INDEX


1

ANTI LYSIS

15.06.17 – 18.06.17

LYSS EXHIBITION SPACE, BASEL


1

ANTI LYSIS

15.06.17 – 18.06.17

LYSS EXHIBITION SPACE, BASEL

Lysis (/'laɪsᵻs/ ly-s əs; Greek λυσις lýsis, ‘a loosing’ from λυειν lýein, ‘to unbind’) refers to the breaking down of the membrane of a cell, often by viral, enzymic, or osmotic mechanisms that compromise its integrity.

The term ‘lysis’ in the title of the exhibition is to be interpreted in the widest possible sense, encompassing loss of identity, disintegration of social ties and spiritual alienation.

Based on Arnold van Gennep’s writings on the rite of passage, designated as the practice of profane and sacral actions and reactions, ANTI LYSIS is to be understood as a ritual that counteracts disintegration and creates strengthened cohesion.

Visitors are welcome by appointment. Barefoot they are accompanied and guided through the exhibition in groups of twelve. In each space they will experience shifting relationships and sensual perceptions inspired by the Gospel according to St. John, as well as by texts from social and political scientists, philosophers and artists. The aim is to enable visitors, once they leave the institution, to translate situations of the ritual to their own practices.


2

LYSSYS FLOTTES PARKETT

20.01.17

LYSS EXHIBITION SPACE, BASEL


2

LYSSYS FLOTTES PARKETT

20.01.17

LYSS EXHIBITION SPACE, BASEL

An experimental silent party: Three colours, three channels, three music and dance styles—all on one dance floor. Regardless if tanguero or tanguera, swinging along with Lindy Hop or ruling the floor as disco queen or king, the floor is theirs. Professional dancers are present to help learn tango or swing.

In Lyssis Flottes Parkett three dance styles form an interesting visual pattern. Guests are free to switch between the music styles. Once the headphones are taken off verbal communication with others is possible without shouting.

In 2016 Klaus Littmann inaugurated CENTRAL STATION in Basel city centre. Following his concept, the German artist Franz Burkhardt created here a fake urban architecture with a patina in a souterrain, the former location of a basement supermarket.

link_tank, Institute of Artistic Research of Market Economy, was conceived to function as a meta-institution, studying the project in sociological and anthropological terms.

In the course of preparations, the members of link_tank realized that economic interests were overruling the cultural engagement of CENTRAL STATION. Artists, designers and researchers suddenly were expected to pay rent for the spaces granted to them in CENTRAL STATION.

link_tank withdrew with a first and last comment: At the inauguration on 12th of December 2016 their space was closed off by an installation reminiscent of a shopping window of a real estate broker’s. Photographs of facades created by Burkhardt for CENTRAL STATION were presented in the manner of real estate offered for rent. Inserted into the series of façade photographs, which were part of CENTRAL STATION, were photographs of world-wide crises zones. This would disturb the perception of the familiar created by consumption of mass media.


4

50 YEARS RIGHT TO VOTE FOR WOMEN IN BASEL

08.03.16 – 02.04.16

LYSS EXHIBITION SPACE, BASEL


4

50 YEARS RIGHT TO VOTE FOR WOMEN IN BASEL

08.03.16 – 02.04.16

LYSS EXHIBITION SPACE, BASEL

The society ‘50 Years Right to Vote for Women in Basel’ commissioned an event for an anniversary celebration of the right to vote for women in the city of Basel. An intervention in the exhibition Anatomie der Propaganda serves as a setting for an opening reception and a lecture series. All posters from the Basel collection depicting a pro or contra for women’s voting rights are added in form of columns into the empty central space of the original exhibition.


5

TAPETENWECHSEL

08.03.16

PERFORMANCE IN PUBLIC SPACE, BASEL


5

TAPETENWECHSEL

08.03.16

PERFORMANCE IN PUBLIC SPACE, BASEL

This work commissioned by the society ‘50 Years Right to Vote for Women in Basel’ used the public sphere to present the domestic realm in the form of wallpaper and curtains installed at spots in the city where usually posters spread their messages. Hidden between each wallpaper and curtain is a woman, who starts to articulate herself by carefully exposing her bare feet and hands to the passers-by. The right to vote creates visibility and has an impact on civic life.


