Karsten Födinger : PILIER ERRATIQUE
Vernissage Weekend: 27-28th July 2019
I don’t see myself as the only author of my works, but as a catalyst between the forces of nature and the logics of material.
The Verbier 3-D Foundation presents PILIER ERRATIQUE, a new site-specific sculptural work by German artist Karsten Födinger. The artist was invited to live for one month in Verbier, Switzerland to become immersed in the local glacial environment to develop new work responding to current debates around climate and the effects of the present-day period of amplified global warming – the Anthropocene.
Födinger’s practice is rooted in a detailed examination of a place before developing a sculpture that merges with local materials and methodologies into a cohesive form. The artist related his residency experience to that of a mountain climber or explorer – entering the unknown, observing the rocks, looking for a route, trying to find out where nature allows access and proceeding with caution and respect.
PILIER ERRATIQUE is the sculptural result of the artist’s “expedition” of discovering man’s relationship to nature in Alpine environments such as Verbier. The resulting work embodies the artist’s considerations of his surroundings in combination with the instinctive and architectural references from the artist’s oeuvre.
The title PILIER ERRATIQUE takes inspiration from the geology term bloc erratique, which is a piece of rock carried by glacial ice to a specific location that differs from the size and type of rock native to the area in which it rests. Working with local geologists and scientists, the artist discovered these rocks throughout the area that are now part of the landscape and hosting native flora by protecting it from erosion and human impact.
The sculpture’s form refers to Swiss engineer Robert Maillart’s and later Frank Lloyd Wright’s mushroom columns, which were also found throughout the area in man-made structures. Inspired by a tree’s natural structural strength, these columns remain one of the most remarkable designs in 20th century architecture allowing for maximum support with minimal space utilization.
Födinger envisioned a man-made form that echoes the contemporary environment of both the natural and unnatural systems in the area, while offering the notion of balance and the possibilities of the synthesization of man and nature in architecture.
PILIER ERRATIQUE is a site specific sculpture that adapts the materials found in its immediate vicinity such as steel, rock and soil. Referring to the surrounding infrastructural objects like power poles and ski lifts, the work becomes a gift offered back to nature suggesting a considerate approach to growth in the area.
This year is a continuation of a 5-year initiative launched in 2016 by the Foundation that brings together artists, locals and scientists to chronicle the impact of the surrounding glacial environment in Bagnes, Switzerland. Their insights are captured in photography, sculpture and multimedia residencies, alongside research, exhibitions and public education programmes.
The residency and education programme have been developed with curators Alexa Jeanne Kusber and Paul Goodwin.
There is an accompanying photographic 5km walk from La Chaux to Ruinettes as a visual journey into Karsten Födinger’s influences and artistic practice for developing the work. Images provided by the artist and local photographer Melody Sky.
PILIER ERRATIQUE was realized thanks to the support of the Commune de Bagnes, Musée de Bagnes, Téléverbier, Loterie Romande, Jean-Edouard van Praet & Tappan Heher, Chalet Ker Praet, Au Vieux Verbier, Marlenaz, Office de Tourisme de Verbier, le Four Banal de Verbier, Madeleine Paternot, Melody Sky, Les Elfes International, Penney and Guy Semmens, Marilynne Geiger, Cherries Ussher Von Maur, Eloise Vestberg: Aventerre, Joël Hiroz, Eric May, Véronique Bugnon, Alexia Massacand, Pierre Bruchez, Patrick Michellod, Daniel Luisier, Valérie Felix, and Nicolas Combes.
Avant/Après N°5 presents a kind of luxurious milk machine that blurs the boundaries between inside and outside of the body. Combining plastic tubes, photography, video as well as deconstructed laundry bags carrying the logo of a well-known luxury brand, the installation plays with our restlessness in search for ‘The Other’.
The deconstructed laundry bags fabric might be cheap plastic, but its imprinted logo highlights our obsession with luxury goods and the aspiration of a dream that is being sold to us to belong to a ‘different’ world. The philosopher Julia Kristeva links this sense of desperately wanting to belong, to our desire to recreate the symbiotic mother-infant relationship.
Also the video work Avant/Après, made during her 2014 residency in Verbier will also be shown for the first time in the US.
In her work, Andrea Hasler dissects social and emotional ideas of the body in relation to consumerism, with an on-going search for identity and belonging. Her wax and mixed media sculptures are characterized by a tension between attraction and disgust and confront the observer with his or her own feelings of desire and repulsion.
