[{"id":"mohamed-almusibli-the-institution-as-a-host","postPreview":"\n
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\n Photo by Marc Asekhame. Styling by Michelle Keller. Special thanks to GmbH.\u00a0 <\/figcaption>\n <\/figure>\n \t\t\t\t\t\n\t\t\t\t\t\n\t\t\t\t\t\n\t\t\t\t\t\n\t\t\t\t\t
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\n Photo by Marc Asekhame. Styling by Michelle Keller. Special thanks to GmbH.\u00a0 <\/figcaption>\n <\/figure>\n \t\t\t\t\t\n\t\t\t\t\t\n\t\t\t\t\t\n\t\t\t\t\t\n\t\t\t\t\t\n\t\t\t\t\t\n\t\t\t\t\t
\n \"\" \n
\n Photo by Marc Asekhame. Styling by Michelle Keller. Special thanks to GmbH.\u00a0 <\/figcaption>\n <\/figure>\n \t\t\t\t\t\n\t\t\t\t\t\n\t\t\t\t\t\n\t\t\t\t\t\n\t\t\t\t\t\n\t\t\t\t\t\n\t\t\t\t\t\n\t\t\t\t<\/div>\n\t
\n\t\t\t\t\t

Mohamed Almusibli: The Institution as a Host<\/h2>\n\t\t\t\t

The new director and chief curator of Kunsthalle Basel, Mohamed Almusibli, shares his vision of fostering collaborative and engaging curatorial practices.<\/p><\/p><\/div><\/div>\t<\/div>\n\t

\n\t\t\t\t
\n\t\t\tby<\/span>\n\t\t\t Luca B\u00fcchler<\/span>\t\t<\/div>\n\t\t\t\t
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\n\t\t\t\tart\t\t\t<\/p>\n\t\t\t

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\n\t\t\tBasel\t\t\t<\/p>\n\t\t<\/div>\n\t\t\n\t<\/div>\n\t

<\/div>\n <\/div>\n\t\n\n<\/div>\n","gallery":"
\n \"\" \n
\n Photo by Marc Asekhame. Styling by Michelle Keller. Special thanks to GmbH.\u00a0 <\/figcaption>\n <\/figure>\n
\n \"\" \n
\n Photo by Marc Asekhame. Styling by Michelle Keller. Special thanks to GmbH.\u00a0 <\/figcaption>\n <\/figure>\n
\n \"\" \n
\n Photo by Marc Asekhame. Styling by Michelle Keller. Special thanks to GmbH.\u00a0 <\/figcaption>\n <\/figure>\n
\n \"\" \n
\n Photo by Marc Asekhame. Styling by Michelle Keller. Special thanks to GmbH.\u00a0 <\/figcaption>\n <\/figure>\n

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\n by<\/span> \n Luca B\u00fcchler<\/span> <\/div>\n
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\n art <\/p>\n

\n people <\/p>\n

\n Basel <\/p>\n <\/div>\n \n \n <\/div>\n

\n \n

Mohamed Almusibli: The Institution as a Host<\/h2>\n \n

The new director and chief curator of Kunsthalle Basel, Mohamed Almusibli, shares his vision of fostering collaborative and engaging curatorial practices.<\/p><\/p><\/div><\/div> \n <\/div>\n <\/div>\n

\n

Jun 9, 2024 <\/p>

On March 1st, Mohamed Almusibli<\/a> assumed the role of director at Kunsthalle Basel<\/a>, one of Switzerland's oldest and most prestigious art institutions. In his new position, he continues his dedication to creating an inclusive space where fundamental questions can be explored. In conversation with Luca B\u00fcchler, they discuss the evolution of Almusibli's curatorial focus, the importance of independent cultural spaces, and the recent transformations within Basel's cultural landscape.<\/p><\/div>

<\/div>
Photo by Marc Asekhame. Styling by Michelle Keller. Special thanks to GmbH.\u00a0<\/div><\/div>

Congratulations on your first opening as Director of Kunsthalle Basel a few weeks ago.<\/p><\/div>\n

Thank you! It was on May 16, featuring Ghislaine Leung, a British artist known for her conceptual and institutional critique works. I'm very happy with how the exhibition turned out.<\/p><\/div>

Let's look back first. We met in 2018 when we both studied at the Zurich University of the Arts, where we both pursued our Bachelor's in Fine Arts. That was a very different time, I assume. How would you describe the period? I remember you were producing artwork yourself.\u00a0<\/p><\/div>\n

I initially earned a Bachelor's in History of Art at the University of Geneva before moving to Zurich to study media theory. During that time, one thing led to another, and I started producing artwork, developing a practice focused on texts and writing. The environment was crucial as it allowed me to start curating independently and inviting artists to exhibit. For instance, I organized an exhibition called \"To Whom It May Concern\" in the classrooms of ZHdK, hijacking a classroom for an entire weekend for artists to display their work.<\/p>

During that period, I explored different spaces to experiment with artistic practices and curatorial forms. For example, I took over a space called Dynamo for six months, where I organized exhibitions. This experience reinforced my curatorial ambitions and allowed me to develop an approach I continue to pursue. Although I was always more interested in curating than creating art, I saw both as complementary, akin to creating something within a studio practice<\/p><\/div>

Right after that, you moved to Geneva to start a project space\u00a0called Cherish<\/a>. What led you to decide to continue your curatorial practice within a very fixed frame?<\/p><\/div>\n

When I moved back to Geneva, I felt a strong urge to be active, especially since many artist-run spaces were closing, creating a gap in the independent cultural scene. Together with James Bantone, Ser Serpas, and Thomas Lui Le Lann, we decided to create a space. While searching for a place to rent, we also looked for a place to live. We found an apartment that was much larger than what we needed for living, so we combined our resources. Instead of paying for two rents, we used the extra space to host artists and exhibitions in our living room.<\/p>

This approach wasn't about inventing something new but finding the best solution for us. It was more than just putting up exhibitions; it was about sharing and collaborating with friends and artists. With our networks extending beyond Geneva, we wanted a space that could welcome others and facilitate communal and creative experiences.<\/p><\/div>

<\/div>
Photo by Marc Asekhame. Styling by Michelle Keller. Special thanks to GmbH.\u00a0<\/div><\/div>

