https://wasteland.earth wasteland Wed, 15 Nov 2023 14:22:50 +0000 https://wasteland.earth en https://wasteland.earth/Main Mon, 27 Jul 2020 20:07:14 +0000 wasteland https://wasteland.earth/Main <img width="2298" height="292" width_o="2298" height_o="292" data-src="https://freight.cargo.site/t/original/i/6a3ea73ee405b20ed1055dc6120a430bf129d16dc082f58f68f58abd7f790735/Wasteland_logo-12.png" data-mid="78537066" border="0" data-scale="79" src="https://freight.cargo.site/w/1000/i/6a3ea73ee405b20ed1055dc6120a430bf129d16dc082f58f68f58abd7f790735/Wasteland_logo-12.png" /> April is the cruelest month, breeding Lilacs out of death land, mixing Memory and desire&nbsp;T.S. Eliot &nbsp; https://wasteland.earth/Pixel-Muster-copy Tue, 28 Jul 2020 12:33:25 +0000 wasteland https://wasteland.earth/Pixel-Muster-copy https://wasteland.earth/23_1-1 Wed, 15 Nov 2023 14:22:50 +0000 wasteland https://wasteland.earth/23_1-1 ︎ 22_1.2 Book Release "i left my body behind" by Martian M. Mächler &nbsp;&nbsp; Saturday, 2.12.2023 at Kunstmuseum Luzern A book of narrative poetry published by Wasteland in collaboration with Kunstmuseum Luzern. This is a book about some body. some body is specialized in the impossible – delivering messages deemed undeliverable. Their call for voluntary work (due to urgency! – and that they seem to squeeze in between working at a factory that produces parts for buttons and breast pumps and serving food at a sensorily overwhelming restaurant) is rain. Rain, that falls down in various shapes, from drizzle to baby-fist-sized hail. The exceptionally dry summer, in which the fragmented narration takes place, doesn’t offer a lot of those wet opportunities needed for successful delivery. But time cracks seem to open up under- neath shower heads and in front of junctions where rubber boats are carried by their passengers. Both funny and philosophical, Martian M. Mächler’s auto fictional interweaving of voices present in prose and poetry point at a multiplicity and fluidity that is trapped within constructed binaries - impossible to be bound within a sealed body. The book creates a nuanced space for readers to engage with complex trauma and dissociation as a defense strategy – pointing at the always ready bodyguards trapped in their time zones, hovering around some body – indirectly asking for a more fluid conception of embodiment. Written in english (occasionally (swiss-)german)160 pages, edition of 1000, softcover, 126 x 195mm, ISBN: 978-2-8399-4042-9 *PRE-ORDER: FOR CHF 20.- instead of CHF 23.50 until 1 December 2023. Order via&nbsp;books(at)wasteland.earth with the subject line "pre-order i left my body behind", number of copies and delivery address. BOOK RELEASE: 02.12.2023, 11am-6pm on the occasion of the opening of the exhibition Solo Martian M. Mächler with Esther Vorwerk &amp; André Veigas P. at Kunstmuseum Luzern. BOOKSHOPS from December 5,2023 on: Paranoia City (Zurich), Queer Books (Bern), Kunstmuseum Luzern (Lucerne)READINGS:&nbsp; 05.12.2023, 20.00 Texte zum Nachdenken at Cabaret Voltaire, Zürich 12.12.2023, 19:30“..denn wir sind viele, jede*r einzelne von uns“, &nbsp;Ein vielstimmiger literarischer Jahresausklang, feministischer salon basel at Kaserne, Basel 24.01.2024, 18.00 Kunstmuseum Luzern, Luzern <img width="4500" height="4500" width_o="4500" height_o="4500" data-src="https://freight.cargo.site/t/original/i/edf1e678fcdc1d865d3becac3a23f4c8e53b1071b2cc1ab9396102d1e1b136bc/Wasteland_Cover_Square.jpg" data-mid="196948233" border="0" src="https://freight.cargo.site/w/1000/i/edf1e678fcdc1d865d3becac3a23f4c8e53b1071b2cc1ab9396102d1e1b136bc/Wasteland_Cover_Square.jpg" /> https://wasteland.earth/22_1-2 Tue, 22 Feb 2022 18:31:04 +0000 wasteland https://wasteland.earth/22_1-2 ︎ 22_1.2 Sonntagsgespräch a discussion in the context of act 3 at Kreuzbühlstrasse 1 in Zurich &nbsp; Sunday,27.2.2022,&nbsp;from 2pm Hosted by Andrea Abegg Serrano &amp; Anna-Thea Jaeger &nbsp; Join the discussion around the current exhibition act 3 by Martian M. Mächler in collaboration with Ludwig Schilling and the building Haus zum Falken. * Moderiert von Andrea Abegg Serrano &amp; Anna-Thea Jaeger&nbsp; Eine Diskussionsrunde rund um die aktuelle Ausstellung act 3 von Martina M. Mächler in Zusammenarbeit mit Ludwig Schilling und dem Gebäude Haus zum Falken.