1

A COLONIAL THING

05.12.19 – 06.09.20

WELTMUSEUM WIEN


1

A COLONIAL THING

05.12.19 – 06.09.20

WELTMUSEUM WIEN

Between 2017 and 2019 four different guidelines on the restitution of cultural property coming from colonial contexts were developed in the Netherlands, Germany, France and Canada. Against this backdrop the exhibition A Colonial Thing shows twelve objects in order to explore questions around the definition of the so-called colonial period, the nature of objects to be returned, the manner and destination of restitution and the potential future of ethnographic museums. Apart from the exhibits the exhibition consists mostly of texts. The spatial design encompasses twelve showcases, each presenting a specific narrative around an object. The texts are also presented as exhibition items, avoiding a hierarchy between object, image and printed word.


2

OSMOS COSMOS

19.06.19 – 25.08.19

CENTRE DE LA PHOTOGRAPHIE, GENEVE


2

OSMOS COSMOS

19.06.19 – 25.08.19

CENTRE DE LA PHOTOGRAPHIE, GENEVE

OSMOSCOSMOS is the 6th iteration of 50JPG Triennial. The exhibition aims to bring together Eros and Cosmos and highlights the link between these two universes. It is based on Greek mythology emphasizing the sexualisation of the god Eros at the moment of him castrating Uranus and the following painful withdrawal of the emasculated god from Gaia to become the Milky Way, the starry sky above our heads. The exhibition presents more than 100 artists and brings together photographic and videographic works as well as drawing on a variety of iconographic sources. The exhibition spaces are plunged into semi-darkness illuminated only by the fixed and moving images and the lighting in the showcases where printed photographs are exhibited, whether they be fine-art prints, books or press photographs. Instead of an “experience of authenticity” the show grants an “experience of meaning” in the spirit of Aby Warburg.


3

LETTING GO

29.09.17 – 29.07.18

MUSEUM OF CULTURAL HISTORY OSLO


3

LETTING GO

29.09.17 – 29.07.18

MUSEUM OF CULTURAL HISTORY OSLO

This exhibition is an outcome of the cross-disciplinary research project Death, Materiality and the Origin of Time (DMT). Various academic and museum professionals have studied how people around the world deal and have dealt with time and death through material practices.

In Letting Go this research has been condensed into a two-room installation. In the first part of the exhibition the viewer is confronted with a large number of objects. Nearly all the exhibits are from Fretex, the largest second-hand chain store in Norway. All these items once had a social life and now play a new role in the context of the installation. They are arranged to portrait potential former owners. The display also allows the viewer to experience the objects from changing spatial perspectives.

In the second part of the exhibition the visitors themselves provide evidence of their visit to the exhibition and their own existence. This is in the form of chalk outlines, graffiti and dates of their visit. At the opening the walls are all black, but as time goes on, more and more white chalk lines cover the room.


4

HAPPY BIRTHDAY DEAR LEUPIN!

21.12.16 – 29.04.17

LYSS EXHIBITION SPACE, BASEL


4

HAPPY BIRTHDAY DEAR LEUPIN!

21.12.16 – 29.04.17

LYSS EXHIBITION SPACE, BASEL

The starting point for this exhibition were 400 posters by graphic designer Herbert Leupin from Basel, who would have celebrated his 100th birthday on 20th of December, 2016.

The exhibition presents Leupin as a master of advertising consumer goods, cultural events and services over more than five decades. On show are not only his posters, but also the goods being advertised in his posters. Additionally a lot of material from the Leupin family archive that has not been shown before, is presented: hand-painted posters, sketches and drawings, photographs, newspaper and magazine clippings, and much more documentary material.

HAPPY BIRTHDAY DEAR LEUPIN! is not only a homage to the famous graphic designer, but also questioning the presence or absence of aura in the original and the reproductions.


5

ANATOMIE DER PROPAGANDA

23.01.16 – 02.04.16

LYSS EXHIBITION SPACE, BASEL


5

ANATOMIE DER PROPAGANDA

23.01.16 – 02.04.16

LYSS EXHIBITION SPACE, BASEL

The exhibition Anatomie der Propaganda is an attempt to understand how propaganda works through the medium of the poster. Aware of the fact that the borderlines between public relations, persuasion and propaganda are fuzzy, the exhibition features 98 posters from the collection. Each poster is additionally presented as a dissection, with the text separated from the image. The audience is invited to read the verbal messages typed on plain typewriter paper and to look at the pictorial composition of each poster in the form of a projection. The question is, do words still have an effect without the image, and what do the pictorial compositions mean without the verbal message on the poster?


6

MUSEE LIBIDINAL

22.10.15 – 22.01.16

LYSS EXHIBITION SPACE, BASEL


6

MUSEE LIBIDINAL

22.10.15 – 22.01.16

LYSS EXHIBITION SPACE, BASEL

Curating itself is the topic of this exhibition. The curatorial team themselves and their work space are on display. The curator and her assistants can be observed while they are working. The public is invited to assist in the conception, planning, organising and building of an exhibition presenting posters from the collection. The visitor does not find a finished exhibition, but a workspace, which is in continuous change: a work in progress.

The exhibition is divided into three areas: the depot, the office and the show room. Contrary to the usual situation all three areas are accessible to the audience, which can witness the changes during exhibition making.

‘Libidinal’ refers to a driven work mode of the curatorial team, and it stresses the sensual component of the makers’ approach. The title is an ironic take on André Malraux’s ‘Musée Imaginaire’.


7

LOVE TO HATE

21.11.14 – 31.01.15

LYSS EXHIBITION SPACE, BASEL


7

LOVE TO HATE

21.11.14 – 31.01.15

LYSS EXHIBITION SPACE, BASEL

This exhibition investigates into the right of use of the public space. Point of departure is a scandal caused by a poster for the Life Ball in Vienna showing a nude transgender model. Some people were so upset that they started to modify the posters in the streets by drawing and writing on them, spraying to cover them, scratching the surface or even burning them. The exhibition shows a range of illegally modified posters from all over Europe as photographs mounted in light-boxes. Next to them the original offending poster is presented. Love to Hate suggests viewing the re-designing of posters not as acts of destruction or even vandalism, but as creative attempts to change aesthetics and the meanings of the messages filling up the public space.

In a second step works by artists and advertising agencies are presented that draw inspiration from the amateurs commenting visually on what they are confronted with in urban landscapes.


8

GUTE AUSSICHTEN

14.05.14 – 26.06.14

LYSS EXHIBITION SPACE, BASEL


8

GUTE AUSSICHTEN

14.05.14 – 26.06.14

LYSS EXHIBITION SPACE, BASEL

Gute Aussichten offers views from the exhibition hall out into the world. There is nothing to see in the exhibition, except everything that is always present. It houses a scaffolding for visitors to climb and look out of the window and a hole in the ground looking down into the depot of the collection.

The museum shop at the entrance presents 4000 posters that can be handled and purchased. The demand for choice and possession is satisfied in a radical way. The poster that is made to stimulate consumerism, itself becomes a consumer good.


9

REP PLOT – EROS UND THANATOS

01.11.13 – 04.01.14

LYSS EXHIBITION SPACE, BASEL


9

REP PLOT – EROS UND THANATOS

01.11.13 – 04.01.14

LYSS EXHIBITION SPACE, BASEL

Entering this exhibition the visitor is confronted with a large number of posters on Litfass-columns that show happy, healthy people in a perfect world. An image is presented of what we are expected to aspire to and how we would like to see ourselves.

Behind the columns sextoys and weapons from large industries that society tends not to acknowledge are exhibited next to each other. The similarities and coherences between these two totally different types of object categories are striking, be it in form, colour or material.

Red Plot revisits the old belief that ‘form follows function’. Here lethal objects are camouflaged as jewels or jam jars and items that allegedly bring pleasure look sinister and dreadful: Eros and Thanatos residing next to each other.


10

CUBA VA!

26.04.13 – 08.06.13

LYSS EXHIBITION SPACE, BASEL


10

CUBA VA!

26.04.13 – 08.06.13

LYSS EXHIBITION SPACE, BASEL

Film posters made in Havana during a period stretching from the sixties to the eighties are the starting point for an exploration of what has become of the important tradition of silkscreen posters commissioned by the famous Instituto Cubano de Arte e Industria Cinematograficos (ICAIC) in the present day. Because of economical hardship, Cuban film production has come to a halt. Even so the youngest generation of graphic designers keeps up the high art of designing film posters and producing them, though few in number, as silkscreen prints, CUBA VA! not only shows the grand masters of the Cuban film poster, but also their talented successors. Both the old and the young are displayed on the inside of advertising columns (the German Litfass-Säule). The works can be viewed through peepholes. This exhibition design hints to the absence of posters in the public space of Havana. The dimmed light and colourful spots emitted from inside the columns refer to cinema.


11

(GLEICH:ANDERS)≠(ANDERS:GLEICH)

17.10.12 – 28.10.12

LYSS EXHIBITION SPACE, BASEL


11

(GLEICH:ANDERS)≠(ANDERS:GLEICH)

17.10.12 – 28.10.12

LYSS EXHIBITION SPACE, BASEL

For its 20 years anniversary the Department for Equality of Women and Men in the city of Basel commissioned an exhibition. Considering gender equality as an axiom that always should be strived for, but can never be reached, 13 chickens were invited as permanent exhibition guests in order to live out their different being that ought to be respected by the human visitors. The exhibited posters focus on opposites and dualities. They are tilted so that the animals can contemplate them from the ground. Separate entrance gates and exhibition sections for chickens and humans are a requirement of the veterinarian of canton Basel. However, shortly after the opening this sectioning was ignored by the birds. The eggs produced during the exhibition and stamped with the abbreviation of the School of Design were available for purchase by visitors.


12

WASTED

04.09.12 – 29.09.12

LYSS EXHIBITION SPACE, BASEL


12

WASTED

04.09.12 – 29.09.12

LYSS EXHIBITION SPACE, BASEL

What do you do with posters whose quality is not considered to be sufficient to be in a public collection? In the installation Wasted, posters are used that were produced in Switzerland in 2011 and 2012. They are evidence for fast production and an emphasis on quantity instead of quality. From many considerations the posters presented are a waste of time, materials and financial resources.


13

LUDER

12.05.12 – 29.06.12

LYSS EXHIBITION SPACE, BASEL


13

LUDER

12.05.12 – 29.06.12

LYSS EXHIBITION SPACE, BASEL

Luder is an exhibition on the power of image over identity and at the same time a work in progress. It deals with the representation of women on posters as idols of desire, creating emotions of longing, promise and seduction. Topics like intimacy and distance, private/public, identity construction and gender roles are negotiated. In three phases the analogue image of the poster, the digital image on the computer screen and the changing image of a real woman created by dressing up are explored. The first phase focuses on the poster showing a wide range of women advertising a consumer item or an ideology. In the second phase, 12 posters are chosen and the women on the posters are put on different dating sites with fictional profiles. Taking on the identity of a poster woman, the audience is free to use the dating sites to communicate with possible partners in the virtual realm. The resulting texts are printed out every night and displayed publicly in the exhibition. In the third phase, a real woman, the performance artist Solo-Matine, animates the exhibition hall via skype in various identities. Finally, one of the poster women, Mary Long (Swiss cigarette brand), multiplies into real life and suddenly 12 Mary Longs walk around and talk to the visitors in the exhibition.


14

TOO LATE

25.11.11 – 21.01.12

LYSS EXHIBITION SPACE, BASEL


14

TOO LATE

25.11.11 – 21.01.12

LYSS EXHIBITION SPACE, BASEL

Each collection has highlights that are readily displayed to the public gaze, but what about less beloved pieces? too late presents a collection of pieces from the Basel poster collection that are heavily damaged or in bad condition from a conservational point of view. The question is raised in which cases is it worthwhile to keep collection items for eternity. This shows how the exhibition design is influenced by pragmatic considerations as most of the items on show could only be presented in a horizontal position to avoid further decomposition and degradation.


15

FUSSBALL UND DESIGN

22.01.11 – 06.03.11

LYSS EXHIBITION SPACE, BASEL


15

FUSSBALL UND DESIGN

22.01.11 – 06.03.11

LYSS EXHIBITION SPACE, BASEL


Fussball und Design is a display of the aesthetics of soccer fan articles and collectibles.

In Basel the FCB rules—red, blue and yellow—the same colours as FC Barcelona. This exhibition posits FCB fan articles available in the fan shop in the Basel Herzog & Demeuron stadium next to supporters’ homemade devotionalia from knitted fluffy-toy snakes to Basler Fasnacht (Basel carneval) masks. In one exhibit FC Basel and FC Barcelona collide. The display covers the range of FCB design from well-selling scarves and T-shirts to unique pieces such as carved FCB ships and embroidered jeans jackets.


16

VILLA SOVIETICA

02.10.09 – 20.06.10

ETHNOGRAPHIC MUSEUM OF GENEVA


16

VILLA SOVIETICA

02.10.09 – 20.06.10

ETHNOGRAPHIC MUSEUM OF GENEVA

In the exhibition Villa Sovietica the Ethnographic Museum in Geneva (MEG) presents a collection of Soviet material culture that has been handed over to the museum without any documentation. The title refers to a building in Conches, which used to be the annex of the MEG. An interdisciplinary and international team of artists, designers and scientists, who had grown up in the former Soviet Union and Eastern bloc countries with those items in their daily lives, were invited to work on the concept and design of the exhibition.

Instead of offering Soviet material culture to a Western gaze like something to be sneered at, the presentation invites the audience to reflect on how and why this collection has ended up in Geneva, what institutional and private collecting means and it poses the question if these ‘objects belonging to the other’ really make a statement about the fallen regime.

In the basement of the villa the Soviet items are displayed intermingled with items donated by the Swiss Salvation Army and from MEG European collection. This is a challenge to the visitors to see if they can distinguish the origins of the items on display.

