Kategoriarkiv: Samlingsutställningar


Välkommen till en kollektiv utställning med verk av IASPIS ateljestipendiater Neil Brownsword, Yishay Garbasz, Catherine Anyango Grünewald, Weronika Bela & Ivar Hagren, Dan Halter, Sara Kaaman, Jenny Magnusson, Lais Myrrha, Angela Su och Benno Voorham.

Utställningen pågår t.o.m. 21 augusti
Öppet fredag 12-18.
lördag-söndag 12-16

”Det har gått mer än två månader sedan de flesta av oss kom till Stockholm. Trots geografiska, kulturella och andra särdrag har vissa släktskap med våra olika konstnärliga inriktningar blivit uppenbara sedan vi först träffades i IASPIS-köket. De många samtalen, filmvisningarna, festerna, middagarna, konserterna, museibesöken, båtturer, delande av musik och utflykter till simhallen, har gjort att vi på ett bättre sätt kan ta det utrymme vi befinner oss i nu i anspråk. (…)”
Läs hela texten av Lais Myrrha på engelska nedan.

ID:I Galleri är ett konstnärsdrivet galleri som startade 2003 och där 27 medlemmar driver verksamheten och hyr lokalen tillsammans. 

The Future as Negative Spaces Welcome to a collective exhibition with works by IASPIS residents Neil Brownsword, Yishay Garbasz, Catherine Anyango Grünewald, Weronika Bela & Ivar Hagren, Dan Halter, Sara Kaaman, Jenny Magnusson, Lais Myrrha, Angela Su and Benno Voorham. ”How long Do works endure? As long As they are not completed. Since as long as they demand effort They do not decay. ” Bertolt Brecht The Future as Negative Spaces More than two months have passed since a part of us arrived in Stockholm. Despite geographical, cultural and other idiosyncrasies, some affinities of our different research backgrounds have become apparent since we first met in the IASPIS kitchen. The many conversations, film screenings, parties, dinners, concerts, museum visits, boat trips, the sharing of music and excursions to the swimming pool, have allowed us to inhabit in a better way the space we are in now. There is a common point worth noting: most of us were born during the Cold War and felt its temperature more or less intensely. Perhaps, because we experienced this historical period, we learned, that borders are not fixed entities, but designs of an epoch. That even solid, heavy industrial poles can simply relocate in search of cheaper labour, leaving behind tons of waste, relegating entire cities and populations to a state of almost complete abandonment. It is not by chance that borders, ruins, detritus from industries and buildings, fields of raw material extraction, accelerated obsolescence of objects and professions, economic monopolies, subjection, control, and annihilation of historically oppressed bodies, are themes running through the works presented here. All these problems have become ever more evident, in their recurring presence, after the fall of the Berlin Wall and subsequent global domination of neoliberalism. As artists, we try to remain vigilant, having not lost our capacity to be haunted in front of it. Almost all of us have seen the supposed end of the Cold War, Latin American dictatorships, and other authoritarian regimes promoted by the United States of America in its crusade against communism. Like ruins, authoritarianism did not disappear and even today fragments of the wall dividing Germany are sold on eBay and Amazon, which, in turn, work as a good metaphor for the new face of global capitalism in its financialized and technocratic version, insofar as it takes or wants to take possession of people from the inside (the word souvenir is handy in this case). It is against this fetishization and commodification of memory, the taking over of subjectivity that the artist’s hand brushes over the paper to draw the closing moments where bodies succumb to police violence, to wars, to states. Insisting on such scenes forces us to gaze at (and to remember) the countless bodies that were and are sacrificed as fuel to feed the capitalist machine. If capitalism, like a snake, needs to shed its skin from time to time to grow and fatten, we are the ones who look for the dead tissues it leaves behind. Slack, diaphanous, and torn, these skins indicate a double presence, both of the past and the future. It is a warning not to forget that the bodies once covered by them are now protected by a surface more suited to their size, more resistant, and more falsely transparent. For me, the works exhibited here are like these skins: the sign of something that has been displaced into surrounding space, leaving a trace, a presence in what is to come. Scraps of ceramics, aged photographic papers, old images extracted from archives, unfinished constructions, old maps, board games, youth… For Walter Benjamin, the era of the technological reproducibility of the image corresponds to the moment where things lose their cult value, but