performance
spaziergang im kreis | walk in a circle
holy wow! herbst fest, kloster dornach, 2024. duration: 4 h
a participative walk in the medicinal herb garden
the audience is invited to walk in a circle with the artist and performer in the medicinal herb garden of the cloister. one backwards, one forwards, as perhaps the capuchins used to do. the herbs form the starting point. it is not primarily about the knowledge of the plants, but about where they lead us, what they trigger in us.
a participative walk sometimes in conversation, sometimes in storytelling, sometimes in silence.
photos: esther petsche
holy wow! herbst fest, kloster dornach, 2024. duration: 4 h
a participative walk in the medicinal herb garden
the audience is invited to walk in a circle with the artist and performer in the medicinal herb garden of the cloister. one backwards, one forwards, as perhaps the capuchins used to do. the herbs form the starting point. it is not primarily about the knowledge of the plants, but about where they lead us, what they trigger in us.
a participative walk sometimes in conversation, sometimes in storytelling, sometimes in silence.
photos: esther petsche
holy wow! herbst fest, kloster dornach, 2024. duration: 4 h
a participative walk in the medicinal herb garden
the audience is invited to walk in a circle with the artist and performer in the medicinal herb garden of the cloister. one backwards, one forwards, as perhaps the capuchins used to do. the herbs form the starting point. it is not primarily about the knowledge of the plants, but about where they lead us, what they trigger in us.
a participative walk sometimes in conversation, sometimes in storytelling, sometimes in silence.
photos: esther petsche
holy wow! herbst fest, kloster dornach, 2024. duration: 4 h
a participative walk in the medicinal herb garden
the audience is invited to walk in a circle with the artist and performer in the medicinal herb garden of the cloister. one backwards, one forwards, as perhaps the capuchins used to do. the herbs form the starting point. it is not primarily about the knowledge of the plants, but about where they lead us, what they trigger in us.
a participative walk sometimes in conversation, sometimes in storytelling, sometimes in silence.
photos: esther petsche
holy wow! herbst fest, kloster dornach, 2024. duration: 4 h
a participative walk in the medicinal herb garden
the audience is invited to walk in a circle with the artist and performer in the medicinal herb garden of the cloister. one backwards, one forwards, as perhaps the capuchins used to do. the herbs form the starting point. it is not primarily about the knowledge of the plants, but about where they lead us, what they trigger in us.
a participative walk sometimes in conversation, sometimes in storytelling, sometimes in silence.
photos: esther petsche
nicht eine führung
entrée&hommage, project space m54, basel, 2023
an abstract tour through the exhibition that is not a tour or many parallel ones next to and against each other. a letting myself be guided by what is in the moment, by what suits me.
photos: sabine gysin
entrée&hommage, project space m54, basel, 2023
an abstract tour through the exhibition that is not a tour or many parallel ones next to and against each other. a letting myself be guided by what is in the moment, by what suits me.
photos: sabine gysin
entrée&hommage, project space m54, basel, 2023
an abstract tour through the exhibition that is not a tour or many parallel ones next to and against each other. a letting myself be guided by what is in the moment, by what suits me.
photos: sabine gysin
feilen | to file
museum 1, adligenswil, 2023. duration: 4 h
last actions in the empty lot.
ursula scherrer spends hours filing a slit in the wall of the barrack with a tiny file.
she connects the inside with the outside, the outside with the inside.
the stubborn action takes on through the focus with which it is done its own meaning.
photos: judith huber
museum 1, adligenswil, 2023. duration: 4 h
last actions in the empty lot.
ursula scherrer spends hours filing a slit in the wall of the barrack with a tiny file.
she connects the inside with the outside, the outside with the inside.
the stubborn action takes on through the focus with which it is done its own meaning.
photos: judith huber
museum 1, adligenswil, 2023. duration: 4 h
last actions in the empty lot.
ursula scherrer spends hours filing a slit in the wall of the barrack with a tiny file.
she connects the inside with the outside, the outside with the inside.
the stubborn action takes on through the focus with which it is done its own meaning.
photos: judith huber
museum 1, adligenswil, 2023. duration: 4 h
last actions in the empty lot.
ursula scherrer spends hours filing a slit in the wall of the barrack with a tiny file.
she connects the inside with the outside, the outside with the inside.
the stubborn action takes on through the focus with which it is done its own meaning.
photos: judith huber
museum 1, adligenswil, 2023. duration: 4 h
last actions in the empty lot.
