Institute of Art Gender Nature

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80 colour pencils
(edition fink, 2015) Ritzmann, Marion
Published as part of “Fortsetzung folgt” / 80 full-page illustration in colour, pad binding The artist’s pad “80 colour pencils” by Marion Ritzmann is published as part of the series “Fortsetzung folgt” (to be continued), an open sequence of individual publications, which are connected and contextualized through the artist’s website as an integral part of the project. The starting point for “80 colour pencils” is a box of eighty crayons in different colours and the concept of painting an A4 sheet of paper completely with each of them, resulting in eighty monochrome drawings. For the publication, these were facsimiled and glued into a pad as a colour fan. A bit-link on the cover page takes us to the corresponding entry on the artist's website, where we find further documentary visual material and a description of the work.
02 - Monographie
A project named «System»
(Hochschule für Gestaltung und Kunst Basel FHNW, 2023) Ulianchyk, Anastasiia; Sánchez, Ama; Marcos, Rafa; Rothfuchs, Tabea; Martinez, Chus
4K-Videoanimation, Sound, 1.37 Min.
11 - Studentische Arbeit
A public dialogue with John Akomfrah on his work
(02/2018) Martinez, Chus
06 - Präsentation
A quen nunca cantou cústalle comezar. Those who have never sang find it hard to start
(Hochschule für Gestaltung und Kunst Basel FHNW, 2023) Castro Lema, Lara; Castro Lema, Noa; Sánchez, Ama; Marcos, Rafa
Zwei-Kanal-HD-Video, Farbe, 40 Min.
11 - Studentische Arbeit
AbfallMaschinen. Oder die Reichweitenangst ethisch-ästhetisch gewendet
(transcript, 2021) Volkart Schmidt, Yvonne; Müggenburg, Jan [in: Reichweitenangst. Batterien und Akkus als Medien des Digitalen Zeitalters]
04A - Beitrag Sammelband
ACT 20 years building bridges
(This publication is part of the publishing project: Existenz und Produkt, 03/2023) Braun, Anja; Ergör, Gökçe; Genovese, Nicola; Luv, Linda; Peñaloza, Maricruz; Ritzmann, Marion; Rochat, Anne; Roshier, Darren; Sanvee, Davide-Christelle; Sunarjo, Benjamin; Weinberger, Hannah
Introduction discourse This object is a performative book that can be flipped through without a linear narrative. It contains moments of encounters. In 2022, a three days performance festival took place in Biel/Bienne. Created in 2003, this festival, ACT, then celebrated its 20th edition. Whenever I have to explain the concept of ACT, I usually say it’s a performance festival for students. Each school organizes its own festival day. The students can participate to any festival organized by the schools. It is a national gathering and exchange on performative practices and performance art not only for students, but also for us, the coordinating team. Each school has one or two coordinators for the ACT festival, usually performance artists themselves that are sharing the joy and potential of performance art. For the 20th festival edition we decided to organize a three days event that hosted more than 100 performances. The performances took place in DISPO, Schlachthof / Les abattoirs, Lokal-Int, Kunsttreibhaus (Joli mois de Mai / Visarte), Centre d’art Pasquart and Public Sphere in Bienne/Biel. We give thanks to each venue for their amazing collaboration during the festival. We also owe our schools the financial, technical support and their trust: édhéa Valais / F+F School of Art and Design, Zürich / FHNW Academy of Art and Design, Basel / HEAD – Geneva / HSLU Lucerne School of art and Design / SfG BB School of Design Bern and Biel / Bern Academy of the Arts HKB / Zhdk Zurich University of the Arts. We also want to thank the city of Biel/Bienne, city of Sierre, city of Nidau and the Oertli Stiffung for their financial support. After the pandemic during which all the living art events were cancelled, we realized how much occasions such as ACT are important for students and more broadly for art. We realized how much this gathering matters, may be even more than art itself. Keeping this idea in mind we designed the festival, emphasizing on the relational aspect of such an event: gathering and building bridges. We thus invited external artists, special guests, former art students and participants of ACT themselves, who all proposed a workshop for the students, along the festival program: Louise Bozolec, Aziza Daou, Alex Ghandour, Till Langschied, Léa Rüegg & Marc Norbert Hörler, Lumpen Station – Andrea Marioni, Anina Müller, Jorge Raka, Gregory Stauffer. Apreperf / PANCH Resonanz in Sprache participated too by writing various texts about the performances. So what does it mean, a performative