not absolutely. For Benjamin, photographs of the faces of our loved ones, dead or missing, are the last refuge of the ‘aura’. These portraits are not themselves the objects of our love, but of what we reencounter through them. Like portraits and the serpent’s skins, the objects are portals. And what about these faces? Where can they be found in this exhibition? Inside boxes of aged photosensitive paper, that time has turned completely grey? In the vision of empty borders with their bridges and defence devices whose names seem taken from a fantastic tale? In the letters, we send to ourselves? In the hands that operate, at a distance, machines digging the earth to extract clay? Submerged in the serene waters of the sea, on the third bank of the river 1 * , or in the gaze, voice and gestures of children whose infancy was marked by the experience of war? In the delicate work of painting, porcelain carried out in the midst of ruins, between cigarettes? The faces in this exhibition are everywhere, everything here is the serpent’s skin, vestiges much like the photographs of loved ones, which carry with them our present only because they give colour, in a double movement, to the past and to the future. Each of the works on display appears as a blow and absence that has escaped official history, detached itself from a kind of world that has done its best to forge a state of general indifference: to otherness, death, and anything that lies beyond the established boundaries. Firstly, let us recall what is meant by indifference, as both apathy and a lack of receptivity to the other. The other as an eternally foreign category which threatens the stability of conventions and egos, of politics, of beliefs, of the boundaries that divide cities, neighbourhoods and people. The self-seen as other, The Other Selves, because to belong to this world of indifference one cannot but look at death, to the ‘wear and tear’ of bodies themselves, without losing oneself, without putting oneself outside one’s own ‘self’. In this tedious world, old age will never be understood and celebrated as the opening of multiple futures, but only, irremediably, as the loss of one single past, that of youth. To condemn the people to eternal youth is thus to deprive them of a future. Ah, the limits… of bodies, of mentalities, of territories, of the conventions that regulate different times and spaces. They are all at once imaginary and brutally real lines, drawn and guarded by the sort of inexhaustible effort present in the apparent and artificial stillness of borders, ICUs, psychiatric hospitals, and prisons. To maintain this monotony requires a gigantic workforce, a proliferation of surveillance mechanisms, massive quantities of resources, violence, apathy, and amnesia. All this effort requires an extra force that operates in the extra fields of official representations. It is precisely in this direction that this exposition is pointing to a space outside of the frame. And this negative space is seen through the intervals between one photograph and another, not always candid, of women involved in sewing activities, over the thousands of candles and cigarettes lit by Swedish matches, or by the unmeasured resources and expectations contained in the process of obtaining a small and disappointing pile of clay. At least, not only brutality can be felt by its negative space, but also love: the longing, the absence, the memory of the last look, the last breath, the last touch before the body goes cold. Remember the serpent’s skins? They condense different times: they are images of the future as negative space, surfaces that shaped a presence, a body, and cut open to make room for the future. Negative space is not a concrete and closed mould, it has neither outside nor inside, it is the inside out, torn skin. It is the clothes that no longer fit us and brings with it a warning. For this reason, perhaps anachronistically, we continue to cross bridges backwards, to strive stubbornly to find new ways of generating poetry. It is what justifies our being together in this small space, giving us the necessary courage to contemplate the dragon’s gaping teeth with the joy to continue dancing, to trace hot planes over obsolete maps and to speak – far away from armies – the silent language of forms, of images, and of bodies. This is our effort.


[slideshow_deploy id=’1835′]

Galleri Id:i presenterar CIRKELN

30 oktober – 15 november

Vernissage hela helgen:
fredag 30 oktober kl. 17 – 20
lördag 31 oktober kl. 12 -16
söndag 1 november 12 – 16

tors- fre 12-18
lör-sön 12-16

Medverkande konstnärer:
Anna Selander, Annelie Wallin, Christina Claesson, Helena Pehrsson, Helene Heldt Hortlund, Ingrid Jonsson, Lotta Döbling, Malin Skjöld, Maria Saveland, Unn Hjohlman och Ylva Kullenberg.

