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.
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.