ursula scherrer spends hours filing a slit in the wall of the barrack with a tiny file.
she connects the inside with the outside, the outside with the inside.
the stubborn action takes on through the focus with which it is done its own meaning.
photos: judith huber
museum 1, adligenswil, 2023. duration: 4 h
last actions in the empty lot.
ursula scherrer spends hours filing a slit in the wall of the barrack with a tiny file.
she connects the inside with the outside, the outside with the inside.
the stubborn action takes on through the focus with which it is done its own meaning.
photos: judith huber
museum 1, adligenswil, 2023. duration: 4 h
last actions in the empty lot.
ursula scherrer spends hours filing a slit in the wall of the barrack with a tiny file.
she connects the inside with the outside, the outside with the inside.
the stubborn action takes on through the focus with which it is done its own meaning.
photos: judith huber
museum 1, adligenswil, 2023. duration: 4 h
last actions in the empty lot.
ursula scherrer spends hours filing a slit in the wall of the barrack with a tiny file.
she connects the inside with the outside, the outside with the inside.
the stubborn action takes on through the focus with which it is done its own meaning.
photos: judith huber
museum 1, adligenswil, 2023. duration: 4 h
last actions in the empty lot.
ursula scherrer spends hours filing a slit in the wall of the barrack with a tiny file.
she connects the inside with the outside, the outside with the inside.
the stubborn action takes on through the focus with which it is done its own meaning.
photos: judith huber
spaziergang mit einem elefanten | walk with an elephant
migma festival, kunstpavillon luzern, 2022
all I can carry
the artist is taking an elephant for a walk in the garden of the art pavilion.
exploring. poetically.
there is a story that connects the elephant to her.
then there is also the elephant in the room.
photos: markus goessi
migma festival, kunstpavillon luzern, 2022
all I can carry
the artist is taking an elephant for a walk in the garden of the art pavilion.
exploring. poetically.
there is a story that connects the elephant to her.
then there is also the elephant in the room.
photos: markus goessi
migma festival, kunstpavillon luzern, 2022
all I can carry
the artist is taking an elephant for a walk in the garden of the art pavilion.
exploring. poetically.
there is a story that connects the elephant to her.
then there is also the elephant in the room.
photos: markus goessi
migma festival, kunstpavillon luzern, 2022
all I can carry
the artist is taking an elephant for a walk in the garden of the art pavilion.
exploring. poetically.
there is a story that connects the elephant to her.
then there is also the elephant in the room.
photos: markus goessi
migma festival, kunstpavillon luzern, 2022
all I can carry
the artist is taking an elephant for a walk in the garden of the art pavilion.
exploring. poetically.
there is a story that connects the elephant to her.
then there is also the elephant in the room.
photos: markus goessi
migma festival, kunstpavillon luzern, 2022
all I can carry
the artist is taking an elephant for a walk in the garden of the art pavilion.
exploring. poetically.
there is a story that connects the elephant to her.
then there is also the elephant in the room.
photos: markus goessi
migma festival, kunstpavillon luzern, 2022
all I can carry
the artist is taking an elephant for a walk in the garden of the art pavilion.
exploring. poetically.
there is a story that connects the elephant to her.
then there is also the elephant in the room.
photos: markus goessi
can you see me
permanente performance – 40 jahre konzil, künstlerhaus stuttgart, 2021
performance in the public space in front of the government of baden–württemberg
can – can you – you – you see – see – see me – me – can you see – you see me – can you see me
we are trying to be seen by making ourselves be heard.
we are trying to make ourselves heard by being seen.
what at first seems like a game becomes a desperate attempt to be heard, to be seen.
photos: oleg kauz
permanente performance – 40 jahre konzil, künstlerhaus stuttgart, 2021
performance in the public space in front of the government of baden–württemberg
can – can you – you – you see – see – see me – me – can you see – you see me – can you see me
we are trying to be seen by making ourselves be heard.
we are trying to make ourselves heard by being seen.
what at first seems like a game becomes a desperate attempt to be heard, to be seen.
photos: oleg kauz
permanente performance – 40 jahre konzil, künstlerhaus stuttgart, 2021
performance in the public space in front of the government of baden–württemberg
can – can you – you – you see – see – see me – me – can you see – you see me – can you see me
we are trying to be seen by making ourselves be heard.
we are trying to make ourselves heard by being seen.
what at first seems like a game becomes a desperate attempt to be heard, to be seen.