Den geometriska definitionen av en cirkel är en form som består av en mängd punkter, belägna på samma avstånd till en mittpunkt. En ursprunglig modell för mänsklig interaktion och förhandling, där ingen position indikerar en överordning. Rundabordssamtalets deltagare har alla samma status, varför det också är en vedertagen diplomatisk samtalsform.

Cirkeln avgränsar, inkluderar och exkluderar. Alla har vi erfarenhet av att befinna oss utanför eller innanför cirkelns synliga eller osynliga gräns. Cirkeln definierar en grupp och betonar en samhörighet mellan dess medlemmar, en intressegemenskap. Sveriges första studiecirkel startade 1902. En metod för folkbildning och lärande i mindre grupp som fortfarande ger resonans. Ett exempel är landets stadigt ökande antal bokcirklar – en social umgängesform med texten och ordet i samvarons centrum.

En bokcirkel är också utgångspunkten för utställningens elva konstnärer. Sedan starten har de givit sig i kast med 35 böcker, där medlemmarnas praktik ger värdefullt bränsle i de animerade samtal som förs kring berättande, text och språk – begrepp med självklar relevans för en bildkonstnär. Bokcirkeln flyttar nu in i gallerirummet med verk delvis sprungna ur idéer som vuxit fram ur sammankomsterna. I utställningens befriande öppna anslag möts konstnärerna i personliga betraktelser kring text och kommunikation, inspiration och påverkan, abstrakta bilder och materiella utsagor.

Cirkeln är öppen. The End.

Pia Kristoffersson

På grund av Covid-19 kan vi inte låta för många besökare vistas i galleriet samtidigt. Tack för att du visar hänsyn genom att hålla avstånd.

[slideshow_deploy id=’1778′]




The gallery doors stay closed. No entry. Quarantine. The space remains empty, alone, visible only through the thick glass of the window – sanitized, virtualized. Through its sheer visibility, the gallery becomes a liminal space and, walking this fine line, the artworks challenge the division between private and public space, between political and intimate.

Just outside of the gallery, like a mirror of the space beyond the glass, is With regards, family and friends by Yogesh Barve. Inspired by sociologists like W.E.B. du Bois and the language of data visualization, the marks on the pavement transpose the per capita residential area in Bombay and the living space per body in the city. By letting passersby interact with the scale of the spaces, Barve makes the public experience the data physically instead of conceptually.

The sound of the 5th December protest in Paris – the beginning of one of the longest national strikes in French history – fills the empty space of the gallery and spills into the street. Through a genuine “performativity of listening” and the act of walking, Niccolò Moscatelli injects a narrative in the record and a dynamic that goes constantly from the collective to the individual and back. The bodies of the people are absent, evaporated by harsher and harsher laws and the sanitary state of emergency that condemned the public practice of politics. Still, the voices, the laughs, the screams, songs and chants are still audible, – like the ghost of a protest, ensemble, marche, proteste resists the passing and disappearance.

Visible through the glass screen, Anno Domini by Saviya Lopes appropriates some of Artemisia Gentileschi’s biblical scenes portraying women and turns them into memes critiquing the male domination of public space. Taking from her own experience and from scholar Shilpa Phadke’s work around loitering, Lopes gives these women active agency and makes them defy the men surrounding them. At the same time, the work questions the “publicness” of public space for women, from biblical times, to the Renaissance until today. 

While having an immense impact on our world, the actual context is not the cause of the issues the works touch, from the suppression of political freedom and democracy, to the policing of women’s bodies in the urban environment, to the overcrowding and housing conditions in our metropoles and many others. Today they are simply exacerbated, stretched to the extreme.

NONSTOP Performance Festival

[slideshow_deploy id=’1674′]

NONSTOP Performance Festival

ID:I Galleri, 26 & 27 oktober 2019, kl. 19 – 21

Performance festival kurerad av Merzedes Šturm-Lie.


Tjugo konstnärer deltar varav fem som svarade på ett open call som skickades till konstelever på Kungliga Konsthögskolan och Konstfack. I festivalen finns det inga pauser, varje performance följs direkt av en annan.