Andrea Hasler was born in 1975 in Zürich, Switzerland, and lives and works in London, UK. She holds a MA Fine Art from Chelsea College of Art & Design. Her work has been exhibited widely internationally. Recent solo projects include Burdens of Excess at Gusford | Los Angeles/US, Irreducible Complexity and Full fat or semi-skinned? Next Level Projects, London/UK, Embrace the Base, Arts Council-commission for Greenham Common, UK. She was Artist-in-Residence at Verbier 3D Foundation, Next Level Projects/Bahamas and at Chisenhale, London/UK. In 2018, her work was include in the exhibition ‘Ethics, Excess and Extinction’ at El Paso Museum, Texas/USA. Future projects include a site-specific installation in Marfa, USA in October 2019.
Set in the heart of New York City’s SoHo district, this invitation-only, in-house residency program is geared towards providing artists and curators “time and space” in New York City to further develop their practices in a dynamic environment. With a focus on deepening research and strengthening art world affiliations, this residency is an extension of the secluded and experimental environment that reflects the Verbier 3-D Sculpture Park, which was co-founded in Switzerland by Madeleine Paternot with Swiss- English artist Kiki Thompson, in 2011. The aim is to develop a dialogue between the diverse residency locations of New York and Verbier that both challenge and expand participating artists’ practices in relation to place.
For more information and press images, please contact:
Time + Space Residency
66 Crosby Street, 5F, Soho, New York 10012
By appointment Monday – Friday, 30th April – 8th May 2019
To book a viewing please contact:
Madeleine Paternot: firstname.lastname@example.org or phone +16462405720
Andrea Hasler: email@example.com or phone +447957325697
James Capper: AERO CAB
24.06.18 – 23.06.19
The Verbier 3-D Foundation presents AERO CAB, a new sculptural work by British artist James Capper. The artistic engineer was invited to Verbier, Switzerland to become immersed in the local glacial environment to develop new work responding to the 200th year anniversary of the Giétro Glacier and its catastrophe of 1818.
Birthing from the ‘Year Without Summer’, which belongs to a three-year period of severe climate deterioration of global scale starting in 1815, unforeseen chaotic and chilling weather caused many glaciers in Switzerland to increase in mass. The Giétro Glacier therefore advanced and loomed over the valley. This caused alarm of the threat of falling ice, avalanches and the possibility of the ice dam that had formed, bursting.
Ignaz Venetz (1788 — 1859), who was the Swiss governmental engineer for Valais, was asked to develop a solution. This was the first time, historically, that help was asked from an engineer to prevent a natural disaster. With failed attempts by Venetz to alleviate the pressure behind the ice dam, this climatic event led to an outburst flood sweeping the Val de Bagnes in its path until Lake Geneva.
The Giétro Catastrophe is one of the most famous and most disastrous historical events in the Swiss Alps related to climate change. Its folklore is embedded in the local history of the surrounding areas and recently resurrected due to this year’s anniversary fused with current debates on effects of the present-day period of amplified global warming – the Anthropocene.
Capper’s work AERO CAB creates a modern platform for visitors to consider the role of the engineer in relation to creating solutions in fragile natural environments in places such as Verbier, and to the possibilities of broadening the scope from the technical aspects of engineering to those aspects that directly affect communities and the environment.
This year is a continuation of a 5-year initiative launched in 2016 by the Verbier 3-D Foundation that unites artists, locals and scientists to chronicle the impact of the surrounding glacial environment in Bagnes, Switzerland. Their insights are captured in photography, sculpture and multi-media residencies, alongside research, exhibitions and public education programmes.
The residency and education programme have been developed with curators Paul Goodwin and Alexa Jeanne Kusber.
AERO CAB was realized thanks to the support of the Commune de Bagnes, Musée de Bagnes, Téléverbier, Jean-Edouard van Praet & Tappan Heher, Chalet Ker Praet, Au Vieux Verbier, Office de Tourisme de Verbier, Madeleine Paternot, Les Elfes International, Vie Montagne, STA, Valérie Felix, Nicolas Combes, Patrick Michellod, Stephen Hadik, Bruce Weber, Charles Corthay, Lionel Michaud, Motos Joris, Hilaire Besse, Guido Perrini, Lionel May, Faction Skis et Hannah Barry Gallery.
