performance
zu dritt
can you see me
aus dem rahmen gefallen
stimmen aus der brache
nicht eine führung
eine abstrakte führung durch die ausstellung die keine führung ist oder ganz viele parallel neben- und gegeneinander. ein mich führen lassen von dem was gerade in dem moment ist, von dem was mir zu-fällt.
projektraum m54 basel, entrée&hommage, 2023
fotos: sabine gysin
eine abstrakte führung durch die ausstellung die keine führung ist oder ganz viele parallel neben- und gegeneinander. ein mich führen lassen von dem was gerade in dem moment ist, von dem was mir zu-fällt.
projektraum m54 basel, entrée&hommage, 2023
fotos: sabine gysin
eine abstrakte führung durch die ausstellung die keine führung ist oder ganz viele parallel neben- und gegeneinander. ein mich führen lassen von dem was gerade in dem moment ist, von dem was mir zu-fällt.
projektraum m54 basel, entrée&hommage, 2023
fotos: sabine gysin
feilen | to file
museum 1, adligenswil, duration: 4 hours, 2023
photo: judith huber
museum 1, adligenswil, duration: 4 hours, 2023
photo: judith huber
museum 1, adligenswil, duration: 4 hours, 2023
photo: judith huber
museum 1, adligenswil, duration: 4 hours, 2023
photo: judith huber
museum 1, adligenswil, duration: 4 hours, 2023
photo: judith huber
museum 1, adligenswil, duration: 4 hours, 2023
photo: judith huber
museum 1, adligenswil, duration: 4 hours, 2023
photo: judith huber
museum 1, adligenswil, duration: 4 hours, 2023
photo: judith huber
museum 1, adligenswil, duration: 4 hours, 2023
photo: judith huber
spaziergang mit einem elefanten | walk with an elephant
erkundend. poetisch.
es gibt eine geschichte, die den elefanten mit ihr verbindet.
dann gibt es auch den elefanten im raum.
migma, kunstpavillon luzern 2022: all I can carry
erkundend. poetisch.
es gibt eine geschichte, die den elefanten mit ihr verbindet.
dann gibt es auch den elefanten im raum.
migma, kunstpavillon luzern 2022: all I can carry
erkundend. poetisch.
es gibt eine geschichte, die den elefanten mit ihr verbindet.
dann gibt es auch den elefanten im raum.
migma, kunstpavillon luzern 2022: all I can carry
erkundend. poetisch.
es gibt eine geschichte, die den elefanten mit ihr verbindet.
dann gibt es auch den elefanten im raum.
migma, kunstpavillon luzern 2022: all I can carry
erkundend. poetisch.
es gibt eine geschichte, die den elefanten mit ihr verbindet.
dann gibt es auch den elefanten im raum.
migma, kunstpavillon luzern 2022: all I can carry
erkundend. poetisch.
es gibt eine geschichte, die den elefanten mit ihr verbindet.
dann gibt es auch den elefanten im raum.
migma, kunstpavillon luzern 2022: all I can carry
erkundend. poetisch.
es gibt eine geschichte, die den elefanten mit ihr verbindet.
dann gibt es auch den elefanten im raum.
migma, kunstpavillon luzern 2022: all I can carry
can you see me
can – can you – you – you see – see – see me – me – can you see – you see me – can you see me
wir versuchen gesehen zu werden indem wir uns gehör verschaffen.
wir versuchen uns gehör zu verschaffen indem wir gesehen werden.
was zuerst als spiel wirkt wird zu einem verzweifelten versuch gehört zu werden, gesehen zu werden.
künstlerhaus stuttgart, permanente performance – 40 jahre konzil, 2021
Fotos by Oleg Kauz
can – can you – you – you see – see – see me – me – can you see – you see me – can you see me
wir versuchen gesehen zu werden indem wir uns gehör verschaffen.
wir versuchen uns gehör zu verschaffen indem wir gesehen werden.
was zuerst als spiel wirkt wird zu einem verzweifelten versuch gehört zu werden, gesehen zu werden.
künstlerhaus stuttgart, permanente performance – 40 jahre konzil, 2021
Fotos by Oleg Kauz
can – can you – you – you see – see – see me – me – can you see – you see me – can you see me
wir versuchen gesehen zu werden indem wir uns gehör verschaffen.
wir versuchen uns gehör zu verschaffen indem wir gesehen werden.
was zuerst als spiel wirkt wird zu einem verzweifelten versuch gehört zu werden, gesehen zu werden.
künstlerhaus stuttgart, permanente performance – 40 jahre konzil, 2021
Fotos by Oleg Kauz
can – can you – you – you see – see – see me – me – can you see – you see me – can you see me
wir versuchen gesehen zu werden indem wir uns gehör verschaffen.
wir versuchen uns gehör zu verschaffen indem wir gesehen werden.
was zuerst als spiel wirkt wird zu einem verzweifelten versuch gehört zu werden, gesehen zu werden.
künstlerhaus stuttgart, permanente performance – 40 jahre konzil, 2021
Fotos by Oleg Kauz
can – can you – you – you see – see – see me – me – can you see – you see me – can you see me
wir versuchen gesehen zu werden indem wir uns gehör verschaffen.
wir versuchen uns gehör zu verschaffen indem wir gesehen werden.
was zuerst als spiel wirkt wird zu einem verzweifelten versuch gehört zu werden, gesehen zu werden.
künstlerhaus stuttgart, permanente performance – 40 jahre konzil, 2021
Fotos by Oleg Kauz
can – can you – you – you see – see – see me – me – can you see – you see me – can you see me
wir versuchen gesehen zu werden indem wir uns gehör verschaffen.
wir versuchen uns gehör zu verschaffen indem wir gesehen werden.
was zuerst als spiel wirkt wird zu einem verzweifelten versuch gehört zu werden, gesehen zu werden.
künstlerhaus stuttgart, permanente performance – 40 jahre konzil, 2021
Fotos by Oleg Kauz
can – can you – you – you see – see – see me – me – can you see – you see me – can you see me
wir versuchen gesehen zu werden indem wir uns gehör verschaffen.
wir versuchen uns gehör zu verschaffen indem wir gesehen werden.
was zuerst als spiel wirkt wird zu einem verzweifelten versuch gehört zu werden, gesehen zu werden.
künstlerhaus stuttgart, permanente performance – 40 jahre konzil, 2021
Fotos by Oleg Kauz
can – can you – you – you see – see – see me – me – can you see – you see me – can you see me
wir versuchen gesehen zu werden indem wir uns gehör verschaffen.
wir versuchen uns gehör zu verschaffen indem wir gesehen werden.
was zuerst als spiel wirkt wird zu einem verzweifelten versuch gehört zu werden, gesehen zu werden.
künstlerhaus stuttgart, permanente performance – 40 jahre konzil, 2021
Fotos by Oleg Kauz
can – can you – you – you see – see – see me – me – can you see – you see me – can you see me
wir versuchen gesehen zu werden indem wir uns gehör verschaffen.
wir versuchen uns gehör zu verschaffen indem wir gesehen werden.
was zuerst als spiel wirkt wird zu einem verzweifelten versuch gehört zu werden, gesehen zu werden.
künstlerhaus stuttgart, permanente performance – 40 jahre konzil, 2021
Fotos by Oleg Kauz
can – can you – you – you see – see – see me – me – can you see – you see me – can you see me
wir versuchen gesehen zu werden indem wir uns gehör verschaffen.
wir versuchen uns gehör zu verschaffen indem wir gesehen werden.
was zuerst als spiel wirkt wird zu einem verzweifelten versuch gehört zu werden, gesehen zu werden.
künstlerhaus stuttgart, permanente performance – 40 jahre konzil, 2021
Fotos by Oleg Kauz
can – can you – you – you see – see – see me – me – can you see – you see me – can you see me
wir versuchen gesehen zu werden indem wir uns gehör verschaffen.
wir versuchen uns gehör zu verschaffen indem wir gesehen werden.
was zuerst als spiel wirkt wird zu einem verzweifelten versuch gehört zu werden, gesehen zu werden.
künstlerhaus stuttgart, permanente performance – 40 jahre konzil, 2021
Fotos by Oleg Kauz
schattenwanderung | shadow walk
beim höchststand der sonne gibt es nur einen kleinen schatten. mit dem wandern der sonne wird der schatten länger und länger.
ich lege den schatten mit steinen. mit dem lauf der sonne und den immer länger werdenden schatten lege ich weiter und weiter.
ich spreche fortwährend vor mich hin. nur für die, die ganz in meine nähe treten, bin ich hörbar.
werden nicht oft die schatten erst sichtbar, wenn sie zu wachsen beginnen?
performancereihe neu-örlikon, 2020, dauer: 3 std.
Foto: Markus Goessi
beim höchststand der sonne gibt es nur einen kleinen schatten. mit dem wandern der sonne wird der schatten länger und länger.
ich lege den schatten mit steinen. mit dem lauf der sonne und den immer länger werdenden schatten lege ich weiter und weiter.
ich spreche fortwährend vor mich hin. nur für die, die ganz in meine nähe treten, bin ich hörbar.
werden nicht oft die schatten erst sichtbar, wenn sie zu wachsen beginnen?
performancereihe neu-örlikon, 2020, dauer: 3 std.