Ljudet från alla performances kommer sedan att sändas ut på L’étranger, Radio Panik, baserad i Bryssel (www.radiopanik.org/emissions/l-etranger).


Mikael Goralski
AnnaLeena Prykäri
Jakob Niedziela
Melanie Is Demented
Kristoffer Svenberg
Hannah Wikström
Hiroko Tsuchimoto
Ida Ida Ida
Olav Westphalen
Erik Wijkström
Jesper Vesterlund
Marija Griniuk
Josefina Malmegård
Merzedes Šturm-Lie
Marja Leena Sillanpää
Imelda Cruz Linde
Bambi Von BonBon
Kirke Hundevad Meng
Natalia Rebelo



DAS ESSZIMMER Bonn goes ID:I Galleri Stockholm

[slideshow_deploy id=’1454′]

DAS ESSZIMMER Bonn goes ID:I Galleri Stockholm



Pressrelease från ID:I galleri 26.07 2018
ID:I galleri, Tjärhovsgatan 19, 116 28 Stockholm.

ID:I Galleri pressrelease 26:e juli 2018

Under året har ID:I Galleri gjort ett flertal utbytesutställningar med andra konstnärsdrivna gallerier bland annat i Aten, Berlin, Chicoutimi i Kanada och nu senast i Bonn.

Vi är glada att inbjuda in till vernissage fredagen den 27 juli kl 17-20, där vi presenterar den andra delen av nätverks- och utställningsprojektet mellan ID: I Galleri, Stockholm och Das Esszimmer – space for art +, Bonn. Das Esszimmer presenterar fyra utställningar på fyra veckor på ID: I Galleri. Galleristen och konstnären Sibylle Feucht visar ett urval av internationella konstnärer från sitt galleri i Bonn. Fyra snabba vernissage på fyra veckor när allt står stilla i Stockholm.

Detta som en del av det utbyte gallerierna emellan som startade med att ID:I Galleri den 15 juni öppnade utställningen ID:I Goes Esszimmer på galleriet i Bonn. Utställningen invigdes av Nina Röhlcke, kulturråd vid svenska ambassaden i Berlin. Medverkade var Annelie Wallin, Mona Petersson, Johanna Schartau, Hillside project, Carousell, Helena Pehrson, Dan Lageryd och Alexander Mood.

Från slutet av juli till slutet av augusti kommer galleri Das Esszimmer visa ett urval av internationella konstnärer kopplade till galleriet i Bonn. Bland andra:

Dorothee Von Rechenberg är en tysk fotograf bosatt i Basel i Schweiz. Hon är bland annat representerad i samlingar som Hoffman le Roche och har medverkat på utställningar och tävlingar som PRIX PHOTOFORUM, Centra PasquArt Biel (CH).

Adam Knight (UK) är verksam i London och arbetar med olika media, i huvudsak installation. Hans tema kretsar ofta runt konsten som marknad och den därmed förknippade komplexiteten. Han har ställt ut i bland annat London och Los Angeles.

Christoph Mügge är en svensk/tysk konstnär som tog sin master vid Konstakademien i Düsseldorf under professor Richard Deacon. Mügge arbetar i huvudsak med installation och har bland annat ställt ut på Ystads konsthall och Museum Kunstpalats i Düsseldorf.

Karel Doing (UK) arbetar i huvudsak med film, video och performance. Han är född i Australien, verksam i London och har visat sina filmer på bland annat kortfilmsfestivalen i Oberhausen och internationella filmfestivalen i Rotterdam.

Övriga deltagande konstnärer se under Program.

Den 16 augusti 2018 arrangerar vi ett samtal där sex svenska konstnärer med olika erfarenheter av att driva gallerier och konstprojekt samt kurera och skriva konstkritik att möta Sibylle Feucht på galleriet. Samtalet kommer att modereras av Jon Brunberg, konstnär och medlem av SOC Stockholm och ordförande för Konstnärernas Riksorganisation, Stockholms län. Se övriga deltagare under Program, Conversation.