&nbsp; <img width="526" height="702" width_o="526" height_o="702" data-src="https://freight.cargo.site/t/original/i/2756a9d5986e4a42e51832783483f97bc60fed2db97a542c65bce9c2514a3487/Bildschirmfoto-2022-02-22-um-20.11.01.png" data-mid="134363991" border="0" src="https://freight.cargo.site/w/526/i/2756a9d5986e4a42e51832783483f97bc60fed2db97a542c65bce9c2514a3487/Bildschirmfoto-2022-02-22-um-20.11.01.png" /> https://wasteland.earth/22_1-1 Mon, 24 Jan 2022 11:14:49 +0000 wasteland https://wasteland.earth/22_1-1 ︎ 21_2.1 act 3 Martian M. Mächler in collaboration with Ludwig Schilling 12.2.2022 —27.2.2022 Opening &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;&nbsp; Friday, 11.2.2022&nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;4pm –– 8pmKreuzbühlstrasse 1, Zurich&nbsp; &nbsp; &nbsp; &nbsp;Open on Friday, Saturdays und Sundays&nbsp;12 –– 6pmand by appointment&nbsp; bird@wasteland.earth+4176 528 16 23 Can a messenger ever deliver that which cannot be said? The work of Martian M. Mächler is shown at Wasteland, housed in Haus zum Falken (House of the Falcon). Taking a cue from this creature, this work invites us to view language from a birds eye view, rendering through what Federico Campagna calls “Absolute Language.” When Campagna writes about this absoluteness of words, he describes an attempt to wholly capture the world around us; to relinquish the idea of anything outside of defined words. He places “Absolute Language” in contrast to “the ineffable” - forms of communicating which are able to reconstruct the world around us - to actively shape, and re-shape it’s reality-settings. The ineffable represents ways which escape being captured by descriptive language, negating all attempts to put it into ‘work’”. act 3 begins here, at the throat of the ineffable. Built in 1819, the rooms housing act 3 will soon be demolished to make way for the construction of a new building at the closing of the exhibition. Upon entering this vanishing space, an encounter is established with five characters. The gooey words of these figures temporarily inhabit the windows that make up the world of the space. The audio-scenography, a collaboration with Ludwig Schilling, transmits sounds of the rain, imitations of memories, and moments of uncanny repetitions. This buzzing communi- cation seeps through the various speakers in the space, suggesting possible encounters. Through sound, text and distance, Mächler fragments the idea of a whole self, into a body comprised of many disparate characters. In this fractured soma which miscommunicates and dissociates from itself, each character acts as a guardian, or bodyguard of sorts. Yet, rather than negate this contradictory self, a mode of polyphonic uttering is embraced. Mächler’s research on trauma and psychological therapy models informs this poetic approach towards bodily communication, to the self and to the outside world. Thus, the permeability of language is discovered when pre-existing vocabularies are questioned, as words meld and sounds fill. I have met these characters before, although they had different names then. We encountered each other in a classroom for a performance collaboration in 2019. Back then I played the role of a post- woman, a person who delivered their messages. I travelled to meet many guardians. Some lived on theater stages, others