Pascal Schwaighofer Portfolio 2012

Transcript

Pascal Schwaighofer
Portfolio
2012 - 2016
Proposal for a Flag (Royal Batik)
2016
Batik on cotton
50 x 70 cm
In the wake of the International Workingmen’s
Association Congress held in Geneva in 1866, a
red flag featuring a beehive surrounded with flying
bees had been embroidered with golden threat in
order to represent the newly-established anarchosocialist organisation.
Whereas for centuries bees and beehives had
inspired a large number of thinkers, becoming a
powerful and a striking conceptual tool to imagine
an ideal form of society, in recent years the beehive metaphor had been widely used in the realm
of political economy. Emphasizing the shift from a
material to an immaterial labour, economists, such
as Yann Moulier-Boutang, refer to a post-industrial
society as a pollen society. What was considered
as an externality of secondary importance in the
industrial era, like bees pollination, cognitive and
affective labour became today the very core of
value production of the post-Fordist society.
To this end, Proposals for a Flag (Royal Batik),
La mala mimesis, and Mal d’archive (Archive
Fever) aim at drawing the attention to a field of
ideas where common notions, such as work and
production, may be undone and reconsidered
according to constant deterritorialisation and riterritorialisation processes of labour values and their
representability.
Photo: Simon Brazzola
2016
Batik on cotton, display cabinet
Dimensions variable
Background: Vincenzo Vela, Le vittime del lavoro
(The Victims of Labour), 1882
Exhibition view: La classe sterile
Museo Vincenzo Vela, Ligornetto, 2016
Photo: Mauro Zeni
2016
Dimensions variable
Photo: Mauro Zeni
2016
Dimensions variable
Photo: Mauro Zeni
La mala mimesis
2012-2016
Beehives, plaster, beeswax
Dimensions variable
Detail
L’intervento di Pascal Schwaighofer nelle sale
del Museo Vincenzo Vela si sviluppa a partire dal
confronto con il celebre altorilievo Le vittime del
lavoro (1882). Il capolavoro dello scultore ticinese,
concepito quale tributo ai minatori deceduti sui
cantieri del traforo ferroviario del San Gottardo
(1872-82), costituisce uno dei primi monumenti
eretti in Europa in onore della classe operaia.
Evitando una lettura prettamente analitica e storica del tema, Schwaighofer presenta in mostra,
in un dialogo serrato con le opere in collezione,
una serie di calchi in gesso di arnie, realizzati con
una tecnica che rimanda ai modelli originali di
Vela. Nel contempo le arnie rinviano alla metafora
dell’alveare, alla sua complessa iconografia e alla
sua interpretazione in chiave politica ed ideologica, stimolando una più ampia riflessione critica
sulla problematica del lavoro. Al sistema economico è legato anche il titolo dell’installazione, che
rinvia al concetto, elaborato dalla scuola fisiocratica, di “classe sterile”: la classe che nulla crea ma
tutto trasforma.
A complemento delle opere presentate in situ
verrà dato alle stampe un catalogo illustrato
corredato di un dialogo fra l’artista e l’economista
Christian Marazzi, incentrato sulle implicazioni
sociali ed economiche del lavoro, e di un saggio
critico della storica dell’arte Edith Krebs.
Italian pressrelease La classe sterile, Museo
Vincenzo Vela, 2016
Photo: Simon Brazzola
La mala mimesis
2012-2016
Dimensions variable
Exhibition view: La classe sterile,
Photo: Mauro Zeni
La mala mimesis
2012 - 2016
Dimensions variable
Photo: Mauro Zeni
Mal d’archive (Archive Fever)
2012 - 2016
Dimensions variable
What would be the best form for an archive?
And what would be the best form for a beehive?
Indeed, honeybees themselves have a peculiar
sense of order and space. But, really, what would
be the best form to house our history and our
memory?
In 1789, thanks to the observations of Swiss
naturalist François Huber, the organic form of a
honeycomb began to be framed, organized and
therefore imagined as an open book. Intertwined
with scientific research, Huber’s leafs hive led his
successors to conceive the beehive precisely as
a box with movable frames – if not files – opening
the path toward the ultimate optimization of the
exploitation of honeybees.
