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

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


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

Moving Images / Moving Bodies

 ‘Moving Images Bulgaria-Germany’ is a project by Goethe-Institut Bulgaria, that includes various online and offline initiatives, starting in November 2020. The online program, realised in partnership with blinkvideo, will consist of two curated programmes: “Moving Images / Moving Bodies”, curated by Ludwig Seyfarth, and “Shooting Ghosts”, curated by Krassimir Terziev and Kalin Serapionov.

First the programme “Shooting Ghosts” will give a selected overview of video art in Bulgaria in general. The programme will be accompanied by an in-depth essay by Krassimir Terziev as well as texts by different authors or the artists themselves on individual films.

Critics’ Pick: Vienna by Nicole Büsing + Heiko Klaas

The group show “Antarctica. An Exhibition on Alienation” was presented in Vienna during the past winter season. Departing from a note written by the Italian cult director Michelangelo Antonioni referring to a potential glacier melting in the Antarctica and a hint to a film, the two curators from the Kunsthalle Wien, Vanessa Joan Müller and Nicolaus Schafhausen, conceived an exhibition on the topic of alienation and contemporary art. The focus was on the latest contemporary photography and video art by the younger generation of artists.
Image: © Isabella Fürnkäs

UNSTILLED LIFE: Artist Animations 1980-2020
Curated by Emma Cousin and Paul Carey-Kent

Why this show, here and now? British artist-curator Emma Cousin and writer-curator Paul Carey-Kent recently pulled together a choice of artist animations, thinking that the increasingly vibrant medium is especially suited to the online emphasis of the locked down art world of 2020. Three of them turned out to be represented by Ron Mandos, making the Amsterdam gallery ideal hosts. The cast is international, and to reflect that Tintype gallery in London and Hamburg’s blinkvideo have joined in with variations on the programme. 
Markus Vater Worlds don’t come easy, 2020

Something Between Us
KAI 10 | ARTHENA FOUNDATION, Düsseldorf

The exhibition „Something Between Us“ focuses on both our contemporary lives and the anthropological constants of interpersonal dealings: love, empathy, security, care and safety on the one hand, and hate, role fixation, dependency, reprimand and exclusion on the other. Something Between Us asks how these structures of togetherness are changing in our digital era.
Thomas Taube OCCIDENT, 2020

REFRACTED REALITIES at VIDEONALE.17

In optics, “refraction” refers to the bending of a beam of light, a change in direction which occurs at the moment when it passes from one medium to another. Through refraction, the light wave alters course, changing the way we perceive the objects it illuminates in the process. This optical deviation requires us to repeatedly correct our gaze, comparing the beginning and end points of our perception with reality, and bringing the object we see clearly into focus. In its figurative sense, refraction refers to a critical reflection on the means and channels of visualization, and by extension the possibility of a rearticulation of our view of things – how they are, were, or apparently always have been.
Image: © Sohrab Hura

NEW: Favorites curated by blinkvideo users

What do you like? Over the next few months, we will be showing here selections of works, compiled by you, as a blinkvideo user.

Stefano Miraglia: Hey Blinkvideo members! Here are my eight "must watch" films and videos. Happy to find in this catalogue some of the works that got me interested in artists' moving image when I was a student! (Guillaume Leblon! Daniel Steegmann Mangrané! Marylène Negro!).

Expanding Bauhaus.
New Reflections on the Bauhaus Movement in Time-Based Media Art / Goethe Institute Netherlands

A screening series selected by Elke Kania (Cologne), Julia Sökeland (Hamburg) and Ludwig Seyfarth (Berlin)

With its combination of various arts such as painting, photography film, architecture, fashion, product and interior design and textile art, the Bauhaus is still considered the epitome of a technologically advanced modernity. Last but not least, the attempt to create the whole society aesthetically, inspired many artists worldwide.
Image: © Adnan Softic

Johan Grimonprez

Johan Grimonprez’s critically acclaimed work dances on the borders of practice and theory, art and cinema, documentary and fiction, demanding a double take on the part of the viewer. Informed by an archeology of present-day media, his work seeks out the tension between the intimate and the bigger picture of globalization. It questions our contemporary sublime, one framed by a fear industry that has infected political and social dialogue. By suggesting new narratives through which to tell a story, his work emphasizes a multiplicity of realities.
image: © Johan Griminprez