Utgångspunkter för samtalet den 16:e aug:
ID:I Galleri har under åren deltagit i Supermarket Stockholm Independent Art Fair och i Platform Projects
Independent Art Fair Athens. Vi kan se att konstnärsdrivna nätverk och projekt får en allt större betydelse
för konstscenen över hela världen. Hur kan vi förvalta våra gemensamma erfarenheter, utveckla våra
organisationer och nätverk vidare? Hur kan vi göra politiker och beslutsfattare medvetna om betydelsen
av vårt arbete och mer villiga att stödja oss?  Eller kan det vara så att utifrån kommande finansiering kan
ha en hämmande effekt på vårt oberoende?


Engelsk pressrelease, program och medverkande nedan.

Press release

We are delighted to invite you to the cooperative network and exhibition project between ID:I Galleri, Stockholm (SE) and Das Esszimmer – space for art+, Bonn (DE). Das Esszimmer will present four exhibitions in four weeks in the ID:I Galleri, Stockholm (SE).

On August 16, 2018 we have the great pleasure to welcome six Swedish artists with various experiences in running art spaces and art projects as well as curating and writing art criticism, in a conversation with Sibylle Feucht from Das Esszimmer (engl.: The Dining Room). The conversation will be moderated by Jon Brunberg, artist and member of SOC.Stockholm and chairman of Konstnärernas Riksorganisation Stockholms län.

The conversation will take place at IDI Galleri Tjärhovsgatan 19, Stockholm (SE), August 16, 2018 at 7pm, doors open at 6pm.

During the year, ID:I Galleri has made several exchanges with art spaces in Greece, Berlin, Canada and this summer with Das Esszimmer in Bonn (DE), which from July 27 exhibits at ID:I Galleri at Tjärhovsgatan 19 in Stockholm (SE).

ID:I Galleri has participated in Supermarket – Stockholm Independent Art Fair (SE) and also been present at the Platform Projects, Independent Art Fair, Athens (GR). We can see the large and important impact that artist-run initiatives have on art scenes all over the planet. How can we use our experience, develop our knowledge further and get organized? How can we influence politicians and decision makers to recognize and appreciate artist run initiatives and reach out for more support? Or can public funding even have a negative impact on our independence?”

Program: July 27 – August 19, 2018

– 4 weeks 4 openings –

Opening #1:    Friday July 27, 2018, 5 – 8pm
with works by: Geneviève Morin (Basel, CH); Christoph Mügge (Malmö); Ingrid Roscheck (Cologne); Karel Doing (London)

Opening #2:    Friday August 3, 2018, 5 – 8pm
with works by: Rainer Barzen (Cologne); Dorothee von Rechenberg (Basel); Selma Weber (Basel)

Opening #3:    August 10, 2018, 5 – 8pm
with works by: Sebastian Mügge (Umeå); stöckerselig (Basel); Sibylle Feucht (Bonn, DE)

Conversation:    August 16, 2018, doors open at 6pm, conversation starting 7pm, with:

  • Gunilla Sköld Feiler, artist and co-founder of Tegen 2 (together with Dror Feiler).
    | www.tegen2.se |
  • Andreas Ribbung, artist, co-founder of Supermarket – Stockholm Independent Art Fair and artist-run space Candyland | www.ribbung.se | www.supermarketartfair.com | candyland.se |
  • Susanna Slöör, artist, art critic and co-founder of the art critic web magazine Omkonst,
    where artists write about art. | www.sloor.se | www.omkonst.se |
  • Liv Strand, artist and member of the board of NKF (Nordisk Konstförening). www.livstrand.com
  • Per Hasselberg, founder of Konsthall C and executive at People’s Movements for Art Promotion
    | www.konsthallc.se | www.konstframjandet.se |
  • Merzedes Sturm-Lie, curator and co-founder of various artist-run spaces in Stockholm (Sekten, Konstattack) and Brussels (Swallowing Helmets, Espace0IN) | www.merzedessturm-lie.com |  www.jonbrunberg.com |
  • Sibylle Feucht, artist and founder of DAS ESSZIMMER – space for art+, Bonn (DE) | www.atworld.ch |
  • Members of the ID:I galleri artist collective.


