A new initiative of Liste is the Joinery. On the one hand it is a place where galleries can extend their presentations by showing videos and performances that exceed the limitations of their stands, while on the other hand it is a meeting point and think tank that considers the latest topics in contemporary art discourse. In addition to an exhibition at Druckwerk, this year’s special guest Spike Art Magazine was invited to curate the Spike Forum, a discourse programme that will take place under the title “The Artist as X: A Series of Conversations on New Artistic Strategies”.
Admission to Spike Forum is free and accessable without a Liste ticket. All panels held in English.
Gallery Video and Performance Programme
!Mediengruppe Bitnik (*1976 and *1979, they live in Berlin and Zurich), /Surveillance Chess/, 2012, video, sound, 7 min.
In this work, the hacker duo !Mediengruppe Bitnik re-evaluates surveillance-scapes as part of public space just before the Summer Olympic Games in London in 2012. By manipulating unencrypted connections between monitoring cameras and control centres, they replace the real-time image on the monitor with a personal invitation to play chess.
Christopher Aque (*1987, lives in New York), Idling, Super 8 film transferred to 4K video, 2018, 14 min. (looped)
Idling is composed of four hand-held shots of shirtless white men sunbathing alone in Brooklyn's Prospect Park on weekday afternoons. The shaky footage has been laboriously edited, frame-by-frame, to stabilise the image against a black background – a tender expression of benign desire, albeit a distant, anonymous and voyeuristic one.
Ermes – Ermes
Nick Bastis (*1985), Pedraza vs. Lomachenko (Camouflage Edit), 2019, video, sound, 59 min. 45 sec.
In this so-called “camouflage edit”, a television broadcast of a recent, major boxing match is treated with machinations common to those used to elude automated copyright detectors, layering primary information and abstractions that play out separately but in parallel:
(what is seen) ∥ (what is understood)
A strange pseudo-presence emerges between the perceivable and imperceptible.
Anca Benera & Arnold Estefan (*1977 and *1978, both live in Bucharest), No Shelter From the Storm, 2015, video, sound, 5 min. 42 sec.
The artists wander through a deforested Eastern European landscape while whistling the popular anti-war song “Where have all the flowers gone,” re-adapted by many generations. Forests have historically posed as a retreat in times of war – the artists visualise the surrendering of nature to today’s all-encompassing condition of (state) violence.
Daniela and Linda Dostálková (*1979 and *1977, both live in Prague), Quality: Flexibility, 2016, HD video, sound, 3 min. 25 sec.
"Freedom, mobility, individualism, self-determination". This is the sociologist Pascal Gielen's definition of the automobile, a private sphere in public space, in motion at high velocities. In this video, the movement of a contortionist reacts to the given space in a luxury car and a voice-over reflects the controlled processes of speech beyond assumed safe space of the car.
Hayden Dunham (*1988, lives in Los Angeles and New York), A New Bottom, 2019, performance
For Company’s LISTE booth, Dunham has designed an experiential installation of new kinetic sculptures and wall works. These pieces function harmoniously as by-products of a central system constructed by lines of a poem written by the artist. Dunham will perform this poem as part of LISTE’s Joinery program.
Galerie Noah Klink
Gerrit Frohne-Brinkmann and Paul Spengemann (*1990 and *1987, both live in Hamburg), The inaccessibility of ancient Greece and its impact, 2016, video, sound, 13 min. 10 sec.
One of Frohne-Brinkmann and Spengemann’s first collaborative works, this short film uses the setting of a famed modernist school as a ninth character, staging a rendition of a classical Greek tragedy. By contrasting architecture and language, the tension between the birth of creative individuals and neoliberal imperatives is confronted.
Dorota Gawęda and Eglė Kulbokaitė (*1986 and *1987, both live in Basel), YGRG 14X: Reading with a single hand, 2018, video, sound, 29 min. 56 sec.
This video takes the artists’ ongoing performative project YOUNG GIRL READING GROUP (YGRG) as its point of departure. The experience of collective reading extended into the domain of live performance and self-documentation is contextualised in the film, rendering the body and its surroundings as the site of an active and ongoing set of relations.
Arcadia Missa / Sandy Brown
Penny Goring (*1962, lives in London), Monitor, 2014-15, video, sound, 17 min. 58 sec.
In 2009 Goring bought her first computer and started uploading image macros. This video is a compilation of the double helix poetry – partly persona, partly autobiographical – created on her NewHive profile.
Monica Heller (*1975, lives in Buenos Aires), OK.012/019, 2012-2019, video, sound, 37 min.
OK.012/019 gathers eight 3D and 2D animation video works. By adapting models and CGI design shared within specific communities, Heller explores the use of professional and amateur software, intermediate between the videogame and its consequent possibilities and creative limitations as the imaginary ones that they offer.
Nona Inescu (*1991, lives in Bucharest), Vestigial Structures, 2018, HD video, sound, 6 min. 38 sec.
Vestigial Structures takes its starting point from the concretions that are still considered to be a mystery of nature, a geological curiosity, due to their unusual shapes, textures, sizes and resemblance to man-made objects or fossils. These stones turn the geological and mythological passing of time into solid “portraits”. The video was produced with the support of Frac des Pays de la Loire.
