September 2016
27.09.2016 -
29.09.2016
2016 / 201609 / Performance
ONE HAIR, ONE PURPOSE
A ritual of transformation
(3-day long-durational performance and streaming)

Alicia Velázquez
 
29.09.2016
2016 / 201609 / Performance
ONE HAIR, ONE PURPOSE
A ritual of transformation
(public live event)

Alicia Velázquez
 
30.09.2016
2016 / 201609 / Home of the Brave: Archeology of the Moving Image
Video works by Maria Pomiansky
Maria Pomiansky
 

Oktober 2016
08.10.2016 -
21.10.2016
2016 / 201610 / Ausstellung / Performance
begone before somebody drops a house on you too
Gregory Hari
 

November 2016
09.11.2016
2016 / 201611 / Lecture
The Sonic Spectrum of Brazil's Tropicália: A Story Through Music
Jeffrey Pijpers
 
10.11.2016
2016 / 201611 / Dance/Music
TanzLOBBY Open Stage
TanzLOBBY
 

Tuesday, 27.09.2016
12:00h -
Thursday, 29.09.2016

 

2016 / 201609 / Performance
ONE HAIR, ONE PURPOSE
A ritual of transformation
(3-day long-durational performance and streaming)

Alicia Velázquez
 





Durational performance on 27 - 28 - 29 September.

Open to the public during the following hours:
Tuesday, 27 September: 12:00h - 17:00h (streaming 14:00h - 15:00h)
Wednesday, 28 September: 12:00h - 17:00h (streaming 14:00h - 15:00h)
Thursday, 29 September: 16:00h - 21:00h (streaming 20:00h - 21:00h)

Link for the streaming, for those who cannot attend in person:
https://youtu.be/KLJbdMmpzeM (27 Sept)
https://youtu.be/79Gj5rkqPjY (28 Sept)




Followed by a public live event on Thursday, 29 September at 20:00h.

One hair is trash. Million hairs is a woven record of my self.

I regularly lose a lot of hair.

Often, I’d get lost in thoughts while twisting it.

As hairs slide off, small rings form around my finger.

I started collecting the rings.

I decided to take this ritual into a public performance.

One Hair One Purpose is a 3-day long-durational performance taking this daily ritual into a conscious act of transformation.

Losing myself, repurposing myself, I invite the audience to co-experience and participate in the destruction and rebuilding of (my) physical transformation.

One hair, the simple, single element that makes any transformation possible. It always starts with one thought, one action, the celebration of one disposable event.

Posted by Corner College Collective

Thursday, 29.09.2016
20:00h

 

2016 / 201609 / Performance
ONE HAIR, ONE PURPOSE
A ritual of transformation
(public live event)

Alicia Velázquez
 




I regularly lose a lot of hair.

Often, I’d get lost in thoughts while twisting it.

As hairs slide off, small rings form around my finger.




I started collecting the rings.




I decided to take this ritual into a public performance.

Losing myself, repurposing myself, I invite the audience to co-experience and participate in the destruction and rebuilding of (my) physical transformation.



This public event follows three days of a durational performance with streaming.

Posted by Corner College Collective

Friday, 30.09.2016
20:00h

 

2016 / 201609 / Home of the Brave: Archeology of the Moving Image
Video works by Maria Pomiansky
Maria Pomiansky
 




The main topic of my videos could be defined as immigration, and following transformations of a personality. I think each immigration takes a minimum of 5 years of your life till you start to feel connected to a new place, understand the language, unspoken rules, and so on. So it’s a traumatic process for everyone.

Somehow the fact that the Soviet Union (where I was born) doesn’t exist anymore reduces any possibility of going back, makes me look forward and try to adapt myself to an always new reality and new places. It became an important issue for me to learn a lot about the place where I live (first Tel-Aviv, and now Zurich) and try to build a dialog through my art practices (video and painting). The longer I live in Western Europe, the more interesting it becomes to analyze certain things about Soviet life. Sometimes the Soviet, Eastern European utopia I grew up with becomes thus a distorted reality in the West.

The earlier videos, filmed in Israel, were all based on one principle. I was filming people doing some similar action. That trick is now widely used in cinema, advertisement and music clips. But at the end of the nineties, when I made those films, it looked quite fresh and original. I did quite many short videos with the same people, mostly Russian immigrants in their first years in Israel. It wasn’t a random choice: these people were my friends. They were artists, musicians, actors, fashion designers, etc. That created a special mood and atmosphere.

Filming the raw material for my Trilogy documentary about the perception of beauty, fears and happiness, I had to travel to Tel Aviv and back to Zurich, and Moscow was initially in my mind as well which led me back to my roots. Trying to answer a question, where do I belong, I realized that there is no answer and I just have to let myself flow with stream of life and not be obsessive about the past.