photos: oleg kauz
permanente performance – 40 jahre konzil, künstlerhaus stuttgart, 2021
performance in the public space in front of the government of baden–württemberg
can – can you – you – you see – see – see me – me – can you see – you see me – can you see me
we are trying to be seen by making ourselves be heard.
we are trying to make ourselves heard by being seen.
what at first seems like a game becomes a desperate attempt to be heard, to be seen.
photos: oleg kauz
permanente performance – 40 jahre konzil, künstlerhaus stuttgart, 2021
performance in the public space in front of the government of baden–württemberg
can – can you – you – you see – see – see me – me – can you see – you see me – can you see me
we are trying to be seen by making ourselves be heard.
we are trying to make ourselves heard by being seen.
what at first seems like a game becomes a desperate attempt to be heard, to be seen.
photos: oleg kauz
permanente performance – 40 jahre konzil, künstlerhaus stuttgart, 2021
performance in the public space in front of the government of baden–württemberg
can – can you – you – you see – see – see me – me – can you see – you see me – can you see me
we are trying to be seen by making ourselves be heard.
we are trying to make ourselves heard by being seen.
what at first seems like a game becomes a desperate attempt to be heard, to be seen.
photos: oleg kauz
permanente performance – 40 jahre konzil, künstlerhaus stuttgart, 2021
performance in the public space in front of the government of baden–württemberg
can – can you – you – you see – see – see me – me – can you see – you see me – can you see me
we are trying to be seen by making ourselves be heard.
we are trying to make ourselves heard by being seen.
what at first seems like a game becomes a desperate attempt to be heard, to be seen.
photos: oleg kauz
permanente performance – 40 jahre konzil, künstlerhaus stuttgart, 2021
performance in the public space in front of the government of baden–württemberg
can – can you – you – you see – see – see me – me – can you see – you see me – can you see me
we are trying to be seen by making ourselves be heard.
we are trying to make ourselves heard by being seen.
what at first seems like a game becomes a desperate attempt to be heard, to be seen.
photos: oleg kauz
permanente performance – 40 jahre konzil, künstlerhaus stuttgart, 2021
performance in the public space in front of the government of baden–württemberg
can – can you – you – you see – see – see me – me – can you see – you see me – can you see me
we are trying to be seen by making ourselves be heard.
we are trying to make ourselves heard by being seen.
what at first seems like a game becomes a desperate attempt to be heard, to be seen.
photos: oleg kauz
permanente performance – 40 jahre konzil, künstlerhaus stuttgart, 2021
performance in the public space in front of the government of baden–württemberg
can – can you – you – you see – see – see me – me – can you see – you see me – can you see me
we are trying to be seen by making ourselves be heard.
we are trying to make ourselves heard by being seen.
what at first seems like a game becomes a desperate attempt to be heard, to be seen.
photos: oleg kauz
permanente performance – 40 jahre konzil, künstlerhaus stuttgart, 2021
performance in the public space in front of the government of baden–württemberg
can – can you – you – you see – see – see me – me – can you see – you see me – can you see me
we are trying to be seen by making ourselves be heard.
we are trying to make ourselves heard by being seen.
what at first seems like a game becomes a desperate attempt to be heard, to be seen.
photos: oleg kauz
schattenwanderung | shadow walk
performancereihe neu-örlikon, 2020. duration 3 h
at the highest point of the sun, there is only a small shadow. as the sun is moving, the artist is laying out the shadow with stones. the stones on top of the stones. with the movement of the sun the shadows are becoming longer and longer. she is constantly talking to herself, only audible to those who come very close. isn't it that shadows often only become visible when they start to grow?
such was the concept.
and then there was rain. she was drawing an imaginary shadow. barely visible and yet so clear.
photos: markus goessi
performancereihe neu-örlikon, 2020. duration 3 h
at the highest point of the sun, there is only a small shadow. as the sun is moving, the artist is laying out the shadow with stones. the stones on top of the stones. with the movement of the sun the shadows are becoming longer and longer. she is constantly talking to herself, only audible to those who come very close. isn't it that shadows often only become visible when they start to grow?
such was the concept.
and then there was rain. she was drawing an imaginary shadow. barely visible and yet so clear.
photos: markus goessi
performancereihe neu-örlikon, 2020. duration 3 h
at the highest point of the sun, there is only a small shadow. as the sun is moving, the artist is laying out the shadow with stones. the stones on top of the stones. with the movement of the sun the shadows are becoming longer and longer. she is constantly talking to herself, only audible to those who come very close. isn't it that shadows often only become visible when they start to grow?
such was the concept.
