Markus Aebersold (1988 in Herzogenbuchsee) is a multimedia artist based in Basel, working primarily with sonic environments and site-specific installations. His practice explores the tension between precision and abstraction, revealing microscopic elements of perception through sound, light, and objects. Space and context serve as the conceptual foundation of his works.

Aebersold’s installations invite interaction and sensory exploration, often operating at the threshold between the visible and the audible. Since 2022, he has extended his practice to include live, performative formats, where sound and light merge into temporary experiential events.

Aebersold studied Fine Arts at the Basel Academy of Art and Design and is currently pursuing a Master’s in Contemporary Arts Practice with a focus on Sound Arts at the Bern University of the Arts.

Artist Statement

I explore how sound shapes perception, structures space, and evokes memory. The space itself becomes a collaborator – not a passive container, but an active body with its own resonance and resistance. Site-specificity has become central to my current work. In this project, I developed a sound and light installation over eight weeks in an old vaulted cellar – a process guided by the acoustics, architecture, and atmosphere of the site. The work emerged through listening, adjusting, and responding to the space’s material presence, and will be activated live as part of its presentation. Across all my projects, what matters most is that they grow from physical processes, intuitive responses, and an openness to the ways materials carry and transmit meaning.

We are Lyna Beggah (Lausanne, 1999) and Alessandro Ferrari (Milano, 1999). We began collaborating spontaneously in 2022 and now work as a duo.

Our artistic work is based on decolonial, socio-political, historical and identity research, which takes as its starting point our family and personal histories. We're particularly interested in our families' origins, as we come from two immigrant families in Switzerland, Lyna from Jijel in Algeria and Alessandro from Milano in Italy. Using the question “How to live within ruins?”, taken from the book Program of Absolute Disorder by Françoise Vergès, we are exploring and focusing our current research on the theme of the “myth of modernity”.

We obtained our bachelor's degree at édhéa (Sierre) in 2022 and did an artistic residency at la Ferme-Asile (Sion) in 2023.

We are currently finishing our master's degree in Contemporary Art’s Practice at the HKB in Bern. Alongside our studies, we have been running since 2021 an off-space called espace bigbang based in Sierre.

Instagram: @lynabgh & @alessandro.ferrari

Artist Statement

Naar Fi Galbi [Fire in my Heart] - The Forest of Beni Foughal explores the consequences of French colonialism in Algeria through the story of the “renominations” imposed in 1880. The investigation begins with the surname of Lyna, a descendant of the Beni Foughal tribe, renamed Beggah. Thanks to the website benifoughal.com*, we were able to document ourselves on the forest fires of 1881 in the Jijel region. These fires were probably acts of resistance to colonial despoilment by the indigenous people living in these forests. These fires, symbols of resilience and sacrifice, resonate with the renominations. The installation links past and present through a gesture of reparation. It evokes the continuing violence in Algeria, where the population lives under military rule. The ceramic branches speculate on resistant fires, while the metal roadblocks represent current restrictions. A conversation with Lyna's father about the difficulty of accessing the forest dialogues with Hamid Al Shaeri's song Ouda.

Johanna Bossart (*1977 , Brugg) lebt und arbeitet in Bern.
Nach der Ausbildung an der F+F Schule für Kunst und Design in Zürich war Johanna Bossart als Fotografin lange bei der Presse tätig.
Daher auch ihr Interesse an gesellschaftlichen Themen. In ihrer Arbeit interessiert sie sich für alltägliche Dinge und Ereignisse. Sie arbeitet mit verschiedenen Medien wie Fotografie, Installation oder Video.2024 hat sie ihre drei jährige Recherche über den Tierbildhauer Uli Schoop als Buch Schlüpfendes Krokodil im Vexer Verlag veröffentlicht.
Seit 2023 kuratiert sie ring ring, https://ring-ring.ch eine Telefonkabine auf dem öffentlichen Areal der Basislager Zürich.

Artist Statement

In den letzten Jahren hat sich Johanna Bossart immer wieder mit herrschenden Wertvorstellungen in der Gesellschaft beschäftigt. Sie untersucht Gegenstände und Orte auf ihren „Wert“ und inszeniert sie fotografisch, filmisch und publizistisch.

