Past Events (selected)

by Altherr/Weiss, täglich von 11:30 - 17:30

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Altherr/Weiss, a Zurich based interdisciplinary studio, presents a light installation that explores the welcoming atmosphere of Cabaret Voltaire to migrants with their variety of views, eccentricity and blurring the boundaries of stagnantly understood art.

The migrants came from the Concrete Desert that ends up at the shore of Asphalt Black Sea where they use to run their businesses or were preoccupied with absurd activities.
A rapid climate change caused unbearable concrete-sand hurricanes, earthquakes and black sizzling storms on the sea of asphalt, so the Concrete Desert survivors decided to gather round at the crypt of Dada House and discuss the further steps.

To introduce just a few:

Yes and No are a couple running a fortune telling business and a dacha at the Asphalt Black Sea. The visitors can ask them any question and they would gladly respond: Yes, No, No, Yes-No and so on and so forth.

The Mood transformation Machine is usually marching through the concrete desert, and, like a combine-harvester swallowing the crops of waving fields, it would swallow the travellers in a rigid, square mood only to let them out on the other end, all round and bouncy, open to broad horizons.

The Hungry Table Puppy, since its mother was raped and slaughtered at night, searches for a better place to live. He is utterly self-sufficient as the seeds and nuts he eats sprout in his allotment–stomach–garden.

Mr. Drip and Mr. Drop is an insatiable duo specializing in production of potions and drinks of variety of effects. Drip is regularly massaging his stomach to release a drop for Drop causing the latter to love him infinitely.

Come along, explore and get to know them all.

 

by Altherr/Weiss

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The Vernissage will be accompanied by a performance by The Sea Shell Choir

Altherr/Weiss, a Zurich based interdisciplinary studio, presents a light installation that explores the welcoming atmosphere of Cabaret Voltaire to migrants with their variety of views, eccentricity and blurring the boundaries of stagnantly understood art.

The migrants came from the Concrete Desert that ends up at the shore of Asphalt Black Sea where they use to run their businesses or were preoccupied with absurd activities.
A rapid climate change caused unbearable concrete-sand hurricanes, earthquakes and black sizzling storms on the sea of asphalt, so the Concrete Desert survivors decided to gather round at the crypt of Dada House and discuss the further steps.

To introduce just a few:

Yes and No are a couple running a fortune telling business and a dacha at the Asphalt Black Sea. The visitors can ask them any question and they would gladly respond: Yes, No, No, Yes-No and so on and so forth.

The Mood transformation Machine is usually marching through the concrete desert, and, like a combine-harvester swallowing the crops of waving fields, it would swallow the travellers in a rigid, square mood only to let them out on the other end, all round and bouncy, open to broad horizons.

The Hungry Table Puppy, since its mother was raped and slaughtered at night, searches for a better place to live. He is utterly self-sufficient as the seeds and nuts he eats sprout in his allotment–stomach–garden.

Mr. Drip and Mr. Drop is an insatiable duo specializing in production of potions and drinks of variety of effects. Drip is regularly massaging his stomach to release a drop for Drop causing the latter to love him infinitely.

Come along, explore and get to know them all.

 

by Phillip Reeves (UK)

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«Sausages» uses exaggeration of both body parts and costume, aiming to examine grandiose delusions of antiquated hierarchies within the labour force.

The audience is invited to witness a tense culinary spectacle, of multicoloured, floppy, phallic, intestinal edifices. Presented to the viewer is the ongoing and faltering performance of a chef who manually operates a sausage-stuffing machine, creating residual entrails of the performance across the stage. Sausages are festooned overhead and from the walls like strange, horrific bunting and widely distributed across the stage.

The character 'Big Chef', clumsily operates the machine with overly exaggerated appendages, wearing a comically tall hat to signify antiquated workplace hierarchies and the supposed mastering of his task and dominance of machine. 'Little Chef', relentlessly works to supply the machine with new material, buckets after buckets of meat, fueling the factory as the spoils of war are ceremoniously dumped on the floor.
There is an element of theatre in the used props such as the costume of a blue inflatable dress that relates absent body forms, hinting at voids and departure, as well as the deliberate distortion of the hands, creating a sense of slapstick calamity. Operating the machine is intensified in its physical undertaking, made awkward with an interplay between a sense of miss-control and dexterity, at times referencing the 'human-space-machine' era of Bauhausian years.

This «Fun & Fury!» Performance Dienst-Tag / To-Do's Day is part of the program Are we bodies? curated by Vlada Maria Tcharyeva (CH)

Entrance fee: CHF 10.- (Cabaret Voltaire Members: free!)

