Protozone11: it’s weird
With “Coal, Earth, Snow or a Similar Substance,” artist Tarik Hayward creates a monumental and site-specific installation. His work, a three-tiered structure, can be seen as a kind of crane, with the help of which the artist and his helpers will carry several tons of earth step by step to the top of the installation.
With “Coal, Earth, Snow or a Similar Substance”, the Vaudois artist Tarik Hayward creates a monumental and site-specific installation. A three-tiered structure with a total height of five meters, it is covered with a white tarpaulin – a discreet reference to the history of the Red Factory. The vertical distance between the floors corresponds to the height from which a person can throw a shovel of earth. At the foot of the work there are three tons of earth, which must be brought to the top of the installation by muscle power. The sculpture can be seen as a rudimentary crane. It thus vacillates between nostalgia for a more rudimentary life and anticipation of future times in a world reduced to its essentials.
In his artistic practice, Hayward questions the status and function of work in contemporary society. His artistic practice is a critique of exploitation by the neoliberal market, including the art market. Hayward is interested in the idea of work as a primitive gesture of survival. For work as action, gives him the possibility to go beyond political and ecological problems. For Hayward, sustainability is a collective, mutual and supportive relationship between people and their environment. His work does not pursue a specific goal, but rather reflects an openness and attentiveness to the here and now.
During his two-week research phase at the Shedhalle, the artist invites the public to participate in two public moments. The first public moment is a DIY workshop, as Hayward invites us to make double-paned windows out of recycled car windows. Besides the survival aspect, these car remnants pose fundamental questions for Hayward about Fordism, mobility, and the big lie of individual freedom. The second moment relates to one of his works. “Pure Life” (2019) is named after a water from a well-known Swiss multinational company and was extracted from pig’s blood. Hayward will reproduce this exact moment of water extraction for an interested audience at the Shedhalle on December 5. This research moment will also be accompanied by an online reading or intervention by Ariana Reines (to be confirmed), with whom Hayward has already collaborated for the Pro Helvetia Cahier d’artiste publication.
Tarik Hayward has been working as a freelance artist since 2012, essentially using physical principles as assemblages, combined with the forces of cohesion and incoherence between objects and within materials and structures. He sees his work as “a series of technical experiments carried out in the urgency of an undetermined need.” One thinks of countries at war, in the process of development or reconstruction after a disaster, the making of certain community utopias, the American deserts, even backyards of thousands of obsessive tinkerers who show their results on YouTube. Tarik Hayward is interested in the material organization of crisis situations, be they economic, ecological or personal: “I work with ruins. Ruins of modernism and minimal art, maybe the ruins of craft, of a certain economic model, or simply the ruins of my childhood and lost playground.” In 2019, his monograph Cahier d’artiste/Pro Helvetia was published and he was exhibited in the Swiss Art Awards in 2015 and 2018. Hayward lives in Lausanne and Vallée de Joux.
QUEER TRUST is an attitude that draws from and relies on the in-between. It has shaped the work at Shedhalle as a space for process-based art since 2020 and is also the basis of Protozone8. The exhibition shows artistic works and ways of working that trust in relationships and processes beyond fixed attributions. The participating artists share intimate, vulnerable, open, and courageous artwork. In doing so, they question (gender) identities as well as artistic, scientific, and social traditions and classifications.
open every Sat 14-20h & Sun 14-18h
29.10. 20h BEAST! Performance by Tarek Lakhrissi
04.-06.11. The Institute for embodied creative practices by Isabel Lewis
in collaboration with Josephine Baan, Nina Emge, Izidora l Lethe, Ceylan Öztrük, Tyra Wigg and international academies
“…explores bestiality as a philosophical and political concept by drawing on the stigma that historically frames queers and PoC as monstrous. Through read- ings of my recent romantic/radical poems accompanied by the lyrical vocals
of Makeda Monet and the electronic music of Victor da Silva. BEAST! explores utopian queer passions, rituals for lost ones, dark corners to protect oneself in, erotic dreams, and… you’ll see. All the poems are from my last poetry book LE SANG! (BLOOD!) published by Lafayette Anticipations.”
‘The Institute for embodied creative practices’ was hosted at Shedhalle by Isabelle Lewis from 3-6 of November during Protozone8 – Queer Trust.
We are grateful for the collaboration with Joseph Baan, Nina Emge, Izidora I LETHE, Juliette Uzor, Tyra Wigg, HGB Leipzig, HSLU Luzern, ZHdK Zurich and many more international art schools.
The Institute for Embodied Creative Practices is an ambulatory corpus of particular concerns and the sensorial methodologies for addressing them founded by artist and choreographer Isabel Lewis.
