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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Untold Stories

No Shoes Allowed

ArchivedHappened in February 2014
OLM Space

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.


No Shoes Allowed was the fruit of a simplified exhibition process and a straightforward concept; consequently, it is understood and judged solely by the resulting documentary images.

As such, the work, along with others in the series, calls into question the extent to which “installation views” are a truthful record of an artwork, a happening, or an installation. That is to say, these pictures are carefully constructed and intended for an audience who is conditioned to consume art not in person, but more often, through images and text—such is the reality of the art world in the digital age and most likely the case for anyone reading this.

The show opening took place on February 9, 2013 at the OLM Space. What follows is the entire conversation between the artist and the curator before, during, and after the exhibition:

SS: send instructions and I send you installation view photographs

DH: cover the entire gallery floor with polenta. no shoes allowed in the gallery

SS: today was polenta time

DH: amazing

Ausstellungen werden komplexer, globaler, verstrickter, aufwändiger und kostspieliger. So der Trugschluss. Eine Initiative zurück zur Einfachheit – über Grenzen hinweg.

Ein internationaler Künstler darf in zwei Sätzen eine Ausstellung instruieren, die darauf hin unkompliziert umgesetzt wird. Punkt. Der Auftakt machte der New Yorker Künstler David Horvitz.

The exhibition took place from February 9th until the birds ate the polenta at the OLM Space in Neuchâtel, Switzerland.

Micasa Museum

ArchivedHappened in January 2014
OLM Space

Sie lassen sich nichts von ihrer schillernden Entstehungsgeschichte anmerken. Einzig mit dem Ziel, optisch wie Kunst auszusehen, wurden die vermeintlichen Kunstwerke auf Auftrag für das Shooting des Micasa Katalogs ausgedacht, produziert und als Behauptung im Katalog integriert.

Eine Ausstellung, die jegliche Deutungskompetenz in Frage stellt.


Was eine breite Öffentlichkeit auf dem Weg zu einem neuen modularen Sofasystem oder TV-Möbel aus Sicherheitsglas beiläufig als Kunst konsumiert, bleibt für die Urheberin stets ein der Kunst visuell ähnliches Produkt ohne Werkcharakter.

Wer die Regeln der Ästhetik kennt, kann solche Werke mit Leichtigkeit herstellen und verführen, verleiten und viel wichtiger, leise die Frage aufzuwerfen, in wie fern der Werkcharakter ausserhalb des kunsthistorisch Diskurs noch seine Berechtigung besitzt

Die Bilder und Skulpturen, welche für die Katalogerstellung nach dem Ideal der Kunst produziert, strategisch platziert und professionell mit Möbel abgelichtet wurden, hatten im Micasa Museum ihre Wiedergeburt als Kunstwerke ohne Zweifel, dafür mit ausreichend Ironie. Werkcharakter hin oder her.

Der Katalog der Micasa wurde zum Ausstellungskatalog erklärt. Mit einer Auflage von über 100'000 in drei Sprachen, ist dieser demnach die meist gedruckte Kunstpublikation der Schweiz.

Die Werke, die im Micasa Museum gezeigt wurden, sind u.a. auf folgenden Seiten zu betrachten: Seite 44, 74 und 76. Der Katalog kann hier gratis bestellt werden.

Die Ausstellung ist eine Initiative von Random Institute. Die Ausführung ist eine Zusammenarbeit zwischen dem OLM Space (Neuchâtel) und Réunion (Zürich).

The exhibition was first shown from January 4th to February 4th, 2014 at the OLM Space in Neuchâtel, Switzerland.

Subsequently, the exhibition took place from April 5th to 8th, 2014 at Réunion in Zurich, Switzerland.

La Fontaine Froide

ArchivedHappened in June 2012
OLM Space

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.


Due to two accidents the series has been put on hold.

The series started on June 8, 2012 with the first hike. Due to two accidents the series has been put on hold for the time being.

How Was Your Day?

ArchivedHappened in August 2011
OLM Space

The artist’s relationship with, as well as participation in, non-creative industries is a taboo subject today. The point of departure for How Was Your Day? is derived from the artist’s under-recognized labor outside of the art world.

The artist’s day job is unveiled.


How Was Your Day? represents the discrepancy between an artist’s lived reality and society’s romanticized understanding of a creative career. The fact is, the vast majority of successful artists today do not solely support themselves via their artistic practices, and they often achieve financial stability by holding secondary workforce jobs.

The exhibition consists of live broadcasts featuring the daily working lives of acclaimed performance artists Fabian Hachen and Micha Düblin, who are employed as a website developer and a teacher, respectively.

Two lifestreams (one for each artist) were exhibited in a derelict space under a highway bridge in Neuchâtel; without any viewers, it was entirely “unseen,” a reflection of the public’s deliberate disregard for many artists’ dual professional lives.