Bronwyn Katz (*1993, lives in Cape Town and Johannesburg), Grond Herinnering, 2015, video, sound, 3 min. 52 sec.
Katz's Grond Herinnering portrays the artist in performance: dancing, enacting a childhood game with bricks, and “washing” her feet with the soil of the Northern Cape, where she comes from. The three-channel video work is accompanied by an audio track in which she recites a letter written by her grandmother in Afrikaans (Katz's mother tongue), recalling notions of place or space as lived experience.
Vikenti Komitski (*1983, lives in Berlin), Lucky Fetish, 2015, video, sound, 54 sec.
In a single frame and less than a minute, world history and economy collide. A stylised maneki-neko, also known as a fortune cat, literally hits the cheek of Karl Marx’s gesso bust, a perpetual reminder of dissonance.
Galerie Maria Bernheim
Miriam Laura Leonardi (*1985, lives in Zurich), MAH00612-16, 2017, video, 93 min.
Since 2013 Leonardi has been building a collection of videos in which she follows women in access-restricted settings, such as fairs, operas, casinos, VIP areas, etc. By filming these strangers in exclusive settings, Leonardi explores the social contracts of space and how the individual responds to them in potentially claustrophobic situations.
Caroline Mesquita (*1989, lives in Paris and Brittany), The Ballad, 2017, video, sound, 29 min. 3 sec.
Mesquita appears alongside her sculptures masquerading as a myriad of characters with diverse costumes and makeup experimentation, challenging our understanding of identity construction and representation, oscillating between tenderness and violence, love and vice.
Galerie Gregor Staiger
Shana Moulton (*1976, lives in Santa Barbara), Whispering Pines 10 (Episodes 1-3), 2018, video, soundWhispering Pines is Moulton’s video saga, which she has been developing since 2002. At the centre is Cynthia, Moulton’s filmic alter ego, who inhabits a domestic space strewn with plastic consumer health gadgets and New Age wellness products promising holistic cure and self-improvement, addressing the obsessive quest for perfect health and peace of mind, anxiety and consumerism.
Liv Schulman (*1985, lives in Paris), Formal Economy, 2018, performance
In this 30-minute performance that features a loosely poetic form of speech acts, Schulman thinks among and through a group of sculptures that she is surrounded by, telling stories about various forms of informal economy that exist within emotional lives, slowly unravelling an interconnection of informal “conspiracies” and larger formal economies.
Buhlebezwe Siwani (*1987, lives in Cape Town and Amsterdam), AmaKhosi, 2018, 4K video, sound, 3 min. 57 sec.
Siwani looks at the intersections between land, its colonisation and its connection to religion. The viewer observes a dance created by followers of the Shembe church – Africa’s best-known independent church that incorporates elements of the Bible. Vast sugar cane fields pose an epic backdrop, not least as the epitome of problematic interventions – both natural and economic – by colonisers.
Arin Dwihartanto Sunaryo (*1978, lives in Bandung), Ashfall #6, 2016, video, 7 min. 31 s (looped)
The video is part of the artist's on-going interaction with various volcanoes in Indonesia, which started since Mount Merapi's eruption in 2013. As each encounter with the ancient mountains leaves a unique experience for the artist, Ashfall#6 captures and replays a specific aspect with minimum intervention to its colour, temperature, and pace.
Zheng Yuan (*1988, lives in Beijing), A Brief History of China Northwest Airlines, 2018, video, sound, 27 min. 44 sec.
Zheng retrieved the origin and final destination of every aircraft operated by China Northwest Airlines (1989–2003) and reassembled the enterprise's scattered archive into a parallel historical narrative. As a failed experiment in the privatisation of state industries, the artist's work shows how the country's airspace was opened by the force of government policy.
Detailed schedule available mid-May
The Artist as X: A Series of Conversations on New Artistic Strategies, curated by Spike Art Magazine
All panels are held in English
Tue, 11 June, 6 pm
The (Failed) Autonomy of the Artist
Speakers: Ed Fornieles and Omsk Social Club
Moderated by Christian Kobald & Rita Vitorelli
How can we create structures that maintain the possibility of independent artistic production? What changes when artists set up alternative economic systems so that they don’t have to rely on the existing mechanisms of the art market. It may lead to greater freedom but also creates other forms of dependency: whether on public funding, private donors, or the vagaries of the market in the respective field of business. Are there new financing models that can rival the established ones? How well do they work?
Ed Fornieles is a British artist based in London. His practice spans various mediums, including installation, sculpture, film, performance, and social media, and centers around the subject of the society and culture in the digital age.
Omsk Social Club lives and works in Berlin. Omsk Social Club is constantly observing and questioning the concept of Self, Individualism and the community both in off and online scenarios.
Christian Kobald is a curator and senior editor at Spike Art Magazine
Rita Vitorelli is an artist and the editor-in-chief of Spike Art Magazine.
