This website uses cookies to analyze the traffic
Information on the use of our website is therefore transferred to Google.

Accept

blinkvideo - research of video art, performance and multimedia installations.

blinkvideo - research of video art, performance and multimedia installations.

blinkvideo the platform for . . .

artists we provide a platform for extensive presentation of media works, gallerists get a direct contact to international professional audiences, collectors find a worldwide overview of contemporary trends in moving image, curators can do research via keywords and compilations, teachers use presentation opportunities for students and all professionals get password protected, extensive information about video works worldwide.

FLUID STATES. SOLID MATTER
Videonale 18.

On what basis do we live, think and act nowadays? And how are we shaping this basis for the future? The works of the exhibition FLUID STATES. SOLID MATTER open a discourse on these questions. How does our thinking of the relationship of human beings to their environment change when we no longer see the body as solid and autonomous - as it has been the case until now - but as fluid. As fluid bodies - or "Bodies of Water", as gender researcher Astrida Neimanis puts it -
we as human beings no longer stand above nature, but in interaction with it, with the living being, with the systems that surround us.
Image: © Ida Kammerloch, Resusci Anne, 2019/2020

Alexandra Meijer-Werner

Between 1993 and 2002 Alexandra Meijer-Werner's artistic work focused on creating video installations with multiple projectors, and combining sound, texture and interaction with the public. She also produced a number of documentaries which evidence her profound interest in personal transformation and the awakening of human consciousness.

Please have a look to an introduction of her work on blinkvideo.
Image: © Eugenia Meijer-Werner

Moving Images / Moving Bodies
Online screening programme in cooperation
with the Goethe-Institut Bulgaria

Curated by Ludwig Seyfarth

Research into the human body and interpersonal relationships remain central themes in video and moving image art. Artists from Bulgaria and Germany, whose work is related in content, will be shown in pairs over the next weeks. The exhibition planned for November 2020 in Sofia has been postponed until 2021. Instead, a consecutive presentation of selected films by artists from Moving Bodies/Moving Images is presented on blinkvideo.
image: © Elitsa Dimitrova

Shooting Ghosts
Online screening programme in cooperation
with the Goethe-Institut Bulgaria

Curators: Kalin Serapionov, Krassimir Terziev

What we propose in this programme is a highly subjective and fragmented view on current practices in moving image in the Bulgarian art scene. We focused on practices that show affinity with speculative narratives - narratives that not just record what is in front of the cinematic eye, but also capture all the ghosts that are unreachable by the apparatus, thus projecting speculative views that intend not merely to describe, but to transform the world.
image: © Veneta Androva

Featured videos

Alexandra Meijer-Werner
Kreislauf / cycle … revolution … circulation, 1997

Kreislauf is an oneiric trip about the continuous cycle of human rebirth. Our dreams create the fabric in which the threads or individual tendencies appear and disappear, only to become visible once again. The dynamic of this video is a weave of repetitions and juxtapositions of the experiences that create the dance of life. Everything is cyclic, nothing disappears; everything is perpetually mutating in landscapes of anguish and joy, violence and calm, solitude and union. The traveler is the active force of his own fate when he realizes that what is most significant in life is the act of living itself.

Björn Braun
without title (excerpt), 2012

Sandra Boeschenstein
Besuchte Linie auf Granit, 2014

I encountered the roundworm in the Alps when I attempted to repair the water catchment of the cabin after a storm. I wished for this animal found at the spring to be a visited line, then searched for potential visitors and found, just nearby, a nest of firebugs in a dried chestnut leaf, which I placed just outside of the image field. The granite slab, roundworm, bugs’ nest and a fly lived their lives within a radius of 100 meters. My part in this was to bring them into direct proximity for the duration of an hour, to focus my camera and to breathe onto the upper part of the lens, in order to increase the atmospheric depth of the picture. Finally, to come to the allegation I’ve made via the title that something was a line that actually is an animal (when normally, in a contrary approach, characteristically formed lines represent animals or the like). The combination of the simplicity in the foundation / bedrock with a simultaneous insecurity in view of scale and nature of this white line, holds my fascination.

Isabella Fürnkäs
In Ekklesia, 2015

The title, ‘In Ekklesia,’ comes from the Greek word ‘ecclesia,’ which refers to the democratic parliament that served Athens in its halcyon days by being open to male citizens every other year. Solon, an Athenian legislator and a sage, allowed all citizens to serve the parliament regardless of their social class in BC 594. The Ecclesia made decisions about war, military strategies, and all judicial and administrative issues. This work satirizes various facets of humans and machines in the 21st century, unconsciously within a dystopian environment. Isabella Fürnkäs introduces a method of combining and overlaying countless images in her work, providing the new experience of sensations that act in ambiguous flows, movements, interference, and interjection. The piece is about the new metaphysical and material connections appearing through digital conversations that are divorced from the general notion of time and space, as well as isolation and alienation. Text by Hyun Jeung Kim (Nam June Paik Art Center Seoul)

Ryan Gander
Man on a bridge - (A study of David Lange) , 2008

A digital video transferred from 16 mm film shows a number of slightly differing takes of the same short sequence: A man walks over a bridge and seems to notice something over the railing to his left hand side. As he moves in for a closer inspection, the film cuts, which is then followed by another take of the same shot.