gave lecture presentations, and one even taught classes in a school. But there is something you should know about the circumstances under which I could deliver the mail. Delivery was only possible when it rained - when paper was wet and words were blurred. I can’t tell you how many times I packed letters full of tears. It seemed clumsy at first, to deliver when it was most wet, how would anyone decipher what the other was trying to say? Eventually though, I understood the slippery comfort of communicating through rain. Mächler’s exhibition at Wasteland allows a different way for memories to be deposited. Within the poems housed on the windows, and the audio melting through the speakers, the role of the body is actively considered. Thus to describe the ways that a body might communicate within itself and to the outside world attempts to understand how language often fails, and how an ineffable mode of speaking might sound, feel or look like. The audio-scenography by and with Ludwig Schilling places sound as a generous messenger, and the sculptural textile piece in the entrance of the space could perhaps initiate a return to a shared body. Mächler’s exhibit and audio-scenography is the first spatial staging for a book of poems titled “i left my body behind” which will be published this fall. Anastasia McCammon <img width="2493" height="1642" width_o="2493" height_o="1642" data-src="https://freight.cargo.site/t/original/i/0261b436acf088066971de1d47774bdfbd70f912f43b4809fe5d373f15ced333/02_4.jpg" data-mid="131214419" border="0" src="https://freight.cargo.site/w/1000/i/0261b436acf088066971de1d47774bdfbd70f912f43b4809fe5d373f15ced333/02_4.jpg" /> Exhibition views by Flavio Karrer <img width="7623" height="5082" width_o="7623" height_o="5082" data-src="https://freight.cargo.site/t/original/i/b738ca2956848034984d12ea2e20a29dd478428297e1ef16aee11ef60887adf2/220210_Martina_0032_final.jpg" data-mid="134365016" border="0" src="https://freight.cargo.site/w/1000/i/b738ca2956848034984d12ea2e20a29dd478428297e1ef16aee11ef60887adf2/220210_Martina_0032_final.jpg" /> <img width="7900" height="5267" width_o="7900" height_o="5267" data-src="https://freight.cargo.site/t/original/i/e8b101699de2725d1752c4b07d1a76dfad3d41f1c2f37332b73c32c9246ea5db/220210_Martina_0059_final.jpg" data-mid="134365024" border="0" src="https://freight.cargo.site/w/1000/i/e8b101699de2725d1752c4b07d1a76dfad3d41f1c2f37332b73c32c9246ea5db/220210_Martina_0059_final.jpg" /> <img width="3181" height="2121" width_o="3181" height_o="2121" data-src="https://freight.cargo.site/t/original/i/5b5789282b04ac8a79ebedda15e428357000803d7b939b9fa5a66a7e7ebf2b7b/220210_Martina_0051_final.jpg" data-mid="134365022" border="0" src="https://freight.cargo.site/w/1000/i/5b5789282b04ac8a79ebedda15e428357000803d7b939b9fa5a66a7e7ebf2b7b/220210_Martina_0051_final.jpg" /> <img width="7438" height="4959" width_o="7438" height_o="4959" data-src="https://freight.cargo.site/t/original/i/318beb34e80090a5854a935ecad69bee65294c261f4300461dec508bf04bd58a/220210_Martina_0078_final.jpg" data-mid="134365029" border="0" src="https://freight.cargo.site/w/1000/i/318beb34e80090a5854a935ecad69bee65294c261f4300461dec508bf04bd58a/220210_Martina_0078_final.jpg" /> <img width="8256" height="5504" width_o="8256" height_o="5504" data-src="https://freight.cargo.site/t/original/i/3704adb88b21f61349f1f0446cf4814f02ca43b9d9eba141f6b266790b7dc255/220210_Martina_0094_final.jpg" data-mid="134364974" border="0" src="https://freight.cargo.site/w/1000/i/3704adb88b21f61349f1f0446cf4814f02ca43b9d9eba141f6b266790b7dc255/220210_Martina_0094_final.jpg" /> <img width="7144" height="4762" width_o="7144" height_o="4762" data-src="https://freight.cargo.site/t/original/i/a66576ba53075971605d25f69d33755f04d8869a4310f11b35b6a8af86dcb786/220210_Martina_0075_final.jpg" data-mid="134365027" border="0" src="https://freight.cargo.site/w/1000/i/a66576ba53075971605d25f69d33755f04d8869a4310f11b35b6a8af86dcb786/220210_Martina_0075_final.jpg" /> <img