Biography Phillip Reeves (UK)

is a recent graduate of the Goldsmiths MFA programme (2015 - 2018) and has been nominated for the ARTIQ Graduate Art Prize. Also in 2018, Reeves won the Wytham Hall Painting Prize and The Jealous Art Prize, which will see his work incorporated into the Victorian and Albert Museum’s permanent collection in 2019. Prior to Goldsmiths, in 2015 Reeves completed a non-accredited student led art education course at The School of The Damned in London. Further back, in 2014 Reeves gained a scholarship from The Canton of Geneva to undertake a residency at The Embassy of Foreign Artists, Geneva. In 2012, Reeves was awarded The Elizabeth V. Sullivan Scholarship by The Arts Students League of New York to be artist in residence at the Vytlacil Campus. Reeves has participated in many group shows in globally, and solo exhibitions include ‘Sausage Pile Up’ (2017) Vess Gallery, Copenhagen, Paper Walls (2014) Le Salon Vert, Geneva and ‘Abandoned Land: Sharp Continent’ (2014) Vitrine Gallery, London. As of November 2018 Reeves starts an 8-month studio programme at Husk Project Space in London which will culminate in a solo exhibition in June 2019.

ICON POET live

Mit Hannes Hug, Simon Libsig, Timo Brunke (D) und Sven Stickling (D).

Erleben Sie, wie man trotz Herzklopfen, ein hieb- und stichfestes Alibi aus dem Ärmel schüttelt, als Weinkenner einen Lobgesang auf die vollendete Note des edlen Tropfens trällert oder aus dem Stegreif eine bühnenreife Liebeserklärung zum Besten gibt – und damit in 180 Sekunden zum Icon Poeten gekrönt wird.
Fünf gewürfelte Icons genügen, um mit aller Fantasie, freizügig interpretiert, Geschichte zu schreiben. Schauen Sie zu, wie Profis im Dreiminutentakt mit Sprache spielen und machen Sie als Ghostwriter mit.

Unter Aufsicht von Etrit Hasler, kreuzen vier spannende Autoren während 90 Minuten die Federkiele.

Eintritt 20 Franken / Ticketverkauf an der Abendkasse.
Reservationen werden keine entgegengenommen.

@ «The Residency», Grossmünsterplatz 7, 8001 Zürich

Both artists continuously question the definition of what truth is through different dimensions. Simonets psychedelic imagery is intensified by Trippin Jaguar’s spiritual sounds for a unique audio-visual experience. The project is the result of blending the practices of these two.

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This «Fun & Fury!» Performance Dienst-Tag / To-Do's Day is part of the program Theatre of Sound curated by Philipp Cron (CH)

 

Biography Jean Vincent-Simonet (FR)

His practice fuses analogue images, digital techniques, collage and montage with remarkable fluidity. His work is permeated by a sense of overload, exuberance and entropy. Body and decor, nature and artifice, poses and emotions collide and merge
into the poetics of excess that forms the basis of the photographer's research. Jean-Vincent Simonet (b. 1991) graduated from ECAL in 2014. He is based in Paris and Zurich where he juggles between commissioned photography, editorial and personal explorations.

Biography Francesco Robustelli (NL)

worked as a DJ and music producer formerly based in Amsterdam, performing different styles electronic music
through Europe for years before having a personal shift and exploring deeper and more experimental sides of consciousness music and sound in general. Later setting up an audio company called Four32, specialised in 3D audio for VR, 360 video, and audio visual installations.

@ Cabaret Voltaire, Spiegelgasse 1, 8001 Zürich

Live Concert (2014) is a test site to challenge and re-experiment with the relationships between sound and movement. The work tries to completely avoid a possible theatrical narrative, and instead follows instinct as its guiding policy, while working on the perfection of details and leaving nothing to improvisation. The musicians’ movements relate to a complex layering of drumming sounds, with the aim to create a solid, unified, rhythmic body.

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Previous presentations include: A L’ARME Festival, Berlin; Santarcangelo Festival (IT).

This «Fun & Fury!» Performance Dienst-Tag / To-Do's Day is part of the program It Takes All The Fucking Time curated by Michelangelo Miccolis (IT)

 

Biography Dewel Dell (IT)

was formed in 2007 by Teodora, Demetrio, Agata Castellucci and Eugenio Resta Since then the company has created seven performances that have been presented in the main festivals across Europe as well as in Australia (Melbourne Festival) and the U.S. (University of Wesleyan). Their work Marzo (2013) has been created in collaboration with Japanese visual artist Yuchi Yokoyama and theater director Kuro Tanino. Marzo’s world premiere took place in Graz, at Steirischer Herbst Festival, and its Italian premiere has been presented at the Venice Biennale, in the frame of Biennale Danza 2014. Dewey Dell has been part of the project Fies Factory/Centrale Fies from 2008 to 2013 and part of APAP (Advancing Performing Arts Project) from 2013 to 2016. Dewey Dell is now based between Cesena, Berlin and Vilnius.