Wim Catrysse
MSR, 2014

On the Kuwait roads the journey goes in a western direction, past military bases and a line of oil transporters. Dreary sound sequences are pumped out by the radio. In the middle of rubbish heaps by the roadside a pack of wild dogs is trying to find shelter from the wind. Wim Catrysse presents the Kuwait desert both as a post-apocalyptic setting and as protagonist. During the journey, the car window is an obstacle, made even more so by the screen. The viewer, dumped in the desert, does not manage to reach it through the window. MSR, the Main Supply Route, is the main highway used to coordinate military operations in the Gulf War in 1990/91 and the War in Iraq in 2003. Filming is forbidden here, so the pack of wild dogs carries the story at first. But their behaviour keeps on bringing the desert into focus as the principal actor. Underlined by the sound track, its seeming hostility to life awakens the impression of a dystopian timelessness reminiscent of the apocalyptic scenarios in films and makes the viewer feel ill at ease. Catrysse examines conventions, both in a political-dogmatic and in a filmic sense.Nathalie Ladermann

Johanna Reich
CRAWLER, 2020

A crawler is a searchbot in the internet which Johanna Reich uses to collect special comments or phrases about the most discussed topics during the last years like A.I., climate change, digital revolution, gender and the turn of democratic systems. Johanna Reich selects several of the collected phrases composing a robot performance: self-driving projectors move across the exhibition space and project comments about a.i., gender or climate change onto the audience and architecture.

Annika Kahrs
solid surface, with hills, valleys, craters and other topographic...., 2014

solid surface,with hills,valleys,craters and other topographic features,primarily made of ice„solid surface, with hills, valleys, craters and other topographic features, primarily made of ice“ is set in a planetarium with a projected starry sky, in the center of which is situated a light spot, that explores the space. The Film deals with the moment, shortly before the actual visualization of pluto’s surface properties, whereas the entire cupola hall of the planetarium serves as a metaphorical projection surface of Pluto. The round light spot formally points to the shape of the celestial object and functions as placeholder for its soon arising image.

Ann Oren
The World Is Mine, 2017

In cosplay of the Japanese cyber diva Hatsune Miku, the artist moved to Tokyo, seeking an identity in the world of Miku fanatics, where she was drawn into a love affair with one of the fans. Miku is a Vocaloid, a vocal synthesizer software personified by a cute animated character. Her entire persona: lyrics, music and animation – is fan created, and that's her charm. She even performs sold out concerts as a hologram. By transforming herself into a Miku character through cosplay, Oren enters a world of real hardcore fans where fantasy is more real than reality and the differentiation between the two becomes obsolete. The film examines the performative nature of cosplaying – dressing up and playing the role of fictional characters – as a hybrid space where reality blurs into fetishistic fantasies and pop culture clichés. Combining fan-made lyrics and songs, Oren's trials and tribulations in the fictional Miku world unfolds through vague erotic episodes and encounters with characters whose ontological status remains mysterious, bringing to mind the adventures of a modern Alice in a virtual Wonderland.

Jonathan Monaghan
Den of Wolves, 2020

Den of Wolves is a seamlessly-looping video installation drawing on a range of references to weave a new multi-layered mythology. The work follows three bizarre wolves through a series of increasingly surreal retail stores as they search for the regalia of a monarch. Composed of one continuous camera shot, the work is an immersive, dreamlike journey drawing connections between popular culture, institutional authority and technological over-dependence.

Stefan Panhans
HOSTEL Sequel #1: Please Be Careful Out There, Lisa Marie – H.V.Installation Mix, 2018

At transmediale, Stefan Panhans and Andrea Winkler show their work HOSTEL Sequel #1: Please Be Careful Out There, Lisa Marie – Hybrid Version, a new project that combines film, installation, and staccato stage reading (on blinkvideo we are showing a trailer of the integrated film). With everyday racism, celebrity worship, stereotypes, and the dominating power of the economic all on the rise, precariously and flexibly traveling cultural workers of different origin deliver a sort of spoken word battle about their experiences and dreams. They constantly switch roles and, at the same time, form a choir that clashes with the rapped reports of everyday life. As in a collaborative gymnastic exercise—surrounded by scenery made up of set pieces from outfits of airports, hostels, and courier services, from self-optimization tools and game show displays—they fight for a voice and to be heard, building new alliances along the way. for more information: opening of transmediale

Mariola Brillowska
Children Of The Devil, 2011

Mariola Brillowska’s animation film relates the total collapse of the family system in the 21st century. Six cartoon episodes present an unsparing account of how children become murderers of their parents.

Julia Charlotte Richter
Point Blank, 2019

“Point Blank” refers to a film scene from "The Misfits" (1961) that is now re-enacted and further contextualized. In the original scene, the recently divorced main character Roslyn (Marilyn Monroe) rises up against three worn-out cowboys and, in the middle of the desert, confronts the men with all their lacks and lost dreams. In “Point Blank”, we see a young woman wandering around in surreal desert landscapes, a journey into the remoteness of the world and her own inner life. With every step out into the desert, the girl descends into her own depths searching for a place that seems to be suitable for her emotions and words. Unlike Roslyn, the young woman now refers to absent addressees: "Liars", "Murderers" and "Dead Men" she screams and turns around wildly. The words, which spread like bullets in the air, fall back on her. Except for a faint echo, there is no resonance at this place that depicts the obsessions of a distorted, patriarchal society and has become a dramatic backdrop of yearnings within the collective history of cinema. Where Roslyn was able to elicit a terrified astonishment from the three men, the character in Julia Charlotte Richter's video remains to herself and unheard, the desert as the only witness of her manifesto, her anger and her strength.

Ulrich Polster
Frost, 2003 / 2004

The night city. Industrial ruins filmed in contrejour. Memories from childhood. Different places and times combined at the mountain. It is a hollow portrait of Eastern Europe that carries the traces of its history.

Ene-Liis Semper
FF REW, 1998

Dimitri Venkov
The Hymns of Muscovy, 2018

The film is a trip to the planet Muscovy, which is an upside down space twin of the city of Moscow. As the title of the work suggests, the journey also takes us back in time. Gliding along the surface of the planet, we look down to the sky and see historic architectural styles fly by - the exuberant Socialist Classicism aka Stalinist Empire, the laconic and brutish Soviet Modernism, and the hodgepodge of contemporary knock-offs and revivals of the styles of the past. An essential companion to this journey through time and space are Hymnic Variations on the Soviet anthem by the composer Alexander Manotskov. The anthem was written in 1943 and has undergone three editions of lyrics yet musically remained unchanged to now serve as the official anthem of the Russian Federation. Manotskov used an early recording of the anthem as source material to create three electronic variations each corresponding to an architectural style. As if in a twist of Goethe’s phrase, architecture plays its frozen music. Look closely, can you hear it?