Villa Sovietica does not explain Soviet material culture, it does not try to teach the audience. It emphasizes atmosphere and the effect of material presence.


17

CADRER L’EST

18.01.09 – 08.11.09

ETHNOGRAPHIC MUSEUM OF GENEVA


17

CADRER L’EST

18.01.09 – 08.11.09

ETHNOGRAPHIC MUSEUM OF GENEVA

Cadrer l’EST is an exhibition on framing existence in the context of anthropological fieldwork. It features documentary photography from Slovakia, Romania, Russia and mainly Ukraine. In the first exhibition hall larger than life prints of typical Ukrainian interiors from the Soviet period are displayed on the walls forming an imaginary interior. The second hall houses a long light-table with more than 500 colour slides featuring present everyday life in ex-Eastern bloc countries. In the third space a strong flashlight blinds visitors for seconds.

In the hallway to the exit one passes three stations: A drawing on the window pane that explains and demonstrates central perspective; a mirror installed at the next window reflects the façade of the museum building; and a collection of glasses with one eye obscured to reduce vision to two dimensions.

Cadrer l’EST is about visual perception and comprehension of the culturally other.


18

PLAY IT AGAIN

30.10.98 – 29.11.98

CONCERT HALL AMSTERDAM


18

PLAY IT AGAIN

30.10.98 – 29.11.98

CONCERT HALL AMSTERDAM

In the context of the 40th anniversary of the Praemium Erasmianum Foundation 15 photographers present their interpretations, or rather ‘remakes’, of Man Ray’s famous photograph from 1924 ‘Le Violon d’Ingres’ at the concert house in Amsterdam. The works come in various sizes and different materials and are to be shown in the multi functional light hall of the concert house. Since they have to be easily moved around, they are presented on music stands. Each music stand is individually designed out of steel with its own light. The artist’s name and the year in which the photo was taken are engraved into the steel frame.


19

’…SOMEWHERE ABOUT 5’000 SQUARE MILES’

16.03.97 – 24.11.00

MUSEUM OF ETHNOGRAPHY VIENNA


19

’…SOMEWHERE ABOUT 5’000 SQUARE MILES’

16.03.97 – 24.11.00

MUSEUM OF ETHNOGRAPHY VIENNA

In the early seventies Alfred Janata collected Afghan material culture for the Ethnographic Museum in Vienna. As an expert for Nuristan he created a permanent exhibition for the museum. The exhibition was clearly conceived from a holistic approach.

In 1997 a team of anthropologists and architects was invited to dismantle Janata’s display that had remained untouched for almost thirty years and to create a new set-up of the items.

The result, the exhibition ‘...somewhere about 5’000 square miles’, contains Afghan material culture reduced to objects used for goat herding and agriculture. The objects are freed from the heavy show-cases and posed on the glass panes on top of the display cases. Via stairs and a gangway between the showcases the audience can reach an upper level of the space and perceive them without a wall of glass between subject and object. A strong smell of goat milk dominates the exhibition. Inside the showcases media used by anthropologists for data collection in the field (text, photography, sound recordings, slides and film) are exhibited.

The exhibition separates the artefacts from the anthropological contextualisation. This questions how museums represent the cultural othe


INFO

Alexandra Schüssler holds a PhD in cultural anthropology and works as a curator and designer. She translates logo-centric texts and converts them into spatial and sensual experiences.


CONTACT


Exhibition:

Graphic Design:


Osmos Cosmos


LETTING GO


HAPPY BIRTHDAY DEAR LEUPIN!


ANATOMIE DER PROPAGANDA


MUSEE LIBIDINAL


LOVE TO HATE


GUTE AUSSICHTEN


REP PLOT – EROS UND THANATOS


CUBA VA!

Daniel Díaz Milán, Michelle Miyares, Giselle Monzón, Alberto Nodarse, Nelson Ponce, Edel Rodríguez, Claudio Sotolongo, Raúl Valdés


(GLEICH:ANDERS)≠(ANDERS:GLEICH)

Angela Brancato, David Christen, Lorena Falivene, Cyril Schneider, Jeremy Wayne, Martin Voggensperger


WASTED


LUDER


TOO LATE


FUSSBALL UND DESIGN


VILLA SOVIETICA


CADRER L’EST

Tadeo Kohan

Alexandra Schüssler


’…SOMEWHERE ABOUT 5’000 SQUARE MILES’


Photography:

Alexandra Schüssler

Bob Goedewaagen

Ellen Holte

Enrique Fontanilles

Hilbert Kamphuisen

Laurids Jensen

Max Kühl

Nina Torp Patrick Baumann Reinhard Mayr Willem Mes

Design + Code: