Each month, the Swiss curator Mohamed Almusibli presents a selection of digital works recently produced by Swiss artists, or artists living and working in Switzerland, in the Works section on the 5th floor, our digital extension. This one-year program aims at drawing a panorama of the territories and forms emerging from the Swiss art scene in all its diversity.
Program presented with the support of Pro Helvetia
Roman Selim Khereddine
German Shepherds Need Heroes Too
In German Shepherds Need Heroes Too, Roman Selim Khereddine reflects on the popularity of German and Belgian Shepherd dogs in Morocco.
“Do you inherit your dog’s violent history?” he asks, taking into account that these dogs have been used in military and police work ever since their standardisation as breeds at the turn of the 20th century. The video-essay traces the history of dogs as mediums in hierarchical relations between different human groups, ie., in concentration camps, colonies, civil rights protests.The human-animal relationship is portrayed here as one shaped primarily by violence and domination, while the potential for agency of both owner and dog is questioned.
“How much of your violent history does your dog inherit”, then? Found footage – videos uploaded to Youtube by Moroccan dog fanciers, and news clips – is combined with an essay, which appears as a series of captions. In his text, Khereddine draws from colonial history, Islamic traditions, and popular/meme culture, as well as his own experiences, memories and opinions.
Roman Selim Khereddine (b. 1989) lives and works in Zurich. He holds Master’s degrees in History (University of Zurich, 2016) and Fine Arts (Zurich University of the Arts, 2020).
Punk funeral comes from a YouTube post from an Italian online journal. The post was about a murder and the title was: She gave me the virus and I killed her. The work is structured around responses posted in reply to one specific comment under the video. The final picture of all of these voices from the comment section reenacts the abuse, shallowness and selfishness displayed,ultimately becoming a funeral farewell following this depicted girl’s death.
Andrea Vescovi, born in Savona (IT) in 1996, lives and works in Lausanne (CH) where he attends the MA in visual arts at ECAL. From 2015 to 2018 he lived and worked in Milan where he attended NABA. His artistic production is focused on the realization of video installations, performances and environments admixed with film productions. In 2018 he co-founded an artistic collective, the Collettivo Silencio, in which he took part in various exhibitions and festivals.
Circuit Fermé is a video performance belonging to a larger project titled Maggic Cube. Started in 2015, Maggic Cube is the result of Adji Dieye’s research into the notion of branding and its influence on the production of visual culture in the West-African sphere, from urban landscapes to contemporary art.
The project title refers to the famous stock cubes sold today by numerous multinationals, including the household name, Maggi.
Now owned by Nestlé, Maggi products first entered the African market right after the Berlin Conference in 1885, when European powers decided upon the geographical and economic fate of the African continent. Since then, stock cubes have become a key ingredient in many West African cuisines and have earned the nickname “magic” cubes.
In the short video performance Circuit Fermé we see a young man, Alyoub, strolling around in the weekly market of the Isola neighbourhood in Milan, attempting to sell these famous “magic cubes.” The work is born out of an ironic attitude towards the appropriation of space through the selling of goods. We hear the protagonist’s voice from a megaphone invading the surrounding space. We can see Alyoub sonorously appropriating the public sphere and enacting a symbolic gesture of returning the stock cube to its birthplace by selling it back to the European continent.
Adji Dieye is an artist living and working between Zurich, Milan, and Dakar. Dieye holds a BA in New Technologies of Arts from the Academy of Fine Arts of Brera in Milan and an MFA degree from the Zurich University of the Arts, ZHDK.
Adji Dieye’s artistic practice questions the transmedia nature of the photographic medium in an attempt to analyze the epistemologies mediating the construction of selfhood in an anti-colonial era.
Her research looks at the economy of national and cultural representation in public spaces of diasporic and West-African identity. Through her projects, Adji Dieye addresses the visual representation and commodification of identity while critiquing cultural norms and stereotyped gender roles. Dieye asks how societal representation in the public sphere informs the individual’s imagination and our general perception of ourselves. In doing so, she presents the embedded political paradox of identitarian imageries.
Since 2018 Adji Dieye has exhibited atseveral international venues: Lagos PhotoFestival, Les Rencontres de la photographie African Bamako, Kunsthalle Wien, Dak’art Biennale 2020, Clarck House Mumbai.