book? It isn’t an archive of the performances. You will not find beautiful images of the performances, a catalog of the artists, or decriptions of the performances itself. As the festival has a webpage that functions as an archive, pictures and texts on the performances can be discovered online: www.act-perform.net. This book is a collection of thoughts, moments, ideas, events and encounters arising while experiencing the festival. An archive of gatherings, an archive that foster the importance of sharing such moments in a student’s journey, an archive of what happened around the performances during the festival. We collected testimonials such as visuals or memories of participating students, texts generously written by Apreperf, adapted versions of the interventions by our invited artists, thoughts about act by the original founders, and the organization team: Anja Braun, Gökçe Ergör, Nicola Genovese, Linda Luv, Maricruz Pe Peñaloza, Marion Ritzmann, Anne Rochat, Darren Roshier, Davide-Christelle Sanvee, Benjamin Sunarjo, Hannah Weinberger – own experience of the festival. Some of the texts were originally written in French or German, they are all translated in English in this publication, but preferably to be read in their original language. This book is meant to be discovered. Whenever you feel like it, pick it up and let yourself float into the different contents. This will be your performance. Enjoy your own encounters flipping through this book. Darren Roshier
03 - Sammelband
Actualizing Realism
(Dumont Verlag, 2010) Voss, Jeronimo; Stakemeier, Kerstin; Raether, Johannes Paul; Sehrt, Jessica [in: What is waiting out there]
Can art make disparate realities perceivable and prompt us to participate reflectively in them? That is the central question to be posed by the 6th Berlin Biennale for Contemporary Art. How can it aid the viewer in assuring him/herself of his/her existence and of the world, in feeling more present in this world? Does it have the means at its disposal which film or other media and art forms do not? How can it call attention to the gap between the pseudo reality postulated by the public and personal life reality, how can it criticize this gap, or raise an awareness of it? How can it convey strange and unfamiliar realities by means other than hermetically sealed narrative forms, and thus reflect this strangeness in our own reality? In the midst of the overwhelming abundance of visual imagery produced incessantly by our media, how can reality and a critical view of its underlying conditions even be created? And finally, how does this reality relate to the present and its “passion for the real”?
04B - Beitrag Konferenzschrift
Ambitions, affections, imitations
(Hochschule für Gestaltung und Kunst Basel FHNW, 2023) Studer, Basil; Sánchez, Ama; Marcos, Rafa; Martinez, Chus; Rothfuchs, Tabea
Acryl auf Satin, Aluminium, Plastikperlen, Schlüsselanhänger, Dekorationsband
11 - Studentische Arbeit
An Inexhaustible Goodwill. From leaves to politics
(2018) Martinez, Chus [in: *Peace. Schirn Kunsthalle Frankfurt]
01B - Beitrag in Magazin oder Zeitung
Analog Chat I–III Sound Piece
(edition fink, 2019) Ritzmann, Marion
The artist’s record “Analog Chat I–III” by Marion Ritzmann is published as part of the series “Fortsetzung folgt” (to be continued), an open sequence of individual publications, which are connected and contextualized through the artist’s website as an integral part of the project. The 12" vinyl contains three new recordings made for this issue, which are based on a series of performances that were performed in Berlin, Basel and Biel in 2012. The equipment of the performance “Analog Chat” consists of a table, two chairs, two mechanical typewriters and a stack of A4 paper. The performance begins with Marion Ritzmann sitting down at one side of the table and waiting until someone from the audience sits down opposite her at the table and starts the dialogue. The rule of writing only one word per sheet of paper leads to the slowing down of communication in a real space. The written sheets of the analogue chats are later each bound into a book in the order in which they were created. Thus, three original books of the three Performances have been left, which now serve as the score for the present recordings. To continue the series of “Fortsetzung folgt”, the artist types the collected texts word by word on her laptop, using the internal microphone to record the resulting sounds of the keyboard. Three audio pieces have emerged, which oscillate between noise and rhythm and give an idea of the audience’s acoustic experience during the performances.