width="7714" height="5143" width_o="7714" height_o="5143" data-src="https://freight.cargo.site/t/original/i/79d0dfcd8100dab499817b5f8a37a94dce0a53f33fe117e1a748ef2158ae712b/220210_Martina_0045_final.jpg" data-mid="134365019" border="0" src="https://freight.cargo.site/w/1000/i/79d0dfcd8100dab499817b5f8a37a94dce0a53f33fe117e1a748ef2158ae712b/220210_Martina_0045_final.jpg" /> <img width="6642" height="4429" width_o="6642" height_o="4429" data-src="https://freight.cargo.site/t/original/i/b11b8c910499417fba8eda0a308bbafcd1252e44de38155547145a169c8616fa/220210_Martina_0047_final.jpg" data-mid="134365021" border="0" src="https://freight.cargo.site/w/1000/i/b11b8c910499417fba8eda0a308bbafcd1252e44de38155547145a169c8616fa/220210_Martina_0047_final.jpg" /> <img width="6714" height="4475" width_o="6714" height_o="4475" data-src="https://freight.cargo.site/t/original/i/1d81e299dd10069e878bcc4bdbf6986a544eaf9a3eb2f569f8131aa67e899710/220210_Martina_0044_final.jpg" data-mid="134365018" border="0" src="https://freight.cargo.site/w/1000/i/1d81e299dd10069e878bcc4bdbf6986a544eaf9a3eb2f569f8131aa67e899710/220210_Martina_0044_final.jpg" /><img width="6057" height="4038" width_o="6057" height_o="4038" data-src="https://freight.cargo.site/t/original/i/71730ec30abb05d8e9e5499f4b938ad561bf9d9ca6a0ebd37fb33626de62fa32/220210_Martina_0001_final.jpg" data-mid="134367391" border="0" src="https://freight.cargo.site/w/1000/i/71730ec30abb05d8e9e5499f4b938ad561bf9d9ca6a0ebd37fb33626de62fa32/220210_Martina_0001_final.jpg" /> <img width="6426" height="4283" width_o="6426" height_o="4283" data-src="https://freight.cargo.site/t/original/i/2958d9c11421418a9064143451bfa3f21518972ee1feeeae3a1d16b29116fcd4/220210_Martina_0004_final.jpg" data-mid="134367424" border="0" src="https://freight.cargo.site/w/1000/i/2958d9c11421418a9064143451bfa3f21518972ee1feeeae3a1d16b29116fcd4/220210_Martina_0004_final.jpg" /> <img width="5433" height="3622" width_o="5433" height_o="3622" data-src="https://freight.cargo.site/t/original/i/08b79a361b1847822f0fe6c348909ab4bc53c002122f092099677573bd6ddfdd/220210_Martina_0027_final.jpg" data-mid="134365013" border="0" src="https://freight.cargo.site/w/1000/i/08b79a361b1847822f0fe6c348909ab4bc53c002122f092099677573bd6ddfdd/220210_Martina_0027_final.jpg" /> <img width="7720" height="5147" width_o="7720" height_o="5147" data-src="https://freight.cargo.site/t/original/i/6775beca3025f715f91178b54cada5dbe7530fb1a516c93c560fda1ef4eec732/220210_Martina_0053_final.jpg" data-mid="134365023" border="0" src="https://freight.cargo.site/w/1000/i/6775beca3025f715f91178b54cada5dbe7530fb1a516c93c560fda1ef4eec732/220210_Martina_0053_final.jpg" /> https://wasteland.earth/21_2-1 Mon, 08 Nov 2021 19:18:26 +0000 wasteland https://wasteland.earth/21_2-1 ︎ 21_2.1 MINUIT SOLEIL Anaïs Defago13.11.2021 —24.12.2021 Opening &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;&nbsp; 12.11.2021&nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;5pm –– 9pmKreuzbühlstrasse 1, Zurich&nbsp; &nbsp; &nbsp; &nbsp;Open on Saturdays &nbsp;12 –– 5pmand by appointment&nbsp; bird@wasteland.earth+41 76 528 16 23 Two platforms are presented side by side. On each, a diagonal of light separates the shaded and the illuminated parts. Despite its persuasive appearance, at first glance, the absence of strong light, or object that explains this diagonal, reveals it. This light beam is a representation, and its location is an arbitrary choice of the artist. The meticulous gestures of the artist and the convincing materiality of these objects that mimic their authentic counterparts (the structures, made of fiberglass, are modelled on concrete benches of Vidy, in