At the same time, in the course of the 18th and
19th century, the beehive became for many
thinkers a powerful and striking metaphor for
a better society. It revealed to be a conceptual
tool that helped to imagine political systems and
economics theories. Bees and beehives became
a common iconography depicted on unexpected
items for disparate contexts: from the royal cloak
of Napoleon Bonaparte, on the top of the Mormon
Church, up to the first flag of the International
Workingmen’s Association (Association Internationale des Travailleurs) in 1864, among many
others examples.
Photo: Mauro Zeni
2015
Dimensions variable
Exhibition view: Museum Haus Konstruktiv, 2015
C’est donc [la violence] la première figure d’une
archive, car toute archive (…) est à la fois institutrice et conservatrice. Révolutionnaire et traditionnelle. Archive éco-nomique en ce double sens:
elle garde, elle met en réserve, elle épargne mais
de façon non naturelle, c’est-à-dire en faisant la
loi (nómos) ou en faisant respecter la loi. (...) Elle
a force de loi, d’une loi qui est celle de la maison
(oîkos), de la maison comme lieu, domicile,
famille, lignée ou institution.
Jacques Derrida, Mal d’archive, Une impression
freudienne.
Foto: Conradin Frei, Zürich
2015
Dimensions variable
Exhibition view: Museum Haus Konstruktiv, 2015
Foto: Conradin Frei, Zürich
La madonna dei tulipani
2016
Charcoal on asphalt
Dimensions variable
Exhibition view: Public Art in Zürich
Gasträume ‘16, Maagplatz, Zürich
Like a street artist, Pascal Schwaighofer adorns
the square in front of Prime Tower with a large
chalk drawing, which he regularly renews. This
drawing shows tulip motifs that have been borrowed from 16th-and-17th-century Dutch painting.
The passers-by can observe the artist’s working
manner; rain and usage of the public space cause
the image to disappear again.
With his tulip image, Schwaighofer addresses the
topic of financial speculation from the culturalhistorical perspective in (over-)capitalised Zurich.
The link to Madonna paintings formulated in the
title refers to 16th-century Italian street painters’
“madonnari”, which paid homage to Mary. In turn,
the tulip as a subject is a reference to so-called
tulip mania: a synonym for the first recorded financial bubble in history and a famous economics
lesson on the catastrophic societal consequences
of speculative trading, which occurred in the
Netherlands during the Dutch Golden Age in the
17th century. Pascal Schwaighofer’s Madonna dei
tulipani is a continuation of his multi-part project
Economimesis, which he has been working on
since 2013. Taking Jacques Derrida’s essay of the
same name as a basis, the artist examines the
link between aesthetic concepts and economic
regulatory cycles.
Pressrelease Public Art in Zürich, Gasträume ‘16
Photo: Anna Francke
2016
Charcoal on asphalt
Dimensions variable
Photo: Anna Francke
2016
Charcoal on asphalt
Dimensions variable
Photo: Anna Francke
2016
Charcoal on asphalt
Dimensions variable
Photo: Anna Francke
Economimesis
2015
Ebru on paper, fabric, frame, tennis ball, ink
56 x 65 x 7 cm
Exhibition view: SVILUPPO-PARALLELO,
Kunstmuseum Luzern, Luzern, 2015
The work grapples, thematically and practically, with the first financial bubble in history, the
Tulipomania, as well as with the traditional Turkish
paper marbling technique Ebru.
The technique first occurred about 3000 years
ago in China and Japan and was further developed in 17th century Turkey by creating floral
motifs, mostly tulips, following a specific sequence
of painterly operations.
The artist’s images were created on the basis of a
specific and difficult to control sequence of operations where technique and iconography intersect
with the objective of testing the (irrational) criteria
so to point at related phenomena such as the Tulipomania, the limitations and freedoms inscribed in
the market, biology and theory of aesthetics.
