently in the solo exhibition "Never Tear Us Apart", organized by Diametre, in Paris, France, at La Friche Belle de Mai (Marseille, France), in Le Creux de l'Enfer Centre for Contemporary Art (Thiers, France) and at the artist-run spaces Treize and Glassbox (Paris, France). His films have been screened at the International Video Art Festival in Camagüey (Cuba), at Haus der Kulturen der Welt (Berlin, Germany), La Gaïté Lyrique (Paris, France) and at the Musrara Art School in Jerusalem. In 2016, he was an artist in residency at the postgraduate art program, at the National School of Fine Arts in Lyon.

jevouspropose#4
24 November - 2 December, 2018

In the context of «Kunst: Szene Zürich 2018» jevouspropose shows the exhibition Abstract Playground with works by Maud Châtelet, Valentin Hauri, Manuel Market, Maja Vieli-Bisig.

«Kunst: Szene Zürich 2018» is an experiment. It aims to gather everyone who is curious about art together with those who create it and bring it to the public. It links new connections, asks questions and seeks answers.  

«Kunst: Szene Zürich 2018» asks how Zurich’s art scene is doing in 2018 – at a time when established models of artistic existence are being radically called into question and new ones are being created.  

Approximately 250 participating artists and collectives will present their work at exhibitions or other experimental forms of display at many guest spaces throughout the city. The exhibitions will be accompanied by a variety of events on current topics that are affecting the Zurich art world. «Kunst: Szene Zürich 2018» is being organized by Kultur Stadt Zürich in collaboration with many institutions and self-organized art spaces.

jevouspropose#3
5 October - 17 November, 2018

For jevouspropose#3 Martin Jaeggi (author, curator, lecturer) proposes artist Mathias Renner.

Mathias Renner works as an artist in the fields of photography and sculpture. He studied art at the ZHdK in Zurich and history of design at Kingston University in London. By combining photographs and sculptural objects, he transforms spaces into poetic landscapes in which classical questions are negotiated: the object in space, composition, rhythm, surface and form. The works oscillate between furniture and sculpture, ratio and decoration, between a modernist vocabulary and a sacral enchantment. 

Martin Jaeggi
Martin Jaeggi is an author, curator and lecturer at the Department of Art & Media at the Zurich University of the Arts. He studied film and video at the School of Visual Arts, New York, and at the San Francisco Art Institute. Numerous publications on contemporary art and photography. In 2009 he was awarded the Greulich Kulturpreis for his texts on photography.

Mathias Renner
Mathias Renner (*1981) lives and works in Zurich. He studied art at the ZHdK in Zurich and history of design at Kingston University in London. Before embarking on photography, he also worked as a scenographer and art director in the fashion industrie. In 2018, he won the Paris residency of the city of Zurich.

jevouspropose#2
30 May - 28 July, 2018

For jevouspropose#2, Fanni Fetzer (director Kunstmuseum Luzern) proposes conceptual artist Marion Baruch. 

In her research, Marion Baruch dedicates herself time and again to the theme of the empty, of the void. Whether Marion Baruch made large sculptures out of steel, whether she worked as part of an artist group or hid behind the label "Name Diffusion" - Marion Baruch was and still is just as interested in what is not visible as in what is obvious. Over the decades, the artist has created small objects, large installations in public space, small events and extensive social projects. At first glance, it is not easy to identify the similarities between the various groups of works, but all of them are based on Marion Baruch's fundamental interest in our society. Her oeuvre is never based only on formal questions, but always also on political questions. Even today, when Marion Baruch returned to Italy to work with fabric remnants from the clothing industry, she is still interested in the social issues behind production processes and their use of resources. Full text by Fanni Fetzer here

Fanni Fetzer

Fanni Fetzer has been the director of the Kunstmuseum Luzern since 2011. Prior to that she held positions at the cultural journal «du», Kunstmuseum Thun and Kunsthaus Langenthal. Her publications and exhibtions have focused on the work of Dias & Riedweg, Helmut Federle, Candida Höfer, Sharon Lockhart, Jorge Macchi, Laure Prouvost, Mika Rottenberg, Thomas Schütte, Sonja Sekula, Kateřina Šedá, Taryn Simon, and Rosemarie Trockel among others. She has received several Swiss Art Awards for her curatorial activities 