and then there was rain. she was drawing an imaginary shadow. barely visible and yet so clear.
photos: markus goessi
performancereihe neu-örlikon, 2020. duration 3 h
at the highest point of the sun, there is only a small shadow. as the sun is moving, the artist is laying out the shadow with stones. the stones on top of the stones. with the movement of the sun the shadows are becoming longer and longer. she is constantly talking to herself, only audible to those who come very close. isn't it that shadows often only become visible when they start to grow?
such was the concept.
and then there was rain. she was drawing an imaginary shadow. barely visible and yet so clear.
photos: markus goessi
performancereihe neu-örlikon, 2020. duration 3 h
at the highest point of the sun, there is only a small shadow. as the sun is moving, the artist is laying out the shadow with stones. the stones on top of the stones. with the movement of the sun the shadows are becoming longer and longer. she is constantly talking to herself, only audible to those who come very close. isn't it that shadows often only become visible when they start to grow?
such was the concept.
and then there was rain. she was drawing an imaginary shadow. barely visible and yet so clear.
photos: markus goessi
performancereihe neu-örlikon, 2020. duration 3 h
at the highest point of the sun, there is only a small shadow. as the sun is moving, the artist is laying out the shadow with stones. the stones on top of the stones. with the movement of the sun the shadows are becoming longer and longer. she is constantly talking to herself, only audible to those who come very close. isn't it that shadows often only become visible when they start to grow?
such was the concept.
and then there was rain. she was drawing an imaginary shadow. barely visible and yet so clear.
photos: markus goessi
performancereihe neu-örlikon, 2020. duration 3 h
at the highest point of the sun, there is only a small shadow. as the sun is moving, the artist is laying out the shadow with stones. the stones on top of the stones. with the movement of the sun the shadows are becoming longer and longer. she is constantly talking to herself, only audible to those who come very close. isn't it that shadows often only become visible when they start to grow?
such was the concept.
and then there was rain. she was drawing an imaginary shadow. barely visible and yet so clear.
photos: markus goessi
performancereihe neu-örlikon, 2020. duration 3 h
at the highest point of the sun, there is only a small shadow. as the sun is moving, the artist is laying out the shadow with stones. the stones on top of the stones. with the movement of the sun the shadows are becoming longer and longer. she is constantly talking to herself, only audible to those who come very close. isn't it that shadows often only become visible when they start to grow?
such was the concept.
and then there was rain. she was drawing an imaginary shadow. barely visible and yet so clear.
photos: markus goessi
performancereihe neu-örlikon, 2020. duration 3 h
at the highest point of the sun, there is only a small shadow. as the sun is moving, the artist is laying out the shadow with stones. the stones on top of the stones. with the movement of the sun the shadows are becoming longer and longer. she is constantly talking to herself, only audible to those who come very close. isn't it that shadows often only become visible when they start to grow?
such was the concept.
and then there was rain. she was drawing an imaginary shadow. barely visible and yet so clear.
photos: markus goessi
performancereihe neu-örlikon, 2020. duration 3 h
at the highest point of the sun, there is only a small shadow. as the sun is moving, the artist is laying out the shadow with stones. the stones on top of the stones. with the movement of the sun the shadows are becoming longer and longer. she is constantly talking to herself, only audible to those who come very close. isn't it that shadows often only become visible when they start to grow?
such was the concept.
and then there was rain. she was drawing an imaginary shadow. barely visible and yet so clear.
photos: markus goessi
insekten sterben | insects are dying
must or not: focus performance & photography in collaboration with panch, 2020
photos: ute schendel, markus goessi
must or not: focus performance & photography in collaboration with panch, 2020
photos: ute schendel, markus goessi
must or not: focus performance & photography in collaboration with panch, 2020
photos: ute schendel, markus goessi
must or not: focus performance & photography in collaboration with panch, 2020
photos: ute schendel, markus goessi
must or not: focus performance & photography in collaboration with panch, 2020
photos: ute schendel, markus goessi
dear mrs .......
june 24th 2020
dear mrs .......
do we have parity between women and men in the galleries of zurich? the guide to the zurich galleries show that 71 male and 13 female artists are exhibiting in the galleries of zurich in june 2020. it clearly reflects the invisibility of female artists. since friday, copied gallery programmes 'with additions' have been lying around in many galleries and museums in zurich, there are 1000 copies in circulation.
i would be delighted if you would pick up this thread. only if we talk about the imbalance, show it visually using real examples, will we become aware of it and real change can be initiated. thank you very much!