Pascal Schwaighofer uses, as a tribute, an hanging strategy that Luciano Fabro applied in 1996
to his work “Ceramiche”: in order to determine
the position of the works on the wall, he threw in
color-soaked tennis balls across the room: where
the ball left a trail, he placed an image.
Excerpt from the exhibition’s press release,
SVILUPPO-PARALLELO, Kunstmuseum Luzern,
Luzern, 2015, by Noah Stolz.
Photo: Marc Latzel
Economimesis
2015
56 x 65 x 7 cm
Photo: Marc Latzel
Economimesis
2015
56 x 65 x 7 cm
Detail
Photo: Marc Latzel
Tulipmania
31 January 2016
Lecture Performace, during the Book launch Tulipmania, based on dialog between
Pascal Schwaighofer and Jan Verwoert,
edition fink, 2016.
Photo: Noah Stolz Stella Maris Archive
Tulipmania
31 January 2016
Lecture Performace, during the Book launch Tulipmania, based on dialog between
Pascal Schwaighofer and Jan Verwoert,
edition fink, 2016.
Photo: Noah Stolz Stella Maris Archive
Mythological Re-enactment (Vol. 2)
2012 - 2016
Rawhide, wood, rope. Variable dimensions
Exhibition view: “Mythological Re-enactment
(Vol.2)”, Kolumba, Köln, 2013
The work consists of an entire un-tanned ox hide
cut into a long lace according to the legend of
Princess Dido (814-760 B.C.).
As the story goes, the Phoenician Princess is
supposed to have founded Carthage, after being
granted land as much as an ox hide could cover.
Instead to respect the agreement, Dido let to cut
the hide in a long and thin lace, embracing therefore a larger piece of land.
The city of Carthage was possibly one of the first
enclaves in history, to form a zone governed by
its own rules and laws. Starting from the fact that
every exhibition - if not every single artwork - lies
under exceptional rules, the re-enactment of
Princess Dido’s legend is an attempt to highlight
the analogies between the symbolic and the political space, and question the peculiarity of such a
state of exception. The legend of the foundation
of Carthage exemplify a remarkable etiological
paradigm; and by challenging its very materiality
embedded in the cutting of an ox hide into a lace,
the work endeavours to question the convecting of
notions such as myth, history, nation, sacrifice and
representation.
Photo: Lothar Schnepf
Mythological Re-enactment (Fontana)
2015
Rawhide, steel, rope, horns, knifes, magazines,
photographs. Variable dimensions
Detail
By recalling the legend of the founding of
Carthage, the work was later realized in Argentina
in collaboration with the gaucho Carlos Cabrera,
one of the few successors of the ancient technique of raw leather processing.
The artwork consists of a raw ox-hide, from which
six homogenous parts were selected and cut into
long laces according to the traditional practice of
the production of a lasso in Argentina.
The term “lazo” indicates not only the instrument
par excellence of the gaucho or “vaquero”, but
also denotes a legal commitment, a union and an
obligation.
During the “conquista del dieserto”, the systematic
occupation of uncultivated lands in Patagonia by
agro-exporter oligarchy perpetrated during the
nineteenth century, the figure of the gaucho was
characterized by its controversial position. Hired
in the military campaign against the indigenous
population, the gaucho often ended up deserting
and thus spending his life as an outlaw.
Exhibition view: Voglio vedere le mie montagne,
MAGA Museum, Gallarate, Italy, 2015
Photo: Roberto Marossi
2015
Rawhide, steel, rope. Variable dimensions
Right: Lucio Fontana, Concetto spaziale, 1961,
Collection Maga, Gallarate
2015
Rawhide, steel, rope. Variable dimensions
Right: Lucio Fontana, Concetto spaziale, 1961,
Collection Maga, Gallarate
Barre di materia duttile*
2011
Wood, plaster, red gilder’s clay, gold,
100 x 3 x 1.5 cm ca. each
*Rods of ductile matter
The work composed of a few dozen sticks of
seasoned wood, combined in pairs, and centrally
gilded in accordance with the traditional gilding procedure. On the gilded surface, tiny semi
spheres are impressed on the sticks, like basrelief which to our eyes join to form curved lines
made up of a like number of luminous points.