6

LOVE TO HATE_PARA_SITE

16.01.15

LYSS EXHIBITION SPACE, BASEL


6

LOVE TO HATE_PARA_SITE

16.01.15

LYSS EXHIBITION SPACE, BASEL

As part of the module Curatorial Practices students of the Master course in Visual Communication and Iconic Research (HGK FHNW) were invited to intervene in the on-going exhibition Love to Hate with diverse projects and spatial commentaries.

Their six interventions address the topic of public space and expand on the questions raised in the original display. Some of the works could only be seen during the Museum Night, others were of a more permanent character.


7

SMOKE AT THE LYSS: DER HERZEIGEZWANG, EIN PHILOSOPHISCHES FUMOIR

15.06.14

LYSS EXHIBITION SPACE, BASEL


7

SMOKE AT THE LYSS: DER HERZEIGEZWANG, EIN PHILOSOPHISCHES FUMOIR

15.06.14

LYSS EXHIBITION SPACE, BASEL

Smoke at the Lyss is an event on the coercion of confession in the context of the exhibition Gute Aussichten staged in the lecture hall at the Lyss (auf der Lyss), School of Design Basel.

For the first time the philosophical salon titled Smoke on the Water (founded in Linz, 2009) takes place in Switzerland. The artist Marlene Haderer and her guests discuss with philosopher Robert Pfaller important topics for artists and scientists: Do we prefer to be artists or scientists? Do we want to undertake action or rather remain dreaming? What kind of inscription should be read on our tombs? What is true and important and what shall remain or pass by – most important of all: What should we do then?

With the participation of Marlene Haderer, Ursula Hübner, Olaf Knellessen, Robert Pfaller and Ann-Kathrin Strecker.


8

HOTEL LYSS

17.01.14

LYSS EXHIBITION SPACE, SCHULE FÜR GESTALTUNG BASEL


8

HOTEL LYSS

17.01.14

LYSS EXHIBITION SPACE, SCHULE FÜR GESTALTUNG BASEL

During the Museum Night the Hotel Lyss is a refuge for people who are tired of fast consumption, rushing with their evening pass from one cultural institution to the next one. Access is open to all if they are willing to exchange their shoes for blue felt slippers. Unlike all other museums that offer special programs all night long, Ausstellungsraum auf der Lyss proposes to ‘do nothing’. In a hotel-like atmosphere with good service our guests talk, eat, drink, read books, watch DVD’s and stay over-night in the dorm or not.


9

CINE AMBULANTE

26.04.13 – 08.06.13

PUBLIC SPACE BASEL


9

CINE AMBULANTE

26.04.13 – 08.06.13

PUBLIC SPACE BASEL

In Cuba the cine itinerante (mobile cinema) was founded in 1959 in order to enable the rural population to view films. Accompanying the exhibition CUBA VA!, which focuses on Cuban filmposters from the sixties to present day, CINE AMBULANTE functions as a revival of historical filmscreenings in the public sphere. At different public places in Basel Cuban films (La muerte de un burocrata, 1966, Memorias del Subdesarrollo, 1968, Fresa y chocolate, 1993 by Tomas Gutierrez Alea) are projected on found projection screens like sculptures, truck tarpaulins or house walls. A Citroën HYP transports the necessary 35mm film projector. Folding chairs, drinks and cigars are at the disposal of the audience.


10

LUDER - PERFORMANCE MARY LONG

29.06.12

LYSS EXHIBITION SPACE, BASEL


10

LUDER - PERFORMANCE MARY LONG

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. 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. On the closing day of the exhibition one of the poster women, Mary Long (Swiss cigarette brand), multiplies into real life and suddenly 12 Mary Longs dwell in the exhibition space. Holding a cigarette, they walk to one of the computer terminals and read texts that have been produced on dating sites, when anonymous persons using dating sites chatted with exhibition visitors taking on the identity of one of the poster women.