Wed, 12 June, 7 pm
The Artist as Creative Director / The Creative Director as Artist
Speakers: Jeanne-Salomé Rochat, David Rudnick and Julian Zigerli
Moderated by Toke Lykkeberg
What is the role of the artist in contemporary corporate culture and the digital platform economy? What does participating in this world say about one’s politics? Many artists keep their position deliberately ambiguous – affirmative and critical at once. We need new tools to understand what is happening, where it might lead, and how it will destroy models of identity and habits of thought that were long taken for granted.
Jeanne-Salomé Rochat is the creative director behind Novembre magazine.
David Rudnick is a graphic designer from London based in Ghent, Belgium, where his studio, Terrain, is currently under construction.
Julian Zigerli is a Swiss fashion designer based in Zurich. The label is famous for its collaborations with artists from all different areas.
Toke Lykkeberg is an art critic, curator, and director of Tranen Contemporary Art Center in Denmark.
Thu, 13 June, 6 pm
Speakers: Kei Kreutler and Elie Ayache
Moderated by Paul Feigelfeld (media theorist)
How can we discuss the entanglements of art, its market as the pinnacle of all markets, and the technologies and media it uses and produces? What are the values – social, political, financial, mathematical – that go into the equations and algorithms that define artistic, collective and capitalist interactions? Where does art end and trade begin? The panel aims to view technologies, finance and art from different angles and a non-human, infrastructural perspective.
Elie Ayache is CEO of the financial software company ITO 33 and author of various texts on the philosophy of contingent claims and derivatives trading, including “The Blank Swan: The End of Probability” (2010) and “The Medium of Contingency: An Inverse View of the Market” (2015).
Kei Kreutler is a Berlin-based researcher, designer, and creative director of Gnosis, a forecasting and information aggregation platform on the Ethereum blockchain.
Paul Feigelfeld is a culture and media scholar and curator. He is currently teaching at the FHNW Basel and Strelka Institute Moscow and is the guest curator of the Vienna Biennial 2019 for “Uncanny Values: Artificial Intelligence & You.”
Fri, 14 June, 6 pm
Virtual Reality: Make, Show, Buy
Speakers: Sandra Nedvetskaia, Nina Roehrs and Jakob Kudsk Steensen
Moderated by Christian Kobald
VR has made great inroads into the art world in recent years. Although it is not yet a mature technology, it is one that has attracted tremendous attention and investment. Related to this are questions for a new art form: VR art. How are works in this medium designed, exhibited, collected, archived, bought and sold? When there is no need for white walls or wall texts, and the visitor becomes an avatar, the art system’s historical dependence on the white cube begins to dissipate.
Sandra Nedvetskaia is a Moscow-born art dealer and partner at Khora Contemporary, the first production company focused on creating artworks in VR with contemporary artists.
Nina Roehrs is founder and CEO of Roehrs & Boetsch, a gallery in Zurich devoted to the exploration of digitalization and its implications for society. In 2019, the gallery launched CUBE, a virtual reality exhibition concept.
Jakob Kudsk Steensen is a Danish artist based in New York. His work deals with a combination of imagination, technology and ecology, using mediums such as VR and video installation.
Sat, 15 June, 7 pm
Gallery & Artist: New Relations
Speakers: KJ Freeman, Jenny Borland, Nathaniel Monjaret, Alexander Shulan and Simon Wang.
Moderated by Chus Martínez
The gap between rich and poor is bigger than it has been for a long time. In art, too, there is the 1% and everyone else. What are feasible survival models for artists today: taking a job on the side, or founding a company? Does the function or job description of a gallerist have to change? What are some possible ways to support art that is not designed for the market? And what can we learn from history that might be useful for today?
KJ Freeman is owner and director of Housing, a gallery in New York City.
Jenny Borland is owner and director of Jenny's, a gallery in New York City, participating at LISTE.
Nathaniel Monjaret is co-owner of Bonny Poon, Paris.
Alexander Shulan is owner and director of Lomex, a gallery in New York City, participating at LISTE.
Simon Wang is the founder of Antenna Space, Shanghai.
Chus Martínez is a curator and head of the Institute at the Hochschule für Gestaltung und Kunst in Basel.
Sun, 16 June, 4 pm
You Are All You Need
Performance by Sandra Mujinga
In Sandra Mujinga’s You Are All You Need (2019), two artists who have withdrawn from the public eye reflect on their return, in the aftermath of a seismic event that may have been caused by one of them. The performance negotiates destabilised self-representations, manoeuvres opacities, and investigates how invisible bodies, even when given a visible platform, can be endangered. Mujinga draws connections from the structure of talks and panels to geological events to the politics of representation and self-preservation.
Sandra Mujinga is an interdisciplinary digital artist born in the Democratic Republic of Congo, and currently living and working in Berlin and Oslo. Mujinga’s work engages contemporary digital technologies as an exploration of her subjective experience.
We want to extend our gratitude to all supporters of the Spike Forum:
Kanton Basel-Stadt | Kultur
Österreichisches Kulturforum Bern
as well as further foundations
The events Virtual Reality: Make, Show, Buy and Gallery & Artist: New Relations are made possible with the support of the Olivier von Schulthess Collection