The starting point for the work were the tally
sticks, an ancient memory aid device used to
record and document numbers, quantities, or
even messages. Especially the split tally was a
technique which became common in medieval
Europe, which was constantly short of money
(coins) and predominantly illiterate, in order to record bilateral exchange and debts. The work is an
attempt to tackle the question of debt - the moral
debt and its material counterpart of the medium,
as well as the mutual engagement between the
artist and the public.
Photo: Simon Brazzola © Museo Cantonale d’Arte, Lugano
Barre di materia duttile, 2011, Wood, plaster, red
gilder’s clay, gold, 100 x 3 x 1.5 cm ca. each
Barre di materia duttile, 2011, Wood, plaster, red
gilder’s clay, gold, 100 x 3 x 1.5 cm ca. each
Economimesis, 2013,
Ebru on paper, silkscreen on passe-partout, frame
31 x 45 cm
Exhibition view Economimesis, Barbara Seiler
Galerie, Zürich, 2013
Economimesis, 2013,
Ebru on paper, silkscreen on passe-partout, frame
Variable dimensions
Exhibition view Economimesis, Barbara Seiler
Les Articulations, 2013
Drying racks, silkscreen on paper.
Variable dimensions
Exhibition view: Economimesis, Barbara Seiler
Photo: Emil Schallenberg, courtesy Galerie Barbara Seiler.
Gel Git / Back Forth
2013
Silkscreen on Paper, 70 x 50 cm each. Edition of
90 copies + 8 AP
The silkscreen edition, Gel Git / Back Forth, is
titled after the name of one of Ebru’s printing technique, which allows floating colours to be spread
on a liquid surface in a pattern like manner. The
technique - also known as marbled paper - first
occurred about 3000 years ago in China and
Japan and was further developed in 17th century
Turkey. The edition reproduces a page from an
Ebru’s reference book, in which are illustrated the
work steps for this specific printing technique. For
the four-color silkscreen edition, the colours have
been progressively altered in order to attain for
each print a slightly different chromatic range. The
copies have been exposed on a drying rack.
Mimesis des Articulations
2013
Silkscreen
80 x 5 x 60 cm each
Exhibition view: Economimesis, Barbara Seiler
Photo: Emil Schallenberg, courtesy Galerie Barbara Seiler.
Economimesis
2013
Silkscreen on steel
Variable dimensions
Exhibition view: ECONOMIMESIS, Géopolis,
UNIL, Lausanne
Photo: Felix Imhof
Economimesis
2013
Silkscreen on steel
Variable dimensions
UNIL, Lausanne
Photo: Felix Imhof
Economimesis
2013
Silkscreen on steel
Variable dimensions
UNIL, Lausanne
Photo: Felix Imhof
Economimesis
2013
Silkscreen
Variable dimensions
Exhibition view: ECONOMIMESIS, Palais Rumine,
Musée Cantonale de Géologie, Lausanne
Photo: Felix Imhof
Economimesis
2013
Silkscreen
Variable dimensions
Photo: Felix Imhof
Economimesis
2013
Silkscreen
Variable dimensions
Photo: Felix Imhof
La mala mimesi
2012-2015
Metal, wood, beeswax, concrete.
Variable dimensions
Exhibition view: FÜHLST DU NICHT AN MEINEN
LIEDERN, DASS ICH EINS UND DOPPELT BIN Galerie Peter Kilchmann, Zurich, 2015
Photo: Thomas Strub
La mala mimesi
2012-2015
Metal, wood, beeswax, concrete.
Variable dimensions
Exhibition view: FÜHLST DU NICHT AN MEINEN
LIEDERN, DASS ICH EINS UND DOPPELT BIN Galerie Peter Kilchmann, Zurich, Switzerland,
2015
The work consists in a series of honeycomb
frames hanging on a rack. Cement has been
poured over the honeycomb, and once the concrete was dry, the wax has been partially melted
away in order to reveal the resulted hexagonal
pattern.