Share your thoughts with the blinkvideo community.

Would you like to share your videos online? Or would you like to focus attention on a video work? Or would you like to compile and show videos on a specific topic? You can do so with the new tool on blinkvideo.
Create a favorites list as follows:
When you're logged in, a little sign "add to favorite list" will appear below each video. With the click on it, you add the film to your favorites list. When you have collected all the works, open your favorites list and you can share the list with blinkvideo. We will then receive a message and put the compilation online.
We are very curious about your selection!

Our Partners

Follow us on Instagram

blinkvideo mediaart
blinkvideo is a website for the research of video art. Founders: Julia Sökeland, Anita Beckers. blinkvideo ist eine Plattform zur Recherche nach Videokunst

Luzia Hürzeler

Works


Galleries

Anita Beckers Gallery
Anita Beckers
Braubachstraße 9
60311 Frankfurt am Main
Germany

Phone: +49 69 73900967
E-Mail: info@galerie-beckers.de




Biography

1976 born in Solothurn CH

Education

Since 2012
Intervenante, Ecole cantonale d’art du Valais, Sierre CH
2010-2012
Atelier à L'Usine, Fonds d'art contemporain (Fmac), Ville de Genève CH
Since 2010
Künstlerisch-wissenschaftliche Mitarbeiterin, Hochschule der Künste Bern CH
2007-2009
Residency, Istituto Svizzero di Roma I
2004-2007
Assistante HES, Haute Ecole d'Art & Design (HEAD), Genève CH
2002-2004
Slade School of Fine Art, University College London GB: MA in Fine Art Media
2001
Chelsea College of Art & Design, London GB
1998-2002
Ecole Supérieure des Beaux-Arts, Genève CH

Solo exhibitions (selection)

2014
How to sleep among wolves, Biennale Bern, Kunstmuseum Bern @ PROGR, Bern CH
Zwischen mir und dem Anderen, Kunsthaus Grenchen (mit Esther Ernst), Grenchen CH
How to sleep among wolves 1, Galerie Gisèle Linder (mit Andrea Wolfensberger), Basel CH *

2013
Weke aus der Sammlung: Luzia Hürzeler, Kunstmuseum Bern @ PROGR, Bern CH

2012
Die Forelle (La Truite), espace kugler-art contemporain, Genève CH *
Galerie Gisèle Linder (with Mingjun Luo), Basel CH

2011
Aus dem Auge, Institut für moderne Kunst Nürnberg D

2010
Aus dem Auge, Kunstmuseum Solothurn CH *

2009
Galerie Gisèle Linder (with Elizabeth Cooper), Basel CH

2006
Evaporation, OFF 06, Projektraum für zeitgenössische Kunst, Thun CH
Galerie Quellgasse 3, Bieler Fototage, Biel CH *
Milkshake Agency, MAC_06, Genève CH

2005
Sous un autre œil, Espace d'art contemporain (les halles), Porrentruy CH
Galerie Gisèle Linder (with Michael Rouillard und Peter Willen), Basel CH

2004
Salle Crosnier, Palais de l'Athénée, Genève CH *


Group exhibitions (selection)

2015
The Hidden Soul of The Inanimated, ARTEMOVENDO, Goethe-Institut, Porto Alegre BR
Reflets dans l’eau, Project Room Rue Sans Fraise, Paris F
Yolo, Tom Bola, Zug CH

2014
Entre chien et loup, Villa Bernasconi, Genève CH *
ART|45|Basel, Galerie Gisèle Linder, Basel CH
Hitzewelle. Neuerwerbungen 2004 bis 2013: Eine Auswahl, Kunstmuseum Solothurn CH

2013
Schwanken und Verschwinden, Filmfestspiele Cinque Garzoni, 1. Festival des ‘kleinen Kinos’, Lido, Venezia I (Kurator: Ludwig Seyfarth)

2012/2013
28. Kantonale Jahresausstellung, Kunstmuseum Solothurn CH

2012
ART|43|Basel, Galerie Gisèle Linder, Basel CH
A Touch of Life, Galerie Anita Beckers, Frankfurt D
Remue-ménage (Charlatan), MAM - Museu de Arte Moderna, Salvador de Bahia BR

2011/2012
Another World-Eine andere Welt, Kunstraum Dreieich, Dreieich D *

2011
Oneself as Another, K3 – Project Space, Zürich CH
Café des rêves, Eine Videoausstellung, Helmhaus Zürich CH
Chair(e) Fiction, La Nef, Le Noimont CH*
Position 2, Galerie Bob Gysin, Zürich CH
Genug ist nicht genug, Stadtgalerie, Bern CH
ART|42|Basel, Galerie Gisèle Linder, Basel CH

2010
Bourses, Ville de Genève - Fonds Bertoud, Lissignol-Chevalier et Galland, Centre d'Art Contemporain, Genève CH
L'unico / The Only One, Studio Tommaseo, Trieste Contemporanea, Trieste I *

2009
Art & Son, Villa Bernasconi, Genève CH
Project 25, Galerie Gisèle Linder, Basel CH
Spazi Aperti, Accademia di Romania, Roma I *

2008/09
Miniaturisation, Galerie Gisèle Linder, Basel CH

2008
Comme des bêtes. Ours, chat, cochon & Cie, Musée cantonal des Beaux-Arts, Lausanne CH *
Welcome, American Academy, Roma I
Summertime, Galerie Gisèle Linder, Basel CH
In Progress, PROGR, Bern CH