Werte werden auch innerhalb einer Familie über Generationen weitergegeben; seit 2023 ist Johanna Bossart wiederholt in das Haus zurückgekehrt, in dem sie aufgewachsen ist. Das Gebäude aus den 1950er Jahren soll einem Neubau weichen und ist seit einiger Zeit unbewohnt. Sie hat das leere Haus als Bühne für feine Eingriffe genutzt: irgendwo schwelt Rauch, Studiofotos von Erinnerungsstücken hängen in den verlassenen Schlafzimmern, zwei Dobermänner durchstreifen die Räume. Im Video ist das Schaukelgestell zu sehen, das seit 1959 im grosszügigen Garten stand.

Dasselbe Schaukelgestell ist nun in Biel im öffentlichen Raum ausgestellt. Durch diese Umplatzierung veranschaulicht Bossart die Neu-Bewertung des Spielgeräts, das nach heutigen Sicherheitsstandards zu hoch und zu gefährlich ist. Der logistische Prozess der Replatzierung eines nun überflüssigen Stücks Altmetall ist ein wesentlicher Teil des Werkes. Es hinterfragt den Wert von Objekten aus einer anderen Zeit: ihr Verschwinden und das Unheimliche an Relikten der Kindheit.

Sophie Bovy (1985) est une autrice-traductrice qui vit à Neuchâtel. Son écriture navigue entre le rêve et la réalité, entre le rire et les larmes, entre l’intime et le collectif.

Elle a écrit et traduit plusieurs pièces de théâtre, parmi celles-ci : Sur le fil (Musée d’art et d’histoire de Neuchâtel, 2021) ; L’Homme de Podolsk (Caveau du Cœur d’or, Chexbres, 2021 ; Théâtre du Concert, Neuchâtel, 2022) ; C’est dans le noir qu’elle voit le mieux (chantier francophone 2022, Chartreuse de Villeneuve Lez Avignon ; Galerie YD, Neuchâtel, 2023).

Dans le cadre du festival CAP, elle présente Souriez, vous êtes en vie !, pièce pour douze (haut-)parleurs, et Baba Superstar, roman dans lequel elle revisite la figure de la sorcière slave Baba Yaga en s’inspirant de l’histoire de sa grand-mère.

Artist Statement

Dans son roman Baba Superstar et sa pièce Souriez, vous êtes en vie, mise en son avec Markus Aebersold, Sophie Bovy explore nos mythes du quotidien. Sur quelles histoires bâtissons-nous nos relations, nos familles, nos sociétés ? Quelles mémoires choisissons-nous de transmettre ? Quels imaginaires nourrissons-nous pour l’avenir ? Par ses histoires douces-amères empreintes de poésie, Sophie Bovy s’amuse à interroger la part de fiction dans nos existences.

Cyril Dériaz (1991) lives in Geneva. He graduated in Architecture from ETH Zurich before pursuing his artistic career as a writer and performer.

Through his chronicle Courrier à chaud published on Substack, his collective and individual performances like Digging (2023) and Christ with me (2025), as well as his essays and novels, he explores personal aspirations and suffering to unveil universal stories.

At the Diploma Cap festival, he presents the German speaking piece Ein Nachdenken über das Schreiben performed by Simon Baumann, and his first novel in French Félix ou la vie d’après.

Artist Statement

Cyril Dériaz explores personal aspirations and suffering to unveil universal stories

In seinem Stück Ein Nachdenken über das Schreiben, hinterfragt Cyril das Motiv des Erzählens und die Verbindung zwischen Gedächtnis und Wahrnehmung. Drei Charakter, das Kind, der Erwachsene und das Elter, streiten über die Macht von Worten und begeben sich auf einer Suche nach Bedeutung in einem Mal ernsten, mal skurrilen, mal poetischen Dialog.

Dans son premier roman Félix ou la vie d’après, Cyril raconte la vie d’un jeune homme, Félix, parti à Istanbul pour fuir une blessure dont il ignore l’origine. Au fil des rencontres et des souvenirs qu’elles évoquent, il remonte peu à peu à la source du mal-être qui le ronge. Mais arrivera-t-il à trouver des réponses, ou sera-t-il aspiré par la force du vide qu’il contemple en lui-même ?

