04.03.2020 - Caterina De Nicola & Philip Ortelli - Palazzina (Basel) opening 11 march
AV
EXECAL, Association - Expires 10.05.2020
Palazzina #4
Schweizergasse 2
Basel

Surgeons and Gluttons
Caterina De Nicola & Philip Ortelli with a text by Mitchell Anderson
[Caterina graduated from the Master's programme in Visual Arts in 2018]

Opening Wednesday, 11 March 2020, 6 pm
Exhibition 12 March 2020 – 05 April 2020

Closing Sunday, 05 April 2020, 2pm
more details following soon

Opening hours | Wednesday 17:00 – 20:00 | Sunday 14:00 – 17:00 | or by appointment

https://www.facebook.com/events/2703462763101811/

http://www.palazzina.ch

01.03.2020 - Maya Rochat 'Living in a painting' - DuflonRacz Gallery (Bern) opening 6 March
AV, PH
EXECAL, Association - Expires 31.05.2020
We are excited to present Maya Rochat's first solo project in all three spaces of the gallery, following her participation in several of our group shows.

Opening: Friday 6th March, 18 - 21h
Exhibition from Saturday 7th March - Saturday 11th April, Thu & Fri 13 - 18h, Sat 13 - 17h (closed Friday 10th April)

Maya Rochat works in a radically associative way with fragments of images. The source material for her works consists of photographs, which she distorts, paints over, damages, reconstructs and coats, pushing them over the threshold to painting. The series "Living in a Painting" takes the exhibition venue as a starting point and creates spectacular spatial installations, as seen in Bern & Nyon last year for her solo show at the Mobiliar, as winner of the Prix Mobilière 2019. She will now apply this approach to the DuflonRacz gallery, creating a new and immersive experience of the three very different gallery spaces in Bern.

"For Maya Rochat, art is a reflection of current issues and challenges, with which she wants to make her audience think. It is her view that, as an artist and as a human being, she cannot close her eyes to the world’s problems. Her works confront the audience with socially relevant issues and prompt contemplation about how we wish to shape our future. The excessive use of plastic in the world is just one of the topics that she reflects on in her artwork."

Maya Rochat (b. 1985, Morges, CH) is a visual artist based in Lausanne, Switzerland. She works in the fields of photography, painting, video, performance, and installation. Her work has been presented in institutions including Tate Modern, London; Palais de Tokyo, Paris, France; Kunsthaus Langenthal, CH; Centre Culturel Suisse (library), Paris, France; La Mobilière Bern & Nyon; VFO verein für Originalgrafik, Zürich; Locarno Film Festival, Photofestival, London, UK; Fotomuseum Winterthur, Winterthur, CH; CH; Bâtiment pour l’Art Contemporain, Geneva.

https://www.facebook.com/events/618887852004294/

http://www.mayarochat.com/

11.02.2020 - ALFREDO ACETO 'DUNA BIANCA' - dittrich & schlechtriem (Berlin) > 11 April
AV
EXECAL, Association - Expires 30.04.2020
OPENING 7 February, 6–8 pm
EXHIBITION: 08 FEB–11 APR 2020

WE present a proposal by gallery artist ALFREDO ACETO titled DUNA BIANCA and including works by selected Swiss-based artists JACQUES BONNARD, TINA BRAEGGER, NATACHA DONZÉ, SYLVIE FLEURY, FRÉDÉRIC GABIOUD, STÉPHANE KROPF, MIRIAM LAURA LEONARDI, THOMAS LIU LE LANN, CHARLY MIRAMBEAU, DENIS SAVARY, CLAIRE VAN LUBEEK, and ROMANE DE WATTEVILLE.