Marion Baruch

Marion Baruch is a conceptual artist with a deep interest in social contexts. Thus her oeuvre is never based only on formal, but always also on political questions. Born in Romania in 1929, Marion Baruch now lives and works in Gallarate (Italy). From 1990 to 2010, Marion Baruch was also known under the artist name Name Diffusion.  Numerous museum and gallery exhibitions such as: Kunstmuseum Luzern, Mamco Geneva, Magasin Grenoble, Galleria Nazionale d'Arte Moderne Rome, Mambo Bologna, Groninger Museum, Kunsthalle Düsseldorf, Fri-Art Kunsthalle Fribourg, KW Berlin, Turner Contemporary Margate, Maga Gallarate, Inga-Pin Milan, Laurence Bernard Geneva, BolteLang Zurich, Anne-Sarah Bénichou Paris.

jevouspropose#1
12 April - 19 May, 2018

For jevouspropose#1, the independant curator Lars Willumeit proposed Discipula, a young Milan artist collective consisting of MFG Paltrinieri (social psychologist), Mirko Smerdel (visual artist) and Tommaso Tanini (photographer).  

Lars Willumeit chose to present an excerpt of „How Things Dream“, an ongoing project by Discipula that uses the brand identity and corporate communication strategies of AURA, a fictional tech corporation, to imagine and explore the consequences of today’s growing relationship between technology, neoliberalism and new forms of control. By adopting and retooling the language and mechanisms of advertising, „How Things Dream“ envisions a transnational corporation, AURA, whose power permeates all aspects of everyday life.  Through IoT (Internet of Things) applications and the analysis of big data as a source of information on patterns of human behaviour, AURA in fact provides essential services in areas such as domotics, healthcare, security, education and governance. For jevouspropose, Discipula transforms the office space into a showroom aimed at presenting Morpheus, the most experimental and advanced manifestation of AURA. Full text by Lars Willumeit here

Lars Willumeit

Lars Willumeit is a German social anthropologist based in Zurich, Switzerland. He works as an independent curator and author, as well as head of department for Fachklasse Fotografie at F+F School for Art and Design in Zurich. Having completed degrees in Social Anthropology (LSE, London) and Curatorial Studies (ZHdK, Zurich), his interests are in photography, documentarisms, regimes of representation and visual cultures. Lars has worked within the field of photography in different modes since 1993. Recent curatorial and editorial projects include: Unfamiliar Familiarities — Outside Views on Switzerland at Fotostiftung Schweiz, Winterthur, 2017; Crisis? What Crisis?! edition of Krakow Photomonth 2016 as chief curator; Beyond Evidence: An Incomplete Narratology of Photographic Truths, Quad, 2015; Fabrik, German Pavilion curated by Florian Ebner, Venice, 2015; and Deposit by Yann Mingard, 2014.
More infos: www.larswillumeit.com

Discipula

Discipula is an Italian collective operating in the field of contemporary visual research founded by MFG Paltrinieri, Mirko Smerdel and Tommaso Tanini in 2013. Working across a range of practices - varying from art installations, performances and publications to workshops and lectures - Discipula focuses on the exploration of the role and uses of images in the contemporary mediascape while reflecting on the act of looking as a form of political consciousness. Discipula's work have been exhibited internationally at Centre Photographie Geneva, Fotomuseum Winterthur, Unseen Photo Fair Amsterdam, Krakow Photomonth, Matildenhohe Darmstadt, Photo 50 - London Art Fair, Kunsthalle Budapest, Tokyo Institute of Photography and more. Discipula is the recipient of various awards including Premio Level 0 Art Verona 2017, Premio Fondazione Francesco Fabbri 2016 and Les Rencontres d’Arles, Author Book Award 2015. More infos:www.discipulaeditions.com