@ Cabaret Voltaire, Spiegelgasse 1, 8001 Zürich

Mirroring historical premises that have been raised within the walls of Cabaret Voltaire, Frederique Pisuisse exposes a site-specific performance with a focus on the elementary features of cabaret or theater. Unfolding a bodily interplay between performer, backdrop and audience, Pisuisse evokes a tactile audience participation by building a relation between audience members and materials used on stage.

The props - built by the audience - form the set for a mysterious saga which takes part on a volcanic island within the ocean. What comes from within this island, emits radiation. Phone signals interfere with the soundtrack, visualising the knitted web of an audience that is normally hidden. Meanwhile, the storyteller takes the viewer on a journey into the core of the earth and back.

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Investigating the future labourism of artistic production in times of artificial intelligence, Pisuisse raises questions around the necessity to physically produce art: is the labour of humankind really that essential for making art? Or can nature and/ or AI take over? Which bodies are the ones in charge? Does the human body predict what AI does, or is it the other way round?

This «Fun & Fury!» Performance Dienst-Tag / To-Do's Day is part of the program Are We Bodies? curated by Vlada Maria Tcharyeva (CH)

Image Credit: «Frederique Pisuise: Artist Talk, South London Gallery»; Image Courtesy of the Artist, 2017

Biography Frederique Pisuisse (NL)

Frederique Pisuisse (1986, NL) lives and works in Europe. graduated from Goldsmiths London in 2016 and from the Gerrit Rietveld Academie in 2013. She is the co-founder of Cosmocarl, an online platform hosting hyperlinks to projects by artists, writers, thinkers and curators.

The work of Frederique Pisuisse explores the infrastructures of the art world. She is particularly interested in the construction of the network of people and objects that constitute an art scene; from intern to freeport, from backroom to dirty shipper. By questioning the deep-rooted habits she interrogates different socio-political identities and hierarchies in an era that is dominated by omnipresent forces of neoliberalism.

Recent exhibitions include Let’s (L)Arp at Arp Museum (Germany, 2018), This Site is Under Revolution at Moscow Biennale for Young Art (2018), What Happens in Bond, Stays in Bond at Art Rotterdam (2018), Bond-Ware at UNSEEN (Amsterdam, 2018), Quasi Commons at ICA London (2017), The Artist Talk at South London Gallery (2017). Pisuisse took part in group and duo exhibitions at ClearView.ltd London (2016), At7 Amsterdam (2017), Margate Festival (2016), P/////akt Amsterdam (2014), Kim? Riga (2014), Galerie Fons Welters (2013).

«Fun & Fury!» 2019 Opening Performance Night

19:30–20:00, @ Cabaret Voltaire, Spiegelgasse 1, 8001 Zürich
«Not Alone» by Søren Berner
 
20:15–21:15, @ Cabaret Voltaire, Spiegelgasse 1, 8001 Zürich
«Set Volcano» by Frederique Pisuisse
 
21:30–22:15, @ Cabaret Voltaire, Spiegelgasse 1, 8001 Zürich
«Live Concert» by Dewey Dell 
 
22:45–23:30, @ «The Residency», Grossmünsterplatz 7, 8001 Zürich
«Dimitri, or the Silent Orgasm» by Jean-Vincent Simonet & Francesco Robustelli

«Not Alone» by Søren Berner (DK)

@ Cabaret Voltaire, Spiegelgasse 1, 8001 Zürich

This «Fun & Fury!» Performance Dienst-Tag / To-Do's Day is part of the program Not Alone curated by Søren Berner (DK)

1920' industrial sounds from Russia. Two workers, two speeches. Reflected moving images projected throughout the space with a constellation of mirrors creates the setting. Underground versus overground.

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Künstler/innen

Merzedes Sturm-Lie (1991, based in Brussels/BE and Stockholm/SE)

is a multimedia artist and curator. In her work she investigates history as a spiral of infinite construction and de(con)struction. When producing works she searches for ways to understand the complexity of power and to question that which appears natural, but is in fact a construction. She studied at the Royal Institute of Art in Stockholm and has co-founded several artist-run spaces in both Brussels (Swallowing Helmets, Espace0IN) and Stockholm (Sekten, Konstattack).

Søren Berner (*1977 in Kopenhagen/DK, based in Zurich/CH)

Søren Berner works on the interface of performance, visual art and artistic intervention. He uses a participatory approach, cross/crush boundaries between audience and artists, institutions and public space. The conditions under which his performances and co-operations are brought to life are under constant critical evaluation. Søren's works has been shown a. o. at the Istanbul Biennale; MAK - Museum of Contemporary Art, Vienna; Kunsthaus Zürich; Nikolaj Kunsthal, Copenhagen; Helmhaus Zürich; Burningman, Nevada; Brandts Museum, Odense. He Studied at the Rietveld Academy of Fine. Co-curates at Cabaret Voltaire in Zürich. Currently Guest Teacher at Zürich University oft he Arts, Bern University oft he Arts and at the Danish School of Art (Kunsthøjskolen på Ærø).