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Annemarie Von Matt. Je ne m’ennuie jamais, on m’ennuie
October 11-November 15
Opening Saturday, October 10
Performances by Sophie Jung / Quinn Latimer / Céline Manz / Davide-Cristelle Sanvee Saturday, October 24
Artists: Mathis Altmann, Sophie Jung, Judith Keller, Simone Lappert, Quinn Latimer, Céline Manz, Sam Porritt, Davide-Christelle Sanvee, Manon Wertenbroek
Curators: Claire Hoffmann (CCS), Patrizia Keller (Nidwaldner Museum)
In cooperation with the Nidwaldner Museum, Stans and the Kantonsbibliothek Nidwalden where a first version of the exhibition has been presented from May 13–September 27, 2020
Performances in cooperation with Centre Pompidou and HEAD Geneva
Annemarie Von Matt (1905–1967), a prolific yet little known artist, is presented in Paris for the first time ever outside her native Switzerland. She is accompanied in this exhibition by nine contemporary artists and authors who are invited to explore and interrogate her life and work. Her exuberant practice encompassed painting, drawing, sculpture, applied arts, assemblage, photography, self mise-en-scène, and an obsession with writing. Propelled by a playful approach to language, her voice is full of humour yet honed, too, by a critical awareness of the constraints of conservative society; it speaks of her urge to flout the social and artistic conventions of her day, of her need for uninhibited self-expression.
The exhibition reflects the fragmentary and mercurial character of her life’s work. While not presuming to offer an exhaustive account of this vast oeuvre it invites the public to (re-)engage with it through the performances, installations, drawings and texts of Mathis Altmann, Sophie Jung, Judith Keller, Simone Lappert, Quinn Latimer, Céline Manz, Sam Porritt, Davide-Christelle Sanvee and Manon Wertenbroek.
Stormy Weather
December 6-January 24
Opening Saturday, December 5
Performance by Total Refusal at Gaîté Lyrique Thursday, January 14
Workshop by Christoph Wachter & Mathias Jud Saturday, January 23
Artists: Susanna Flock & Leonhard Müllner, Fragmentin (David Colombini, Marc Dubois and Laura Perrenoud), Stefan Karrer, Till Langschied, Marc Lee, Yein Lee, Christiane Peschek, Total Refusal (Robin Klengel, Leonhard Müllner and Michael Stumpf), Christoph Wachter & Mathias Jud
Curators: Katharina Brandl (Kunstraum Niederoesterreich), Claire Hoffmann (CCS)
In cooperation with Kunstraum Niederoesterreich, where the exhibition is presented from September 24-November 21, 2020.
“Today the cloud is the central metaphor of the internet: a global system of great power and energy that nevertheless retains the aura of something monumental and numinous, something almost impossible to grasp. We connect to the cloud; we work in it; we store and retrieve stuff from it; we think through it.” (James Bridle)
In the months leading up to November 2020, a fateful point in time for world politics as Donald Trump stands for re-election, there will likely be less talk explicitly about the weather. The emotionally charged macro-political climate is unimaginable without today’s technological developments. Both the metaphor and the reality of the “cloud” are omnipresent in our daily lives. It is not only the place where data are stored but also—by cloud computing, cloud gaming, or cloud streaming—the place where the central functions of computational power and auto-learning artificial intelligence have migrated to. The cloud is not a storage folder—it is our super brain.
The metaphoric imagery of the cloud makes us think of something fleeting; our data become zeros and ones floating across the sky, carried weightlessly by the wind. In reality, these ephemeral visions of data clouds require infrastructures, which are operated (and controlled) by private companies and, at the same time, have direct impacts on the real climate. Hence, talking about clouds, the weather, and weather metaphors is quite topical, and, in the near future, they will not only be subjects of unmotivated small talk. The exhibition Stormy Weather showcases works that survey the field between seemingly ephemeral infrastructures (data clouds) and their concrete manifestations in the real world. How do artists interact with the non-human counterpart, the cloud? Do metaphors or the realities of the cloud become affective carriers themselves in their artistic reception?