Lewis (*1981, Santo Domingo) is a US artist with Dominican roots. She studied literature, dance and philosophy and is now active in theater, dance and music. Her work expanded the field of contemporary art to include the format of Occasions. With persistent experimentation and research methods that emerge from bodily experiences, Lewis creates alternative forms of sociality between human and non-human actors. The artist’s body of work to date includes the formats Occurrences, Arrangements, Activations, Expanded Viewings, Sensory Parcours, as well as workshops, listening sessions, and lecture performances. The focus of her fundamentally collaborative practice is on affective bodily experiences that engage all the senses.
The Institute of Embodied Creative Practices was supported by Kanton Zürich Fachstelle Kultur & Callies Berlin
Curated by Philipp Bergmann & Thea Reifler
Sunny Pfalzer was hosting their ‘Becoming Justin Bieber’ Workshop, a somatic dance karaoke gathering, during Zurich Art Weekend at Shedhalle!
Thank you for everybody who joined. Together we discovered how the choreographic gestures of pop cultural music videos felt in our bodies. Resisting through slow-motion awkwardness, we all became our own versions of Justin Bieber & Co. ♪
Assistance Sculptures: Nico Rueda
Pictures by Vaida Mikliusiene
Curated by Philipp Bergmann & Thea Reifler
in the framework of Protozone8
Shedhalle brings together three artists for their first major institutional collaboration in Switzerland. Selma Selman, Mikołaj Sobczak, and Nicholas Grafia, friends who come from very different backgrounds, will spend a two-week-residency-period at Shedhalle. Together they will develop a spatial installation with their drawings, paintings, sculptural and video works.
And they will work on a new performance that will be presented on 16th and 17th of December, exploring the possibilities of experimental and political theatre. With references to absurdist performance and humorous play, they focus on social reality. They draw on narratives that are derived from socially stigmatized individuals and their bodily histories, but also their resilience and resistance.
Curated by Phila Bergmann & Thea Reifler
Curatorial Assistance: Vanessa Bosch
Graphic Design: Studio Yukiko
19.12.2023 – 15.01.2023
Sa 14–20h & Su 14–18h
At this moment, we make time for “timing-out”. In the middle of our five year endeavor PROTOZONES 2020-2025 we take some time to gather and reflect on our curatorial practice. As part of this, we invite collaborators who are already in the process of preparing contributions for future Protozones. All together, we wish to create a common space of gathering, inviting you for workshops, games, screenings and food.
We are looking forward to spending this time together with you. Lucie Tuma, Michelangelo Miccolis, Phila Bergmann & Thea Reifler.
Pictures: “How to create comfortable resting positions with _____”, Engy Mohsen and Gabriel Hensche, 2022, game session at Iron Velvet, New York. Photo: Cristian Chironi
Saturday 15.04. 18-22h
Sunday 16.04. 11-18h
At this moment, we make time for “timing-out”. In the middle of our five year endeavor PROTOZONES 2020-2025 we take some time to reflect on our curatorial practice. This process is accompanied by a screening program of video-works by artists who are already preparing contributions for future protozones
TouchMeTell by melanie bonajo
+Closing Gathering with Aga Pedziwiatr (DIVAS), Byungseo Yoo, He Shen und Chaos Angel (for more info see rider “Program”)
28.05. 14-18h & 29.05. 14-18h
With: Angela Goh, Autumn Knight, Kris Lemsalu, Pontus Pettersson, Michael Portnoy
We are reclaiming the weird.
Not the uncanny, or necessarily the strange, but the weird as that which is out of place, a refusal in plain sight, a blurring of boundaries and relations. By challenging dominant perspectives, which have historically framed what is the “correct” narrative, weirdness becomes a space of knowledge production.
We invite a selection of artists and thinkers to imagine together how weirdness can create alternative and inclusive futures.
June 09-11, Zurich Art Weekend (free entry!)
Fri, June 09, 17:00 – 23:00
18h Angela Goh, Body Loss (2017) PERFORMANCE (Swiss Premiere)
19h Angela Goh, The Concert (2022) FILM (European Premiere)
19h45 Michael Portnoy, Progressive Touch (2020) FILM
20h Kris Lemsalu, New untitled performance in collaboration with Maria Metsalu
22h Michael Portnoy, Progressive Touch (2020) FILM
Sat, June 10, 14:00 – 20:00
19h Angela Goh, The Concert (2022) FILM
Sun, June 11, 14:00 – 18:00
17h Angela Goh, Body Loss (2017) PERFORMANCE
17.06. – 6.08.
open every Sat 14-20h & Sun 14-18h
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