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All the Lights We Cannot See
The exhibition, which went virtually unnoticed by the general public, was held April 9 – 12, 2016 on the 23rd floor of the Yanggakdo International Hotel in Pyongyang, North Korea.
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Tout est bon dans le poisson
For two nights only, the Réunion was transformed into a fish market, occupied by Charly, Paris’s Michelin award-winning fish vendor. Peddling fish from the art space’s front window, Charly’s quotidian business collided with the world of art, as nightly performances toured underground cultures and explored the limits of new exhibition formats.

Gourmands meet fringe performance art.
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Amongst Those Present
An experimental approach to one of contemporary art's major themes—the "unknown"—this project was executed on the occasion of the grand opening of Réunion. For it, professional safecrackers emptied two ancient vaults, both of which had been sealed for over 20 years. Neither keys nor owners were known, and most importantly, no one knew what lurked within, so the unearthed findings were shared among all present.

The hidden inspires collective imagination, dreams, and art alike.
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Consider Yourself Invited
Two North African artists are invited to Switzerland to speak about their work: one who meets the necessary visa requirements to enter the country and one who doesn’t. These two scenarios, to be presented at the Belluard Festival, are the starting point for a story that won’t be afraid to touch upon the difficult question looming behind its creation and our collective prejudices:

Will the visiting artist overstay his visa to start a new life after his talk in Switzerland?
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Tout est bon dans le poisson
For two nights only, the Réunion was transformed into a fish market, occupied by Charly, Paris’s Michelin award-winning fish vendor. Peddling fish from the art space’s front window, Charly’s quotidian business collided with the world of art, as nightly performances toured underground cultures and explored the limits of new exhibition formats.

Gourmands meet fringe performance art.
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Without the Viewer
Where do we find time to truly engage with art, while being caught between the constraints of hyper availability and keeping up with a fast-pace society? A five-strong crew of artists and curators withdrew from the world into an abstract emptiness to regain what often seemed lost: Time for debate and reflection.

A journey across the Atlantic.
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Don't Talk to Strangers
Artists present art works in strangers' homes. In each household, an installation area is designated, while existing items (furniture, books, and personal objects) are reinstalled in the art space. With the artworks thus displaced, visitors must directly contact the private hosts, whose phone numbers are available alongside their displayed belongings at the art space.

Installation View: Cory Arcangel at Roland Früh's Home
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Eternal One-Night Stand
Art performers, queer artists, and dancers met once again beyond the witching hour – a time when “decent” people are already sound asleep, merely dreaming about unleashing their free spirits. The evening unfolded around one-on-one performances, meaning each visitor will experience each performance on their own.
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Don't Talk to Strangers
We playfully confound two typically distinct spaces—the gallery & the domestic home—as artists will present their work in the households of participating NY residents. In each dwelling, an installation area is designated, while the existing items (i.e. sofas, coffee tables, books, and personal objects) are moved and reinstalled at in a gallery space.

With the artworks thus displaced, gallery visitors must directly contact the private hosts, whose phone numbers are available alongside their displayed belongings.
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Keep the Secret
The Embassy of Switzerland wrote:

"Probably one of the most lively and innovative art galleries in Switzerland, Neue Galerie (now Random Institute) literally breaks with boundaries and moves to London for one month, presenting an exhibition of contemporary Swiss artists dealing with a highly sensitive subject."
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As Far Away as Home
The idea is simple. As far away as home: Paris to Warsaw is a curatorial initiative featuring Nummer veertien, home (2012), an ambitious video by Dutch artist Guido van der Werve. Even though van der Werve’s videos have been shown in heavyweight art institutions around the world—or perhaps exactly for that reason—the project deliberately took place beyond museum walls.

