Artists in residence at the Villa Sträuli 2015–2016

N°5

ARTISTS IN RESIDENCE DOCUMENTATION

2015

Sana Ghobbeh Adelaide Cioni Najem Wali Claire Lim Lucineh Hovanissian Cosimo Veneziano Reza Haeri Lorenzo Troiani Akiyasu Shimizu Kitty Anderson Sabine Gruber 5× 5 × 5 Film Directors: Layla Abyad, Sahera Dirbas, Naama Noach

2016

Zoë Claire Miller Raluca Popa Gianni Skaragas Laura Hagemann Madeleine Christin Leroy and Torben Laib Benjamin Reynolds Christian Futscher Paul Clift Michelle Agnes Magalhaes Hiwot Admasu Getaneh

[ index ] [4]

a b ou t V ILL A S T RÄU LI

[5]

F orew o rd

2015

[ 34 ]

Sana Ghobbeh Adelaide Cioni Najem Wali Claire Lim Lucineh Hovanissian Cosimo Veneziano Reza Haeri Lorenzo Troiani Akiyasu Shimizu Kitty Anderson Sabine Gruber

[ 36 ]

Impres s io n s

[ 38 ]

5× 5 × 5 Film Directors: Layla Abyad, Sahera Dirbas, Naama Noach

[8] [10 ] [11 ] [18 ] [19 ] [ 20 ] [ 23 ] [25 ] [ 28 ] [ 32 ]

2016

Zoë Claire Miller [44 ] Raluca Popa [48 ] impre ssions

[50 ]

Gianni Skaragas [51 ] Laura Hagemann [56 ] Madeleine Christin Leroy [ 59] and Torben Laib impre ssions

[ 63 ]

Benjamin Reynolds Christian Futscher Paul Clift Michelle Agnes Magalhaes Hiwot Admasu Getaneh

[ 69 ]

C u rriuculm Vita e 2015 – 16

[ 84 ]

tha nk you

[ 95 ]

ad d e nd um & Impre ssum

[ 96 ]

[ 74 ] [ 77 ] [ 79 ] [ 81 ]

[ inspiring place and artistic exchange ]

The Villa Sträuli, a project of the Sulzberg Foundation Winterthur, was already a lively residence and site of cultural encounters— well-known far and wide for its concerts—during the lifetime of its founder Doris Sträuli-Keller. This tradition lives on in the stylishly renovated facilities. With its unique atmosphere, the Villa Sträuli provides space for thinking aloud and quiet contemplation in an ideal working environment. A place of warm hospitality and artistic exchange, the Villa Sträuli aims to promote inspiring encounters between its artists in residence, the local cultural scene, and an interested general public.

The Villa has three storeys. A bistro and three stylish salons used for cultural events and private functions are located on the ground floor. Three live-in studios for creative artists (artists in residence) have been constructed in the upper storeys and loft spaces.

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HELMUT WEISSERT FRIEND OF THE VILL A STRÄULI – EXCERPT FROM HIS SPEECH ON THE OCCASION OF THE VILL A'S 10TH ANNIVERSARY

Congratulations, Villa Sträuli, and thank you, Sulzberg Foundation, for providing the space and financial support for a unique project in the middle of Winterthur. Your story of success began ten years ago: Since 2006, you have hosted more than one hundred artists in your wonderful residence; you have provided space for creativity and an environment for artists to learn from one another; and you have offered unique opportunities to the city of Winterthur to meet artists from all over the world, to experience cultural differences and similarities via the unifying global language of art.

Your year of celebration provided you with the opportunity to celebrate another story of success – the story of soap in Winterthur, which started in 1831 and culminated in the economic success and wealth of the Sträuli dynasty, with Winterthur as the centre of its life. Doris Sträuli-Keller, the founder of the Sulzberg Foundation, was married to one of the great-grandsons of the founder of the first Sträuli soap factory in Winterthur. Villa Sträuli is built on soap, and «candles and soap» were materials of reference for three residencies in 2016: Laura Hagemann integrated soap and foam into her performance; Madeleine Leroy and Torben Laib used soap and candles for their installations; and Benjamin Reynolds investigated the production of soap and reminded us that the origin of soap is in the Near and Middle East. One of the capitals of soap over the last centuries was the city of Aleppo, a city that has now been destroyed in Syria’s painful civil war.

Soap can serve as a symbol for the Villa, a product from abroad that contributed to local wealth, a product that reminds

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us of the importance of crossing borders in times of ever more political restrictions, prompting us to remember that dialogue across cultures, understanding other cultures, and learning from one another through the language of art lies at the beginning of a peaceful future.

Villa Sträuli offers this opportunity, to meet others, to listen and talk to artists who come from abroad. What a wonderful gift the Sulzberg Foundation has given the city of Winterthur, and what a remarkable story the Villa’s team has written over the last ten years. Thank you very much.

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artists in residence

2015 –

N ew collaborations

2015

SHORT term RESI DENCE Sana Gobbeh [V] 1 I wash my sins with soap

Site specific performance, Duration: 20 min, Villa Sträuli, Winterthur I wash my sins with soap is a site specific performance inspired by the history of Villa Sträuli, in which the owners of the villa had a factory, producing soap and candles.

The work was developed during the artist's stay at Villa Sträuli and addresses issues of immigration and integration. the work consists of three parts: a monologue, an installation and a participatory performance. The artist tells a story which she calls a confession and at the end she invites members of the audience to accompany her with what she calls wiping out the sins.

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2 I left my shoes b ehind

Photo series October 2014 to August 2015, Original size: 100×70 cm, Installation in the Villa Sträuli: 48 postcards, size A5, 2015

Statement: «I left my shoes behind is picturing a pair of shoes in urban spaces in different EU cities. The idea took shape when a friend of mine who is a Syrian artist had to leave Vienna and go back to the war zone. She was no longer allowed to stay within the borders of the EU. I asked her to give me her pair of shoes she had bought in Damascus. I take the shoes with me wherever I travel and I photograph moments of her absence.»

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2015

SHORT term RESI DENCE Adelaide Cioni [V] 1 When in Sw it zerland Diptych, acrylics on canvas, 138 × 190 cm, 2015 2 San Gottardo

1

Woolen fabric, wire net, insulating material, 92 × 39 × 27 cm, 2015 3 Voca bolario essenziale 4 embroideries on canvas, each 40 cm diameter, 2015 «Viaggio in Svizzera o dello spaesamento nel molto vicino groups a series of five works conceived during the residency in Villa Sträuli.

All of them investigate the shifting of our perceptions around the Swiss-Italian border, how the essential quality of things seems to change in passing from one country to the other.

The theme is the feeling of dépaysement that can be experienced just over the border, in a country where you can recognize the names of different cheeses, and you shop at Coop, just like at home, and yet things seem to resist with a sort of stubborn silence to your interrogations; it is the experience of otherness in the Very-near, our being or not-being (irrespective of superficial, apparent, openings) permeable to the Other.» {Adelaide Cioni}

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Najem Wali [L]

1

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Najem Wali

— 2015

[l]

Annemarie Schwarzenbach: Zwischen Opium und Bagdad Im Gegensatz zu anderen Reisenden hat die damals gerade einmal fünfundzwanzigjährige schweizerische Autorin und Fotografin Annemarie Schwarzenbach 1933 Bagdad nur als eine Zwischenstation erlebt, ganz anders als Teheran.

Zugegeben, Reisen und Unterwegssein hat sie von ihrer frühesten Kindheit an fasziniert, doch der Orient insgesamt, vielleicht entlang der Seidenstraße (ihr Vater besaß eine der weltweit größten Seidenfabriken), war ihre erste Kibla, bevor sich dieser Orient bei ihr auf Teheran konzentrierte.

