collaborations
im dreieck | triangle
ongoing
a performance of three artists in three places by gisela hochuli, judith huber, ursula scherrer
the way it started:
it is lockdown. we set a date and time for a performance each in our own space. gisela in her garden, judith in her studio, ursula in her living room. nobody knows about the performance except for judith’s partner and gisela’s partner and her parents.
we all start at the same time. gisela is climbing a dead tree, judith is listening into the space, ursula is stepping into a 2 x 2 m square.
gisela is thinking of judith and ursula. judith is thinking of ursula and gisela, ursula is thinking of gisela and judith.
since then the three artists are performing every half a year in this manner. each one at the place she is at the time. all begin at the same time. with no audience.
they document their performances with a text, a drawing, photos and/or video.
ongoing
a performance of three artists in three places by gisela hochuli, judith huber, ursula scherrer
the way it started:
it is lockdown. we set a date and time for a performance each in our own space. gisela in her garden, judith in her studio, ursula in her living room. nobody knows about the performance except for judith’s partner and gisela’s partner and her parents.
we all start at the same time. gisela is climbing a dead tree, judith is listening into the space, ursula is stepping into a 2 x 2 m square.
gisela is thinking of judith and ursula. judith is thinking of ursula and gisela, ursula is thinking of gisela and judith.
since then the three artists are performing every half a year in this manner. each one at the place she is at the time. all begin at the same time. with no audience.
they document their performances with a text, a drawing, photos and/or video.
ongoing
a performance of three artists in three places by gisela hochuli, judith huber, ursula scherrer
the way it started:
it is lockdown. we set a date and time for a performance each in our own space. gisela in her garden, judith in her studio, ursula in her living room. nobody knows about the performance except for judith’s partner and gisela’s partner and her parents.
we all start at the same time. gisela is climbing a dead tree, judith is listening into the space, ursula is stepping into a 2 x 2 m square.
gisela is thinking of judith and ursula. judith is thinking of ursula and gisela, ursula is thinking of gisela and judith.
since then the three artists are performing every half a year in this manner. each one at the place she is at the time. all begin at the same time. with no audience.
they document their performances with a text, a drawing, photos and/or video.
keuchende insekten | panting insects
14. performance reihe neu-oerlikon, 2023
the performance panting insects by the collective hamster (sara koller und ursula scherrer) brennt sheds light on the coexistence of humans and nature - the here and now.
photos: markus goessi
14. performance reihe neu-oerlikon, 2023
the performance panting insects by the collective hamster (sara koller und ursula scherrer) brennt sheds light on the coexistence of humans and nature - the here and now.
photos: markus goessi
14. performance reihe neu-oerlikon, 2023
the performance panting insects by the collective hamster (sara koller und ursula scherrer) brennt sheds light on the coexistence of humans and nature - the here and now.
photos: markus goessi
14. performance reihe neu-oerlikon, 2023
the performance panting insects by the collective hamster (sara koller und ursula scherrer) brennt sheds light on the coexistence of humans and nature - the here and now.
photos: markus goessi
14. performance reihe neu-oerlikon, 2023
the performance panting insects by the collective hamster (sara koller und ursula scherrer) brennt sheds light on the coexistence of humans and nature - the here and now.
photos: markus goessi
14. performance reihe neu-oerlikon, 2023
the performance panting insects by the collective hamster (sara koller und ursula scherrer) brennt sheds light on the coexistence of humans and nature - the here and now.
photos: markus goessi
14. performance reihe neu-oerlikon, 2023
the performance panting insects by the collective hamster (sara koller und ursula scherrer) brennt sheds light on the coexistence of humans and nature - the here and now.
photos: markus goessi
wo gehen wir denn hin? immer nach hause | where are we going? always home
(novalis, 1772–1801)
villa rosa, loco, 2022
a two week project
a project by lilian frei and ursula scherrer with lilian frei, andrea grieder, claudia meili senn, yara mennel, natalie peters, anna rigamonti, ursula scherrer, christiane tureczek, agnese z'graggen
the project was about everything that happened in villa rosa and in loco during the two weeks. it was about time, the fleeting, that which passes, about memories, about history.
the artists came and went, lilian and ursula, are the constants. they are there, inhabiting the villa for a fortnight, cooking, enlivening and inspiring the house. the doors are open. every day from 10-12 villa rosa is transformed into a caffè. people from the village come to us, some from further afield, are driving up the many bends to loco, down the many steps to villa rosa. old friends, new acquaintances we met on the street, curious people.
