installation
verstrickt
über resten des daseins
offene atelier atelierhaus rs20 rungestrasse berlin, 2019
an environment
offene atelier atelierhaus rs20 rungestrasse berlin, 2019
an environment
offene atelier atelierhaus rs20 rungestrasse berlin, 2019
an environment
offene atelier atelierhaus rs20 rungestrasse berlin, 2019
an environment
offene atelier atelierhaus rs20 rungestrasse berlin, 2019
an environment
zyklus
wolken riechen — hybride positionen in der kunst, vebikus kunsthalle, schaffhausen, 2017
an installation of drawings and objects made with the artists menstrual blood
cycle in the literal sense. cycle in the figurative sense. very personal and at the same time speaking to everyone. the passing of the now into the time after. the after as the beginning of the next.
ursula scherrer has collected the blood of her menstruation for years until it has slowly seeped away. this has resulted in various individual works that now come together to form a whole: drawings with the blood on paper and fabric, the blood mixed with clay and moulded into eggs, dried blood, the blood of a cycle collected in a balloon, a cycle in a tin can. between them hang long strips of handwritten texts by the artist and bunches of dried sage, which will later be included in a performance as part of the exhibition. these fragments of a woman's life become a work of a phase of life that is slowly coming to an end.
- opening speech by doris signer
- schaffhauser bock | jurga wüger: faszination und ekel | 31/10/2017
- schaffhauser nachrichten | jörg riser: wo wolken riechen | 30/10/2017
photos: jürg fausch
wolken riechen — hybride positionen in der kunst, vebikus kunsthalle, schaffhausen, 2017
an installation of drawings and objects made with the artists menstrual blood
cycle in the literal sense. cycle in the figurative sense. very personal and at the same time speaking to everyone. the passing of the now into the time after. the after as the beginning of the next.
ursula scherrer has collected the blood of her menstruation for years until it has slowly seeped away. this has resulted in various individual works that now come together to form a whole: drawings with the blood on paper and fabric, the blood mixed with clay and moulded into eggs, dried blood, the blood of a cycle collected in a balloon, a cycle in a tin can. between them hang long strips of handwritten texts by the artist and bunches of dried sage, which will later be included in a performance as part of the exhibition. these fragments of a woman's life become a work of a phase of life that is slowly coming to an end.
- opening speech by doris signer
- schaffhauser bock | jurga wüger: faszination und ekel | 31/10/2017
- schaffhauser nachrichten | jörg riser: wo wolken riechen | 30/10/2017
photos: jürg fausch
wolken riechen — hybride positionen in der kunst, vebikus kunsthalle, schaffhausen, 2017
an installation of drawings and objects made with the artists menstrual blood
cycle in the literal sense. cycle in the figurative sense. very personal and at the same time speaking to everyone. the passing of the now into the time after. the after as the beginning of the next.
ursula scherrer has collected the blood of her menstruation for years until it has slowly seeped away. this has resulted in various individual works that now come together to form a whole: drawings with the blood on paper and fabric, the blood mixed with clay and moulded into eggs, dried blood, the blood of a cycle collected in a balloon, a cycle in a tin can. between them hang long strips of handwritten texts by the artist and bunches of dried sage, which will later be included in a performance as part of the exhibition. these fragments of a woman's life become a work of a phase of life that is slowly coming to an end.
- opening speech by doris signer
- schaffhauser bock | jurga wüger: faszination und ekel | 31/10/2017
- schaffhauser nachrichten | jörg riser: wo wolken riechen | 30/10/2017
photos: jürg fausch
wolken riechen — hybride positionen in der kunst, vebikus kunsthalle, schaffhausen, 2017
an installation of drawings and objects made with the artists menstrual blood
cycle in the literal sense. cycle in the figurative sense. very personal and at the same time speaking to everyone. the passing of the now into the time after. the after as the beginning of the next.
ursula scherrer has collected the blood of her menstruation for years until it has slowly seeped away. this has resulted in various individual works that now come together to form a whole: drawings with the blood on paper and fabric, the blood mixed with clay and moulded into eggs, dried blood, the blood of a cycle collected in a balloon, a cycle in a tin can. between them hang long strips of handwritten texts by the artist and bunches of dried sage, which will later be included in a performance as part of the exhibition. these fragments of a woman's life become a work of a phase of life that is slowly coming to an end.
- opening speech by doris signer
- schaffhauser bock | jurga wüger: faszination und ekel | 31/10/2017
- schaffhauser nachrichten | jörg riser: wo wolken riechen | 30/10/2017
photos: jürg fausch
wolken riechen — hybride positionen in der kunst, vebikus kunsthalle, schaffhausen, 2017
an installation of drawings and objects made with the artists menstrual blood
cycle in the literal sense. cycle in the figurative sense. very personal and at the same time speaking to everyone. the passing of the now into the time after. the after as the beginning of the next.
ursula scherrer has collected the blood of her menstruation for years until it has slowly seeped away. this has resulted in various individual works that now come together to form a whole: drawings with the blood on paper and fabric, the blood mixed with clay and moulded into eggs, dried blood, the blood of a cycle collected in a balloon, a cycle in a tin can. between them hang long strips of handwritten texts by the artist and bunches of dried sage, which will later be included in a performance as part of the exhibition. these fragments of a woman's life become a work of a phase of life that is slowly coming to an end.
