Mai 2018
05.05.2018 -
26.05.2018
2018 / 201805 / Ausstellung
Hinterland, Part 1
The eyes of the lighthouse

Cliona Harmey, Monica Ursina Jäger, Salvatore Vitale, VOLUMES
 
09.05.2018
2018 / 201805 / Buchvernissage / website launch
Book + Web Launch
Æther #1: Flughafen Kloten: Anatomie eines komplizierten Ortes


 

Juni 2018
02.06.2018 -
23.06.2018
2018 / 201806 / Ausstellung
Hinterland, Part 2
Blood as a rover

Jürgen Baumann, Gregory Collavini, David Jacques, Tuula Närhinen, Claudia Stöckli, VOLUMES
 

Saturday, 05.05.2018
18:00h -
Saturday, 26.05.2018

 

2018 / 201805 / Ausstellung
Hinterland, Part 1
The eyes of the lighthouse

Cliona Harmey, Monica Ursina Jäger, Salvatore Vitale, VOLUMES
 


Cliona Harmey, Interior of Poolbeg lighthouse, Dublin, 2017


A TETI Group exhibition in two parts for Corner College

Curated by Gabriel Gee & Anne-Laure Franchette


Saturday, 5 – Saturday, 26 May 2018 (Part 1: The eyes of the lighthouse)

Opening Hours: Wed/Thu/Fri 16:00h-19:00h & Sat 14:00h-19:00h

With works and interventions by Cliona Harmey, Monica Ursina Jäger, Salvatore Vitale, & VOLUMES library

Opening: Saturday 5 May 18:00h

Discussion Friday 11 May, 18h30: Seen Unseen, Salvatore Vitale in conversation with Nadine Wietlisbach

Research encounter 25-27 May: Maritime Poetics: from Coast to Hinterland, limited seats, booking necessary, contact gabriel@tetigroup.org

Finissage: Saturday 26 May 18:00h artists talk Light and land with Cliona Harmey & Monica Ursina Jäger



Curatorial text

At the turn of the 1960s-70s, a drastic shift in the representations of nature paralleled an urban revolution that signalled an intensification of global networks. The increasing interpenetration of the natural and the human realms, as well as the increasing realisation of such an interpenetration, has been a characteristic of the rise of a ‘planetary age’. On continental coasts, where the sea meets the land, ports manage the transfer of goods and the balance of offer and demand with heightened efficiency. Such maritime commerce stands as the historical engineering of our global world, accelerated by the adoption of standardised containers in the 1960s. Ships ride anonymously over the sea, the lifting sea, their bellies filled with plastic wrapped merchandise. We appear to see more afar than we used to, through digital devices and virtual fluxes, while crowds fly to distant lands that air technology has made suddenly accessible. And yet, much remains unseen in the eyes of the lighthouse, which blips to bring the sailors safely home – and their goods for the improvement of lighthouse technology in the 19th century was directly connected to mercantile interests – thereby necessarily offering dark passages and suggesting the persistence of blind spots below our promethean visions. Through the lighthouse, we can explore and question the modes of representation of our socio-natures: what is it that we see, that we can see, that we are willing to see and not able or unwilling to look at, in a contemporary age where silvery and golden profusions might well lead to blackened collapses.

If the eyes of the lighthouse can guide us towards an enquiry into our perceptions of 21st century planetary conditions, they might then also shed light on the obscurity which surrounds the circulation of earthly materials, that fuel the light of our cities and the heat of our ever more complex technologies. It is to the blood of the land that we turn the spotlight, to gaze beneath the metal of the discreet gas and oil pipelines, to the construction of roads and canals, the baskets of railways and trucks roaming planes and mountains. We foresee the advanced state of Narcissus, peering no longer to himself in the pool of water, but inward in the woods behind him. And just like the industrial city of Tony Garnier used anthropomorphic features to organise its exemplary functioning, we look at the metabolism of the hinterland to query its desires and its health. For blood’s a rover, to use James Ellroy’s words, and beside the vitality of hybrid wild cities, loom darks shadows whose intentions or rather, projections, must be deciphered to read the oracles of the present …

Text: Gabriel Gee www.tetigroup.org



Cliona Harmey

Poolbeg lighthouse


Cliona Harmey, Poolbeg lighthouse, Dublin, 2017


Cliona Harmey’s response to “Hinterland” takes the form of a series of works which reflect on the transmission and absorption of light which lies at the heart of many communication technologies. Starting with a view from the interior of a lighthouse's red lantern the works look at modern systems of visibility, encoding, simulation and information. The show combines images of technological systems, a simulation deck which can emulate any port in the world, the interior of a barcode scanner, a view from the lighthouse. The works allude to the ways in which many global communication technologies used in logistics, cybernetics and infrastructure were influenced by developments in maritime environments.