Laure Federiconi (1994*, Lausanne, CH) is a visual artist, sound artist and author. She discovered poetry with an old anthology of French poetry at the age of 10. Since then, she has tried to keep writing at the centre of her visual and sound work. In her installations and sculptures, she questions learning through play, using the absurd and the notion of repetition to thwart authoritarian forms and structures. She mixes poetry with documentary, and the enigmatic with the critical. She looks for the playful in the interstices, bypasses the spectacle and is enamoured of the deceptive, the almost normal, the false peaceful.

2023, awarded the City of Lausanne's grant for literary creation
2023, awarded the Prohelvetia literary grant
2020-2023, Bachelor's degree in visual arts HEAD Geneva

She has taken part in group exhibitions in Switzerland. She also takes her synthesizers on board as much as possible for live sound performances abroad.

Artist Statement

C’est un rendez-vous très important, un mercredi. Tôt, à jeun. Rectangle délimité de moquette, une boîte à jeu en haut à gauche, des plots éparpillés et un boulier. Je m’installe au centre, empoigne un cube et un plot en forme de triangle (on me regarde, je ne dois pas décevoir). J’approche la forme du cube, du bout des doigts. Il y a un triangle percé dans le cube, un carré, un cercle, une étoile. Je mime la concentration. On me regarde. Je ne m’amuse pas. Je sens une attente se cristalliser – je ne lève pas les yeux. Je sais qu’ici, je dois jouer. Nous avons vingt minutes d’avance, peut-être six restantes. Je bouge le triangle très lentement, une porte s’ouvre. Le médecin fait signe à la mère, qui fait signe à l’enfant.

What was just a morning of routine check-ups turned into a dizzying experience. Watching yourself do, watching yourself be, watching yourself play. I remember the expectations, the latency, my desire to make a spectacular gesture in a closed system that had already been decided.

Eden L. Flammer (born 1997) lives and writes in Switzerland. They received their Bachelor of Literature Writing at the Swiss Literature Institute in 2023 and finishes the Masters in summer 2025. In storytelling, they like to find new media to create atmosphere and perspectives. Eden is especially interested in transcendent themes of nature, identity, relationships and trauma, whether its obvious or found in miniature violence.

Artist Statement

Eden worked on a text collection in the diploma year, in which the texts are comprehensible on their own but draw a family’s map when put together. Additionally, Eden tried to bring the text into a physical space with installation-islands and sound-tapestries.

Im Diploma-Jahr erarbeitete Eden eine Sammlung einzeln lesbarer Texte, die gemeinsam die Landkarte einer Familie zeichnen. Dazu kam der Versuch, den Text in den Raum zu bringen mit Installationsinseln und Klangteppichen.

Sophia Fries (*1997, Lucerne) lives and works in Zurich.

In her artistic practice, she balances on the interdisciplinary brink where literature blends with visual art, theater and sound.

Thematically, her focus lies in staging of the banal; she is interested in the small but ambivalent dramas of everyday life. In her search for the affective constitution of a simple conversation, she has recently started collaborating with a newly formed choir of electronic kettles.

Artist Statement
A close-up of a plastic switch, magically flicking. In the beginning, there’s sound: A rustle, hemming, the buzzing of expectation. Slowly, conversations form. Some feel intimate from the start; some are more viscous. Small and big talks rise and fall, temper heat up, joining up in circuit is always accompanied by a change of atmosphere, change of perception, change of reality.

Working together has challenged us in many ways. We now know that understanding is secondary–as long as you feel connected.

Erhitzte Gemüter is a video work that shows fragments of a polyphonic gathering of electronic kettles. Whether in heated conversation or tuning up for an upcoming concert - the reason for the meeting remains unclear.

Juan Pablo González (*1985, Bogotá, Col) Lives and works in Switzerland.

Juan Pablo González is an artist with a multidisciplinary background in dance, theater, and performance. He has focused his work in the last 12 years on teaching and directing artists interested in transdisciplinary languages of the performing arts. He seeks to invite the visitors of his pieces to witness the transformation of the modes of expression towards a metadisciplinary gaze. This means, not thinking in dance but in movement, not thinking in theater but in action, not thinking in “the visual” but in the image.