02 - Monographie
And still like Air, I will rise
(2018) Martinez, Chus [in: e-flux]
01B - Beitrag in Magazin oder Zeitung
Archive des Ephemeren. Denken, Praktizieren, Vernetzen, Weiter machen
(Eigenverlag, 09/2019) Lurk, Tabea; Jaques, Olivia; Grau, Pascale; von Büren, Margarit; Wolf, Julia; Maly, Valerian
Unterstützt vom Bundesamt für Kultur, der Burgergemeinde, der Stadt und dem Kanton Bern, der Stiftung Corymbo, der H.E.M. Stiftung und der Scherbarth Stiftung, erhielt die Arbeitsgruppe Performative Archive (AG) des PANCH – Performance Art Network Schweiz im Herbst 2017 die Gelegenheit, im Zeitraum von ca. eineinhalb Jahren eine breite(re) gesellschaftliche Debatte zur Archivierung und Überlieferung der Performancekunst zu lancieren. Auf der Basis von fünf Denkpools (DP) wurden thematische Schwerpunkte mit Künstler*innen, Expert*innen aus unterschiedlichen kulturellen Bereichen sowie der interessierten Öffentlichkeit vertieft diskutiert. Wichtig war und ist der AG, die künstlerische Sicht auf das Archiv auf Augenhöhe mit theoretischen Ansätzen zu diskutieren und somit das Archiv von unten nach oben neu zu denken.
02 - Monographie
Artist Talk
(11/2018) Martinez, Chus
06 - Präsentation
Artists’ Studios in Berlin. Interview with Florian Schmidt
(Spector Books, 2015) Voss, Jeronimo; Sehrt, Jessica; Tattara, Martino; Aureli, Pier Vittorio; Stiehl, Martin; Florian, Schmidt; Hirsch, Nikolaus; Peleg, Hila; Kuehn, Wilfried; Fezer, Jesko; Hiller, Christian [in: Dogma + Realism Working Group: Communal Villa. Production and Reproduction in Artists’ Housing]
How can the housing question (Wohnungsfrage) be appropriately reformulated in an age in which the work / life distinction is becoming increasingly blurred? The Realism Working Group and the architecture firm Dogma – in consultation with Florian Schmidt, Studio Commissioner of the Kulturwerk bbk berlin – are developing new living and working spaces for artists that challenge traditional designs and their underlying economic frameworks.
04B - Beitrag Konferenzschrift
Aufzeichnen und Erinnern. Performance Chronik Basel ( 1987-2006)
(Diaphanes, 2016) Wilke, Alice; Mathis, Muda
Der zweite Band der »Performance Chronik Basel« setzt sich mit neu recherchiertem Ton-, Bild-, Text- und Video-Material von Performances aus den Jahren 1987 bis 2006 auseinander. Anhand dieser Materialsammlung sind Erinnerungstexte, Interviews und Reflexionstexte zahlreicher Autor_innen entstanden, die Themen wie Kollektives Arbeiten, Produktionsbedingungen, feministischer Aktivismus, Theater-, Musik- und Medientransfers sowie die Förderung, Lehre und Bedeutung von Performances im öffentlichen Raum diskutieren.
02 - Monographie
Ausstellungsprojekt mit 7 Studierenden aus dem Institut Kunst
(Hochschule für Gestaltung und Kunst FHNW, Institut Kunst, 2011) Gysi, Lara; Hostettler, Jan; Koch, Ariane; Lenz, Rahel; Madörin, Philipp; Reinau, Philippe; Wirz, Pedro
Anlässlich der Ausstellung vom 13. Mai - 09 Juli 2011 Kunstverein Duisburg
05 - Forschungs- oder Arbeitsbericht
Authentizität ohne Original? Betrachtungen zum Wandel des Werkbegriffs in der Konservierung und Restaurierung computerbasierter Kunstformen
(Scheidegger & Spiess, 2018) Lurk, Tabea; Fayet, Roger; Krähenbühl, Regula [in: Authentizität und Material. Konstellationen in der Kunst seit 1900]
04B - Beitrag Konferenzschrift
Bachelor of Arts in Kunst
(Hochschule für Gestaltung und Kunst FHNW, Institut Kunst, 2013)
05 - Forschungs- oder Arbeitsbericht
Bachelor und Diplom 2008 - Institut Medienkunst
(Hochschule für Gestaltung und Kunst FHNW, 2008)
05 - Forschungs- oder Arbeitsbericht
Bannalp 20-35. Yuki 23-56 01-26
(Hochschule für Gestaltung und Kunst Basel FHNW, 2023) Egger, Yukari; Sánchez, Ama; Marcos, Rafa; Rothfuchs, Tabea; Martinez, Chus
Full-HD-Videos, 16:9, Farbe, Stereo Sound
11 - Studentische Arbeit

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