2007
SHContemporary 07, Fei Contemporary Art Center, Shanghai RC
Swiss Art Awards, Messezentrum, Basel CH
12e Biennale de l'Image en Mouvement, Compétition internationale,
Centre pour l'Image en Mouvement, St Gervais, Genève CH
Tierisch. Wenn der Mensch auf den «Hund» kommt, Haus für Kunst Uri,Altdorf CH
Powrot fizjonomii, Photomonth Festival Krakow 2007, Bunkier Sztuki, Contemporary Art Gallery, Cracovie PO
24. Kasseler Dokumentarfilm- und Videofest, Kassel D
Selected by ... Ankäufe 2003-2006 der Kunstsammlung der Stadt Biel, CentrePasquArt, Biel CH
Atypisch Welsch, Galerie Gisèle Linder, Basel CH

2006
Pigeon vole!, Stiftung Sammlung Robert, Museum Neuhaus, Biel CH
The Emma Hart Biennale, Ada Street Gallery, London GB
La Visite, Fondation Zervos, La Goulotte, Vézelay F *

2005
Schnittstelle, Aus der Sammlung von Erwin Oberwiler, Kunstmuseum Olten CH

2004
The International Exchange Exhibition, Hunter College/Times Square Gallery, New York U.S.A. *
Experimentica 04, Chapter, Cardiff GB
MA Degree Show, Slade School of Fine Art, London GB

2002
Kiefer-Hablitzel Stipendium, Messezentrum, Basel CH

2000
Festival de l'art en vidéo, Musée de l'art contemporain, Lyon F

* = with publication


Awards

2012 Auszeichnungspreis des Kunstvereins und der Stadt Solothurn CH
2012 Bourse en Art Plastique de la Société des Arts de Genève CH
2010-2012 Atelier à L'Usine, Fonds d'art contemporain (Fmac), Ville de Genève CH
2007-2009 Artiste residency, Istituto Svizzero di Roma I
2008 Projektbeitrag, Kanton Solothurn CH
2007/2008 Anerkennungsbeitrag, Bundesamt für Kultur, Bern CH
2007 Projektbeitrag, Migros-Kulturprozent, Zürich CH
2006 Werkjahrbeitrag, Kanton Solothurn CH
2005 Anerkennungspreis der Kulturstiftung Alten, Solothurn CH
2003 Slade Project Award, London GB
2002 Fonds culturel, Office fédéral de la culture, Bern CH
2001 AIAS (Associations of International Art Schools), Prize-of-Honour, London GB


Public collections

Sammlung Kunstverein Solothurn CH
Sammlung, Kunstmuseum Solothurn CH
Kunstmuseum Bern (Stiftung Kunst Heute) CH
Fonds cantonal d'art contemporain, Genève CH
Kunstsammlung der Stadt Biel CH
Kanton Solothurn CH

Publications / catalogues

- Stiftung Kunsthaus Grenchen (Hg.), Zwischen mir und dem Anderen. Luzia Hürzeler – Esther Ernst, Ausstellungskatalog Kunsthaus Grenchen, 2014.
- Die Forelle (La Truite), «Fanzine», espace kugler - art contemporain, Genève 2012.
- Another World, Kunstraum Dreieich, Die Kunsttermine Verlagsgesellschaft,
Neu-Isenburg 2011.
- Chair(e) Fiction, La Nef, Le Noimont, 2011.
- L'unico / The Only One, international group exhibition, Studio Tommaseo.
Trieste Contemporanea, Trieste 2010.
- Kunstmuseum Solothurn (Hg.), Luzia Hürzeler: Aus dem Auge, Verlag für moderne Kunst Nürnberg, Nürnberg 2010.
- Comme des bêtes. Ours, chat, cochon & Cie, Ausstellungskatalog Musée cantonal des
Beaux-Arts Lausanne, Lausanne 2008.
- The International Exchange Exhibition, Hunter College/Times Square Gallery,
New York U.S.A. 2006.
- Le retour de la physiognomie, Catalogue des Journées photographiques, Bienne 2006.
- La visite, Catalogue d'exposition, Fondation Zervos, La Goulotte, Vézelay 2006.
- Luzia Hürzeler, Les Cahiers de la Classe des Beaux-Arts, N° 154, Salle Cronier, Palais de
l'Athénée, Société des Beaux-Arts de Genève, 2004.

 

Bibliography (selection)