He has performed for: Jerome Bell Company (Bog-Col 2012); Emilio Garcia Whebbi (Bog-Col 2013); José Alejandro Restrepo (Bog-Col 2013); Eric Létourneau (Bog-Col 2014); Siniestra Compañía (Bog-Col 2018, 2019, 2022/ Mexico D.F 2018); Marina Abramovic Retrospective (KunstHaus Zürich- CH. 2024-2025). His directed Works have been presented in Bogotá, Mexico D.F, Salvador da Bahía - Brasil and Switzerland.

Artist Statement

In “the other Solitude” the artist is wondering about revisiting one of the materials from his archive and venturing into a process of transformation, to distance himself from it and rediscover other of its essence. In principle, it is about the recorded voice of a homeless woman in Bogotá, Colombia, and her thoughts about “the woman”, “loss”, “the body”, “vulnerability”, “loneliness”.

In this process of consciously taking distance from this voice, but creating from it, is how the following questions arise: How can sound be transformed into image? How can the dismemberment of a text and its proliferation through space provide it with other eloquences and other aesthetics? How can the repetitive or the constant have the capacity to change? How can an image perform?

These questions develop thanks to having played with this material. To pendulate as far away from it as possible, and sometimes, inevitably swing back towards it. From trying to clean it of singularity. To separate it, to split it, to dismember it, to proliferate it, to reread it and to reorganize it.

Jonas David Gut 1998 geboren und aufgewachsen in Basel am Dreiländereck interessierte sich stets für Geschichten. Anfangs waren es Gutenachtgeschichten, dann Romane, später die Geschichte der Menschheit und der Menschen in seinem Leben. Die zweite Besessenheit war schon früh die Sprache, Dialekte und Missverständnisse, deren Vielfalt und Schönheit.

Sein Studium an der Universität Basel im BA Skandinavistik und Geschichtswissenschaften (2018-2022) verband diese beiden Interessen. Zudem arbeitete Jonas derzeitig in einem Verlag und war später im Journalismus tätig. Dieser Hintergrund führte zum Interesse und die daraus resultierende Leidenschaft für mehrsprachige Literatur und das (inter- und intralinguale) Übersetzen. Heute lebt Jonas David Gut im Luzernischen Nottwil am Sempachersee übersetzt alles vom Koch- bis zum Kinderbuch und schreibt selbst kürzere und längere Geschichten.

Instagram: @jonas.david.gut

Artist Statement

Jonas David Gut übersetzt aus dem Norwegischen. Das Übersetzen prägt die anderen Facetten seines Schreibens massgeblich. So schreibt Jonas Geschichten über Herkunft, Oikos, Nichtverstehen, Nostalgie, Multipolarität, Ausschnitte, Tiermotivik, die Schweiz in Europa.

Dabei spricht er ein Publikum an, welches: offen für anderes als Romane von 250 - 450 Seiten ist, sich für Europäische Literatur interessiert, sowohl kritisch analysiert als auch die Worte auf dem Papier, ohne sie zu hinterfragen hinnimmt und einfach eine Geschichte geniessen will, mit Leerstellen einverstanden ist und offen für Ungewissheit ist, Geschichten mit einem Ende will, damit einverstanden ist, dass eine Geschichte auch zu viele Seiten haben kann. Mit seinem Schaffen, seien es eigene Erzählungen oder Übersetzungen, will Jonas David Gut etwas erzeugen, was Anti-Amerikanisch, Anti-Rechts, Anti-Kapitalistisch, Anti-Content, Anti-Konsum, Anti-Bequemlichkeit, Anti-Hierarchie, Anti-Hegemonie verkörpert.

Marwan Hemma, aka 7EMA, was born in 1997. A Belgian-Algerian musician, performer and writer, he lives and works in Bern, Switzerland. He holds a Master’s degree in Classical Guitar and Baroque Singing from the Hochschule für Musik in Basel, and studied Creative Writing in the Master’s program of Contemporary Arts Practice at the Hochschule der Künste in Bern.

