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.

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?

The group show took place at Sies + Höke, Düsseldorf

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.

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."

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.

The performance festival with the artist San Keller took place in July 2018 at the art center Despacio in San José (Costa Rica).

The happening took place on April 2016 at Despacio.

The happening took place on April 2016 at Despacio.

The group show took place at Sies + Höke, Düsseldorf

Siempre cuenta cuántos cuentos cuentas, 2016 at Despacio

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?

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?

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.

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.

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?

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.

The performance festival with the artist San Keller took place in July 2018 at the art center Despacio in San José (Costa Rica).

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.

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.

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

The performance festival with the artist San Keller took place in July 2018 at the art center Despacio in San José (Costa Rica).

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.

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?

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.

The photo was taken during a research trip through Chile in 2018.

Central American Biennial, 2016 at Despacio

The photo was taken during a research trip through Chile in 2018.

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.

Central American Biennial, 2016 at Despacio

The photo was taken during a research trip through Chile in 2018.

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.

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.

The happening took place on April 2016 at Despacio.