ALICE HENKES, «Mit den Wölfen Träumen - Zur Mensch-Tier-Beziehung in den Arbeiten von Luzia Hürzeler», in: Zwischen mir und dem Anderen. Luzia Hürzeler – Esther Ernst, Ausstellungskatalog Kunsthaus Grenchen, 2014.
EVA INVERSIN, «Luzia Hürzeler –Der Stoff der Träume», in: in: Zwischen mir und dem Anderen. Luzia Hürzeler – Esther Ernst, Ausstellungskatalog Kunsthaus Grenchen, 2014.
ANNETTE HOFFMANN, «Zustände nahe am Schlaf. Die Galerie Linder zeigt neue Arbeiten von Luzia Hürzeler und Andrea Wolfensberger», in: BAZ, 25.01.2014.
KONRAD TOBLER, «Luzia Hürzeler, Aus dem Auge», in: Kunstbulletin, 5/2010.
ANNETTE HOFFMANN, «Vom Öffnen und Schliessen der Kamerablende. Repräsentation des Sichtbaren: Videoarbeiten von Luzia Hürzeler im Kunstmuseum Solothurn», in: artline.org, Kunstmagazin, 20.04.2010.
MARGUERITE MENZ, «Statuen auf Zeit», in: NZZ, 10.04.2010.
SABINE ALTORFER, «Warten, Flüchten, Platzen. Das Kunstmuseum Solothurn präsentiert die Videokünstlerin Luzia Hürzeler. Ein spannendes Werk voller existentieller Sinnbilder.», in: MZ, 06.03.2010.
CHRISTOPH VÖGELE, «Zeit-Skulpturen. Zum Schaffen von Luzia Hürzeler und der Ausstellung im Kunstmuseum Solothurn», in: Luzia Hürzeler, Ausstellungskatalog Kunstmuseum Solothurn, 2010.
LUDWIG SEYFARTH, «Irgendwann passiert immer etwas. Tableau Vivant, Körper und Kommunikation im Werk von Luzia Hürzeler», in: Luzia Hürzeler, Ausstellungskatalog Kunstmuseum Solothurn, 2010.
MAGALI MOULINIER, «Le chat», in: Comme des bêtes. Ours, chat, cochon & Cie, Ausstellungskatalog Musée cantonal des Beaux-Arts Lausanne, 2008.
KAREN N. GERIG, «Pusteblüten und Duschgeräusche. Sechs Künstler zeigen in der Galerie Linder wunderbare Kunst von ennet dem Röstigraben», Basler Zeitung, 15.2.2007.
MARGUERITE MENZ, «Luzia Hürzeler», Kunstbulletin, 9/2006.
CLAUDE-HUBERT TATOT, «Blast/Selbstporträt für die Katz», Catalogue des Journées photographiques, Bienne 2006.
CHRISTIAN BESSON, in: La visite, Ausstellungskatalog Fondation Zervos, La Goulotte, Vézelay 2006.
YVES-ANDRÉ DONZÉ, «L’artiste vidéaste joue avec la matérialité de l’image, lui donnant vie et légèrté», in: Le Quotidien Jurassien, 22.10.2005.
FRÄNZI RÜTTI-SANER, «Ueberraschende Sichtweisen auf Alltagssituationen. Videokunst. Die Langendörferin Luzia Hürzeler zeigt ihre Videoinstallationen in Les Halles in Porrentruy ...», in: Solothurner Zeitung, 14.10.2005.
TADEUS PFEIFFER, «Ausgepresste Zitrone, Gisèle Linder zeigt Malerei von Michael Rouillard und Peter Willen sowie eine Videoinstallation von Luzia Hürzeler», Basler Zeitung, 17.3.2005.
MARK GODFREY, Luzia Hürzeler (Les Cahiers de la Classe des Beaux-Arts, N° 154), Ausstellungskatalog Salle Crosnier, Palais de l'Athénée, Société des Beaux-Arts de
Genève, 2004.

