Rhythms & Layers

Während eines gemeinsamen ayurvedischen Aufenthaltes in Indien pflegten Camenisch und Stauch künstlerisch und menschlich intensiven Austausch. Sie entschlossen sich diese gemachten Erfahrungen in einer zweiteiligen Arbeit im Espace Juraplatz zu visualieren.

Die im Innenraum gezeigte Printarbeit bezieht sich auf den Austausch in Indien, das Video als Resultat der in situ enstandenen fotografischen Untersuchungen und als Weiterführung eben dieser Printarbeit. Kreisende Bewegungen, fotografische Untersuchungen, falsche Spiegelungen und Unschärfen. Das Bildmaterial inhaltlich verdichtet durch «minderwertige Abzüge auf Thermopapier» und in einer Timeline zusammengefügt.

http://www.camenisch.ch

https://www.stau.ch


PUBLIC ART SPACE JURAPLATZ is located at the bus stop of the same name in Biel/Bienne, Switzerland.
More than 80 exhibitions have been held there so far, with international artists such as Joan Fontcuberta, Cristina De Middel and Kurt Caviezel, among others.
The space, founded in 2010 by Enrique Muñoz García, is focused on video art and photography, including Art Installations, performances and concerts.
Juraplatz is also a space that allows experimentation for the creation of new works.

JURAPLATZ is part of OFFOFF / independent art spaces Switzerland.


Location
Juraplatz - Place du Jura
2502 Biel/Bienne
Switzerland
map


Contact
info@juraplatz.ch


Social Media
Instagram
facebook


Directed and curated by
Enrique Muñoz García


Curators
Ingrid Wildi Merino, Elodie Régnier, Park Byoung Uk, Magda Guruli, Emer Lynch, Sarah Girard, Hélène Joye-Cagnard, Catherine Kohler, Kristina Grigorjeva, Camille Regli, Barbara Meyer Cesta, Sandra Sahin-Flükiger, Nora Renaud


Cultural Partner Institutions
Biel/Bienne Festival of Photography, KroneCouronne, Life Framer, Nacht der 1000 Fragen, Nine Dragon Heads, Karte Noire, Artisterium, Entre le temps, First Friday, ArtyShow.


Supported by
Stadt Biel, Swisslos/Kultur Kanton Bern, Migros-Kulturprozent, Stiftung Temperatio, Schober Schreinerei + Glaserei GmbH


Coded by
Strukturart



Artists

In collaboration with the Musée Visionnaire, Zurich

The exhibition by the artist Parzival is based on an installation of 20 clocks that Parzival created between August and December 2019 for an exhibition at the Musée Visionnaire in Zurich, curated by Manuela Hitz. In this case, these clocks will tell the time in different cities and conflict zones around the world.
The second part of the exhibition is based on an intervention of newspapers and books with Esperanto texts that the artist will create performatively on site to offer new, unique and didactic courses in Esperanto, a language that the artist has used as a unifying element in his work for more than 50 years. The artist will be present every day to offer these Esperanto courses to visitors to the exhibition.
Parzival will also present a new type of world currency: the Espero, a currency created by Parzival and Garry Davis in dialog, which functions independently as a uniform currency for world peace and thus acts as a connecting element between nations in a similar way to Esperanto.

Mondavalutokiosko was officially opened in December 2021 and is now being presented for the fourth time at Kunstraum Juraplatz.

https://www.modelsoldato.com

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Ukraine, Gaza, Ecuador – die meisten von uns kennen die Orte nur aus Zeitungen, Internet und TV. Die Probleme der Menschen, die dort leben? Unendlich weit weg, so scheint es zumindest. Doch mit dem Flugzeug sind nicht einmal vier Stunden bis Tel Aviv, wenn die Kirchturmglocken in Biel zum Zmittag schlagen, wird in Kiew der Nachmittag eingeläutet. Gerade mal eine Stunde ist es, die uns trennt. Oder doch vereint?
Zeitzonen hin oder her: Wir sitzen alle unter der gleichen Sonne, dem gleichen Mond, den gleichen Satelliten, die über uns kreisen. Letztere sind mitverantwortlich dafür, dass sich alles noch ein bisschen näher und irgendwie auch ferner anfühlt. Ein Klick und schon sind sie weg, die Bilder von Krisengebieten und Hungersnöten. Die Erde dreht sich aber beharrlich weiter und mit ihr die Uhren, die uns vor Augen führen, dass es immer weitergeht und weitergeht und weitergeht. Tick tack, tick tack ... – ob wir wollen oder nicht, ob wir in der Schweiz sind oder sonst irgendwo auf der Welt.
Die Welt, das Globale und wie alles unweigerlich miteinander zusammenhängt – das ist es, was auch den Bieler Künstler Parzival' seit jeher interessiert. Ob es deswegen ausgerechnet Uhren sind, die runden, mit Ziffernblatt und Zeiger, die ihn interessieren? Rund wie der Planet auf dem wir leben zeigen sie uns allen die gleiche Zeit an: Ein Tag hat 24 Stunden, eine Stunde 60 Minuten, eine Minute 60 Sekunden. Ausnahmen? Gibt es nicht.
Mit seiner Installation «In 80 Uhren um die Welt» will der Künstler und Friedensaktivist auf diese eine gemeinsame Zeit aufmerksam machen. Zwischen August und Dezember 2019 hatte er die Uhren für eine Ausstellung im Zürcher Musée Visionnaire erschaffen, kuratiert von Manuela Hitz. Seither ticken sie unaufhörlich. In der Ausstellung in Biel werden die Uhren die Zeit in verschiedenen Städten und Konfliktgebieten auf der ganzen Welt anzeigen. Ganz ohne Bilder und Worte schafft es die Installation, uns näher an Orte und Menschen zu bringen, als Zeitungsmeldungen und TV-Berichte dazu imstande wären.
Der zweite Teil der Ausstellung basiert auf einer Intervention mit aus Zeitungen und Büchern zusammengesetzten Esperanto-Texten, welche Parzival' vor Ort performativ erstellen wird. Auch die Arbeit mit der weltweit verbreiteten Plansprache, welche zum Ziel hatte (und hat), die Menschen noch näher zusammenzubringen, ist ein wichtiger Teil von Parzival's Schaffen. Seit über 50 Jahren verwendet er sie als verbindendes Element in seinem Werk.
Der Künstler wird jeden Tag anwesend sein und den Besucher*innen innerhalb der Ausstellung kostenlose Esperanto-Kurse anbieten.