I find these different roles you just talked about very interesting. You are hosting artists, curating exhibitions, and being a friend and flatmate. I see a connection to Ghislaine Leung's current show at Kunsthalle, which is about these different human relations in a way. How do you feel about having these different positions or roles?<\/p><\/div>\n

It feels natural to me, though the scale is different now. The approach remains the same as it was at \"Cherish.\" I always thought of the space as a host, whether it\u2019s a living room, a gallery, or an institution where I was invited to curate independently. This has been an ongoing exploration for me, and now I have the opportunity to pursue it long-term in a specific space. I don't see it as a rupture from my past work but rather a continuation.<\/p>

It's interesting you mention Ghislaine Leung's exhibition. When I started at Kunsthalle Basel, the only note we had about her exhibition was \"No transport needed.\" This allowed me to engage in a conversation with her and collaboratively build the show. We discussed what commitment means in artistic practice and in life. The questions she raises in her exhibitions are fundamental and urgent, addressing the role of the artist and the conditions we provide.<\/p><\/div>

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Ghislaine Leung, Commitments, exhibition view, Kunsthalle Basel, 2024. Photos by Philipp H\u00e4nger \/ Kunsthalle Basel<\/div><\/div><\/div>
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Ghislaine Leung, Commitments, exhibition view, Kunsthalle Basel, 2024. Photos by Philipp H\u00e4nger \/ Kunsthalle Basel<\/div><\/div>

Would you say that one of your personal approaches is to take the time for the artists, or what is your access to exhibition making?\u00a0<\/p><\/div>\n

Absolutely, taking the time for artists is central to my approach. I believe in fostering a collaborative environment where everyone feels welcome and safe at Kunsthalle Basel\u2014whether they are visitors, exhibitors, or staff. It\u2019s essential that artists feel free to ask any questions and express their ideas without hesitation. Our role as an institution is to support them, provide answers, and facilitate their creative process.<\/p>

Creating this supportive atmosphere involves more than just logistical assistance. It\u2019s about engaging in meaningful conversations with artists to understand their vision deeply and collaboratively bringing that vision to life. I prioritize open communication, ensuring that any challenges can be addressed together, enhancing both the artist's experience and the final exhibition.<\/p>

Moreover, my curatorial practice is about building a community. I aim to make Kunsthalle Basel a dynamic space where diverse perspectives are not only welcomed but celebrated. This inclusive approach helps generate rich, meaningful dialogues that benefit the artists and the audience alike, making the institution a place of ongoing creative exchange and growth.<\/p><\/div>

Where do you feel this urge to create comfortable surroundings is coming from?\u00a0<\/p><\/div>\n

The drive comes from numerous conversations with peers and colleagues who have shared their experiences of feeling unsupported or unwelcome in various stages of their careers. These discussions highlighted how crucial it is to have a supportive environment for creativity to thrive. I believe that when you welcome someone into your home, you want them to feel at ease and valued. This principle translates to my work at Kunsthalle Basel\u2014While I can\u2019t literally serve tea to everyone here, I strive to create an environment that metaphorically offers that same sense of warmth and hospitality.<\/p>

Creating a welcoming atmosphere is about more than just politeness; it\u2019s about fostering a space where people feel valued and safe to express themselves. By ensuring that everyone\u2014from artists to visitors\u2014feels comfortable and respected, we can cultivate a more dynamic and inclusive cultural environment at Kunsthalle Basel.<\/p><\/div>

How is it for you at Kunsthalle Basel currently? Do you feel at home already? Or has anything changed since you began?\u00a0<\/p><\/div>\n

Adjusting to the institution has been an exciting journey. The space feels much larger now that I\u2019m working here daily, providing a broader playground for both the artists and myself to create and display works. As a visitor, I couldn\u2019t completely comprehend the scale of the space, but working here has revealed its true potential. Every day, I feel more connected and in tune with the environment, gradually making it feel like home. The process of settling in is ongoing, and with each project, my appreciation for the space and its possibilities grows.<\/p><\/div>

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Photo by Marc Asekhame. Styling by Michelle Keller. Special thanks to GmbH.\u00a0<\/div><\/div>

From a physical to a mental level, how does it feel for you to have taken this next step into a big institution?\u00a0<\/p><\/div>\n

Transitioning into a large institution like Kunsthalle Basel has been transformative. As a visitor, I didn\u2019t fully grasp the depth of its history, the building, or the association. With over 150 years of history, it\u2019s the oldest Kunsthalle in Switzerland. Learning about its rich details has profoundly changed my perception, instilling a sense of responsibility to nurture and protect this legacy. It's a privilege to work within such a historic institution, and it has made me more aware of the significance of preserving and honoring this extraordinary history.<\/p>

On a mental level, this transition has been both challenging and fulfilling. There is a weight of responsibility that comes with managing a space of this magnitude and historical importance. It\u2019s about balancing the legacy with innovation\u2014respecting the past while pushing the boundaries of contemporary art. This dual focus keeps me motivated and engaged, knowing that every decision contributes to the ongoing narrative of Kunsthalle Basel. The experience has deepened my appreciation for the institution and its role in the cultural landscape, making the journey incredibly rewarding.<\/p><\/div>

What would you say is the most urgent for you regarding the future program? Or do you have a specific focus?<\/p><\/div>\n

I'm currently asking myself many questions about what it means to bring a certain type of art into a specific space. For instance, I recently curated a 24-hour theater play for the Hartwig Art Foundation<\/a> in Amsterdam, held in a large building under construction that is yet to become a museum. This format allowed us to explore new possibilities. Together with Ivan Cheng, we invited 17 artists and writers to contribute texts, which we then choreographed into a play with performers Soraya Lutangu Bonaventure, Mami Kang, Geo Wyex, and Ivan Cheng. I find this approach exciting and am keen to explore various exhibition formats.<\/p>

My focus is on innovative and experimental ways of presenting art that challenges traditional boundaries. I\u2019m interested in creating dynamic, immersive experiences that engage the audience in new ways. This involves not only the visual aspects but also incorporating elements like performance, sound, and interactive media. By experimenting with different formats and settings, we can push the limits of how art is experienced and understood.<\/p><\/div>