Luzia Hürzeler
1976 born in Solothurn CH Education Since 2012 Intervenante, Ecole cantonale d’art du Valais, Sierre CH 2010-2012 Atelier à L'Usine, Fonds d'art contemporain (Fmac), Ville de Genève CH Since 2010 Künstlerisch-wissenschaftliche Mitarbeiterin, Hochschule der Künste Bern CH 2007-2009 Residency, Istituto Svizzero di Roma I 2004-2007 Assistante HES, Haute Ecole d'Art & Design (HEAD), Genève CH 2002-2004 Slade School of Fine Art, University College London GB: MA in Fine Art Media 2001 Chelsea College of Art & Design, London GB 1998-2002 Ecole Supérieure des Beaux-Arts, Genève CH Solo exhibitions (selection) 2014 How to sleep among wolves, Biennale Bern, Kunstmuseum Bern @ PROGR, Bern CH Zwischen mir und dem Anderen, Kunsthaus Grenchen (mit Esther Ernst), Grenchen CH How to sleep among wolves 1, Galerie Gisèle Linder (mit Andrea Wolfensberger), Basel CH * 2013 Weke aus der Sammlung: Luzia Hürzeler, Kunstmuseum Bern @ PROGR, Bern CH 2012 Die Forelle (La Truite), espace kugler-art contemporain, Genève CH * Galerie Gisèle Linder (with Mingjun Luo), Basel CH 2011 Aus dem Auge, Institut für moderne Kunst Nürnberg D 2010 Aus dem Auge, Kunstmuseum Solothurn CH * 2009 Galerie Gisèle Linder (with Elizabeth Cooper), Basel CH 2006 Evaporation, OFF 06, Projektraum für zeitgenössische Kunst, Thun CH Galerie Quellgasse 3, Bieler Fototage, Biel CH * Milkshake Agency, MAC_06, Genève CH 2005 Sous un autre œil, Espace d'art contemporain (les halles), Porrentruy CH Galerie Gisèle Linder (with Michael Rouillard und Peter Willen), Basel CH 2004 Salle Crosnier, Palais de l'Athénée, Genève CH * Group exhibitions (selection) 2015 The Hidden Soul of The Inanimated, ARTEMOVENDO, Goethe-Institut, Porto Alegre BR Reflets dans l’eau, Project Room Rue Sans Fraise, Paris F Yolo, Tom Bola, Zug CH 2014 Entre chien et loup, Villa Bernasconi, Genève CH * ART|45|Basel, Galerie Gisèle Linder, Basel CH Hitzewelle. Neuerwerbungen 2004 bis 2013: Eine Auswahl, Kunstmuseum Solothurn CH 2013 Schwanken und Verschwinden, Filmfestspiele Cinque Garzoni, 1. Festival des ‘kleinen Kinos’, Lido, Venezia I (Kurator: Ludwig Seyfarth) 2012/2013 28. Kantonale Jahresausstellung, Kunstmuseum Solothurn CH 2012 ART|43|Basel, Galerie Gisèle Linder, Basel CH A Touch of Life, Galerie Anita Beckers, Frankfurt D Remue-ménage (Charlatan), MAM - Museu de Arte Moderna, Salvador de Bahia BR 2011/2012 Another World-Eine andere Welt, Kunstraum Dreieich, Dreieich D * 2011 Oneself as Another, K3 – Project Space, Zürich CH Café des rêves, Eine Videoausstellung, Helmhaus Zürich CH Chair(e) Fiction, La Nef, Le Noimont CH* Position 2, Galerie Bob Gysin, Zürich CH Genug ist nicht genug, Stadtgalerie, Bern CH ART|42|Basel, Galerie Gisèle Linder, Basel CH 2010 Bourses, Ville de Genève - Fonds Bertoud, Lissignol-Chevalier et Galland, Centre d'Art Contemporain, Genève CH L'unico / The Only One, Studio Tommaseo, Trieste Contemporanea, Trieste I * 2009 Art & Son, Villa Bernasconi, Genève CH Project 25, Galerie Gisèle Linder, Basel CH Spazi Aperti, Accademia di Romania, Roma I * 2008/09 Miniaturisation, Galerie Gisèle Linder, Basel CH 2008 Comme des bêtes. Ours, chat, cochon & Cie, Musée cantonal des Beaux-Arts, Lausanne CH * Welcome, American Academy, Roma I Summertime, Galerie Gisèle Linder, Basel CH In Progress, PROGR, Bern CH 2007 SHContemporary 07, Fei Contemporary Art Center, Shanghai RC Swiss Art Awards, Messezentrum, Basel CH 12e Biennale de l'Image en Mouvement, Compétition internationale, Centre pour l'Image en Mouvement, St Gervais, Genève CH Tierisch. Wenn der Mensch auf den «Hund» kommt, Haus für Kunst Uri,Altdorf CH Powrot fizjonomii, Photomonth Festival Krakow 2007, Bunkier Sztuki, Contemporary Art Gallery, Cracovie PO 24. Kasseler Dokumentarfilm- und Videofest, Kassel D Selected by ... Ankäufe 2003-2006 der Kunstsammlung der Stadt Biel, CentrePasquArt, Biel CH Atypisch Welsch, Galerie Gisèle Linder, Basel CH 2006 Pigeon vole!, Stiftung Sammlung Robert, Museum Neuhaus, Biel CH The Emma Hart Biennale, Ada Street Gallery, London GB La Visite, Fondation Zervos, La Goulotte, Vézelay F * 2005 Schnittstelle, Aus der Sammlung von Erwin Oberwiler, Kunstmuseum Olten CH 2004 The International Exchange Exhibition, Hunter College/Times Square Gallery, New York U.S.A. * Experimentica 04, Chapter, Cardiff GB MA Degree Show, Slade School of Fine Art, London GB 2002 Kiefer-Hablitzel Stipendium, Messezentrum, Basel CH 2000 Festival de l'art en vidéo, Musée de l'art contemporain, Lyon F * = with publication Awards 2012 Auszeichnungspreis des Kunstvereins und der Stadt Solothurn CH 2012 Bourse en Art Plastique de la Société des Arts de Genève CH 2010-2012 Atelier à L'Usine, Fonds d'art contemporain (Fmac), Ville de Genève CH 2007-2009 Artiste residency, Istituto Svizzero di Roma I 2008 Projektbeitrag, Kanton Solothurn CH 2007/2008 Anerkennungsbeitrag, Bundesamt für Kultur, Bern CH 2007 Projektbeitrag, Migros-Kulturprozent, Zürich CH 2006 Werkjahrbeitrag, Kanton Solothurn CH 2005 Anerkennungspreis der Kulturstiftung Alten, Solothurn CH 2003 Slade Project Award, London GB 2002 Fonds culturel, Office fédéral de la culture, Bern CH 2001 AIAS (Associations of International Art Schools), Prize-of-Honour, London GB Public collections Sammlung Kunstverein Solothurn CH Sammlung, Kunstmuseum Solothurn CH Kunstmuseum Bern (Stiftung Kunst Heute) CH Fonds cantonal d'art contemporain, Genève CH Kunstsammlung der Stadt Biel CH Kanton Solothurn CH Publications / catalogues - Stiftung Kunsthaus Grenchen (Hg.), Zwischen mir und dem Anderen. Luzia Hürzeler – Esther Ernst, Ausstellungskatalog Kunsthaus Grenchen, 2014. - Die Forelle (La Truite), «Fanzine», espace kugler - art contemporain, Genève 2012. - Another World, Kunstraum Dreieich, Die Kunsttermine Verlagsgesellschaft, Neu-Isenburg 2011. - Chair(e) Fiction, La Nef, Le Noimont, 2011. - L'unico / The Only One, international group exhibition, Studio Tommaseo. Trieste Contemporanea, Trieste 2010. - Kunstmuseum Solothurn (Hg.), Luzia Hürzeler: Aus dem Auge, Verlag für moderne Kunst Nürnberg, Nürnberg 2010. - Comme des bêtes. Ours, chat, cochon & Cie, Ausstellungskatalog Musée cantonal des Beaux-Arts Lausanne, Lausanne 2008. - The International Exchange Exhibition, Hunter College/Times Square Gallery, New York U.S.A. 2006. - Le retour de la physiognomie, Catalogue des Journées photographiques, Bienne 2006. - La visite, Catalogue d'exposition, Fondation Zervos, La Goulotte, Vézelay 2006. - Luzia Hürzeler, Les Cahiers de la Classe des Beaux-Arts, N° 154, Salle Cronier, Palais de l'Athénée, Société des Beaux-Arts de Genève, 2004.   Bibliography (selection) ALICE HENKES, «Mit den Wölfen Träumen - Zur Mensch-Tier-Beziehung in den Arbeiten von Luzia Hürzeler», in: Zwischen mir und dem Anderen. Luzia Hürzeler – Esther Ernst, Ausstellungskatalog Kunsthaus Grenchen, 2014. EVA INVERSIN, «Luzia Hürzeler –Der Stoff der Träume», in: in: Zwischen mir und dem Anderen. Luzia Hürzeler – Esther Ernst, Ausstellungskatalog Kunsthaus Grenchen, 2014. ANNETTE HOFFMANN, «Zustände nahe am Schlaf. Die Galerie Linder zeigt neue Arbeiten von Luzia Hürzeler und Andrea Wolfensberger», in: BAZ, 25.01.2014. KONRAD TOBLER, «Luzia Hürzeler, Aus dem Auge», in: Kunstbulletin, 5/2010. ANNETTE HOFFMANN, «Vom Öffnen und Schliessen der Kamerablende. Repräsentation des Sichtbaren: Videoarbeiten von Luzia Hürzeler im Kunstmuseum Solothurn», in: artline.org, Kunstmagazin, 20.04.2010. MARGUERITE MENZ, «Statuen auf Zeit», in: NZZ, 10.04.2010. SABINE ALTORFER, «Warten, Flüchten, Platzen. Das Kunstmuseum Solothurn präsentiert die Videokünstlerin Luzia Hürzeler. Ein spannendes Werk voller existentieller Sinnbilder.», in: MZ, 06.03.2010. CHRISTOPH VÖGELE, «Zeit-Skulpturen. Zum Schaffen von Luzia Hürzeler und der Ausstellung im Kunstmuseum Solothurn», in: Luzia Hürzeler, Ausstellungskatalog Kunstmuseum Solothurn, 2010. LUDWIG SEYFARTH, «Irgendwann passiert immer etwas. Tableau Vivant, Körper und Kommunikation im Werk von Luzia Hürzeler», in: Luzia Hürzeler, Ausstellungskatalog Kunstmuseum Solothurn, 2010. MAGALI MOULINIER, «Le chat», in: Comme des bêtes. Ours, chat, cochon & Cie, Ausstellungskatalog Musée cantonal des Beaux-Arts Lausanne, 2008. KAREN N. GERIG, «Pusteblüten und Duschgeräusche. Sechs Künstler zeigen in der Galerie Linder wunderbare Kunst von ennet dem Röstigraben», Basler Zeitung, 15.2.2007. MARGUERITE MENZ, «Luzia Hürzeler», Kunstbulletin, 9/2006. CLAUDE-HUBERT TATOT, «Blast/Selbstporträt für die Katz», Catalogue des Journées photographiques, Bienne 2006. CHRISTIAN BESSON, in: La visite, Ausstellungskatalog Fondation Zervos, La Goulotte, Vézelay 2006. YVES-ANDRÉ DONZÉ, «L’artiste vidéaste joue avec la matérialité de l’image, lui donnant vie et légèrté», in: Le Quotidien Jurassien, 22.10.2005. FRÄNZI RÜTTI-SANER, «Ueberraschende Sichtweisen auf Alltagssituationen. Videokunst. Die Langendörferin Luzia Hürzeler zeigt ihre Videoinstallationen in Les Halles in Porrentruy ...», in: Solothurner Zeitung, 14.10.2005. TADEUS PFEIFFER, «Ausgepresste Zitrone, Gisèle Linder zeigt Malerei von Michael Rouillard und Peter Willen sowie eine Videoinstallation von Luzia Hürzeler», Basler Zeitung, 17.3.2005. MARK GODFREY, Luzia Hürzeler (Les Cahiers de la Classe des Beaux-Arts, N° 154), Ausstellungskatalog Salle Crosnier, Palais de l'Athénée, Société des Beaux-Arts de Genève, 2004.