2018 artist-in-residence: James Capper
Following his studies at Chelsea College of Art and the Royal College of Art in London, James Capper’s work has been widely exhibited around the world in museums, not for profit institutions and galleries.
Notable solo presentations of his work include RIPPER TEETH IN ACTION at Modern Art Oxford (2011), DIVISIONS at Yorkshire Sculpture Park (2013), SIX STEP at Rio dell’Orso with Alma Zevi for the Venice Biennale (2015), PROTOTYPES at CGP London (2016), ATLAS A SPOLETO! / TELESTEP A SPOLETO! , Anna Mahler Association project for the Mahler & LeWitt Studios & Festival dei Due Mondi, Spoleto, Italy (2016), SCULPTURE & HYDRAULICS at The Edge Institute of Contemporary Interdisciplinary Arts, University of Bath (2017).
The youngest ever artist to be awarded the prestigious Jack Goldhill Prize for Sculpture from the Royal Academy of Arts, London, his work is the subject of critical debate and dialogue about positions in sculpture in the 21st Century and continues to challenge varied audiences everywhere it is shown.
He lives and works in Bermondsey, South London and has exhibitions forthcoming this year in Oaxaca, Mexico, Frieze, London.
_ _ _ _ _ _
James Capper makes mobile sculpture to be used in action in varied terrains and with a wide range of materials. His works are sculpture and sculptural tools in – or ready for – action. He adopts the techniques, materials and complex problem-solving processes of engineering and invention to develop his work.
Capper’s way of making mobile sculpture consists of three distinct but interrelated processes – drawing, making sculpture and experimenting with the capacities and application of the sculpture in action. The sculpture in action is understood and developed through field testing and topographic demonstrations, recorded on film.
Whether in his pincered excavators or Tetrapod walk-machines, the works situate themselves in a long dialogue between human craft and biomechanics: in the 19th century we had looked to model transport mechanisms on the body of a cow; in 2016, we have now designed soft-robotic pneumatic systems with the exact anatomy of a living octopus.
However, by removing himself from the utilitarian lexicon of professional engineering and the deterministic narratives of evolutionary biology, Capper’s sculptures stand as their own aesthetic representations. Despondent with the deluge of ‘artificial intelligences’, each sculpture finds a simplicity yet radical form in a mutual co-operation between human and machine.
Drawing is an important part of his practice, developing large numbers of drawings of all kinds – from concept drawings (defining, developing and outlining new ideas and concepts for sculpture), technical drawings (line or filled-in drawings used to work out how the sculpture moves) to presentation drawings (spectacular, often large-scale, coloured drawings showing the sculpture in its complete form) and in-action drawings (complex drawings showing the sculpture in movement across space and time). In this method, for every realised sculpture there are a large number of drawings accumulated from conception to after completion; it is characteristic of James to draw his sculptures well beyond the fabrication period and even to return to specific sculptures through drawings years after they are made.
To consider his vision in short: traditional frames of sculptural reference are radically revisited, and if real-time technological advances in heavy industry fall behind or advance ahead, Capper’s own arrangement of ergonomics, hydraulics and aesthetics allows his work to exist autonomously.
The Verbier 3-D Foundation is delighted to announce the latest addition to our Sculpture Park, Interference Cube by Swiss architects Gramazio Kohler.
This launches an exciting programme of new work acquired by the Foundation showcasing artists that are experimental in their practice, whilst providing an insight into the range and diversity of contemporary artists’ work in the sculpture field.
Imagine cutting a cube out of an onion. The three- dimensional inner structure of the onion leaves a two-dimensional imprint on the surface of the cube. In the Interference Cube, a prototypical spatial unit realised for the Swiss Art Awards, the artists similarly outlined a virtual, spatial force eld on the inner walls of a ceramic cube.
Using a computer, the architects placed this cube into a virtual algorithmic force eld that rippled outwards in space. The surfaces loaded with spatial information radically altered the interior space of the seven-tonne cube. The wall surfaces became receptors that – like computer tomog- raphy – displayed something that is normally invisible. A dialogue was created between the continuous, procedural space of the force eld and the Cartesian geometry of the cube.
This work explores new strategies for making patterns from algorithms. Superceding convention- al pictorial paradigms based on two-dimensional textures, this work marked Gramazio Kohler’s rst sensual encounter with the phenomena they now describe as “digital materiality”.