Lausanne) confront each other with the decision to represent a part of the surface on which the light plays. The artist’s observations on the effect of light, a recurrent emblem in art history, is thus reduced to a gesture of formal selection. The luminous demarcation is a trompe l’oeil which does not try to convince completely, an aesthetic production which does not satisfy its ambitions. Its iteration in space also repeats its false promises: the observation of the two works, with their small variations, offers no additional information. Its repetition undermines any possible epistemic quality: the work says nothing in relation to a real or metaphorical situation, frustrating both its minimalist literalness and its narrative as a form extracted from an urban environment. The purity in the gray color of reinforced concrete, in addition to its dense materiality, gives the structure a minimalist connotation; a kind of Ralph Humphrey made urban furniture. Donald Judd, in his review of Humphrey’s exhibition at the Tibor de Nagy Gallery in 1960, praises the way his pictorial texture causes an effect of « unique immediacy coexisting with generality.» The painterly craftsmanship of the work recalls Robert Mangold’s «matter of fact» paint application that borrows from the industrial environment of 1960s New York. In the case of Anaïs Defago, the return to naturalism insists instead on capturing these forms in an affec- tionate relationship to these structures, whose anonymity suggests a different relationship than that present in Valentin Carron’s cultural reconstructions. Without adopting a social critique, they present themselves as snapshots of the artist’s subjectivity shared in the public space, as if these false replicas were just as much real reproductions of an affective relationship to these everyday objects. This relationship contrasts with its semblance of formal austerity. A first grim aspect then lets appear a shy melancholy which tries to preserve places threatened by a smooth aesthetic àla Google, where everything is well lit, comfortable and technologically monitored. These two islands are then presented as non-productive corners of life outside any promise of efficiency, vulgar places to be preserved. Paolo Baggi (Text translated from French)&nbsp; *&nbsp; Deux plateformes sont présentées côte-à-côte. Sur chacune, une diagonale de lumière sépare une partie ombragée et une autre illuminée. Malgré son aspect à première vue convaincant, l’absence de lumière forte ou d’objet qui explique cette diagonale le révèle : ce faisceau lumineux est une représentation et son emplacement un choix arbitraire de l’artiste. La gestuelle minutieuse de l’artiste et la matérialité convaincante de ces objets qui miment leurs authentiques semblables (les structures, réalisées en fibre de verre, sont calquées sur des bancs en béton de Vidy, à Lausanne) se confrontent avec la décision arbitraire de représenter une partie de la surface sur laquelle la lumière agit. La qualité d’observation de l’artiste des effets de la lumière, emblème récurrent de l’histoire de l’art, se réduit ainsi à un geste de sélection formelle. La démarcation lumineuse est un trompe l’œil qui ne cherche pas à convaincre tout à fait, une production esthétique qui ne satisfait pas ses ambitions. Son itération dans l’espace répète par ailleurs ses promesses déçues: l’observation des deux œuvres, avec leurs petites variations, n’offre aucune information supplémentaire. Sa répétition sape toute possible qualité épistémique : l’œuvre ne dit rien par rapport à une situation réelle ou métaphorique, frustrant à la fois sa littéralité minimaliste et sa narration en tant que forme extirpée d’un environnement urbain. La pureté de la couleur grise d’un béton armé en addition d’une matérialité épaisse donneà la