with kind regards ursula scherrer
p.s.: i am at your disposal for further information.
june 24th 2020
dear mrs .......
do we have parity between women and men in the galleries of zurich? the guide to the zurich galleries show that 71 male and 13 female artists are exhibiting in the galleries of zurich in june 2020. it clearly reflects the invisibility of female artists. since friday, copied gallery programmes 'with additions' have been lying around in many galleries and museums in zurich, there are 1000 copies in circulation.
i would be delighted if you would pick up this thread. only if we talk about the imbalance, show it visually using real examples, will we become aware of it and real change can be initiated. thank you very much!
with kind regards ursula scherrer
p.s.: i am at your disposal for further information.
aus dem rahmen gefallen | to fall out of the frame
museum zu allerheiligen, schaffhausen, 2020
a performative sculpture
in german the expression ‘to fall out of the frame’ means ‘outside the box’.
a frame is standing on the floor. the artist is sitting naked half outside the frame. fallen out of the frame. she is sitting in the pose of a drawing by paula modersohn-becker.
potos peter pfister
museum zu allerheiligen, schaffhausen, 2020
a performative sculpture
in german the expression ‘to fall out of the frame’ means ‘outside the box’.
a frame is standing on the floor. the artist is sitting naked half outside the frame. fallen out of the frame. she is sitting in the pose of a drawing by paula modersohn-becker.
potos peter pfister
museum zu allerheiligen, schaffhausen, 2020
a performative sculpture
in german the expression ‘to fall out of the frame’ means ‘outside the box’.
a frame is standing on the floor. the artist is sitting naked half outside the frame. fallen out of the frame. she is sitting in the pose of a drawing by paula modersohn-becker.
potos peter pfister
museum zu allerheiligen, schaffhausen, 2020
a performative sculpture
in german the expression ‘to fall out of the frame’ means ‘outside the box’.
a frame is standing on the floor. the artist is sitting naked half outside the frame. fallen out of the frame. she is sitting in the pose of a drawing by paula modersohn-becker.
potos peter pfister
stimmen aus der brache | voices out of an empty lot
museum 1, adligenswil, 2020. duration 24 h
a hermit in an empty lot, invisible in the shelter of a cabane. she speaks, whispers, it hums, cars drive past. "i will no longer have a home in this life", "look up", ursula scherrer's words have to be caught, are recorded, layered, spoken live within 24 hours. worried neighbours unplug the power cable in the night and ursula falls silent until the morning. disturbance, oracle, sound installation — ursula scherrer's performance makes the empty lot silent and disturbing at the same time. text: brigitt bürgi
photos by matthias zurbrügg, stephan wittmer
museum 1, adligenswil, 2020. duration 24 h
a hermit in an empty lot, invisible in the shelter of a cabane. she speaks, whispers, it hums, cars drive past. "i will no longer have a home in this life", "look up", ursula scherrer's words have to be caught, are recorded, layered, spoken live within 24 hours. worried neighbours unplug the power cable in the night and ursula falls silent until the morning. disturbance, oracle, sound installation — ursula scherrer's performance makes the empty lot silent and disturbing at the same time. text: brigitt bürgi
photos by matthias zurbrügg, stephan wittmer
museum 1, adligenswil, 2020. duration 24 h
a hermit in an empty lot, invisible in the shelter of a cabane. she speaks, whispers, it hums, cars drive past. "i will no longer have a home in this life", "look up", ursula scherrer's words have to be caught, are recorded, layered, spoken live within 24 hours. worried neighbours unplug the power cable in the night and ursula falls silent until the morning. disturbance, oracle, sound installation — ursula scherrer's performance makes the empty lot silent and disturbing at the same time. text: brigitt bürgi
photos by matthias zurbrügg, stephan wittmer
museum 1, adligenswil, 2020. duration 24 h
a hermit in an empty lot, invisible in the shelter of a cabane. she speaks, whispers, it hums, cars drive past. "i will no longer have a home in this life", "look up", ursula scherrer's words have to be caught, are recorded, layered, spoken live within 24 hours. worried neighbours unplug the power cable in the night and ursula falls silent until the morning. disturbance, oracle, sound installation — ursula scherrer's performance makes the empty lot silent and disturbing at the same time. text: brigitt bürgi
photos by matthias zurbrügg, stephan wittmer
museum 1, adligenswil, 2020. duration 24 h