The work will launch on 19th January in the Sculpture Park during the 2018 Verbier Art Summit.
Olaf Breuning – Save The Climate!
17.06.17 – 18.06.18
The Verbier 3-D Foundation presents SAVE THE CLIMATE!, a new photographic work by Swiss artist Olaf Breuning currently on exhibit at an altitude of 2,300 meters in the Verbier 3-D Sculpture Park.
The work was developed during an artistic residency during which Breuning was invited to reside in Verbier, Switzerland to develop new work responding to the social and glacial environment of the surrounding area in relation to climate change – a landscape that provides a fitting backdrop for commentary on the increasingly fragile relationship between humans, migration and climate concerns.
I wish this image in 2017 can motivate people to think – they look at the image and see the people with “save the climate!”, are they are partying, they have animal hats – there are many questions to think about. I hope the work has an effect on people, looking and thinking in a different way – trying to figure out what climate change means to them. I don’t give answers, I give a platform for people to think. – Olaf Breuning
The contemporary understanding of climate and glacier awareness and its global increase have clearly shown how human behaviour in one geographical region can affect life in another, how individuals can impact upon other human beings’ living conditions, how certain populations’ lifestyle affects the environment, and how changes in the natural world conversely can induce migration and societal habits.
Glaciers are on the frontline of climate change in alpine resorts like Verbier as they swell from around 4,000 residents in summer to around 40,000 visitors in winter. Occuring simultaneously, skiers and hikers bring the mountain resorts to life yet also put a strain on precious resources.
Breuning’s work SAVE THE CLIMATE! creates a platform in situ for visitors to consider the role human migration plays as a contributing factor to climate change in relation to places such as Verbier, Switzerland.
A making of the work is also on display between Ruinettes and Croix de Coeur that had been documented by local photographer Melody Sky.
This year is a continuation of a 4-year initiative launched in 2016 by the Verbier 3-D Foundation that unites artists, locals and scientists to chronicle the impact of the surrounding glacial environment in Bagnes, Switzerland. Their insights are captured in photography, sculpture and multi-media residencies, alongside research, exhibitions and public education programmes.
The Verbier 3-D Foundation aims to develop artistic practice, experimentation and dialogue around the themes of glacier warming and societal behaviours on a local level that extends outward. The exhibitions will feature new work by visual artists who in differing ways are interested in these conversations.
The residency and education programme has been developed with curators Paul Goodwin and Alexa Jeanne Kusber.
SAVE THE CLIMATE! was realized thanks to the support of the Commune de Bagnes, Musée de Bagnes, Téléverbier, Swiss Arts Council ProHelvetia, LABEL’ART Triennale 2017, TimeLine Missions, Marlenaz, W Hotel Verbier, Chalet Ker Praat, Au Vieux Verbier, Madeleine Paternot, Valérie Felix and Nicolas Combes.
About Olaf Breuning
Olaf Breuning is a multi-media artist whose works investigate kitsch, appropriation, cliché, popular culture, and hint at a collective visual iconography. Breuning’s unique mode of pastiche is eclectic by design, drawing icons from sources both high and low, Edvard Munch to Andy Warhol’s Marilyns to the Easter Bunny.
He is internationally known for his work that is humorous and often absurd, based on his observations of human experience and reflections on current cultural and political issues. Gleefully trampling traditional boundaries of artistic practice, Breuning works with photography, sculpture, installation and performance, films and drawing to realise and communicate his ideas.
Swiss, b. 1970, Schaffhausen, Switzerland, based in New York, NY and Zurich, Switzerland.
In Search of Frankenstein
by Chloe Dewe Mathews
19.06.16 – 18.06.17
– excerpt from Mary Shelley’s Frankenstein
About Chloe Dewe Mathews
The “Year Without a Summer”—1816—belongs to a three-year period of severe climate deterioration of global scope caused by the eruption of Mt. Tambora in Indonesia in April, 1815. With plummeting temperatures, and disruption to major weather systems, human communities across the globe faced crop failures, epidemic disease, and civil unrest on a catastrophic scale. In 1818, Giétroz glacier, at the site of the Mauvoisin Dam near Verbier, overflowed and flooded the entire valley and surrounding areas.
The Verbier 3-D Foundation presents In Search of Frankenstein, a new body of work by British photographer Chloe Dewe Mathews. The series responds to the glacial environment of Bagnes, Switzwerland, a landscape that provides a fitting backdrop for this commentary on the increasingly fragile relationship between man and the natural world.
