Joinery

The aim of the Joinery, which was founded in 2018, is to promote young contemporary art and its protagonists in various formats – to make them visible, to communicate their concerns and to facilitate a comprehensive exchange with a broad public. 

Hyperpresence – 25 Years of Liste

A video project initiated by the Joinery on the occasion of the 25th anniversary of Liste Art Fair Basel with Michael Etzensperger, Katrin Niedermeier and Jodok Wehrli, in collaboration with the Art Institute HGK FHNW in Basel.

Liste Art Fair Basel was founded in 1996 as a place for new discoveries in contemporary art. Since then it has intensified the present year after year. The 25th edition of Liste takes the Joinery as a platform to examine this present by looking at the past; such a reflection will not change the past but rather allow us to learn more about it, in turn impacting our lives in the present.
To celebrate Liste’s 25th anniversary, the Joinery initiated a collaboration with the Art Institute HGK FHNW in Basel and commissioned three of the school’s graduates to work with Liste’s image archive. From their own unique perspectives, the artists Michael Etzensperger, Katrin Niedermeier and Jodok Wehrli have recontextualised documentations of Liste from the last 25 years and through this developed contemporary concerns, which will be presented as video works in the external area of the fair.

The Joinery wants to extend its gratitude to all supporters of the video project:
Balima Stiftung
Dr. Georg und Josi Guggenheim-Stiftung
Hans und Renée Müller-Meylan Stiftung
Jacqueline Spengler Stiftung
Swisslos-Fonds Basel-Stadt

Michael Etzensperger – I think slogans oversimplify my views

To make his film "I think slogans oversimplify my views" Michael Etzensperger worked with photographs of artworks that contain writing from Liste’s image archive. Some images are heavily cropped so that the messages come into focus and additional context is excluded. Slogans and text fragments are then combined to form sentence-like structures, thereby creating new levels of meaning.

Reproduction and the medium of photography play a decisive role in the work of Michael Etzensperger (*1982, lives and works in Zurich and Berlin). Unusual visual perspectives are a central feature of his often-reworked photographs. Through extreme close-ups, tele-zooms and the use of light irradiation, his images often move away from realism and towards abstraction. Michael Etzensperger finds inspiration not only in (art) historical or ethnological images, but also in advertisements seen in urban spaces and his immediate surroundings.

Michael Etzensperger completed his Master of Fine Arts at the Institute of Art HGK FHNW in 2019. He has previously exhibited at Kunsthalle Winterthur (2019); Kunsthaus Baselland (2019); Last Tango, Zurich (2018); Rapperswil, Zurich (2016); and Museo Amparo, Puebla, Mexico (2015).

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Katrin Niedermeier – virtual retrospection

Katrin Niedermeier’s video animation "virtual retrospection" is a virtual exhibition of the past 25 years of Liste, experienced by a curator freed from worldly restrictions such as space. The video showcases digitally reproduced artworks, photographic material and snapshots as well as various important events and happenings throughout the fair’s 25-year history. In a retrospective and creative manner, it inspects and reflects the tightly interwoven webs of an art fair like Liste, with its participating artists and their artworks, galleries, visitors and team, but as wellalso the location itself.

In her artistic practice Katrin Niedermeier often focuses on manmade spaces of desire – both fictional and real – and investigates how these are manifested in the form of "Arcadian" gardens, virtual landscapes and personal fantasies. Her work explores the ever-changing relationships between virtual and analogue spaces and, in its implementation and development, walks the line between these two areas. Digital formats – primarily animations – are often the starting points of her work, but these are then translated into installations, physical objects and paintings that enter into dialogue with each other. The virtual world as an entity with its own authority is questioned, and its potential and effectiveness in both analog and digital realms is explored.

Katrin Niedermeier (*1979, lives in Weil am Rhein and works in Basel and Weil am Rhein) completed her Bachelor and Master of Fine Arts at the Institute of Art HGK FHNW between 2014 and 2019. Her recent exhibitions and video screenings include: "Avatars, Doubles and Allegorical Landscapes", HeK, Basel (2019); "I and the Machine: Experiments with Digitality", Galerie für Gegenwartskunst, E-Werk Freiburg (2019–2020); “Videocity Basel—Kaliningrad”, Kaliningrad Museum of Fine Arts (2019); “The Current ll Convening #2: Phenomenal Ocean”, TBA21–Academy at Ocean Space, Venice (2019); "I-Hood", Kunsthaus Baselland, Muttenz (2019); "color your color", Ewha Media Art Presentation, Seoul (2019); in the Hidden Bar during Art Basel in Basel (2019); "Hyperconscience", Shadok, Strasbourg (2018); "transenvironmental exercises", Atelier Mondial, Basel (2018); and "Kurs", room 103, Basel (2018).

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Jodok Wehrli – Arbeit, Arbeit, Arbeit

In his video "Arbeit, Arbeit, Arbeit" Jodok Wehrli takes a close look behind the scenes of Liste and pays tribute to work that is otherwise invisible. Through a rhythmic connection of archival images, he creates a flowing collage that juxtaposes various forms of work and places their values all on the same level.

His conceptual practice uses installation, sculptural and multimedia modes of representation to focus on logic and absurdity and their relationship to social reality.

Jodok Wehrli (*1994, lives and works in Basel) completed his Bachelor of Fine Arts at the Institute of Art HGK FHNW in 2019. His recent exhibitions include: "Auswahl 19", Aargauer Kunsthaus, Aarau (2019); "Now This", Wurm, Basel (2019); "I-Hood", Kunsthaus Baselland, Muttenz (2019); "Büro für absolut Relevantes", Rathaus für Kultur, Lichtensteig (2018); "I Myself in ten years Now", Bolag, Basel (2018); and "Insite", Der Tank, Campus der Künste, Basel (2017).

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