The invention of the original concept for the now ubiquitous barcode was inspired by engineer Norman Woodland's experience with morse code. We could also think of lighthouses as original nodes in a developing network of a developing global communication and trading system. The individual elements in this exhibition reference the transmission and absorption of light at the heart of many contemporary communication technologies. lanterns, scanners, the ubiquitous barcode, whilst also considering some of the spaces which fall out of the range of this visibility.



Monica Ursina Jäger

Liquid Territory


Monica Ursina Jäger, Liquid Territory, 2018


Monica Ursina Jäger, Liquid Territory, 2018


As part of Hinterland, Monica Ursina Jäger presents a range of materials collected and produced through her investigation of the hinterlands of Singapore, looking in particular at sand trade, cut and fill strategies and reclamation practices. Her research explores the shifting grounds of port cities, the visible and invisible forms of global trade, and reflects on an inversion of the hinterland, whereby the inner land is projected outwards onto the sea.

This work has been conceived as part of an artists residency at NTU CCA Centre for Contemporary Arts, Singapore.



Salvatore Vitale

Salvatore Vitale takes us into the heart of the Hinterland, in the Swiss Alps, searching for an ever elusive yet resolute presence: the wolf. The re-emergence of the wolf in Europe has been the object of conflicted debates, and carries strong issues pertaining to the place of non-human species in our mixed-communities and environments. Through photographs, film and sound, Vitale illuminates the shadows of the hinterland, and the changing representation of wilderness and its perceived values at the turn of the 21st century.



The exhibition is supported by the Temperatio Stiftung
The research encounter is supported by the Swiss National Science Foundation and Franklin University, CH.

TETI Group
www.tetigroup.org
VOLUMES
www.volumeszurich.ch

Posted by Corner College Collective

Wednesday, 09.05.2018
18:30h

 

2018 / 201805 / Buchvernissage / website launch
Book + Web Launch
Æther #1: Flughafen Kloten: Anatomie eines komplizierten Ortes


Kindermenü der Swissair, ca. 1990-1992, ETH-Bibliothek Zürich, Bildarchiv/Stiftung Luftbild Schweiz, LBS_SR04-023906


[English below]

09. Mai 2018 – 18:30 Uhr
Book + Web Launch
Æther #1: Flughafen Kloten: Anatomie eines komplizierten Ortes

Flughäfen stehen für Mobilität, flows, Geschichtslosigkeit, Kommerz. Tatsächlich sind sie auf vielfältige Weise mit ihrer Umwelt verflochten, denn sie sind komplexe Gefüge, in denen sich Technik und Natur, Wissenschaft, Wirtschaft und Gesellschaft, Vergangenheit und Zukunft vermengen. Æther #1 untersucht einen solchen komplizierten Ort: den Flughafen Zürich-Kloten.
Die Reihe Æther versucht, Wissensgeschichte anders zu gestalten – und geisteswissenschaftliches Publizieren selbst in die Hand zu nehmen. Wir glauben, die beste Antwort auf die viel beschworene Krise der wissenschaftlichen Zeitschrift bzw. des Buchs sind neue Formate, die digital und print zusammendenken. Hybrid ist auch die Wissensgeschichte, die uns vorschwebt: Komplizierte, dichte, miteinander verwobene Geschichten, die im Kollektiv entstehen.
Online unter: www.aether.ethz.ch

Mit Beiträgen von: Sam Bodry, Nicole Egloff, Nicole Graf, Nils Güttler, Annina Haller, Charlotte Hoes, Jonathan Holst, Oskar Jönsson, Carolyn Kerchof, Robin Leins, Monique Ligtenberg, Kilian Lock, Benedikt Meyer, Niki Rhyner, Kaj Späth, Max Stadler, Stephanie Willi, Raphael Winteler.
Herausgegeben von: Nils Güttler, Niki Rhyner, Max Stadler
Gestaltung: Loraine Olalia, Reinhard Schmidt, Nadine Wüthrich
Erschienen bei: intercom Verlag



[Deutsch oben]

09 May 2018 — 6:30pm

Book + Web Launch
Æther #1: Zurich Airport: Anatomy of a Complicated Site

Airports tend to signify mobility, flows, ahistoricity, placelessness, consumption. And yet they are entangled, in multiple ways, with their surrounds; for they are complex assemblages, where technology and nature, science and society, futures and pasts intimately intertwine. Æther #1 explores one such complicated site: Airport Zurich-Kloten.
The series Æther aims to make the history of knowledge accessible — and rethink the way publishing in the humanities is done. The best response to the so-called crisis of scientific publishing, we believe, is new formats that bring together print and digital. The history of knowledge, as we imagine it, likewise is hybrid: dense, involved, ramified stories — products of a collective.
Online at: www.aether.ethz.ch