Foto: Markus Goessi
beim höchststand der sonne gibt es nur einen kleinen schatten. mit dem wandern der sonne wird der schatten länger und länger.
ich lege den schatten mit steinen. mit dem lauf der sonne und den immer länger werdenden schatten lege ich weiter und weiter.
ich spreche fortwährend vor mich hin. nur für die, die ganz in meine nähe treten, bin ich hörbar.
werden nicht oft die schatten erst sichtbar, wenn sie zu wachsen beginnen?
performancereihe neu-örlikon, 2020, dauer: 3 std.
Foto: Markus Goessi
beim höchststand der sonne gibt es nur einen kleinen schatten. mit dem wandern der sonne wird der schatten länger und länger.
ich lege den schatten mit steinen. mit dem lauf der sonne und den immer länger werdenden schatten lege ich weiter und weiter.
ich spreche fortwährend vor mich hin. nur für die, die ganz in meine nähe treten, bin ich hörbar.
werden nicht oft die schatten erst sichtbar, wenn sie zu wachsen beginnen?
performancereihe neu-örlikon, 2020, dauer: 3 std.
Foto: Markus Goessi
beim höchststand der sonne gibt es nur einen kleinen schatten. mit dem wandern der sonne wird der schatten länger und länger.
ich lege den schatten mit steinen. mit dem lauf der sonne und den immer länger werdenden schatten lege ich weiter und weiter.
ich spreche fortwährend vor mich hin. nur für die, die ganz in meine nähe treten, bin ich hörbar.
werden nicht oft die schatten erst sichtbar, wenn sie zu wachsen beginnen?
performancereihe neu-örlikon, 2020, dauer: 3 std.
Foto: Markus Goessi
beim höchststand der sonne gibt es nur einen kleinen schatten. mit dem wandern der sonne wird der schatten länger und länger.
ich lege den schatten mit steinen. mit dem lauf der sonne und den immer länger werdenden schatten lege ich weiter und weiter.
ich spreche fortwährend vor mich hin. nur für die, die ganz in meine nähe treten, bin ich hörbar.
werden nicht oft die schatten erst sichtbar, wenn sie zu wachsen beginnen?
performancereihe neu-örlikon, 2020, dauer: 3 std.
Foto: Markus Goessi
beim höchststand der sonne gibt es nur einen kleinen schatten. mit dem wandern der sonne wird der schatten länger und länger.
ich lege den schatten mit steinen. mit dem lauf der sonne und den immer länger werdenden schatten lege ich weiter und weiter.
ich spreche fortwährend vor mich hin. nur für die, die ganz in meine nähe treten, bin ich hörbar.
werden nicht oft die schatten erst sichtbar, wenn sie zu wachsen beginnen?
performancereihe neu-örlikon, 2020, dauer: 3 std.
Foto: Markus Goessi
beim höchststand der sonne gibt es nur einen kleinen schatten. mit dem wandern der sonne wird der schatten länger und länger.
ich lege den schatten mit steinen. mit dem lauf der sonne und den immer länger werdenden schatten lege ich weiter und weiter.
ich spreche fortwährend vor mich hin. nur für die, die ganz in meine nähe treten, bin ich hörbar.
werden nicht oft die schatten erst sichtbar, wenn sie zu wachsen beginnen?
performancereihe neu-örlikon, 2020, dauer: 3 std.
Foto: Markus Goessi
beim höchststand der sonne gibt es nur einen kleinen schatten. mit dem wandern der sonne wird der schatten länger und länger.
ich lege den schatten mit steinen. mit dem lauf der sonne und den immer länger werdenden schatten lege ich weiter und weiter.
ich spreche fortwährend vor mich hin. nur für die, die ganz in meine nähe treten, bin ich hörbar.
werden nicht oft die schatten erst sichtbar, wenn sie zu wachsen beginnen?
performancereihe neu-örlikon, 2020, dauer: 3 std.
Foto: Markus Goessi
beim höchststand der sonne gibt es nur einen kleinen schatten. mit dem wandern der sonne wird der schatten länger und länger.
ich lege den schatten mit steinen. mit dem lauf der sonne und den immer länger werdenden schatten lege ich weiter und weiter.
ich spreche fortwährend vor mich hin. nur für die, die ganz in meine nähe treten, bin ich hörbar.
werden nicht oft die schatten erst sichtbar, wenn sie zu wachsen beginnen?
performancereihe neu-örlikon, 2020, dauer: 3 std.
Foto: Markus Goessi
insekten sterben | insects are dying
Must or Not: Fokus Performance & Fotografie in Kollaboration mit PANCH, 2020
Fotos: Ute Schendel, Markus Goessi
Must or Not: Fokus Performance & Fotografie in Kollaboration mit PANCH, 2020
Fotos: Ute Schendel, Markus Goessi
Must or Not: Fokus Performance & Fotografie in Kollaboration mit PANCH, 2020
Fotos: Ute Schendel, Markus Goessi
Must or Not: Fokus Performance & Fotografie in Kollaboration mit PANCH, 2020
Fotos: Ute Schendel, Markus Goessi
Must or Not: Fokus Performance & Fotografie in Kollaboration mit PANCH, 2020
Fotos: Ute Schendel, Markus Goessi
sehr geehrte frau .......
24. juni 2020
sehr geehrte frau .......
haben wir in den zürcher galerien eine gleichwertigkeit zwischen frauen und männern? ‘die zürcher galerien’ zeigen, dass im juni 2020 in den zürcher galerien 71 künstler und 13 künstlerinnen ausstellen. es widerspiegelt die nichtsichtbarkeit von künstlerinnen auf deutliche weise.
seit freitag liegen kopierte galerienprogramme ‘mit zusatz’ in vielen zürcher galerien und museen, es sind 1000 kopien im umlauf.
ich freue mich, wenn sie den faden aufnehmen und weiterspinnen. nur wenn wir über das ungleichgewicht sprechen, es an realen beispielen bildlich zeigen, wird es uns bewusst und echte veränderungen können initialisiert werden. herzlichen dank!
mit freundlichen grüssen
ursula scherrer
p.s.: ich stehe ihnen gerne für weitere informationen zur verfügung.
24. juni 2020
sehr geehrte frau .......
haben wir in den zürcher galerien eine gleichwertigkeit zwischen frauen und männern? ‘die zürcher galerien’ zeigen, dass im juni 2020 in den zürcher galerien 71 künstler und 13 künstlerinnen ausstellen. es widerspiegelt die nichtsichtbarkeit von künstlerinnen auf deutliche weise.
seit freitag liegen kopierte galerienprogramme ‘mit zusatz’ in vielen zürcher galerien und museen, es sind 1000 kopien im umlauf.
ich freue mich, wenn sie den faden aufnehmen und weiterspinnen. nur wenn wir über das ungleichgewicht sprechen, es an realen beispielen bildlich zeigen, wird es uns bewusst und echte veränderungen können initialisiert werden. herzlichen dank!
mit freundlichen grüssen
ursula scherrer
p.s.: ich stehe ihnen gerne für weitere informationen zur verfügung.
aus dem rahmen gefallen
eine performative skulptur
museum zu allerheiligen, schafhausen, 2020
Fotos Peter Pfister
eine performative skulptur
museum zu allerheiligen, schafhausen, 2020
Fotos Peter Pfister
eine performative skulptur
museum zu allerheiligen, schafhausen, 2020
Fotos Peter Pfister
eine performative skulptur
museum zu allerheiligen, schafhausen, 2020
Fotos Peter Pfister
stimmen aus der brache
eine einsiedlerin auf der brache, unsichtbar im schutz einer cabane. sie spricht, flüstert, es summt, autos fahren vorbei. «ich werde kein zuhause mehr haben in diesem leben», «look up», ursula scherrers worte müssen erhascht werden, sind innerhalb 24 stunden aufgenommen, geschichtet, live gesprochen. beunruhigte nachbarn ziehen das stromkabel aus in der nacht und ursula verstummt bis zum morgen. störung, orakel, klanginstallation – ursula scherrers performance macht die brache still und verstörend zugleich.
text: Brigitt Bürgi
museum 1, adligenswil, duration: 24 hours, 2020
photos by Matthias Zurbrügg, Stephan Wittmer
eine einsiedlerin auf der brache, unsichtbar im schutz einer cabane. sie spricht, flüstert, es summt, autos fahren vorbei. «ich werde kein zuhause mehr haben in diesem leben», «look up», ursula scherrers worte müssen erhascht werden, sind innerhalb 24 stunden aufgenommen, geschichtet, live gesprochen. beunruhigte nachbarn ziehen das stromkabel aus in der nacht und ursula verstummt bis zum morgen. störung, orakel, klanginstallation – ursula scherrers performance macht die brache still und verstörend zugleich.
