This website was created with SchplitZing:

"SchplitZing" functions as a platform and a tool, it allows me to relate different fields of interest and shows a possible way of linked working.

This is a prototype of an idea developed in the Woods: http://enterthewoods.com/.

 

Congratulations for the Sitemapping Award!

 

Nadine Wietlisbach (*1982) focuses in her arts and curatorial practice on her interest in room, scene and atmosphere and is researching in visual and performing arts. She studied applied and visual arts in Lucerne (CH) and Tallinn (ES) and completed her postgraduate studies at the University of Music and Performing Arts in Vienna in 2010.

 

She has worked for the Swiss Arts Council in Switzerland and South Africa, for Kunsthalle Lucerne and is currently employed at University of Applied Sciences and Arts Lucerne.

 

Nadine loves literature, the moment before a film starts in the movie theatre and pistachio ice-cream. She doesn't like to drive cars and is allergic to cats. She dreams of curating big shows in big cities and of a wedding party in Las Vegas.

 

Detailed CV can be sent via e-mail.

sic! Raum für Kunst functions as a platform for current artistic positions. Works by young national and international artists are shown.

 

The makers of sic! Raum für Kunst are interested in theoretical artistic and cultural concepts and champion the cause of a critical examination of contemporary art and its reference framework.

 

Among others, sic! is networked with other Off-Rooms through OffOff – Independent Art Spaces Switzerland and is interested in the exchange of ideas beyond the country’s borders.  

Grafik: André Meier und Franziska Kolb 

 

Bettina Disler, Francisco Sierra, Michelle Kohler, Nicole Michel, Seline Baumgartner and Taus Makhacheva. Curated by Nadine Wietlisbach.

 

Palais Bleu, Le-Lieu, Trogen: http://www.palaisbleu.ch/pb_lelieu.html

 

The exhibition will be accompanied by an edition featuring texts by André Schürmann, Anna Chudozilov, Barbara Schuler, Christoph Simon, Katharina Egli, Luca Tratschin, Sereina Steinemann and Urs Güney. With photographs by Ute Klein. Designed by Mario Suter.

 

The exhibition and publication „Get up and run away with it – about love and the impossible“ is an attempt to comprehend love as an event of everyday life, to radically doubt and re-examine it. Neither the feeling nor the state of being-in-love are simplified as a result, on the contrary: perhaps this endeavour is an eclectic attempt not to loose sight of the important details in 2011.

Love, defined as the profound esteem of another living thing, has many aspects and doesn’t evoke merely positive connotations. The feeling of being in love, as a state of temporary insanity, can be explained neuroscientifically. When a person falls in love, various chemicals in the brain cause euphoria (dopamine), excitement (adrenaline), intoxicating happiness as well as profound satisfaction (endorphin and cortisol). The World Health Organization calculates that the body adapts to these chemical doses after about 24 to 36 months, after which the brain’s state of intoxication fades. This makes sense, since it is not economical to maintain the energies necessary for the conquest of a partner over longer period of time.

In everyday life, love is usually described as an emotion. The systems theorist Niklas Luhmann distances himself from this view; he comprehends love as a medium of communication. This definition explains the high expectations of communication within loving relationships. People in love legitimately expect their partner to acknowledge them to the full extent of their individuality.

The French philosopher Marie-Odile Métral examines love as a cultural phenomenon that, as a system of myths, rites, and ceremonies, of discourses and practices, contributes to the conscious experience of human emotional capacity. Luhmann comprehends love primarily as a communicative expression of intimacy, while Métral describes it as the interplay of language and action aimed at creating conscious awareness of a particular feeling.

Culturally and historically, „love“ is an enigmatic concept that has been used in many languages in various contexts and with very different textures of meaning. The phenomenon was experienced and understood differently in diverse epochs, cultures and societies. Even when love is viewed as a natural, universal, connective and timeless phenomenon, as a factor within cultural history it is time- and context dependent.Love’s trajectory through Antiquity, the Middle Ages, the Renaissance, the Enlightenment and various repressions of it’s expression in the 19th century right up to the present, found countless expressions in the visual arts, theatre, music and literature, as well as within religion and philosophy.

In the 1950s Ernst Bloch in The Principle of Hope presented a philosophical thesis centred on the idea of anticipating the future. He maintained that human beings dream their way forward in anticipation of what is yet to come. Taking the form of a wish, the promise of love can manifest itself as a dream becoming reality. Love shapes its own image before it is actually present. Perhaps today, the central task is to probe the value of this promise for everyday life and as a romantic concept for each individual (for even those in love sometimes remain alone), be it in a partnership or in an extended group (with several partners and/or children).

In his 2010 novel The Lover’s Dictionary American author David Leviathan tells an encyclopaedic love story that most of us can imagine, even if we have not experienced it for ourselves. First we spend our time searching, only to stumble late and unexpectedly upon the person who, after initial kisses, later sharing a table and a bed, becomes our partner in the experiment of ‚being together’. There are fights, at times a mutual longing for the other. Each letter in the novel tells a part of the story, in fragments and not chronologically. The letter L for love is left out: „I will not attempt it“, he writes.

David Leviathan’s characters believe in love and in the constellation of being together as a couple. Not so Charlyne Yi, a young woman who in the mockumentary Paper Heart goes in search of the mystery of love on a journey that takes her right across the United States with her boyfriend, film-maker Nicholas Jasenovec. „Do you believe in love?“ is the question posed to very different kinds of people during the course of this trip, from a wedding-official in Las Vegas to kids playing in a park in San Francisco. The film leaves undetermined what is real and what is staged; the careful composition of places, people and their destinies never provides a final answer to the question, but leaves us with hope.

These two contemporary works have in common that they choose to approach love via a fragmented form of narration and that they function using consciously selected omissions. The journey is the destination, a challenge without which there is no prize to be sought at the end. The discourse on love on the one hand enables us to decode socially normalized statements and on the other hand exemplifies the difficulties involved in demystifying this complex emotion.

The exhibition brings together positions of contemporary art production that are loosely connected on the level of content and that centre on diverging aspects of love. We are looking forward to using the Palais Bleu as a location for a special kind of road show, its corners and floors serving as an inventory that lives up to its promise, producing irritating and subtle approaches to an ever-current topic. 

Olga Titus
Timo Müller
embryonauten

Erratic is fluttering is unsettled is hectic is faithless. Furthermore renegade and treacherous, unstable and peaceless, especially open for changes. At first there‘s a confused gathering of thoughts, a faint idea, the white piece of paper. It‘s followed by an approach, the development of a project – its all about knotting loose threads, a compaction and repeatedly questioning oneself during this process. Diane Arbus said she always has an unstructured start. She doesn’t like arranging the things she stands in front of, but rather herself. In the exhibition «erratic», two young artists and a collective present their work. In the current phase of their work they seek their own artistic cosmos and its closely related effect on the environment. Engaging in ones own work whilst confronting a variety of obstacles is a challenge to which they respond with wit and irony. The interaction between therespective protagonists, the work of the artist and the beholder, is possible without a preceding, complex examination.

Olga Titus‘ works are full of colour and exotic sounds. India meets Switzerland; the result fascinates both the ear and eye. Their echoes enter the mind effortlessly and quickly, without becoming mundane. Timo Müller is a craftsman and poet, his interpretation of the cloud on the horizon leaves us standing in awe. He manages to capture the lightness of an unreachable object and transforms it into something almost physically perceptible. The embryonauts work with image and text. Their diverse concepts add to a compact and rich formation of a variety of stories. In what way is the world turning around us and why do we sometimes find ourselves pausing? «Tomatoes turn red slowly on the balcony. Most people usually do so a bit faster.» Questions and answers hereon are interwoven and result in a newly developed perspective.

Er antwortete nicht, sondern schob seine Hand tief in mein Haar und liess sie mit gespreizten Fingern wie ein Kamm langsam bis zu den Spitzen hindurchgleiten. Ein leichter Stromschlag durchzuckte mich, und ich sass ganz still. Schon als kleines Kind hatte ich es gern gehabt, wennn mir jemand das Haar kämmte.

Lacquer is a type of varnish, a hard, shiny surface that is both adornment and protection. The German word, lack, is a homograph to the English lack - such as a lack of knowledge, or a lack of information.

 

Lack - the printed experiment of sic! Raum für Kunst - aims to question, to knock harder, do more than scratch the surface in a search for splinters, fissures and irregularities.

 

Lack appears two to four times a year. A different graphic designer is invited to design each issue.

sic! Raum für Kunst is considering the foundation of a micro-publishing company. Lack marks the beginning of this process while also functioning as an extension of the current exhibition programme.
 

Der Abend steht im Zeichen der skizzenhaften Annäherung an unseren thematischen Schwerpunkt. Wir zeigen, unterschiedliche Medien nutzend, Szenen, „Bilder“ und gesprochene Fragen.

Ein Abend für Entdeckungen, ein gebrochener Abend. Textfragmente, Zuckerwatte und unendlich viele Briefe. Die Wand hoch gehen oder mit einem Moment beschenkt werden.