It is a very interdisciplinary approach where different media merge. What is your interest in, for example, choreographing a theater piece in a museum\u2019s context?<\/p><\/div>\n

It's primarily about conveying different narratives in diverse ways. For me, it's more about storytelling than choreography. I\u2019m interested in how we can use various formats to tell compelling stories within the museum context, creating unique experiences that challenge traditional methods of exhibition-making.<\/p><\/div>

June is probably one of the busiest months of the year for you. Are you excited about all the upcoming fairs and exhibitions?\u00a0<\/p><\/div>\n

It's a mix of excitement and curiosity. While I've attended Art Basel several times before, this is my first experience living in the city as an official Basler. I\u2019m not entirely sure what to expect, but my schedule is definitely filling up. This year feels significant, especially with the generational changes happening. Elena Filipovic, the former director of Kunsthalle Basel, is now at Kunstmuseum Basel, and Maike Cruse has taken over as the new director of Art Basel. I feel proud to be part of this transformative period in Basel. More than anything, I'm particularly excited about our Summer Fest, which marks the end of the season and is dedicated specifically to the local community here in Basel. It\u2019s an event I\u2019m putting a lot of effort into and looking forward to immensely.<\/p><\/div>

From your experience, what is the scene in Basel like?\u00a0<\/p><\/div>\n

The beauty of Basel lies in its deep-rooted connection to art. People here grow up with art as an integral part of their lives. When you attend an opening at an institution, it's striking to see people from various fields and not just artists coming together, which sets Basel apart from other cities. The art scene here is incredibly vibrant, with over 40 museums and numerous artist-run and independent spaces. Having worked extensively in independent spaces, I appreciate the diversity and energy these initiatives bring to the city. Although I have yet to visit all of them, I\u2019m familiar with many by name from my time in Geneva and Zurich. This widespread involvement in art and culture across different levels\u2014from major institutions to grassroots spaces\u2014demonstrates Basel's unique and rich cultural landscape.<\/p><\/div>

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Photo by Marc Asekhame. Styling by Michelle Keller. Special thanks to GmbH.\u00a0<\/div><\/div>

That sounds like an inviting network and ground to start working.\u00a0<\/p><\/div>\n

It definitely is. Sometimes, I wish the days were longer so I could experience and engage with everything. But then again, having time to gradually explore and connect with the different facets of Basel's art scene is something I appreciate. There's a lot to look forward to and be a part of.<\/p><\/div> <\/div>\n<\/div>\n\n

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Kiki Furlan: Feeling Soft and Itchy, Small and Big<\/h2>\n\t\t\t\t

Through felting together a fibrous, organic, raw, fluffy, animalistic, robust, fragile, scratchy, comforting, traditional, and pure material.<\/p><\/p><\/div><\/div>\t<\/div>\n\t

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\n\t\t\tby<\/span>\n\t\t\t Anna Hugo<\/span>\t\t<\/div>\n\t\t\t\t
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\n\t\t\tVienna\t\t\t<\/p>\n\t\t<\/div>\n\t\t\n\t<\/div>\n\t

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\n Photo by Moritz Zangl
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Mirela Baciak: Institutional Hospitality and Care Against All Oddities<\/h2>\n\t\t\t\t

As director of the Salzburger Kunstverein, Mirela Baciak elevates hospitality and care to the essential, resilient principle of a sustainable art institution in the long term.<\/p><\/p><\/div><\/div>\t<\/div>\n\t

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\n\t\t\tby<\/span>\n\t\t\t Anne Z\u00fchlke<\/span>\t\t<\/div>\n\t\t\t\t
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\n\t\t\tSalzburg\t\t\t<\/p>\n\t\t<\/div>\n\t\t\n\t<\/div>\n\t

<\/div>\n <\/div>\n\t\n\n<\/div>\n\n"},{"id":"impressions-of-diplome-24","postPreview":"\n
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\n Sofia Smolenskaia, 2023. Photo by Mindaugas Matulis <\/figcaption>\n <\/figure>\n \t\t\t\t\t\n\t\t\t\t\t\n\t\t\t\t\t
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\n Vivi Vega, 2024. Photo by Mindaugas Matulis <\/figcaption>\n <\/figure>\n \t\t\t\t\t\n\t\t\t\t\t
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\n Leah Giertz, 2024. Photo by Mindaugas Matulis <\/figcaption>\n <\/figure>\n \t\t\t\t\t\n\t\t\t\t\t\n\t\t\t\t\t\n\t\t\t\t\t\n\t\t\t\t\t\n\t\t\t\t\t\n\t\t\t\t\t\n\t\t\t\t\t\n\t\t\t\t\t\n\t\t\t\t\t\n\t\t\t\t\t\n\t\t\t\t\t\n\t\t\t\t\t\n\t\t\t\t\t\n\t\t\t\t\t\n\t\t\t\t\t\n\t\t\t\t\t\n\t\t\t\t\t\n\t\t\t\t\t\n\t\t\t\t<\/div>\n\t
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Impressions of Diplome 24<\/h2>\n\t\t\t\t

From June 7 \u2013 21, the Department of Fine Arts at the Zurich University of the Arts is having its annual diploma show.<\/p><\/p><\/div><\/div>\t<\/div>\n\t

\n\t\t\t\t
\n\t\t\tby<\/span>\n\t\t\t Editorial Team<\/span>\t\t<\/div>\n\t\t\t\t
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\n\t\t\tZurich\t\t\t<\/p>\n\t\t<\/div>\n\t\t\n\t<\/div>\n\t