a blog was recording the two weeks: https://spettacoloco.ch
photo: johannes rühl
fa/ce
box edition of 23 mit marcia bassett und ursula scherrer, created at the art residency à la maison, Paris, 2022
zu dritt | threes
haus zur glocke, 2021
a performance by gisela hochuli, judith huber, ursula scherrer
photos by leo bettina roost and christoph ullmann
haus zur glocke, 2021
a performance by gisela hochuli, judith huber, ursula scherrer
photos by leo bettina roost and christoph ullmann
haus zur glocke, 2021
a performance by gisela hochuli, judith huber, ursula scherrer
photos by leo bettina roost and christoph ullmann
haus zur glocke, 2021
a performance by gisela hochuli, judith huber, ursula scherrer
photos by leo bettina roost and christoph ullmann
besuch übers kreuz | a visit over cross
2020
lilian frei is calling me. we want to get to know each other. we are deciding to visit each other's homes, alone, at the same time, before we are continuing our dialogue. we meet at zurich main station. we hug, exchange keys, give brief instructions and go our separate ways. i give lilian a pink vetch flower from the garden. she is traveling to schaffhausen. lilian is staying at the hotel krone on limmatquai in niederdorf.
time_untime
roulette, brooklyn, 2019
a text, video and sound performance with marcia bassett
an excerpt from 'time_untime' a durational performance by artists ursula scherrer and marcia bassett that evokes images, stories, and a state of being. the audience can enter a waking dream state in which boundaries become fluid, duration becomes a moment and single moments become duration. lights sink into the darkness, darkness appears through the light.
in time_untime, scherrer is combining previously created and used elements such as video clips, photographs, painted panels as projection surfaces as well as written and spoken texts in a different context. she is joining these aspects of her work and is creating with that something entirely new. marcia bassett will explore vrhythmic intricacies in patterns weaving in live sound elements with prerecorded texts written by scherrer. she will process, transform, modify scherrer’s texts in real-time composition working with patterns that are related to and/ or included in the larger pattern of exploration, observation and experience. other text portions are left unmodified.
the projected video is seen as shapes of light moving over dark panels, sometimes imperceptibly slow, sometimes in violent spurts. the essence of the footage is perceived. the text is abstract, free associations, fragmented thoughts.
ursula scherrer and marcia bassett are playing with our sense of time, time becomes relative and disappears. the audience immerses itself into the space and the sounds. there is no beginning nor an ending.
roulette, brooklyn, 2019
a text, video and sound performance with marcia bassett
an excerpt from 'time_untime' a durational performance by artists ursula scherrer and marcia bassett that evokes images, stories, and a state of being. the audience can enter a waking dream state in which boundaries become fluid, duration becomes a moment and single moments become duration. lights sink into the darkness, darkness appears through the light.
in time_untime, scherrer is combining previously created and used elements such as video clips, photographs, painted panels as projection surfaces as well as written and spoken texts in a different context. she is joining these aspects of her work and is creating with that something entirely new. marcia bassett will explore vrhythmic intricacies in patterns weaving in live sound elements with prerecorded texts written by scherrer. she will process, transform, modify scherrer’s texts in real-time composition working with patterns that are related to and/ or included in the larger pattern of exploration, observation and experience. other text portions are left unmodified.
the projected video is seen as shapes of light moving over dark panels, sometimes imperceptibly slow, sometimes in violent spurts. the essence of the footage is perceived. the text is abstract, free associations, fragmented thoughts.
ursula scherrer and marcia bassett are playing with our sense of time, time becomes relative and disappears. the audience immerses itself into the space and the sounds. there is no beginning nor an ending.
roulette, brooklyn, 2019
a text, video and sound performance with marcia bassett
an excerpt from 'time_untime' a durational performance by artists ursula scherrer and marcia bassett that evokes images, stories, and a state of being. the audience can enter a waking dream state in which boundaries become fluid, duration becomes a moment and single moments become duration. lights sink into the darkness, darkness appears through the light.
in time_untime, scherrer is combining previously created and used elements such as video clips, photographs, painted panels as projection surfaces as well as written and spoken texts in a different context. she is joining these aspects of her work and is creating with that something entirely new. marcia bassett will explore vrhythmic intricacies in patterns weaving in live sound elements with prerecorded texts written by scherrer. she will process, transform, modify scherrer’s texts in real-time composition working with patterns that are related to and/ or included in the larger pattern of exploration, observation and experience. other text portions are left unmodified.
the projected video is seen as shapes of light moving over dark panels, sometimes imperceptibly slow, sometimes in violent spurts. the essence of the footage is perceived. the text is abstract, free associations, fragmented thoughts.