Starting from the so called Metaphor of the Beehive - under which label has been often gathered
the common interest to thinkers and politics in
apiculture as a reference source for utopian
ideologies in the XIX and XX century - the work
is an attempt to retrace the metaphor addressing questions on domestication, production, and
translation.
Photo: Thomas Strub
Lascaux Man, 2012
Light-sensitive emulsion on Wall
530 x 320 cm
Detail
“La Jeunesse est un art. Jubiläum Manor
Kunstpreis 2012”,
Aargauer Kunsthaus, Aarau, 2012
Pascal Schwaighofer’s work for the Aargauer
Kunsthaus is an analytical exploration of the cave
at Lascaux. Transposing onto the walls of the museum fragments of Georges Bataille’s comments
on the cave frescoes, the artist opens up a mental
space conducive to stirring thoughts and memories. Using a technical process involving various
transformations – digitization, printing, projection
and transfer by photosensitive emulsion – the
excerpts from the original essay, itself already
translated into English and modified by some
anonymous annotations, are loaded with multiple
timelines and become traces evoking emergence
and disappearance at once. (…)
Séverine Fromaigeat, in La jeunesse est un art.
Jubiläum Manor Kunstpreis, Aargauer Kunsthaus,
Aarau, Edizioni Periferia, 2012
Photo: David Aebi, Burgdorf
Lascaux Man, 2012
Light-sensitive emulsion on Wall
530 x 320 cm
“La Jeunesse est un art. Jubiläum Manor
Kunstpreis 2012”,
Aargauer Kunsthaus, Aarau, 2012
Photo: David Aebi, Burgdorf
Exhibition view Sketches for a Sundial,
Dienstgebäude, Zürich, 2012
Photo: Jon Etter
Written recipes are obsolete (Frutta secca)
2012
Dryed apples, metal
Variable Dimensions
Exhibition view:
Sketches for a Sundial,
Photo: Jon Etter, Zürich
Written recipes are obsolete (Frutta secca)
2012
Dryed apples, metal
Variable Dimensions
Exhibition view:
Sketches for a Sundial,
Opoyaz (Recipe n.1), 2012
Diafilm.
6x6 cm
Detail
The work consists of several diafilms depicting a
series of clay’s artefacts on a blue background.
Since the artefacts were destroyed after the completion of the documentation, the only traces left is
the analogical reproduction of them.
The title refers to the Russian acronym for “Society for the Study of Poetic Language” founded in
1916, which was responsible for the development
of Russian formalism, literary semiotics and the
concept of “estrangement” or “defamiliarisation”.
Along this notion, the work is an attempt to
“defamiliarise” a simple gesture, and therefore, to
reload the artefact with several possible meanings. In other words, what is left, suggests an
archaeological approach to the notion of artefact
and its representation.
Diafilm, Wood, Glass, Neon
Variable Dimensions
Exhibition view Sketches for a Sundial, Dienstgebäude, Zürich, 2012
In order to display the slide-films I assembled a
light dispositive by using existing elements of the
exhibition space. I set three windows on trestles
and inserted the ceiling’s neon lamps under the
windows. The old double-glasses window allowed
me to arrange the film negatives between the two
glasses.
Diafilm, Wood, Glass, Neon
Variable Dimensions
Exhibition view Sketches for a Sundial, Dienstgebäude, Zürich, 2012
In order to display the slide-films I assembled a
light dispositive by using existing elements of the
exhibition space. I set three windows on trestles
and inserted the ceiling’s neon lamps under the
windows. The old double-glasses window allowed
me to arrange the film negatives between the two
glasses.
OPOYAZ (yellow clay)
OPOYAZ (red clay)
OPOYAZ (white clay)
2010
Slideshow
Variable dimensions
The work consist of a slideshow depicting a series
of clay’s artifacts on a blue background. Since
the artifacts were destroyed after the completion
of the documentation, the only traces left is the
analogical reproduction of them.
Exhibition view OPOYAZ, 2011, Museo Cantonale
d’Arte, Lugano, 2011 Photo: Mauve Serra
Diafilm, lightbox
Variable Dimensions
Detail
The work consists of several diafilms depicting a
series of clay’s artefacts on a blue background.