Manuela Hitz
Kuratorin Musée Visionnaire, Zurich
https://www.museevisionnaire.ch


Vernissage Friday January 12, 2024, 18.00 Hrs
Place du Jura / Juraplatz
2502 Biel/Bienne
Switzerland

Sculptures made of chrome steel strips are reminiscent of the materials used to demarcate the border areas between the countries. The metal band with the embossed "West Germany", which rotates in the form of disco balls and thus constantly provokes new reflections, entices the eye to take in different perspectives. From east to west, from south to north.

DE
Skulpturen aus Chromstahlbändern erinnern an die Materialien, mit denen die Grenzgebiete zwischen den Ländern abgegrenzt werden. Das Metallband mit dem eingeprägten "West Germany", das sich in Form von Discokugeln dreht und so immer wieder neue Spiegelungen provoziert, verleitet den Blick dazu, verschiedene Perspektiven einzunehmen. Von Ost nach West, von Süd nach Nord.


Curated by Barbara Meyer Cesta

"In my work, I aim to open a window to a dream like digital universe composed of surfaces, reflections and light, free from its commercial intent yet infused with a poetic perspective on the machinery’s materials.
In my photographs and installations, I want to explore and question the possibilities of our digital images and their inflationary use in our daily lives. While using the medium of photography, my aim is not to document specific scenes or compositions, but rather to seek what is between the subject and the camera and to capture the moments in between.
Photography serves as a fundamental tool in my creative work, yet paradoxically, it is the medium with which I maintain the most critical relationship."

Thalles Piaget

Thalles Piaget (*1996) is a human being - not an artificial intelligence - born in Brazil and living in Biel/Bienne - CH. Essentially vagabond, Thalles is inspired by readings, walks and reflections. Capturing a moment that doesn’t truly exists, trying to transform the ordinary into a dreamlike experience. Its artistic approach is at the border of dreams, science and absurdity. Wandering, guided by the moment, play- ing with its non-existence.

https://www.thallespiaget.ch


Cie. thank you for the compliments präsentiert/présente

ORACLE OPUS

une micro-performance interdisciplinaire / eine Interdisziplinäre Mikroperformance
Mor Dovrat, Mathilde Fenoll, Anda Furrer und Matthieu Hardouin

Recherche-Phase / Residency / 6. bis 16. Nov 2023
Performances / von 17. bis 19. Nov 2023


Curated by Nora Renaud

Jonathan Ospina (1990) is an artist and filmmaker born in Bogotá, Colombia. Currently based in Geneva and Zurich, his hybrid films investigate histories embedded in popular music through forensic listenings. His practice is informed by a sensibility for the political implications of sound and translation on the light of cinematic imaginations, lately working with speculative strategies for storytelling that examine remembrances at the intersection of official notions of history, and promises from liberal futures. He holds a BA and a Master in Fine Arts from ZHdK, and studied Filmmaking at Universidad del Cine in Buenos Aires and in ENS Louis Lumière in Paris. Currently pursuing a Master in Film directing at ECAL/HEAD.

Jonathan Ospina (1990) est un artiste et cinéaste né à Bogotá, en Colombie. Actuellement basé à Genève et à Zurich, ses films hybrides enquêtent sur des histoires ancrées dans la musique populaire par le biais d'écoutes médico-légales. Sa pratique se nourrit d'une sensibilité aux implications politiques du son et de la traduction à la lumière de l'imaginaire cinématographique. Il travaille depuis peu avec des stratégies spéculatives de narration qui examinent les souvenirs à l'intersection des notions officielles de l'histoire et des promesses d'un avenir libéral. Il est titulaire d'une licence et d'une maîtrise en beaux-arts de la ZHdK, et a étudié la réalisation à l'Universidad del Cine à Buenos Aires et à l'ENS Louis Lumière à Paris. Il poursuit actuellement un master en réalisation de films à l'ECAL/HEAD.


Ich will die Bieler Moderne stärker ins Bewusstsein bringen. Die Öffentlichkeit - wir - , die Stadt und diverse Organisationen sollen sich für die Bewahrung und Rekonstruktion des Neuen Bauens der Dreissiger Jahre in Biel engagieren. Denn diese Architektur steht für bessere Lebensqualität bis heute.
Um 18 Uhr stelle ich das Manifest ’23 vor, anschliessend können bis 22 Uhr alle individuell die Licht-Promenade begehen und dabei Gebäude zum Teil so sehen, wie man sie sonst nie erlebt. Alles findet ohne grossen Aufwand statt, die Bauten sprechen für sich. Im Ziel bei der Juragarage gibt es eine Belohnung für alle.
Matthias Grütter

Je veux faire prendre conscience du modernisme biennois. Le public - nous - , la ville et diverses organisations doivent s'engager pour la conservation et la reconstruction de la Nouvelle Construction des années trente à Bienne. Car cette architecture est synonyme d'une meilleure qualité de vie jusqu'à aujourd'hui.
À 18 heures, je présenterai le Manifeste ’23, puis tout le monde pourra se promener individuellement sur la promenade lumineuse jusqu'à 22 heures et voir ainsi des bâtiments comme on ne les voit jamais ailleurs. Tout se passe sans grand effort, les bâtiments parlent d'eux-mêmes. A l'arrivée, près du Grand Garage du Jura, une récompense sera offerte à tous.
Matthias Grütter

https://www.parcours-bielbienne.ch/news.shtml


Curated by Enrique Muñoz García

The advent of photography in the 1900s was a momentous leap forward for visual culture, bridging the gap between art and technology. Over the years, photography has continually adapted to new innovations, challenging traditional notions of art while preserving its core essence as a powerful medium of expression.

Fast forward to the 21st century, where a new technological innovation emerges: Artificial Intelligence (AI). Just as photography disrupted the perception of art, AI imaging has begun to reshape how we create and interact with art today. AI algorithms can analyse vast datasets of images, learning to generate seemingly original artworks, mimic artistic styles, or enhance photographs through sophisticated image processing techniques.
While AI imaging raises questions about the nature of creativity and authorship, it also opens up exciting possibilities for artists.
Collaborations between artists and AI algorithms blur the relationship between traditional art forms and the digital realm, pushing the boundaries of artistic expression in unprecedented ways.
Today, as AI imaging reshapes the landscape of all visual creation.

My hope is that this exhibition sparks conversations, ignites imagination, and encourages reflection on the profound impact of both photography and AI on the world of art.