text: Brigitt Bürgi
museum 1, adligenswil, duration: 24 hours, 2020
photos by Matthias Zurbrügg, Stephan Wittmer
eine einsiedlerin auf der brache, unsichtbar im schutz einer cabane. sie spricht, flüstert, es summt, autos fahren vorbei. «ich werde kein zuhause mehr haben in diesem leben», «look up», ursula scherrers worte müssen erhascht werden, sind innerhalb 24 stunden aufgenommen, geschichtet, live gesprochen. beunruhigte nachbarn ziehen das stromkabel aus in der nacht und ursula verstummt bis zum morgen. störung, orakel, klanginstallation – ursula scherrers performance macht die brache still und verstörend zugleich.
text: Brigitt Bürgi
museum 1, adligenswil, duration: 24 hours, 2020
photos by Matthias Zurbrügg, Stephan Wittmer
eine einsiedlerin auf der brache, unsichtbar im schutz einer cabane. sie spricht, flüstert, es summt, autos fahren vorbei. «ich werde kein zuhause mehr haben in diesem leben», «look up», ursula scherrers worte müssen erhascht werden, sind innerhalb 24 stunden aufgenommen, geschichtet, live gesprochen. beunruhigte nachbarn ziehen das stromkabel aus in der nacht und ursula verstummt bis zum morgen. störung, orakel, klanginstallation – ursula scherrers performance macht die brache still und verstörend zugleich.
text: Brigitt Bürgi
museum 1, adligenswil, duration: 24 hours, 2020
photos by Matthias Zurbrügg, Stephan Wittmer
eine einsiedlerin auf der brache, unsichtbar im schutz einer cabane. sie spricht, flüstert, es summt, autos fahren vorbei. «ich werde kein zuhause mehr haben in diesem leben», «look up», ursula scherrers worte müssen erhascht werden, sind innerhalb 24 stunden aufgenommen, geschichtet, live gesprochen. beunruhigte nachbarn ziehen das stromkabel aus in der nacht und ursula verstummt bis zum morgen. störung, orakel, klanginstallation – ursula scherrers performance macht die brache still und verstörend zugleich.
text: Brigitt Bürgi
museum 1, adligenswil, duration: 24 hours, 2020
photos by Matthias Zurbrügg, Stephan Wittmer
eine einsiedlerin auf der brache, unsichtbar im schutz einer cabane. sie spricht, flüstert, es summt, autos fahren vorbei. «ich werde kein zuhause mehr haben in diesem leben», «look up», ursula scherrers worte müssen erhascht werden, sind innerhalb 24 stunden aufgenommen, geschichtet, live gesprochen. beunruhigte nachbarn ziehen das stromkabel aus in der nacht und ursula verstummt bis zum morgen. störung, orakel, klanginstallation – ursula scherrers performance macht die brache still und verstörend zugleich.
text: Brigitt Bürgi
museum 1, adligenswil, duration: 24 hours, 2020
photos by Matthias Zurbrügg, Stephan Wittmer
+Audio
performance im quadrat | performance in a square
im wohnzimmer ist auf dem boden eine 2 auf 2 meter grosse fläche ausgelegt. ich verweile für die dauer der nacht in dem quadrat. von sonnenuntergang bis sonnenaufgang. nackt. manchmal sprechend, manchmal stumm. manchmal in bewegung, manchmal in stille. manchmal im selbstgespräch, manchmal im gespräch. ich teile den raum mit höchstens 2 besucher*innen. durch die intimität werden sie teil des geschehens bis man den raum den nächsten überlässt. in der zeit von und inspiriert durch corona und dessen restriktionen.
schaffhausen, 2020
im wohnzimmer ist auf dem boden eine 2 auf 2 meter grosse fläche ausgelegt. ich verweile für die dauer der nacht in dem quadrat. von sonnenuntergang bis sonnenaufgang. nackt. manchmal sprechend, manchmal stumm. manchmal in bewegung, manchmal in stille. manchmal im selbstgespräch, manchmal im gespräch. ich teile den raum mit höchstens 2 besucher*innen. durch die intimität werden sie teil des geschehens bis man den raum den nächsten überlässt. in der zeit von und inspiriert durch corona und dessen restriktionen.
schaffhausen, 2020
im wohnzimmer ist auf dem boden eine 2 auf 2 meter grosse fläche ausgelegt. ich verweile für die dauer der nacht in dem quadrat. von sonnenuntergang bis sonnenaufgang. nackt. manchmal sprechend, manchmal stumm. manchmal in bewegung, manchmal in stille. manchmal im selbstgespräch, manchmal im gespräch. ich teile den raum mit höchstens 2 besucher*innen. durch die intimität werden sie teil des geschehens bis man den raum den nächsten überlässt. in der zeit von und inspiriert durch corona und dessen restriktionen.
schaffhausen, 2020
im wohnzimmer ist auf dem boden eine 2 auf 2 meter grosse fläche ausgelegt. ich verweile für die dauer der nacht in dem quadrat. von sonnenuntergang bis sonnenaufgang. nackt. manchmal sprechend, manchmal stumm. manchmal in bewegung, manchmal in stille. manchmal im selbstgespräch, manchmal im gespräch. ich teile den raum mit höchstens 2 besucher*innen. durch die intimität werden sie teil des geschehens bis man den raum den nächsten überlässt. in der zeit von und inspiriert durch corona und dessen restriktionen.
schaffhausen, 2020
im wohnzimmer ist auf dem boden eine 2 auf 2 meter grosse fläche ausgelegt. ich verweile für die dauer der nacht in dem quadrat. von sonnenuntergang bis sonnenaufgang. nackt. manchmal sprechend, manchmal stumm. manchmal in bewegung, manchmal in stille. manchmal im selbstgespräch, manchmal im gespräch. ich teile den raum mit höchstens 2 besucher*innen. durch die intimität werden sie teil des geschehens bis man den raum den nächsten überlässt. in der zeit von und inspiriert durch corona und dessen restriktionen.
schaffhausen, 2020
im wohnzimmer ist auf dem boden eine 2 auf 2 meter grosse fläche ausgelegt. ich verweile für die dauer der nacht in dem quadrat. von sonnenuntergang bis sonnenaufgang. nackt. manchmal sprechend, manchmal stumm. manchmal in bewegung, manchmal in stille. manchmal im selbstgespräch, manchmal im gespräch. ich teile den raum mit höchstens 2 besucher*innen. durch die intimität werden sie teil des geschehens bis man den raum den nächsten überlässt. in der zeit von und inspiriert durch corona und dessen restriktionen.
schaffhausen, 2020
im wohnzimmer ist auf dem boden eine 2 auf 2 meter grosse fläche ausgelegt. ich verweile für die dauer der nacht in dem quadrat. von sonnenuntergang bis sonnenaufgang. nackt. manchmal sprechend, manchmal stumm. manchmal in bewegung, manchmal in stille. manchmal im selbstgespräch, manchmal im gespräch. ich teile den raum mit höchstens 2 besucher*innen. durch die intimität werden sie teil des geschehens bis man den raum den nächsten überlässt. in der zeit von und inspiriert durch corona und dessen restriktionen.
schaffhausen, 2020
im wohnzimmer ist auf dem boden eine 2 auf 2 meter grosse fläche ausgelegt. ich verweile für die dauer der nacht in dem quadrat. von sonnenuntergang bis sonnenaufgang. nackt. manchmal sprechend, manchmal stumm. manchmal in bewegung, manchmal in stille. manchmal im selbstgespräch, manchmal im gespräch. ich teile den raum mit höchstens 2 besucher*innen. durch die intimität werden sie teil des geschehens bis man den raum den nächsten überlässt. in der zeit von und inspiriert durch corona und dessen restriktionen.
schaffhausen, 2020
zu dritt
a performance by Gisela Hochuli, Judith Huber, Ursula Scherrer
Haus zur Glocke
photos by Leo Bettina Roost and Christoph Ullmann
a performance by Gisela Hochuli, Judith Huber, Ursula Scherrer
Haus zur Glocke
photos by Leo Bettina Roost and Christoph Ullmann
a performance by Gisela Hochuli, Judith Huber, Ursula Scherrer
Haus zur Glocke
photos by Leo Bettina Roost and Christoph Ullmann
a performance by Gisela Hochuli, Judith Huber, Ursula Scherrer
Haus zur Glocke
photos by Leo Bettina Roost and Christoph Ullmann
standing
weekly from december 23rd, 2017 – december 20th, 2018
initiated by ursula scherrer as another kind of protest
after almost a year of the trump presidency I decided we needed to do something in addition to the loud protests.
for an entire year we were standing once a week across from the trump tower entrance on 5th ave in new york city in the midst of the midtown shopping frenzy.
standing peacefully completely still for up to 30 min., facing the golden tower.
sometimes we were a little group, sometimes two or three, at least one was there every week.
urte reyes, diane ludin, failey patrick, ursula scherrer
fotos: ursula sommer
weekly from december 23rd, 2017 – december 20th, 2018
initiated by ursula scherrer as another kind of protest
after almost a year of the trump presidency I decided we needed to do something in addition to the loud protests.