Since the artefacts were destroyed after the completion of the documentation, the only traces left is
the analogical reproduction of them.
Along this notion, the work is an attempt to
“defamiliarise” a simple gesture, and therefore, to
reload the artefact with several possible meanings. In other words, what is left, suggests an
archaeological approach to the notion of artefact
and its representation.
Photo: Marc Domage © CCS, Paris
Exhibition view Le monde nous échappe puisqu’il
redevient lui-même
Centre Culturel Suisse, Paris, 2012
Opoyaz
(Le monde nous échappe
puisqu’il redevient lui-même*)
2011
Lithographic limestone
5 pieces
38,5 x 54 x 8 cm / 43,5 x 59,5 x 6,3 cm /
43,6 x 54,3 x 6,8 cm / 38,5 x 54,7 x 7,5 cm /
48,5 x 37,7 x 6,7 cm
* The world evades us because it becomes itself
again.
Albert Camus, “Le mythe de Sisyphe”, 1942
Some slides have been selected from the series
Opoyaz (yellow clay) and transferred on the surface of 5 lithographic limestones by means of an
engraving process with the goal to obtain what is
called in technical language ghost images.
Photo: Mauve Serra
Opoyaz
(Le monde nous échappe
puisqu’il redevient lui-même)
2011
Lithographic limestone
5 pieces
38,5 x 54 x 8 cm / 43,5 x 59,5 x 6,3 cm /
43,6 x 54,3 x 6,8 cm / 38,5 x 54,7 x 7,5 cm /
48,5 x 37,7 x 6,7 cm
Exhibition view Le monde nous échappe puisqu’il
redevient lui-même, Centre Culturel Suisse, Paris,
2012
Pascal Schwaighofer
1976 Born in Locarno, lives & works in Zürich
CV & Studies
2012-2013
Co-founder of the exhibition space MOK,
Roterdam, NL
2008-2009
Co-founder of the exhibition space APPPART,
Locarno, CH
2005/06
Pedagogical University, Locarno, CH
1998–2003
Accademia di Belle Arti, Milano, I
1992–1997
Liceo Artistico, Varese, I
Oktober 2016 © Pascal Schwaighofer
[email protected]
www.pascal-schwaighofer.ch
Publications
- Tulipmania, Pascal Schwaighofer, Jan Verwoert, Edition Fink, 2016
- How Dido Arryued In A Straunge Countrey, And Boughte Londe,
Edition Fink, Zürich (forthcoming)
- SVILUPPO-PARALLELO, Stella Maris/Noah Stolz, 2015
- Émergences, Bex & Arts 2014, art&fiction publications
- TI - CH. Arte svizzera nelle acquisizioni del Museo Cantonale
d’Arte 1999–2014, Museo Cantonale d’Arte, Lugano
- Mythological Re-enactment, Kolumba Museum, Köln, 2013
- In Absent Places We Dwell, Genève, 2012
- La jeunesse est un art. Jubiläum Manor Kunstpreis,
Aargauer Kunsthaus, Aarau, Edizioni Periferia, 2012
- Pascal Schwaighofer/Misha Stroj, Ar/ge kunst (#13),
Mousse Publishing, 2012
- Opoyaz, exhibition catalogue edited by Elio Schenini,
Edition Fink, Zurich, 2011
- Science & Fiction.