As a musician, 7EMA (pronounced h/ح), meaning “fever” in Arabic, draws inspiration from pop, classical music, Algerian chaâbi, and Sahrawi sounds. He mixes vocals and electro-acoustic guitar with microtonal synthesizers and 808 basslines, crafting a set that moves between intimacy and club energy. He sings in Algerian Arabic, expressing the ghorba — exile — and the re-appropriation of one’s own language.

Marwan Hemma grew up in Renens (CH), a cosmopolitan city. His Algerian father was an activist with La Fourmi Rouge, his Belgian mother a psychiatrist. Early on, he developed a strong sensitivity to activism and social justice. Today, he writes texts marked by deep poetic resonance and militant spirit. His work challenges Islamopho- bia, post-colonial legacies, and neoliberal drift, while staying anchored in personal experiences. He self-published his first novel, La voix volée.

Artist Statement

الصوت ا لمسروق (The Stolen Voice), 2025, novel
All Marwene’s got is his voice. Between the Sahrawi community, the bros talking nonsense and the authorities censoring a song, he spins an epic... Wesh, just open the book and read. I swear it’ll take you 1h, 2 max. It'll get you off your phone for a bit, so Y’Allah!

Dieu a démissionné (God Has Resigned), 2025, novel
A dinner. Paolo introduces his best friend Marwene to Alex. An octopus on the counter. A sterilized flat. Then blows.

Capturing materiality through oral language, blending dialogue with that “little inner voice that busts my balls.” Like a camera on the page: layers stack up, images collide, and the readers? They’ve got work to do.

7EMA alaa belek, concert 20 June, 20:30 at Carré Noir
Inspired by pop, Algerian chaâbi, and Sahrawi music, 7EMA crafts sets shifting between raw intimacy and club energy. He sings in Algerian Arabic, expressing the ghorba* (exile) and reclaiming his language through dance and voice.

Nelson Irsapoullé (*1975, Saint-Denis, Réunion) vit et travaille entre Genève, Zurich et Berne. Artiste performeurx et chercheurx, iel développe une pratique interdisciplinaire qui interroge les rapports entre savoir et pouvoir ( Power/ to be able to ) , désir et obsession, être et avoir. À travers des performances, des installations sonores et des écritures, iel explore les imaginaires depuis une perpective queer POC ( personne de couleur) en mettant en question les normes sociales et en proposant des réalités imaginaires où le corps, la mémoire et la technologie se rencontrent.

Forméx à la HEAD de Genève (Bachelor en Arts Visuels, 2007), iel poursuit actuellement un programme Master CAP à la HKB de Berne, où iel développe une étude et une pratique de l’écriture comme geste performatif.

Iel a présenté son travail dans divers contextes, notamment au TU – Théâtre de l’Usine à Genève, au Centre d’Art Neuchâtel (CAN), ainsi qu’à l’international. Ses performances récentes incluent Bizarre, ordinaire : diffraction métaphorique (2023) et Interstices (2024). En parallèle, iel collabore avec différents collectifs ( trajectoires_non binaire, CraQ) et associations (BDS) de Suisse romande qui milite en faveur de minorités. À une autre époque iel a aussi crée des bandes sonores pour des films postpornographiques, et participer à de nombreux festivals postporn en Europe et en Asie de L’Est .

Son travail est marqué par une démarche éthique et morale, où l’écriture devient un processus continu de questionnement et de découverte. Pour Nelson Irsapoullé, écrire ne relève pas simplement de l’expression ou de la transmission, mais d’un acte de déplacement : une manière de décaler les évidences, d’ouvrir des brèches dans les récits dominants et de réinventer des formes de savoir sensibles. Entre punchlines acérées et pensées profondes, son écriture performative joue des registres – poétique, politique, philosophique, parfois trivial ou jubilatoire – pour tisser des alliances inattendues entre théorie critique, vécu minoritaire et pratiques de résistance. Elle devient un terrain d’expérimentation langagière, un espace où se négocient vulnérabilité et pouvoir, rage et douceur, lucidité et rêve.

