Participating artists are Ben Thorp Brown (United States), Lamia Joreige (Lebanon), Jana Kapelova (Slovakia), Marco Andrea Magni (Italy), Eva & Franco Mattes (Italy), and Jirí Skala (Czech Republic).
The show, curated by Marco Antonini (Italy/USA), will also activate a number of protocols from RICHARD, an ever-expanding online catalogue of readymade ideas, images, and objects.
The show will also be open on June 6th from 2pm – 8pm.
The image used for the announcement of the exhibition is one of the 10,000 photos stolen from personal computers by Eva and Franco Mattes.
Eternal One-Night Stand is a one-on-one performance night. It takes place as part of zürich moves!, a festival for contemporary dance and performance.
Es wird eine Nachtmeerfahrt trotz Sturmwarnung. Besucher ziehen im Alleingang durch beklemmende Räume, schmale Korridore und enge Vorzimmer. In jedem Raum lauert eine intime Performance, die sich unzüchtig an der Neugierde des auf sich allein gestellten Besuchers vergreift. Wahrhaftig eine Nacht ohne die übliche Spucke.
The one-on-one performance night took place from 9pm to 2am on March 19, 2015 at Réunion in Zurich. See Facebook event.
Jiri Kovanda (Prague)
Jamie Diamond (New York)
Maria Petschnig (New York)
Daniel Hellmann (Berlin / Zurich)
Ivan Blagajcevic a.k.a. Evalyn (Zurich)
Marie-Caroline Hominal (Geneva)
Nils Amadeus Lange (Zurich)
Mica Sigourney a.k.a. VivvyAnne ForeverMORE (San Francisco)
Antonio Da Silva (London)
Images of the performance night by Matthew Cianfrani, Dimitra Charamanda, Sina Blassnig, and Jamie Diamond. Images of previous performances courtesy of Nadzar Udin, artists or gb agency (Paris), Krobath Galerie (Vienna), and On Stellar Rays (New York).
Artists present artworks in strangers' homes in Zurich. In each household, an installation area will be designated, while existing items (furniture, books, and personal objects) will be 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 Réunion.
The art world disrupts the private sphere and vice versa
Visiting another’s home leaves a lasting impression. From the authors on the bookshelves to the contents of the refrigerator, a personal dwelling offers almost imperceptible information about one’s life. Much the same, the artistic qualities of memories made in such a home correlate to the environment in which they occurred. This is a pivotal facet of Don’t Talk to Strangers, which atomizes preconceived notions of the gallery proper by casting a peculiar hue on the entrancing properties of that which we cannot live without: art.
Overlap of Public and Private Space
In this reappropriation of an exhibition, artists present installations in the households of participating Zurich residents, rather than in the Réunion art space. Curators work closely with each dwelling’s artist to designate an installation area from which all existing items are relocated and installed at the gallery space.
Once the exchange is complete, viewers are invited to contact private hosts, whose phone numbers are available alongside their displayed belongings, to ascertain operation hours of their newly appropriated “home gallery.”
A Far More Personal Experience
By design, Don’t Talk to Strangers challenges viewers’ expectations and impishly suggests an alternative experience that is far more intimate than typical art viewings in gallery settings. While visitors of Réunion are initially denied access to the work they desire, they find reciprocity in elite-access at the cost of their time.
This inventive model encourages a deeper level of participation by diverting the impulse to passively consume. If the viewer takes full advantage, each visit to the art space offers another phone number, another unique experience, and another opportunity for adventure.
The heightened sense of participation, contacting hosts and making appointments, results in a heightened sense of investment. In this way, Don’t Talk to Strangers’ reaches beyond an exhibition. Viewers searching for a contemporary art fix will be challenged to pursue a pilgrimage in the name of art, allowing exploration to play a role in their eventual experience of the work.
Consequently, the initial disappointment from lack of artwork becomes a chance to discover far more than the artwork itself.
Polyphonic Roles of Host and Viewers
Meanwhile, the host wears many hats—fellow man, homeowner, art expert, guide, and institution. By welcoming viewers into their home, they also welcome the possibility of new perspectives and interpretations of the artwork at hand.
Though the newly-formed relationship between host and viewer may end post-viewing, while together, both parties are of one ambition: to let art happen outside of the institutionalized art world, as well as to rediscover their autonomy as art viewers and enthusiasts.
Such a circumstance, however, also forces the host into a position of influence, just as any art institution influences its patrons. As a result, the host’s life story is on display like the art in their home. This creates a more personal system for viewing contemporary works: an intimate environment that will no doubt lend itself to a fond and vivid memory in the archive of the viewer’s life.
Random Institute entreats its audience to bask in the unknown and to reap the reward of memories, knowledge, and experience. The home of a stranger offers the perfect setting, the grand stage from which a narrative will naturally emerge amongst the trio of host, viewer, and artwork. This narrative becomes both a tale closely linked to the home and, quite possibly, an inseparable part of the artwork displayed in Don’t Talk to Strangers.
ARTISTS Alejandro Cesarco / Alois Godinat / Cory Arcangel / Federico Herrero / Karin Lehmann / Peles Empire / Richard Long / San Keller / Selina Grüter & Michèle Graf / Slavs and Tatars
The exhibition took place from February 6th–17th at Réunion in Zurich. Art works could be visited at the apartments of the hosts, independently of Réunion’s hours of operation. → Facebook Event
The first edition of the show took place in New York.
The project is kindly supported by Stadt Zürich and Ernst + Olga Gubler-Hablützel Stiftung. We would like to thank all hosts, as well as Ringer Collection (Zurich) and Galerie Tschudi (Zuoz) for their collaboration.
Juliette Chrétien (Project Plan) & Matthew Cianfrani (Installation Views)
The Brazilian artist Letícia Parente (1930-1991) is no stranger to controversy. That is, of course, the result of having something to say and not being worried by the opinions of others.
Truly made in Brazil.
The works of the first Brazilian video artist Letícia Parente are characterized by their radicalism in the use of images of a social and political body, in contrast to a self-referential narcissism. Here the artist stitches the inscription “Made in Brazil,” focused in close-up, on the sole of her foot with a needle.
The screening took place from midnight until breakfast on June 26th through June 29th, 2014 at Réunion in Zurich, Switzerland.
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.