Christoph Faulhaber: Revolution & Architecture

With "Revolution & Architecture" Christoph Faulhaber (* 1972 in Osnabrück, lives in Hamburg) conceives, builds, designs and opens a whole series of very different rooms in the Kunsthalle Osnabrück. In order to discover the revolutionary aspect of these "architectures", one has to look at the social implications of interior design in general. In the forum the visitor then enters Faulhaber's cinematic autobiography "Every Picture is an Empty Picture" as in the eye of the cyclone: The work is split into 15 individual films and surrounds the visitor in a circle.
Image: © Christoph Faulhaber

Stiftung imai – inter media art institute

The Düsseldorf based foundation imai – inter media art institute was founded in 2006 in order to establish an institution in Germany dedicated to the distribution and preservation of media art and associated activities.
Image: © Marcel Odenbach

Featured videos

Markus Vater
Im Wald (perfect day), 2011

This Animation has developed from a colloboration with the dutch poet Tjitske Jansen. Initially it reacted on a text of hers dealing with memories in her life. All memories were about events in which she didn’t understand the concepts and actions that had happened, but which she understands now.

Pratchaya Phinthong
A proposal to set (work in progress), 2016

A proposal to set CH4*5.75H20 on fire (work in progress) is an ongoing project that explores methane hydrate, an ice compound that has been identified by scientists as an alternative fuel of future energy. Found in large quantities beneath Arctic permafrost, Antarctic ice and sedimentary deposits, methane hydrate releases natural gas when exposed to increases in temperature or decreases in pressure.Gas released by methane hydrates can be lit, which produces a semi-transparent orange and blue flame.This 16 mm film shows samples of methane hydrates.Through the mobilisation and connection of individuals working across geology, science and art, the project generates awareness of methane hydrate, its chemically volatile nature and implications for energy industries.The film itself performs a kind of material transfer, capturing light emitted by the burning samples and projecting it into the gallery space. For Phinthong, each iteration of the project is a form of extraction that makes its subject more widely visible. Filmed by Phuttipong Aroonpheng. Made with the support of Oleg Blouson,Andrey Khabuev and Oleg Khlystov at the Limnological Institute, Irkutsk, Russia.

Ryan Gander
And You Will be Changed , 2014

'And You Will be Changed (Centre Pompidou, Paris)', 2014, follows curator Emma Lavigne around the empty Centre Pompidou in Paris as she presents the viewer with a tour of an empty space that had housed a now uninstalled Pierre Huyghe exhibition. The show is imagined and told by Lavigne as if the artworks were still there. Exhibited: - Pierre Huyghe +/–,The Artist’s Institute, New York, 2014
- Nouveau Festival (5th Edition), Musée d’Art Moderne, Centre Pompidou, Paris, 2014

Deimantas Narkevicius
Ausgeträumt, 2010

The German word ‘Ausgeträumt’ means a state between dream and reality at the point of waking up.The very first creative attempts by any artist are usually very positive, unaffected by criticism, even naive activities. Refering to myself, I had to be absolutely naive to choose to be a visual artist, in the late 80's when in the Soviet Union, everything was falling apart. There was no precedent of success, or an example to follow in the country which was still isolated. With this film I am re-approaching the state of naivety.

Katja Aufleger
LOVE AFFAIR, 2017

Several lights get shot successively. Some crush at once, quiet or with a blast, others seem like trying not to die.

Janet Biggs
Vanishing point, 2009

Luzia Hürzeler
Being in the Picture, 2007/08

Im Bilde sein [Being in the Picture] is a video installation. The monitor stands on a two-meter-high plinth. The video shows a white wall in front of which my head becomes visible, fully or partially, at short or long intervals. I keep jumping up into the picture, making myself visible through physical activity. These efforts become apparent through the sounds. The jumping height, and thus my visibility, decreases over time, until I finally give up through exhaustion.On the occasion of the exhibition “Spazi aperti” this work was displayed in the entrance hall of the Romanian Academy in Rome, where a number of monumental busts are mounted on plinths.

Johanna Reich
Horizon, 2012

The artist is drawing a line onto a white surface. The line reveals the horizon: it separates the sea from the sky. "To draw a line": this phrase already linguistically contains many different meanings. Beginning with the famous line – the one that cannot be crossed politically – via the (guide)line that is also the conceptual standard, to the simple strike placed beneath an addition, these are key points on the spectrum.“When Johanna Reich draws a line with a broad brush onto a wall, additional content comes into play. There is the track which children draw onto the wall with chalk, the traditional artist myth of the line as a vivid track of creative process, and last but not least the powerfully picturesque action of splattering the wall.”(Johannes Stahl)Johanna Reich (*1977 Minden) studied at the Kunstakademie Münster, the HfbK Hamburg and the Kunsthochschule für Medien Köln. She lives and works in Cologne.

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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.

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