The exhibition focuses on a cross-section of artists of different generations working in and around Lausanne, Geneva, and Zurich specifically, with a variety of media and artistic practices, from painting to large scale sculpture, and at different stages of national and international exposure.

https://www.facebook.com/DITTRICH.SCHLECHTRIEM/

http://www.dittrich-schlechtriem.com

11.02.2020 - Gina Proenza 'Agarra-diablo' - CAN (Neuchâtel) > 29 March
AV
EXECAL, Association - Expires 30.04.2020
Gina Proenza [ECAL graduate, BA-AV 2017]
Solo show

Opening: February 14, 18:30
Exhibition: February 15 – March 29

The expression Agarra-diablo is used to name a tropical plant whose stem has the particularity of being sharp and raspy, with the ability to cling, grip, connect bodies that have not paid attention to it. Between obstacle and protection, the agarra-diablo becomes the thread of an exhibition constructed in the image of a chase: pots are as much linked to jaguar tongues as melodies to unstable floors, producing an accumulation of depraved perspectives that are not fully grasped by our humanized senses.

Based on the configuration of the Darién, an almost impassable region located at the North/South junction of the American continent, Gina Proenza’s personal exhibition is made up of spaces that hide from each other. How do we cross indomitable places of transit? Which direction to choose between the jaguar’s path or the crossroads? Can we still call nature a biological ecosystem that is no longer under the influence of the myth of culture? Gina Proenza echoes the story of some of the underground actors of this place - natives, pirates, drug traffickers, streams or burnt woods - to produce sketches that punctuate the wandering. The circulation of objects, sounds or bodies is produced by dissemination and leads us into a heady loop: are we in the place of a burglar, on the lookout for the slightest noise? Or a detective looking for evidence?


FR
L’expression Agarra-diablo est utilisée pour nommer une plante tropicale dont la tige a la particularité d’être coupante et râpeuse, possédant la capacité de s’accrocher, s’agripper, relier des corps qui n’y ont pas prêté attention. Entre obstacle et protection, l’agarra-diablo devient le fil d’ariane d’une exposition construite à l’image d’une course-poursuite :
des casseroles se trouvent autant liées à des langues de jaguars que des mélodies à des sols instables, produisant une accumulation de perspectives dépravées qui ne se laissent pas entièrement saisir par nos sens humanisés.
En s’appuyant sur la configuration du Darién, une région quasi infranchissable située à la jonction Nord/Sud du continent américain, l’exposition personnelle de Gina Proenza est constituée d’espaces qui se dérobent les uns aux autres. Comment traverser des lieux de transit indomptables ? Quelle direction choisir entre la piste du jaguar ou le chemin de traverse ? Peut-on encore appeler nature un écosystème biologique qui n’est plus sous l’emprise du mythe de la culture ?
Gina Proenza fait écho à l’histoire de certains acteurs souterrains de ce lieu – indigènes, pirates, narcotrafiquants, ruisseaux ou bois brûlés – pour produire des saynètes qui rythment la déambulation. La circulation des objets, des sons ou des corps y est produite par dissémination et nous fait entrer dans une boucle entêtante : est-on à la place d’un cambrioleur, à l’affût du moindre bruit ? Ou d’un détective, cherchant à dénicher des pièces à convictions ?

https://www.facebook.com/events/832503067210364/

https://www.can.ch

05.02.2020 - Théa Giglio, Gina Proenza (et al.) 'Le Syndrome d'Abandon' - One gee in fog (Genève) > 4 mars
AV
EXECAL, Association - Expires 05.04.2020
////////
OGIF sort d'un semblant d'hibernation et se voit ravie de vernir ce jeudi sa nouvelle exposition.
//// OGIF is happy to present:

Le Syndrome d'Abandon
a group show by Théa Giglio, Gina Proenza, Alan Schmalz, Ye Xe
[Théa est diplômée de l'ECAL en BA-PH 2019, Gina en BA-AV 2017]

////
du 07.02.2020 au 04.03.2020

Vernissage jeudi 06.02 dès 18h
& after party à Pamela bar (Forde)

Finissage TBC avec des contributions de Sylvain Menétrey et Ethan Assouline

////
(un spectre nommé G. dit: l'Occident chrétien veut définir les fantômes avec des longueurs d'ondes. Pour contrer l'autodafé, soyons dans un état crépusculaire. Time is a trick of the mind:
https://youtu.be/yQ9pLUUS5sw)
////////

https://www.facebook.com/events/621912601711948/?notif_t=plan_user_invited&notif_id=1580928221129589

https://youtu.be/yQ9pLUUS5sw

05.02.2020 - Denis rouèche 'oust' - Kunstmuseum Olten > 29 March
AV
EXECAL, Association - Expires 30.04.2020
DIENSTRAUM #09
Denis Roueche. OUST
1. Februar bis 29. März 2020