a hermit in an empty lot, invisible in the shelter of a cabane. she speaks, whispers, it hums, cars drive past. "i will no longer have a home in this life", "look up", ursula scherrer's words have to be caught, are recorded, layered, spoken live within 24 hours. worried neighbours unplug the power cable in the night and ursula falls silent until the morning. disturbance, oracle, sound installation — ursula scherrer's performance makes the empty lot silent and disturbing at the same time. text: brigitt bürgi
photos by matthias zurbrügg, stephan wittmer
museum 1, adligenswil, 2020. duration 24 h
a hermit in an empty lot, invisible in the shelter of a cabane. she speaks, whispers, it hums, cars drive past. "i will no longer have a home in this life", "look up", ursula scherrer's words have to be caught, are recorded, layered, spoken live within 24 hours. worried neighbours unplug the power cable in the night and ursula falls silent until the morning. disturbance, oracle, sound installation — ursula scherrer's performance makes the empty lot silent and disturbing at the same time. text: brigitt bürgi
photos by matthias zurbrügg, stephan wittmer
performance im quadrat | performance in a square
schaffhausen, 2020. duration from sunset to sunrise
in the living room, a 2 by 2 meter square is laid out on the floor. the artist is staying in the square for the duration of the night. from sunset to sunrise. naked. sometimes speaking, sometimes silent. sometimes in motion, sometimes in silence. sometimes talking to herself, sometimes in conversation. she is sharing the room with a maximum of 2 visitors. through intimacy, they are becoming part of the action until they leave the room to the next. in the time of and inspired by corona and its restrictions.
schaffhausen, 2020. duration from sunset to sunrise
in the living room, a 2 by 2 meter square is laid out on the floor. the artist is staying in the square for the duration of the night. from sunset to sunrise. naked. sometimes speaking, sometimes silent. sometimes in motion, sometimes in silence. sometimes talking to herself, sometimes in conversation. she is sharing the room with a maximum of 2 visitors. through intimacy, they are becoming part of the action until they leave the room to the next. in the time of and inspired by corona and its restrictions.
schaffhausen, 2020. duration from sunset to sunrise
in the living room, a 2 by 2 meter square is laid out on the floor. the artist is staying in the square for the duration of the night. from sunset to sunrise. naked. sometimes speaking, sometimes silent. sometimes in motion, sometimes in silence. sometimes talking to herself, sometimes in conversation. she is sharing the room with a maximum of 2 visitors. through intimacy, they are becoming part of the action until they leave the room to the next. in the time of and inspired by corona and its restrictions.
schaffhausen, 2020. duration from sunset to sunrise
in the living room, a 2 by 2 meter square is laid out on the floor. the artist is staying in the square for the duration of the night. from sunset to sunrise. naked. sometimes speaking, sometimes silent. sometimes in motion, sometimes in silence. sometimes talking to herself, sometimes in conversation. she is sharing the room with a maximum of 2 visitors. through intimacy, they are becoming part of the action until they leave the room to the next. in the time of and inspired by corona and its restrictions.
schaffhausen, 2020. duration from sunset to sunrise
in the living room, a 2 by 2 meter square is laid out on the floor. the artist is staying in the square for the duration of the night. from sunset to sunrise. naked. sometimes speaking, sometimes silent. sometimes in motion, sometimes in silence. sometimes talking to herself, sometimes in conversation. she is sharing the room with a maximum of 2 visitors. through intimacy, they are becoming part of the action until they leave the room to the next. in the time of and inspired by corona and its restrictions.
schaffhausen, 2020. duration from sunset to sunrise
in the living room, a 2 by 2 meter square is laid out on the floor. the artist is staying in the square for the duration of the night. from sunset to sunrise. naked. sometimes speaking, sometimes silent. sometimes in motion, sometimes in silence. sometimes talking to herself, sometimes in conversation. she is sharing the room with a maximum of 2 visitors. through intimacy, they are becoming part of the action until they leave the room to the next. in the time of and inspired by corona and its restrictions.
schaffhausen, 2020. duration from sunset to sunrise
in the living room, a 2 by 2 meter square is laid out on the floor. the artist is staying in the square for the duration of the night. from sunset to sunrise. naked. sometimes speaking, sometimes silent. sometimes in motion, sometimes in silence. sometimes talking to herself, sometimes in conversation. she is sharing the room with a maximum of 2 visitors. through intimacy, they are becoming part of the action until they leave the room to the next. in the time of and inspired by corona and its restrictions.