- opening speech by doris signer
- schaffhauser bock | jurga wüger: faszination und ekel | 31/10/2017
- schaffhauser nachrichten | jörg riser: wo wolken riechen | 30/10/2017
photos: jürg fausch
wolken riechen — hybride positionen in der kunst, vebikus kunsthalle, schaffhausen, 2017
an installation of drawings and objects made with the artists menstrual blood
cycle in the literal sense. cycle in the figurative sense. very personal and at the same time speaking to everyone. the passing of the now into the time after. the after as the beginning of the next.
ursula scherrer has collected the blood of her menstruation for years until it has slowly seeped away. this has resulted in various individual works that now come together to form a whole: drawings with the blood on paper and fabric, the blood mixed with clay and moulded into eggs, dried blood, the blood of a cycle collected in a balloon, a cycle in a tin can. between them hang long strips of handwritten texts by the artist and bunches of dried sage, which will later be included in a performance as part of the exhibition. these fragments of a woman's life become a work of a phase of life that is slowly coming to an end.
- opening speech by doris signer
- schaffhauser bock | jurga wüger: faszination und ekel | 31/10/2017
- schaffhauser nachrichten | jörg riser: wo wolken riechen | 30/10/2017
photos: jürg fausch
wolken riechen — hybride positionen in der kunst, vebikus kunsthalle, schaffhausen, 2017
an installation of drawings and objects made with the artists menstrual blood
cycle in the literal sense. cycle in the figurative sense. very personal and at the same time speaking to everyone. the passing of the now into the time after. the after as the beginning of the next.
ursula scherrer has collected the blood of her menstruation for years until it has slowly seeped away. this has resulted in various individual works that now come together to form a whole: drawings with the blood on paper and fabric, the blood mixed with clay and moulded into eggs, dried blood, the blood of a cycle collected in a balloon, a cycle in a tin can. between them hang long strips of handwritten texts by the artist and bunches of dried sage, which will later be included in a performance as part of the exhibition. these fragments of a woman's life become a work of a phase of life that is slowly coming to an end.
- opening speech by doris signer
- schaffhauser bock | jurga wüger: faszination und ekel | 31/10/2017
- schaffhauser nachrichten | jörg riser: wo wolken riechen | 30/10/2017
photos: jürg fausch
wolken riechen — hybride positionen in der kunst, vebikus kunsthalle, schaffhausen, 2017
an installation of drawings and objects made with the artists menstrual blood
cycle in the literal sense. cycle in the figurative sense. very personal and at the same time speaking to everyone. the passing of the now into the time after. the after as the beginning of the next.
ursula scherrer has collected the blood of her menstruation for years until it has slowly seeped away. this has resulted in various individual works that now come together to form a whole: drawings with the blood on paper and fabric, the blood mixed with clay and moulded into eggs, dried blood, the blood of a cycle collected in a balloon, a cycle in a tin can. between them hang long strips of handwritten texts by the artist and bunches of dried sage, which will later be included in a performance as part of the exhibition. these fragments of a woman's life become a work of a phase of life that is slowly coming to an end.
- opening speech by doris signer
- schaffhauser bock | jurga wüger: faszination und ekel | 31/10/2017
- schaffhauser nachrichten | jörg riser: wo wolken riechen | 30/10/2017
photos: jürg fausch
wolken riechen — hybride positionen in der kunst, vebikus kunsthalle, schaffhausen, 2017
an installation of drawings and objects made with the artists menstrual blood
cycle in the literal sense. cycle in the figurative sense. very personal and at the same time speaking to everyone. the passing of the now into the time after. the after as the beginning of the next.
ursula scherrer has collected the blood of her menstruation for years until it has slowly seeped away. this has resulted in various individual works that now come together to form a whole: drawings with the blood on paper and fabric, the blood mixed with clay and moulded into eggs, dried blood, the blood of a cycle collected in a balloon, a cycle in a tin can. between them hang long strips of handwritten texts by the artist and bunches of dried sage, which will later be included in a performance as part of the exhibition. these fragments of a woman's life become a work of a phase of life that is slowly coming to an end.