Esther Eppstein über Maria Pomianskys Trilogie

Maria Pomianskys Film «Glück это глюк» (Happiness is a trip) ist der letzter Film aus der Trilogie (Beauty 2006, Fears 2009), einer Langzeitstudie über die Frage menschlicher Zustände, Sehnsüchte und Ängste. Maria Pomiansky ist im sowjetischen Moskau geboren, emigrierte Anfang der neunziger Jahre als Jugendliche nach Israel und lebt heute, seit bald zehn Jahren in Zürich. In diesen drei Städten ihres Lebenslaufs befragte Maria Pomiansky für ihre in 2005 begonnene Trilogie Bekannte, Freundinnen und Freunde über deren Einstellung zum Leben, zur Kunst, zur Liebe, zum Rausch, zur Ewigkeit und zur Vergänglichkeit. Jugend in Moskau, in Tel Aviv, in Zürich ... Die Künstlerin reist zwischen den Städten, findet das Verbindende, das Einzigartige und das gegenseitig Fremde zwischen Nahem Osten, West- und Osteuropa. Es wird Russisch, Hebräisch, Deutsch und Englisch gesprochen. Die Filmemacherin ist die kosmopolitische Weltbürgerin und distanzlose Beobachterin, wobei auch immer wieder unvermittelt ein diffuses Gefühl der Heimatlosigkeit, Verwirrung und Melancholie mitschwingt. Die Künstlerin führt ihre Protagonisten und die Zuschauer von leichten, verspielten Plaudereien zu tief berührenden existenziellen Gesprächen, die Kamera zeigt komponierte Bilder mit Gesichtern und Landschaften. Die Trilogie, während eines Zeitraum von fast zehn Jahren entstanden, zeigt die Veränderung und die Entwicklung der jungen Freunde. Die stark autobiografisch gefärbte Filmsprache bewegt sich zwischen Dokumentar- Reise- Experimental- und inszeniertem Kunstfilm. Maria Pomiansky sucht in ihrer Filmreise Antworten auf ihre ganz persönliche Frage der Zugehörigkeit. Der Film zitiert und mischt in Inhalt und Ästhetik das Kino jüdischer Diaspora, den russischen und sowjetischen Pathos und die Popkultur des Westens. Musik spielt in allen drei Filmen eine wichtige Rolle, ist für Maria Pomiansky ein Verbindungsglied zwischen den Kulturen in denen sie sich bewegt und die sich neben vieler Ähnlichkeiten, Gemeinsamkeiten und der Universalität menschlicher Bedürfnisse und Ängste doch auch sehr unterscheiden.


The text above by Esther Eppstein, along with a text about Maria Pomiansky's work more generally by Vadim Levin, is also available in printable layout as PDF (106KB).




Home of the Brave:
Archeology of the
Moving Image

Posted by Corner College Collective

Saturday, 08.10.2016
18:00h -
Friday, 21.10.2016

 

2016 / 201610 / Ausstellung / Performance
begone before somebody drops a house on you too
Gregory Hari
 




An exhibition by Gregory Hari

with the support of Lavdrim Dzemailji

curated by Dimitrina Sevova and Alan Roth.

Opening: Saturday, 08 October 2016, starting at 18:00h
with a performance by Gregory Hari at 19:00h.

Saturday, 08 October 2016 - Friday, 21 October 2016

Further performances by Gregory Hari on Friday, 14 and Friday, 21 October 2016, 20:00h (door opens 19:00h).



begone before somebody drops a house on you too


“Suddenly, this story came in and took possession. It really seemed to write itself.” L. Frank Baum, the author of The Wonderful Wizard of Oz (1900)


With his exhibition project at Corner College, Gregory Hari undertakes an experiment with the medium of exhibition and performativity, site specificity and the relation between mapping and performance. He further explores issues on belonging and territory, home and journey, inspired by the contexts of the novel The Wonderful Wizard of Oz, written by Lyman Frank Baum and published in 1900, and its most successful and popular movie/musical adaptation starring 13-year-old Judy Garland, which launched in 1939 to six Oscar nominations, and become influential for the new era of Walt Disney and the later Disney Empire, and by their aesthetic, social and political impact in the mainstream and in subculture.

The artist generates a performative map or diagram of movements and fragments that will open up a process, and project power-knowledge relations that reveal the hidden social and political issues and their potential to aesthetically and critically engage the audience. But the production of the event is not an ‘exchange of knowledge for power,’ nor a symbolic force. The performance confronts the audience with its archival moment across various narratives structures, and scatters in an-other geography of a journey as a vehicle for metamorphoses that go through contradictory permutations, as every act activates on this topography the performing strategies of an Odyssey. The topography becomes a “science of the sensible – the science of total joy,” a chaosmos journey of micro-physical mapping and mind-map of micro-desires. They are a journey as a cognitive concept and narrative future of a body, interwoven with Gregory Hari’s research materials, which displays the source of his movements and directions.

