[Bild: palmenbingo]

Palmenbingo


Saturday, August 4 - August 25 th.
ASPN
Spinnereistr. 7, 04179 Leipzig, Germany

with Adrian Sauer, Alexandra Rusitschka,
Anna Lena von Helldorff, Arthur Zalewski, Charlotte Klobassa, Franziska Holstein, Gilbert Schneider, Grit Hachmeister,
Jochen Mühlenbrink, Jochen Plogsties, Johannes Rochhausen,
Jo Zarth, Julia Schmidt, Katarína Dubovská, Maria Schumacher, Martin Galle, Matthias Reinmuth, Matthias Weischer,
Maya Schweizer, Michael Ludwig, Paule Hammer, Peggy Buth, Robert Seidel, Silard Isaak, Stefan Fischer








[Bild: low-text]

LOW TEXT automations #4


July 5 2018

Where does the undertow of the written text starts and when the language starts to gain its own life? Under fabulation, Gilles Deleuze understands the ability to produce an alternative to the modes of thought and existence imposed upon us by the prevailing social and economic conditions. This iteration orients itself on the texts that are incorporate - whether in their method or theme - the mechanical figures or impersonal mediators.
In this session, we are looking for contributions that investigate these agents today and which impersonal forms of subjectivity they bring with them, and what opportunities they offer us. This includes digital fables and controversy of the AI storytelling, literary montages and abstract algorithms in contemporary art. When literary machines are set in motion, they force us to abandon the point of view of our ordinary experience, our subjective gaze, they put language at the service of processes that sometimes open up completely new possibilities for us.
We are interested in all kinds of text-based works - texts, videos, interventions, performances. Please, feel free to forward it to whom it may concern.
The cycle LOW TEXT aims to explore text production as a social practice and texts that surround us, invisible in their ubiquity. These “exhausting” types of texts - work emails, application, manuals, automated texts, while being a device of initiating and relating, became today an appendage of a bureaucratic machine that frames, silences and flattens the diversity.
LOW TEXT seeks to provide a space for a conversation rather than a celebration of an individual ego. In a sense, this cycle seeks to take a step back from individual authorship by choosing the texts of every day as a point of departure. But this stepping back is at once a step towards it. How can we engage critically with normative texts and claim them back?




[Bild: videoart atmidnight]

Videoart at midnight


Friday, February 16th, 2018, 24:00 | midnight
#92: Maya Schweizer

Maya Schweizer’s film works revolve around questions of history, identity, and memory connected to spaces and how we perceive them.

One of the main interests of the artist, who also works with photography and collage, is urban space as the interface between individual and collective action. This is where social realities and temporal stratifications occur, which are captured and set in relation to one another in montages. Observations of situations and found footage serve as springboards for an artistic read of everyday spaces and merge with other elements to tell new stories. Public space serves as a historical image that can be entered into, one whose textures can be read, but also reformulated from an individual perspective. The respective visual language used and the degree of blurring between documentation and orchestration are always in service of specific aims. –

Andreas Prinzing, Camera Austria 136, Dezember. 2016

Videoart at Midnight






A Tall Tale-drawing room-4 A Tall Tale-drawing room-5 A Tall Tale-drawing room-6 A Tall Tale-drawing room A Tall Tale-drawing room-2 A Tall Tale-drawing room-3

A Tall Tale


14. Dezember 2017 bis 1. Februar 2018
Drawing Room, Hamburg
Esther Schulte & Alexander Sairally
Web www.drawingroom-hamburg.de
E-Mail contact@drawingroom-hamburg.de

Maya Schweizer verwebt in ihren multimedialen Arbeiten Bild, Ton und Text zu subtilen Gegenwartsanalysen, die immer auch eine historische Ebene oder einen konkreten Bezug zu einem kollektiv erinnerten Ort haben. Mit dem Verfahren des ‚Layering’ erzeugt sie komplexe Schichtungen verschiedener Zeit- Ort- und Wahrnehmungsebenen.
In ihrem auf der Berlinale 2017 im Forum Expanded vorgestellten Film „A Tall Tale“ verschmilzt die Künstlerin die einfühlsame Erkundung des Settings rund um eine Irische Burgruine aus dem 13. Jahrhundert mit einer fiktiven Ebene – der Welt der Geistergeschichten. Gleich zu Beginn lädt uns die Stimme von Orson Welles zu einer „short story, straight from the haunted land of Ireland“ ein: wabernde Gewässer, Froschgequake, Baumsilhouetten, krächzende Raben, Risse in Ruinen, von Geisterhand bewegte Türknäufe oder das Geräusch von Pferdehufen erwecken Assoziationen an die ‚Tales of Mystery and Imagination’ von E. A. Poe oder an Literaturverfilmungen wie Laurence Olivier’s ‚Hamlet’. Mit ihrem fulminanten Ritt durch die Geschichte des film noir nimmt uns Schweizer mit auf eine (über-)sinnliche Reise in eine Welt aus Ruinen und Filmruinen und feiert so gleichzeitig die Geschichte des Kinos.