Fakt ist, dass die grosse Mehrheit der Künstler/innen einem zweiten, nicht künstlerischen Arbeitsverhältnis nachgehen. Doch diese Realität – das Verhältnis der Kunst zur Sphäre des rein Ökonomischen – markiert in der Kunst ein zentrales Tabu. Diesem Thema nahmen wir uns mit dem Künstlerduo Thylacine an und projiziert in einer Livesendung den 'normalen' Arbeitsalltag der beiden Künstler. Um dem Tabu gerecht zu werden, hat die Ausstellung unter Abwesenheit jeglicher Besucher stattgefunden. Die umfangreiche Dokumentation des Experiments stellt den einzigen Zugriff auf die nicht öffentliche Situation dar.

The exhibition and performance took place on August 15, 2011 at the OLM Space in Neuchâtel, Switzerland.

Goat Studies

ArchivedHappened in August 2011
Centre d’Art Neuchâtel

For many of us, the world seems to be one of immense performance where we must both perceive and perform our respective roles. The Australian artist Linda Tegg is fascinated by the notion of ‘the natural’ as a cultural construct. Her video investigations are designed to get closer to an understanding of how we frame reality, and the experience on which we draw to do so.

Goats under surveillance.


Goat Study is a series of investigations made on site at the Centre d’Art Neuchâtel. The work explores relational realities, the body in space, and the notion of ‘the natural’ as a cultural construct by artist Linda Tegg.

She uses performance, photography and video in various configurations to explore viewing experience, both temporally and spatially, as well as what can happen during that experience.

In Goat Study both the camera and pedestal position the goat’s body in space. By returning the empty pedestal and videos to the site she creates a commemorative space, the apex of the pedestal empty, leaving only traces of what had once been.

The goats in this work may act as metaphors, but simultaneously offer the prospect and awareness of perceptual systems that create alternative realities to our own.

Goat Study 1a:
Two goats enter a gallery and stand on marks positioned in the space. They then exit.
Duration: 3mins

Goat Study 2
A goat stands on a pyramid in a gallery space while a camera circles around.
Duration: 3mins

Goat Study 3
6 goats move freely around a gallery space with a pyramid in the centre. 1 goat is then instructed to climb to the top of the pyramid
Duration: 3mins

Goat Study 4
Goat walks into frame and stands on mark Duration: 3min

Shooting schedule

Press Review by Dylan Ranforth for the The Sydney Morning Herald:

Animal Magic. Linda Tegg has ignored at least half of the famous injunction to never work with children or animals – the artist recently travelled to the Centre d'Art Neuchâtel in Switzerland, where she introduced a small herd of goats into the gallery.

Tegg has previously worked with a range of trained animals in her videos, performances and photography – it was a skillful sheep that caught the Swiss curator's eyes.

As for the sheep's biblical offsider, "for centuries the goat has been cast as a symbol of unruliness,lust and Satan ... The animals in my work come with an enormous range of associations and cliches but I try to look beyond that," Tegg says. (...)

The work (Goat Study Part 2) was later shown at the City Gallery Wellington in New Zealand. Introduction to the work:

Exhibition furniture is as familiar to gallery audiences as it is often invisible. The white plinth fits seamlessly into an environment typically defined by its austere cleanliness, clear light and sheer modernist architecture. A goat: less typical. In Linda Tegg’s work a young goat stands atop its triangular plinth. Pristine and monochromatic itself, but for its occasional restive movements the goat too could be art object, an extension of its environment, and certainly it’s the protagonist and performer in the context of this video.

Goat Study Part 2 is part of a series of related works by the artist, in which she stages the juxtaposition of what is ‘natural’ with codes of behaviour and conventions of display that govern spaces dedicated to aesthetic experience. Often involving animals, these works re-inhabit spaces we are familiar with—hotel rooms, galleries and other public buildings—so that we see them quite differently. To see a Mexican Grey wolf calmly stationed in a suburban twin-share is to reconsider ‘wildness’ and domesticity. It also brings into question what it means to perform to camera, the role of documentary, and distinctions we might make between environment, habitat, and site, a word prevalent in discussion around contemporary art.

A herd animal, the goat has the slightly uncomfortable air of one dislocated from its regular social and physical context. In its shifting movements we might recognise the sometimes veiled restlessness of human behaviour in a gallery, perhaps those of someone unsure if they are watching or being watched. Working always with domesticated and trained goats, and in close collaboration with their handlers, Tegg is interested in the layers of performance implicit in every viewing experience, and how a gallery is also a space of surveillance.

Filmed in the immaculate Centre d’art Neuchâtel in Switzerland, in this work the camera pans its subject with relentless focus. All poise and dignity, the goat ultimately seeks to exit the stage.

The production took place at the Centre d’Art Neuchâtel, Switzerland in August 2011.
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