Künstlerische Praxis im Dialog mit den Wissenschaften,
exhibition catalogue, Edition Fink, Zurich, 2011
- Môtiers 2011. Art en plein air. exhibition catalogue,
Môtiers, 2011
- Pascal Schwaighofer, Pro Helvetia/Edizioni Periferia,
Zurich/Lucerne, 2011
- Che c’è di nuovo? Uno sguardo sulla scena artistica emergente in
Ticino, exhibition catalogue edited by Elio Schenini,
Museo Cantonale d’Arte, Lugano, 2010
- Curators Cut, exhibition catalogue edited by Stephan Wittmer,
Kunstpanorama, Lucerne, 2007
- Casa degli Artisti. Mostre 2000, Casa degli Artisti, Milan, 2001
- Immagine Naturale 8, edited by Luciano Fabro and Johannes
Gachnang, Gallerie Lelong, Zurich, 2000
- Casa degli Artisti Mostre 1999, Casa degli Artisti, Milan, 2000
Performances / Lectures and Seminars
- Tulipmania, Lecture Performance, Kunstmuseum Luzern
- Tulipmania, Lecture with Jan Verwoert, Le Foyer, Zürich
- The Fable of the bees, Lecture Performance,Performa festival,
La Fabbrica, Losone
- Jacques Derrida trifft Alexander Kluge oder: Zur Aktualität des
Poststrukturalismus für zeitgenössisches philosophisches und
künstlerisches Handeln, Colloquium,
Zürcher Hochschule der Künste, ZHdK, Zürich
- Cannibalismes et autres «pratiques» d’assimilation, Workshop
l’Ecole cantonale d’art du Valais, ECAV, Valais
- Mythological Re-enactment, Lecture/debate with Nicola Soldini,
i2a, Istituto Internazionale di Architettura, Vico Morcote
Awards
- Support by Fachstelle Kultur Kanton Zürich, 2016
- UBS Culture Foundation, 2015
- Studio Residency, Pro Helvetia, 2015
- Culturescapes Pristina, Studio Residency, 2014
- Manor Art Prize, Ticino, Switzerland, 2011
- Swiss art awards, 2011
- Collection Cahier d’Artistes, Pro Helvetia, 2011
Residencies
2015
- Pro Helvetia Studio Residency, New Delhi, India
2014
- Studio Residency La Boca, Buenos Aires, Argentina
2013
- Culturescapes residency, Pristina, Kosovo
2010
- Y residency Art Foundation, Berlin
- B.a.d Foundation, Rotterdam
2009
- Stichting Kaus Australis, Rotterdam
Solo Exhibitions (Selection)
2016
- La classe sterile, Museo Vela, Ligornetto
2014
- Tulipmania, conversation XXXVII with Jan Verwoert, Les Foyer,
Zürich
- Mythological Re-enactment (Conversations)
i2a, International Institute of Architecture, Vico Morcote
2013
- Economimesis, Barbara Seiler Gallery, Zürich
- ECONOMIMESIS, Géopolis, UNIL, and Palais Rumine,
- Mythological Re-enactment, Kolumba Museum, Köln
2012
- Sketches for a Sundial, Dienstgebäude, Zürich
- Pascal Schwaighofer/Misha Stroj,
ar/ge kunst, Galerie museum, Bozen/Bolzano
- Le monde nous échappe puisqu’il redevient lui-même,
Centre Culturel Suisse, Paris
2011
- Musée de la Chaussure, Les Urbaines, Lausanne
- Opoyaz, Premio Manor Ticino 2011,
Museo Cantonale d’Arte, Lugano
- Partita doppia, Isabelle Krieg/Pascal Schwaighofer, Galerie Luciano
Fasciati, Chur
2010
- Pascal Schwaighofer, Lokal.int, Bienne
2009
- Primo Movimento. Allunaggi, La Via Lattea 6,
Monte Generoso
- Pingelap, Apppart, Locarno
2007
- In the beginning, Kunstpanorama, Raum 202, Lucerne
2006
- Pascal Schwaighofer, Les Halles, Espace d’art contemporain,
Porrentruy (with Miky Tallone)
- Pascal Schwaighofer, Studiocrisitinadelponte, Locarno
Group Exhibitions (Selection)
2016
- Werk- und Auslandatelierstipendien 2016 , Stadt Zürich
- Oh, wie schön ist Panama. Im Spannungsfeld zwischen Mola und
Moral. Völkerkundemuseum - Universität Zürich