Titulaire d’un Bachelor de la Haute école d’art et de design de Lausanne (ECAL) en 2012, je m’appelle Denis Roueche et suis né en 1987 à Neuchâtel. En plus de ma pratique artistique personnelle et interdisciplinaire, j’enseigne à l’ECAL, à l’EPFL ECAL Lab et suis co-fondateur du Palais-Galerie à Neuchâtel.

Mon travail artistique est une sorte de régression «positive». Les souvenirs et visions d’aventures qui ont nourri mon enfance sont utilisés consciemment. Mes interventions créent un univers personnel, d’exploration et d’expédition. Je joue avec l’ambiguïté « évidente » entre la menace et l’humour, entre le minuscule et le giganteste. Le spectateur est souvent plongé dans une fiction, un rêve expliqué en formes et images. J’aime donner des doubles vies à tous les objets qui m’entourent, grâce à des gestes, des interventions minimales, à la limite de l’abstraction.

Ce local tout en verre semble vouloir se rendre invisible, mais le Kunstmuseum d'Olten souhaite marquer sa présence dans ce contexte ferroviaire. Mon intervention joue avec ce contraste et sur cette ambiguïté. L'épouvantail attire le regard du public, mais se cache derrière la nuée d'oiseaux qui s'affolent à la vue de ce personnage. Oust!
---
Auf Einladung der SBB bespielt das Kunstmuseum Olten einen ehemaligen Dienstraum auf dem Perron 7 neben dem legendären Bahnhofsbuffet mit zeitgenössischer Kunst. Die neunte Intervention wurde von Denis Roueche (*1987) gestaltet. Er wurde 2019 mit dem JKON-Ausstellungspreis des Kunstmuseums Olten ausgezeichnet, der die Möglichkeit einer Präsentation im Dienstraum am Bahnhof Olten beinhaltet.

Geboren in Neuchâtel, hat Roueche 2012 einen Bachelor in Graphic Design an der ECAL in Lausanne erworben. Neben seiner Tätigkeit als freischaffender Künstler und Grafic Designer unterrichtet er an der ECAL und am EPFL|ECAL Lab. Zusammen mit Prune Simon-Vermot betreibt er den Offspace Palais-Galerie.

Für den Dienstraum hat er die Installation «OUST» entwickelt. Sie rückt die grossen Glasscheiben der überdimensionierten «Vitrine» und damit die Frage nach Innen- und Aussenraum ins Blickfeld. Zugleich akzentuiert sie die durch die Umnutzung zum Ausstellungsraum veränderte Funktion der transparenten Raumhülle: diente die gläserne Haus ursprünglich dazu, den «Dienstraum» möglichst unsichtbar ins Raumkontinuum des Bahnhofs zu integrieren, unterstützt sie jetzt den Wunsch nach Sichtbarkeit der darin gezeigten Kunst und die Interaktion mit dem Publikum auf dem Bahnsteig.

Zum linearen Ornament stilisierte Vögel, die, auf Scheiben appliziert, tödliche Kollisionen verhindern sollen, überziehen das Glas mit einer losen Gitterstruktur. Dahinter wird eine Vogelscheuche aus Strassenschildern sichtbar. Anstelle bekannter Signaletik präsentieren diese jedoch lediglich «Hintergründe», resp. unifarbene Flächen in den Primärfarben blau, rot und gelb sowie in weiss. Durch die Reduktion treten die elementaren Formen der Schilder –·Dreieck, Kreis und Rechteck –·ebenfalls deutlich hervor.