Kaum war sie von einer Reise zurückgekehrt, drängte es sie auch schon wieder aufzubrechen.

Die erste Reise nach Kleinasien und Fars, wie Iran bis 1934 hieß, sollte eigentlich 1932 gemeinsam mit ihren Freunden Klaus und Erika Mann stattfinden, die sie aus Studententagen in Zürich kannte; außerdem mit dem Maler Ricki Hallgarten. Doch die Reise fand nicht statt, da Hallgarten sich einen Tag vor Aufbruch erschoss. Es musste einige Zeit vergehen, bevor die Freunde das Reiseprojekt wieder aufnahmen.

Am 30. Januar 1933 kam Hitler an die Macht. Für die Geschwister Mann gab es nun drängendere Probleme als die Planung einer Orientreise. Allein Annemarie Schwarzenbach hielt an ihrer Idee fest. Alles deutete darauf hin, dass die Machtübernahme durch die Nationalsozialisten und die persönlichen Schwierigkeiten, die Annemarie Schwarzenbach mit ihrer Mutter und ihrer begüterten Familie hatte, die Sympathien für die Nationalsozialisten zeigte, ihren Entschluss beschleunigten. Einiges Literarisches, das sie über den Orient gelesen hatte, und einige Museumsbesuche in Berlin halfen ihr

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bei der Vorbereitung auf eine Reise, die die erste von einer ganzen Serie werden sollte, die sie auch nach Afrika und nach Amerika führte. Hatte sie Sorge, dass in Europa oder in der Schweiz, wo ihre Familie wohnte, ihre Kreativität verkümmern würde? Vergessen wir auch nicht, dass ihre Mutter, Renée Schwarzenbach-Wille, eine Enkelin Bismarcks, und ihr Vater, ein Großindustrieller, sie von Anfang an blockierten und in ihrer Lebensweise, besonders ihrem Drogengenuss, einen Schandfleck für die Familie sahen, abgesehen davon, dass sie offene Sympathie mit den Nationalsozialisten zeigten.

Annemarie Schwarzenbach hatte also an zwei Fronten zu kämpfen: auf der Straße gegen die Nazis und zu Hause gegen deren verlängerten Arm, die Familie. Das war damals eine große Herausforderung für eine gutaussehende und sensible junge Frau, die wegen ihrer lesbischen Neigungen auch noch andere Konfrontationen mit ihrer gesellschaftlichen Umgebung zu bestehen hatte, aber ebenso groß wie die Abenteuerlust und die Kühnheit, die sie auf ihren Reisen zeigte, war auch ihr Mut, sich öffentlich zu ihrer Homosexualität zu bekennen, was die Familie zutiefst erzürnte. Vielleicht sahen sie in Annemaries Aufbruch eine Lösung dieser Konflikte.

Etwa ein halbes Jahr dauerte ihre erste Reise, von Oktober 1933 bis April 1934. Ihr Weg führte sie durch die Türkei, Syrien, Libanon, Palästina und den Irak bis nach Fars. Von dort aus ging es in die aserbaidschanische Hauptstadt Baku und danach zurück nach Europa. Hier begann sie, ein Buch über diese Reise zu schreiben: «Winter in Vorderasien. Tagebuch einer Reise», das im Herbst desselben Jahres im Schweizer Rascher Verlag erschien. Im August 1934 fuhr sie mit Klaus Mann zum sowjetischen Schriftstellerkongress und reiste von dort aus

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Najem Wali

— 2015

[l]

im September nach Teheran, wo sie sich mit dem französischen Diplomaten Claude-Achille Clarac verlobte, dem zweiten Sekretär am französischen Konsulat. Nach einer Beteiligung an Ausgrabungen einer amerikanischen Mission in der Nähe von Teheran kehrte sie im Dezember in die Schweiz zurück, nur um herauszufinden, dass ein Zusammenleben mit ihrer Familie unmöglich geworden war. Nach einem dreimonatigen Klinikaufenthalt zur Behandlung ihrer Drogensucht fand sie nicht die Ruhe, in der Schweiz zu bleiben. Sie musste fort!

Aber wohin? Also eben Richtung Osten, in den Orient: nach Teheran.

Im April 1935 brach sie erneut nach Teheran auf und erreichte die Stadt am 21. Mai. Offizieller Grund der Reise war die Eheschließung mit Claude-Achille Clarac, obwohl beide von den homoerotischen Neigungen des anderen wussten.

Man könnte also von einer Scheinehe sprechen, aber es war auch eine solidarische Geste seitens Claude-Achille Claracs, damit Annemarie Schwarzenbach in Teheran bleiben konnte, das sie mehr als jede andere Stadt liebte; vielleicht auch, damit sie ohne Schwierigkeiten in Iran mit Frauen zusammen sein konnte, die sie liebte. Oder ging es darum, dass sie quasi automatisch die französische Staatsbürgerschaft erhielt? Im Sommer jenes Jahres, während sie an einer archäologischen Mission zweieinhalbtausend Meter hoch im Gebirge unweit von Teheran teilnahm, schrieb sie eines ihrer wichtigsten und schönsten Bücher, «Das glückliche Tal», in dem sie ihre Einsamkeit und die Schönheit der Natur in Iran preist.

Ende 1935 kehrte Annemarie Schwarzenbach in die Schweiz zurück. Alles war durcheinandergeraten, sie wusste nicht mehr recht, wo ihre Heimat war. Im Orient gab

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es Opium, in der Schweiz Betäubungsmittel. Gleich nach ihrer Rückkehr ging sie in eine Klinik, um ihre Sucht behandeln zu lassen. Und diesmal war die Behandlung fast erfolgreich, zumindest in den Augen ihrer Umgebung. Keine Drogen, kein Orient. Als ob bei ihr die Drogen mit dem Orient verbunden waren. Als ob sie nicht schon Anfang der 30er Jahre in Berlin damit begonnen hätte, wo sie bis zu ihrer Abreise in der Orient wohnte, auch wenn die Droge dort Morphin hieß, nicht Opium. Drei Jahre hielt sie sich dem Orient fern, drei Jahre reich an Reportagen, Artikeln und Büchern. Daneben immer neue Versuche, in Sanatorien ihre noch verbliebenen Drogenprobleme behandeln zu lassen. Als ob sie ihr Verlangen behandeln wollte, das sie zu einer weiteren Orientreise drängte, nach Teheran, zum Opium. In einer Klinik in Yverdon schloss sie ihren großartigen Roman «Tod in Persien» ab. Dort, in dieser Klinik, wurde sie neben anderen auch von der Reiseschriftstellerin Ella Maillart besucht, mit der ihr nie gelöschtes Verlangen wieder aufflammte, in den Orient zu reisen.

Mit einem neuen Auto, einem Ford Roadster mit Achtzehn-PS-Motor, brachen die beiden Frauen Anfang Juni 1939 in Genf auf und trafen Ende August in Kabul ein. Waren es die Meinungsverschiedenheiten und Streitereien mit ihrer Weggefährtin, die Annemarie Schwarzenbach rasch, schon Ende 1939, in die Schweiz zurückkehren ließen? Ella Maillart hat nie ihr Missfallen über die Drogensucht ihrer Freundin verhehlt.

Die Reise wäre gar nicht zustande gekommen, hätte Annemarie Schwarzenbach ihrer Kameradin nicht versprochen, sie werde sich des Opiums ebenso wie anderer Drogen enthalten. Die beiden Frauen trennten sich im Oktober 1939 in Afghanistan.