- La madonna dei Tulipani, Gasträume 2016, Maagplatz, Zürich
- Swiss Art Awards, Messezentrum, Basel
2015
- SVILUPPO - PARALLELO, Kunstmuseum Luzern, Luzern
- Werkschau, Haus Konstruktiv, Zürich
- Nichts Neues, PROGR, Zentrum für Kulturproduction, Bern
- Voglio vedere le mie montagne, MAGA Museum, Gallarate, Italy
- Fühlst du nicht an meinen Liedern, Daß ich Eins und doppelt bin?,
Peter Kilchmann Gallery, Zürich
2014
- 4rd Biennial at the End of the World, Mar del Plata, Argentina
- When I sleep my bed works, Performa festival, La Fabbrica, Losone
- Émergences, Bex & Arts, Bex
- Swiss art awards, Messezentrum, Basel
2013
- At Set Times, Not a Minute to Lose, Villa au Parc, Annemasse
2012
- Reflections on Form, Barbara Seiler Galerie, Zürich
- La jeunesse est un art, Kunsthaus Aarau, Aarau
- In Absent Places We Dwell, Piano Nobile, Genève
- Aeschliman & Corti Stipendium, Centre Pasquart, Biel/Bienne
2011
- 52.5293°N, 13.3964°E, Substitut, Berlin
- Science & Fiction, Kunstmuseum Solothurn
- Môtiers 2011, Art en plein air, Môtiers
- Aeschliman & Corti Stipendium, Kunstmuseum Thun
2010
- I was Uranium, with Ruth Barker and Toril Johannessen,
Sils Project Space, Rotterdam
- Liberty control, Duende Studio, Rotterdam
- What’s New? A look at the emerging art scene in Ticino,
Museo Cantonale d’Arte, Lugano
2009
- RAiR #2, Stichting Kaus Australis, Rotterdam
- The World is a Tissue of Lies, Kunsthalle Luzern
- Belvedere, Galerie Luciano Fasciati, Chur
2008
- Heimatpäckli für Adam Tellmeister, Substitut, Berlin
- Der Rote Faden, Galerie Luciano Fasciati, Chur
2007
- Curators Cut, Kunstpanorama, Luzern
- Handlung und Relikt, Galerie Luciano Fasciati, Chur
Biography
Pascal Schwaighofer (1976) lives and works in Zürich. He graduated at the Accademia di Belle Arti in Milan (2003). Recent exhibitions include Sviluppo – Parallelo, Kunstmuseum Lucerne (2015);
Voglio vedere le mie montagne, MAGA museum, Gallarate (2015),
La jeunesse est un art, Aargauer Kunsthaus, (2012), Science &
Fiction, Kunstmuseum Solothurn, (2011), and I was Uranium, Sils
project, Rotterdam (2010). Solo exhibitions at Kolumba Museum,
Köln (2013), at the Centre Culturel Suisse, Paris (2012), Museo
Cantonale d’Arte, Lugano (2011), AR/GE kunst, Galerie museum,
Bozen/Bolzano. Recent lectures The Fable of the Bees, at Performa
festival (2015), Tulipmania, with Jan Verwoert, Le Foyer, Zürich. He
was awarded the Manor Art Prize, Ticino, Switzerland and the Swiss
Art Awards (2011). In January 2016 it has been released Tulipmania, a publication based on a dialogue between Jan Verwoert and
Pascal Schwaighofer as an extension of a multi-part work called
Economimesis. In 2011 he was selected for the Collection Cahier
d’Artiste, a publication series promoted by the Swiss art council Pro
Helvetia. His works were acquired by private and public collections in
Germany, Italy, Switzerland, and in the Netherlands.

Pascal Schwaighofer Portfolio 2012

Transcript

Documenti analoghi

as a PDF - Anton Kern Gallery

alessandro verdi - Gruppo Euromobil

CELEBRATION FOR THE FALLEN IN WARS, Valle di Ledro: your

Let`s Go Kids Stroller design on show at Milano

pdf - Fondazione Internazionale Menarini

Charity Box EMERGENCY PROJECT FOR JAPAN

SCHOLASTIC CURRICULUM CURRICULUM VITAE

WHY AFRICA? The Pigozzi collection

Aquileia Crossroad of the Roman Empire