11

LUDER - SKYPE SESSION MARY LONG

15.06.12

LYSS EXHIBITION SPACE, BASEL


11

LUDER - SKYPE SESSION MARY LONG

15.06.12

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. 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. In the context of the exhibition the audience encounters the Geneva-based artist and designer Natalia Solo-Matine in her role as Mary Long (a persona representing a cigarette brand) on an oversized TV-screen. Via skype it is possible to observe the performers’ transition from one role into another. In front of the screen the curator of the exhibition is seated at a table with approximately the same beauty-paraphernalia as Solo-Matine is using on the screen to turn herself into Mary Long. In an analogue and virtual situation two women can be observed turning themselves in a kind of masquerade from one image into another.


12

TOO LATE – BUTHO PERFORMANCE

12.01.12

LYSS EXHIBITION SPACE, BASEL


12

TOO LATE – BUTHO PERFORMANCE

12.01.12

LYSS EXHIBITION SPACE, BASEL

The exhibition 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. Topics like disappearance and eternal existence are being pondered.

For the finissage of the exhibition too latethe Swiss-Czech Butho performer Irena Kulka gives a performance disassembling the exhibition on its last day.


13

DMT CONFERENCE

09.11.11 – 10.11.11

MUSEUM OF CULTURAL HISTORY, OSLO


13

DMT CONFERENCE

09.11.11 – 10.11.11

MUSEUM OF CULTURAL HISTORY, OSLO

Death, Materiality and the Origin of Time (Research Project University of Aarhus, Museum of Cultural History, University of Oslo, 2011-2017, lead: Rane Willerslev)

The hybrid nature of the first DMT event consisted firstly of an introductory speech for about 80 people, the museum staff from Oslo and the Danish researchers and secondly, an academic conference and workshops for about 40 participants.

The intention of the lavish banquet table in the lecture hall of the museum of Cultural History in Oslo was to create an atmosphere in which Danish and Norwegian colleagues could get to know each other in a relaxed, but inspiring atmosphere. With this focus on a communicative aspect the table installation continues a long tradition in cultural history starting from Trimalchio’s Dinner by Petronius Arbiter to the legendary Polychrome Meal by Sophie Calle.

An immense table for forty guests bore an installation that covered the central table surface with elements of all sections of the museal institution: e.g. pigments and tapes from the restoration department, cameras and frames from the documentation department, books from the library, architectural and design bits and pieces from the historical building and many items from the depots representing the archaeological, anthropological and numismatic departments. Into this still life representing all departments of KHM, objects hinting at the passage of time were inserted: fresh fruit mixed with artificial fruit, fresh flowers and burnt candles.

Sitting around the banquet table, the conference and workshop participants listened to and discussed paper presentations, took coffee breaks and enjoyed their meals together.


14

DMT INTERVENTIONS

09.11.11 – 10.11.11

MUSEUM OF CULTURAL HISTORY, OSLO


14

DMT INTERVENTIONS

09.11.11 – 10.11.11

MUSEUM OF CULTURAL HISTORY, OSLO

Death, Materiality and the Origin of Time (Research Project University of Aarhus, Museum of Cultural History, University of Oslo, 2011-2017, lead: Rane Willerslev)

The cornucopia of material in the exhibition hall made the adding of even more material obsolete. An additional layer to the exhibition was brought about by soundscapes. Sound already existed within the given display of the Viking exhibition in form of Gregorian chants at the entrance to this section. The church music was exchanged for the sound of a paper shredder aiming to add a sense of violence into the display of archaeological exhibits from the Viking era.

In the original display, which was to remain unchanged, a fragment of a Viking vessel was installed on a concrete floor painted in green and ice blue imitating the sea, and fine sheets of silk dyed in shades of white and grey represented the sky. As an emphasis and commentary on the given and prevailing display structure of mimetic representation and representational redundancy the sound of breaking waves at a shore intervened at the site of the reconstructed Viking ship.

Within the encountered display colourful patchwork representing gods from Nordic mythology were scattered in showcases bearing archaeological top pieces. The cosiness and sweetness of the needlework in pink and gold contrasted the actual exhibition items, mostly weapons whose metal had corroded. This contradiction was emphasized by playing Walt Disney’s song It’s a small world and overlaying the sound with two female voices singing texts by Marquis de Sade, Easton Brett Ellis and Le Comte de Lautréamont. The semantic clash in the showcases is echoed by the meaning of the violent lyrics counterpointing the innocent and jolly melody.

