Shedhalle – Long Night of Museums Zurich 2024

WAT TAKLAEW aka Valentina D. Jitsattayakul (1989, Zurich) is an artist and musician. She studied Sociology and Social Anthropology before completing her Master in Fine Arts at HEAD Geneva. Her cross-media works, some of which are created from found objects, explore the tensions between systemic capitalist structures and marginalization, and their relationship to post-migrant identities and spiritual belief systems. Musically, she creates textures with an emphasis on experimental music, combining elements of feedback, tape, field recordings, and various Thai folk instruments.

Drawing inspiration from Thai heritage, the artist’s name holds significance as ‚wat‘ translates to ‘temple‘, symbolizing a spiritual connection to the craft. Additionally, ’thakleaw’ derives from a Thai boy name, associated with the concept of militancy.

The debut release ‘Pillars of the Apex,’ on the Zurich-based label Webarchive, takes listeners on a journey of introspection and ethereal exploration. Each track unfolds like a chapter in a story, inviting listeners to explore the depths of their own imagination and delve into the realms of mystical beings.

Fairplay
by Sarai Rose Duke

– from 18:00

all night long, until the dough is gone

Sarai Rose Duke, a German artist, specializes in object-based and edible artworks. Her piece “Fairplay” (2024) demonstrates the principles of reciprocity and solidarity. Through an interactive performance centered on the creation of filled pasta, Duke engages visitors and consumers in a dynamic cycle of participation and exchange. This work not only explores the materiality of food but also underscores the communal and reciprocal nature of shared culinary experiences, cultivating a sense of connection and mutual support among participants.

Solar Capital (2024)

by Hugo de Almeida Pinho

– 18-01:00 (16mins, looping)

Solar Capital is based on the complexities of solar capitalism, its different implications on critical realities and certain politics of visibility and invisibility that shape our historical, iconographic and symbolic relationship with the sun star. Condemning a form of heliocentrism that develops procedures of marginality, appropriation and invisibility involved in ecological politics under the sign of the capitolocene, this film creates a parallel between contemporary forms of connection between humans, energy, technology and the sun.