ursula scherrer and marcia bassett are playing with our sense of time, time becomes relative and disappears. the audience immerses itself into the space and the sounds. there is no beginning nor an ending.
räume im raum | rooms in a room
evi lichtungen, st. michaelis kirche, hildesheim, 2018. duration: 4 h
in collaboration with the tunisian poet lilya ben romdhane
the painted wooden ceiling is projected onto the floor. projections of reflections on water glide along the walls. ursula scherrer and lilya ben romdhane walk very slowly through the room. each takes their own path. ursula scherrer holds a bowl of water in her hands. from time to time she kneels down and draws a cross on the sandstone floor of the church with the water. after a while the cross disappears again. liliya ben romdhane recites a poem written especially for the space and the performance. she repeats it. and repeats it. and repeats it. again and again.
photos: sara föster
evi lichtungen, st. michaelis kirche, hildesheim, 2018. duration: 4 h
in collaboration with the tunisian poet lilya ben romdhane
the painted wooden ceiling is projected onto the floor. projections of reflections on water glide along the walls. ursula scherrer and lilya ben romdhane walk very slowly through the room. each takes their own path. ursula scherrer holds a bowl of water in her hands. from time to time she kneels down and draws a cross on the sandstone floor of the church with the water. after a while the cross disappears again. liliya ben romdhane recites a poem written especially for the space and the performance. she repeats it. and repeats it. and repeats it. again and again.
photos: sara föster
evi lichtungen, st. michaelis kirche, hildesheim, 2018. duration: 4 h
in collaboration with the tunisian poet lilya ben romdhane
the painted wooden ceiling is projected onto the floor. projections of reflections on water glide along the walls. ursula scherrer and lilya ben romdhane walk very slowly through the room. each takes their own path. ursula scherrer holds a bowl of water in her hands. from time to time she kneels down and draws a cross on the sandstone floor of the church with the water. after a while the cross disappears again. liliya ben romdhane recites a poem written especially for the space and the performance. she repeats it. and repeats it. and repeats it. again and again.
photos: sara föster
evi lichtungen, st. michaelis kirche, hildesheim, 2018. duration: 4 h
in collaboration with the tunisian poet lilya ben romdhane
the painted wooden ceiling is projected onto the floor. projections of reflections on water glide along the walls. ursula scherrer and lilya ben romdhane walk very slowly through the room. each takes their own path. ursula scherrer holds a bowl of water in her hands. from time to time she kneels down and draws a cross on the sandstone floor of the church with the water. after a while the cross disappears again. liliya ben romdhane recites a poem written especially for the space and the performance. she repeats it. and repeats it. and repeats it. again and again.
photos: sara föster
inter_woven
interference - international light art festival, rashdia, medina of tunis, 2018. duration: 5 h
with marcia bassett (sound)
in inter_woven ursula scherrer brings together the issue of the waste of cigarette butts and the tradition of weaving workshops as one of the souqs in the medina of tunis.
she collected cigarette butts in the medina, thread them into long strings and wove them into a 15 meter long carpet.
marcia bassett is weaving the sounds of field recordings from tunis together with live sound elements in a real-time composition working with patterns that are related to and/or included in the larger pattern of exploration, observation and experience.
fotografen: jennifer braun, ahmed chabaan
interference - international light art festival, rashdia, medina of tunis, 2018. duration: 5 h
with marcia bassett (sound)
in inter_woven ursula scherrer brings together the issue of the waste of cigarette butts and the tradition of weaving workshops as one of the souqs in the medina of tunis.
she collected cigarette butts in the medina, thread them into long strings and wove them into a 15 meter long carpet.
marcia bassett is weaving the sounds of field recordings from tunis together with live sound elements in a real-time composition working with patterns that are related to and/or included in the larger pattern of exploration, observation and experience.
fotografen: jennifer braun, ahmed chabaan
interference - international light art festival, rashdia, medina of tunis, 2018. duration: 5 h
with marcia bassett (sound)
in inter_woven ursula scherrer brings together the issue of the waste of cigarette butts and the tradition of weaving workshops as one of the souqs in the medina of tunis.
she collected cigarette butts in the medina, thread them into long strings and wove them into a 15 meter long carpet.
marcia bassett is weaving the sounds of field recordings from tunis together with live sound elements in a real-time composition working with patterns that are related to and/or included in the larger pattern of exploration, observation and experience.
fotografen: jennifer braun, ahmed chabaan
interference - international light art festival, rashdia, medina of tunis, 2018. duration: 5 h
with marcia bassett (sound)
in inter_woven ursula scherrer brings together the issue of the waste of cigarette butts and the tradition of weaving workshops as one of the souqs in the medina of tunis.