In the exhibition on the Arctic each glass case housing Nitilisk pieces collected by Roald Amundsen had a sticker on it certifying it as part of the famous Amundsen collection. Recognizing this as the most important information of this display the intervention on it consisted of wrapping the cases in white silk paper. This way the view on the artefacts was entirely obstructed, only the stickers remained visible on the white surface. Visitors were asked to cut holes into the white paper in order to discover the collection items. Cutting into the paper covering a specific showcase revealed a dummy of a Nitilisk, who himself peers through a hole in the ice into the sea water: as a mise-en-abime as an objet trouvé.

The dim light in the study collection of the East Asia Department acted as an inspiration to switch off the lights totally and to invite the visitors to discover the exhibits with the help of torches. In order to frame the visitors’ gazes short verbal statements (e.g.Cultural Propaganda, Total Freedom for the Designer, Find the Lion, InvASIA, etc.) were blotted in fluorescent foil glowing in the dark and mounted on specific display cases. In this way also the guard of this section was labelled.

On the way to the museum storage in the periphery of Oslo, where another workshop took place, the conference participants were granted a presentation in transfer – namely in the Oslo metro. Four speakers presented an ethnographic exhibition to small groups travelling with them. The usual Powerpoint presentation was exchanged for a series of 80 photographs in small boxes. In order to view the image material the audience had to wear white museum gloves.


15

DMT ACCUMULATION AND DESTRUCTION I

25.04.12 – 27.04.12

MUSEUM OF CULTURAL HISTORY, OSLO


15

DMT ACCUMULATION AND DESTRUCTION I

25.04.12 – 27.04.12

MUSEUM OF CULTURAL HISTORY, OSLO

Death, Materiality and the Origin of Time (Research Project University of Aarhus, Museum of Cultural History, University of Oslo, 2011-2017, lead: Rane Willerslev)

This design experiment is based on parallel interests of researchers from different disciplines related to the DMT-project. The subject of experimentation is the varying intensity of the experience of time brought about by accumulation and destruction. Destruction is considered as a transformation of form and energy, which opens for new ways of experiencing the world. After excursions to relevant sites in and around Oslo, multidisciplinary teams conducted hands-on experiments followed by reflections and discussions.


Participants:
Frode Iversen, archaeologist, KHM
Kaja Kollandsrud, conservator, KHM
Arne Perminow, anthropologist, KHM
Peter Bjerregaard, anthropologist, KHM
Rane Willerslev, anthropologist, KHM
Ann Christine Eek, photographer, KHM
Martin Hager-Saltness, museum lecturer and theologian, KHM
Mari Saugestad, anthropologist, KHM
Annelise Bothner-Bye, designer, KHiO (Oslo National Academy of the Arts)
Mads Påsrud Hårstad, MA student/designer, KHiO
Sophie Hooge Seebach, anthropologist/PhD student, University of Aarhus


16

DMT ACCUMULATION AND DESTRUCTION II

20.06.12 – 22.06.12

MUSEUM OF CULTURAL HISTORY, OSLO


16

DMT ACCUMULATION AND DESTRUCTION II

20.06.12 – 22.06.12

MUSEUM OF CULTURAL HISTORY, OSLO

Death, Materiality and the Origin of Time (Research Project University of Aarhus, Museum of Cultural History, University of Oslo, 2011-2017, lead: Rane Willerslev)

This design experiment is a sequel on Accumulation and Destruction, Part 1, continuing reflections on the experience of time by the practices of accumulation and destruction. After an excursion to Ground Zero of Oslo (result of Anders Behring Brejvik’s attack on governmental buildings in the Regjeringskvartalet), the City Museum of Oslo storing all the material remains from the attack, and a walk through the city center covered in flowers due to Brejvik’s ongoing trial the participants continued to focus on material amassment and abstract accumulation and destruction. As a joint project the experiment culminated in an installation of accumulated newspapers in the staff cantina of the Museum of Cultural History Oslo.