- opening speech by doris signer
- schaffhauser bock | jurga wüger: faszination und ekel | 31/10/2017
- schaffhauser nachrichten | jörg riser: wo wolken riechen | 30/10/2017
photos: jürg fausch
rewrite
lace, los angeles, 2012
text, video and sound performance and installation
glass, clay, blood of the artists period, video, sound
re-write was performed during the opening of (re-) cycles of paradise at lace, los angeles, and continued as an installation throughout the exhibition. scherrer explores the thought process about being a woman, a mother, an artist, and a responsible social being in a physical, organic act during which she uses knitting needles to write streams of consciousness in fresh clay that is spread on shards of glass. the action is filmed from below, which makes the text glow through the darkness as if in a dream. as soon as the words are written, she erases them by smoothing the clay over. the act is repeated again and again, as if trying to catch her thoughts. contact microphones, attached to the glass, amplify the sound of the writing.
at the end of the performance scherrer pours blood of her period onto the writing. she places the glass shards against the wall as part of the installation. over the period of the exhibition the clay will slowly fall down to the floor.
fotos joshua white and ursula scherrer
lace, los angeles, 2012
text, video and sound performance and installation
glass, clay, blood of the artists period, video, sound
re-write was performed during the opening of (re-) cycles of paradise at lace, los angeles, and continued as an installation throughout the exhibition. scherrer explores the thought process about being a woman, a mother, an artist, and a responsible social being in a physical, organic act during which she uses knitting needles to write streams of consciousness in fresh clay that is spread on shards of glass. the action is filmed from below, which makes the text glow through the darkness as if in a dream. as soon as the words are written, she erases them by smoothing the clay over. the act is repeated again and again, as if trying to catch her thoughts. contact microphones, attached to the glass, amplify the sound of the writing.
at the end of the performance scherrer pours blood of her period onto the writing. she places the glass shards against the wall as part of the installation. over the period of the exhibition the clay will slowly fall down to the floor.
fotos joshua white and ursula scherrer
lace, los angeles, 2012
text, video and sound performance and installation
glass, clay, blood of the artists period, video, sound
re-write was performed during the opening of (re-) cycles of paradise at lace, los angeles, and continued as an installation throughout the exhibition. scherrer explores the thought process about being a woman, a mother, an artist, and a responsible social being in a physical, organic act during which she uses knitting needles to write streams of consciousness in fresh clay that is spread on shards of glass. the action is filmed from below, which makes the text glow through the darkness as if in a dream. as soon as the words are written, she erases them by smoothing the clay over. the act is repeated again and again, as if trying to catch her thoughts. contact microphones, attached to the glass, amplify the sound of the writing.
at the end of the performance scherrer pours blood of her period onto the writing. she places the glass shards against the wall as part of the installation. over the period of the exhibition the clay will slowly fall down to the floor.
fotos joshua white and ursula scherrer
lace, los angeles, 2012
text, video and sound performance and installation
glass, clay, blood of the artists period, video, sound
re-write was performed during the opening of (re-) cycles of paradise at lace, los angeles, and continued as an installation throughout the exhibition. scherrer explores the thought process about being a woman, a mother, an artist, and a responsible social being in a physical, organic act during which she uses knitting needles to write streams of consciousness in fresh clay that is spread on shards of glass. the action is filmed from below, which makes the text glow through the darkness as if in a dream. as soon as the words are written, she erases them by smoothing the clay over. the act is repeated again and again, as if trying to catch her thoughts. contact microphones, attached to the glass, amplify the sound of the writing.
at the end of the performance scherrer pours blood of her period onto the writing. she places the glass shards against the wall as part of the installation. over the period of the exhibition the clay will slowly fall down to the floor.
fotos joshua white and ursula scherrer
new museum — re-configured
festival of ideas for the new city, new museum nyc, 2011
site specific video performance/installation on jersey street in manhattan.
commenting upon the museum's impact on the surrouding neighborhood, this piece presents a moving image of the skin of the new museum transposed on buildings several blocks away.
the museum as an illusion of itself the images fold themselves around the corners, the facade the buildings disappear as what they are and reappear as a moving surface an illusion of something else, gliding along the narrow path i use the façade of the new museum as my source the face of the museum the shell distorted out of this shell i create what could be its content – reconfigured the museum upside down, fragmented, distorted, twisted, contracted, expanded floating along jersey street the façade facing itself a conversation displaced estranged
photos: enki andrews, shan jayakumar
festival of ideas for the new city, new museum nyc, 2011
site specific video performance/installation on jersey street in manhattan.
commenting upon the museum's impact on the surrouding neighborhood, this piece presents a moving image of the skin of the new museum transposed on buildings several blocks away.
the museum as an illusion of itself the images fold themselves around the corners, the facade the buildings disappear as what they are and reappear as a moving surface an illusion of something else, gliding along the narrow path i use the façade of the new museum as my source the face of the museum the shell distorted out of this shell i create what could be its content – reconfigured the museum upside down, fragmented, distorted, twisted, contracted, expanded floating along jersey street the façade facing itself a conversation displaced estranged
photos: enki andrews, shan jayakumar
festival of ideas for the new city, new museum nyc, 2011
site specific video performance/installation on jersey street in manhattan.
commenting upon the museum's impact on the surrouding neighborhood, this piece presents a moving image of the skin of the new museum transposed on buildings several blocks away.
the museum as an illusion of itself the images fold themselves around the corners, the facade the buildings disappear as what they are and reappear as a moving surface an illusion of something else, gliding along the narrow path i use the façade of the new museum as my source the face of the museum the shell distorted out of this shell i create what could be its content – reconfigured the museum upside down, fragmented, distorted, twisted, contracted, expanded floating along jersey street the façade facing itself a conversation displaced estranged
photos: enki andrews, shan jayakumar