Martin Kharumwa

Martin Kharumwa is a photographer and visual artist based in Kampala, Uganda. His work primarily blurs the lines between reality and photorealistic illustrations drawn from various mediums and digital tools.
In this exhibition Kharumwa presents his collaborations with human subjects as well as AI algorithms.

https://www.kharumwa.com


Curated by Enrique Muñoz García

Born in Pavia on 18th April 1971; living and working in Beijing 2002-2020. Currently based in Bern (Switzerland). Studied Chemistry in the universities of Pavia and Siena; Theater at Scuola Europea di Danza e Teatro Carcano, Milano; Experimental Theatre and film-making with Dominique Defazio (Lee Strasberg’s assistant, Actor-s Studio life-member), and Eleonora Marino (student of Peter Brook, ArianneMouschkine, Jerzy Grotowski); Master History of Art & market at Christie’s Education Paris/ Cambridge University; Asian Environmental Humanities: landscapes in transition, Zurich University certificate.


Stories of people "on the edge" of society, of the driven, the stubborn, the disconnected, the invisible. Of guilt and shame and of the walls between us and them.
The reportages and photographs of Klaus Petrus are full of life stories that are otherwise hardly mentioned and yet somehow familiar: of a pensioner who starts to drink, but really; of a young Afghan who has been on the run for 1,000 days and will never arrive; of a grandmother who makes herself invisible when she goes begging on the streets; of a family father who has been to a prostitute 1,300 times - and of other people, places and incidents.
The book AM RAND is available since the end of March 2023 in bookstores or from Christoph Merian Verlag. It was designed by Beat Roth of porto libro. The book can also be ordered directly from the author: info@klauspetrus.ch


Curated by Enrique Muñoz García

Mondavalutokiosko (Weltwährungs-Kiosk) ist ein laufendes Projekt des Weltbürger Künstlers Parzival, das von Enrique Muñoz García kuratiert und zwischen Dezember 2022 und Januar 2022 im Kunstraum Juraplatz in Biel präsentiert wird. Dieses Werk basiert hauptsächlich auf der Intervention von Zeitungen und Büchern mit Texten in Esperanto, einer Sprache, die der Künstler seit mehr als 50 Jahren als verbindendes Element in seinem Werk verwendet.

Mondavalutokiosko ermöglicht es dem Künstler auch, uns eine neue Art von Weltwährung vorzustellen: den Espero, eine von Parzival und Garry Davis im Dialog entstandene Währung, die unabhängig als einheitliche Währung für den Weltfrieden fungiert und somit ähnlich wie Esperanto als verbindendes Element zwischen den Nationen wirkt.

Mondavalutokiosko Teil III ist die Fortsetzung der Arbeit, die zwischen Dezember 2021 und März 2022 im Kunstraum Juraplatz präsentiert wurde.


Bieler Fototage 2023
Curated by Sara Girard

Occurrences such as solar winds and asteroid showers regularly disrupt the protective efficacy of the Earth’s magnetic field, and affect technological systems, the climate and the movements of migratory animals. La dérive des pôles is a project that explores the role of the Earth’s magnetic field in changes to the landscape. For this art project, Vanessa Gandar relies on navigational data gathered by sailors in 1650, the work of the naturalist and scientist Alexander von Humboldt, and other more recent discoveries.

She also visited meteor craters around the world in order to find traces that might reveal the effects of these magnetic phenomena. Each of these undertakings gave rise to new sets of results: an atlas of multiple forms of documentation, photographic works and graphic experiments that render in technical, visual, perceptible form the traces of these phenomena at the levels of geology, culture and society. Her installation, created especially for the festival, examines the connections between human beings and the natural world, the Earth and the cosmos.

With the support of: DRAC Grand Est / Région Grand Est

Year of production: 2018-2023

https://bielerfototage.ch/de/Ausstellungen/la-derive-des-poles/


Curated by Enrique Muñoz García

Biel ist selbstsicher geworden. Pat Noser bezeichnet in ihrer doppelbödigen Arbeit postkartenschöne Ansichten der Neustadt. Zeit und Raum auflösend collagiert die Künstlerin ihre neue Heimatstadt.

https://patnoser.com


La blessure de la perte suppure, crie, gémit, donne des coups de pied jusqu'à ce que vous vous enfonciez dans les cavernes sombres et humides de l'émotivité, il n'y a rien d'autre à faire que de se rendre, se rendre avec humilité et en se connectant à cette vérité unique et personnelle ; la magie qui nous sauve se produit. La force primitive qui nous guide instinctivement vers la lumière est révélée. Transmutation. L'expression la plus authentique du Soi en expansion se manifeste dans la création et dans l'exploration de la médecine des 4 éléments. Le cœur se dilate dans le partage avec l'autre, témoin actif de la renaissance, de l'acte total de libération.

Delia Coto


Curated by Enrique Muñoz García

In this work I deploy an algorithm for stereoscopic street imaging in order to trace my quotidian commute between my home, my school and my grandmother's place in the city of Budapest. The 3,267 footsteps of my route are quantified in some 2,100 stitched images, rendering an animated 3D-simulation of my everyday perspective and life course.
By default of the used technology, most ephemeral phenomena efface in the course of digital reprocessing. Captured life becomes reduced to the computable coordinates of motionless, inanimate figurations. Yet, what is un-captured still lurks in the form of blank spots, faint shades and ghostly silhouettes. As a result, a world is recreated that oscillates between high-resolution images, disintegrating shapes and wayward transmutations. This form of datafied subjectivity is contrasted with an intimate narrative about experiences and memories evoked by the vistas of my daily rout.
Om Bori

https://ombori.wixsite.com/ombori


Curated by Enrique Muñoz García

Dorothée Elisa Baumann invites her father Martin Baumann to her exhibition. Paintings titled "Wind Poems" by Dorothée are on display outside. Wind Poems were created in the spring of 2022 on the roof of a building in New York City. The strong wind in New York City reminds Dorothée of the wind in Gunten, Switzerland, where she lives in the family home. There is a wind blowing over Lake Thun, especially in the afternoon during the summer months.

Inside, one is immersed in the projection of the painting of her father, Martin. An interplay of primal forms and primary colors - circles, angular shapes and colors as the basic structure and play for any form of representation of the living. This authentic language of the father runs through his entire oeuvre. Martin's works were created between 1970 - 1975, the years in which his daughter was born.

Both the father and the daughter have a deep relationship with nature. The father uses the language of abstract painting for this, while the daughter breaks new ground in her artistic practice by co-creating with natural actors, the living, in her works.


Concert: Sara & Sergo

Mondavalutokiosko (Weltwährungs-Kiosk) ist ein laufendes Projekt des Weltbürger Künstlers Parzival, das von Enrique Muñoz García kuratiert und zwischen Dezember 2022 und Januar 2022 im Kunstraum Juraplatz in Biel präsentiert wird. Dieses Werk basiert hauptsächlich auf der Intervention von Zeitungen und Büchern mit Texten in Esperanto, einer Sprache, die der Künstler seit mehr als 50 Jahren als verbindendes Element in seinem Werk verwendet.