Roueche verwendet die isoliert präsentierten Grundelemente visueller Gestaltung –·Linie, Fläche und Farbe –·hier in einer additiven Setzung, welche die Bildsprache von Kinderspielzeug aufgreift und zugleich auf vertraute grafische Elemente im öffentlichen Raum referenziert. Zwischen der stoisch im Innern des Kubus ihre Arme ausbreitenden Figur und dem fast unheimlich dichten sie umkreisenden Vogelschwarm baut sich eine Spannung auf, die im Titel der Arbeit kulminiert: Der französische Terminus «OUST» lässt sich übersetzen mit «hau ab!» oder «raus!».

Das lustvolle Spiel mit Normen, Bedrohung und Massstäblichkeit gehört zu den Charakteristiken von Rouches Arbeit. Damit öffnet er für die Betrachtenden eine fiktive Welt, in der scheinbar Vertrautes durch kleine Verschiebungen seine Selbstverständlichkeit verliert.

https://www.kunstmuseumolten.ch/ausstellungen/ausstellungen.html

http://www.denisroueche.ch

20.01.2020 - Marine Julié, Simon Paccaud (et al.) 'La fine ligne' - Kunst Halle Sankt Gallen > 5 April
AV
EXECAL, Association - Expires 12.04.2020
OPENING 24th January 2020, 6 p.m.
EXHIBITION until 5th April 2020

The group exhibition «La fine ligne» unites four artistic positions in a joint project, which despite different approaches maintain comparable aesthetic attitudes. The exhibition is based on new productions, some of which have been realized specifically for the rooms of the Kunst Halle Sankt Gallen, and pursues the idea of an interlacing and overlapping of forms and artistic languages. It is not only a balancing act, but also a questioning of the various, often artificial boundaries between drawing and painting, the hierarchies between materials such as marble and paper, or the fluid definitions from the modern to the contemporary.

The invited artists were all born in the 1980s and are active in Switzerland and/or have been educated at Swiss art schools. To speak of a generation would be too ambitious, but they all seem to be interested in the boundaries of genres and materials in their work. It is precisely around this ‹fine ligne› - invisible border and perhaps also a drawing gesture - that they develop their works. Thus Linus Bill + Adrien Horni collectively work on images, alienate and rearrange them and unite - not without a certain humour - prints and sculpture. Simone Holliger works with paper and uses it to create room-filling sculptures that make us forget the fragility of the material and expose the epic gesture of male sculpting as ridiculous. Marine Julié, in turn, focuses on painting, for which she uses simple lines to create a timeless and genderless universe that hovers between cave painting and the New York Street Art of the 1980s. Finally, Simon Paccaud reflects on today's visual environment and abstraction by using a wide variety of media and techniques and questioning the principle of authorship in collective work.

Marine Julié graduated in 2014 from ECAL with a master’s degree in Fine Arts.
http://www.marinejulie.com

Simon Paccaud graduated in 2014 from ECAL with a bachelor's degree in Fine Arts.
https://www.instagram.com/simon_paccaud_/

Image : Marine Julié 'Le Chat' 2018

Look at the video below showing the exhibition.

http://www.kunsthallesanktgallen.ch/en/special/la-fine-ligne-with-linus-bill-adrien-horni-marine-julie-simone-holliger-simon-paccaud.html

https://www.arttv.ch/kunst/kunst-halle-stgallen-la-fine-ligne/

17.01.2020 - Jeanne Tullen 'In Transit' - Centre for contemporary arts (Glasgow) > 30 Jan.
PH
EXECAL, Association - Expires 31.03.2020
Jeanne Tullen [ECAL graduate, BA-PH 2014]
In Transit
Sat 11 January - Thu 30 January 2020
CCA Glasglow

In 1991, Will Wright’s house disappeared. The game designer started to think about playful ways to build houses - and people - from scratch, giving birth to The Sims, one of the best-selling video games of all time. As a digital avatar, a happy 'Sim' would thrive when their needs are fulfilled. We, children born in the nineties, were hypnotised by the possibility of designing a virtual life from scratch, where duties and actions are performed on a loop.

This digital life performed in circles brings to mind Jeanne Tullen’s series of GIFs of her own body. On screens, she contorts and turns like a figure in a video game, ready for selection. When Tullen performs physically in the gallery, wearing a matching skin tone costume she too has created, she is an avatar made physical, interacting with her screen based alter egos.