for an entire year we were standing once a week across from the trump tower entrance on 5th ave in new york city in the midst of the midtown shopping frenzy.
standing peacefully completely still for up to 30 min., facing the golden tower.
sometimes we were a little group, sometimes two or three, at least one was there every week.
urte reyes, diane ludin, failey patrick, ursula scherrer
fotos: ursula sommer
weekly from december 23rd, 2017 – december 20th, 2018
initiated by ursula scherrer as another kind of protest
after almost a year of the trump presidency I decided we needed to do something in addition to the loud protests.
for an entire year we were standing once a week across from the trump tower entrance on 5th ave in new york city in the midst of the midtown shopping frenzy.
standing peacefully completely still for up to 30 min., facing the golden tower.
sometimes we were a little group, sometimes two or three, at least one was there every week.
urte reyes, diane ludin, failey patrick, ursula scherrer
fotos: ursula sommer
weekly from december 23rd, 2017 – december 20th, 2018
initiated by ursula scherrer as another kind of protest
after almost a year of the trump presidency I decided we needed to do something in addition to the loud protests.
for an entire year we were standing once a week across from the trump tower entrance on 5th ave in new york city in the midst of the midtown shopping frenzy.
standing peacefully completely still for up to 30 min., facing the golden tower.
sometimes we were a little group, sometimes two or three, at least one was there every week.
urte reyes, diane ludin, failey patrick, ursula scherrer
fotos: ursula sommer
weekly from december 23rd, 2017 – december 20th, 2018
initiated by ursula scherrer as another kind of protest
after almost a year of the trump presidency I decided we needed to do something in addition to the loud protests.
for an entire year we were standing once a week across from the trump tower entrance on 5th ave in new york city in the midst of the midtown shopping frenzy.
standing peacefully completely still for up to 30 min., facing the golden tower.
sometimes we were a little group, sometimes two or three, at least one was there every week.
urte reyes, diane ludin, failey patrick, ursula scherrer
fotos: ursula sommer
weekly from december 23rd, 2017 – december 20th, 2018
initiated by ursula scherrer as another kind of protest
after almost a year of the trump presidency I decided we needed to do something in addition to the loud protests.
for an entire year we were standing once a week across from the trump tower entrance on 5th ave in new york city in the midst of the midtown shopping frenzy.
standing peacefully completely still for up to 30 min., facing the golden tower.
sometimes we were a little group, sometimes two or three, at least one was there every week.
urte reyes, diane ludin, failey patrick, ursula scherrer
fotos: ursula sommer
weekly from december 23rd, 2017 – december 20th, 2018
initiated by ursula scherrer as another kind of protest
after almost a year of the trump presidency I decided we needed to do something in addition to the loud protests.
for an entire year we were standing once a week across from the trump tower entrance on 5th ave in new york city in the midst of the midtown shopping frenzy.
standing peacefully completely still for up to 30 min., facing the golden tower.
sometimes we were a little group, sometimes two or three, at least one was there every week.
urte reyes, diane ludin, failey patrick, ursula scherrer
fotos: ursula sommer
weekly from december 23rd, 2017 – december 20th, 2018
initiated by ursula scherrer as another kind of protest
after almost a year of the trump presidency I decided we needed to do something in addition to the loud protests.
for an entire year we were standing once a week across from the trump tower entrance on 5th ave in new york city in the midst of the midtown shopping frenzy.
standing peacefully completely still for up to 30 min., facing the golden tower.
sometimes we were a little group, sometimes two or three, at least one was there every week.
urte reyes, diane ludin, failey patrick, ursula scherrer
fotos: ursula sommer
weekly from december 23rd, 2017 – december 20th, 2018
initiated by ursula scherrer as another kind of protest
after almost a year of the trump presidency I decided we needed to do something in addition to the loud protests.
for an entire year we were standing once a week across from the trump tower entrance on 5th ave in new york city in the midst of the midtown shopping frenzy.
standing peacefully completely still for up to 30 min., facing the golden tower.
sometimes we were a little group, sometimes two or three, at least one was there every week.
urte reyes, diane ludin, failey patrick, ursula scherrer
fotos: ursula sommer
weekly from december 23rd, 2017 – december 20th, 2018
initiated by ursula scherrer as another kind of protest
after almost a year of the trump presidency I decided we needed to do something in addition to the loud protests.
for an entire year we were standing once a week across from the trump tower entrance on 5th ave in new york city in the midst of the midtown shopping frenzy.
standing peacefully completely still for up to 30 min., facing the golden tower.
sometimes we were a little group, sometimes two or three, at least one was there every week.
urte reyes, diane ludin, failey patrick, ursula scherrer
fotos: ursula sommer
weekly from december 23rd, 2017 – december 20th, 2018
initiated by ursula scherrer as another kind of protest
after almost a year of the trump presidency I decided we needed to do something in addition to the loud protests.
for an entire year we were standing once a week across from the trump tower entrance on 5th ave in new york city in the midst of the midtown shopping frenzy.
standing peacefully completely still for up to 30 min., facing the golden tower.
sometimes we were a little group, sometimes two or three, at least one was there every week.
urte reyes, diane ludin, failey patrick, ursula scherrer
fotos: ursula sommer
weekly from december 23rd, 2017 – december 20th, 2018
initiated by ursula scherrer as another kind of protest
after almost a year of the trump presidency I decided we needed to do something in addition to the loud protests.
for an entire year we were standing once a week across from the trump tower entrance on 5th ave in new york city in the midst of the midtown shopping frenzy.
standing peacefully completely still for up to 30 min., facing the golden tower.
sometimes we were a little group, sometimes two or three, at least one was there every week.
urte reyes, diane ludin, failey patrick, ursula scherrer
fotos: ursula sommer
weekly from december 23rd, 2017 – december 20th, 2018
initiated by ursula scherrer as another kind of protest
after almost a year of the trump presidency I decided we needed to do something in addition to the loud protests.
for an entire year we were standing once a week across from the trump tower entrance on 5th ave in new york city in the midst of the midtown shopping frenzy.
standing peacefully completely still for up to 30 min., facing the golden tower.
sometimes we were a little group, sometimes two or three, at least one was there every week.
urte reyes, diane ludin, failey patrick, ursula scherrer
fotos: ursula sommer
weekly from december 23rd, 2017 – december 20th, 2018
initiated by ursula scherrer as another kind of protest
after almost a year of the trump presidency I decided we needed to do something in addition to the loud protests.
for an entire year we were standing once a week across from the trump tower entrance on 5th ave in new york city in the midst of the midtown shopping frenzy.
standing peacefully completely still for up to 30 min., facing the golden tower.
sometimes we were a little group, sometimes two or three, at least one was there every week.
urte reyes, diane ludin, failey patrick, ursula scherrer
fotos: ursula sommer
weekly from december 23rd, 2017 – december 20th, 2018
initiated by ursula scherrer as another kind of protest
after almost a year of the trump presidency I decided we needed to do something in addition to the loud protests.
for an entire year we were standing once a week across from the trump tower entrance on 5th ave in new york city in the midst of the midtown shopping frenzy.
standing peacefully completely still for up to 30 min., facing the golden tower.
sometimes we were a little group, sometimes two or three, at least one was there every week.
urte reyes, diane ludin, failey patrick, ursula scherrer
fotos: ursula sommer
weekly from december 23rd, 2017 – december 20th, 2018
initiated by ursula scherrer as another kind of protest
after almost a year of the trump presidency I decided we needed to do something in addition to the loud protests.
for an entire year we were standing once a week across from the trump tower entrance on 5th ave in new york city in the midst of the midtown shopping frenzy.
standing peacefully completely still for up to 30 min., facing the golden tower.
sometimes we were a little group, sometimes two or three, at least one was there every week.
urte reyes, diane ludin, failey patrick, ursula scherrer
fotos: ursula sommer
weekly from december 23rd, 2017 – december 20th, 2018
initiated by ursula scherrer as another kind of protest
after almost a year of the trump presidency I decided we needed to do something in addition to the loud protests.
for an entire year we were standing once a week across from the trump tower entrance on 5th ave in new york city in the midst of the midtown shopping frenzy.
standing peacefully completely still for up to 30 min., facing the golden tower.
sometimes we were a little group, sometimes two or three, at least one was there every week.
urte reyes, diane ludin, failey patrick, ursula scherrer
fotos: ursula sommer
who are you
2017
a site specific performance
duration: 3 hours
see djerba, houmt souk, tunisia
performers: aziz aissaoui, henry cyrenius, ryan gharbi, ursula scherrer, zohara
2017
a site specific performance
duration: 3 hours
see djerba, houmt souk, tunisia
performers: aziz aissaoui, henry cyrenius, ryan gharbi, ursula scherrer, zohara
2017
a site specific performance
duration: 3 hours
see djerba, houmt souk, tunisia
performers: aziz aissaoui, henry cyrenius, ryan gharbi, ursula scherrer, zohara
stillstand
2017
a 2-hour performance
Sofia Underground
standstill' is a living sculpture in public space.
there is nothing happening and yet so much.