<\/div>\n <\/div>\n\t\n\n<\/div>\n","gallery":"
\n \"\" \n
\n Sofia Smolenskaia, 2023. Photo by Mindaugas Matulis <\/figcaption>\n <\/figure>\n
\n \"\" \n
\n Vivi Vega, 2024. Photo by Mindaugas Matulis <\/figcaption>\n <\/figure>\n
\n \"\" \n
\n Leah Giertz, 2024. Photo by Mindaugas Matulis <\/figcaption>\n <\/figure>\n
\n \"\" \n
\n In\u00eas Henriques, 2024. Photo by Mindaugas Matulis <\/figcaption>\n <\/figure>\n
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\n Kyungeun Son, 2024. Photo by Mindaugas Matulis <\/figcaption>\n <\/figure>\n
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\n Jos\u00e9 Carlos Guijarro Herdo\u00edza (PP Couta), 2023. Photo by Mindaugas Matulis <\/figcaption>\n <\/figure>\n
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\n Nemo Bleuer, 2024. Photo by Mindaugas Matulis <\/figcaption>\n <\/figure>\n
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\n Arthur Heck, 2024. Photo by Mindaugas Matulis <\/figcaption>\n <\/figure>\n
\n \"\" \n
\n Arthur Heck, 2024. Photo by Mindaugas Matulis <\/figcaption>\n <\/figure>\n
\n \"\" \n
\n Vivi Vega, 2024. Photo by Mindaugas Matulis <\/figcaption>\n <\/figure>\n
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\n Ana\u00efs Str\u00fcbin, 2024. Photo by Mindaugas Matulis <\/figcaption>\n <\/figure>\n
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\n Leah Giertz, 2024. Photo by Mindaugas Matulis <\/figcaption>\n <\/figure>\n
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\n Enrique Lanz Jim\u00e9nez, 2024. Photo by Mindaugas Matulis <\/figcaption>\n <\/figure>\n
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\n Patricia Meier, 2024. Photo by Mindaugas Matulis <\/figcaption>\n <\/figure>\n
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\n Kyungeun Son, 2024. Photo by Mindaugas Matulis <\/figcaption>\n <\/figure>\n
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\n Tamara Vepkhvadze, 2024. Photo by Mindaugas Matulis <\/figcaption>\n <\/figure>\n
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\n Lena Lopez, 2024. Photo by Mindaugas Matulis <\/figcaption>\n <\/figure>\n
\n \"\" \n
\n Ana\u00efs Str\u00fcbin, 2024. Photo by Mindaugas Matulis <\/figcaption>\n <\/figure>\n
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\n Yusuf Orhan, 2024. Photo by Mindaugas Matulis <\/figcaption>\n <\/figure>\n
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\n Selina Z\u00fcrrer, 2024. Photo by Mindaugas Matulis <\/figcaption>\n <\/figure>\n
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\n Thilda Bourqui, 2024. Photo by Mindaugas Matulis <\/figcaption>\n <\/figure>\n
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\n Tamara Vepkhvadze, 2024. Photo by Mindaugas Matulis <\/figcaption>\n <\/figure>\n

<\/p><\/div><\/div>","galleryGallery":"

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\n by<\/span> \n Editorial Team<\/span> <\/div>\n
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\n art <\/p>\n

\n impressions <\/p>\n

\n Zurich <\/p>\n <\/div>\n \n \n <\/div>\n

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Impressions of Diplome 24<\/h2>\n \n

From June 7 \u2013 21, the Department of Fine Arts at the Zurich University of the Arts is having its annual diploma show.<\/p><\/p><\/div><\/div> \n <\/div>\n <\/div>\n

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Jun 7, 2024 <\/p>

<\/div>
Sofia Smolenskaia, 2023. Photo by Mindaugas Matulis<\/div><\/div>

As the university year slowly draws to a close, graduate students from bachelor and master of the fine art department at the Zurich University of the Arts are showing their final works at Diplome 24<\/a>. PW-Magazine has already visited the exhibition and collected different impressions of the displayed works spanning from sculpture over painting to video works.<\/p><\/div>

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Vivi Vega, 2024. Photo by Mindaugas Matulis<\/div><\/div>
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Leah Giertz, 2024. Photo by Mindaugas Matulis<\/div><\/div>
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In\u00eas Henriques, 2024. Photo by Mindaugas Matulis<\/div><\/div>
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Kyungeun Son, 2024. Photo by Mindaugas Matulis<\/div><\/div>
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Jos\u00e9 Carlos Guijarro Herdo\u00edza (PP Couta), 2023. Photo by Mindaugas Matulis<\/div><\/div>
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Nemo Bleuer, 2024. Photo by Mindaugas Matulis<\/div><\/div>
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Arthur Heck, 2024. Photo by Mindaugas Matulis<\/div><\/div>
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Arthur Heck, 2024. Photo by Mindaugas Matulis<\/div><\/div>
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Vivi Vega, 2024. Photo by Mindaugas Matulis<\/div><\/div>
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Ana\u00efs Str\u00fcbin, 2024. Photo by Mindaugas Matulis<\/div><\/div>
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Leah Giertz, 2024. Photo by Mindaugas Matulis<\/div><\/div>
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Enrique Lanz Jim\u00e9nez, 2024. Photo by Mindaugas Matulis<\/div><\/div>
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Patricia Meier, 2024. Photo by Mindaugas Matulis<\/div><\/div>
<\/div>
Kyungeun Son, 2024. Photo by Mindaugas Matulis<\/div><\/div>
<\/div>
Tamara Vepkhvadze, 2024. Photo by Mindaugas Matulis<\/div><\/div>
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Lena Lopez, 2024. Photo by Mindaugas Matulis<\/div><\/div>
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Ana\u00efs Str\u00fcbin, 2024. Photo by Mindaugas Matulis<\/div><\/div>
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Yusuf Orhan, 2024. Photo by Mindaugas Matulis<\/div><\/div>
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Selina Z\u00fcrrer, 2024. Photo by Mindaugas Matulis<\/div><\/div>
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Thilda Bourqui, 2024. Photo by Mindaugas Matulis<\/div><\/div>
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Tamara Vepkhvadze, 2024. Photo by Mindaugas Matulis<\/div><\/div> <\/div>\n<\/div>\n\n
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\n\t\t\t\n\t\t\t\n \n \n\t\t<\/div>\n\t\t
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\n \"\" \n
\n Y. Malik Jalal at murmurs, 2024. Photo by Mindaugas Matulis <\/figcaption>\n <\/figure>\n \t\t\t\t\t\n\t\t\t\t\t\n\t\t\t\t\t
\n \"\" \n
\n Lorenza Longhi at Fanta-MLN, 2024. Photo by Mindaugas Matulis <\/figcaption>\n <\/figure>\n \t\t\t\t\t\n\t\t\t\t\t
\n \"\" \n
\n Irina Lotarevich at Sophie Tappeiner, 2024. Photo by Mindaugas Matulis <\/figcaption>\n <\/figure>\n \t\t\t\t\t\n\t\t\t\t\t\n\t\t\t\t\t\n\t\t\t\t\t\n\t\t\t\t\t\n\t\t\t\t\t\n\t\t\t\t\t\n\t\t\t\t\t\n\t\t\t\t\t\n\t\t\t\t\t\n\t\t\t\t\t\n\t\t\t\t\t\n\t\t\t\t\t\n\t\t\t\t\t\n\t\t\t\t\t\n\t\t\t\t\t\n\t\t\t\t\t\n\t\t\t\t<\/div>\n\t
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Impressions of Liste Basel 2024<\/h2>\n\t\t\t\t