she collected cigarette butts in the medina, thread them into long strings and wove them into a 15 meter long carpet.
marcia bassett is weaving the sounds of field recordings from tunis together with live sound elements in a real-time composition working with patterns that are related to and/or included in the larger pattern of exploration, observation and experience.
fotografen: jennifer braun, ahmed chabaan
interference - international light art festival, rashdia, medina of tunis, 2018. duration: 5 h
with marcia bassett (sound)
in inter_woven ursula scherrer brings together the issue of the waste of cigarette butts and the tradition of weaving workshops as one of the souqs in the medina of tunis.
she collected cigarette butts in the medina, thread them into long strings and wove them into a 15 meter long carpet.
marcia bassett is weaving the sounds of field recordings from tunis together with live sound elements in a real-time composition working with patterns that are related to and/or included in the larger pattern of exploration, observation and experience.
fotografen: jennifer braun, ahmed chabaan
ab_fall | waste
gröpelingen, bremen, 2018
an action in public space with 5th/6th grade students from a local public school
ludger hennig, flo kaufmann, ursula scherrer, gröpelingen, bremen in connection with digital impact lab and the public space as shared museum from the m2c institute
gröpelingen, bremen, 2018
an action in public space with 5th/6th grade students from a local public school
ludger hennig, flo kaufmann, ursula scherrer, gröpelingen, bremen in connection with digital impact lab and the public space as shared museum from the m2c institute
gröpelingen, bremen, 2018
an action in public space with 5th/6th grade students from a local public school
ludger hennig, flo kaufmann, ursula scherrer, gröpelingen, bremen in connection with digital impact lab and the public space as shared museum from the m2c institute
gröpelingen, bremen, 2018
an action in public space with 5th/6th grade students from a local public school
ludger hennig, flo kaufmann, ursula scherrer, gröpelingen, bremen in connection with digital impact lab and the public space as shared museum from the m2c institute
gröpelingen, bremen, 2018
an action in public space with 5th/6th grade students from a local public school
ludger hennig, flo kaufmann, ursula scherrer, gröpelingen, bremen in connection with digital impact lab and the public space as shared museum from the m2c institute
gröpelingen, bremen, 2018
an action in public space with 5th/6th grade students from a local public school
ludger hennig, flo kaufmann, ursula scherrer, gröpelingen, bremen in connection with digital impact lab and the public space as shared museum from the m2c institute
gröpelingen, bremen, 2018
an action in public space with 5th/6th grade students from a local public school
ludger hennig, flo kaufmann, ursula scherrer, gröpelingen, bremen in connection with digital impact lab and the public space as shared museum from the m2c institute
gröpelingen, bremen, 2018
an action in public space with 5th/6th grade students from a local public school
ludger hennig, flo kaufmann, ursula scherrer, gröpelingen, bremen in connection with digital impact lab and the public space as shared museum from the m2c institute
gröpelingen, bremen, 2018
an action in public space with 5th/6th grade students from a local public school
ludger hennig, flo kaufmann, ursula scherrer, gröpelingen, bremen in connection with digital impact lab and the public space as shared museum from the m2c institute
gröpelingen, bremen, 2018
an action in public space with 5th/6th grade students from a local public school
ludger hennig, flo kaufmann, ursula scherrer, gröpelingen, bremen in connection with digital impact lab and the public space as shared museum from the m2c institute
post-monochrom
bremen, 2016
a public art action by flo kaufmann and ursula scherrer in the series shared.museum und m2c, bremen
the use of media and media disruption are recurring motifs in the works of artists flo kaufmann and ursula scherrer. photography in the broadest sense is a means of communication. in post-monochrome they combine contemporary selfie culture with one of the first photographic technologies, the cyanotype. passers-by in a mall generate the image material, a selfie. with the help of the cyanotype and tap water as a developer, the short-lived digital images are transformed into a long-lasting blueprint. cyanotypes are particularly archive-proof. the theme of the tipping point is visually captured by transforming the digital into analogue, colored images into monochrome shades of blue. the two artists involve the residents in a process in which they portray themselves and enter into conversation with each other and with the artists.
kaufmann and scherrer documented the action with the help of video and photography. they presented this material alongside the cyanotypes in the exhibition.
bremen, 2016
a public art action by flo kaufmann and ursula scherrer in the series shared.museum und m2c, bremen
the use of media and media disruption are recurring motifs in the works of artists flo kaufmann and ursula scherrer. photography in the broadest sense is a means of communication. in post-monochrome they combine contemporary selfie culture with one of the first photographic technologies, the cyanotype. passers-by in a mall generate the image material, a selfie. with the help of the cyanotype and tap water as a developer, the short-lived digital images are transformed into a long-lasting blueprint. cyanotypes are particularly archive-proof. the theme of the tipping point is visually captured by transforming the digital into analogue, colored images into monochrome shades of blue. the two artists involve the residents in a process in which they portray themselves and enter into conversation with each other and with the artists.