One work. One route. A myriad of people and outcomes.
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Consider Yourself Invited
Two North African artists are invited to Switzerland to speak about their work: one who meets the necessary visa requirements to enter the country and one who doesn’t. These two scenarios, to be presented at the Belluard Festival, are the starting point for a story that won’t be afraid to touch upon the difficult question looming behind its creation and our collective prejudices:

Will the visiting artist overstay his visa to start a new life after his talk in Switzerland?
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Sometimes Attention Should Be Paid to the Absence of Everything
Buried in the remote Icelandic desert, this one-of-a-kind book is encapsulated in the Kunsthalle Tropical, a contemporary art institution that draws artists to a place where no spectator is ever present. Documenting the Kunsthalle’s mission, the book details the curator’s vision for a new kind of art institution, where possibilities for creative innovation are endless.

The book is buried at +65° 20' 14.76", -15° 51' 8.40" at a depth of 93cm.
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La Fontaine Froide
La Fontaine Froide, a reflection of themes involving travel, destination, and contemplation, took the form of a long hike from a wooded location in the mythic Val-de-Travers to an exhibition space. Participants walked together, all the while discussing potential works of art. Upon arrival at their endpoint, it was collectively decided that an impromptu exhibition would be realized.

An art-inspired walkabout, followed by an unpremeditated exhibition.
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Consider Yourself Invited
Two North African artists are invited to Switzerland to speak about their work: one who meets the necessary visa requirements to enter the country and one who doesn’t. These two scenarios, to be presented at the Belluard Festival, are the starting point for a story that won’t be afraid to touch upon the difficult question looming behind its creation and our collective prejudices:

Will the visiting artist overstay his visa to start a new life after his talk in Switzerland?
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Die Revolution in Bern muss verschoben werden
With Marcel Meury, a Swiss performance and installation artist, we made the ‘revolution’ phenomenon and its relevance to today’s society the subject of an elaborate exhibition. The art space became the base of operations for probing research and the testing ground for an attempts to incite a revolution of his own.

What value has a potential, if not realized?
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No Shoes Allowed
New York-based artist David Horvitz was the first artist in an ongoing series who was asked to send spontaneous installation instructions via email, consisting of no more than two sentences. His directions: “Cover the entire gallery floor with polenta. No shoes allowed in the gallery.” After his vision was executed, Horvitz simply received, again by email, an image of the completed installation.

As no instructions for deinstallation were given, the polenta was left for the birds, literally.
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A Table
Dreams are necessary in order to help us survive the reality of life. But sometimes we just have to sit down and listen to other people’s dreams in order to realize what reality means outside our own little world. A Table is a Paris-based project that brings homeless people, local residents, curious tourists, creative people, and disorientated strangers together around the dinner table.

A potpourri of people, a feast of food.
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Consider Yourself Invited
Two North African artists are invited to Switzerland to speak about their work: one who meets the necessary visa requirements to enter the country and one who doesn’t. These two scenarios, to be presented at the Belluard Festival, are the starting point for a story that won’t be afraid to touch upon the difficult question looming behind its creation and our collective prejudices:

Will the visiting artist overstay his visa to start a new life after his talk in Switzerland?
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Don't Talk to Strangers
Artists present art works in strangers' homes. In each household, an installation area is designated, while existing items (furniture, books, and personal objects) are reinstalled in the art space. With the artworks thus displaced, visitors must directly contact the private hosts, whose phone numbers are available alongside their displayed belongings at the art space.

Installation View: Cory Arcangel at Roland Früh's Home
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Who Runs the Space Now?
The exhibition Who Runs The Space Now? explores the progression from tension to risk, from the tipping point to the inevitable stage of falling. Five international artists intervene with the polarities of maintaining tension and then losing it, which reveals the exciting kinetic potential of objects.

Tension is impressionable.
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Random Institute is a testing ground for new exhibition formats and random ideas
Random Institute is an extension of what a contemporary art institution can be, that is to say, truly unbothered by rules and bureaucracy. Ultimately, it brings together & curatorial and publishing activities.

Since March 2016, Random Institute is running the curatorial program for Despacio in San José, Costa Rica.
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Heirlooms

ArchivedHappened in July 2016
9.9336674000
-84.0741834000
Despacio

With his bold and witty actions, Swiss artist Thomas Moor is translating the legacies of Institutional Critique into the increasingly synthesized world of our time. His projects – from a gallery turned into a fictitious Starbucks branch to a newspaper stand built on the facade of a condominium – are always questioning hierarchies, power, and representation and are therefore investigating alternative understandings of the reality surrounding us.

Thoughts
Information

When his actions are directed towards the specific reality of contemporary art and its related fields, languages, communities, and venues , Moor’s investigations are almost epidermal, embracing art conceptually and physically. His exhibition at Despacio, entitled Heirlooms, advances this position further, with a special focus on objects that constitute the syntax of what we can call the “art language.”

The exhibition runs from July 28th until August 20th 2016 at Despacio in San José, Costa Rica. The opening takes place on July 28th from 6pm - 9pm at Despacio. (FB Event)

As part of the exhibition Sabrina Röthlisberger Belkacem (LGG$B, Geneva) organized the evening Hija de la luna on August 5th.

Nadie Nada Nunca

ArchivedHappened in July 2016
9.9336674000
-84.0741834000
Despacio

Florence Jung is an artist, kidnapper, Disney princess, luxury goods smuggler, chicken forger, punk stripper, crook, dead academic painter, Marxist nail stylist, clandestine street seller... But what is tragic – she says – is the impossibility of being someone else.

Thoughts
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Don Quixote is a gentleman who one day decided to become an heroic knight in Spain. Florence Jung takes on the quest to make Don Quixote disappear from Costa Rica: buying all the copies in all the bookstores, borrowing all the copies from all the libraries and offering to buy people’s personal copies. This singular one-book library is now hidden in a secret place in San José.

The exhibition runs from July 28th until August 20th 2016 at Despacio in San José, Costa Rica. The opening takes place on July 28th from 6pm - 9pm at Despacio.

FB Event

Residencia en la Selva

Ongoing: Started on Monday, August 01, 2016 at 6 pm
9.5442660000
-83.3903569000
Alto Telire

There is a time in every artist’s life that, for their art, they must go so far that they risk falling right off the map. We have developed a unique residency for Despacio that begins with an incredible two-day journey on foot through the dense Costa Rican jungle to bring you to one of the world’s most isolated indigenous tribes, the Cabécars of Alto Telire. Once there, you’ll engage with a local community totally disconnected from the world of contemporary art.

Experience a place that has been inhabited for centuries but rarely appears on a map.

Thoughts
Information

If we want to establish new paths in the field of art, it is essential that artists seek inspiration in places far away from the old, ingrained patterns of thinking. It is only by questioning and rethinking established rules that artists have achieved innovation throughout history and have led us to where we are now.

Like many of the world’s most secluded places, contemporary art has no meaning in Alto Telire. There is no place for art as the rest of the world knows it in the everyday life of the Cabécars, nor is there a word for it in the local language.

Apply here for the residency to discover a world beyond the map of contemporary art. The residency takes 6-14 days, depending on the availability of local guides.

The next open application period for the residency begins August 1, 2016 and closes September 1, 2016 for residencies in late 2016 and early 2017.

Requirements:

  • In 2016, all residents must be fluent in Spanish (English is not spoken in the area). However, we are planning to open the residency up to non-Spanish-speaking artists in 2017.
  • You must be able to walk for 4 days (8 hours per day). It is a two day journey to and from Alto Telire.
  • You must be in good physical condition. The nearest doctor may be as far as 18 hours walking distance away.

What the residency includes:

  • Airfare to and from San José, Costa Rica
  • Lodging and a stipend in San José
  • Travel to Limon by bus
  • Travel from Limon to Vesta by private transport
  • A guide to lead you you to and from Alto Telire
  • Return private transport to Limon and bus to San José

Please note that you may be asked to carry a certain amount of food or medicine for the community you are visiting.

All images above by Alberto Font.

Disappearing Museums

Upcoming: Starts Sunday, August 28, 2016
65.3375011000
-15.8522764000
Kunsthalle Tropical

Life-sized “drafts” of museum buildings will be realized in three dimensions and installed in the remote Icelandic desert. These sculptural blueprints are composed of salt core, a biodegradable material that naturally dissolves when it comes into contact with water.

It's unpredictable how much rain a desert sees, and this unpredictability will result in beauty, slowly dissolving the structures.

Thoughts
Information

Thoughts about this project appear, change, and disappear constantly. Here is a snapshot of our most recent thoughts:

WHAT ARE THE DISAPPEARING MUSEUMS?

A study in architecture, ephemerality, and locality, the Disappearing Museums project examines environments, both built and natural, through art. Essentially life-sized “drafts” of select buildings, the Disappearing Museums themselves are realized in three dimensions and unexpectedly installed in the remote Icelandic desert. These sculptural blueprints are composed of salt core, a biodegradable material that naturally dissolves when exposed to rain, and as a result, the project aims to decontextualize and re-evaluate architecture as we traditionally know and understand it. In other words, the Disappearing Museums, which are fleeting and displaced, contrast with the sturdy, integrated, and permanent structures of contemporary society. The viewer is thus asked to reflect on the importance of architecture in daily life, as well as to consider ingrained expectations for--and dependence on--such buildings and their surroundings.

Although the project touches on a number of themes, a key characteristic of the Disappearing Museums is their focus on the intrinsically ephemeral, even sculpture-like, nature of infrastructure. Guaranteed to degrade, the drafts demonstrate, albeit in sped-up fashion, the inevitable decline and eventual deterioration of the constructed environment. In this way, evolution and the passage of time are brought to the forefront; the Disappearing Museums poetically point not only to the momentariness of humanity but also to the longevity of nature.

The Disappearing Museums’ unlikely installation in the desolate wilderness of Iceland is also central to the project. An extreme contrast to the buildings’ likely urban environments, this desert locale pointedly draws attention to all that is absent, most notably: communities, infrastructure, and other buildings. The absence of these things at the installation site is further amplified by the presence of the viewer, who, having traveled to this secluded location, also finds him or herself profoundly displaced.

WHY TEMPORARY BUILDINGS?

"The ideal building has three elements; it is sturdy, useful, and beautiful."

In his paramount work, De architectura, the Roman architect Vitruvius identifies durability – or sturdiness – as one of the three key elements that define an ideal building. The Disappearing Museums project explores the longstanding human impulse to realize indestructible structures, and it explicitly subverts this very ideal. The promised decline of the three-dimensional designs upon interaction with weather is central to the project’s conception.

Here, the inevitability of atrophy is prized rather than evaded, offering fresh perspective not only on the objectives of architecture but also on its innate nature. Likewise, as the salt core degrades, the structures function symbolically, pointing to the ephemerality of human life. In these ways and more, the Disappearing Museums project attempts to demonstrate the oft-overlooked significance of the incomplete and the transitory.

WHY NON-FUNCTIONAL ARCHITECTURE?

"Architecture shares the narrative qualities of sculpture at an essential level; both transform the relationship between object and ground into a poetic expression."
Thom Mayne, founder of Morphosis Architects

A dual responsibility to both functionality and aesthetics is indeed at the heart of an architect’s practice. To further explore these qualities, and in particular the artistic elements of a building, the Disappearing Museums project renders given structures non-functional and essentially sculptural. Uninhabitable and incomplete, the Disappearing Museums are in no way utilitarian and are thus aligned more closely to our understanding of the arts than to design, technology, or science.

By thus converting architecture into art, the Disappearing Museums project explores the potential of buildings, structures, and social interaction in a context free of limitations, rules, and common thought patterns. In this unique environment, which might be considered something approaching a utopia, creativity is fostered, enlightened perspectives adapted, and critical discourse encouraged.

WHY EXTENDING THE BLUEPRINTS?

Through the means of an art installation, the Disappearing Museums project offers a new, experimental, and sensory space for designing. The limitlessness of the vast Icelandic desert imposes little restrictions, and traditional pen-to-paper blueprints or scaled-down models are, in the context of the Disappearing Museums project, traded in for more experiential and lifelike renderings.

Translated into three dimensions, yet not fully realized, these building plans are arguably more complete versions of their two-dimensional iterations, as well as more accessible to “readers” of all backgrounds. At the same time, their incomplete states continue to foster creativity, imagination, and ideas.

Neither material nor intangible, neither shapeless nor fully formed, the architect’s draft lies somewhere between a building and the idea of one. By realizing a series of blueprints in salt core, the Disappearing Museums project allows such drafts to briefly occupy a fragment of time and space.

WHY MUSEUMS?

The Disappearing Museums project functions as commentary on the history of museums and their various incarnations in the 21st century. Museums today largely sustain centuries-old values relating to the care, preservation, presentation, and interpretation of cultural artifacts and collections.

In the context of the Disappearing Museums, however, these fundamental responsibilities are released, rendering the time-honored notion of a museum essentially obsolete. Popular conceptions of a museum are also undercut by the structures’ extreme ephemerality, isolation, and weightlessness. All of this is to demonstrate – and ultimately question – the rigid, arguably anachronistic definition of a museum that continues to be accepted by contemporary society.

WHY IN ICELAND?

The Disappearing Museums project is specifically conceived as an installation for the uninhabited landscape of Iceland. In part a nod to Iceland’s rich architectural history, the project demonstrates a deep respect for the nation’s tradition of harmonious relationships between nature and the built environment (the development of grass-and-turf-covered houses comes to mind, for instance). Moreover, the project embraces the unpredictability of the Icelandic weather and the element of chance it introduces into the works’ atrophy.

On a more social and political level, the appearance--and disappearance--of the salt core installations in unspoiled nature demonstrates a harmless approach to building, a particularly striking action against today’s backdrop of global overdevelopment.

Thoughts by Sandino Scheidegger & Lindsey Cash

Who knows when it will finally take place? Good things take time, and we are in no hurry.

Remains to Be Seen

Upcoming: Starts Wednesday, August 31, 2016
65.3375011000
-15.8522764000
Kunsthalle Tropical

Ten artists each contributed an artwork consisting of nothing more than a few sentences. All of their words will be read aloud from a small airplane as it circles above the Kunsthalle Tropical, an exhibition site that none of the artists have visited. Instead, the artists drew inspiration from the idea that some places are best visited only in one’s imagination.

The work will never actually be seen—its form is oral, its locale inhospitable.

Thoughts
Information

Originally, the artists conceived of installations, performances, and interventions to be staged at the Kunsthalle Tropical in the Icelandic desert. It was their intent that the works be executed without an audience.

When the curator and artists realized that they themselves would in fact constitute an audience, the group decided to abandoned plans of journeying to the barren place.

Instead, they stayed in the fishing village of Husavik, where they reworked their plans and settled on a new, oral—and aerial—exhibition format.

Traveling to Iceland? Download the latest Icelandic Art Manual to find what your looking for.



Due to the sudden eruption of Bárdarbunga, a nearby volcano, the last attempt to fly over the Kunsthalle failed, as the 2015 attempt did due to inclement weather. Until the next flight, scheduled for August 2016, you can enjoy pictures of the volcano’s ominous power.



All photos are taken by photographer Odinn Sigurdsson.
Sandino ScheideggerJohanna SchaibleBookRamon StrickerJean-Dominique NgankamHoiko SchutterVinzenz MeynerRenaud LodaSebastien VerdonMarion QuartierLaurentino RodriguezNicola RuffoSimone HuserCarlos GonzalezAndreas WagnerSascha LinglingMonika StalderAnnika EbneterHans WirzChristian MesenhollLukas ErardRenato AebiLilian KlosePhillipp SiegenthalerChristophe KuenzlerMarcel MeuryEmanuel SenAnna ErnstJrene RolliRomano StrebelBarbara StreuliStephan AebischerToby MatthiesenAnna RhynEli RhynLorenz HuserMagdalena OberliMichael BaeriswylSimon GrossenbacherJulia WeissDiana Abi KhalilMarco StrickerArnim MahlkeFabian NiklausLuca MüllerResearchLindsey CashMarlen HaushoferMarcel BroodthaersMartha NussbaumMalcolm McLowryMartin SuterMcElweeMichael MooreN.R.KleinfieldNiels van MaanenNietzschePaul D. MillerPaul ÉluardPaul McCarthyPeter MountfordPlatoPopeProustR. P. 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