Saturday, 25.06.2016


2016 / 201606 / Ausstellung / Finissage
Finissage: New Buenos Aires
with Performances, Talks and Discussions

Mariano Gaich, Thomas Haemmerli, Pascal Häusermann, Jso Maeder, Ana Roldán, Roland Wagner

A group exhibition project with
Jonathas de Andrade, Anne Brand Galvez & Company, Mariano Gaich, Óscar Gardea Duarte, Pascal Häusermann, Silvan Kälin, Cristiano Lenhardt, Jso Maeder, Ana Roldán, Lena Maria Thüring, WORMS Künstler_innengruppe.

Curated by Damian Christinger and Dimitrina Sevova, co-curated by Silvan Kälin.

Friday, 27 May 2016 - Sunday, 26 June 2016

Program of the Finissage

Discussion on the exhibition concept of New Buenos Aires between the curators, Damian Christinger and Dimitrina Sevova, and the artists Mariano Gaich, Jso Maeder, Ana Roldán.

Talk 7 Reasons for the Re-Colonization of Latin America by Thomas Haemmerli.

Presentation (Chr.K.) by Jso Maeder (auf Deutsch).

1. Keine exegese.
Denn mir erschiene es hinsichtlich des NBA-projekts gleich einer versäumten gelegenheit, versetzten wir uns nicht in die lage deines briefautors, und liessen die frage zu: was ist das?
/> JM. ‘the grey sphere problem/ cologne version:
«you want to see art and find stuff», 2013
//> wie schon erwähnt: analog zu Canguilhems wissenschaftshistorischer/-theoretischer ausgangsfrage: wovon reden wir überhaupt bei der interpretation/kritik/theorie/geschichte von kunst?

2. (Chr.K.) als rauschen. störung, oder information, die nicht entschlüsselt werden kann? - Irritation ist hier immanenz eines konflikts, da sich assoziativ, d.h. im rekurs auf die bekannten instrumente nicht unbedingt eine botschaft bzw. deren deutung ergibt. Darin liegt eine ähnlichkeit mit der albernheit.

3. Hebt ein sinn mit dem/durch das wort ‘kunst’ das rauschen oder die störung auf - ist dies dann gleich einer information?

4. Was aber ist dann mit der wirklichkeit des rauschens? - Löst es sich als solche auch als konflikt auf, wenn es ‘kunst’ ist - oder hat man sich - dissoziativ - in den konflikt zu begeben/auf das fremde einzulassen/einzufinden, um vielleicht ein drittes, eine vorfällige eventualität eines sinns in betracht zu nehmen. Ein übergang in den möglichkeiten der surprise.


1. No exegesis.
For it would seem to me, with respect to the NBA project, to be an opportunity forgone if we did not put ourselves in the shoes of the author of your letter, and allow the question to arise: what is this?
/> JM. ‘the grey sphere problem/ cologne version:
«you want to see art and find stuff», 2013
//> as mentioned: in analogy to Canguilhem’s initial question of science history/theory: what are we talking about at all in the interpretation/critique/theory/history of art?

2. (Chr.K.) as noise. Disturbance, or information that cannot be deciphered? – Irritation is here the immanence of a conflict, since a message or its interpretation does not necessarily come associatively, i.e., making use of the familiar instruments. There lies a similarity to silliness.

3. Does a meaning with or through the word ‘art’ extinguish the noise or the disturbance – is this then equal to information?

4. But what about the reality of the noise? – Does it, as such, dissolve as a conflict if it is ‘art’ – or does one have to – dissociatively – enter into the conflict/engage with the other in order perhaps to take into account a third, an early eventuality. A transition in the possibilities of surprise.


Performance Banana as Tourist by Ana Roldán, with the voice of Jen Prosperi.

Ana Roldán, Banana as Tourist.

Inspired by “Nature” by Ralph Waldo Emerson

“Nature is not fixed but fluid; to a pure spirit, nature is everything”
Ralph Waldo Emerson

In the tropics reigns perpetual youth. Within the domesticated plantations of goods, the work and value empires, a perennial festival is dressed, and the guest can not imagine how he or she should get tired of it in a thousand years. In the tropics we return to reason and faith. There I feel that nothing can befall me in life, which nature cannot repair. Standing on the bare ground, all mean egotism vanishes. I become a transparent eye-ball; I am nothing; I see all; the currents of the Universal Being circulate through me; I am part, I am a particle of Nature. I am the lover of uncontained and immortal beauty.

In the boiling wilderness and especially in the curved lines of odours bananas, one beholds somewhat as beautiful as one’s own nature. As bones, as bananas. The greatest delight which the tropics minister is the suggestion of an occult relation between people and the vegetable. Yet it is certain that the power to produce this delight, does not reside in nature, but in human, or in a harmony of both. The heat of man or woman labouring under calamity, illuminate the Nature wearing all the colours.

Performance Misti haca masuru* = (Hombre vida ayer) by Roland Wagner.

Dreizehn 'interaktive' Erzählungen.

* Lexikon der Aymara-Sprache:

We would like to thank Hauser & Wirth for their support in loaning Corner College the art transport crates used in building the architecture of the exhibition.

Many thanks also to the Präsidialdepartement Basel-Stadt, Kulturabteilung for their supporting the participation of WORMS / Saman Anabel Sarabi / Stefan Wegmüller in this exhibition.

Posted by Corner College Collective