kaufmann and scherrer documented the action with the help of video and photography. they presented this material alongside the cyanotypes in the exhibition.
bremen, 2016
a public art action by flo kaufmann and ursula scherrer in the series shared.museum und m2c, bremen
the use of media and media disruption are recurring motifs in the works of artists flo kaufmann and ursula scherrer. photography in the broadest sense is a means of communication. in post-monochrome they combine contemporary selfie culture with one of the first photographic technologies, the cyanotype. passers-by in a mall generate the image material, a selfie. with the help of the cyanotype and tap water as a developer, the short-lived digital images are transformed into a long-lasting blueprint. cyanotypes are particularly archive-proof. the theme of the tipping point is visually captured by transforming the digital into analogue, colored images into monochrome shades of blue. the two artists involve the residents in a process in which they portray themselves and enter into conversation with each other and with the artists.
kaufmann and scherrer documented the action with the help of video and photography. they presented this material alongside the cyanotypes in the exhibition.
discursive ornaments
interference – international light art festival, 2016. duration 3.5 h
performance by ursula scherrer and poet liliya ben romdhane
video projection and performance: ursula scherrer, poem and performance: liliya ben romdhane
the video of the tiles of the 'chambre bleu' from one of the noble houses in the medina of tunis is gliding incessantly over the cobblestones in front of the house of poetry. ursula scherrer brushes after the moving patterns, which constantly slip away under her brush as if they wanted to escape from her. liliya ben romdhane is reciting a poem written for the performance. she is repeating it. and repeating it. and repeating it. again and again.
interference – international light art festival, 2016. duration 3.5 h
performance by ursula scherrer and poet liliya ben romdhane
video projection and performance: ursula scherrer, poem and performance: liliya ben romdhane
the video of the tiles of the 'chambre bleu' from one of the noble houses in the medina of tunis is gliding incessantly over the cobblestones in front of the house of poetry. ursula scherrer brushes after the moving patterns, which constantly slip away under her brush as if they wanted to escape from her. liliya ben romdhane is reciting a poem written for the performance. she is repeating it. and repeating it. and repeating it. again and again.
interference – international light art festival, 2016. duration 3.5 h
performance by ursula scherrer and poet liliya ben romdhane
video projection and performance: ursula scherrer, poem and performance: liliya ben romdhane
the video of the tiles of the 'chambre bleu' from one of the noble houses in the medina of tunis is gliding incessantly over the cobblestones in front of the house of poetry. ursula scherrer brushes after the moving patterns, which constantly slip away under her brush as if they wanted to escape from her. liliya ben romdhane is reciting a poem written for the performance. she is repeating it. and repeating it. and repeating it. again and again.
interference – international light art festival, 2016. duration 3.5 h
performance by ursula scherrer and poet liliya ben romdhane
video projection and performance: ursula scherrer, poem and performance: liliya ben romdhane
the video of the tiles of the 'chambre bleu' from one of the noble houses in the medina of tunis is gliding incessantly over the cobblestones in front of the house of poetry. ursula scherrer brushes after the moving patterns, which constantly slip away under her brush as if they wanted to escape from her. liliya ben romdhane is reciting a poem written for the performance. she is repeating it. and repeating it. and repeating it. again and again.
interference – international light art festival, 2016. duration 3.5 h
performance by ursula scherrer and poet liliya ben romdhane
video projection and performance: ursula scherrer, poem and performance: liliya ben romdhane
the video of the tiles of the 'chambre bleu' from one of the noble houses in the medina of tunis is gliding incessantly over the cobblestones in front of the house of poetry. ursula scherrer brushes after the moving patterns, which constantly slip away under her brush as if they wanted to escape from her. liliya ben romdhane is reciting a poem written for the performance. she is repeating it. and repeating it. and repeating it. again and again.
beyond
roulette, brooklyn, 2015
a multi-media performance with text based scenery
with the musicians shelley hirsch und mv carbon
photos by yuseff
roulette, brooklyn, 2015
a multi-media performance with text based scenery
with the musicians shelley hirsch und mv carbon
photos by yuseff
roulette, brooklyn, 2015
a multi-media performance with text based scenery
with the musicians shelley hirsch und mv carbon
photos by yuseff
flux
experimental intermedia, new york, 2015
amorphous (kato hideki and john king) with ursula scherrer
kato hideki (electronics and bass), john king (electronics and viola) and ursula scherrer (visual) present their first collaboration piece flux, an active installation with sound and light. temporal and spatial changes (or no changes) are determined in real time. the audiences are encouraged to walk around, during the installation.
experimental intermedia, new york, 2015
amorphous (kato hideki and john king) with ursula scherrer
kato hideki (electronics and bass), john king (electronics and viola) and ursula scherrer (visual) present their first collaboration piece flux, an active installation with sound and light. temporal and spatial changes (or no changes) are determined in real time. the audiences are encouraged to walk around, during the installation.
experimental intermedia, new york, 2015
amorphous (kato hideki and john king) with ursula scherrer
kato hideki (electronics and bass), john king (electronics and viola) and ursula scherrer (visual) present their first collaboration piece flux, an active installation with sound and light. temporal and spatial changes (or no changes) are determined in real time. the audiences are encouraged to walk around, during the installation.
experimental intermedia, new york, 2015
amorphous (kato hideki and john king) with ursula scherrer
kato hideki (electronics and bass), john king (electronics and viola) and ursula scherrer (visual) present their first collaboration piece flux, an active installation with sound and light. temporal and spatial changes (or no changes) are determined in real time. the audiences are encouraged to walk around, during the installation.
experimental intermedia, new york, 2015
amorphous (kato hideki and john king) with ursula scherrer
kato hideki (electronics and bass), john king (electronics and viola) and ursula scherrer (visual) present their first collaboration piece flux, an active installation with sound and light. temporal and spatial changes (or no changes) are determined in real time. the audiences are encouraged to walk around, during the installation.
experimental intermedia, new york, 2015
amorphous (kato hideki and john king) with ursula scherrer
kato hideki (electronics and bass), john king (electronics and viola) and ursula scherrer (visual) present their first collaboration piece flux, an active installation with sound and light. temporal and spatial changes (or no changes) are determined in real time. the audiences are encouraged to walk around, during the installation.
afloat
clocktower at pioneer works, red hook, brooklyn, 2015. duration: 4 h
a durational performance / installation
live video: ursula scherrer, live sound: brian chase, kato hideki
a black space. time disappears. space disappears. movement is imperceptible.
scherrer, chase and hideki are creating a space of floating sounds and images, the visible becomes invisible, the invisible becomes visible.
it is not about what the viewer sees and hears, it is about the feeling the images and sounds provoke, that which is beyond the surface.
clocktower at pioneer works, red hook, brooklyn, 2015. duration: 4 h
a durational performance / installation
live video: ursula scherrer, live sound: brian chase, kato hideki
a black space. time disappears. space disappears. movement is imperceptible.
scherrer, chase and hideki are creating a space of floating sounds and images, the visible becomes invisible, the invisible becomes visible.
it is not about what the viewer sees and hears, it is about the feeling the images and sounds provoke, that which is beyond the surface.
clocktower at pioneer works, red hook, brooklyn, 2015. duration: 4 h
a durational performance / installation
live video: ursula scherrer, live sound: brian chase, kato hideki
a black space. time disappears. space disappears. movement is imperceptible.
scherrer, chase and hideki are creating a space of floating sounds and images, the visible becomes invisible, the invisible becomes visible.
it is not about what the viewer sees and hears, it is about the feeling the images and sounds provoke, that which is beyond the surface.
clocktower at pioneer works, red hook, brooklyn, 2015. duration: 4 h
a durational performance / installation
live video: ursula scherrer, live sound: brian chase, kato hideki
a black space. time disappears. space disappears. movement is imperceptible.
scherrer, chase and hideki are creating a space of floating sounds and images, the visible becomes invisible, the invisible becomes visible.
it is not about what the viewer sees and hears, it is about the feeling the images and sounds provoke, that which is beyond the surface.