Mondavalutokiosko ermöglicht es dem Künstler auch, uns eine neue Art von Weltwährung vorzustellen: den Espero, eine von Parzival und Garry Davis im Dialog entstandene Währung, die unabhängig als einheitliche Währung für den Weltfrieden fungiert und somit ähnlich wie Esperanto als verbindendes Element zwischen den Nationen wirkt.

Mondavalutokiosko Teil II ist die Fortsetzung der Arbeit, die zwischen Dezember 2021 und März 2022 im Kunstraum Juraplatz präsentiert wurde.

CONCERT / KONZERT
Freitag/ Vendredi, 6. Januar /Janvier 2023 ab/dès 18:30h

Sara & Sergo
Interpretation of Georgian and Armenian Love and mountain songs
Sara: Vocal, Viola
Sergo: Duduk (Armenian flute)

PIETÄTLOSBAR In cooperation with Edition Haus am Gern
Editor of BONAN TAGON! MIO NOMO ESTAS PARZIVAL'

As part of the Project:
Weltwährungskiosk Part II / Kiosk monétaire mondial Part II / PARZIVAL`

https://www.modelsoldato.com


Curated by Enrique Muñoz García

The video works Exogenic and Deep Down I & II by Anouk Sebald 1971, CH were created especially for the Off-Space Juraplatz, in Biel. The video Exogenic is projected directly onto the windows of the former bus stop, which was built in the 1930s in the architecture of modernism in Biel and is now a listed building. The projection thus connects the exterior of the Public Off-Space with the interior exhibition space, the former Pissoir* of the bus stop. In the video Exogenic, Sebald addresses the urgent and current issues of consumption in relation to identities and the identity constructions associated with them. Glitter, glamour, wealth, and fame form a place of longing that nowadays, with current social media platforms and
ever improving digital means, form an almost unimaginable infinite space.

Inside is the installation Deep Down I & II. The installation envelops the space and allows visitors to visually and acoustically immerse themselves in the "inside".


Curated by Enrique Muñoz García

Buchpräsentation: Die Verlorene Spur
18.11.2022, 18.00 Uhr

Mit 60 Jahren kehrt Adela Picón erstmals in die Stadt zurück, welche sie als Zweijährige mit ihrer Familie verlassen hat: Melilla, eine europäische Exklave im Norden Afrikas. Unterwegs mit verblichenen Fotografien aus dem familiären Album, begegnet sie einer eingezäunten und militarisierten spanischen Stadt, in welcher Jugendstilbauten und Leckerbissen der mediterranen Küche mit der institutionalisierten Brutalität der Südgrenze Europas koexistieren: Hohe Stacheldrahtzäune, überfüllte Unterkünfte für junge und erwachsene Migrantinnen und Migranten, gegen hundert Kinder, die auf der Strasse, unter Brücken, in Löchern und Containern leben; viel Gewalt und wenig Empathie. „Die verlorene Spur – La huella perdida" ist das persönliche Fotoalbum einer Spurensuche, ergänzt mit kurzen Texten zu den Stationen der Reise, welche die Autorin auch nach Nador, Rabat, Tangier und der zweiten spanischen Exklave Ceuta führte.

https://www.adelapicon.ch/de/work/edition


Audio by Rodrigo Araya and Nicolás Rupcich

Curated by Enrique Muñoz García

Kunstraum Juraplatz presents a video installation by Chilean artist Nicolás Rupcich. Born in Santiago, he has lived and worked in Leipzig since 2013. For his current work, Rupcich has taken pictures in extreme regions of the earth, manipulated them with digital means and thus created artificial environments.

DE
Der Kunstraum Juraplatz präsentiert eine Videoinstallation des chilenischen Künstlers Nicolás Rupcich. Geboren in Santiago, lebt und arbeitet er seit 2013 in Leipzig. Für sein aktuelles Werk hat Rupcich Bilder in extremen Regionen der Erde aufgenommen, mit digitalen Mitteln manipuliert und so künstliche Umgebungen kreiert.


Curated by Enrique Muñoz García

Book: ”The Never Taken Images. Photographic Paper Archive”, Scheidegger & Spiess, Zurich 07. 2022

In 1998, F&D Cartier began investigating the materiality or photographic paper in a work group entitled Wait and See. For them, the work is an exploration o the rudiments of the medium and a way of engaging with the flood of photographic images produced in the digital age. In their installations, the artists use expired photographic papers dating from the years 1890 to 2000, which have lost some of their sensitivity but still respond to light. Their exposure in the exhibition space triggers an ongoing process of slow change as their appearance constantly alters. Without an recourse to a camera or photochemistry, the duo thus brings to life images that were never taken and examines their potential. At the same time, their radically simplified experiment, designed to record light and time, connects back to the early days of the medium, when developing photographic paper was still unusual and daylight exposure was the principal means of blackening the silver salts. The surprising colors produced by the undeveloped gelatin silver emulsions reveal another invisible aspect of analog photography: in this way, F & D Cartier's experiment conveys a profound sense of the complexity of a material that was ubiquitous in the 20th century. Their experiments with photographic materials, which they embarked on together in 1995, have been devoted to themes relating to remembering, forgetting, and the passing of time.


Curated by Enrique Muñoz García

The "Architecture of Transfers" project by artist and researcher Ingrid Wildi Merino began in 2009 and continues to date.


FROM ECONOMIC EXTRACTIVISM TO EPISTEMIC EXTRACTIVISM AND ONTOLOGICAL EXTRACTIVISM, AS A
WAY OF BEING AND EXISTING IN THE WORLD

By Ramón Grosfoguel, Department of Ethnic Studies, UC-Berkeley

Extractivism continues to be one of today’s most problematic exploitation processes, not only in Latin America, but in the whole world. An important project regarding this subject is that directed by the internationally renowned Chilean artist Ingrid Wildi Merino, entitled Architecture of Transfers, art, politics and technology. In this project she analyses the different dimensions of the exploitation of copper in Chile and its use in diverse projects; space, scientific, military and cultural; in diverse parts of the world. Extractivism is the mechanism that, in the international division of labour, connects the exploitation of copper in Chile; with all its damaging consequences for the life of the miners, their communities and the environment; with scientific projects. Extractivism has consequences that relate not only to the economic impoverishment of the miners, but also to the processes that destroy life and the planetary ecology.