Annemarie Schwarzenbach schloss sich ein weiteres Mal einer

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Najem Wali

— 2015

[l]

archäologischen Mission an, diesmal unter der Leitung des Franzosen Joseph Hackin, an der afghanisch-turkmenischen Grenze. Eine wahrhaft reiche Zeit in ihrem Leben, in der zahlreiche Reportagen und Artikel entstanden. Ende Dezember verließ sie Afghanistan und traf in Indien erneut Ella Maillart, nun unter dem Eindruck des Zweiten Weltkriegs. Sie musste einen komplizierten und langwierigen Rückweg nehmen: von Afghanistan nach Indien, von dort mit dem Schiff nach Aden im südlichen Jemen. Dann kehrte sie durch den Sueskanal nach Europa zurück. In einem auf den 21. November 1939 datierten Brief an Arnold Kübler schrieb Annemarie Schwarzenbach, die Zeiten des Friedens, das unaufgeregte Leben, das sei nun vorbei. Sie möchte in die Schweiz zurückkehren.

Nicht um sich dort zu vergraben, sondern um mit allem, was «unser Leben» genannt wird, ihren Beitrag zu leisten.

Zugegeben, sie schrieb das, aber es fällt schwer zu glauben, dass die dramatischen Umwälzungen, die Europa nach Kriegsausbruch erlebte mit der Ausdehnung der nationalsozialistischen Kontrolle über einen großen Teil des Kontinents, der entscheidende Grund für ihre Rückkehr war. Sonst wäre sie nicht im Mai 1940 in die Vereinigten Staaten von Amerika gereist, wäre vielmehr in der Schweiz geblieben und hätte auf ihre Art den Kampf gegen den Faschismus unterstützt.

Bis zu ihrem Tod im Jahr 1942 war sie in der ganzen Welt unterwegs, setzte den Fuß aber nicht mehr auf orientalischen Boden. Nun holte sie der Tod in ihrer kleinen Stadt Sils – nicht in Persien, nicht in Afghanistan, nicht in Bagdad. Genauer gesagt, war es ein simpler Unfall, an dem sie starb. Doch da alles in ihrem Leben eine Tendenz zum Dramatischen hatte, warf sie der Sturz mit dem Fahrrad am 6. September 1942 ins Koma.

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Der behandelnde Arzt trug noch das Seine zu diesem Drama bei: Statt sie aus ihrer Bewusstlosigkeit zu holen, behandelte er sie mit Elektroschocks, wegen eines alten, aber falschen Arztberichts aus ihrer Kindheit, wonach sie an Schizophrenie litt.

Was für ein absurder Tod!

Annemarie Schwarzenbach starb nicht durch das Opium, die natürliche, magische Pflanze. Sie starb an der zivilisatorischen Errungenschaft des Elektroschocks, den ihr ein Arzt verabreichte. Teheran und das Opium bedeuteten das Leben, die Schweiz und der Elektroschock den Tod. Eine Frage bleibt: Warum besuchte Annemarie Schwarzenbach Bagdad immer wieder, wenn die Stadt damals doch ihren Zauber verloren hatte? Suchte sie eine Bestätigung?

Dreimal hat sie Bagdad besucht. Einmal blieb sie fünf Wochen.

Sie kam im Januar an und zog, natürlich Richtung Teheran, am 4. März weiter. Aber selbst bei diesem Mal, als sie sich vielleicht sogar zu bleiben zwang, verließ sie die Stadt schließlich Richtung Teheran, als folgte sie einem unerbittlichen inneren Ruf. Einem inneren Ruf ? Was könnte dieser anderes gewesen sein als der Ruf des Opiums? Annemarie Schwarzenbach suchte Utopia, aber sie fand es nicht in den Städten des Orients, dafür aber im Opium Teherans, dem später, wenn auch nur einmal, das Opium Afghanistans den Rang streitig machte.

Bagdad war die Realität, der Mythos dagegen, das «Tausendundeine Nacht», zog nach Teheran. Natürlich nicht nach der Stadt Teheran, sondern nach dem Teheran des Opiums!

Bagdad – Erinnerungen an eine Weltstadt

Hanser Verlag, München , 2015

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2015

SHORT term RESI DENCE CLAIRE LIM [V] 1

K aleidoscoping V illa S träuli Microscope slide cover glass, glass adhesive, watercolor on paper and reflective card- boards, 2015

1

«Take a peek into the historic Villa Sträuli’s cashier furniture.

It becomes a tunnel/entrance/ doorway/window connecting the past with present day experiences. This work explores intimate spaces, past uses and perceiving time in different ways.» {Claire Lim}

2

S ensor Walkers Recycled PET bottles (collected from the staff of Villa Sträuli), inkjet printed paper and adhesive, 2015

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«Everything has a secret life.

Given a chance to re-live, these PET bottles transform into crawlers to explore their surroundings. A site specific impromptu installation artwork in response to the materials gathered and through conversations with people I met at Villa Sträuli.» {Claire Lim}

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SHORT term RESI DENCE Lucineh Hovanissian [M] Q uantum Walt z «The harmony of the world arises from opposites held in tension, as in the lyre and the bow.» (Heraclitus) «And the music of sphere plays heaven's lyre, In an elusive quantum waltz we whirl, Embracing the void of the wild skies we whirl, Entangling and smashing we endlessly whirl…»

(Lucineh Hovanissian) In her solo performance as composer, pianist, singer and poet Lucineh Hovanissian premiered new pieces written while being artist in residence at Villa Sträuli.

Science and lyricism, piano and the ultimate instrumentthe human voice! A versatile fusion oscillating between classical and jazz, modern and baroque.

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Cosimo Veneziano [v]

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[ artwork ]

The Monument

Industrial felt and china 50Ă—70 cm, 2015

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Cosimo Veneziano

— 2015

[V]

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The Monument

Industrial felt and china 50×70 cm, 2015 M onochrome I

Silicone rubber and pigments, Series, 20×20, 2015

Reza Haeri [v]

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Reza H aeri

— 2015

[v]

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Majid

A documentary film (On post production) about iranian writer and thinker Majid Rahnema (1924–2015)

Lorenzo Troiani [m]

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Lorenzo Troiani

— 2015

[M]

Erosi. Canone muto Hier wohnen wir nicht.

Umdrängt jetzt von Unverlierbarem (Paul Celan)

Qui noi non abitiamo.

Pressato ora dall'imperdibile (Paul Celan)

Diesseitig bin ich gar nicht faßbar.

Denn ich wohne grad so gut bei den Toten, wie bei den Ungerborenen.

Etwas näher dem Herzen der Schöpfung als üblich.

Und noch lange nicht nahe genug.

(Paul Klee)

Qui sono inafferabile abito bene con i morti come con i non nati. Sono vicino alla creazione. Eppure non abbastanza.

(Paul Klee)

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A Luigi Nono.

Funambolo.

- Nach dem Lichtversicht der vom Botengang helle Hallende Tag -

Erosi. Canone muto

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Akiyasu Shimizu [v]

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[ artwork ]

Column rope, Plaster, 240Ă—8Ă—5.5 cm, Seilerei Kislig

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Akiyasu Shimizu

— 2015

[V]

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Column rope,

Exhibition view, Villa Sträuli, 2015

[ artwork ]

UNTITLED

Inkjet print, 61×79 cm, 2015 Uhrensammlung Kellenberger

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Kitty Anderson [C]

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[ e xhib ition vie w ]

FORM

Vanessa Billy, Markus Kummer, Stephan Viktor Mßller and Miriam Sturzenegger. Curated by Kitty Anderson, 2015, Villa Sträuli

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Sabine Gruber [L]

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[ e xce rpt ]

Die Vögel hatten wegen des Gefechtslärms die Bäume verlassen und waren davongeflogen.

Bruno Daldossi saß auf der Rückbank eines Kleinbusses, schaute aus dem Fenster. Sie fuhren auf das Dorf zu. Er versuchte zu verstehen, was in diesem Augenblick geschah oder was passieren könnte, war aber gleichzeitig abgelenkt. In zwei Tagen würde er wieder bei Marlis sein, er konnte selbst hier, auf dem Land, ihre Haut riechen, zerwühlte in Gedanken ihr Haar, küßte sie zwischen die Beine.