The artist was invited to examine the psychological landscapes of the Corbassière Glacier, Giétroz Glacier, Mauvoisin Dam and local surrounding villages while working with local authorities, mountaineers, and glaciologists to further her research while developing the work.
The resulting photographs suggest the contemporary relevance of Mary Shelley’s novel ‘Frankenstein (1818)’, which was conceived in the Swiss Alps as a direct consequence of the extraordinary weather conditions that took hold during the “Year without Summer”. It was while reading Shelley’s novel and visiting the glaciers and nearby nuclear shelters, that Chloe Dewe Mathews was inspired to create a project that would attempt to use the book’s literary themes to discuss the environmental and social issues of our time.
In Search of Frankenstein, provides an artistic investigation of the complex issues of the current era of the Anthropocene raising questions that remain at the heart of contemporary concerns: the ethics of science, climate change, industrialization and the modern sublime.
The exhibition has been developed with curators Paul Goodwin and Alexa Jeanne Kusber.
This year marks the starting point of the Verbier 3-D Glacier Project, a 4-year initiative that will link art, education and glacier conservation. The project will unite artists and scientists to chronicle the impact of global warming on glaciers in Valais, Switzerland. Their insights will be captured in photography, sculpture and multi-media residencies, alongside research, exhibitions and education programmes. Utilising the lens of art, viewers will be informed about the current local Valaisan landscape in relation to global environmental and societal changes.
The Verbier 3-D Foundation aims to develop artistic practice, experimentation and dialogue around the themes of glacier warming and societal behaviours on a local level that extends outward. The exhibitions will feature new work by visual artists who in differing ways are interested in these conversations.
Chloe Dewe Mathews
British documentary photographer Chloe Dewe Mathews studied at The Ruskin School of Fine Art, Oxford University. Her most recent series ‘Shot at Dawn’ records many of the sites where approximately 1,000 British, French and Belgian soldiers were executed for cowardice or desertion during the first world war. Shot at Dawn was included in Tate Modern’s recent landmark exhibition ‘Time, Conflict, Photography’ and currently features in a solo show at The Irish Museum of Modern Art.
Her work is internationally recognised, exhibiting at Tate Modern, Irish Museum of Modern Art, Museum Folkwang and Fotomuseum Antwerp, as well as being published widely in newspapers and magazines such as the Guardian, Sunday Times, Financial Times, Harpers and Le Monde. Public and private collections have acquired her work, including the British Council Collection, the Irish State Art Collection and the National Library of Wales.
Her awards include the British Journal of Photography International Photography Award, the Julia Margaret Cameron New Talent Award and the Flash Forward Emerging Photographer’s Award and her nominations include the Deutsche Börse Photography Prize, the Prix Pictet and Paul Huf Award.
Chloe’s first monograph ‘Shot at Dawn’ was published by Ivorypress in 2014 and in the same year she became the Robert Gardner Fellow in Photography at the Peabody Museum of Archaeology and Ethnology, Harvard University.
5 July 2014 – 5 July 2016
The 3-D Foundation is pleased to present MUTATIONS at the Verbier 3-D Sculpture Park from 5 July 2014. This exhibition presents five new works created during the biennial six-week Artist Residency that occurred from the end of May until the beginning of July in Verbier, Switzerland. The exhibition celebrates the development of monumental sculpture in the context of the Alps and is part of the Label’Art 2014 initiative in Valais.
The curatorial premise for the 2014 3-D Artist Residency was MUTATIONS by London (Tate) curator Paul Goodwin: What are the emerging forms of mutation in contemporary art practices? How can contemporary art transform our understanding of the complex entanglements caused by proliferating mutations in the environment and society? Can artists mutate/remix/re-vision our understanding of society, environment and culture?
The artists were invited to live in the reclusive mountain town of Verbier and become fully immersed within the context of place encouraging them to consider the relationship of their practice to not only the proposed theme, but also to existing pieces, the landscape features, history and current perspective of the site. This year’s artists were chosen based on their interest in experimentation and desire to push the medium of sculpture forward, keeping it alive by experimenting with both the possibilities of materials and the capabilities of space in connection with the viewer.