Curated by Enrique Muñoz García

The work "Toxic Conflicts" by artist Rainer Ganahl is based on a series of video animations from 2022 that address the current crisis on different levels: War in Ukraine, global warming, terrorism, violence, migration and power.
Rainer Ganahl recycles press releases from major news sites such as the New York Times, CNN, and the ABC News to create short animated videos that confront us with current news while questioning our own handling of these conflicts.
Ganahl attended the University of Applied Arts in Vienna with Peter Weibel and the Düsseldorf Art Academy with Nam June Paik. In 1990/91 he participated in the Independent Study Program of the Whitney Museum of American Art.
Rainer Ganahl has exhibited at the Austrian Pavilion of the Venice Biennale. Some of his works are in the permanent collection of the Museum of Modern Art in New York (MOMA), as well as in other important museums and galleries around the world.


Biel/Bienne Festival of Photography
Curated by Sarah Girard

Between tradition and modernity, Mikail Koçak unceasingly interrogates the persistence of cultural inheritances and the multiple identities that are created by exile. The exercises of reappropriation that he sets up give rise to installations that awaken narrative possibilities and weave connections between his two cultures, Eastern and Western. The “kiosque,” originally from the Middle East and introduced to the West in the 17th century, is an architectural form intended for pleasure that takes the form of a belvedere or a small garden pavilion open on all sides with an overhanging roof. Though the word is derived from the Persian Kūšk (palace) and the Turkish Köşk (lodge or chateau), the different forms that the term has been applied to over time have not ceased to evolve. Mikail Koçak has eagerly seized on this changeable word in his mother tongue (Turkish), and in his national language (French) to take hold of the Juraplatz art space. By superimposing the banks of the Bosphorus over the streets of Biel/Bienne, fictionally combining two continents and two cultures, Koçak aims to create a chameleon place.


Curated by Enrique Muñoz García

Separated Families by South Korean artist Huh Mi Young is a documentary artwork based on photographs and audio interviews. The artist presents the story of the people who fled North Korea during the Korean War, and who remain separated to this day, unable to reunite for political reasons.


Curated by Barbara Meyer Cesta

Biel-based artist Janosch Perler opened the Instagram Residency Visarte Biel/Bienne earlier this year and will be active on the digital platform until March 31, 2022. As a finissage and return to the physical space, he will show some of the published works in the Public Art Space JURAPLATZ in the old town of Biel.


Curated by Enrique Muñoz García

The World Currency Kiosk (Mondavalutokiosko) Juraplatz is a work in progress exhibition created by the Swiss artist Parzival.
Parzival's work is mainly based on the intervention of newspapers and books with texts in Esperanto, created by the artist himself. In this way he creates new, unique and didactic courses in Esperanto, a language that the artist has used as a unifying element in his work for more than 50 years.
Within the framework of this exhibition, Parzival also presents us with a new type of world currency created by himself: the Espero. It is intended to function independently as a unified currency for world peace and thus, similar to the Esperanto language, act as a unifying element between nations.
Parzival is convinced that the world's armies will understand each other better if they speak the same language - and that this will serve global disarmament. This is part of his mission, which he fulfills day by day, word by word as an artist, soldier and worker.


Curated by Emer Lynch

Public Art Space Juraplatz is delighted to invite Irish visual art curator Emer Lynch to present a new commission in stained glass by Irish artist Salvatore of Lucan. An artist renowned for his use of magical realism to depict complex personal relationships, this contemporary self-portrait is the artist’s first artwork in the medium of stained glass. Directly tackling the theme of alcohol and its effects on relationships, this new large-scale work marks an exciting new departure in Salvatore of Lucan’s emerging painting practice.

Identifiable as typically Irish, the familiar setting of a pub sets the scene for storytelling, and the artwork is laced with ironic humour. Me being an arse (2021) is the title of this new work by Dublin artist Salvatore of Lucan, his first in the medium of stained glass (Salvatore of Lucan is primarily known for his large-scale oil paintings of familiar yet uncanny domestic scenes, and his recent solo exhibition of pastels inspired by the artist Paula Rego).

Stained glass is a material that carries numerous historical associations and meanings. Salvatore of Lucan’s contribution to the practice of stained glass brings contemporaneity to the medium. He uses the use-values of glass and the material’s unique relationship with light, to explore existential worries and the rawness within human character that is habitually supressed. Me being an arse is a work made not in the moment but in hindsight, an opportunity for reflection on how to treat others, for overthinking: a strong motivating factor in its development was texting friends out of the blue to ask them what they believed his weakest moments have been. His unabashed articulation of his own vomit in glass is a defining aesthetic.


Curated by Enrique Muñoz García

The installation "A Dead One Gives Answer" by artist Monsignore Dies is composed of objects, magazines, videos, vinyls, packaging, etc. Elements that complement each other symbiotically to create a new world, dark but fun at the same time. This World of Monsignore Dies is presented along with DJ Spumante, Duo Bukowsky and Bobbi Virgin`s Deep South Bar, as part of the celebration of 11 years of the public art space Juraplatz.


Curated by Sandra Sahin-Flükiger

Dereskina is a term coined from der (skin in Wolof) and skin (skin in English). The piece asks the question of cultural appropriation through movement. How to enter another culture through gesture? Dance offers the possibility of feeling the experience of others by reappropriating their movements. Dereskina questions the intercultural transmission of gestures, the exhibition of black/white bodies and their representations.

Kunda is committed to thinking and creating the harmonious society of tomorrow through gestures, giving a right to expression to voices marginalized by the migration process. Kunda - "house" in Mandinka - brings together Swiss and migrant artists around artistic creation. Kunda advocates for a better understanding of Switzerland's multi-voiced culture, because art allows us to communicate across language, cultural and religious backgrounds. Through dance, discrimination and racism can be challenged to improve the way people live together.

This performance is presented as part of the art festival ArtyShow 2021.


Curated by Elodie Régnier

Nature vs Culture is a traditional debate in all the disciplines that try to explain the laws of existence, and a moving image definitely is not the best tool to bring deep understanding to this matter, but the immediacy of its experience and the strength of visual contrast makes it probably a good trigger of emotions that can actually make the audience relate to the problem and its consequences. We live in the Mata Atlántica forest of Brazil and since we moved it was very clear to us that WE were the invading species in a perfectly greased and tuned ecosystem. Surrounded by nature and insects our books and objects become ridiculous, but the combination of them, the real life collages that happen everyday with interaction, become compelling improvised performances where both Nature and culture bring the best of them. (Cristina De Middel)


Curated by Kristina Grigorjeva and Camille Regli

Harun Farocki’s film "Workers leaving the factory" (1995) will be projected in loop at Juraplatz from Monday-Wednesday 13-15 September.

About the film:
Harun Farocki's film “Workers Leaving the Factory” (Arbeiter verlassen die Fabrik) guides the viewer through eleven decades of the act of departing one’s place of work, beginning with the brothers Lumière's workers hurriedly exiting the gates of the photographic factory in Lyon.

The screening is part of our current group exhibition SEEMINGLY INCURABLE SENSATION OF TEMPORAL AMBIGUITY, running until 9 October at KRONE COURONNE.


Curated by Enrique Muñoz García

The exhibition Happy by artist Gregor Wyder is based on an installation that is part of his "Breakdown Triangle Work" series.
Wyder has been using these breakdown triangles for years to create words and shapes, connected to each other, provoking new narratives and at the same time creating calculated reflections when these objects are confronted with light.


Curated by Enrique Muñoz García

The video work Touching Myself thematizes the relationship to one's own self.
What happens when I get in touch with myself? When I touch myself and am touched by myself at the same time?
The look into the mirror is the look into the camera.

https://www.rebekkafriedli.com


Curated by Enrique Muñoz García

"It’s so superficial, but it’s true”
Or, the transfigured surface of Com&Com-Google-Earth-Art


Curated by Sarah Girard

For several years, the work of Guadalupe Ruiz has taken the form of an inventory of images assembled as encyclopedias, a structure that she developed as a way of analysing the world and the society around her. In 2015, she published the Kleine Fotoenzyklopädie, a work gathering 645 colour and black-and-white images collected from daily life and organized into 37 different chapters: dogs, vases, varieties of pastry, a revolutionary manifesto, portraits of her cousin, objects photographed in her parents’ house, etc. To create her installation in the Juraplatz art space, Guadalupe Ruiz has continued to build the inventory of images that she began in her parents’ apartment as an attempt to reproduce and recapture what might be lost with the passage of time.


Curated by Enrique Muñoz García

This video essay ON-OFF 1 in the form of Found footage it is part of a long investigation on the production of electricity and new technologies, is the result of an artistic and theoretical research project about copper (29Cu), which I entitled Architecture of Transfers: art, politics and technology, and where I developed the concept of ‘conductivity and conduct through the raw material copper’ is created. By this I refer to the material and immaterial properties of copper, that is to say, to the relations- hip that can be established between the high electrical conductivity of this material and the conduct that has historically been displayed in the face of the extraction and uses of copper. I carried out this investigation analysing copper’s genealogical belonging, from the north of Chile, showing that its dimensions -historical, social, political, economic and epistemological- form part of a system of relationships that in turn enables the creation of a eld of critical thought on the construction of modernity.


Curated by Enrique Muñoz García

Playful interventions and commentaries on everyday reality are the main themes in the work of Pietertje van Splunter. She has a background as painter but leaves no medium unexploited. In colourful videos, paintings and spatial installations she consistently shows a perception of the world around her which is both poetic and critical. No matter whether she busies herself with the art world, urban space or our personal surroundings.

The work "Plastic Play" is based on the superposition of plastic cubes and containers of different shapes, colors and sizes that advance in the direction of a clock.In this way new abstract forms are created every second, which work almost like a hypnotic spiral.

http://www.pietertje.net


Curated by Enrique Muñoz García

French artist Marianne Villière's work is influenced by critical theories, microsociology and civil disobedience practices. Her recent work "Pollinisation" shows a group of people sticking their noses into flowers as insects. An absurdity, a fun childish game that turns into sadness, facing the reality of the ecological news. The work "Pollinisation" confronts us in a poetic way with the current ecological crisis".

http://mariannevilliere.net


Hommage to Walter Schober.


Curated by Enrique Muñoz García

Tiré d'une copie de copie pirate de la Chute d'Icare - aujourd'hui disparue – de Pieter Brueghel dA, manipulée en anaglyphe, où seul Icare bouge encore... Les secours sont en route !


Curated by Mor Dovrat

Postmodernism has appropriated "copy-paste." We are convinced that remakes are a postmodern phenomenon.
From Duchamp's ready-made "Fontaine" to Andy Warhol's mechanical reproductions, the consensus in art today is that nothing can be original anymore. The artist is not looking for originality, but for authenticity, i.e. the most authentic way to implement existing ideas or materials. Copying ideas from other artists and implementing them in a new way is morally okay. Even in the commercial entertainment industry, aka Hollywood, remakes are produced on a large scale every year. But remakes and copy-paste have always been around. Not only in art, but also in science and nature.


Curated by Enrique Muñoz García

After 143 years, the bus stop juraplatz is no longer used. On Sunday December 13th at 00:45 min, the last trolley bus passed by the bus stop.
The collective JURAPLATZ pays tribute to this historical moment by showing a Videoloop of the line 1.
The art space JURAPLATZ continues!


Are you waiting for the bus? At the bus stop on Juraplatz, questions about time appear, which are displayed in the art space while you wait for the bus, which comes every 11 minutes. How much time do we have to see this work, how many and which questions from the projection do we get to see? Is there a question that still keeps me busy on the bus, or even makes me miss it? The questions about time confront us with our waiting situation, with different kinds of "waiting" that take up our time in life again and again. Art Space Juraplatz projects the questions throughout the night - until daybreak.


Curated by Enrique Muñoz García


Curated by Park Byoung Uk and Magda Guruli

“Linked Objects” is initiated by the International Environmental Art Symposium Nine Dragon Heads’ international artists. The project comprises an exhibition and conference dedicated to the wider perception of the COVID-19 consequences in contemporary culture and art and other art events researching the influence of outbreak.

We say that digital communication made the world smaller meaning that we are interconnected through our avatars in the virtual world. What the outbreak of the COVID-19 clearly showed is that we are connected through our real bodies as well in an analog world. This bond turned out to be no less solid or mutually influential than any world wide web.

Today in lockdown, we are linked to each other not only through social networks, messages and emails but also the shared fears and hopes for medical treatment that can bring rapid change back to normal. We try to understand and assess the situation we found ourselves in. In our bizarre life-saving encapsulation, with numerous questions and expectations in the background, we attempt to cope with separation, staying still and non-involvement in the stopped world.


Curated by Enrique Muñoz García

The artist Nora Renaud makes her second presence, based on the video material, captured by her phone in the performance made a month before in the art space juraplatz.


Curated by Enrique Muñoz García

JURAPLATZ presents TERAPIA_finissage: a "one night stand" presence of swiss artist Nora Renaud's avatar called : Quietapina that will be present to create a link between "The Silence Festival" : a group show taking place at the same time in Mexico City Where the public encounters works that have been"silented" from a list of 25 artists visible in 3 points from the street during covid 19 confinement in the other continent among them Nora Renaud's avatar DIAGNOSISISCARNAVAL_Quietapina projected presence. While the wave of Covid had aproximatlely 1 month or more of delay compare to the western countries in Mexico City is still confined, here in Switzerland, during the swiss national celebration on 1 st of august, people masked by law from the bus can meet the avatar in real and share its individual memories through postcards and make selfies in a deconfined moment as a ritual that auto generates therapy and "insta historias".