Artist Statement

La performance explore l'importance des mots, la solidarité, l’engagement et la mémoire, tant individuelle que collective. À travers une traversée sensible mêlant poésie, humour décalé et gestes partagés, elle interroge ce que l’on choisit de dire, d’oublier, de transmettre, et ce que l’on promet parfois en silence. En jouant avec les nuances de la langue, la performance interroge les silences et les promesses oubliées, tout en mettant en lumière la force de la mémoire partagée. À travers des vidéos, des jeux de marionnettes et des moments d’interaction, le spectateur est invité à questionner sa propre mémoire et son rôle dans la transmission des histoires. L’humour et la poésie deviennent des outils pour naviguer entre le léger et le profond, créant ainsi une expérience où l’on rit, réfléchit et, surtout, se souvient.

Ira Kurhanska (*1995, Kyiv, UA) lives and works in Bern, CH and Kyiv, UA. With her BA and first MA in philosophy and literature, Ira Kurhanska explores, through installation, performance, and texts, the complexity of human fate against historical backgrounds, social and human nature paradoxes and contradictions, and reflects on current political affairs.

2012-2018: BA and MA in Literature and Comparative Studies with minor in Cultural Studies at National University ‘Kyiv-Mohyla Academy’.

2016-2023: yeas of experience in curating and museum work at state museums, galleries, institutions etc. in Kyiv and Austria.

2023-2025: CAP

2023: Salzburg Summer Academy scholarship (course “Anti-Monumental”) (AU)

2024: Scholarship and winter school for young writers from PEN Ukraine (UA)

2025: Summer school and residence at ‘School of disobedience’ (HU)

Instagram: @ira.kurhanska

Artist Statement

Arkan, 2025

Deep in the Carpathian Mountains, the Arkan dance has been performed for centuries. Men form a circle, place their hands on each other’s shoulders, and following the leader’s commands begin a dance that can last for hours.
You cannot break the circle.
You cannot fall out of the circle.
You cannot disobey the command.
You cannot stop the dance.
Human feet beat out an ancient rhythm; the mountains gladly offer their chests to the familiar melody. In the accelerating endless circle, the bodies of men intertwine into a single organism, ready for battle.


Grassroots, 2025

“Bellum omnium contra omnes”.
Thomas Hobbes

“Plants cannot move to escape their predators, so they must have other means of protecting themselves”.
Wikipedia

“The power of the powerless”.
Václav Havel

“And though they may cut all the flowers,
You cannot keep spring from coming”.
Pablo Neruda (?)

“As long as we do not suddenly become unpleasant, as long as we do not say anything strange, sharp, as long as we do not stare at our nails and bare our teeth, as long as we do not become wild and cynical”.
György Konrad

Sarah Vogel's installations exist at the crossroads of sound, space, and perception. Her work

challenges how sound shapes our

sensorial experience of

blending theory with practice to rethink the connection between artwork, architectural

volumes, and audience. Brazilian-born and now based in Switzerland, she expanded her

practice by merging her background as a live electronic performer with her passions for

science, architecture, and spirituality. Her intricate and polymorphous sensitivity guides her

evolution into transmedia installation

intensity and meditation.

Artist Statement

Statement for “Tapis Volant”

This installation features an interactive environment composed of metallic tiles equipped

with a sub-bass vibration system and movement sensors. Audience interactions trigger

dynamic digital visual projections and multi-channel spatial sound, which respond to and

influence the architectural qualities of the space. Together, sound, visuals, and spatial

elements create a living ecosystem—one that continuously modulates itself, generating new

realities with every engagement. Visitors are free to explore, move, or simply rest within this

immersive landscape, becoming active participants and co-creators of the evolving

installation experience.

Denis Savi (*1979, Belluno, IT) lives and works in Bern, CH.

As a conceptual artist, he develops a visual and poetic language through installations and performances that explore the nature of memory—both individual and collective—and the evocative power of images and words. His artistic practice focuses on the subjective experience of the passage of time, the fragility of existence, and the threshold between the visible and what is about to disappear. His works engage with history—personal as well as shared—by examining the traces it leaves in bodies, places, and objects. Through ephemeral materials, measured gestures, and atmospheric spaces, the artist creates sensitive structures in which the past resurfaces—not as a linear narrative but as a layering of memories, resonances, and voids. In this process, memory is never static: it emerges as a living and mutable form, capable of questioning the present and offering new interpretations of human experience.