Drawing Room
Artikel von Nicole Buesing und Heiko Klaas / DARE - 29.01.18


Luke install-ok-14 Luke install-ok-2 Luke install-ok-4 Luke install-ok-5 Luke install-ok-10 Luke install-ok-11 Luke install-ok-12 Luke install-ok-13 Luke install-ok-15 Luke install-ok-16 Luke install-ok-1

Die Luke, eine Fliege und dort die Puschkinallee


08 December 2017 — 15 January 2018
KV — Verein für Zeitgenössische Kunst Leipzig e.V.
Kolonnadenstrasse 6, Leipzig

Didn’t look that different? The camera’s gaze rises high above an area in Berlin, where the paths of tourists, homeless people, passersby and police officers cross. Then the gaze sweeps into the interior of a room and we realize where we are: in a watchtower that once controlled the no man’s land where East and West collided. In the background we hear radio broadcasts connecting time and space – a transformation of the regimes of gaze as the transformation of disciplinary architectures. The entire scenario metaphorically short-circuits the architectural and social “interior and exterior” and shows our social order as historically stratified power relations of exclusions, demarcations and transitions.

Das sah doch mal anders aus? Der Blick der Kamera geht hoch über ein Areal in Berlin, wo sich die Wege von Tourist*innen, Obdachlosen, Passant*innen und Polizist*innen kreuzen. Dann schweift er ins Innere des Raumes, und wir sehen wo wir sind: In einem Wachtturm, der einst das Niemandsland überwachte, wo Ost und West aneinander stießen. Kaum verständliche Radiosendungen stellen die Verbindung her zwischen den Zeiten und Räumen. Dieses Motiv von Vermittlung und Abgrenzung wiederholt sich in der Installation von Maya Schweizer im KV: Die Schaufenster sind halbverspiegelt, so dass Blicke von außen und innen nur abhängig vom Lichteinfall möglich sind. Eine Wandlung von Blickregimen in der Zeit klingt hier ebenso an, wie die Transformation disziplinarischer Architekturen. Das gesamte Szenario schließt metaphorisch das architektonische und gesellschaftliche »Innen und Außen« kurz und zeigt unsere gesellschaftliche Ordnung als historisch geschichtete Machtverhältnisse von Ausschlüssen, Grenzziehungen und Übergängen.
Kilian Schellbach
* Kindly supported by the Cultural Office of the City of Leipzig and the Bureau des arts plastiques of the Institut français and the French Ministry of Culture.
KV Leipzig



[Bild: horse- still]

A Tall Tale


67. Berlinale, Forum Expanded

10. February 2017 21:30 Akademie der Künste, Hanseatenweg 10
12 February 2017 12:30 Arsenal 1, Potsdamer str. 2

A Tall Tale
A film by Maya Schweizer
HD, 16´, Germany / Ireland, 2017

“A thin crack extending from the roof, down the front of the building, and into the adjacent lake,” notes the narrator as he arrives at the House of Usher, thus opening up a parallel between the Irish setting of Maya Schweizer’s cinematic association and Edgar Allan Poe’s classic tale of horror. Orson Welles and other cinematic ghosts seem to lead the spectator of A Tall Tale onwards, passing through a landscape of ruins and films and ruins of films that evoke phantoms and fairies.


A Tall Tale - Arsenal




[Bild: audiotour]

Karin Sander: ZEIGEN. Eine Audiotour durch die Sammlung der GfZK Leipzig


March 18, 2017 until January 14, 2018

For her project ZEIGEN. An audio tour, Karin Sander invited artists whose work is featured in the collection of the Museum of Contemporary Art Leipzig (GfZK) to make an acoustic contribution, with the aim of translating their own work into something audible – and also visible – for the museum‘s visitors. The names of the approximately 150 participating artists are installed on the white walls of the otherwise “empty” exhibition space, along with a number, allowing visitors to select individual contributions using an audio guide. The works, imagined in various ways, arise inside the heads of the visitors, gaining an enormous presence in spite of their physical absence.

