Past Events (selected) (Seite 4 von 50)

Vernissage der Performativen Installation von Sophie Jung (CH)

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Does dies diem docet mean anything?

Answer: yes. or no.

Eine performative Installation von Sophie Jung (CH).
Kuratiert von Vlada Maria Tcharyeva (CH) und Adrian Notz (CH).

Sophie Jung wendet sich mit einer fragmentarischen Textintervention dem Dada Monument Cabaret Voltaire zu, um es in dauernder Gelesenheit in ein nie still haltendes Jetzt zu bringen.

Es freut uns sehr mit Sophie Jung, die bereits vor zehn Jahren mit uns arbeitete, eine begnadete Performerin im Cabaret Voltaire zu zeigen, die geschickt das Objektige in Worte und das Wortige in Objekte verwebt.

Jung bespielt die Räumlichkeiten des Cabaret Voltaire mit Worten, Sätzen und Texten, die den Geburtsort von Dada zum Sprechen bringen. In der Bewegung der Gäste durch die Räume, ihrem Lesen und lauten Rezitieren «ersteht» Jungs Arbeit. Das Werk wird somit durch die Dynamik des Lesens beeinflusst. Dadurch also, dass Sophie Jung unterschiedlichstes Inventar auf unterschiedliche Weise (und doch so einfach es das Untergrundmaterial nur zulässt) mit Sprachfragmenten versieht, ist es der Körper der Besucher/innen, der durch Bücken, Drehen, rauf und runter Gehen einen spezifischen, jedoch nie konkludierenden Text arrangiert und im nie endenden, «sozialen» Gesamtkunstwerkes «mit-ersteht».

spoke} UP...
in favour of
flavour of which was

by Jurgen Ots (BE) and Kjersti G. Andvig (NO)

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«Monkey Business» is a new time-based collaboration between visual artists Jurgen Ots and Kjersti G. Andvig. Part temporary occupation, part open studio, «Monkey Business» looks at the politics of collaboration in the public realm via unscripted occurrences, mad assemblages and unexpected encounters.

On the occasion of the presentation at Cabaret Voltaire, «Monkey Business» will stage a site-specific intervention.

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)

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

Biographies Monkey Business

Jurgen Ots (BE) studied at Sint-Lucas Brussels. Solo exhibitions include (selection): The Periaqueductal Gray Series, Galleria ZERO, Milan, 2014; Periaqueductal Gray, Elisa Platteau, Brussels, 2013; La Porte de l'Enfer Elisa Platteau & Cie Gallery, Brussels, Belgium, 2012. His work was also shown in the following group exhibitions (selection): What are we going to paint, Anette Gelink Gallery, Amsterdam, 2016; Hearing colors tasting shapes, Aike Dellarco, Shanghai, 2015; Dust, center for contemporary art Ujazdowski Castle, Warschau, 2015; An Exchange with Soll Lewitt, MASS MoCA Massachusetts, USA, 2011.

Kjersti G. Andvig (NO) grew up on the Lofoten islands where she studied for one year at Kabelvåg Art and Film school. She graduated from the National Academy of Art in Oslo in 2003. As an artist, her work often takes the form of long-term commitments to situations that demand complete personal dedication. She has had solo exhibitions at Rekord, Oslo, Triangle, Marseille, and Akershus Kunstsenter, Lillestrøm, and her work has been seen in group exhibitions including Lights On at the Astrup Fearnley Museum, Oslo, the Carnegie Art Award exhibitions in 2010 and the Lofoten International Art Festival, 2011.

Nils Amadeus Lange (DE) & Samuel Savenberg (CH) mit Daniel Rajcsanyi

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Chronos tritt auf. Die Uhren sind stehen geblieben, wie nach einer Explosion. Auf den Strassen Müll aus vergangener Zeit. Versteinerte Happy meals. Asphaltierte Kotze geschichtet auf Vergissmeinnicht.Horizontal verlaufende Kulturschichten sind freigelegt, doch die Menschen können sie nicht mehr lesen.

Musik: Samuel Savenberg ( S S S S )
Choreografie: Nils Amadeus Lange
Performer: Daniel Rajcsanyi

Dieser «Fun & Fury!» Performance Dienst-Tag ist Teil der Theatre of Sound Reihe, die von by Philipp Cron (CH) kuratiert wird.

Eintritt: CHF 10.- (Cabaret Voltaire Mitglieder: gratis!)

Biographie Nils Amadeus Lange (DE)

works as a performer and choreographer in Zurich. After completing his drama studies at Hochschule der Künste Bern, he began withdrawing from theater, shifting his focus to abstract forms of expression, dance and performance history during his master's program „Scenic Arts Practice“ (also at Hochschule der Künste Bern). He uses his body as a weapon, with which he pierces through the audience's heads, in order to subsequently dissect memories of conventions, role models and gender stereotypes from their brains.

Biography Samuel Savenberg (CH)

works in the fields of contemporary electronic music and media arts. He produces music under his S S S S monicker and from time to time writes about Club Culture for Swiss magazine zweikommasieben.

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.

@ «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 London (2016), At7 Amsterdam (2017), Margate Festival (2016), P/////akt Amsterdam (2014), Kim? Riga (2014), Galerie Fons Welters (2013).

@ 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)

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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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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).

Cabaret Voltaire and its new mysterious partner will reveal the «Orange Manta Ray Form» magic tool!

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When God recently visited Cabaret Voltaire in the form of a marionette puppet, he said: «First there was the word. And then there was action. But inbetween there were tons of protoplasm – he actually spoke German and said: «Ur-Schleim» –and coincidence.»

In the happy collaboration between Cabaret Voltaire and its new mysterious partner there was a lot of coincidence and even some protoplasm. It started with a word. The new mysterious partner (tnmp) approached Cabaret Voltaire this May 2018 to rent the space for an event, but as soon as tnmp was caught in the protoplasm of Cabaret Voltaire – the Dada legacy and spirit – quite immediately words became action. The idea to create something together ignited all protoplasma and opened up the space for coincidence.

So, Cabaret Voltaire and tnmp met for a brainstorming in the headquarters of tnmp and within the blink of an eye understood, that they love form and they love orange.

Dada, by creating protoplasmic chaos and eternally working with coincidence, was always longing for a «new form». Since the beginning of tnmp, decades before the birth of Dada, it has its own very special «Manta Ray» form, that distinguishes tnmp’s unique design from all other. Cabaret Voltaire and tnmp both use orange – not the presidential face orange – to highlight and color their precise actions and gestures.

Out of these coincidences the «Orange Manta Ray Form» arose like the aquila and cygnus constellations in summer and like a singularity, light years away opening up a gravitational force nobody can resist. Guided by the star constellations and driven by this force the «Orange Manta Ray Form» was created, combining the inner most essences of tnmp and Cabaret Voltaire like two elementary particles forming matter.

The first coincidental Big Bang created a magic tool for a «Flight out of Time», the «Orange Manta Ray Form», and is the lucky beginning of beautiful friendship.