Participants:
Frode Iversen, archaeologist, KHM
Kaja Kollandsrud, conservator, KHM
Peter Bjerregaard, anthropologist, KHM
Martin Hager-Saltness, museum lecturer and theologian, KHM
Mari Saugestad, anthropologist, KHM
Annelise Bothner-Bye, designer, KHiO (Oslo National Academy of the Arts)
Mads Påsrud Hårstad, MA student/designer, KHiO
Sophie Hooge Seebach, anthropologist/PhD student, University of Aarhus


17

DMT CONTAINING AND TRANSPORTING SOUL

04.03.13 – 06.03.13

MUSEUM OF CULTURAL HISTORY, OSLO


17

DMT CONTAINING AND TRANSPORTING SOUL

04.03.13 – 06.03.13

MUSEUM OF CULTURAL HISTORY, OSLO

Death, Materiality and the Origin of Time (Research Project University of Aarhus, Museum of Cultural History, University of Oslo, 2011-2017, lead: Rane Willerslev)

In the design experiment Containing and Transporting Soul several transdisciplinary teams worked on bereavement, necropolitics and death rituals. With a variety of materials like clay, textile, magnetic tapes from VHS cassettes, glass containers, food items, colored liquids, animal blood, plants and light projections, participants strived for the materialization of concepts stemming from their scientific research. Many results from this design experiment were later used in the exhibition Letting Go, one of the research outcomes of the Death, Materiality and Time Research Project.


Participants:
Per Ditlef Fredriksen, archaeologist, KHM
Peter Bjerregaard, anthropologist, KHM
Mari Saugestad, anthropologist, KHM
Annelise Bothner-Bye, designer, KHiO (Oslo National Academy of the Arts)
Sophie Hooge Seebach, anthropologist/PhD student, University of Aarhus
Jacob Knudsen Videnscenter for Integration Børn
Kjetil Sandvik, Film and Media, University of Copenhagen
Dorte Refslund Christensen, Communication and Culture, University of Aarhus
Lotte Meinert, anthropologist, University of Aarhus
Eivind Bratlie, conservator, KHM
Anders Emil Rasmussen, anthropologist, Moesgaard Museum


18

COLLECTORS’ CUT

06.03.11

LYSS EXHIBITION SPACE, BASEL


18

COLLECTORS’ CUT

06.03.11

LYSS EXHIBITION SPACE, BASEL

Fussball und Design is a display of the aesthetics of soccer fan articles and collectibles.
For the exhibition local FCB fan clubs and fans lend their treasures of soccer fan articles. All the items that were not on display in the exhibition but kept in the storage are presented to the public for one day. The owners of these sometimes, bizarre objects give guided tours and tell stories in reference to the self-made or historical objects.


19

DOUBLE EXPOSURE, VILLA SOVIETICA

16.05.10 – 21.06.10

ETHNOGRAPHIC MUSEUM OF GENEVA


19

DOUBLE EXPOSURE, VILLA SOVIETICA

16.05.10 – 21.06.10

ETHNOGRAPHIC MUSEUM OF GENEVA

Students of MAPS (Master Arts in Public Spheres) at Ecole d’Art Cantonale du Valais were invited to intervene on the exhibition spaces of Villa Sovietica, an exhibition on Soviet design of everyday objects. The assignment was to reveal and emphasize the concepts at the heart of the given exhibition. Under the supervision of Alexandra Schüssler (curator of the exhibition) and Federica Martini (teacher at ECAV) the students created an exhibition within an existing exhibition reacting to the curatorial concept of the show.


Participants:
Yann Amstutz
Leah Anderson
Omar Ba
Cloé Breu
Lawrence Chikwa
Stéphanie Giorgis
Jacquie Steyn
Christian Valenzuela.


20

ATELIER MATRIOCHKAS

09.05.10

ETHNOGRAPHIC MUSEUM OF GENEVA


20

ATELIER MATRIOCHKAS

09.05.10

ETHNOGRAPHIC MUSEUM OF GENEVA

In the exhibition Villa Sovietica Soviet material culture is on display: the presentation invites the audience to reflect on how and why this collection has ended up in Geneva, what institutional and private collecting mean and it poses the question if these ‘objects belonging to the other’ really make a statement about the fallen regime.