once standing completely still even the smallest movement will be visible.
if there is no movement, is there time? does time stand still?
the performance has no time and is full of time. it is all about time and it is not. it only exists as time, as duration, at the same time time disappears. it is about the now, each moment as a separate moment in time.
the audience is encouraged to join scherrer for as long as they wish.
photos by elena kaleva and ivan donchev
2017
a 2-hour performance
Sofia Underground
standstill' is a living sculpture in public space.
there is nothing happening and yet so much.
once standing completely still even the smallest movement will be visible.
if there is no movement, is there time? does time stand still?
the performance has no time and is full of time. it is all about time and it is not. it only exists as time, as duration, at the same time time disappears. it is about the now, each moment as a separate moment in time.
the audience is encouraged to join scherrer for as long as they wish.
photos by elena kaleva and ivan donchev
2017
a 2-hour performance
Sofia Underground
standstill' is a living sculpture in public space.
there is nothing happening and yet so much.
once standing completely still even the smallest movement will be visible.
if there is no movement, is there time? does time stand still?
the performance has no time and is full of time. it is all about time and it is not. it only exists as time, as duration, at the same time time disappears. it is about the now, each moment as a separate moment in time.
the audience is encouraged to join scherrer for as long as they wish.
photos by elena kaleva and ivan donchev
2017
a 2-hour performance
Sofia Underground
standstill' is a living sculpture in public space.
there is nothing happening and yet so much.
once standing completely still even the smallest movement will be visible.
if there is no movement, is there time? does time stand still?
the performance has no time and is full of time. it is all about time and it is not. it only exists as time, as duration, at the same time time disappears. it is about the now, each moment as a separate moment in time.
the audience is encouraged to join scherrer for as long as they wish.
photos by elena kaleva and ivan donchev
2017
a 2-hour performance
Sofia Underground
standstill' is a living sculpture in public space.
there is nothing happening and yet so much.
once standing completely still even the smallest movement will be visible.
if there is no movement, is there time? does time stand still?
the performance has no time and is full of time. it is all about time and it is not. it only exists as time, as duration, at the same time time disappears. it is about the now, each moment as a separate moment in time.
the audience is encouraged to join scherrer for as long as they wish.
photos by elena kaleva and ivan donchev
2017
a 2-hour performance
Sofia Underground
standstill' is a living sculpture in public space.
there is nothing happening and yet so much.
once standing completely still even the smallest movement will be visible.
if there is no movement, is there time? does time stand still?
the performance has no time and is full of time. it is all about time and it is not. it only exists as time, as duration, at the same time time disappears. it is about the now, each moment as a separate moment in time.
the audience is encouraged to join scherrer for as long as they wish.
photos by elena kaleva and ivan donchev
2017
a 2-hour performance
Sofia Underground
standstill' is a living sculpture in public space.
there is nothing happening and yet so much.
once standing completely still even the smallest movement will be visible.
if there is no movement, is there time? does time stand still?
the performance has no time and is full of time. it is all about time and it is not. it only exists as time, as duration, at the same time time disappears. it is about the now, each moment as a separate moment in time.
the audience is encouraged to join scherrer for as long as they wish.
photos by elena kaleva and ivan donchev
2017
a 2-hour performance
Sofia Underground
standstill' is a living sculpture in public space.
there is nothing happening and yet so much.
once standing completely still even the smallest movement will be visible.
if there is no movement, is there time? does time stand still?
the performance has no time and is full of time. it is all about time and it is not. it only exists as time, as duration, at the same time time disappears. it is about the now, each moment as a separate moment in time.
the audience is encouraged to join scherrer for as long as they wish.
photos by elena kaleva and ivan donchev
2017
a 2-hour performance
Sofia Underground
standstill' is a living sculpture in public space.
there is nothing happening and yet so much.
once standing completely still even the smallest movement will be visible.
if there is no movement, is there time? does time stand still?
the performance has no time and is full of time. it is all about time and it is not. it only exists as time, as duration, at the same time time disappears. it is about the now, each moment as a separate moment in time.
the audience is encouraged to join scherrer for as long as they wish.
photos by elena kaleva and ivan donchev
2017
a 2-hour performance
Sofia Underground
standstill' is a living sculpture in public space.
there is nothing happening and yet so much.
once standing completely still even the smallest movement will be visible.
if there is no movement, is there time? does time stand still?
the performance has no time and is full of time. it is all about time and it is not. it only exists as time, as duration, at the same time time disappears. it is about the now, each moment as a separate moment in time.
the audience is encouraged to join scherrer for as long as they wish.
photos by elena kaleva and ivan donchev
2017
a 2-hour performance
Sofia Underground
standstill' is a living sculpture in public space.
there is nothing happening and yet so much.
once standing completely still even the smallest movement will be visible.
if there is no movement, is there time? does time stand still?
the performance has no time and is full of time. it is all about time and it is not. it only exists as time, as duration, at the same time time disappears. it is about the now, each moment as a separate moment in time.
the audience is encouraged to join scherrer for as long as they wish.
photos by elena kaleva and ivan donchev
2017
a 2-hour performance
Sofia Underground
standstill' is a living sculpture in public space.
there is nothing happening and yet so much.
once standing completely still even the smallest movement will be visible.
if there is no movement, is there time? does time stand still?
the performance has no time and is full of time. it is all about time and it is not. it only exists as time, as duration, at the same time time disappears. it is about the now, each moment as a separate moment in time.
the audience is encouraged to join scherrer for as long as they wish.
photos by elena kaleva and ivan donchev
2017
a 2-hour performance
Sofia Underground
standstill' is a living sculpture in public space.
there is nothing happening and yet so much.
once standing completely still even the smallest movement will be visible.
if there is no movement, is there time? does time stand still?
the performance has no time and is full of time. it is all about time and it is not. it only exists as time, as duration, at the same time time disappears. it is about the now, each moment as a separate moment in time.
the audience is encouraged to join scherrer for as long as they wish.
photos by elena kaleva and ivan donchev
50-year-old woman
2017
a 3-hour performance
sofia underground
a living sculpture of a 50-year-old woman.
the woman as an object. or is there more behind it? can she tell a story with just her being here?
society has its own associations with a 50-year-old woman. the time in which one seems young one day and old the next. the time in which one is many.
or.
with 50 one has nothing to hide anymore. one is who one is. no reason to have to defend oneself to others. not everything has to be spoken out. being speaks for itself. speaks for itself for the richness of that which has been lived so far.
photos by elena kaleva and ivan donchev
2017
a 3-hour performance
sofia underground
a living sculpture of a 50-year-old woman.
the woman as an object. or is there more behind it? can she tell a story with just her being here?
society has its own associations with a 50-year-old woman. the time in which one seems young one day and old the next. the time in which one is many.
or.
with 50 one has nothing to hide anymore. one is who one is. no reason to have to defend oneself to others. not everything has to be spoken out. being speaks for itself. speaks for itself for the richness of that which has been lived so far.
photos by elena kaleva and ivan donchev
2017
a 3-hour performance
sofia underground
a living sculpture of a 50-year-old woman.
the woman as an object. or is there more behind it? can she tell a story with just her being here?
society has its own associations with a 50-year-old woman. the time in which one seems young one day and old the next. the time in which one is many.
or.
with 50 one has nothing to hide anymore. one is who one is. no reason to have to defend oneself to others. not everything has to be spoken out. being speaks for itself. speaks for itself for the richness of that which has been lived so far.
photos by elena kaleva and ivan donchev
2017
a 3-hour performance
sofia underground
a living sculpture of a 50-year-old woman.
the woman as an object. or is there more behind it? can she tell a story with just her being here?
society has its own associations with a 50-year-old woman. the time in which one seems young one day and old the next. the time in which one is many.
or.
with 50 one has nothing to hide anymore. one is who one is. no reason to have to defend oneself to others. not everything has to be spoken out. being speaks for itself. speaks for itself for the richness of that which has been lived so far.
photos by elena kaleva and ivan donchev
2017
a 3-hour performance
sofia underground
a living sculpture of a 50-year-old woman.
the woman as an object. or is there more behind it? can she tell a story with just her being here?
society has its own associations with a 50-year-old woman. the time in which one seems young one day and old the next. the time in which one is many.
or.
with 50 one has nothing to hide anymore. one is who one is. no reason to have to defend oneself to others. not everything has to be spoken out. being speaks for itself. speaks for itself for the richness of that which has been lived so far.
photos by elena kaleva and ivan donchev
2017
a 3-hour performance
sofia underground
a living sculpture of a 50-year-old woman.
the woman as an object. or is there more behind it? can she tell a story with just her being here?
society has its own associations with a 50-year-old woman. the time in which one seems young one day and old the next. the time in which one is many.
or.
with 50 one has nothing to hide anymore. one is who one is. no reason to have to defend oneself to others. not everything has to be spoken out. being speaks for itself. speaks for itself for the richness of that which has been lived so far.
photos by elena kaleva and ivan donchev
2017
a 3-hour performance
sofia underground
a living sculpture of a 50-year-old woman.