With contributions by: Sam Bodry, Nicole Egloff, Nicole Graf, Nils Güttler, Annina Haller, Charlotte Hoes, Jonathan Holst, Oskar Jönsson, Carolyn Kerchof, Robin Leins, Monique Ligtenberg, Kilian Lock, Benedikt Meyer, Niki Rhyner, Kaj Späth, Max Stadler, Stephanie Willi, Raphael Winteler.
Edited by: Nils Güttler, Niki Rhyner, Max Stadler
Design: Loraine Olalia, Reinhard Schmidt, Nadine Wüthrich
Brought to you by: intercom Verlag

Posted by Corner College Collective

Saturday, 02.06.2018
18:00h -
Saturday, 23.06.2018

 

2018 / 201806 / Ausstellung
Hinterland, Part 2
Blood as a rover

Jürgen Baumann, Gregory Collavini, David Jacques, Tuula Närhinen, Claudia Stöckli, VOLUMES
 


David Jacques, Oil is the devil’s excrement, 2017


A TETI Group exhibition in two parts for Corner College

Curated by Gabriel Gee & Anne-Laure Franchette


Saturday, 2 – Saturday, 23 June 2018 (Part 2: Blood as a rover)

Opening Hours: Wed/Thu/Fri 16:00h-19:00h & Sat 14:00h-19:00h

With works and interventions by Jürgen Baumann, Gregory Collavini, David Jacques, Tuula Närhinen, Claudia Stöckli, & VOLUMES Library

Opening Saturday, 2 June 18:00h

Discussion Tuesday, 19 June 18:00h In contact with the wild, with Michael Günzburger & Lukas Bärfuss

Finissage Saturday, 23 June 18:00h with a book presentation: Changing representations of nature and cities: the 1960s and 1970s and their legacies, Gabriel Gee & Alison Vogelaar (eds.), 2018.



Curatorial text

See Hinterland, Part 1. The eyes of the lighthouse



Jürgen Baumann

Holey Mountain
2017


Jürgen Baumann, Holey Mountain, 2017


Holey Mountain by Jürgen Baumann radiates blackness, it drips more than it seats on a black stool, surrounded by white bowls filled with dark oil. The metabolic fluids of our global surroundings are indeed best captured as pitch black, with an oily whiff that threatens to choke the air we breathe when we take the time to truly look into the ground beneath our feet.



Gregory Collavini

Conduite forcée
2011


Gregory Collavini, Conduite forcée, 2011


As part of Hinterland, Blood as a rover, Gregory Collavini presents a series of photographs exploring the management and exploitation of water in Switzerland: “One of the greatest powers in Switzerland is water. I wanted to illustrate this force, which is mainly used to produce electricity. But the year I did this project the precipitation was as its lowest. So it dried rivers and still machines became my subjects. However due to the roughness of the constructions they appeared to me as modern ruins, sculptures from the past and scars in the landscape.”



David Jacques

Oil is the devil’s excrement
2017


David Jacques, Oil is the devil’s excrement, 2017


David Jacques, Oil is the devil’s excrement, 2017


For Hinterland, blood as a rover, David Jacques explores the pernicious nature of oil in the shaping of our contemporary global societies. His film entitled Oil is the devil’s excrement takes as a starting point a 1975 prophetic speech by the Venezuelan politician Juan Pablo Pérez Alfonzo, in which the former minister of energy declared: “Ten years from now, twenty years from now, you will see; oil will bring us ruin. Oil is the Devil’s excrement.” The animation film depicts an ailing Alfonzo in bed in hospital, as he is visited by a diabolic creature, who has come to claim its due. The metaphoric tale ultimately meditates on the extent to which humans, far from gaining control of oil, have always been its slaves…



Tuula Närhinen

Baltic Sea Plastic


Tuula Närhinen, Jellyfish, 2013


Närhinen will present in Hinterland work from her series Baltic Sea Plastic, composed of sculptural forms made out of plastic found on the sea shore in Helsinki. The series explores the complex issue of environmental pollution by plastic waste, combining visual plasticity with the resilient capacity of marine life to evoke the formative process of nature.



Claudia Stöckli

Information forthcoming



The exhibition is supported by the Temperatio Stiftung

TETI Group
www.tetigroup.org
VOLUMES
www.volumeszurich.ch

Posted by Corner College Collective