It's that time of the year when the art world gathers in Basel, and the art fair Liste Basel opens its doors from June 10-16.<\/p><\/p><\/div><\/div>\t<\/div>\n\t

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\n\t\t\tby<\/span>\n\t\t\t Paula Thomaka<\/span>\t\t<\/div>\n\t\t\t\t
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\n\t\t\t\tart\t\t\t<\/p>\n\t\t\t

\n\t\t\t\t\t\t\t\timpressions\t\t\t\t\t\t\t<\/p>\n\t\t\t

\n\t\t\tBasel\t\t\t<\/p>\n\t\t<\/div>\n\t\t\n\t<\/div>\n\t

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\n \"\" \n
\n Anthea Hamilton, Sliced Marinot Squash, at GIANNI MANHATTAN curated by Giulia Civardi. Photo by Julian Lee-Harather <\/figcaption>\n <\/figure>\n \t\t\t\t\t\n\t\t\t\t\t
\n \"\" \n
\n George Tourkovasilis, N. Athens, at FELIX GAUDLITZ curated by Helena Papadopoulos. Photo by Julian Lee-Harather <\/figcaption>\n <\/figure>\n \t\t\t\t\t\n\t\t\t\t\t
\n \"\" \n
\n Na Mira, Marquee, at Croy Nielsen curated by Quinn Latimer. Photo by Julian Lee-Harather <\/figcaption>\n <\/figure>\n \t\t\t\t\t\n\t\t\t\t\t\n\t\t\t\t\t\n\t\t\t\t\t\n\t\t\t\t\t\n\t\t\t\t\t\n\t\t\t\t\t\n\t\t\t\t\t\n\t\t\t\t\t\n\t\t\t\t\t\n\t\t\t\t\t\n\t\t\t\t\t\n\t\t\t\t\t\n\t\t\t\t\t\n\t\t\t\t\t\n\t\t\t\t\t\n\t\t\t\t\t\n\t\t\t\t\t\n\t\t\t\t\t\n\t\t\t\t\t\n\t\t\t\t\t\n\t\t\t\t\t\n\t\t\t\t\t\n\t\t\t\t\t\n\t\t\t\t\t\n\t\t\t\t\t\n\t\t\t\t<\/div>\n\t
\n\t\t\t\t\t

Impressions of Curated by 2023<\/h2>\n\t\t\t\t

From Sept 8 \u2013 Oct 14 Curated by, a city-wide program of exhibitions with 24 participating galleries that invited internationally renowned guest curators, is taking place for its fifteenth edition.<\/p><\/p><\/div><\/div>\t<\/div>\n\t

\n\t\t\t\t
\n\t\t\tby<\/span>\n\t\t\t Editorial Team<\/span>\t\t<\/div>\n\t\t\t\t
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\n\t\t\t\tart\t\t\t<\/p>\n\t\t\t

\n\t\t\t\t\t\t\t\timpressions\t\t\t\t\t\t\t<\/p>\n\t\t\t

\n\t\t\tVienna\t\t\t<\/p>\n\t\t<\/div>\n\t\t\n\t<\/div>\n\t

<\/div>\n <\/div>\n\t\n\n<\/div>\n\n"},{"id":"young-art-space-efes-42-1","postPreview":"\n
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\t\t\tYoung Art Spaces\t\t\t<\/p>\t\t\t<\/div>\t\t\t\n\t\t\t\n \n \n\t\t<\/div>\n\t\t

\n \t\t\t\n\t\t\t\t\t
\n \"\" \n
\n Photo by Paul Kranzler <\/figcaption>\n <\/figure>\n \t\t\t\t\t\n\t\t\t\t\t\n\t\t\t\t\t\n\t\t\t\t\t
\n \"\" \n
\n Photo by Paul Kranzler <\/figcaption>\n <\/figure>\n \t\t\t\t\t\n\t\t\t\t\t\n\t\t\t\t\t\n\t\t\t\t\t\n\t\t\t\t\t
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\n Photo by Paul Kranzler <\/figcaption>\n <\/figure>\n \t\t\t\t\t\n\t\t\t\t\t\n\t\t\t\t\t\n\t\t\t\t\t\n\t\t\t\t\t\n\t\t\t\t\t\n\t\t\t\t\t\n\t\t\t\t\t\n\t\t\t\t\t\n\t\t\t\t<\/div>\n\t
\n\t\t\t\t\t

Young Art Spaces: EFES 42<\/h2>\n\t\t\t\t

In this series we take a closer look on selected initiatives that shape the vivid art scenes of Austria, Switzerland and Germany.<\/p><\/p><\/div><\/div>\t<\/div>\n\t

\n\t\t\t\t
\n\t\t\tby<\/span>\n\t\t\t Anna Hugo<\/span>\t\t<\/div>\n\t\t\t\t
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\n\t\t\t\tart\t\t\t<\/p>\n\t\t\t

\n\t\t\t\t\t\t\t\tpeople\t\t\t\t\t\t\t<\/p>\n\t\t\t

\n\t\t\tLinz\t\t\t<\/p>\n\t\t<\/div>\n\t\t\n\t<\/div>\n\t

<\/div>\n <\/div>\n\t\n\n<\/div>\n","gallery":"
\n \"\" \n
\n Photo by Paul Kranzler <\/figcaption>\n <\/figure>\n
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\n Photo by Paul Kranzler <\/figcaption>\n <\/figure>\n
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\n Photo by Paul Kranzler <\/figcaption>\n <\/figure>\n
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\n Photo by Paul Kranzler <\/figcaption>\n <\/figure>\n
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\n Photo by Paul Kranzler <\/figcaption>\n <\/figure>\n