schaffhausen, 2020. duration from sunset to sunrise
in the living room, a 2 by 2 meter square is laid out on the floor. the artist is staying in the square for the duration of the night. from sunset to sunrise. naked. sometimes speaking, sometimes silent. sometimes in motion, sometimes in silence. sometimes talking to herself, sometimes in conversation. she is sharing the room with a maximum of 2 visitors. through intimacy, they are becoming part of the action until they leave the room to the next. in the time of and inspired by corona and its restrictions.
standing
across the street from the trump tower, new york, weekly from december 23rd, 2017 – december 20th, 2018
photos of urte reyes, diane ludin, failey patrick, ursula scherrer
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.
photos: ursula sommer
across the street from the trump tower, new york, weekly from december 23rd, 2017 – december 20th, 2018
photos of urte reyes, diane ludin, failey patrick, ursula scherrer
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.
photos: ursula sommer
across the street from the trump tower, new york, weekly from december 23rd, 2017 – december 20th, 2018
photos of urte reyes, diane ludin, failey patrick, ursula scherrer
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.
photos: ursula sommer
across the street from the trump tower, new york, weekly from december 23rd, 2017 – december 20th, 2018
photos of urte reyes, diane ludin, failey patrick, ursula scherrer
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.
photos: ursula sommer
across the street from the trump tower, new york, weekly from december 23rd, 2017 – december 20th, 2018
photos of urte reyes, diane ludin, failey patrick, ursula scherrer
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.
photos: ursula sommer
across the street from the trump tower, new york, weekly from december 23rd, 2017 – december 20th, 2018
photos of urte reyes, diane ludin, failey patrick, ursula scherrer
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.
photos: ursula sommer
across the street from the trump tower, new york, weekly from december 23rd, 2017 – december 20th, 2018
photos of urte reyes, diane ludin, failey patrick, ursula scherrer
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.
photos: ursula sommer
across the street from the trump tower, new york, weekly from december 23rd, 2017 – december 20th, 2018
photos of urte reyes, diane ludin, failey patrick, ursula scherrer
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.
photos: ursula sommer
across the street from the trump tower, new york, weekly from december 23rd, 2017 – december 20th, 2018
photos of urte reyes, diane ludin, failey patrick, ursula scherrer
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.
photos: ursula sommer
across the street from the trump tower, new york, weekly from december 23rd, 2017 – december 20th, 2018
photos of urte reyes, diane ludin, failey patrick, ursula scherrer
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.
photos: ursula sommer
across the street from the trump tower, new york, weekly from december 23rd, 2017 – december 20th, 2018
photos of urte reyes, diane ludin, failey patrick, ursula scherrer
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.
photos: ursula sommer
across the street from the trump tower, new york, weekly from december 23rd, 2017 – december 20th, 2018
photos of urte reyes, diane ludin, failey patrick, ursula scherrer
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.
photos: ursula sommer
across the street from the trump tower, new york, weekly from december 23rd, 2017 – december 20th, 2018
photos of urte reyes, diane ludin, failey patrick, ursula scherrer
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.
photos: ursula sommer
across the street from the trump tower, new york, weekly from december 23rd, 2017 – december 20th, 2018
photos of urte reyes, diane ludin, failey patrick, ursula scherrer
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.
photos: ursula sommer
across the street from the trump tower, new york, weekly from december 23rd, 2017 – december 20th, 2018
photos of urte reyes, diane ludin, failey patrick, ursula scherrer
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.
photos: ursula sommer
across the street from the trump tower, new york, weekly from december 23rd, 2017 – december 20th, 2018
photos of urte reyes, diane ludin, failey patrick, ursula scherrer
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.
photos: ursula sommer
across the street from the trump tower, new york, weekly from december 23rd, 2017 – december 20th, 2018
photos of urte reyes, diane ludin, failey patrick, ursula scherrer
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.
photos: ursula sommer
who are you
see djerba, houmt souk, tunisia, 2017. duration 3 h
a performance in public space
performers: aziz aissaoui, henry cyrenius, ryan gharbi, ursula scherrer, zohara
the performers are sitting across from each other in a café. they look into each others eyes and ask each other 'who are you'. the question is becoming the answer. over time the question is asked less and less frequently, almost inaudible.
the public is invited to join. to sit across from each other in the café and ask the question.
see djerba, houmt souk, tunisia, 2017. duration 3 h
a performance in public space
performers: aziz aissaoui, henry cyrenius, ryan gharbi, ursula scherrer, zohara
the performers are sitting across from each other in a café. they look into each others eyes and ask each other 'who are you'. the question is becoming the answer. over time the question is asked less and less frequently, almost inaudible.