Am linken Straßenrand steckten rotbemalte Holzpfosten in der Erde. «Danger» hatte jemand auf ein Schild geschrieben.

Einmal hatte Daldossi in Bosnien die Straße verlassen müssen, um zu pinkeln. Während er den Schwanz zurück in die Hose gesteckt und den Reißverschluß zugezogen hatte, waren zwei Männer ein Stück weit auf ihn zugelaufen und hatten geschrien.

Daldossi war so in Gedanken versunken gewesen, daß er nicht gleich verstanden hatte, was sie von ihm wollten, warum sie nicht näher kamen. Zwei Stunden hatte er dann bewegungslos im Feld ausgeharrt, bis der Minensuchtrupp gekommen war, um ihn aus dem gefährlichen Gelände zu befreien.

Wieder war das Knattern eines Maschinengewehrs zu hören.

Er wandte den Kopf, konnte aber nichts erkennen. Der Widerhall kam von weit her. Scharfe Munition erzeugt nach dem Abfeuern einen zweiten Knall, manchmal einen dritten beim Einschlag.

Daldossi vermutete die Scharfschützen hinter dem bewaldeten Hügel. Dort war vor wenigen Minuten die Sonne untergegangen. Herbstkälte breitete sich aus.

Daldossi oder Das Leben des Augenblicks

Roman, C.H. Beck München 2016

35

36

2015

[ impre ssions ]

5×5×5 [v]

Layla Abyad, Sahera Dirbas, Naama Noach

38

[ F ilmstills ]

LETTER TO S.

12 min, Layla Abyad (Syria) Internationale Kurzfilmtage 2015

39

5 × 5 × 5 — 2015

[V]

40

Between heaven & earth

11 min, Sahera Dirbas (Palestine) Internationale Kurzfilmtage 2015

[ F ilmstills ]

HISTORY

13 min, Naama Noach (Israel) Internationale Kurzfilmtage 2015

41

artists in residence

2016 –

10 YEARS VILLA STRÄULI

Zoë CLAIRE Miller [v]

44

[ artwork ]

INTERSPECIES COHABITATION

Scanogram, 2016

45

Zoë Miller — 2016

[V]

[ artwork ]

The Health Benefits of Eating Silica

Detail, glazed earthenware, 2016

47

Raluca Popa [v]

48

[ artwork ]

R, W

Detail Artist Book, 56 pages, 2+1 AP, linocut (cover), pencil on paper, 22Ă—15.8Ă—1.5 cm

49

2016

[ impre ssions ]

50

Gianni Skaragas [L]

51

Gianni Skaragas

— 2016

[L]

The distant lights from the sleepy towns emerged with the urgency of life exposing itself to the night for the first time.

A kiss is trouble, an account of mystery, the most misleading treatise on human endurance, and if you’re not a lover, if you don’t like the hypnotic fullness in one’s lips and the sharp hormonal smell of longing, it can make you miserable and sick. It is a painful stab of meaning, primordial and complex and you catch it like a cold. One moment you feel almost human, and the very next a dying sense flashes across your new awareness of light, suspending time, taking hold in your head, erasing questions and fears, and throwing off the old heartache, blotting away the contours of a mouth’s map and the outlines of the earth. A kiss registers your existence mechanically, flawlessly, dramatically in a state of grace.

It doesn’t matter if you step onto the surface of another planet; if you see too much and live too long; it doesn’t matter if God speaks directly to you. A kiss is about the strength of a mouth to keep the planets in a stable orbit, to make life unroll. It is specifically engineered by nature to make you stretch yourself to the full spread of fate’s endless corners in which everything is related to everything else—the story of a world that came to an end and then came together to be present for the exact moment when two mouths were put together.

That’s what a kiss is: The momentary bliss in which both God and humans would consent to invest meaning. Over the next three days, he walked alone into the morning searching for tangible signs of demonic visitation: the tingling in his arm when he raised it outside old churches to photograph the gargoyles; the overcast winter sky dimming away the disappointment of the ordinary from the shape of the cities; the long time his

52

[ e xce rpt ]

body needed to heat its place in the bed, when he felt like a motionless, half-thing with the cold scent of the unclaimed baggage full-blown on the nose; the voices through the walls, the looming emptiness in his line of sight, the catch in his throat at the glimpse of the moon hovering over a lighting rod.

Not many people understood that symbols and metaphors had consequences and marked the course of things to come. The city of Winterthur had that helpless beauty you saw sometimes in lovers, but never in love. Every love story is a sign of two people put together, the pure symbolism of faith but also the expectation of dramatic event. If not for one, then for the other.

53

Gianni Skaragas

— 2016

[L]

54

Die dämonin von winterthur

Written by Gianni Skaragas Illustrated by Franca Bernhart

Laura Hagemann [p]

56

[ JUBILÉ E A RTIST ]

SEIFENSTÜCK

Soap, space, sound, and movement foam and froth and make for an unreliably colourful moment on stage…

57

Laura Hagemann — 2 0 1 6

[P]

58

‌A nothing and yet not nothing An attempt to stand on a slippery surface while keeping both feet planted firmly on the ground.

Performance, 2016.

Madeleine christin Leroy & Torben Laib [V]

59

Madeleine Christin Leroy and Torben Laib — 2 0 1 6

[V]

60

Copper plate, stearin 2016

REFLEKTOR

[ JUBILÉ E ARTIST S ]

Triebe

Stearin, paraffin, copper pigments, wick, 2016

61

Madeleine Christin Leroy and Torben Laib — 2 0 1 6

[V]

62

Zustände

Meat mincer, paraffin, copper pigments, 2016

[ impre ssions ]

Let's Celebrate!

2016

[ impre ssions ]

65

66

2016

[ impre ssions ]

67

68

2016

Benjamin Reynolds [V]

69

Benjamin Reynolds — 2 0 1 6

[V]

70

PAL/AC/E – Calibration I

Tallow, caustic soda, glycerin, distilled water, sugar, acrylic All «Pal/ac/e» Pieces in collaboration with Valle Medina, 2016

[ JUBILÉ E A RTIST ]

PAL/AC/E – Wind and Hair

Bleached/dyed human hair, glue, metallic plate, 2016

71

Benjamin Reynolds — 2 0 1 6

[V]

72

PAL/AC/E – Calibration II

Tallow , caustic soda, glycerin, distilled water, acrylic, 2016 PAL/AC/E – Site by Sea

ethyl alcohol, tallow, caustic soda 2016

[ JUBILÉ E A RTIST ]

73

Christian Futscher [L]

[ Cover ]

SUPPEN

Schundheft N° 13, unartproduktion, 2016

75

Christian Futsche r

— 2016

[L]

«Das Meer ist auch nichts anderes als eine Fischsuppe, eine stark versalzene», sagte ich laut und schaute auf die Wellen des Meeres, an dessen Ufer ich stand wie ein Fels in der Brandung. Neben mir wurden Köpfe geschüttelt, während ich an das Theaterstück «Des Meeres und der Liebe Wellen» von Franz Grillparzer denken musste. – Das war in Kroatien, wo ich vor kurzem Urlaub machte. Die Erinnerung daran plätschert zwischen meinen Ohren wie ein Fisch in seichtem Gewässer. Bravo, solche Vergleiche halten jedem Vergleich stand.