<\/p><\/div><\/div>","galleryGallery":"

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\n by<\/span> \n Anna Hugo<\/span> <\/div>\n
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\n art <\/p>\n

\n people <\/p>\n

\n Linz <\/p>\n <\/div>\n \n \n <\/div>\n

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Young Art Spaces <\/p> \n <\/div>\n

\n \n

Young Art Spaces: EFES 42<\/h2>\n \n

In this series we take a closer look on selected initiatives that shape the vivid art scenes of Austria, Switzerland and Germany.<\/p><\/p><\/div><\/div> \n <\/div>\n <\/div>\n

\n

Jun 1, 2024 <\/p>

<\/div>
Photo by Paul Kranzler<\/div><\/div>

EFES 42<\/a> - Verein f\u00fcr Skulptur, one of the main artist-run spaces in Linz is hosted by the three artists: Stefan Brandmayr, Christel Kiesel and Felix P\u00f6chhacker. They first launched the space in a former Turkish pub and are now in the inner courtyard of the same building. In being intertwined with their studio space and workshop, it has allowed EFES 42 to be part of their artistic practice. The program moves at a quick pace (two-week shows) with not much can be found online, making it a space to go see in person and be something tangible. Anna Hugo met with Stefan, Christel and Felix, to learn about why they have established a presentation format that favors sculpture-making to define their program while rejecting the word \"curating\" with ease.<\/p><\/div>

When I first researched your space and looked at your profile on Instagram, I was a bit surprised by the lack of information I could find. This seems deliberate, why have you chosen to maintain this low visibility? What makes this approach interesting to you with regard to EFES 42?<\/p><\/div>\n

Felix P\u00f6chhacker: As we see sculpture as something tangible, both as a term itself and as a medium, our idea from the outset was to create an exhibition situation in which visitors have to actively participate. We wanted to counter the common and rapid consumption of images of art.<\/p>

Christel Kiesel: Then sculpture often doesn't work in photos or photography doesn't work for sculpture. If you want to see an exhibition at EFES, you just have to come by. It sounds a bit snotty, but it's also a consequence of sculpture and a condition we set up.<\/p>

In favour of the accessibility of art, the presence of the artists during the opening is, from experience, beneficial for conversations about the work\/s.<\/p><\/div>

<\/div>
Photo by Paul Kranzler<\/div><\/div>

The space is a \"Verein f\u00fcr Skultpur\", which evidently places sculpture as the main focus of the programme. How do you define the programme beyond this? What sets your space apart from others?\u00a0<\/p><\/div>\n

Stefan Brandmayr: The focus here already significantly differs from other spaces in terms of expectations. We don't specify that the artists have to show sculptures. But even if pictures, videos, or performances are shown, the works are always placed or read in a sculptural or spatial context.\u00a0\u00a0\u00a0<\/p><\/div>

From the long list of artists on your website, I\u2019ve gathered from your exhibition agenda that you mostly do solo exhibitions. Why is this your preferred exhibition format?<\/p><\/div>\n

CK: A solo exhibition is a value, and one first has to get hold of this opportunity. The chance to experiment and try something out is rare, and in this protected and art-friendly off-space setting, it is a catapult for one's own experience.<\/p>

FP: We endeavor to create good conditions for the invited artists and want to anticipate an exhibition at EFES 42 as little as possible. So, we think the best way to do this is to offer a solo exhibition. Occasionally, artists choose to create the exhibition together with someone else.<\/p>

SB: That is then the artist's decision, which we fully support.<\/p><\/div>

How do you select the artist you show?<\/p><\/div>\n

SB: Overall, we are looking for variety. It's not just about showing sculptural positions that we find interesting, but also a certain diversity in the discipline and always with a contemporary artistic approach.<\/p>

CK: Throughout the year, everyone collects artist names and draws up a personal list of favorites, which we then go through together to reach a consensus. In that process, we weave a thread through the constellations for the annual program.<\/p>

FP: The selection of artists is not solely based on our own interests, but also results from a discussion about their topicality.<\/p>

CK: And we often have overlaps because of similar thematic patterns.<\/p><\/div>

<\/div>
Photo by Paul Kranzler<\/div><\/div>

I was surprised to hear that your exhibition duration is only two weeks, why so short? Is this a way to be able to include more artists or make sure people come to the opening to establish moments of gathering together?<\/p><\/div>\n

SB: A longer exhibition period does not necessarily mean an improvement for the exhibition or more visitors. We like this compressed energy that takes place in the two weeks. If an exhibition is open for a very long time, then there is also this moment when you postpone a visit further and further until it is no longer so important to see the exhibition or you simply overlook the closing date. I find the thought \"OK, it's only for a short time. If I want to see it, I have to give it priority\" is quite interesting and then you also show your audience this way of thinking.<\/p><\/div>

I am noticing you are avoiding the term \"curating\" when you speak about the space. Is this intentional? Do you consider yourselves curators or more operators of a project space?<\/p><\/div>\n

FP: Our artist-run-space is part of our artistic practice and vice versa. The result of this is self-empowerment as far as the conditions of exhibiting are concerned. We try to meet everyone on equal footing i.e. the artists or anyone else involved with the specific project. By doing this we try to dismantle hierarchies and bring a collective idea more to the forefront. Therefore, we find the term \"space operators\" more appropriate.<\/p>

CK: The majority of our work consists of creating circumstances in which the artist can concentrate fully on their work. In other words, we take care of things with bureaucratic minimalism and the latest possible deadlines. And we can only do this from a collegial perspective. We are hosts of a space!<\/p><\/div>

All three of you are artists. How has this influenced your program and do you collaborate outside of EFES 42?<\/p><\/div>\n

FP: At some point, EFES 42 emerged as a theme that you can work on artistically. We associate EFES 42 not only with the exhibition space, but also with our studio, because our workshop is in the next room that we also turn into a bar when we open.<\/p>

SB: We've never separated the two so much and a lot of things have simply come together. I also believe that what we do artistically and what happens at EFES 42 often complement or validate each other. This has also resulted in some exhibition projects such as the ABC Buffet in the Stadtgalerie Salzburg.<\/p>