Andrea Hasler (CH) born in 1975 in Zürich, Switzerland, and currently lives and works in London, has developed two sculptures and one video work for the Park. The works touch on the seclusion, exclusivity and hybridity of the mountain town of Verbier. Her first work, Avant/Aprés consists of a red carpet scenario in the mountain landscape with no indication which boundary is the VIP side to aspire to be or which one we may be held back from. In relation to this year’s theme, the work points at the lack of actually physical mutation and the desire to be different or transform. The intestine-like rope made of resin and wax, references the non-physical aspect of desire, highlighting the fact that underneath we are all the same. Perishable Goods is a pallet of compressed flesh (utilising the same process) bulging out, yet held together and at the same time, adorned with luxury chains. With the impression of the work being crudely dropped into the Sculpture Park, the work suggests the intensity and intrusion of the change of population in Verbier in the winter months whilst referencing the stark contrast of the need for emergency aid food pallets dropped off in disaster zones. The video work developed during the Residency will be released later this year.
Architects by training BUREAU A (CH), who consists of Leopold Banchini and Daniel Zamarbide, is a multidisciplinary platform aiming to blur the boundaries of research and project making on architectural related subjects. For this year’s Residency, the focus was based on the rooting of culture in the Swiss mountains. From the writings of Ramuz, particularly Derborence and Farinet, their project is a continuation, somewhat subversive, on precarious housing in the mountains. Antoine creates a shelter, an “Existenzminimum” space and architecture that is a livable and functional residence.
Beyond this, the Swiss tradition of digging and carving the mountains for various habitats, military infrastructure, or ski areas, Antoine also references essential writing in the history of architecture: Bunker Archaeology by Paul Virilio, edited for first time in 1975 and describing his fascination with military architecture conducted on principles of camouflage. The mini-residence is hid with a rock that will sit on the edge of the Park as about to fall at any moment. Antoine thereby hangs at this time and culture Paul Virilio, Claude Parent and André Bloc around which is born the concept of architecture-sculpture.
Tarik Hayward (CH) has been recently running towards an artistic demarche that could be described as a more immediate approach, in the direction of performance and sculpture. These two areas are often intertwined in his recent work and have been realised in his latest work for the Park. Erected in the ruins of a modernist structure that was removed earlier this year, Unity Temple references a ritualistic response to constant change on the mountain combined with the immediate need for survival. The destruction of this past installation represents a sign of instability, both structural, economical and spiritual. As ruins are remnants of past realities, they become memorials to decay and evolution, with change often happening brutally with no signs of departure.
Ritualistically building with sand bags in a repetitive and quick motion, Hayward finds solace in the renewal of a contemporary temple for visitors to find refuge from inevitable change. This practice also refers to survival wartime situations of urgent necessity to be sheltered. The title Unity Temple gives reference to the first modern building using concrete as both a structural and aesthetical material by architect Frank Loyd Wright, which was actually a church.
Eve Bailey (FR/USA) has formed a practice based on the concepts of balance and coordination. Rooted in the tradition of the artist-engineer, she creates ergonomic and kinetic sculptures sympathetic to human embrace as well as complex line drawings that embody her love for architecture and dance.
Bailey constructed Our Impermanent Walk as an interactive kinetic sculpture inspired by the wings of the first flying machines. The sculpture-device serves to experiment with proprioception and express finite moments of equilibrium. The concept is literally and metaphorically about groundlessness, impermanence, trust and collaboration. As two people climb upon the structure, they loose their traditional relationship to gravity and cannot hold on to anything but each other’ s counter weight. They are bound to collaborate to find their balance.
Our Impermanent Walk will be located in the Place Blanche in Verbier for the summer before going to it’s final site in the Park.
This year’s Residency and exhibition has been developed with American Curator and new Valais resident Alexa Jeanne Kusber.
Eve Bailey, Our Impermanent Walk, 2014
Verbier 3-D Foundation Artist Residency
MUTATIONS: 24th May – 5th July 2014
Vernissage: 5th July 2014
Exhibition: 5 July 2014 – 5 July 2016
Mutation (Oxford English Dictionary)
noun [mass noun]
1 the action or process of mutating 2 the changing of the structure of a gene, resulting in a variant form which may be transmitted to subsequent generations, caused by the alteration of single base units in DNA, or the deletion, insertion, or rearrangement of larger sections of genes or chromosomes 3 Linguistics regular change of a sound when it occurs adjacent to another
The curatorial premise for the 2014 Verbier 3-D Artist Residency is Mutations by curator Paul Goodwin:
In the current global political-economic and ecological crisis, old hierarchies and certainties are crumbling and new realities are emerging at a rate and a profundity that we are yet to fully comprehend. New hybrid and strangely familiar aesthetic forms and strategies are emerging that are attempting to navigate the mutations of worlds and life forms. Sculpture, new media, performance and other art forms no longer conform to hierarchical and outmoded structures of feeling and affect from the machine age.
This residency invites contemporary forms of creation – in an age of information and networks – that engage with cultural, aesthetic and ecological ‘mutations’ within the context of a mountain landscape that is itself in constant evolution.
What are the emerging forms of mutation in contemporary art practices? How can contemporary art transform our understanding of the complex entanglements caused by proliferating mutations in the environment and society? Can artists mutate/remix/re-vision our understanding of society, environment and culture?
Verbier 3-D Foundation is pleased to be engaging with an array of artists for this year’s Artist Residency who are currently interested in creating new work and dialogue around the advancement towards radical breaks within the traditions of monumental sculpture.
For more information about this year’s artists, click here.
Each Sunday in June Verbier 3-D will offer Weekend Courses throughout the residencies to provide unparalleled opportunities for participants to gain knowledge and insight into artistic practices and the international art world.
Each course is designed to address the specific needs and interests of its participants. Led by the Verbier 3-D Foundation and enhanced by lectures from international experts and practitioners in the field, Weekend Courses offer an innovative, object-based learning experience.
Detailed information about the Weekend Courses and Educational Programme during the Artist Residency is available here.
Collective Perspectives: A Museum Without Walls
20 July 2013 – 04 August 2013
Inspired by the Verbier 3-D Sculpture Park and Residency, these images have been selected for the photographer’s technique towards representation whilst capturing the play between object, space and light that exist within the mountainous terrain of the Sculpture Park.
This selection examines the diverse approaches of the photographic medium to represent the sculptures within the environment that inspired their creation while in themselves forming artistic pieces of work. Thus further highlighting how the one medium has become connected in the understanding of the other. – Curator Alexa Jeanne Kusber
The 3-D Foundation is a non-profit organization dedicated to creating monumental contemporary sculpture to promote art, education, and culture to international audiences.
Founded in 2010 by New York-based artist Madeleine Paternot and Verbier-based artist Kiki Thompson, the Verbier 3-D Sculpture Park and Residency create a space for Art and Ecology to meet on the mountain.
Each individual can experience his own sense of escape in the museum without walls.
David Machet (F) is an independent photographer since 2001, specializing in illustrative photography. He has received a prize in the world book of mountain photography in 2005 with his first book: “L’eau des Alpes dans tous ses états” (Water of the Alps in all its states).
His interest for his work as photographer and the protection of visual artists rights led him to co create as artistic and technical director the “Mont Blanc photo festival” in 2011 and 2012. Collaborations include L’Alpe, Alpes Magazine, Détours en France, UNICEF, Maisons & Bois International, Architecture Bois & Dépendances.
Elly Cho (KR) was born in 1974 in Seoul. She holds a BA and an MFA from The Slade School of Fine Art in London, UK, and an MA from Columbia University. She has taught various visual art courses and theory courses at universities and colleges in Korea. She has exhibited internationally, including Going Green in conjunction with Queens Art Express in New York; Ways of Seeing at 3-D Sculpture Park in Verbier, Switzerland and solo show includes Art side Gallery in Seoul. Her work is in major collections including the Seoul Municipal Museum.
She lives and works in New York.
Federico Berardi (CH) was born in 1984 and lives and works in Switzerland. After graduating in 2009 with a Bachelor in visual communication, he trained as Master in Art Direction 2009-2011 with the photography department at the Cantonal School of Art and Design Lausanne (ECAL).
Through films, photographs and installations, Berardi questions the relationship between landscape and ideology, in particular how the concept of landscape representation and influence history and vice versa. From his own pictures and images in archives Berardi discusses romantic records and conceptual art with an approach that is halfway between that of the artist and historian.
Francois Perraudin (CH) was born in 1956 and has dedicated his career to the mountain. His curriculum includes an engineering degree in natural sciences, glaciology and geophysics history which enhanced his passion of photography and writing. Articles, books and audio-visual projections share his curiosity about life in the mountains.
Native to Valais, he alternates his work as a reporter and photographer. www.frperraudin.ch
Josette Taramarcaz (CH) was born in Martigny and currently lives and works in Fully (Valais) in Switzerland. She is a member of Visarte, the society of Swiss visual artists, and of Swissceramics. She is co-president of Visarte Valais.
Josette’s work follows a subjective logic, based on emotion, roots and memory. Alternating between figurative and abstraction, she creates with these different approaches. The two facets of her sculpture come together with the same opposing forces: the mass and weight, anchoring in the earth and reality, as opposed to the fragile, light and belief of possible flight.
Kerry-Jane Lowery (CH/UK) is a writer and photographer based in Switzerland. She studied at Vassar College in New York to study East German literature, Carl Ludwig’s Universitat in Germany and the London School of Economics to a MSc in Anthropology and Development.
As a photographer, she is self-taught.
“To look is an act of choice…the way we see things is affected by what we know or what we believe.”
– John Berger
This exhibition pays homage to the 40th anniversary of a classic text by writer John Berger, Ways of Seeing (1972), that has had a profound international influence on the nature of seeing, vision and looking at art and art history. Selected artists have revisited the dialogue between the notion of ‘seeing’, ‘spectatorships’ and ‘looking’.
- How can we re-vision and look again, more closely and in a more refined and even ‘ethical’ way at fundamental concepts of sculpture and its relationship to nature?
- In what senses can monumental sculpture open up new ways of seeing landscape and in the process, become part of the delicate balance of aesthetic and social relations that a mountain community experiences in the presence of public art works?
Berger, who lives in a remote French Alps community, powerfully argued that the act of seeing and looking is a socially and culturally conditioned choice, an active and not passive process.
– Text by 3-D Curator Paul Goodwin
Invited Artists 2012
Elly Cho (video, installation: South Korea)
Onyedika Chuke (sculpture: USA/Nigeria)
Julien Marolf (sculpture : CH)
Josette Taramarcaz (sculpture: CH)
Jonathan H. Wright (sculpture : UK)
Sabine Zaalene (CH) & Alou Cissé (Mali) (video, installation, performance)
The monumental tradition in sculpture can be traced back to the earliest stone and earth works of man made art in the earliest periods of human history. This tradition has historically pitted humans against nature, in a dialectical struggle to control, master and ultimately imitate nature. The modern traditions of monumental sculpture from Rodin’s masterpieces to 1960s Land art and more recent grand public art projects in the image of Richard Serra’s Tilted Arc, can in many ways be seen to contain elements of this dialectic punctuated by moments of rupture and discontinuity. As we become more aware of the disastrous impact of the global environmental and political- economic crisis we are confronted with the need to question notions of monumentalism for our time.
The curatorial framework of the Verbier 3-D Sculpture Park Residency programme 2011 was an invitation to artists to respond to this challenge. The location of the park, at an altitude of over 2300 metres within the mountain peaks of the Swiss Alps, posed this challenge in a very direct way. The challenge the artists in this project faced was how to make sculpture in the shadow of the unparalleled monumentalism and sublime beauty of the mountain range in Verbier. Faced with such extreme conditions at high altitude the curatorial framing of Go Tell it On the Mountain urged artists to rethink traditions of monumentalism in ways that contest notions of mastery and control of nature and urged them to engage more modest sculptural projects that ‘work with’ the mountain in a new dialogue between art, nature and community. The following open-ended questions were used as a starting point of reflection for the artists:
How can artists and art practices respond to the challenge of environ- mental sustainability in such extreme conditions?
Are the grand narratives of monumentalism, triumph over adversity and conquest of nature still relevant in an age of global conflict and potential environmental catastrophe?
Is monumental sculpture an appropriate method or scale to engage di- verse local communities?
What is the relationship of human to mountain, art to environmentalism?
How can a sculpture park articulate the historical and the contemporary within a framework that addresses current issues of relevance to local mountain communities as well as global environmental politics?
Invited Artists 2011
Gregory Coates (sculpture: USA)
Donna Dodson (sculpture: USA)
Edouard Faro (sculpture: CH)
Musa Hixson (sculpture: USA)
Etienne Krähenbühl (sculpture: CH)
Andy Moerlein (sculpture: USA)
André Raboud (sculpture : CH)
Timothy Talbott Holmes (sculpture: UK)
Josette Taramarcaz (sculpture: CH)
Kiki Thompson (sculpture: CH)
Will Ryman (sculpture: USA)