Curated by Enrique Muñoz García

The video works of the renowned South Korean artist Jisong Lee are always constructed in a simple and minimalist way. In this case, the video "Seeing Inside Out" created in the year 2011 in the north of the United States, was filmed by an iPhone placed randomly between the moss, in a static position and without cuts, creating a natural "Fade out" produced by the sunset. The slight, slow movement of the iPhone's fall as it slides through the bushes and brush induces the presence of an observer, creating a voyeuristic sensation.


Curated by Enrique Muñoz García

The series "Insect" by Swiss artist Kurt Caviezel shows us different corners of the world through the lens of surveillance cameras. In the captured moments, it is not - as is usually the case - people who enter the picture, but insects. This apparent obstacle is the basic element of this series: within the filmed landscape, the insect becomes the central object. These fragments of a large network of the global surveillance system remind us of the futuristic visions of George Orwell and Aldous Huxley, in which people are defined as "social insects".


The video work "The Greeting" by the artist Adela Picón will be presented in the Offspace JURAPLATZ. People meet, greet and embrace each other until one person merges with the other and only the white canvas remains. Adela Picón developed the work "The Greeting" for an extensive exhibition in the Historical Museum of Sant Feliu de Guixols (Catalonia) in collaboration with the population of the city.
An embrace or handshake between immigrants and natives makes "The Greeting" part of a political work that focuses on tradition, the past, acceptance and integration.
In Offspace Juraplatz, the video work is recontextualized in times of the "forbidden greeting" and thus takes on a new form and a new meaning.


Aube radieuse et mer indolente pour une partie de pêche. En avant plan une bouée d'enfant (de secours ?) est ballottée.


Video documentation: Robert Walser sculpture, a presence and production project by Thomas Hirschhorn as part of the 13th edition of the Swiss Sculpture Exhibition in Biel / Switzerland (15.6.-8.9.2019). The Robert Walser Sculpture in honour of the Swiss writer born in Biel/Bienne is an 86-day experience platform consisting of over 35 daily events, which were developed in cooperation with the population of Biel/Bienne. For three years, this finely woven presence and production sculpture was developed along the complex themes of Robert Walser.


Curated by Enrique Muñoz García

Des vagues nocturnes s'abattent sur un littoral préromantique figé. En avant de l'écran plane une fantomatique bouée.


"Neutral Nations" is a multimedia installation by the artist Enrique Muñoz García based on a collection of found video footage: the presidents and military leaders of various countries look through binoculars into the DMZ between the two Koreas. A binocular symoblizes espionage, control, and military use in general. In this video the two Koreas engage in mutual observation, a process that marks the complex relationship between the two countries that originates from the 1950s.
The term "Neutral Nations" was defined as those nations whose combat forces did not participate in the hostilities in Korea. Switzerland is an active part of this supervisory commission.


Luzia Hürzeler’s in situ installation examines the relationship between image and object and between an object and its double, and also plays on the internal and the external. This work, which was created especially for the festival questions the porosity between oneself and the other, and between illusion and reality. The Juraplatz art space is set in relation to its "double" at the Brühlplatz and offers viewers an exhibition dispositive that mixes photographie and architecture.

Biel/Bienne Festival of Photography
Curated by Sarah Girard

The 23rd edition of the Biel/Bienne Festival of Photography will explore the theme of overflow, both real and virtual, in today’s society. On the internet, a “flood” is an action that inundates the network and saturates digital forums, rendering them unusable. Vast quantities of information are shared every day by more than four billion internet users, whether they are aware of it or not. This constant stream of passing data has an impact on society that cannot be fully grasped, but it also presents opportunities for both individual and social development.


TEK, TO and NIK are three natural Verrucano stones weighing six to eleven tons from the UNESCO World Heritage Site Tectonic Arena Sardona, which celebrated its 10th anniversary last year.
TEK stands for Glarus, TO represents St.Gallen and NIK embodies Graubünden - the World Heritage Site extends over all these cantons.
The three stones toured Switzerland during the entire anniversary year 2018 and visited several other UNESCO World Heritage sites. The action was conceived by the artist duo Com&Com (Johannes M. Hedinger, Marcus Gossolt).


For 130 years since its invention, the camera has not been a neutral tool in my relationship with the other. My SLR camera with function built-in video creates distance. It does not allow space for empathy. My relationship with the other is technologically hindered by this tool. My camera is black, phallic and shaped like a gun. The technical possibilities in terms of efficiency, design and image production are the main appealing qualities for the user. However, none of its features encourages co-creation between the operator and the other. It does not technically allow them to collaborate.


Like a mighty iceberg, a structure glued together from transparent PET material floats on the water. Accompanied by the mystical siren song of Karin Streule from Inner Rhodes, the camera follows the twists and turns of the polyester construction just above and below the surface of the water. Just as the mythical hybrid beings with divine voices lured sailors into the cliffs and caused them to fail, the spherical sounds in the video work Seeplastik (2010) seem to conjure up the dangers of today's environmental pollutants and the imbalance of the ecological system.

Over the years Stefan Rohner has collected consumables made of plastic, fascinated by the nature of material and form. The result is an oversized and molecular-like structure that, in the age of plastics, is a reminder of the problem of floating waste particles on the world's oceans. The work Seeplastik quotes with humour and lightness an artificial (siren) island. Like a brightly shining angel, in Seeplastik a floating plastic body spreads its wings over the achievements of organic polymer - a material that has become almost indispensable in everyday life. Nadia Veronese


"Hats off" ( Hut Ab) is a tribute by the Public Art Space Juraplatz to the Biel artist and long-standing Visarte president Robert Schüll.
The installation contains around a thousand photos, animated in a video film, as well as 12 hats by Robert Schüll, which Hildegard Lanz provided for the exhibition.


Salt—a necessity for everyone—is often ignored by most people. It is frequently overlooked, as a part of the whole meal, an element to which people don’t give much thought. It is hidden behind the food, hidden within it. It has trouble attracting our attention, and it wouldn’t be counted amongst the spiritual necessities of mankind. Only occasionally when salt runs out, do people say: “Oh, it’s time to buy some salt.” Then we find "A Packet of Salt." The process of making and transporting the salt, the producers, people and factory either have something or nothing to do with it. Under the bleaching rays of the sun, in the silence of the lens, people slowly approach and pass by the camera, without saying a word.


Curated by Enrique Muñoz García

Hunter, I’ve taken your memory presents a selection of motion sensor captured, plus infrared night view images, from the original contents of an unknown bowhunter’s SD memory card.