  • Moderated by: Jon Brunberg, artist, member of SOC.Stockholm and chairman of Konstnärernas Riksorganisation, Stockholms län | www. jonbrunberg.com |

Opening #4:           August 17, 2018, 5 – 8pm
with works by: Stijn Peeters (Eindhoven, NL); Luigi Archetti (Zurich, CH); Adam Knight (London) – Adam Knight will be present during the opening times of the exhibition.

Opening hours:    Friday 5 – 8pm | Saturday 12am – 4pm | Sunday 12am – 4pm
and by appointment (info@dasesszimmer.com)

This is the second part of the innovative exchange- and exhibition project between ID:I Galleri – a non-   commercial art space in Stockholm (SE), run by artists (idigalleri.org) and Das Esszimmer – space for art+ in Bonn (DE) a non-profit art space run by Swiss artist Sibylle Feucht.

During the 1st part artist-curators Alexander Mood and Annelie Wallin from ID:I Galleri took over Das Esszimmer during four weeks, showing ten artists and artist collectives in a group show and three VideoScreening Events, presenting works by nine artists.

In this 2ed part of the project Das Esszimmer – space for art+ from Bonn (DE) takes over the art space of ID:I Galleri in Stockholm during four weeks bringing twelve international artists – affiliated to Das Esszimmer
in four exhibitions to Stockholm.


Artists of exhibition #1

Geneviève Morin (Basel, CH) | www.genevievemorin.ch
Canadian Painter, living and working since 1993 in Basel (CH). Her paintings and drawings circle around the relations between humans, animals and their environment, exploring the ideals and myths of this tightly connected fields.

Christoph Mügge (Malmö, SE) | www.christophmuegge.com
Studied at Kunstakademie Düsseldorf under Prof. Richard Deacon, where he finished in 2013. Since then he showed his mostly installative and spacious works for example at K21, Museum Kunstpalast und Philara (Düsseldorf), Galleri GRO (Pietarsaari, FI) and Kristianstads Konsthall (Kristianstad, SE). He received several stipends for artist residency’s for example Aabenraa Artweek (Aabenraa, DK), ARE (Enschede , NL), Serlachius Residency (Mänttä, FI), Plattform (Vaasa, FI), UK School of Art und Visual Studies (Lexington, KY) Heinrich Böll Cottage, (Achill Island, IE), AiR Jakobstad ( FI) and Est-Nord-Est (Saint-Jean-Port-Joli, QC, CA).

Ingrid Roscheck (Cologne, GER) | www.ingridroscheck.com
* 16.11.1957 in Oberhausen (GER). Between 1976 and 1982 studies at Kunstakademie Düsseldorf (GER) with Alfonso Hüppi and 1978/79 at the American University in Cairo. 1990-00 conceptional and project work at Gallery Schneiderei, Cologne (GER). 1993-95 guest Professor at Kunstakademie Münster (GER). 2002/03 studies in multimedia teaching- and learning systems. 2005-09 teacher for Sculpture/Ceramics at University of Cologne (GER). Since 2013/14 teaching at University of Cologne (GER): Interdisciplinary/Intermedia. 2016 solo show at Das Esszimmer.

Karel Doing (London, UK) | www.kareldoing.net
Doing’s work has been shown worldwide in cinemas, on festivals, in galleries, museums and on stage. He has given workshops and lectures internationally at Willem de Kooning Academy, Piet Zwart Institute, KABK, Nordland Kunst og Filmfagskole, FAMU, University of East London, Ravensbourne University and School for New Dance Development. He is presently based in Cambridge and London.
His films are distributed by Lightcone and the New York Filmmakers’ Coop and certain films are part of the collections of EYE Filmmuseum and Museum Boijmans van Beuningen (Rotterdam, NL). Together with Bea Haut he runs Film in Process, a DIY film-laboratory based at the University of East London. 2014 solo show at Das Esszimmer.