the public is invited to join. to sit across from each other in the café and ask the question.
see djerba, houmt souk, tunisia, 2017. duration 3 h
a performance in public space
performers: aziz aissaoui, henry cyrenius, ryan gharbi, ursula scherrer, zohara
the performers are sitting across from each other in a café. they look into each others eyes and ask each other 'who are you'. the question is becoming the answer. over time the question is asked less and less frequently, almost inaudible.
the public is invited to join. to sit across from each other in the café and ask the question.
stillstand
sofia underground, 2017. duration 2 h
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
sofia underground, 2017. duration 2 h
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
sofia underground, 2017. duration 2 h
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
sofia underground, 2017. duration 2 h
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
sofia underground, 2017. duration 2 h
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
sofia underground, 2017. duration 2 h
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
sofia underground, 2017. duration 2 h
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
sofia underground, 2017. duration 2 h
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
sofia underground, 2017. duration 2 h
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
sofia underground, 2017. duration 2 h
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
sofia underground, 2017. duration 2 h
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
sofia underground, 2017. duration 2 h
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
sofia underground, 2017. duration 2 h
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
sofia underground, 2017. duration 3 h
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
sofia underground, 2017. duration 3 h
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
sofia underground, 2017. duration 3 h
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
sofia underground, 2017. duration 3 h
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
sofia underground, 2017. duration 3 h
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
sofia underground, 2017. duration 3 h
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
sofia underground, 2017. duration 3 h
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
sofia underground, 2017. duration 3 h
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
sofia underground, 2017. duration 3 h
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
sofia underground, 2017. duration 3 h
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
sofia underground, 2017. duration 3 h
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
sofia underground, 2017. duration 3 h
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
being her now, salisbury university galleries, salisbury, 2016. duration 3 h
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.
being her now, salisbury university galleries, salisbury, 2016. duration 3 h
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.
being her now, salisbury university galleries, salisbury, 2016. duration 3 h
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.
being her now, salisbury university galleries, salisbury, 2016. duration 3 h
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.
being her now, salisbury university galleries, salisbury, 2016. duration 3 h
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.
being her now, salisbury university galleries, salisbury, 2016. duration 3 h
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.
being her now, salisbury university galleries, salisbury, 2016. duration 3 h
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.
being her now, salisbury university galleries, salisbury, 2016. duration 3 h
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.
being her now, salisbury university galleries, salisbury, 2016. duration 3 h
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.
being her now, salisbury university galleries, salisbury, 2016. duration 3 h
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
guangzhou live 5, guangzhou, china, 2014. duration 2 h
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.
guangzhou live 5, guangzhou, china, 2014. duration 2 h
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.
guangzhou live 5, guangzhou, china, 2014. duration 2 h
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.
guangzhou live 5, guangzhou, china, 2014. duration 2 h
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.
guangzhou live 5, guangzhou, china, 2014. duration 2 h
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.
guangzhou live 5, guangzhou, china, 2014. duration 2 h
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
meta – chongqing live art, chongqing china 2014. duration 5 h
'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.
meta – chongqing live art, chongqing china 2014. duration 5 h
'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.
meta – chongqing live art, chongqing china 2014. duration 5 h
'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.
meta – chongqing live art, chongqing china 2014. duration 5 h
'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.
meta – chongqing live art, chongqing china 2014. duration 5 h
'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
organhaus, chongqing china, 2014. duration 2 h
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.
photo corina gertz
organhaus, chongqing china, 2014. duration 2 h
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.
photo corina gertz
organhaus, chongqing china, 2014. duration 2 h
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.
photo corina gertz
organhaus, chongqing china, 2014. duration 2 h
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.
photo corina gertz
organhaus, chongqing china, 2014. duration 2 h
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.
photo corina gertz
organhaus, chongqing china, 2014. duration 2 h
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.
photo corina gertz
organhaus, chongqing china, 2014. duration 2 h
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.
photo corina gertz
organhaus, chongqing china, 2014. duration 2 h
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.
photo corina gertz
organhaus, chongqing china, 2014. duration 2 h
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.
photo corina gertz
organhaus, chongqing china, 2014. duration 2 h
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.
photo corina gertz
organhaus, chongqing china, 2014. duration 2 h
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.
photo corina gertz
organhaus, chongqing china, 2014. duration 2 h
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.
photo corina gertz
organhaus, chongqing china, 2014. duration 2 h
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.
photo corina gertz