scratching
after the butcher, berlin, 2013
mixed media performance as part of a project by martin zawadzki
https://zzzfilm.com/scratching/de/video.htm
photos: martin zawadzki
after the butcher, berlin, 2013
mixed media performance as part of a project by martin zawadzki
https://zzzfilm.com/scratching/de/video.htm
photos: martin zawadzki
after the butcher, berlin, 2013
mixed media performance as part of a project by martin zawadzki
https://zzzfilm.com/scratching/de/video.htm
photos: martin zawadzki
after the butcher, berlin, 2013
mixed media performance as part of a project by martin zawadzki
https://zzzfilm.com/scratching/de/video.htm
photos: martin zawadzki
after the butcher, berlin, 2013
mixed media performance as part of a project by martin zawadzki
https://zzzfilm.com/scratching/de/video.htm
photos: martin zawadzki
after the butcher, berlin, 2013
mixed media performance as part of a project by martin zawadzki
https://zzzfilm.com/scratching/de/video.htm
photos: martin zawadzki
narcomantic
raum, bologna, 2012. duration: 8 h
live surround sound: john duncan, live multiple projection video: ursula scherrer
nonstop all night event that breaks down the boundaries between dream and reality for a sleeping audience
raum, bologna, 2012. duration: 8 h
live surround sound: john duncan, live multiple projection video: ursula scherrer
nonstop all night event that breaks down the boundaries between dream and reality for a sleeping audience
wildwuchs
lichtströme koblenz, 2011
video: ursula scherrer, visual piano: kurt laurenz theinert, musik: thomas ankersmit
in der arbeit der beiden künstler ursula scherrer und kurt laurenz theinert wird der schlosshof zum projektionsfeld. in den fünfzehn-minütigen performances improvisieren sie mit unterschiedlichen bildquellen und erzeugen ein sich kontinuierlich wandelndes kontinuum aus raum, licht und farbe. ihr counterpart ist dabei nicht nur die architektonische situation, sondern auch die akustische von thomas ankersmit.
lichtströme koblenz, 2011
video: ursula scherrer, visual piano: kurt laurenz theinert, musik: thomas ankersmit
in der arbeit der beiden künstler ursula scherrer und kurt laurenz theinert wird der schlosshof zum projektionsfeld. in den fünfzehn-minütigen performances improvisieren sie mit unterschiedlichen bildquellen und erzeugen ein sich kontinuierlich wandelndes kontinuum aus raum, licht und farbe. ihr counterpart ist dabei nicht nur die architektonische situation, sondern auch die akustische von thomas ankersmit.
lichtströme koblenz, 2011
video: ursula scherrer, visual piano: kurt laurenz theinert, musik: thomas ankersmit
in der arbeit der beiden künstler ursula scherrer und kurt laurenz theinert wird der schlosshof zum projektionsfeld. in den fünfzehn-minütigen performances improvisieren sie mit unterschiedlichen bildquellen und erzeugen ein sich kontinuierlich wandelndes kontinuum aus raum, licht und farbe. ihr counterpart ist dabei nicht nur die architektonische situation, sondern auch die akustische von thomas ankersmit.
lichtströme koblenz, 2011
video: ursula scherrer, visual piano: kurt laurenz theinert, musik: thomas ankersmit
in der arbeit der beiden künstler ursula scherrer und kurt laurenz theinert wird der schlosshof zum projektionsfeld. in den fünfzehn-minütigen performances improvisieren sie mit unterschiedlichen bildquellen und erzeugen ein sich kontinuierlich wandelndes kontinuum aus raum, licht und farbe. ihr counterpart ist dabei nicht nur die architektonische situation, sondern auch die akustische von thomas ankersmit.
lichtströme koblenz, 2011
video: ursula scherrer, visual piano: kurt laurenz theinert, musik: thomas ankersmit
in der arbeit der beiden künstler ursula scherrer und kurt laurenz theinert wird der schlosshof zum projektionsfeld. in den fünfzehn-minütigen performances improvisieren sie mit unterschiedlichen bildquellen und erzeugen ein sich kontinuierlich wandelndes kontinuum aus raum, licht und farbe. ihr counterpart ist dabei nicht nur die architektonische situation, sondern auch die akustische von thomas ankersmit.
spinnerei
artmuse, bocholt de, 2011
in collaboration with flo kaufmann
artmuse, bocholt de, 2011
in collaboration with flo kaufmann
lichtung
baryshnikov art center (bac), new york, 2010
a collaborative visual/sound/movement environment – 3 elements in 3 dimensions
live video and set design by ursula scherrer, choreography by liz gerring, music by michael j. schumacher
cinematic in proportions, movement is enveloped in video and sound. for seven dancers including the choreographer.
liz gerring: “we’re attempting to create an environment in which meaning is derived from the image not the story. non-narrative movement is deepened by the other media, each following a parallel trajectory or tangent, allowing ‘story’ to exist independently for each member of the audience.”
ursula scherrer: “‘die lichtung’ is german for clearing. ‘das licht’ is ‘the light’. for me, in a way, every piece is a kind of a clearing. we take something out of a greater context, out of our vision, be it in sounds, images or movements and share that with the audience.”
michael schumacher: “the musical composition is diffused through a 6-speaker sound system placed around the room. the piece is a collage of field recordings, musique concrete and the composer playing guitar. a prominent sound is a set of recordings of the dancers’ footsteps, recorded during rehearsals. text is also featured, from the disintegrating language group active in britain in the 60s, and by ursula scherrer, read in german.”
baryshnikov art center (bac), new york, 2010
a collaborative visual/sound/movement environment – 3 elements in 3 dimensions
live video and set design by ursula scherrer, choreography by liz gerring, music by michael j. schumacher
cinematic in proportions, movement is enveloped in video and sound. for seven dancers including the choreographer.
liz gerring: “we’re attempting to create an environment in which meaning is derived from the image not the story. non-narrative movement is deepened by the other media, each following a parallel trajectory or tangent, allowing ‘story’ to exist independently for each member of the audience.”
ursula scherrer: “‘die lichtung’ is german for clearing. ‘das licht’ is ‘the light’. for me, in a way, every piece is a kind of a clearing. we take something out of a greater context, out of our vision, be it in sounds, images or movements and share that with the audience.”
michael schumacher: “the musical composition is diffused through a 6-speaker sound system placed around the room. the piece is a collage of field recordings, musique concrete and the composer playing guitar. a prominent sound is a set of recordings of the dancers’ footsteps, recorded during rehearsals. text is also featured, from the disintegrating language group active in britain in the 60s, and by ursula scherrer, read in german.”
baryshnikov art center (bac), new york, 2010
a collaborative visual/sound/movement environment – 3 elements in 3 dimensions
live video and set design by ursula scherrer, choreography by liz gerring, music by michael j. schumacher
cinematic in proportions, movement is enveloped in video and sound. for seven dancers including the choreographer.
liz gerring: “we’re attempting to create an environment in which meaning is derived from the image not the story. non-narrative movement is deepened by the other media, each following a parallel trajectory or tangent, allowing ‘story’ to exist independently for each member of the audience.”
ursula scherrer: “‘die lichtung’ is german for clearing. ‘das licht’ is ‘the light’. for me, in a way, every piece is a kind of a clearing. we take something out of a greater context, out of our vision, be it in sounds, images or movements and share that with the audience.”
michael schumacher: “the musical composition is diffused through a 6-speaker sound system placed around the room. the piece is a collage of field recordings, musique concrete and the composer playing guitar. a prominent sound is a set of recordings of the dancers’ footsteps, recorded during rehearsals. text is also featured, from the disintegrating language group active in britain in the 60s, and by ursula scherrer, read in german.”
baryshnikov art center (bac), new york, 2010
a collaborative visual/sound/movement environment – 3 elements in 3 dimensions
live video and set design by ursula scherrer, choreography by liz gerring, music by michael j. schumacher
cinematic in proportions, movement is enveloped in video and sound. for seven dancers including the choreographer.
liz gerring: “we’re attempting to create an environment in which meaning is derived from the image not the story. non-narrative movement is deepened by the other media, each following a parallel trajectory or tangent, allowing ‘story’ to exist independently for each member of the audience.”
ursula scherrer: “‘die lichtung’ is german for clearing. ‘das licht’ is ‘the light’. for me, in a way, every piece is a kind of a clearing. we take something out of a greater context, out of our vision, be it in sounds, images or movements and share that with the audience.”
michael schumacher: “the musical composition is diffused through a 6-speaker sound system placed around the room. the piece is a collage of field recordings, musique concrete and the composer playing guitar. a prominent sound is a set of recordings of the dancers’ footsteps, recorded during rehearsals. text is also featured, from the disintegrating language group active in britain in the 60s, and by ursula scherrer, read in german.”
a dream within a dream
experimental intermedia, new york, 2009
multi-channel video and sound performance in collaboration with musician kato hideki
experimental intermedia, new york, 2009
multi-channel video and sound performance in collaboration with musician kato hideki
zwischen-land
video_tank, zürich, 2008
multi-channel video and sound performance and installation on, under and above the water with sound artist flo kaufmann
elevator 55
d.u.m.b.o. art under the bridge festival, brooklyn, 2008
a video and sound installation in an elevator in collaboration with kato hideki
d.u.m.b.o. art under the bridge festival, brooklyn, 2008
a video and sound installation in an elevator in collaboration with kato hideki
d.u.m.b.o. art under the bridge festival, brooklyn, 2008
a video and sound installation in an elevator in collaboration with kato hideki
d.u.m.b.o. art under the bridge festival, brooklyn, 2008
a video and sound installation in an elevator in collaboration with kato hideki
ImagescapeLandscapeSoundscape
new genre XV, living arts, tulsa ok, 2008
a multi-channel video and sound performance/installation in collaboration with composer michelle nagai