GfZK





[Bild: Mehringplatz Abstractions, 2017-Install-]

Whenever the Heart Skips a Beat


An art festival at Mehringplatz with performances, workshops,
interventions within the public space, an exhibition and a symposium.
1. - 15. September 2017

Mehringplatz Abstractions, 2017
Soundtrack installed at KONAK, Mehringplatz 9

Maya Schweizer investigates processes and structures of remembering and their identity-establishing and narrative function. Schweizer’s practice develops out of intensive research on site which can be understood as thick description in the sense of ethnology-oriented fieldwork.
Schweizer understands Mehringplatz as a place of transit, living, and trade and has created a sound collage of the daily activities taking place there. Sounds of the ongoing construction site mix with the hubbub of different languages: market traders shout over singing birds, trolley bags rattle across the floor. Although the architecture of Mehringplatz doesn’t become experienceable in visual terms, the acoustic composition encourages the emergence of imaginary pictures which convey Mehringplatz as a dynamic ensemble of people, animals, objects, and practices.

Whenever the Heart skips a Beat



[Bild: Putting Rehearsals to the Test.]

La répétition mise à l’épreuve / Putting Rehearsals to the Test.


Leonard & Bina Ellen Art Gallery, SBC Gallery of Contemporary Art, VOX, centre de l’image contemporaine
Montreal, Canada
September 01 - November 26, 2016
Curated by Sabeth Buchmann, Ilse Lafer and Constanze Ruhm

While the subject of “rehearsal” is popular in film and
theater, as well as in the fine arts, it has been scarcely
considered in historical and contemporary art discourses.
It is with this in mind that the exhibition
Putting Rehearsals to the Test investigates the role and function
of the notion of “rehearsal,” understood as a methodology,
a modus operandi, a medium, a site of representation and
reflection for artistic production processes.

VOX, centre de l’image contemporaine
RAM Publications - PUTTING REHEARSALS TO THE TEST



[Bild: art-memory-places-bild]

Art | Memory | Place


Art | Memory | Place: Artists’ Films
IMMA, Irish Museum of Modern Art, Dublin
March 15 - April 3, 2016
Artists Conversation | Maya Schweizer & Maeve Connolly
Tuesday 15 March 2016, 6 - 7pm
Curated by Sophie Byrne and Lisa Moran

Maya Schweizer and Maeve Connolly (IADT, ARC) discuss the role of film as collective modes of remembrance and memorialisation in Schweizer’s film Der sterbende Soldat von Les Milles (The dying Soldier of Les Milles) 2014.

Link
Presence/ Absence/ Traces 1 Presence/Absence/Traces 3

Presence/Absence/Traces


Contemporary Artists on Jewish Warsaw
POLIN Museum of the History of Polish Jews
April 01 – April 25, 2016
Curated by: Agnieszka Pindera & Ewa Chomicka

The works presented in the exhibition were made during 13 artistic residencies at POLIN Museum. Artists from Poland, Israel, the Czech Republic, the Netherlands, Turkey, and North and South America, represent various approaches to Jewish heritage and multiculturalism in Warsaw. As they create a polyphonic commentary on its history and its contemporary shape...

Link
[Bild: Rien du tout -show]

A Sense of History


n.b.k. at Nordstern Videokunstzentrum, Gelsenkirchen
March 19 - December 18, 2016
Curated by Kathrin Becker and Marius Babias

Der Neue Berliner Kunstverein bespielt seit 2012 das Nordstern Videokunstzentrum im denkmalgeschützten Nordsternturm in Gelsenkirchen. Auf fünf Stockwerken finden im jaehrlichen Turnus Wechselausstellungen internationaler Videokunst aus den Beständen des 1971 gegründeten n.b.k. Video-Forums statt, der aeltesten und einer der groeßten Videokunstsammlungen Deutschlands mit mehr als 1.600 Werken...

Link





[Bild: le soldat mourrant-image]

Le Soldat Mourant des Milles


The Dying Soldier of Les Milles
Studio space 45cbm, Staatliche Kunsthalle Baden-Baden
June 6 – July 19, 2015
Curated by Moritz Scheper

In her artistic practice Maya Schweizer operates at the interface between art and film, documentarism and fiction. With her video works and installations, the french artist utilises representations of seemingly everyday occurrences to liberate hidden narratives. She focuses mainly on the socially marginalized and on cracks in collective memory cultures.
For her exhibition at the studio space 45cbm at the Staatliche Kunsthalle Baden-Baden, the artist conceived a video installation, in which the daily routine of Les Milles is caught up by its past - a former brickyard in the town's center was used as internment camp for Germans during World War II and served as concentration camp later on. With the use of montage cutting techniques the artist succeeds in letting the past burst into present.

Artikel -TAZ- 07-07-15








[Bild: Les Milles - ASPN]

Le Soldat mourant des Milles


Der sterbende Soldat von Les Milles


ASPN 2015

HD Video, 13 min, 2014
In ihren Filmen widmet sich Maya Schweizer der Erforschung von öffentlichen Räumen. Es gelingt ihr Spuren der Vergangenheit im Alltäglichen zu entdecken oder durch Montage einzufügen. Sie wählt historische Zusammenhänge aus, die für die gegenwärtige Situation von Bedeutung sind und sich in scheinbar unauffälligen Gesten oder in baulichen Denkmalen wiederfinden. Ihre filmischen Essays stellen eine künstlerische Form zeitgenössischer Geschichtsschreibung dar, die visuell argumentiert und der Beschreibung der realen Lebensbedingungen gegenüber historischem Faktenwissen den Vorrang gibt.
Der Film „Der Sterbende Soldat von Les Milles“ beobachtet sowohl die Gedenkstätte Le Camp des Milles – ein ehemaliges Internierungslager des 2. Weltkriegs in einer alten Ziegelei in Aix-en-Provence - als auch das Monument eines sterbenden Soldaten, das den toten Soldaten des 1. und 2. Weltkriegs sowie dem Algerienkrieg gewidmet ist. Er liegt verwundet, lehnt sich auf seine Taschen voller Munition. Die Kamera umwandert den Soldaten und den Platz. Sie nimmt den Rhythmus des Boules-Spiels zu seinen Füßen auf und zeigt dem Beobachter die beiden Gedenk- und Erinnerungsorte in ihrer heutigen Erscheinung.




la meme histoire-1ok la meme histoire 6 la meme histoire5 la meme histoire1 la meme histoire 8 la meme histoire 9 la meme histoire 3 la meme histoire 10 la meme histoire 11 la meme histoire 14 la meme histoire 12 la meme histoire 13

La même histoire ailleurs


The Same Story Elsewhere
Westfälischer Kunstverein, Münster
September 4 - October 24, 2010

Die Ausstellung »La même histoire ailleurs« (Dieselbe Geschichte an einem anderen Ort) gibt einen umfassenden Überblick der bisherigen Film- und Fotoarbeiten von Maya Schweizer. Ihre Studien in Frankreich und Deutschland (HGB Leipzig und UdK Berlin) haben sie zu einer Wanderin nicht nur zwischen den Medien, sondern auch den Kulturen ge­macht. Ihr künstlerisches Werk findet ebenso in Fotogra­fien, Zeichnungen, Kurzfilmen wie auch in urbanen Interventionen seine Form. Zentral für ihre Arbeitsweise sind die aufwendigen Recherchereisen in verschiedene Länder, die zu Arbeiten führen, die Form und Sprache als grundlegend politisch ge­prägte verstehen...


Press Release -in German-
Monopol

xyz at Ingeborg Wiensowskis-1 xyz at Ingeborg Wiensowskis-2 xyz at Ingeborg Wiensowskis-3 xyz at Ingeborg Wiensowskis-4 xyz at Ingeborg Wiensowskis-5 xyz at Ingeborg Wiensowskis-10 xyz at Ingeborg Wiensowskis-11

xyz at Ingeborg Wiensowski´s


xyz with Katja Aufleger, Christin Kaiser, Schweizer Maya
at Ingeborg Wiensowski, art, Berlin
September 12 - 27, 2015.

[Bild: le soldat mourrant-image2]

Officielle


Paris Artfair
Docks, Cité de la Mode et du Design.
October 21- 25, 2015

Famed and Maya Schweizer represented by ASPN.

Link
ASPN
Edith-Seeshows Notes einl Edith-Seeshows Notes7 Edith-Seeshows Notes 2 Edith-Seeshows Notes 3 Edith-Seeshows Notes 4 Edith-Seeshows Notes6 Edith-Seeshows Notes 8

Edith Seeshow´s Notes


Kunstverein Langenhagen
February 10 - March 31, 2013

"Identity, biography, politics, history and memory are recurring themes in Maya Schweizer’s photographs and videos. And the title of this solo show, Edith Seeshow’s Notes, is an encrypted summary of her approach, containing as it does the verbs ‘edit’, ‘see’ and ‘show’. Although Ms. Seeshow plays no further role in the exhibition, present in each of these five works is her constant observing, collecting, sorting and assembling of images..."

Cynthia Krell

Link

Maya Schweizer by Cynthia Krell Kunstverein Langenhagen

[Bild: PDF-Icon] Edith-Seeshows Notes -Frieze