CK: At some point, we accidentally started a small, intimate art collection with works by the artists exhibiting with us. It started with the loan of an ashtray and then expanded to include pieces from leftovers, discarded work samples, spare parts of an object, small works to actual small dedications and material autographs. We exhibited these at Belvedere 21 last year.<\/p>

SB: Felix and Christel also run FLUR\/4, a kind of open-air, off-space in Brandenburg, Germany. The space functions both as a sculpture and as a stage in the middle of nowhere between grasses and pine trees. Last summer I was able to exhibit there together with No\u00eble Ody.<\/p><\/div>

<\/div>
Photo by Paul Kranzler<\/div><\/div>

I'd like to briefly discuss your location in Linz. You mentioned that you decided to collectively stay in Linz and continue producing shows as well as your art-practices. Why did you make this conscious decision and how has this city shaped your exhibitions and ways of hosting?<\/p><\/div>\n

FP: Someone has to do the shit in small towns.<\/p><\/div>

Very True! So have you always been located in this space or has it existed in other forms or places before?<\/p><\/div>\n

SB: Our space started at the same address in a former Turkish pub that served Efes (the name of a Turkish brewery). We took over and renovated the space as a studio under very favorable conditions. From the very beginning, we had the idea of organizing exhibitions there and after about 3 years, the building was bought by new owners. Unfortunately, our lease was not renewed. Then, by chance, the premises we always had our eyes on within the inner courtyard became available.<\/p>

CK: The old premises, i.e. the first EFES 42, was much more intertwined with the presence of the workshop\/studio. The machines on castors, furniture for studio materials and displays. How much had to be removed or could remain was always under negotiation.<\/p>

The current premise in the backyard was then an upgrade in terms of exhibition comfort. The quality of stay was better as it was quieter, more spacious, and the exhibition space became easier to organize and also competed less with the company's own production and exhibition times. Funny, despite the two completely different locations, the address hasn't changed.<\/p><\/div>

So this is where the Efes streetsign came from. What made you feel it was the right name for this project\/collaboration?<\/p><\/div>\n

FP: Yes, the sign was a remnant of the Turkish pub. Two of us started in the room, Felix -EF and Stefan -ES. Then a few more associations with EF and ES came up that made the decision easy for us. The sign has been part of our space ever since.<\/p><\/div>

<\/div>
Photo by Paul Kranzler<\/div><\/div>

Lastly, By appointment<\/em> is a series of talks that you host at EFES 42. You invite other hosts to talk about their space, their program, and their whereabouts. Why did you feel it was necessary to include this approach in your exhibition program?<\/p><\/div>\n

SB: It's exciting to see the realities that other space hosts have to come to terms with. Different motivations, backgrounds and interests that are then channeled into a space, which in turn has a history and environment. During the discussions, we can address factors that often remain unspoken: Financial situations, neighbors, separation or overlaps with one's own art.<\/p>

CK: It's also a format where you can openly chat in a relaxed workshop atmosphere on spontaneously improvised seating. This atmosphere tries to counteract inhibitions about asking questions. Operating the exhibition space as a way of engaging with art in our sense becomes more approachable and inviting for interested hosts to-be.<\/p><\/div> <\/div>\n<\/div>\n\n

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\n Photo by Marcella Ruiz Cruz <\/figcaption>\n <\/figure>\n \t\t\t\t\t\n\t\t\t\t\t\n\t\t\t\t\t\n\t\t\t\t\t\n\t\t\t\t\t\n\t\t\t\t\t\n\t\t\t\t\t\n\t\t\t\t\t\n\t\t\t\t\t\n\t\t\t\t\t\n\t\t\t\t\t\n\t\t\t\t\t\n\t\t\t\t\t
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\n Photo by Marcella Ruiz Cruz <\/figcaption>\n <\/figure>\n \t\t\t\t\t\n\t\t\t\t\t\n\t\t\t\t\t\n\t\t\t\t\t\n\t\t\t\t\t\n\t\t\t\t\t\n\t\t\t\t\t
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\n Photo by Marcella Ruiz Cruz <\/figcaption>\n <\/figure>\n \t\t\t\t\t\n\t\t\t\t\t\n\t\t\t\t\t\n\t\t\t\t\t\n\t\t\t\t\t\n\t\t\t\t\t\n\t\t\t\t\t\n\t\t\t\t\t\n\t\t\t\t\t\n\t\t\t\t\t\n\t\t\t\t\t\n\t\t\t\t\t\n\t\t\t\t\t\n\t\t\t\t\t\n\t\t\t\t\t\n\t\t\t\t\t\n\t\t\t\t<\/div>\n\t
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Nikima Jagudajev: Cosmos Under Construction<\/h2>\n\t\t\t\t

A conversation on doodles, the magic circle, and pleasure at being the cause.<\/p><\/div><\/div>\t<\/div>\n\t

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\n\t\t\tby<\/span>\n\t\t\t Louise\u00a0Trueheart<\/span>\t\t<\/div>\n\t\t\t\t
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\n\t\t\t\t\t\t\t\tpeople\t\t\t\t\t\t\t<\/p>\n\t\t\t

\n\t\t\tBrussels\t\t\t<\/p>\n\t\t<\/div>\n\t\t\n\t<\/div>\n\t

<\/div>\n <\/div>\n\t\n\n<\/div>\n\n
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\n \"\" \n
\n Photo by Moritz Zangl
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\n \"\" \n
\n Photo by Moritz Zangl <\/figcaption>\n <\/figure>\n \t\t\t\t\t\n\t\t\t\t\t\n\t\t\t\t\t\n\t\t\t\t\t\n\t\t\t\t\t\n\t\t\t\t\t
\n \"\" \n
\n Photo by Moritz Zangl <\/figcaption>\n <\/figure>\n \t\t\t\t\t\n\t\t\t\t<\/div>\n\t
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Mirela Baciak: Institutional Hospitality and Care Against All Oddities<\/h2>\n\t\t\t\t

As director of the Salzburger Kunstverein, Mirela Baciak elevates hospitality and care to the essential, resilient principle of a sustainable art institution in the long term.<\/p><\/p><\/div><\/div>\t<\/div>\n\t

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\n\t\t\tby<\/span>\n\t\t\t Anne Z\u00fchlke<\/span>\t\t<\/div>\n\t\t\t\t
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\n\t\t\tSalzburg\t\t\t<\/p>\n\t\t<\/div>\n\t\t\n\t<\/div>\n\t