Luzia Hürzeler
If looks could kill (installation view)

Artist Luzia Hürzeler
Year 2011
Duration 5:46 min
Edition 5
Contact
Anita Beckers Gallery
Anita Beckers
Braubachstraße 9
60311 Frankfurt am Main
Germany

Phone: +49 69 73900967
E-Mail: info@galerie-beckers.de

About the video

When visiting the video installation If Looks Could Kill, the visitor is caught between two video projections set opposite one to the other. One of the projections shows the image of a woman aiming at the spectator with a gun – aiming actually at the camera recording her own image. The opposite screen displays the image of two men and a bull. One of the men is pointing a gun at the animal’s forehead, while the other one is pressing his body to the side of the bull and holding it with a rope. They are all looking at the camera recording them – actually waiting for the order to shoot the animal, order that is to be given by the person “shooting” them. Will the bull be killed to capture the image of its own death?

The visitor hears a shot. On the first screen a physical element, a bullet, destroys the objective of the camera that was “shooting” the woman who just shot it with her gun. A gun operating as an extension of her own destructive gaze, that had been aiming at the camera and thus also at the spectator. The camera suddenly flood with light is dazzled, and thus dazzles in turn the visitor.

The gunshot seems to have gone through the space between the two projections. And indeed, at the same time one can see on the opposite screen the bull being killed. The shooting abruptly alters the state of the animal, which jumps, then collapses and ends up lying on the floor in front of the visitor. The spectator becomes therefore a witness of the transition of the spastic body of the animal. Its passage from life to death and its eventual reification have been recorded on the image, caught between movement and immobility. By losing its living body the bull also lost its sight, mirroring somehow the disappearance of the woman’s image on the opposite screen. Now, one of the men cuts the artery of the lying animal and blood flows out of its body.

Luzia Hürzeler - If looks could kill (installation view)
When visiting the video installation If Looks Could Kill, the visitor is caught between two video projections set opposite one to the other. One of the projections shows the image of a woman aiming at the spectator with a gun – aiming actually at the camera recording her own image. The opposite screen displays the image of two men and a bull. One of the men is pointing a gun at the animal’s forehead, while the other one is pressing his body to the side of the bull and holding it with a rope. They are all looking at the camera recording them – actually waiting for the order to shoot the animal, order that is to be given by the person “shooting” them. Will the bull be killed to capture the image of its own death? The visitor hears a shot. On the first screen a physical element, a bullet, destroys the objective of the camera that was “shooting” the woman who just shot it with her gun. A gun operating as an extension of her own destructive gaze, that had been aiming at the camera and thus also at the spectator. The camera suddenly flood with light is dazzled, and thus dazzles in turn the visitor.The gunshot seems to have gone through the space between the two projections. And indeed, at the same time one can see on the opposite screen the bull being killed. The shooting abruptly alters the state of the animal, which jumps, then collapses and ends up lying on the floor in front of the visitor. The spectator becomes therefore a witness of the transition of the spastic body of the animal. Its passage from life to death and its eventual reification have been recorded on the image, caught between movement and immobility. By losing its living body the bull also lost its sight, mirroring somehow the disappearance of the woman’s image on the opposite screen. Now, one of the men cuts the artery of the lying animal and blood flows out of its body.