Tullen’s playful work references self image making, from computer games to selfies and Snapchat, where the author is simultaneously subject. Tullen does not position the digital portrait and the physical one as two opposite poles of reality, rather, they become complementary. Simulating the disassembly and reassembly of a body, Tullen performs the constant transition from the physical to the virtual, where the human needs its avatar.

Text by Alma Cecilia Suarez [ECAL graduate, BA-PH 2014]

https://www.cca-glasgow.com/programme/jeanne-tullen-in-transit

http://www.jeannetullen.ch

15.01.2020 - Alfatih, Christophe Guberan 'Making fashion sense' - HEK (Basel) > 8 March
DI, MID
EXECAL, Association - Expires 30.04.2020
On the occasion of the exhibition "Making Fashion Sense" at HeK - Haus der elektronischen Künste Basel (Opening reception on Wednesday 15 January, 6pm – Eröffnung Making Fashion Sense), ECAL presents the BA Media & Interaction Design diploma project developed by ALFATIH – a service offering an alternative economic model and a way to reflect on the nature of clothing in the physical and the digital space.

BA Industrial Design graduate Christophe GUBERAN will also present his work within the exhibition and participate in a panel discussion ("Fashion, Movement and Behaviour") with Anja Cronberg, editor of Vestoj, on Tuesday 21 January from 6:30pm.

https://vimeo.com/363284603

https://www.hek.ch

19.11.2019 - Omer Polak: 'Sense Me' - Trapholt Museum (Kolding, Danemark) > 1 June 2020
AV, DI
EXECAL, Association - Expires 07.06.2020
Forests cover 31 per cent of the Earth’s surface – but, as the climate communicates to humans daily, the invaluable ecosystems are constantly under threat. Olfactory Forest, an audio-olfactory installation by Studio Omer Polak currently on show at Danish modern art institution Trapholt Museum as part of the exhibition Sense Me, conceptualizes what near-total deforestation would entail. The studio’s work asks a terrifying rhetorical question: In the future, will society need to fake nature in order to sustain humanity?

A circular, mirrored room in the Kolding museum postulates what that future might look like. There hang 15 Manau rattan cane poles, each which emit a different smell and sound gathered from forests by the multidisciplinary creative team. To compile the scents, organic material samples were first brought to the German Symrise Lab, then carefully analyzed to better understand every individual scent component in various organic materials. Utilizing recipes created out of a stock of over 2,000 base notes, Studio Omer Polak and Symrise’s senior perfumer Marc Vom Ende created eight different fragrances evoking tree resin, moss, damp soil, mammal sweat, mushrooms, Linden, broken wood and young green leaves.

As a wanderer smells through the space, they also hear soft sounds, playing from fifteen small speakers placed along the rattan poles. The purpose of the low volume, Omer Polak [ECAL Graduate, Master of Advanced Studies, Design for Luxury and Craftsmanship 2018] explains, is an invitation for the visitors to come closer – to sniff and hear in unison. The recordings play the audio of termites eating a log of wood, a mosquito flying and a moth flapping its wings, for example.

‘In recent years the growing concern about future ecology has led many artists to play with concepts of man-made nature,’ the designer says Polak. ‘In our project, we take on the idea of the artificial landscape, using the nose as a medium to transport the human subconscious into the forest. By unfolding this scenario together with the audience, we are putting the public’s attention on the future of sensory experience journeys in cities.’

https://trapholt.dk/en/sense-me/

https://www.frameweb.com/news/olfactory-forest-studio-omer-polak-trapholt

https://www.omerpolak.com

29.09.2019 - ➼ Expositions organisées par l'ECAL = Exhibitions organized by ECAL
Tous
EXECAL, Association - Expires 31.10.2025
Vous pouvez prendre connaissance des prochaines expositions et retrouver celles du passé depuis 2011 dans les archives ECAL.

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You can read about the upcoming exhibitions and find those of the past since 2011 in the ECAL archives.

https://www.ecal.ch/fr/1029/evenements/expositions

https://www.ecal.ch/en/1029/events/exhibitions