<\/div>\n <\/div>\n\t\n\n<\/div>\n\n"},{"id":"la-becque-in-the-wake-of-sunlight","postPreview":"\n
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La Becque: In The Wake of Sunlight<\/h2>\n\t\t\t\t

With this series, we take a look behind the scenes of various residency spaces to get a sense of the current happenings.<\/p><\/p><\/div><\/div>\t<\/div>\n\t

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\n Astrit Ismaili. Photo by Emilien Itim <\/figcaption>\n <\/figure>\n
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\n Alponom and Stephen O'Malley. <\/em>Photo by Emilien Itim <\/figcaption>\n <\/figure>\n
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\n Astrit Ismaili. Photo by Emilien Itim <\/figcaption>\n <\/figure>\n

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Keeping up with <\/p> \n <\/div>\n

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La Becque: In The Wake of Sunlight<\/h2>\n \n

With this series, we take a look behind the scenes of various residency spaces to get a sense of the current happenings.<\/p><\/p><\/div><\/div> \n <\/div>\n <\/div>\n

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May 27, 2024 <\/p>

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Astrit Ismaili. Photo by Emilien Itim<\/div><\/div>

On May 25, 2024, La Becque celebrated its 5th\u00a0anniversary on the shores of Lake Geneva in La Tour-de-Peilz, between Vevey and Montreux, and curator Vanessa Cimorelli provided an insight on that special occasion.<\/p><\/div>

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Time is Away, La Becque. Photo by Emilien Itim<\/div><\/div><\/div>
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Time is Away, La Becque. Photo by Emilien Itim<\/div><\/div>

On May 25, 2024, La Becque <\/a>celebrated its 5th\u00a0anniversary, and if you look closely at the path leading to the lake, there\u2019s a shadow that sometimes spreads on the ground in the shape of a flower. Depending on the weather, it reveals itself in all its artifice, and in that timeless moment, it evokes all the other flowers in the garden. Here, La Becque\u2019s flower is an invitation to enter a world of shadows, where readings are to be understood as shifting moments. It knows how to poke holes in washed and dried soils to nourish them with new ideas, it knows how to wreak havoc with thunder and rain to bring flooded lands together, and it knows that time is its best ally. A little further on, there\u2019s the sunlight that always gleams and shimmers on the lake, confining this venue in its own world, aware of its limits as well as those it seeks to overcome. If we often speak of a residence located on the shores of Lake Geneva, it\u2019s not only because of its extraordinary landscape but also because of all the flashes of light that illuminate its garden. And so, for the past five\u00a0years, the landscape of La Becque has resonated with the splendour of the people who have passed through it, like a vital force that will have taught us this: facing our emotions means taking the time to understand who we are. Time for reflection and time for revelation are all rhythms that reveal our capacity to become. Perhaps the greatest challenge lies between the lines where the future is written.<\/p><\/div>

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Alponom and Stephen O'Malley. <\/em>Photo by Emilien Itim<\/div><\/div>

While it\u2019s appropriate for an anniversary to share the most memorable moments, this text focuses on the heart of La Becque\u2019s preoccupations: the long term. At a time when the economy of time is the subject of much debate, this notion, which is one of the main issues at stake in our residency, is, we must stress, essential. For artists (but not only), the spatial experience today is constrained in several ways: it is compartmentalized by a home where living and working sometimes mix, confiscated when borders are closed or difficult to cross, fragmented when the grass is constantly greener elsewhere. But sometimes, the most familiar places are deserts that need to be made to bloom, and it\u2019s also up to institutions to figure out how. The question of a residency, then, and more specifically, the research that is carried out there, is a divisive one. On the one hand, there\u2019s the art of visibility, which seeks a result that can be seen, analyzed, exhibited, and sold at all costs. This is the art that helps make a living and creates opportunities. Although necessary for artists to be able to carry on working, La Becque, as a residency space, questions the impact of the current understanding of art as derived from a market. If artistic production only follows this logic of uncontrollable expansion, how might affective economies break free of neoliberal financial doctrines? How can we prevent the conviction of production from trapping artists in a hollow pit?<\/p><\/div>

La Becque has decided to define itself as a landscape of time, place, and memory. It\u2019s a place to wander, to meet, to reflect, and just because it doesn\u2019t \u201cproduce\u201d doesn\u2019t mean it doesn\u2019t create, which is perhaps the breaking point in this debate. This conceptual crevice appears here as an invitation to remember the flower of La Becque, whose fragrance evaporates on the residence, swirls in the air, and leads to other paths if you\u2019re willing to follow them. What happens here on a daily basis is a way of understanding the work of artists as a process that transforms an idea into an experience because we\u2019re convinced that these are the moments that drive the will to create. To insist on the question of memory is to invoke the experience of time as fundamental. It is the necessary link between a concept and its realization, a moment of distance that we finally allow ourselves, a space for encounters driven by chance and not determined by commercial exchange processes. On closer inspection, it is a gap that explores the intimacy of social relations, both those of individuals and of the systems that bind them together. La Becque is a place that considers emotions \u2013 intense and challenging \u2013 as constantly in need of being revealed. Asserting these presences and promoting research in order for them to constitute a part of situated knowledge requires a long period of time that must be respected, for the sake of the artists but also as a protest approach.<\/p>

Finally, as a birthday wish, La Becque hopes to continue to offer its artists the time they need to realize themselves \u2013 at the same pace as the sun\u2019s glow, which is sometimes slow to show itself \u2013 because once revealed, there\u2019s nothing to show behind that sun.<\/p><\/div>

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Astrit Ismaili. Photo by Emilien Itim<\/div><\/div> <\/div>\n<\/div>\n\n
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In Retrospection: Performances 2024<\/h2>\n\t\t\t\t\t<\/div>\n\t
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PW-Playlist Curated by DJ WORKING CLASS for Hyperreality<\/h2>\n\t\t\t\t\t<\/div>\n\t
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May 18, 2024 <\/p>

Once in a while we invite friends, collaborators, artists and curators to assemble a Spotify playlist featuring their favorite current songs. Don't forget to SUBSCRIBE<\/a>.<\/p><\/div>