These three works are presented as part of the program Almusibli Panorama. Each month, the Swiss curator Mohamed Almusibli presents a selection of digital works recently produced by Swiss artists or by artists living and working in Switzerland in the Works section on the 5th floor. At the end of a year of proposals, a panorama of the territories and forms emerging from the Swiss art scene in all its diversity will thus be drawn up.
Ian Wooldridge (Zurich)
2020, HD Video, color, sound, 5 min 51 sec
The foundation of HOMEBASE is a 3D scan of a failed utopian family home, the “Casa Sperimentale”. It’s the kind of building one would feel dreamy about when coming across it in a lifestyle magazine, a space for escape and projection that one can take and project onto and this time the projection is of a karaoke bar. HOMEBASE unfolds with coded text and sound that are informed by personal adolescent history, negating the self with a universal nostalgia.
Ian Wooldridge (1982, England) is an artist and writer based in Zurich. Together with architect and composer Li Tavor, Ian is in a band called LIVE SHOW. He has performed and exhibited at: ICA (London); Fri Art (Fribourg) Nuit Blanche (Paris Arts Lab 2019); The Cruising Pavilion (Venice Architecture Biennale 2018); LUX (London); Folkwang (Essen) and Istituto Svizzero, (Rome). And has written for Frieze (UK), Mousse (IT), Brand New Life (CH), Arcadia Missa (UK), Pilot Press (UK) and Le Temps (CH).
Remy Ugarte Vallejos (Fribourg)
Tendency of Capture
2020, HD video, color, sound, 12 min
As a research on power structures and resistance, Tendency of Capture looks at notions of the tribal and the primitive in Western societies by confronting scenes from rural Bolivia with urban tribes in the city of Berlin. In doing so, the work seeks to link similarly distant subjects and addresses the intersections between primitive cultures and technologies of contemporary life. Tendency of Capture thereby reflects upon ‘capture’ in a broader sense: Capture within structures of control and surveillance societies; Capture in terms of hunting and animal instinct; Capture in relation to land occupation, exploitation, and oppression of the indigenous by colonial powers; And finally, capture in terms of image capture, asking the question: Doesn’t the act of capturing images always involve a certain degree of violence?
Remy Ugarte Vallejos (1993, Fribourg) works and lives in Lausanne. He holds a Bachelor degree in Photography (ECAL, 2018) and is currently enrolled in the Master of Fine Arts at HEAD – Genève. He has been granted the ABA residency of Pro Helvetia in 2019 and the artistic residency of the canton of Fribourg in 2020 both in Berlin.
Miriam Laura Leonardi (Zurich)
2020, HD video, color, sound, 5 min 54 sec
In a series of video portraits of female friends, Miriam undertakes a task with her subject. In her most recent portrait, Sylvia (2020), Miriam films herself filming former video vixen and celebrity stylist Sylvia Nek picking seashells with her son on the shore. Earlier portraits include Michèle (2019), in which Miriam and the artist Michèle Graf each play one hand of Scott Joplin’s ragtime classic The Entertainer, a piece taught to both women by their fathers. In Géraldine (2016), she gives a camera to publisher and writer Géraldine Beck and takes her on a boat trip in the jungle. In Bleta (2015), Miriam goes hunting with the artist Bleta Jahai, examining each part of a deer’s innards and organs with their hands after its stomach is slit open. The soundtrack to Sylvia is called Big Coast by Beautiful Swimmers.
Miriam Laura Leonardi (1985, Lörrach) holds a Master of Arts in Fine Arts from the ZHdK after studying photography in Paris. Her practice is marked by a semiotic research which combines feminist politics with literary and philosophical texts, manifolding in multidisciplinary and often collaborative projects. Her artworks are assemblages of not only different thoughts but also of different authors. She translates various popular references – filmic, literary and art historian – into a contemporary context, expanding the concept of appropriation and fostering a reflection about the effectiveness of information in Time. Her interest in translation and language also manifests in the current translation of the book Le Schizo et les Langues by Louis Wolfson (1970) from French into German. Her work has been shown in numerous solo and group exhibitions internationally, including Bel Ami (Los Angeles), Kunsthalle Fri Art (Fribourg), Kunsthaus Glarus (Glarus), Galerie Maria Bernheim (Zurich), Astrup Fearnley Museum (Oslo), Swiss Institute New York (New York) and Marbriers 4 (Geneva). Since autumn 2017 she is also a lecturer in the Bachelor program of the ECAL in Lausanne.