Taste of Tea is an art project elaborated within the International Interdisciplinary Environmental Art Symposium, named Nine Dragon Heads.
Nine Dragon Heads was initiated in South Korea in response to the destruction of an important historical site in 1996. Over twenty years it has evolved into an open interdisciplinary platform where artists from all over the world implement individual and collaborative art projects; related to universal humanitarian, environmental and cultural issues. Working in a framework of thematic and multimedia formats Nine Dragon Heads unites artists from all five continents.


The question festival in the old town of Biel brings life's big questions to the streets. For 12 hours, the "Night of the thousand questions" provides a platform for reflection, conversation, listening and curiosity.


Curated by Enrique Muñoz García

The swiss artist susanne muller (Prêles, Berlin) will present her latest project: ~ flow velocity ~ flowing through the old town (la suze bienne).


This exhibition marks the culmination of the second edition of the Life Framer photography award. It features work from 24 winning photographers along with selected honorary mentions, each chosen by a globally-acclaimed jury across twelve diverse themes exploring ‘Life’.
Along with physical gallery exhibitions in London, Paris and Los Angeles, Life Framer travels to Switzerland for a special pop-up digital exhibition at Juraplatz.


Curated by Magda Guruli and Park Byoung Uk

Jump into the Unknown", an official collateral event of the 56th Biennale di Venezia, presents the works of 40 international artists and marks the 20th anniversary of the International Environmental Art Symposium - Nine Dragon Heads.



Curated by Enrique Muñoz García

The scene shows an endless camera shot through a fictional building place. The workers, machines and other image elements were filmed in Dubai, New York, Paris, Beijing, Johannesburg, London and in Switzerland. They form a landscape of real buildings and enlarged computer components.


Curated by Enrique Muñoz García

Juraplatz shows the history of the Juraplatz / Place du Jura in Biel/Bienne. Out of 15 selected documents and photos, Dr. Phil. Margrit Wick-Werder describes the history and development of the Juraplatz in the past 370 years.


In the Experimental film "gated community" from Začek/Köppl, there are two bordered perimeters, one in the inside and one on the outside. Within these fields, the continues orbiting of a Camera, both Protagonists explore - temporarily supported by a Donkey and two Dogs - with performance and film techniques the constitution of the individual, in light of the limitations.


The Life Framer Award Show is the culmination of the first edition of the Life Framer photography award. Following a successful exhibition at theprintspace in the heart of London, UK, the award show travels to Switzerland, for a special pop-up exhibition at Juraplatz.


Live Experimental Music: Anton Guerne and Adrien Guerne

A film about a house that lives, loves, shifts and self-destructs. A house and its objects, a house and the materials of which it is made.
Two filmmakers attempt to discover the soul of the matter “for the Night”. The film represents a metaphor for the human body: man is a house, the house is human, an interior. The labyrinth of thoughts becomes a place full of transmuting rooms, never-ending stairways and doors opening by themselves onto mysterious little stages.

https://augustinrebetez.com


Cameras that recognise moving people and vehicles, facial recognition software, traffic measuring and guidance systems, cameras that can read traffic signs, and motion capture technology: our everyday life is now filled with image recognition technologies like these. Such systems observe, analyse and generate images of our behaviour, representing everyday scenes in fragmentary and disconcerting ways: often in simple and garishly coloured graphics that jump and flit around the screen. Traffic flow is depicted as arrows and faces as ovals, while lines trace out human motion through public spaces. The precise numbering of hundreds of objects and the tracing of human motion are uncanny and somewhat disturbing.


Curated by Enrique Muñoz García

The serie Pin Zhuang, which means "dismantled" or "puzzle" in Chinese, was inspired by the 2001 Hainan Island incident, in which an American spy plane crashed on Chinese soil. After extensive negotiations the EP-3 aircraft was returned to the U.S. after being completely dismantled.


Curated by Enrique Muñoz García

An endless camera shot in a park in Johannesburg – it is noon, autumn; a group of people lies nearly motionless under a tree whilst others go about their everyday doings. White birds hover, without orientation and yet with wings ceaselessly fluttering, above the group. The idyllic midday nap of the sleepers stands in stark contrast to thoughts of unemployment, vanity and death.


A dinner on the roof of the juraplatz bus station.
Cantine mobile is a platform for various cooking and eating events. Various places become gastronomic objects.


A collaborative work by students LN and JK with Bruce Allan at a Nine Dragon Heads workshop organised at the School for Graphic Design of the District in Biel/Bienne between NDH artists and students. After presentations from both sides, groups consisting of one Nine Dragon Head and two students combined to realise one minute films.


A genuine work in progress, “Zapping” is the product of three years of work collecting sequences recorded using the camera in the artist’s mobile phone. The proposed soundtrack is sourced from a mix of five television channels selected by the photographer.


The Nine Dragon Heads Symposium 3PAW (11th to 23rd october 2011) was the first „international environment art symposium“ of its kind in Switzerland. susanne muller (artist), Daniela de Maddalena (artist) and Annelise Zwez (art critic) – all experienced Nine Dragon Heads – have organised it on the spot, in virtual contact with Park Byoung Uk – Head of the Heads.


Curated by Hélène Joye-Cagnard and Catherine Kohler

Bieler Fototage 2011 / Le Temps fait son oeuvre
The fifteenth edition of the Biel/Bienne Festival of Photography offers new reflections on the nature of time in contemporary photography. As time does its work, it creates the photographic image. Indeed the role of time is decisive in allgenres of photography, from fashioning the latent image, to its analog or digital "revelation", to viewing the final result.


( In collaboration with Chen Yongwei )

Curated by Ingrid Wildi Merino

Background — X and Y are invited to participate the Chinese artist Chen Yongwei for a collaboration work.
Materials and Preparation — Small bulbs with batteries connected, attached to the heads, shoulders, hips and hands. Camera and darkened room.


Curated by Ingrid Wildi Merino

In relation to Dislocation Exhibition, created and curated by Ingrid Wildi Merino, the video I WANNA BE CHINESE / DINGHI –ELECTRIC BICYCLES FROM CHINA from Rainer Ganahl will be presented at Juraplatz.


Curated by Ingrid Wildi Merino

Big Pool is presented at Juraplatz, Biel, as a part of the Exhibition "Dislocation", created and curated by Ingrid Wildi Merino. Big Pool is a video made by Nicolas Rupcich in collaboration with Emilio Marín.


K-Objekt is a photography project by Enrique Muñoz García concerning the renovation of the building that once housed the former Pharmacie du Jura and today's Caritas on the Juraplatz in Biel.