Please fill out the application form.

  • Please select
  • Mr.
  • Mrs.
  • Please select
  • Afghanistan
  • Albania
  • Algeria
  • American Samoa
  • Andorra
  • Angola
  • Anguilla
  • Antarctica
  • Antigua and Barbuda
  • Argentina
  • Armenia
  • Aruba
  • Australia
  • Austria
  • Azerbaijan
  • Bahamas
  • Bahrain
  • Bangladesh
  • Barbados
  • Belarus
  • Belgium
  • Belize
  • Benin
  • Bermuda
  • Bhutan
  • Bolivia
  • Bosnia and Herzegovina
  • Botswana
  • Bouvet Island
  • Brazil
  • British Indian Ocean Territory
  • British Virgin Islands
  • Brunei
  • Bulgaria
  • Burkina Faso
  • Burma
  • Burundi
  • Cambodia
  • Cameroon
  • Canada
  • Cape Verde
  • Cayman Islands
  • Central African Republic
  • Chad
  • Chile
  • China
  • Christmas Island
  • Cocos (Keeling) Islands
  • Colombia
  • Comoros
  • Congo Democratic Republic of the
  • Congo Republic of the
  • Cook Islands
  • Costa Rica
  • Cote d'Ivoire
  • Croatia
  • Cuba
  • Curacao
  • Cyprus
  • Czech Republic
  • Denmark
  • Djibouti
  • Dominica
  • Dominican Republic
  • Ecuador
  • Egypt
  • El Salvador
  • Equatorial Guinea
  • Eritrea
  • Estonia
  • Ethiopia
  • Falkland Islands (Islas Malvinas)
  • Faroe Islands
  • Fiji
  • Finland
  • France
  • France Metropolitan
  • French Guiana
  • French Polynesia
  • French Southern and Antarctic Lands
  • Gabon
  • Gambia
  • Georgia
  • Germany
  • Ghana
  • Gibraltar
  • Greece
  • Greenland
  • Grenada
  • Guadeloupe
  • Guam
  • Guatemala
  • Guernsey
  • Guinea
  • Guinea Bissau
  • Guyana
  • Haiti
  • Heard Island and McDonald Islands
  • Holy See (Vatican City)
  • Honduras
  • Hong Kong
  • Hungary
  • Iceland
  • India
  • Indonesia
  • Iran
  • Iraq
  • Ireland
  • Isle of Man
  • Israel
  • Italy
  • Jamaica
  • Japan
  • Jersey
  • Jordan
  • Kazakhstan
  • Kenya
  • Kiribati
  • Korea North
  • Korea South
  • Kosovo
  • Kuwait
  • Kyrgyzstan
  • Laos
  • Latvia
  • Lebanon
  • Lesotho
  • Liberia
  • Libya
  • Liechtenstein
  • Lithuania
  • Luxembourg
  • Macau
  • Macedonia
  • Madagascar
  • Malawi
  • Malaysia
  • Maldives
  • Mali
  • Malta
  • Marshall Islands
  • Martinique
  • Mauritania
  • Mauritius
  • Mayotte
  • Mexico
  • Micronesia Federated States of
  • Moldova
  • Monaco
  • Mongolia
  • Montenegro
  • Montserrat
  • Morocco
  • Mozambique
  • Namibia
  • Nauru
  • Nepal
  • Netherlands
  • New Caledonia
  • New Zealand
  • Nicaragua
  • Niger
  • Nigeria
  • Niue
  • Norfolk Island
  • Northern Mariana Islands
  • Norway
  • Oman
  • Pakistan
  • Palau
  • Panama
  • Papua New Guinea
  • Paraguay
  • Peru
  • Philippines
  • Pitcairn Islands
  • Poland
  • Portugal
  • Puerto Rico
  • Qatar
  • Reunion
  • Romania
  • Russia
  • Rwanda
  • Saint Barthelemy
  • Saint Helena Ascension and Tristan da Cunha
  • Saint Kitts and Nevis
  • Saint Lucia
  • Saint Martin
  • Saint Pierre and Miquelon
  • Saint Vincent and the Grenadines
  • Samoa
  • San Marino
  • Sao Tome and Principe
  • Saudi Arabia
  • Senegal
  • Serbia
  • Seychelles
  • Sierra Leone
  • Singapore
  • Sint Maarten
  • Slovakia
  • Slovenia
  • Solomon Islands
  • Somalia
  • South Africa
  • South Georgia and the Islands
  • South Sudan
  • Spain
  • Sri Lanka
  • Sudan
  • Suriname
  • Svalbard
  • Swaziland
  • Sweden
  • Switzerland
  • Syria
  • Taiwan
  • Tajikistan
  • Tanzania
  • Thailand
  • Timor Leste
  • Togo
  • Tokelau
  • Tonga
  • Trinidad and Tobago
  • Tunisia
  • Turkey
  • Turkmenistan
  • Turks and Caicos Islands
  • Tuvalu
  • Uganda
  • Ukraine
  • United Arab Emirates
  • United Kingdom
  • United States
  • United States Minor Outlying Islands
  • Uruguay
  • Uzbekistan
  • Vanuatu
  • Venezuela
  • Vietnam
  • Virgin Islands
  • Wallis and Futuna
  • West Bank
  • Western Sahara
  • Yemen
  • Zambia
  • Zimbabwe

Data you submit will only be used by us for contact purposes, sending you the password and information about our activities. Your data will not be shared with other companies.


Enter your E-mail address below and we'll get you back to the art.