Artists of exhibition #2

Rainer Barzen (Cologne, GER) | www.genevievemorin.ch
*26. May 1957 in Rheinhausen/Duisburg (GER). 1976 – 1982 studies at Kunstakademie Düsseldorf. Received in 1987 the da-Vinci-Prize at ArtCologne. 1988 stipend by Kunstfonds Bonn e.V. In 1989 Früh-Prize for painting (1.). 1990-94 guest Professor at Kunstakademie Münster (GER). 2003/04 interim Professor at University of Cologne (GER). Since 2005 teacher for experimental crafting at University of Cologne (GER). 2010 Artist Residency at Bartels Foundation, Basel (CH), 8 month. 2011 Artiste en Résidence: FabrikCulture Hégenheim (F). 2013 working stipend: Insel Hombroich / Raketenstation (GER). 2016 solo show at Das Esszimmer.

Dorothee von Rechenberg (Basel, CH) | www.dorothee-von-rechenberg.ch
Dorothee von Rechenberg was born in Horb/N (GER) in 1947. Since 1989 she has been living and working in Basel (CH). She works mainly in and with Photography. Her works are parts of the following collections:  City of Freiburg/Brsg, (GER) | Hoffmann-La Roche, Basel (CH) | Canton Baselland (CH) | Kunstkredit Canton
Basel-Stadt (CH) | Basler Plakatsammlung („PALAVER I und II“) (CH). 2013 solo show at Das Esszimmer.

Selma Weber (Basel, CH)
1958 born in Rorschach (CH), Selma Weber lives and works since 1981 in Basel (CH), where she also studied art. Her works have been shown in solo and group shows in institutions like the Swiss Institute, New York (USA), the Kunsthalle Basel (CH), Westwerk, Hamburg (GER), Kunstmuseum Olten (CH), Forum Vebikus, Schaffhausen (CH), Kunstraum Riehen (CH), Fabrikculture, Hégenheim (F), Kunsthalle Palazzo Liestal (CH), Kaskadenkondensator Basel (CH), Ausstellungsraum Klingental, Basel (CH), Kunsthaus Baselland, Muttenz (CH) or Weltraum, Basel (CH).
Works by Selma Weber are part of the following institutional collections Kunstverein Weil am Rhein (CH), collection of Helvetia Insurance (CH), Kunstkredit Basel-Stadt (CH), art collection of Liestal (CH) as well as various private collections. 2018 solo show at Das Esszimmer.


Artists of exhibition #3

Sebastian Mügge (Umeå, SE) | www.sebastianmuegge.com
Lives and works in Umeå, brother of Christoph Mügge. He studied art at Umeå Art Academy. He works at the interface of painting, drawing, found objects, sculpture and installation, usually starting from a set of collected objects/items that transform into expressive, site specific and monumental sculptural works.
He had exhibitions at Künstlerhaus Bethanien (Berlin), Kristianstads konsthall (SE), Kunsthistorisches Institut der Universität Bonn (DE), Bildmuseet (Umeå, SE), Centre d’artistes Caravansérail (Rimouski, Kalifornien), Zeitgenössisches Kunstfestival (Sigulda / Riga, LV), Härnösands Konsthall (SE), Musée des Beaux-Arts von Mont- Saint-Hilaire (CA), Kunstmuseum of Kuntsi (Vaasa, FI), Kalmar Konstmuseum (SE), Galerie Gerken (Berlin, DE), Västerbottens Museum (Umeå, SE), SIM Galerie (Reykjavik, IS), Galerie 126 (Galway, IE), Galerie Gotland (Visby, SE) und Aabenraa Artweek – Biennale für internationale zeitgenössische Kunst (DK) .
He received several stipends and prizes among them Höga-Kusten Grant, the Cultural Boost Grant and the 2- years working stipend of the Swedish Arts Grants Committee. He received recently the Ester Lindahl Travel Grant, the Sparbanksstiftelsen Norrland Art Grant, the STEP Beyond Travel Grant and the Byggnads Culture Grant.

Stöckerselig (Basel, CH) | www.stoeckerselig.ch
Annette Stöcker was born in 1962 in Biel (CH) and graduated as a potter at the École des Arts décoratifs (Geneva, CH). Christian Selig, *1954, was born in St. Gallen (CH). He graduated from F+F School in Zurich (CH), worked together with different Japanese Zen-masters and was an assistant of Erich Wiesner for Kunst-am-Bau projects in Berlin (GER). – Since 1987 both artist have been working together, currently living and working in Basel (CH).
They work in different media, like drawing, photography, video and sculpture creating poetic and thoughtful installations. 2014 solo show at Das Esszimmer.

