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.
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.
The documentary research was originally made for the project K-Objekt by Enrique Muñoz García. K-Objekt (Kantonale Objekt) are buildings worth of protection and preservation. Old photos, drawings, architectural plans and postcards were then collected for the ancient building overlooking the square.
Juraplatz was once the center of the city Biel/Bienne, this explains the amount of historical documents still available.
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 experience and understanding of ones self awareness and of the opposition are done through reflections, overlaying and duplication to lead to an existential path.
Peter Začek - born 1962 in Vienna. Apprenticeship as a draftsman. Independent artist ever since. Performances and exhibitions in Switzerland and abroad. Peter Začek lives and works in Biel / CH.
Jörg Köppl - born 1964 in Baden. Studied Fine Arts at ZHdK Zurich. Independent artist since 1989. Performances and exhibitions in Switzerland and abroad. Jörg Köppl lives and works in Zurich / CH.
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.
The judging panel for the year was composed of 12 globally acclaimed photographers who've won numerous awards such as Hasselblad Masters, WPO, PDN, American Photo and IPA. This exhibition showcases their 24 winning images alongside a selection of hand-picked honorary mentions.
The photographers participating in this exhibition are: Vici Watkins, Giovanna del Sarto, Brenda Vaiani, Katja Kremenic, Mitran Kaul, Miska Draskoczy, Aziza Vasco, Judith Hornbogen, Raki Nikahetiya, Lisa Allen, Kristina Petrosiute, Victoria Trevino, Bruna Valenca, BriAnne Wills, Anna Sowul, Giulia Bersani, Michael Dietrich, Rafael Hernandez, Femke Boermans, Neville Jones, Roza Vulf, Adam Fish, Yovcho Gorchev, Judy Mauer, Sergio Carbajo, Jeff Blucher, Danielle Falknor, Sven Loach, Sandro Tedde, Christina Venedict, Kuo Yun Chien, Yuri Van Geenen, Cesar Rodriguez, Robb Klassen, David Brunetti, Cecilie Smith Oedegaard, Rob Blews, Felicia Simion, Luigi Avantaggiato, Anthony Cassell, Luisa Carcavale, David Steinboim, Elena Fortunati, Dipanjan Mitra, Ariana Gomez, Emma McEvoy, Kris Arzadun, Jeff Seltzer, Shirren Lim, AnnaLaura Masciave, Anna di Prospero, Daniel Van Moll, Harry Benhaiem, Marco Enia and Jonathan Pozniak.
MAISON is an experimental stop motion short movie about a house which lives, loves, destructs itself and dies.
The man is a house. The house is human. The house is inside.
MAISON is about a mind crowed with strange creatures, with endless stairs stepping in different rooms as part of a same labyrinthian brain, or heart.
The co-directors Augustin Rebetez and Noé Cauderay explore the idea of a house in its many facets using construction materials, drawings, painting and sculptures. They create a world with mysterious small theaters, poetic and disturbing at the same time. Working together since 2009, they develop a very particular language which oscillate with rough and delicate, violent and humorous feelings.
MAISON invites you to an astonishing journey that can`t let you really indifferent.
Augustin Rebetez was born in 1986 in Mervelier, Switzerland.
Since 2009, he has been regularly exhibiting his work.
Catching the attention of both the Swiss and international artistic scenes, he was awarded by the Photo Folio Review at the Rencontres d`Arles (2010), the EWZ – Swiss Photo Award (2012), and the Preis Kiefer Hablitzer (2012).
Noé Cauderay was born in 1981 in Lausanne, Switzerland. After failing photography school and getting fired from several jobs, he has been humbly working on his own artistic projects, for which he still hast o win a prize.
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.
Timo Arnall`s short film gives us a glimpse of how robots and machines see the world and create meaning from their limited perspectives. Computer vision is sensitive to qualities in moving images that may be very different from what human vision perceives. These images give us a glimpse of how algorithms are beginning to make some tiny, fractional sense out of our world.
Timo Arnall (1976 London, United Kingdom) lives and works in Oslo, Norway. A designer concerned with near-future technology and culture, Timo Arnall works with digital products, services and visualisations, predominantly through directing and making films. He is a research fellow at the Oslo School of Architecture & Design and creative director at BERG in London.
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.
In this work Joan Fontcuberta has deliberately "mis-constructed" model planes with all the original parts, transforming them into new "poetic space objects“. As in other works by Joan Fontcuberta, historical and political facts are questioned and manipulated through imagination, artifice and humor.
Joan Fontcuberta was born in 1955 in Barcelona, where he continues to live and work. He has exhibited extensively in museums and galleries in the U.S., Europe, and Japan. His work is found in numerous institutions, including the New York Museum of Modern Art, the San Francisco Museum of Modern Art, and the Art Institute of Chicago.
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 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. In this work, Enrique Muñoz García explores an intimate moment in the daily lives of each and every person: the time spent frenetically zapping between television channels. To do this, he filmed himself along with a number of acquaintances living abroad, from Switzerland to Chile and Spain. The intimacy of the sequences is heightened by virtue of the protagonists being naked, allowing theirskin to reflect the colours emitted by the screen. Out of aestheticism and a desire for authenticity, the photographer ruled out the possibility of enhancing the resolution of the sequences. Indeed, the artist’s primary concern is to reveal the magic in reality. According to Enrique Muñoz García, “Zapping” is to be understood as a portrait of a single person, depicted through a multiplicity of individuals.
Resumé of the Nine Dragon Heads Symposium 3PAW in Biel/Bienne
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.
The Symposium was characterised by two major parameters. First, it took place in a dynamic town of about 50 000 inhabitants (which is for small Switzerland quite a lot) and second in direct contact with the lake of Biel/Bienne, the 5000 year old history of settlement in the area and its huge vineyards along the not very high chain of mountains called Jura.
An urban environment allowed the Symposium to have lively contact with the population, the local art scene and art students. The traditional focus of the Nine Dragon Heads Symposia on performance allowed many cultural exchanges beyond words.
The event began already on the first evening with a Vernissage at Art-Etage, where the 25 artists showed small works that introduced them to the Symposium community. The Mayor of Biel/Bienne welcomed the Nine Dragon Heads from all 5 continents and Park Byoung Uk expressed his gratitude of being invited to Switzerland. Background information and three performances combined the production of visual works and moving artistic action.
Annelise Zwez / december 2011
Large leaves of immaculate whiteness are suspended on white walls. Neons emitting a black lightare buzzing on the roof. As the hours pass and the darkness intensifies, the light from the tubes begins to dominate and to gradually reveal serigraphs. Portraits of drug addicts begin to appearopposite the solanaceous plants. The images in "Schwarzes Licht" fluctuate between presence and absence. The cycle of appearanceand disappearance varies according to the nature and intensity of the light source. The spectator's visual experience is therefore subject to time, both its duration and in a meteorological sense.While visible at night, these human and vegetal bodies vanish in the daylight. This inversion of visibility/invisibility and day/night refers directly to the opposition of life/death. These latent imagesreveal themselves to those patient enough to wait for them – or they surprise those who aren't expecting to see them. In her artistic approach, Nicole Hametner seeks to reveal the disturbing natureof her subjects. It is no surprise that night holds a prominent place in her work, as a subject and a setting ("L'Heure bleue", "Le Sapin") and as an essential condition ("Schwarzes Licht"). Nicole Hametner does not hide her interest in romanticism and psychoanalysis. When she speaks of "Schwarzes Licht", she evokes Freud and Greek mythology. Deadly nightshade (Atropa belladonna) refers directly to the figure of Atropos. The three Moirae – or Fates – spin (Clotho), measure (Lachesis) and cut (Atropos) the thread of life. In psychoanalysis, the long thread of the life force is structuredby a series of situations produced by ruptures. In the manner of Atropos, the nature of the light source structures the cycle of appearance/disappearance, life/death of the images in "Schwarzes Licht".
Bieler Fototage 2011 / LE TEMPS FAIT SON ŒUVRE
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. Yet time has a disconcerting and paradoxical nature, for in photography, in theory, nothing should move or be fluid. Thus, unsurprisingly, time has become the subject of a number of exhibitions in recent years, including Breathless! Photography and Time in London in 1999 and in 2010 Entretiempos at PHotoEspaña and the Darmstädter Tage der Fotografie in Germany under the title "Jetzt – die erzählte Zeit". In an age when the qualities of mobility, immediacy and simultaneity have come to define a significant portion of our lifestyles, photography is no longer necessarily bound to the here and now. Photographic works, often hybrid in form, are creating new possibilities and lexicons in order to constitute authentic expressions of contemporaneousness.
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.
Procedure — X and Chen Yongwei give each other lessons in Swiss German and Chinese.
The camera records only the points of light (bulbs) attached to the bodies and the sound.
Rainier Ganahl modified the 1950's song "Tu voi far l' Americano" into "Tu voi far propio Cinese". The artist considers and questions the actual economic and political strategies in China. Since 1992, several Ganahl works have been inspired by the anticolonial theories of Edward Said. Ganahl uses foreign language learning as an instrument as an artistic gesture and thus analyses the political and economic world occurrences.
Rainier Ganahl was born in 1967 in Bludenz, Vorarlberg, Austria. He lives and works since 1990 in New York, USA. He studied Philosophy and History at the Innsbruck University. He studied with Peter Weibel in the University of Applied Art, in Viena, and with Nam June Paik in the Art Academy of Dusseldorf. In 1990 joined the Independent Study Program of the Whitney Museum of American Art, New York.
Ingrid Wildi Merino
Supported by the City of Biel
Ingrid Wildi Merino asks us a question, gives us an invitation to freely think of Dislocation, it causes and effects, where people from different nationalities and from different social backgrounds find and connect through common answers about how we live in this world.
The curator Ingrid Wildi Merino proposes the following text as a thought about Dislocation by Benoit Goetz, a way of getting close to the problems of a particular architectonic space as Juraplatz and, at the same time combine this concept of Goetz with the idea of how we live in this world, but our inner human world always depending on the external space: Political and Architectural.
La dislocation est l'évènement qui affecte l'espace contemporain. Mais on peut dire tout aussi bien que cet évènement était contenu de manière immémoriale dans l'espace lui-même qui est, par définition, une puissance d'écartement et de dispersion. Les mythologies du Lieu, les représentations du Monde empêchaient toutefois cet évènement d'éclater au grand jour.
Cette survenue de la dislocation n'a rien, en soi, de catastrophique. Elle signifie simplement que les espaces désormais flottent librement, détachés, insuperposables à quelque image du monde que ce soit, désamarrés de tout système cosmique, de toute croix orientante. Ni lieux, ni non-lieux, des espaces naissent et meurent au travers de processus complexes : construction, architectures, espace familier, espace social, espace public, espace culturel, espace du travail, devenirs qui emportent la citadinité, gestes et attitudes d'habitants et de passagers. La description de ces espaces relève donc à la fois d'une poétique de l'architecture du pense et d'une reprise de la question concernant le sens de l'habitation du monde.
« La Dislocation, Architecture et Philosophie. »
In “BIG POOL”, there is devastation. A big silent pool that converges and goes around the Chilean sea. A hotel-city, a model for national and international tourism. The biggest pool of the world made by the growing economic development, just like in many artificial cities, currently converted into ghost cities around the world, where, due to the desire of creating big scale projects, these become grotesque.
Big Pool articulates how contemporary landscape is negotiated in our world.
Enrique Muñoz García