The artist situates himself on a yellow strip around one meter wide, where his performance takes place. He improvises ‘across seemingly exhaustive ground.’ It is a process of taking place – a particular place and a particular time. The performance transforms these temporal and spatial categories to a “threshold” that un-rolls an-other flexible and self-multiplying strip of impersonalized and individuated, self-constructed temporal and spatial relativity that constitutes a world yet to be explored. The artist’s performance starts from this particular coordinate of time and space where it takes place and places things in context. With this, the artist emphasizes a dependence of his performance on its specific chronotope (Bakhtin) that animates a process of ‘endlessly’ expanding its performative territory with the time of the body’s movements and the “time space” of the traveler who carries this place with themselves as they travel through it. A journey like a blank page.


“Green clothes the earth in tranquillity, ebbs and flows with the seasons. In it is the hope of Resurrection. We feel green has more shades than any other colour, as the buds break the winter dun in the hedges. Hallucinatory sunny days.” (Derek Jarman)

“Did they secretly drag up in all those emerald dresses that the girls had cast off?” (Derek Jarman)


Hallucinatory sunny days and perception of landscape in a journey, a journey in colors separated in a three-strip process by diffraction and subtraction! Transferences! For this dazzling rainbow palette, “brilliant, gorgeous, painted, gay”:


Red stands for the ruby slippers/red shoes
Yellow stands for the yellow brick road
Green stands for the Emerald City of Oz
(Gregory Hari)

Green: “Green is a colour which exists in narratives … it always returns. The grass is always greener on the other side of the fence.”
Yellow: “The nimbus of the saints, haloes and auras. These are the yellows of hope.
The joy of black and yellow Prospect Cottage. Black as pitch with bright yellow windows, it welcomes you.
Yellow is a combination of red and green light. There are no yellow receptors in the eye.”
Red: “Red protects itself. No colour is as territorial. It stakes a claim, is on the alert against the spectrum.”
“Red explodes and consumes itself.”
“Liverpool. Early 1980s. I join the march. V. (REDgrave) says, ‘Derek, you carry a red flag.’ There are fifty of us. The ghostly galleon of revolution past. We march through the deserted and derelict city with the sound of the wind whipping through the flags, a rosy galleon on the high sea of hope. The sunlight dyeing us red. Shipwrecked on the last coral-reef of optimism. Someone says to me, ‘The red of the square is beautiful. The root of the red is life itself.’”
(Derek Jarman)


Excerpts from the curatorial text by Dimitrina Sevova.


Diese Ausstellung ist Teil der Plattform Transferences: The Function of the Exhibition and Performative Processes in the
Practices of Art – Questions of Participation
von Corner College, konzipiert von Dimitrina Sevova und Alan Roth, und wird unterstützt vom Nachwuchsförderungsprogramm der Pro Helvetia.

Posted by Corner College Collective

Wednesday, 09.11.2016
18:30h

 

2016 / 201611 / Lecture
The Sonic Spectrum of Brazil's Tropicália: A Story Through Music
Jeffrey Pijpers
 

Where there are opinions, differences arise. Nonetheless opinions by academics, critics and music lovers generally agree on the fact that Tropicália as a musical movement marked an important change in Brazil's musical history: it clearly marks a before and an after. A lot has been said and written about the movement already, but in spite of all the information that is available, it continues to be difficult to summarize what Tropicália is without running the risk of leaving some key elements out. In my presentation I wish to introduce Tropicália through its own language: music. Different audio and visual fragments will be used to give an idea of the movement’s stylistic diversity, focusing not only on how it differs from other styles and currents in Brazilian music, but also emphasizing some important connections and continuities.

Jeffrey Pijpers

This event is also part of the Workshop Tropical, Tropicalismo, Tropicálias – Cultural (Counter)movements in Brazil at the University of Zurich.

Organized by Pauline Bachmann and André Masseno together with the Luso-Brazilian Studies department of the University of Zurich.

Posted by Corner College Collective

Thursday, 10.11.2016
14:00h

 

2016 / 201611 / Dance/Music
TanzLOBBY Open Stage
TanzLOBBY
 


Photos: Christian Glaus.


Dieses Mal nimmt sich die freie Tanzszene bei der Open Stage den Anfängen an. Wie entstehen erste Ideen für ein Stück und was passiert dann? Wie werden Themen zu Bewegung? Wir suchen Choreographen, die sich während einem Tag im Corner College austauschen und experimentieren. Die so entstandenen Ansätze zeigen wir am Abend dem Publikum.

Posted by Corner College Collective