Bei dem kroatischen Autor Edo Popović (was für ein herrlicher Name!) las ich: «‚Das weiße Wasser‘, wie Philip Ball die Wolken nannte.» – Auch ein schöner Name: Philip Ball. Ich werde ihn demnächst im Fußballstadion zitieren, wenn weiße Wolken sich zeigen über dem Stadionrund. Die Suppe am Himmel korrespondiert mit der Suppe im Teller, die Suppe in meinem Kopf mit allen Suppen der Welt: Bouillabaise, Minestrone, Dal, Gazpacho, Chorba, Misosuppe, Borschtsch, Gumbo, Soljanka, Irish Stew, Tom Yam, Knorr-Packerlsuppe …

Fortsetzung folgt.

(Oder auch nicht.)

76

Paul Clift [M]

77

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PRESENCE, AbSENCE, DEGREE

?

for accordion and electronics, 2015

Michelle agnes Magalhaes [M]

79

Michelle Agnes Magalhaes — 2 0 1 6

[M]

80

LORCA FRAGMENTS

for flute, clarinet, viola, cello and harp, 2016

Hiwot Admasu Getaneh [V]

81

Hiwot Admasu Getaneh

— 2016

[V]

82

NEW EYE

12:36 min, Ethiopia, 2015

83

2015

p. 8

p. 1 0

Sana Ghobbeh

ADELAIDE CIONI

*1984, from Iran

*1976, from Italy

[ V & P]

[V]

SHORT T ER M R ESIDENCE Mi d-Janu ar y to Febr u a r y

SHORT T ER M R ESIDENCE Mi d-Janu ar y to Febr u ar y

Sana Ghobbeh is a visual artist and architect from Tehran. She received a Master of Fine Arts at Umeå Academy of Fine Arts in Sweden and a BSc Architecture at the Azad Tehran University. 2013 to 2015. She was granted an artistic research at Umeå school of Architecture (UMA) in Sweden.

During her stay at the Villa Sträuli she held a sitespecific performance titled «I wash my sins with soap» and continued working on a photo installation she started in October 2014. A version of this installation titled 'I left my shoes behind' was gifted to Villa Sträuli.

Adelaide Cioni studied drawing at UCLA, Los Angeles, and graduated in sculpture from the Accademia di Belle Arti, Roma. Between one thing and the other she earned a degree in contemporary history and for several years translated American literature (David Foster Wallace, John Cheever, among others).

In her work she uses mainly drawing and installation to focus on relationships with space, objects and memory. She plays with the litterality and the immediacy of visual language in order to investigate the archetypical nature of everyday objects and figures of our imagery that are deeply rooted in Western culture.

In 2014, she spent six months as a resident at Cité internationale des arts, Paris, and was awarded the Premio Celeste for «à propos de bacchelli 5», a work on the memory of her house that was shown in 2015 at the Museum of Modern Art in Bologna (MAMbo).

In 2016, she moved to Umbria and opened a studio/ space called «Franca».

sanaghobbeh.weebly.com

adelaidecioni.com

84

[ cv ]

p. 1 1

p. 1 8

Najem Wali

Cl aire Lim

*1956, from Iraq/Germany

*1978, from Singapore

[L]

[V ]

SEL ECT ED BY T HE A RT IST IC COM M I T EE Mi d-Janu ar y to m i d-Apr i l

SHORT T ER M R ESIDENCE Ma rch to m i d-Apr i l

Officially, Najem Wali was, like millions of Iraqis, born on July 1, 1956. The truth, however, is that he was born on October 20, 1956, in southern Iraq. This distortion of facts is just one of many surreal stories from Iraq. Wali studied German literature at the University of Baghdad, received his university degree in 1978 and was then conscripted into the military, where he was taken into custody and tortured as a political dissenter and pacifist. He was discharged in August 1980.

On September 22, 1980, his age group was called up for military service again. Wali did not want to go to war and so he decided to leave the country illegally.

Wali continued his university studies in German language and literature in Hamburg and ultimately received a master’s degree. In 1987, he moved to Madrid to study Spanish literature, returning to Hamburg in 1990.

Najem Wali published his first story when he was just sixteen years old. As a student he worked for Radio Baghdad and a weekly magazine. Today, he works as a freelance author, journalist, and cultural correspondent for Al-Hayat, the leading Arab daily newspaper, and for Al Mada, Tatoo magazine in Vienna and for a variety of renowned German-language newspapers.

In the Arab world, Wali is one of the most prominent writers. In all of his novels and stories, Wali explores his own past and the history of his country, and he is not afraid to tackle controversial and sensitive topics. Wali was awarded the Bruno Kreisky Prize for the Political Book of 2014 for «Bagdad Marlboro».

Claire Lim lives and works in Singapore, sometimes as an artist, other times as a painting conservator, but habitually as a peculiar creature looking at the world with curious eyes. She has a keen interest in details, colours and materials; kneading all into stories, imagery and objects. Her works are mostly presented as a form of installation with a range of materials incorporating paintings, drawings, embroidery, crotchet, soft sculptures and mixed media. She has exhibited her works in Singapore, France, China, Philippines, Australia and Switzerland.

Claire received her fine-art postgraduate education at LASALLE College of the Arts, Singapore, in collaboration with Royal Melbourne Institute of Technology University.

najemwali.de

85

2015

p. 1 9

p. 2 0

Lucineh Hovanissian

COSIMO VENEZIANO

*1973, from Armenia

*1983, from Italy

[ M]

[V]

SHORT T ER M R ESIDENCE March to m i d-Apr i l

SEL ECT ED BY T HE A RT IST IC COM M I T EE Ma y to Ju l y

Lucineh Hovanissian has shown an interest in music since her early youth. She has been performing on stage since the age of 9, when she was a soloist singer in Yerevan’s Municipal Park children’s band. In 1994, she graduated from Yerevan State Medical University (diploma with honours) and subsequently did postgraduate work in the field of children’s dentistry.

Lucineh completed her musical studies in the vocal department of the Jazz Art College and the Yerevan State Conservatory.

She has won different awards and prizes and performed in France, Italy, Germany, Spain, Finland, Serbia, Switzerland, Sweden, UK, USA and Canada.

«Quantum Waltz»: in her solo performance as composer, pianist, singer and poet Lucineh Hovanissian premiered new pieces written while an artist in residence at Villa Sträuli.

Cosimo Veneziano’s practice has always been connected to archives, interviews and real sources, reformulating the information in sculptures and installations.

His aim is to enable the invisible aspects that make up the collectivity to emerge.

The works realised by Cosimo Veneziano during his residency at Villa Sträuli reflect on the pictorial technique of monochrome on the process of an image’s occultation.

In his exhibition the artist presented two recent works. «Monochrome I» is a series of casts of paintings, realised in synthetic rubber. They are chromatic plates where the original image reveals itself only where the colour was more sedimented and takes the highest gauge. The series «Monument» is composed of ink drawings on canvas covered by industrial felt, and concerns Winterthur’s monuments as examples of the complex balance between history and its representation in public space through sculpture.

Cosimo Veneziano is the co-founder of Diogene in Turin, Italy.

lucinehovanissian.am

progettodiogene.eu

86

[ cv ]

p. 2 3

p. 2 5

REZA HAERI

Lorenzo Troiani

*1974, from Iran

*1989, from Italy

[V]

[M ]

SEL ECT ED FOR T HE W I N T HERT H U R ST U DIO Ma y to Ju l y

SEL ECT ED BY T HE A RT IST IC COM M IT EE Ma y to Ju l y

Reza Haeri is an Iranian filmmaker and curator. He lives and works in Tehran. Some of his recent works are Final Fitting (2008, Grand Prize from Cinema Verité Festival), All Restrictions End (2009, Grand Prize from Rio de Janeiro Film Festival, Berlinale 2010) and Sons of Sindbad (2017). He has also been involved with a political periodical Dialogue (Goftogu) since 1999, and was the editor of the special issue on Cinema and History (2014). Reza Haeri founded Tehran Cine club (2005-10). In 2015 he curated Metaphor and Politics: The Tehran Retrospective of Harun Farocki.

Currently Reza Haeri is working on the retrospective of Sohrab Shahid-Saless’ German works «Nostalgia for The Elsewhere» at TMoCA. Reza Haeri is the first ‚Winterthur studio’ artist, selected in collaboration with the city of Winterthur. during his residency at villa sträuli, he researched Iranian social history. «in order to find material, I often have to travel abroad, to research in foreign archives, or to interview Iranians in exile.» He also worked on his new project, started in 2014, «Majid», about Iranian writer, former diplomat, and thinker Majid Rahnema (1924–2015).

Lorenzo Troiani is an Italian composer based in Graz, Austria. He studied composition with Rosario Mirigliano, Salvatore Sciarrino and Clemens Gadenstätter, and attended lessons, master classes and courses with musicians and composers who helped him to find a personal way of thinking, among them: B. Furrer, P. Billone, M. Andre, D. Przybylski, J. Schöllhorn, M. Trojahn, P. Manoury, B. Ferneyhough, J. Manuel Lopez Lopez, C. Czernowin, S. Takasugi, I. Mundry.

His music has been performed by different ensembles all over the world – some of them are Klangforum Wien, Neue Vocalsolisten, Quatuor Diotima, Quartetto Prometeo, OENM Salzburg, MDI ensemble, Divertimento ensemble, Curious Chamber Players, Quatuor Tana, Vertixe Sonora ensemble, Ensemble L’Arsenale, IzM ensemble, Barcelona 216, Taller Sonoro ensemble.

Some of his compositions are published by Universal Edition Wien, Sconfinarte, and the Col Legno label.

The poetry of Paul Celan and Francis Ponge, the works of Paul Klee and Jannis Kounellis, the philosophy of J-L. Nancy and Jacques Derrida all play a crucial role in his music.

He graduated in philosophy from Roma Tre University in Rome under Paolo D’Angelo and Elio Matassi with a dissertation on the ontological thinking of Paul Klee.

During his residency at Villa Sträuli, Lorenzo Troiani worked on a piece for the Ensemble TaG Winterthur («Erosi. Canone muto») and developed a piece for cello and dancers for Tanzzeit Winterthur, an annual dance festival.

lorenzo-troiani.com 87

2015

p. 2 8

p. 3 2

AKIYASU SHIMIZU

Kitty Anderson

*1985, from Japan

*1978, from Great Britain

[ v]

[C]

SEL ECT ED BY T HE A RT IST IC COM M I T EE Septem ber to No ve m ber

SEL ECT ED BY T HE A RT IST IC COM M I T EE Septe m ber to No ve m ber

Based in Berlin, Japanese artist Akiyasu Shimizu (*1985) works in different media, such as photography, painting and installation, which he fuses together under the term «associativity». In light of his Japanese background, his practice exercises simplicity, abstraction and space.

In his artistic approach, Shimizu modifies the perspective in his works to create either illusion or clarity in an effort to obscure time and place. Recent works include the assemblage of daily objects in straightforward shapes and colours to create two-dimensional installations in space.

In 2011/2012, Shimizu received the NaFöG Berlin Funding for Graduates Scholarship, followed in 2014 by the prestigious Pola Art Foundation Grant for Overseas Study. In recent years, Shimizu was selected to participate in the artist in residence programmes at Residency Unlimited, New York, and Kala Art Institute, Berkeley.

Recent exhibitions include: «Seeing Through Abstraction», curated by Shlomit Dror at Residency Unlimited, New York; an exhibition at Otte1 Künstlerhaus Eckernförde, Eckernförde, Germany (2013); «body | border | body» at Kunstraum Kreuzberg / Bethanien, Berlin (2013); «Vice Versa» at Kommunale Galerie Berlin, Berlin (2012).

During his stay at Villa Sträuli, Akiyasu Shimizu created a new site-specific artwork that represented an abstract form, related to nature and industry in Winterthur.

Kitty Anderson is Curator at The Common Guild, Glasgow. She was previously Associate Director of The Modern Institute, Glasgow, and Associate Curator of Frieze Projects, London.

Kitty Anderson has realised several freelance projects, among many others a collaborative project with Glasgow-based artists Anne-Marie Copestake, Kate Davis, Rachel Lowther and Lorna Macintyre for The 21st Annual Conference on Virginia Woolf, 2011.

She has contributed to various publications and exhibition catalogues including: interviews with Glasgow-based artists Suzanne Déry and Lorna Macintyre for the Canadian magazine «Millions»; texts on recent GSA graduates James Winnett, Aideen Doran, Jocelyn Villemont, Alex Impey and Giuseppe Mistretta for «Axis»; and a catalogue essay on Nicolas Party for Neues Museum, Staatliches Museum für Kunst und Design in Nuremberg.

Kitty Anderson has participated in various selection panels and advisory groups and has given talks and presentations at a number of galleries. During her stay at Villa Sträuli, Kitty curated the mini-exhibition «Form» and hosted a Roundtable Conversation with several curators, artists and interested guests.

thecommonguild.org.uk

akiyasushimizu.com

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SABINE GRUBER

L ayl a Abyad, Saher a Dirbas, Na ama Noach

*1963, from Italy/Austria

Filmmakers from Syria, Palestine, Israel

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COL L A BOR AT ION W I T H Ad S Assoc i a t i on of S w i ss Au thors Septe m ber

COL L A BOR AT ION W I T H I N T ER N AT ION A L E K U R Z FIL MTAGE W I N T ERT H U R - T he Short Film Festi val of Switzerland O c tober to No vem ber

Author Sabine Gruber was born in Merano, South Tyrol, studied German literature, history, and political science, and now lives and works as a freelance writer in Vienna. From 1988 to 1992, she was a university lecturer in Venice. In addition to stories, radio plays, and stage plays, she has published several novels – including «Aushäusige» (Wieser, 1996), «Die Zumutung» (C.H. Beck, 2003), «Über Nacht» (C.H. Beck, 2007), «Stillbach oder Die Sehnsucht» (C.H. Beck, 2011), and «Daldossi oder Das Leben des Augenblicks» (C.H. Beck, 2016) – and the book of poetry «Fang oder Schweigen». She is the recipient of numerous awards and grants, including the Priessnitz Prize, the Austrian State Funding Award, the Elias Canetti Fellowship of the City of Vienna, the Anton Wildgans Prize, and the Robert Musil Fellowship. Most recently, she was awarded the Austrian Art Prize for Literature 2016.

During her residency at Villa Sträuli, Sabine Gruber worked on «Daldossi oder Das Leben des Augenblicks» (C.H. Beck, 2016), a book about a war photographer and his conflicts and dilemmas.

(Fotograf: Gunther Gluecklich)

Questions surrounding the topic of «exile» were addressed by five filmmakers from five crisis regions who were invited to Winterthur for the second edition of the project 5x5x5. And the result – five personal, moving, and provocative cinematic looks at Switzerland created over the course of five weeks. The project was met with tremendous enthusiasm: at the world premiere of the five short documentaries on festival Saturday, the audience in the sold-out Theater Winterthur gave the films a standing ovation.

Three of the five filmmakers shared one artist-inresidence studio at Villa Sträuli.

sabinegruber.at

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Zoë Cl aire Miller

RALUCA POPA

*1984, from Germany/ USA

*1979, from Romania

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SEL ECT ED BY T HE A RT IST IC COM M I T EE Mi d-Janu ar y to m i d-Apr i l

SEL ECT ED FOR T HE W I N T HERT H U R ST U DIO Mi d-Janu ar y to m i d-Apr i l

Zoë Claire Miller was born in Boston, Massachusetts, USA. She studied philosophy, anthropology and Romance languages at the University of Heidelberg, and fine arts under John Bock at the Art Academy Karlsruhe, earning a diploma in sculpture in 2010. She lives in Berlin, where she works as an artist, curator, and organiser. She co-founded the Berlin Art Prize, an independent award for artists in Berlin, in 2012, and ran the project spaces Galerie Europa and Salon Mutlu 2010–2014. In 2015, she was a member of AG Zeit, an initiative working towards improving cultural policy in Berlin. Since 2016, she has been a board member of the Berlin artists’ union (bbk). As a sculptor, she mainly works with ceramics, and is particularly concerned with questions of collaboration, objecthood and negative space. She has exhibited internationally.

She is a feminist.

During her stay at Villa Sträuli, Zoë Claire Miller embarked on a collaborative journey with Taxi the dog, who was a sometimes reluctant partner in sculptural crime; each morning, she interviewed the spider that lived in her shower; and she did an interactive workshop with many fingers belonging to residents of Frauenfeld at Shedhalle Frauenfeld as part of the exhibition of work by fellow residents Raluca Popa and Gianni Skaragas, curated by Katja Baumhoff. She greatly enjoyed the opportunity to concentrate fully on ceramic experimentation, and her plan to create works focussed on interspecies relations culminated in a multimedia installation in collaboration with Lauren Gault, which was exhibited as part of the Director’s Program at Glasgow International.

Raluca Popa studied fine arts at the University of Art and Design (Cluj) and under Christopher KulWant at Byam Shaw School of Art / Central Saint Martins (London). She lives and works in Bucharest.

She works as a visual artist. Since 2009, she has been collaborating with Romanian film directors, as an art director and background artist for animation films. Thus, at the moment she situates herself in between two poles, the foreground and the background, in other words in between the affirming nature of an artwork and the subordinate nature of a décor. She currently tries to problematise this antagonism.

Recent exhibitions: Two Titles, Rumänska Kulturinstitutet, Stockholm (SE); Turning Something Plain into a Circle, Ivan Gallery, Bucharest (RO); Mapping Bucharest: Art, Memory, and Revolution 1916–2016: An exhibition by the MAK, Vienna Biennale; Une autre cité, Tranzit Bucharest (RO); Other Rooms, Galeria Plan B, Cluj (2015); Dispositions in Time and Space, MNAC, Bucharest (2014); And Yet There Was Art!, Leopold Museum, Vienna (2014); What We Destroy and Celebrate at the Same Time, Salonul de Proiecte, Bucharest (2012); The Garden View, Andreiana Mihail Gallery, Bucharest (2011).

During her residency at Villa Sträuli, Raluca Popa made an artist’s book, R.W. – drawn with pencil as an echo of Robert Walser’s «Microscripts» – small, intense, dense. The book was donated by the artist to the city library. ralucapopa.ro

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Gianni Skaragas

L AUR A HAGEMANN

*1974, from Greece

*1988, from Germany

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SEL ECT ED BY T HE A RT IST IC COM M I T EE Mi d-Janu ar y to m i d-Apr i l

I n v ited by Villa Str AU li for the 10 th anni v ersary Ma y to Ju l y

Gianni Skaragas is a novelist, playwright and screenwriter. He writes in both English and his native tongue. He is the author of six books in Greece. He has written seven theatre plays, two sitcoms and three drama series for television. His short fiction has previously appeared or is forthcoming in «American Chordata», «Copper Nickel», «Spilled Milk», «The Tower Journal», «World Literature Today», and elsewhere.

His play, «Prime Numbers», premiered off-Broadway in New York in 2009. He is a Fulbright Fellow and the recipient of various grants and fellowships in the U.S. and Europe. He is a member of the Association of European Journalists.

In his stories, Gianni Skaragas details an intimate understanding of human emotions and desires, by turns heartbreaking, poetic and comic, bringing to the page a compassionate affirmation of why we fight to find our place in the world.

During his stay at Villa Sträuli, Gianni Skaragas wrote the essay «Die Dämonin von Winterthur», which was illustrated by Franca Bernhard and shown in an exhibition in the salons of Villa Sträuli.

Laura Hagemann studied physical theater at the Accademia Teatro Dimitri in Ticino. As a freelance actress she participated in different theater productions.

Recently she has been concentrating on realizing her own projects. Her interest in absurdities, music and human failure leads her to the research of how the connection of music, movement and theater becomes a tragicomic performative language.

She is an integral part of the «Berlocken Theaterkollektiv» with which she produces regularly performances such as «Form der Frage» in Arnhem (NL) and «ich sehe was, was du nicht weisst» in Erlangen (D).

These two productions were awarded at the theater festival «Arena…der jungen Künste», Erlangen (D).

At Villa Sträuli she focused on her first solo-production «Seifenstück», which she developed and performed at «Altes Busdepot Winterthur».

gianni-skaragas.wixsite.com/ gianni-skaragas

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2016

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Torben L aib and Madeleine Christin Leroy

BENJAMIN REYNOLDS

*1991 & *1983, from Germany

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*1984, from Australia

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I n v ited by Villa Str AU li for the 10 th anni v ersary Ma y to Ju l y

I n v ited by Villa Str AU li for the 10 th anni v ersary Ma y to Ju l y

The work of Benjamin Reynolds crosses the spatial and temporal breadths of geography and history to conceive of environments and phenomena – cartographic/virtual, built – that unfold an extensive/intensive definition of architecture; by linking lives and lifelikeness (verisimilitude). Relations within and around Reynolds’ work contribute as much as the work produces a place.

Reynolds initiated Pa.LaC.E (palacepalace.com) together with Valle Medina, a practice whose works are considered constitutive forces that compose realms, and that elude exclusive claims to a type, style, or history. Their recent work has been preoccupied with the spaces that expand and challenge the nature of digital production for a generation that is entering abstract states of technology and radically shifting contexts (Paris Hermitage, 2015–16).

At Villa Sträuli, Reynolds collaborated with Valle Medina. Inspired by Winterthur’s early industrial culture and the presence of Sulzer and its turbine manufacturing, they constructed a turbine to produce soap.

They also produced sculptures using the recipes of the earliest forms of soap found in the experiments of Jābir ibn Ḥayyān who popularized the use of al qalīy («ashes of saltwort») with animal fat (tallow).

In her work, Madeleine Christin Leroy sticks very close to the properties and capabilities of her materials. Experiments yield sculptural or installational approximations of spaces. She teases apart everyday things in a process of precise dissection and then assembles them anew to form unfamiliar, organic-looking entities. Her focus is predominantly on the nature, surface, smell, and colouration of her materials.

Artist Torben Laib asks what is involved in the perception of time and space, focussing particularly on the areas of sound, sculpture, installation, video, and action. In his work, materials and themes are often closely allied to everyday life and arise from the specifics of a place or situation.

As recipients of the anniversary stipend the two artists developed an exhibition on site that focussed on Winterthur and Seifen Sträuli, the soap and candle factory that was once located in the city.

benjaminreynolds.info

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Christian Futscher

Paul Clif t

*1960, from Austria

*1978, from Australia

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COL L A BOR AT ION W I T H Ad S Assoc i a t i on of S w i ss Au thors Septe m ber

SEL ECT ED BY T HE A RT IST IC COM M I T T EE Septe m ber to No ve m ber

Christian Futscher was born in Feldkirch, Austria, and has lived in Vienna since 1986, where, among other things, he ran one of the city’s wine taverns (Stadtheuriger). In 1998, he participated in the Ingeborg Bachmann competition in Klagenfurt but didn’t win – he did, however, receive the audience award at the «Nacht der schlechten Texte» in Villach in 2006 and the Dresden Poetry Prize in 2008. In September 2016, he was an artist in residence at the Villa Sträuli at the invitation of the Association of Swiss Authors (AdS).

Paul Clift is an Australian composer. His music often attempts to make abstract associations with a variety of concepts such as linguistics, modernist literature and painting, cognitive phenomena, and extra-European musical traditions. His compositional outlook is marked by formative studies with George Benjamin, Jean-Luc Hervé, Fred Lerdahl, Philippe Leroux, Fabien Lévy and Tristan Murail. His works have been featured in festivals such as Agora, MATA and ISCM, and he has participated in festivals and master classes including Royaumont Voix Nouvelles, Acanthes, Domaine Forget, IMPULS, June in Buffalo, MATRIX, Internationale Sommerakademie der MDW and Darmstadt Ferienkurse.

Paul obtained a doctorate of musical arts from Columbia University, New York, a master’s in music at King’s College, London, and also completed the IRCAM Cursus de composition et d'informatique musicale, culminating in the premiere of «With my limbs in the dark», composed in collaboration with choreographer Alban Richard and Ensemble l'Instant Donné. In 2013, Le Détour Permet le Retour for string quartet, video and live-electronics was premiered by JACK. In addition to composing, Paul is active as a researcher; he has undertaken research-residencies notably at the Paul Sacher Foundation (2014), Basel, and at IRCAM (2014–15).

Paul is the Artistic Director of neuverBand, a newmusic chamber ensemble based in Basel. Paul’s music is published online at www.babelscores.com. paulclift.net

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Michelle Agnes Magalhaes

Hiwot Admasu

*1979, from Brazil

*1988, from Ethiopia

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SEL ECT ED BY T HE A RT IST IC COM M I T T EE Septem ber to No ve m ber

COOPER AT ION W I T H I N T ERN AT ION A L E K U R Z FIL MTAGE W I N T ERT H U R A N D FEST I VA L DEL FIL M LOC A R NO O c tober to No ve m ber

Michelle Agnes Magalhaes is a composer born in Campo Grande, Brazil. She holds a doctorate in music from the University of São Paulo (USP, Brazil).

Michelle Agnes’ musical formation began on the piano.

She started taking lessons at the age of six, in her native city. Since then, the piano has played a key role in her development as a musician. Her first composition teacher was the composer H. J. Koellreutter, in 1994. She moved to France, in 2013, to join the IRCAM team. During this same period she received regular lessons from Salvatore Sciarrino.

She has been awarded many prizes (Funarte Prize of Classical Composition, Jornada de Cinema da Bahia, Cinemúsica), fellowships (CAPES, FAPESP) and residences (IMEB, Fondazione Giorgio Cini Venezia, Camargo Foundation and Harvard University Radcliffe Foundation).

During the residence at the Villa Michelle composed the pieces of the Lorca Cycle; a set of chamber music pieces inspired by the Lorca's conference Play and Theory of «The Duende». Some of them were played in the concert with the Ensemble Tag (Theater am Gleis)

One of the very few Ethiopian upcoming filmmakers with international exposure, Hiwot Admasu Getaneh believes she learned the art of storytelling from her grandmother. Though her love for art was obvious from her activities during her high school years, she first got her B.Sc. in electrical and computer engineering from Addis Ababa University in 2010. She then decided to follow her real passion, filmmaking, and joined the Blue Nile Film Academy in Addis Ababa. After experimenting with school shorts, she made her first professional short film «New Eyes» in 2015. The film premiered at the Venice International Film Festival in September 2015 and showed at the Toronto International Film Festival the same month. Hiwot has been able to attend a lot of workshops and talent labs around the world – TIFF Talent Lab, Addis to Cannes, and Berlinale Talents, to mention a few. She says the mentorship of excellent filmmakers from such places has helped her career a lot. During her residency she was preparing to make her first feature film «A Fool God».

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[ THANK YOU ]

Nicole Kurmann, head of the department of culture for the city of Winterthur. She worked with the selection committee for the first time in 2015 in selecting an artist who had applied for a residency with a project relating to the city of Winterthur (Reza Haeri from Iran). The city of Winterthur also contributes financially to the Winterthur Studio.

The canton of Zurich, which supported us with an operating contribution for the first time in 2015. Our artists in residence programme has also benefited from this contribution.

Franca Bernhard, who provided the illustrations for Gianni Skaragas’s text.

Leonie Graf, Joe Fenner, Theo Huber AG, Sattler Electronic Showtronic AG, Arba Holz, Hornbach Luzern-Littau, Obi Winterthur, Hongler Kerzen AG, the Kirchgemeindehaus Liebestrasse, and the Altstadtapotheke All of whom generously supported our anniversary-year artists in residence with materials, advice and guidance.

All of our partners who have worked with us in so many different ways.

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[ a d d e nd um ]

The Sulzberg Foundation makes available three studios in the Villa Sträuli in Winterthur to creative artists of all disciplines and backgrounds. In selecting creative artists to receive stipend-supported residencies the Villa Sträuli’s management is advised by the artistic committee.

Visual Arts/New Media V er a Ida Mül l er – Visual artist working in the fields of painting and concept, head of Vexer Edition Berlin office (art books, editions and multiples) Ol i v er K r ä henbühl – Artist working in the fields of painting, drawing, photography, installation, Kunst am Bau (art in architecture), and artists’ books.

Jiajia Zhang – Visual artist (photography, installations), founder of Claire Vague, contemporary platform (exhibitions, clothing, editions, and publications)

Literature Beat Ma zenauer – Author and literary networker (freelance: literary and cultural criticism, internet projects).

In 2006 the committee selected two creative artists for five-and-a-half-month residencies at the Villa Sträuli.

The first residency in 2006 was for three months and was granted in partnership with Pro Helvetia.

The following years four five-and-a-half-month residencies were awarded each year by the committee. Beginning in 2014 the duration of residencies was shortened to three months, with the advantage that now six artists per year can be chosen for stipend supported residencies and the formalities for entering Switzerland are less complicated.

We feel it is important to provide space for collaborations and to be able to grant residency requests at short notice. For this reason, the third studio is not awarded by the committee but is granted to artists from Swiss partner institutions, such as Pro Helvetia or the short-film festival «Internationale Kurzfilmtage Winterthur», or to Swiss or non-Swiss artists who are seeking a short-term space to work on a project. This third studio is awarded by the Villa Sträuli management.

Since 2015, we, in cooperation with the city of Winterthur’s department of culture, have been awarding one of our stipend-supported, three-month residencies to an artist who applies with a project that relates to the city of Winterthur.

Music M at t hi js Bunscho t en – Violist and music educator.

Musikkollegium Winterthur, Santé String Quartet, youth liaison officer at the Musikkollegium.

Edi t or Villa Sträuli – Annelise Schmid and Gabriele Huggenberg Pro jec t m a n agemen t Annelise Schmid and Eve Hübscher Con t r ibu t ing t r a nsl at or/copy edi t or (Engl ish)

Alison Gallup L ayou t Eve Hübscher Pho t ogr a phs box e s Lea Schlatter Pr in t ing Mattenbachdruckerei, Winterthur

Artistic Committee selection AIR 2015/16

© Villa Sträuli, Museumstrasse 60, 8400 Winterthur, Switzerland

Performing Arts Ru t h Girod – Former lecturer in rhythmics and music and movement education at the Zurich University of the Arts; currently freelance course instructor and project supervisor in the fields of music, movement, theatre, and performance. Member of the Sulzberg Foundation’s board.

All rights reserved. No part may be reproduced or transmitted in any form or by any means without prior written permission from the publisher.

For more information: www.villastraeuli.ch

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D oris Sträuli- K e lle r 1 91 2 -2 003, b e ne f a ctre ss

D oris Strä uli ge b . K e lle r 1 91 2 -2 003 und Ha ns Strä uli 1902- 1986, do n at o rs