2017–2019: Foundation Course in Art and Design at the School of Design Bern and Biel 2019–2022: F+F School of Art and Design Zurich
2022: Master in Contemporary Arts Practice, Bern University of the Arts
Award: F+F Förderpreis für Kunst (2022)

Artist Statement

La Re-stanza: la compresenza dei tempi.

(La Re-stanza: die Ko-Präsenz der Zeiten)

Die Arbeit entstand aus einer sensoriellen Erinnerung: der Erinnerung an ein Fragment des täglichen Lebens, ein Überbleibsel, das im Laufe der Zeit zu einer Schwelle geworden ist - ein sensibler Raum, in dem Materie zu Erinnerung und das Gewöhnliche mit verborgenen Bedeutungen aufgeladen wird. Es ist wie die Vorsilbe «Re-», die tief in der italienischen Sprache verwurzelt ist: Sie erinnert an etwas, das neu gemacht, rehabilitiert, wiederhergestellt werden muss. Eine Geste, die zurückblickt, nur um anderswo hinzugehen. Die Arbeit ist nicht nur als Boden unter den Füssen gedacht. Vielmehr ist sie ein lebendiger Webstuhl, durchwirkt von Erinnerungen, wo sich die individuelle Erfahrung dem Vielfältigen öffnet. Ich stellte mir einen zerbrechlichen, porösen, begehbaren Boden vor, der den Durchgang von Körpern registriert und sich verändert, Spuren sammelt und Präsenz zurückgibt. Wie Staub oder Schmutz, der sich mit der Zeit ansammelt, setzen sich auch Erinnerungen in den Ritzen, in den kleinen Spalten, in den unbemerkten Details der Materie ab. Dort, in den Zwischenräumen, werden die fragmentarischen «Wahrheiten», die unverschlüsselten Zeichen der Gegenwart, aufbewahrt. Hier fliesst die Zeit nicht linear, sondern verdichtet und vervielfacht sich: Vergangenheit, Gegenwart und Zukunft koexistieren in demselben fragilen Raum und verwandeln ihn in einen Ort des «Widerstands» und der Ko-Präsenz der Zeiten.

olga lakritz was born inbetween things and managed to grow up. she spent a big part of her youth on spoken word stages until she eventually turnt to writing more literary works. her debut novel "das ampfermädchen" was published in 2023. she writes prose and poetry in swiss german, german and english.

Artist Statement
"so öppis wie d wahrheit" ist ein schweizerdeutscher roman, der das private mit dem politischen verschränkt. er folgt einer ich-erzählerin, die durch den tod ihres partners gezwungen wird, sich mit sich selbst auseinanderzusetzen. er erzählt von zwischenmenschlichen ambivalenzen, polizeigewalt und der schwierigkeit sich mit der eigenen unzulänglichkeit auseinanderzusetzen.
die absurdität eine gesprochene sprache zu verschriftlichen führt dabei zu unterwarteten wendungen und sprachlichkeiten.

Flurina Sokoll (*1986 in Chur, Switzerland) completed her Bachelor's degree in Fine Arts at the Bern University of the Arts in 2015 and her Master's degree in Fine Arts Sculpture 2018 at the Slade School/University College London (UK). 2019 she received the Bündner Kunstverein Art Prize, which was honored with a solo presentation in the Bünder Kunstmuseum Chur and a publication by Edizioni Periferia. After several years abroad, she presented her work in a solo show with Reflector Gallery Bern in 2023. She has participated in many group shows in Europe and internationally.

Artist Statement

Sokoll's sculptures emerge from an encounter with discarded ‚Sperrgut- objects‘ she finds on her daily routes on the roadside. As she investigates thing-power, she positions her practice in the legacy of the still life genre. In her sculptural practice, shapes, colors and other object characteristics are explored through a feedback process of internal and physical movements. Sokoll's practice is situated in relationship to these discarded objects, which carry their own stories and demand space for negotiation with her own stories. Titling, material listing and written narration expand sensual aspects, aYect and associations or insights from research and design. In an attempt to react in this dialogue, Sokoll produces handmade and costum-made steel elements, which she powder-coates with selected RAL colors.

Emmet Ward (b.1991, London)

emmetwardstudio@gmail.com

Artist Statement

DELIVERY ERROR__ Postcards from Psyche held in dispatch:

Return to sender, a love unknown [no such level, no such zone].