the woman as an object. or is there more behind it? can she tell a story with just her being here?
society has its own associations with a 50-year-old woman. the time in which one seems young one day and old the next. the time in which one is many.
or.
with 50 one has nothing to hide anymore. one is who one is. no reason to have to defend oneself to others. not everything has to be spoken out. being speaks for itself. speaks for itself for the richness of that which has been lived so far.
photos by elena kaleva and ivan donchev
2017
a 3-hour performance
sofia underground
a living sculpture of a 50-year-old woman.
the woman as an object. or is there more behind it? can she tell a story with just her being here?
society has its own associations with a 50-year-old woman. the time in which one seems young one day and old the next. the time in which one is many.
or.
with 50 one has nothing to hide anymore. one is who one is. no reason to have to defend oneself to others. not everything has to be spoken out. being speaks for itself. speaks for itself for the richness of that which has been lived so far.
photos by elena kaleva and ivan donchev
2017
a 3-hour performance
sofia underground
a living sculpture of a 50-year-old woman.
the woman as an object. or is there more behind it? can she tell a story with just her being here?
society has its own associations with a 50-year-old woman. the time in which one seems young one day and old the next. the time in which one is many.
or.
with 50 one has nothing to hide anymore. one is who one is. no reason to have to defend oneself to others. not everything has to be spoken out. being speaks for itself. speaks for itself for the richness of that which has been lived so far.
photos by elena kaleva and ivan donchev
2017
a 3-hour performance
sofia underground
a living sculpture of a 50-year-old woman.
the woman as an object. or is there more behind it? can she tell a story with just her being here?
society has its own associations with a 50-year-old woman. the time in which one seems young one day and old the next. the time in which one is many.
or.
with 50 one has nothing to hide anymore. one is who one is. no reason to have to defend oneself to others. not everything has to be spoken out. being speaks for itself. speaks for itself for the richness of that which has been lived so far.
photos by elena kaleva and ivan donchev
2017
a 3-hour performance
sofia underground
a living sculpture of a 50-year-old woman.
the woman as an object. or is there more behind it? can she tell a story with just her being here?
society has its own associations with a 50-year-old woman. the time in which one seems young one day and old the next. the time in which one is many.
or.
with 50 one has nothing to hide anymore. one is who one is. no reason to have to defend oneself to others. not everything has to be spoken out. being speaks for itself. speaks for itself for the richness of that which has been lived so far.
photos by elena kaleva and ivan donchev
2017
a 3-hour performance
sofia underground
a living sculpture of a 50-year-old woman.
the woman as an object. or is there more behind it? can she tell a story with just her being here?
society has its own associations with a 50-year-old woman. the time in which one seems young one day and old the next. the time in which one is many.
or.
with 50 one has nothing to hide anymore. one is who one is. no reason to have to defend oneself to others. not everything has to be spoken out. being speaks for itself. speaks for itself for the richness of that which has been lived so far.
photos by elena kaleva and ivan donchev
un-wrapped
2016
a durational performance
being her now | salisbury university galleries
un-wrapped is a continuation of wrapped, a performance first presented in 2014 in guangzhou, china.
once completely still the smallest movement becomes a big act, time disappears, there is only now – every unfolding starts within.
2016
a durational performance
being her now | salisbury university galleries
un-wrapped is a continuation of wrapped, a performance first presented in 2014 in guangzhou, china.
once completely still the smallest movement becomes a big act, time disappears, there is only now – every unfolding starts within.
2016
a durational performance
being her now | salisbury university galleries
un-wrapped is a continuation of wrapped, a performance first presented in 2014 in guangzhou, china.
once completely still the smallest movement becomes a big act, time disappears, there is only now – every unfolding starts within.
2016
a durational performance
being her now | salisbury university galleries
un-wrapped is a continuation of wrapped, a performance first presented in 2014 in guangzhou, china.
once completely still the smallest movement becomes a big act, time disappears, there is only now – every unfolding starts within.
2016
a durational performance
being her now | salisbury university galleries
un-wrapped is a continuation of wrapped, a performance first presented in 2014 in guangzhou, china.
once completely still the smallest movement becomes a big act, time disappears, there is only now – every unfolding starts within.
2016
a durational performance
being her now | salisbury university galleries
un-wrapped is a continuation of wrapped, a performance first presented in 2014 in guangzhou, china.
once completely still the smallest movement becomes a big act, time disappears, there is only now – every unfolding starts within.
2016
a durational performance
being her now | salisbury university galleries
un-wrapped is a continuation of wrapped, a performance first presented in 2014 in guangzhou, china.
once completely still the smallest movement becomes a big act, time disappears, there is only now – every unfolding starts within.
2016
a durational performance
being her now | salisbury university galleries
un-wrapped is a continuation of wrapped, a performance first presented in 2014 in guangzhou, china.
once completely still the smallest movement becomes a big act, time disappears, there is only now – every unfolding starts within.
2016
a durational performance
being her now | salisbury university galleries
un-wrapped is a continuation of wrapped, a performance first presented in 2014 in guangzhou, china.
once completely still the smallest movement becomes a big act, time disappears, there is only now – every unfolding starts within.
2016
a durational performance
being her now | salisbury university galleries
un-wrapped is a continuation of wrapped, a performance first presented in 2014 in guangzhou, china.
once completely still the smallest movement becomes a big act, time disappears, there is only now – every unfolding starts within.
wrapped
2014
a durational performance
guangzhou live 5 | 2014 | guangzhou | china
once completely still the smallest movement becomes a big act, time disappears, there is only now – every unfolding starts within.
standing completely motionless on the village square wrapped in cloth for one hour with the eyes closed, for the second hour with the eyes open.
2014
a durational performance
guangzhou live 5 | 2014 | guangzhou | china
once completely still the smallest movement becomes a big act, time disappears, there is only now – every unfolding starts within.
standing completely motionless on the village square wrapped in cloth for one hour with the eyes closed, for the second hour with the eyes open.
2014
a durational performance
guangzhou live 5 | 2014 | guangzhou | china
once completely still the smallest movement becomes a big act, time disappears, there is only now – every unfolding starts within.
standing completely motionless on the village square wrapped in cloth for one hour with the eyes closed, for the second hour with the eyes open.
2014
a durational performance
guangzhou live 5 | 2014 | guangzhou | china
once completely still the smallest movement becomes a big act, time disappears, there is only now – every unfolding starts within.
standing completely motionless on the village square wrapped in cloth for one hour with the eyes closed, for the second hour with the eyes open.
2014
a durational performance
guangzhou live 5 | 2014 | guangzhou | china
once completely still the smallest movement becomes a big act, time disappears, there is only now – every unfolding starts within.
standing completely motionless on the village square wrapped in cloth for one hour with the eyes closed, for the second hour with the eyes open.
2014
a durational performance
guangzhou live 5 | 2014 | guangzhou | china
once completely still the smallest movement becomes a big act, time disappears, there is only now – every unfolding starts within.
standing completely motionless on the village square wrapped in cloth for one hour with the eyes closed, for the second hour with the eyes open.
just a grain of sand
2014
a durational performance
meta – chongqing live art 2014 | chongqing | china
'just a grain of sand' is a durational performance created for the meta chongqing live art festival 2014. scherrer is laying out single grains of sand in the hallway in front of the gallery over the duration of 5 hours. each grain is different from the others. all the grains together make sand. in a world full of conflict 'just a grain of sand' is a reminder that although we are all unique we are all the same, we are all one.
2014
a durational performance
meta – chongqing live art 2014 | chongqing | china
'just a grain of sand' is a durational performance created for the meta chongqing live art festival 2014. scherrer is laying out single grains of sand in the hallway in front of the gallery over the duration of 5 hours. each grain is different from the others. all the grains together make sand. in a world full of conflict 'just a grain of sand' is a reminder that although we are all unique we are all the same, we are all one.
2014
a durational performance
meta – chongqing live art 2014 | chongqing | china
'just a grain of sand' is a durational performance created for the meta chongqing live art festival 2014. scherrer is laying out single grains of sand in the hallway in front of the gallery over the duration of 5 hours. each grain is different from the others. all the grains together make sand. in a world full of conflict 'just a grain of sand' is a reminder that although we are all unique we are all the same, we are all one.
2014
a durational performance
meta – chongqing live art 2014 | chongqing | china
'just a grain of sand' is a durational performance created for the meta chongqing live art festival 2014. scherrer is laying out single grains of sand in the hallway in front of the gallery over the duration of 5 hours. each grain is different from the others. all the grains together make sand. in a world full of conflict 'just a grain of sand' is a reminder that although we are all unique we are all the same, we are all one.
2014
a durational performance
meta – chongqing live art 2014 | chongqing | china
'just a grain of sand' is a durational performance created for the meta chongqing live art festival 2014. scherrer is laying out single grains of sand in the hallway in front of the gallery over the duration of 5 hours. each grain is different from the others. all the grains together make sand. in a world full of conflict 'just a grain of sand' is a reminder that although we are all unique we are all the same, we are all one.
i know myself and i don't
2014
organhaus | chongqing | china
during the opening ursula scherrer wrote with coal onto the entire floor of the gallery. starting in the far end, she continuously kept writing – the writing slowly pushed the people out of the space including the artist herself. due to the shape of the space the piece in its entirety was never seen.
the first person that reentered the gallery started to leave a trace. the piece kept mutating with every additional step made, highlighting the impermanence of everything.
the exhibition included a photograph as well as the exhibition text, translated from english into chinese with google translate. the characters were copied by scherrer onto the wall of the space (the artist doesn't know chinese).
i arrive in chongching.
everything is new. unknown. no familiar face. no familiar sight. no familiar sound. no familiar smell.
the floor is taken away from underneath my feet.
who am i in this world?
i desperately try to hang on to my notion of i, the i that i know in my own environment.
but is the i that lives at home the same i that is here right now?
different aspects of myself are surfacing.
i don't feel good in my skin.
my body is my body.
is it really? it seems taller then at home.
life as a comparison.
i walk around with my camera. obsessively taking photographs.
finding something to hold on to.
i photograph my body. exploring my own landscape.
writing.
copying.
back to the beginning of being.
that is how we learn.
cleaning to find clarity.
cleaning to be visible.
cleaning to make space to find myself.
one pushes out the other.
slowly.
with persistence.
things come and go.
only the moment exists.
there is no end.
the end becomes the beginning.
what is was.
the fleeting.
2014
organhaus | chongqing | china
during the opening ursula scherrer wrote with coal onto the entire floor of the gallery. starting in the far end, she continuously kept writing – the writing slowly pushed the people out of the space including the artist herself. due to the shape of the space the piece in its entirety was never seen.
the first person that reentered the gallery started to leave a trace. the piece kept mutating with every additional step made, highlighting the impermanence of everything.
the exhibition included a photograph as well as the exhibition text, translated from english into chinese with google translate. the characters were copied by scherrer onto the wall of the space (the artist doesn't know chinese).
i arrive in chongching.
everything is new. unknown. no familiar face. no familiar sight. no familiar sound. no familiar smell.
the floor is taken away from underneath my feet.
who am i in this world?
i desperately try to hang on to my notion of i, the i that i know in my own environment.
but is the i that lives at home the same i that is here right now?
different aspects of myself are surfacing.
i don't feel good in my skin.
my body is my body.
is it really? it seems taller then at home.
life as a comparison.
i walk around with my camera. obsessively taking photographs.
finding something to hold on to.
i photograph my body. exploring my own landscape.
writing.
copying.
back to the beginning of being.
that is how we learn.
cleaning to find clarity.
cleaning to be visible.
cleaning to make space to find myself.
one pushes out the other.
slowly.
with persistence.
things come and go.
only the moment exists.
there is no end.
the end becomes the beginning.
what is was.
the fleeting.
2014
organhaus | chongqing | china
during the opening ursula scherrer wrote with coal onto the entire floor of the gallery. starting in the far end, she continuously kept writing – the writing slowly pushed the people out of the space including the artist herself. due to the shape of the space the piece in its entirety was never seen.
the first person that reentered the gallery started to leave a trace. the piece kept mutating with every additional step made, highlighting the impermanence of everything.
the exhibition included a photograph as well as the exhibition text, translated from english into chinese with google translate. the characters were copied by scherrer onto the wall of the space (the artist doesn't know chinese).
i arrive in chongching.
everything is new. unknown. no familiar face. no familiar sight. no familiar sound. no familiar smell.
the floor is taken away from underneath my feet.
who am i in this world?
i desperately try to hang on to my notion of i, the i that i know in my own environment.
but is the i that lives at home the same i that is here right now?
different aspects of myself are surfacing.
i don't feel good in my skin.
my body is my body.
is it really? it seems taller then at home.
life as a comparison.
i walk around with my camera. obsessively taking photographs.
finding something to hold on to.
i photograph my body. exploring my own landscape.
writing.
copying.
back to the beginning of being.
that is how we learn.
cleaning to find clarity.
cleaning to be visible.
cleaning to make space to find myself.
one pushes out the other.
slowly.
with persistence.
things come and go.
only the moment exists.
there is no end.
the end becomes the beginning.
what is was.
the fleeting.
2014
organhaus | chongqing | china
during the opening ursula scherrer wrote with coal onto the entire floor of the gallery. starting in the far end, she continuously kept writing – the writing slowly pushed the people out of the space including the artist herself. due to the shape of the space the piece in its entirety was never seen.
the first person that reentered the gallery started to leave a trace. the piece kept mutating with every additional step made, highlighting the impermanence of everything.
the exhibition included a photograph as well as the exhibition text, translated from english into chinese with google translate. the characters were copied by scherrer onto the wall of the space (the artist doesn't know chinese).
i arrive in chongching.
everything is new. unknown. no familiar face. no familiar sight. no familiar sound. no familiar smell.
the floor is taken away from underneath my feet.
who am i in this world?
i desperately try to hang on to my notion of i, the i that i know in my own environment.
but is the i that lives at home the same i that is here right now?
different aspects of myself are surfacing.
i don't feel good in my skin.
my body is my body.
is it really? it seems taller then at home.
life as a comparison.
i walk around with my camera. obsessively taking photographs.
finding something to hold on to.
i photograph my body. exploring my own landscape.
writing.
copying.
back to the beginning of being.
that is how we learn.
cleaning to find clarity.
cleaning to be visible.
cleaning to make space to find myself.
one pushes out the other.
slowly.
with persistence.
things come and go.
only the moment exists.
there is no end.
the end becomes the beginning.
what is was.
the fleeting.
2014
organhaus | chongqing | china
during the opening ursula scherrer wrote with coal onto the entire floor of the gallery. starting in the far end, she continuously kept writing – the writing slowly pushed the people out of the space including the artist herself. due to the shape of the space the piece in its entirety was never seen.
the first person that reentered the gallery started to leave a trace. the piece kept mutating with every additional step made, highlighting the impermanence of everything.
the exhibition included a photograph as well as the exhibition text, translated from english into chinese with google translate. the characters were copied by scherrer onto the wall of the space (the artist doesn't know chinese).
i arrive in chongching.
everything is new. unknown. no familiar face. no familiar sight. no familiar sound. no familiar smell.
the floor is taken away from underneath my feet.
who am i in this world?
i desperately try to hang on to my notion of i, the i that i know in my own environment.
but is the i that lives at home the same i that is here right now?
different aspects of myself are surfacing.
i don't feel good in my skin.
my body is my body.
is it really? it seems taller then at home.
life as a comparison.
i walk around with my camera. obsessively taking photographs.
finding something to hold on to.
i photograph my body. exploring my own landscape.
writing.
copying.
back to the beginning of being.
that is how we learn.
cleaning to find clarity.
cleaning to be visible.
cleaning to make space to find myself.
one pushes out the other.
slowly.
with persistence.
things come and go.
only the moment exists.
there is no end.
the end becomes the beginning.
what is was.
the fleeting.
2014
organhaus | chongqing | china
during the opening ursula scherrer wrote with coal onto the entire floor of the gallery. starting in the far end, she continuously kept writing – the writing slowly pushed the people out of the space including the artist herself. due to the shape of the space the piece in its entirety was never seen.
the first person that reentered the gallery started to leave a trace. the piece kept mutating with every additional step made, highlighting the impermanence of everything.
the exhibition included a photograph as well as the exhibition text, translated from english into chinese with google translate. the characters were copied by scherrer onto the wall of the space (the artist doesn't know chinese).
i arrive in chongching.
everything is new. unknown. no familiar face. no familiar sight. no familiar sound. no familiar smell.
the floor is taken away from underneath my feet.
who am i in this world?
i desperately try to hang on to my notion of i, the i that i know in my own environment.
but is the i that lives at home the same i that is here right now?
different aspects of myself are surfacing.
i don't feel good in my skin.
my body is my body.
is it really? it seems taller then at home.
life as a comparison.
i walk around with my camera. obsessively taking photographs.
finding something to hold on to.
i photograph my body. exploring my own landscape.
writing.
copying.
back to the beginning of being.
that is how we learn.
cleaning to find clarity.
cleaning to be visible.
cleaning to make space to find myself.
one pushes out the other.
slowly.
with persistence.
things come and go.
only the moment exists.
there is no end.
the end becomes the beginning.
what is was.
the fleeting.
2014
organhaus | chongqing | china
during the opening ursula scherrer wrote with coal onto the entire floor of the gallery. starting in the far end, she continuously kept writing – the writing slowly pushed the people out of the space including the artist herself. due to the shape of the space the piece in its entirety was never seen.
the first person that reentered the gallery started to leave a trace. the piece kept mutating with every additional step made, highlighting the impermanence of everything.
the exhibition included a photograph as well as the exhibition text, translated from english into chinese with google translate. the characters were copied by scherrer onto the wall of the space (the artist doesn't know chinese).
i arrive in chongching.
everything is new. unknown. no familiar face. no familiar sight. no familiar sound. no familiar smell.
the floor is taken away from underneath my feet.
who am i in this world?
i desperately try to hang on to my notion of i, the i that i know in my own environment.
but is the i that lives at home the same i that is here right now?
different aspects of myself are surfacing.
i don't feel good in my skin.
my body is my body.
is it really? it seems taller then at home.
life as a comparison.
i walk around with my camera. obsessively taking photographs.
finding something to hold on to.
i photograph my body. exploring my own landscape.
writing.
copying.
back to the beginning of being.
that is how we learn.
cleaning to find clarity.
cleaning to be visible.
cleaning to make space to find myself.
one pushes out the other.
slowly.
with persistence.
things come and go.
only the moment exists.
there is no end.
the end becomes the beginning.
what is was.
the fleeting.
2014
organhaus | chongqing | china
during the opening ursula scherrer wrote with coal onto the entire floor of the gallery. starting in the far end, she continuously kept writing – the writing slowly pushed the people out of the space including the artist herself. due to the shape of the space the piece in its entirety was never seen.
the first person that reentered the gallery started to leave a trace. the piece kept mutating with every additional step made, highlighting the impermanence of everything.
the exhibition included a photograph as well as the exhibition text, translated from english into chinese with google translate. the characters were copied by scherrer onto the wall of the space (the artist doesn't know chinese).
i arrive in chongching.
everything is new. unknown. no familiar face. no familiar sight. no familiar sound. no familiar smell.
the floor is taken away from underneath my feet.
who am i in this world?
i desperately try to hang on to my notion of i, the i that i know in my own environment.
but is the i that lives at home the same i that is here right now?
different aspects of myself are surfacing.
i don't feel good in my skin.
my body is my body.
is it really? it seems taller then at home.
life as a comparison.
i walk around with my camera. obsessively taking photographs.
finding something to hold on to.
i photograph my body. exploring my own landscape.
writing.
copying.
back to the beginning of being.
that is how we learn.
cleaning to find clarity.
cleaning to be visible.
cleaning to make space to find myself.
one pushes out the other.
slowly.
with persistence.
things come and go.
only the moment exists.
there is no end.
the end becomes the beginning.
what is was.
the fleeting.
2014
organhaus | chongqing | china
during the opening ursula scherrer wrote with coal onto the entire floor of the gallery. starting in the far end, she continuously kept writing – the writing slowly pushed the people out of the space including the artist herself. due to the shape of the space the piece in its entirety was never seen.
the first person that reentered the gallery started to leave a trace. the piece kept mutating with every additional step made, highlighting the impermanence of everything.
the exhibition included a photograph as well as the exhibition text, translated from english into chinese with google translate. the characters were copied by scherrer onto the wall of the space (the artist doesn't know chinese).
i arrive in chongching.
everything is new. unknown. no familiar face. no familiar sight. no familiar sound. no familiar smell.
the floor is taken away from underneath my feet.
who am i in this world?
i desperately try to hang on to my notion of i, the i that i know in my own environment.
but is the i that lives at home the same i that is here right now?
different aspects of myself are surfacing.
i don't feel good in my skin.
my body is my body.
is it really? it seems taller then at home.
life as a comparison.
i walk around with my camera. obsessively taking photographs.
finding something to hold on to.
i photograph my body. exploring my own landscape.
writing.
copying.
back to the beginning of being.
that is how we learn.
cleaning to find clarity.
cleaning to be visible.
cleaning to make space to find myself.
one pushes out the other.
slowly.
with persistence.
things come and go.
only the moment exists.
there is no end.
the end becomes the beginning.
what is was.
the fleeting.
2014
organhaus | chongqing | china
during the opening ursula scherrer wrote with coal onto the entire floor of the gallery. starting in the far end, she continuously kept writing – the writing slowly pushed the people out of the space including the artist herself. due to the shape of the space the piece in its entirety was never seen.
the first person that reentered the gallery started to leave a trace. the piece kept mutating with every additional step made, highlighting the impermanence of everything.
the exhibition included a photograph as well as the exhibition text, translated from english into chinese with google translate. the characters were copied by scherrer onto the wall of the space (the artist doesn't know chinese).
i arrive in chongching.
everything is new. unknown. no familiar face. no familiar sight. no familiar sound. no familiar smell.
the floor is taken away from underneath my feet.
who am i in this world?
i desperately try to hang on to my notion of i, the i that i know in my own environment.
but is the i that lives at home the same i that is here right now?
different aspects of myself are surfacing.
i don't feel good in my skin.
my body is my body.
is it really? it seems taller then at home.
life as a comparison.
i walk around with my camera. obsessively taking photographs.
finding something to hold on to.
i photograph my body. exploring my own landscape.
writing.
copying.
back to the beginning of being.
that is how we learn.
cleaning to find clarity.
cleaning to be visible.
cleaning to make space to find myself.
one pushes out the other.
slowly.
with persistence.
things come and go.
only the moment exists.
there is no end.
the end becomes the beginning.
what is was.
the fleeting.
2014
organhaus | chongqing | china
during the opening ursula scherrer wrote with coal onto the entire floor of the gallery. starting in the far end, she continuously kept writing – the writing slowly pushed the people out of the space including the artist herself. due to the shape of the space the piece in its entirety was never seen.
the first person that reentered the gallery started to leave a trace. the piece kept mutating with every additional step made, highlighting the impermanence of everything.
the exhibition included a photograph as well as the exhibition text, translated from english into chinese with google translate. the characters were copied by scherrer onto the wall of the space (the artist doesn't know chinese).
i arrive in chongching.
everything is new. unknown. no familiar face. no familiar sight. no familiar sound. no familiar smell.
the floor is taken away from underneath my feet.
who am i in this world?
i desperately try to hang on to my notion of i, the i that i know in my own environment.
but is the i that lives at home the same i that is here right now?
different aspects of myself are surfacing.
i don't feel good in my skin.
my body is my body.
is it really? it seems taller then at home.
life as a comparison.
i walk around with my camera. obsessively taking photographs.
finding something to hold on to.
i photograph my body. exploring my own landscape.
writing.
copying.
back to the beginning of being.
that is how we learn.
cleaning to find clarity.
cleaning to be visible.
cleaning to make space to find myself.
one pushes out the other.
slowly.
with persistence.
things come and go.
only the moment exists.
there is no end.
the end becomes the beginning.
what is was.
the fleeting.
2014
organhaus | chongqing | china
during the opening ursula scherrer wrote with coal onto the entire floor of the gallery. starting in the far end, she continuously kept writing – the writing slowly pushed the people out of the space including the artist herself. due to the shape of the space the piece in its entirety was never seen.
the first person that reentered the gallery started to leave a trace. the piece kept mutating with every additional step made, highlighting the impermanence of everything.
the exhibition included a photograph as well as the exhibition text, translated from english into chinese with google translate. the characters were copied by scherrer onto the wall of the space (the artist doesn't know chinese).
i arrive in chongching.
everything is new. unknown. no familiar face. no familiar sight. no familiar sound. no familiar smell.
the floor is taken away from underneath my feet.
who am i in this world?
i desperately try to hang on to my notion of i, the i that i know in my own environment.
but is the i that lives at home the same i that is here right now?
different aspects of myself are surfacing.
i don't feel good in my skin.
my body is my body.
is it really? it seems taller then at home.
life as a comparison.
i walk around with my camera. obsessively taking photographs.
finding something to hold on to.
i photograph my body. exploring my own landscape.
writing.
copying.
back to the beginning of being.
that is how we learn.
cleaning to find clarity.
cleaning to be visible.
cleaning to make space to find myself.
one pushes out the other.
slowly.
with persistence.
things come and go.
only the moment exists.
there is no end.
the end becomes the beginning.
what is was.
the fleeting.
2014
organhaus | chongqing | china
during the opening ursula scherrer wrote with coal onto the entire floor of the gallery. starting in the far end, she continuously kept writing – the writing slowly pushed the people out of the space including the artist herself. due to the shape of the space the piece in its entirety was never seen.
the first person that reentered the gallery started to leave a trace. the piece kept mutating with every additional step made, highlighting the impermanence of everything.
the exhibition included a photograph as well as the exhibition text, translated from english into chinese with google translate. the characters were copied by scherrer onto the wall of the space (the artist doesn't know chinese).
i arrive in chongching.
everything is new. unknown. no familiar face. no familiar sight. no familiar sound. no familiar smell.
the floor is taken away from underneath my feet.
who am i in this world?
i desperately try to hang on to my notion of i, the i that i know in my own environment.
but is the i that lives at home the same i that is here right now?
different aspects of myself are surfacing.
i don't feel good in my skin.
my body is my body.
is it really? it seems taller then at home.
life as a comparison.
i walk around with my camera. obsessively taking photographs.
finding something to hold on to.
i photograph my body. exploring my own landscape.
writing.
copying.
back to the beginning of being.
that is how we learn.
cleaning to find clarity.
cleaning to be visible.
cleaning to make space to find myself.
one pushes out the other.
slowly.
with persistence.
things come and go.
only the moment exists.
there is no end.
the end becomes the beginning.
what is was.
the fleeting.