Sibylle feucht (Bonn, GER) | www.atworld.ch
Swiss Artist Sibylle Feucht, *in Kaufbeuren (GER), lives and works since 2010 in Bonn (GER), before in Basel (CH), conceptual work approach with different medias as Photography, Video-Installation and Plastic Beads melted together. She got a Master in Science (Biology) at the University of Basle (Biozentrum) and the University of California (UCLA), Los Angeles (USA); F+F School for Art and Mediadesign, Zurich (CH); Executive Master in Design | Art + Innovation, Hochschule für Gestaltung und Kunst, Basel (CH). Numerous solo- and group exhibitions in Switzerland and abroad; purchases by private collectors and governmental institutions; a number of Studiobourses, e.g. Cité des Arts, Paris, Rotterdam (IAAB) and Urban Residency, Slavutych (Ukraine). In 2011 she launched the non-profit art space Das Esszimmer – space for art+ in Bonn (GER).


Artists of exhibition #4

Stijn Peeters (Eindhoven, NL) | www.stijnpeeters.com
Stijn Peeters was born in Valkenswaard (NL) in 1957. He is currently living and working in Eindhoven (NL). He studied between 1978 and 1982 in the Koninklijke Academie voor Kunst en vormgeving ’s Hertogenbosch (NL) and between 1985 and 1987 in the Jan van Eyck Academie in Maastricht (NL). In 1992 he received the
prestigious Philip Morris Prize. Stijn Peeters is a painter and drawer. In his large-scale paintings he often refers to the compositions of old masters transcending them into nowadays. 2016 solo show at Das Esszimmer.

Luigi Archetti (Zurich, CH) | www.stijnpeeters.com
* 1955 in Brescia (IT), since 1965 in Switzerland, lives and works in Zurich (CH). Luigi Archetti’s artistic practice revolves around the interface between art and music, which he seeks to make tangible. – In his installative staging’s he creates spaces that unfold multi-layered reference systems by introducing drawings, paintings, videos and sound
all acting and reacting with each other, by that means spanning a dense field of associations around audio-visual interfaces.
The vocabulary of music manifests itself not only in the ideas and the implementation of the works, but also in the direct use of objects and terminology from this field. Luigi Archetti stages the space as a medium in which different impulses – visual and sonic – meet.
Founder of numerous music projects in the field of experimental electro-acoustic music. Vast publication of CD’s with international labels such as Rune Grammofon, Oslo (NO); Die Schachtel, Milano (IT); Captain Trip Records, Tokio (JP).

Adam Knight (London, UK) | www.adamknight.co.uk
Taking apart the formats of artistic production, Adam Knight addresses complexities inherent in art-making. He is interested in pursuing and interrogating moments of a-synchronicity, doubt and self-critique. Starting points often involve researching personal histories alongside specific art, film, architectural and literary references. These may manifest into film, sound, text, sculpture or photography. Works directly inform one another and contribute to a broader practice-led exploration of presentation and association.
Born in Bedford, UK (1982), Adam Knight received his BA Hons in Fine Art at the Kent Institute of Art and Design, 2005 and an MA in Fine Art at the Royal College of Art, 2007. Residencies include: Eastside International, Los Angeles, US (2015); Atelierhaus Salzamt, Linz, Austria (2015); TANK Artist in Residence, Edinburgh Sculpture Workshop, 2014; League Resident at Vyt, New York, (2014); Freiraum-Stipendium, Rotationsatelier OG9, Zurich, Switzerland (2013); International Fellowship, ACC Galerie, Weimar, Germany (2011) and ARTSCHOOL/UK, Cell Project Space/Whitechapel Gallery (2010).
Knight has exhibited at various art-spaces, galleries and been included in numerous film screenings and publications. He has shown in the United Kingdom, Germany, Portugal, Netherlands, Estonia, Switzerland, United States, Italy and Australia. Adam Knight currently lives and works in London, UK. 2012 solo show at Das Esszimmer.