The Ukranian artisan, Larisa Bilous, gives a workshop in matriochka painting, an all historical epochs surviving tradition and a reference to the fine collection of matriochkas exhibited in Villa Sovietica.


21

FOUNDING DAY OF THE WOMEN’S INTERNATIONAL DEMOCRATIC FEDERATION

01.12.09

ETHNOGRAPHIC MUSEUM OF GENEVA


21

FOUNDING DAY OF THE WOMEN’S INTERNATIONAL DEMOCRATIC FEDERATION

01.12.09

ETHNOGRAPHIC MUSEUM OF GENEVA

The Women’s International Democratic Federation was founded in Paris on December 1st, 1945 and works for women’s rights. Its initially identified areas of concern included anti-fascism, world peace, child welfare and improving the status of women. It was most active during the Cold War.

For the exhibition Villa Sovietica migrant women, who worked for Emmaüs, a charity institution in Geneva, were invited to continue their work in the museum. A whole day they tore and folded white fabric into cleaning rags that usually are sold to garages and cleaning companies. The day’s production remained in the white studio in the attic of the Villa.


22

NOVEMBER 7TH

07.11.09

ETHNOGRAPHIC MUSEUM OF GENEVA


22

NOVEMBER 7TH

07.11.09

ETHNOGRAPHIC MUSEUM OF GENEVA

The Ukranian artist Yuri Kruchak and Yulia Kostereva conceived of an event for the exhibition Villa Sovietica on 7th of November, 2009, a date, which in the Soviet calendar marks a break from the ancient regime to a new époque. The intervention had less the aim to cross historical borders than to surpass socio-cultural ones.

Forty persons met at the exhibition site of Villa Sovietica and transported voluminous bags from one end of the city to another using public transport like busses, trams and boats. The travelers with their voluminous baggage evoked the weight of material culture and its consumption – not only in a material sense, but also visually. Stuff literally occupied the space usually reserved for humans. This journey ended at the Place des Nations in Geneva and culminated in the addition of the bags to Daniel Berset’s sculpture “Broken Chair”, a symbol for armed violence victims.


23

SUBBOTNIK

03.10.09

ETHNOGRAPHIC MUSEUM OF GENEVA


23

SUBBOTNIK

03.10.09

ETHNOGRAPHIC MUSEUM OF GENEVA

In collaboration with the Ukranian artists Yuri Kruchak and Yulia Kostereva a framing event for the exhibition Villa Sovietica was organized. In the former Soviet Union a subbotnik was a day, typically a Saturday, worked without pay for the benefit of the collective. Inhabitants of Geneva were invited to plant flowers in the garden surrounding the villa housing the exhibition. The plants formed a portrait of Lenin that changed colours over the months making the passing of time perceivable. The planting of the flower field was musically framed by a Kletzmer band, in which the city’s minister of culture played the accordion.


24

MATTERS OF IMAGINATION

13.02.08 – 30.06.08

SPINHUIS, UNIVERSITY OF AMSTERDAM


24

MATTERS OF IMAGINATION

13.02.08 – 30.06.08

SPINHUIS, UNIVERSITY OF AMSTERDAM

Master students of Cultural Anthropology were given permission to put on an exhibition instead of doing a final written paper for their course in Matters of Imagination / The Anthropology of Art.

On 12th of February, 2008 they opened their presentations spread over all floors of the faculty building, the Amsterdam Spinhuis, with performances throughout the day. The students used their works to address anthropological methods and refer to the history of the building in a poetic manner.


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:


Anti Lysis


Lyssys Flottes Parkett


Tapetenwechsel

Madame Europe


Love to Hate_para_site


HOTEL LYSS

Enrique Fontanilles


Matters of imagination

Alexandra Schüssler

Anna Tiggelaar

Ariane Schaaf


Photography:

Alexandra Schüssler

Ann Christine Eek

Annelise Bothner-Bye

Bob Goedewaagen

Enrique Fontanilles

Guillaume Musset Laurids Jensen

Lill-Ann Chepstow-Lusty

Mads Påsrud Hårstad

Mårteb Teigen

Peter Bjerregaard

Willem Mes

Design + Code: