The award-winning fishmonger peddles fish during the day and tours as a drag queen through the French capital’s underground scene at night. We unite once again his many worlds: fresh fish, art performances and queer appearances. The newest edition of the performance festival and fish market taking place in Costa Rica comes with a publication combining the drag queen world and fish recipes.
The publication has a print run of 50 copies. Each booklet contains a series of three photographs of Juliette Chrétien and three fish recipes written by Maurice Maggi.
If Paris were an aquarium, Charly would be its tropical fish, jumping out of the water each night with no one watching. It's true. When day turns to night, the fisherman lets his diva emerge, darting like a tropical fish through the underground rivers of Paris. In placing Charly's fish-market at center stage of the festival at the art center in Costa Rica, we celebrate the grandeur of a man's dreams, desires and duality – each one a stand-in for our own.
On April 29th several international and local artists will turn Despacio and its temporary fish market into an unending stream of performance and fantasy. Artists include: Elyla Sinverguenza, Charly, Grettel Mendez, Dino Real, Oscar Ruiz Schmidt, Javier Calvo, Monsieur Bien, and Roberto Chaves (Costa Rica)
From drag shows, musical contributions, theatrical interventions, to long-durational art performances – all will question the roles we tend to play in life, as well as those we tend to ignore. To transgress the rules of society and fashion is to give rise to an inner creativity and break with conformity.
The first edition the festival was held in Zurich in 2014.
Credits for drag film: Performer: Elyla Sinverguenza, Camera, Directing and Editing: Guillermo Sáenz, Costume and Styling: Marcus Carmon, Production: Nicholas Blevis & David Torress, Music: Arca - Anoche. Credits for film about Charly: Camera: Fabian Niklaus, Animation: Raphael Etter, Concept: Leila Hincelin and Sandino Scheidegger.
Two North African artists were 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 points for a story that isn’t afraid to touch upon our collective prejudices and the controversial question looming behind its creation:
Will the visiting artist overstay his visa after his talk to start a new life in Switzerland?
Presenting both of the following scenarios will allow Belluard Festival visitors to experience two different possible outcomes that reflect upon the realities of border crossing.
SCENARIO 1 An artist was invited to Switzerland, but he did not fulfill the visa requirements.
SCENARIO 2 An artist was invited to Switzerland, and his visa application was accepted.
For Scenario 2, an artist talk will be held on Sunday, June 28th at 8pm titled:ART PRACTICE BEYOND THE FENCEor why the artist may overstay his visa to start a new life after this talk.
In addition to the artist talk, both of these scenarios will be incorporated into separate but identical exhibition spaces at the Belluard Festival, where each artist’s body of work is exposed in documentary form, and the spectator is confronted with the curatorial underpinning for each given situation.
Upon entering the festival, spectators are assigned a number, the significance of which will be revealed once inside the two exhibition spaces. Each space will unveil a number leading to a different outcome based on the status of the artists’ visa applications.
In the rejected artist’s space, the selected number will send a visitor to North Africa to the artist talk of Mohamed Arejdal, held in his home.
In the accepted artist’s space, the holder of the selected number will be asked to host the above mentioned artist talk with Mohammed Laouli in their own home, taking into account both the political sensitivity of the project’s underlying questions and the artist’s own motivations.
Borders are plural, so any project dealing with the questions they raise must be too.
The artist talk with Mohammed Laouli will take place on Sunday, June 28th at 8pm in a private apartment in Fribourg.
CREDITS Documentary pictures by Juliette Chrétien. Additional installation views by Youssef Ouchra, Javier Melian, Francisco Alejandro, Chourouk Hriech, Aziz Nadif, Mohssin Harraki, and Ly Mamadou.
THANKS For sharing your insights on the Moroccan contemporary art world: Siham Halli, Dr. Mehdi Zouak, Bérénice Saliou, Younes Rahmoun, Mohammed Laouli, Mohamed Arejdal, Maud Houss, Touda Bouanani, Randa Maroufi, Hassan Quazzani, Mohamed Fariji, Léa Morin, and Marie Moignard.
SUPPORT This project is a Random Institute production for the Belluard Bollwerk International, supported by Migros Kulturprozent and Kanton Fribourg. The on-site display is supported by Ernst & Olga Gubler-Hablützel.
Participating artists included Florence Jung, Saskia Edens, Nils Amadeus Lange with Mira Kandathil & Annina Machaz, Manuel Scheiwiller with Melanie Wirz & Nils Amadeus Lange, Marcel Meury, Ivan Blagajcevic as Evalyn, and Thylacine. Curated by Sandino Scheidegger.
The culinary concept has been created by Han Lo (Untitled Group).
Images by Juliette Chrétien, Ian White, and Franziska Scheidegger.
The fish market and performance festival took place on May 8th and 9th, 2014 at Réunion in Zurich, Switzerland. A second edition takes place in April 2017 in Costa Rica.
The initiative was spontaneously born during late 2013 when three people discussed the possibilities of opening a Parisian soup kitchen to feed anyone at all who wanders the streets—adventurous local residents, the homeless, lonely tourists, and individuals associated with Samusocial de Paris, an NGO specializing in emergency social aid.
The result was the three day event, À Table, that brought together a wide range of people to join in eating. Guests were seated across from strangers, whom they otherwise would never have met nor shared an intimate moment with. The initiative was spearheaded by Juliette Chrétien in collaboration with Random Institute, chmara.rosinke, and Maurice Maggi.
Juliette Chrétien runs her own photography studio and is well known for her photographs in the fields of interior design and fashion. In addition, Juliette is highly acclaimed for a new style of culinary books.
The mobile kitchen, which includes a large table and stools for 12 people, was hand-crafted by the renowned Austrian design duo chmara.rosinke. For this modular kitchen, they won the 2012 Outstanding Artist Award from the Federal Ministry for Education, Art and Culture in Austria.
Maurice Maggi is a guerrilla gardener from Zurich, Switzerland, who is known for his subversive seed-sowing "attacks," as well as his cooking skills and food knowledge. Maggi’s passion for food has taken him as far away as New York, where he ran his own restaurant. During his days in Paris, he found ingenious ways to cook tasty meals with ingredients from the local market.
In March 2014, Juliette Chrétien published the associated publication in a limited edition (4 handmade publications).
The initiative took place from December 27th to 30th, 2013 around Cité des Arts Paris.
Home is where the art is.
Because the curators’ project was to take an existing artwork out of the art world and reinsert it in a place central to its concerns (in this case that place was the “home”), Guido van der Werve’s film was not screened at the Museum Bärengasse (now Gasthaus zum Bären). Instead, the TV screens comprising the installation simply showed the first frame of van der Werve’s film.
The show Learning from Warsaw was curated by Nele Dechmann, Nicola Ruffo, and Agnieszka Sosnowska and was the result of their two month research activities in Warsaw. The curators found inspiration in the architectural classic Learning from Las Vegas.
The exhibition was accompanied by a catalogue designed by Atlas Studio, which was honored with a Most Beautiful Swiss Books award. It was edited by Nele Dechmann, Nicola Ruffo, and Agnieszka Sosnowska.
The project was made possible by Artists-In-Residence Laboratory at the CCA Ujazdowski Castle and was supported by the Swiss Arts Council Pro Helvetia, the Warsaw City Council, and Kultur Stadt Zürich.