structure une connotation minimaliste, une sorte de Ralph Humphrey fait mobilier urbain. Donald Judd, dans sa critique de l’exposition de Humphrey à la Tibor de Nagy Gallery en 1960, fait l’éloge de la manière dont sa texture picturale cause un effet d’“ immédiateté unique coexistante avec la généralité ”. La qualité d’artisanat pictural de l’œuvre rappelle l’application de peinture “ matter of fact ” de Robert Mangold qui emprunte à l’environnement industriel de New-York des années 1960. Dans le cas d’Anaïs Defago, le retour à un naturalisme insiste plutôt sur la captation de ces formes dans un rapport affectueux vis-à-vis de ces structures, dont l’anonymat suggère une autre relation que celle présente dans les reconstitutions culturellesde Valentin Carron. Sans adopter une critique sociale, elles se présentent en tant qu’instantanés de la subjectivité de l’artiste partagés dans l’espace public, comme si ces fausses copies étaient tout autant de vraies reproductions d’un rapport affectif à ces objets du quotidien. Ce rapport contraste avec son semblant d’austérité formelle. Un premier aspect maussade laisse alors apparaître une mélancolie timide qui s’attache à conserver des lieux menacés par une esthétique lisse à la Google, où tout est bien éclairé, confortable et contrôlé technologi- quement. Ces deux îlots se présentent alors comme des recoins de vie non-productifs en dehors de toute promesse d’efficacité, des lieux vulgaires à préserver.Text by Paolo Baggi <img width="3024" height="3780" width_o="3024" height_o="3780" data-src="https://freight.cargo.site/t/original/i/82ee1f61333cb9af33aade3777055d88cc1e9f5d3d0a1f0c9006de2d00a379ae/Instagram-Minuit-Soleil.jpeg" data-mid="123926648" border="0" src="https://freight.cargo.site/w/1000/i/82ee1f61333cb9af33aade3777055d88cc1e9f5d3d0a1f0c9006de2d00a379ae/Instagram-Minuit-Soleil.jpeg" /> Exhibition views by Max Ehrengruber<img width="2048" height="1536" width_o="2048" height_o="1536" data-src="https://freight.cargo.site/t/original/i/7c763324402bac10571131e5f9e83d2f4d37f9b8f5f1a10db56a820358eaf253/AD_Wasteland_2021_01.jpg" data-mid="134368222" border="0" src="https://freight.cargo.site/w/1000/i/7c763324402bac10571131e5f9e83d2f4d37f9b8f5f1a10db56a820358eaf253/AD_Wasteland_2021_01.jpg" /> <img width="2048" height="1536" width_o="2048" height_o="1536" data-src="https://freight.cargo.site/t/original/i/0cb40437451a2b1a6b7b7b3887503045e21f5f91a39d7a58f6fa055fd83170fc/AD_Wasteland_2021_02.jpg" data-mid="134368223" border="0" src="https://freight.cargo.site/w/1000/i/0cb40437451a2b1a6b7b7b3887503045e21f5f91a39d7a58f6fa055fd83170fc/AD_Wasteland_2021_02.jpg" /> <img width="2048" height="1536" width_o="2048" height_o="1536" data-src="https://freight.cargo.site/t/original/i/e7ba129054e6169e88d005d32c0ea1bf4707c28d15125f2547b4a713ab487306/AD_Wasteland_2021_03.jpg" data-mid="134368224" border="0" src="https://freight.cargo.site/w/1000/i/e7ba129054e6169e88d005d32c0ea1bf4707c28d15125f2547b4a713ab487306/AD_Wasteland_2021_03.jpg" /> <img width="2048" height="1536" width_o="2048" height_o="1536" data-src="https://freight.cargo.site/t/original/i/57438914011667cb38f803e8f0a28f6235b7130783e7d62b54bd3b2d53ed1270/AD_Wasteland_2021_04.jpg" data-mid="134368225" border="0" src="https://freight.cargo.site/w/1000/i/57438914011667cb38f803e8f0a28f6235b7130783e7d62b54bd3b2d53ed1270/AD_Wasteland_2021_04.jpg" /> <img width="2048" height="1536" width_o="2048" height_o="1536" data-src="https://freight.cargo.site/t/original/i/4935a1a9815c61bbecf809c4b72b13f3b35cc4596b32e914011b3572dd48942f/AD_Wasteland_2021_05.jpg" data-mid="134368227" border="0" src="https://freight.cargo.site/w/1000/i/4935a1a9815c61bbecf809c4b72b13f3b35cc4596b32e914011b3572dd48942f/AD_Wasteland_2021_05.jpg" /> <img width="2048" height="1536" width_o="2048" height_o="1536" data-src="https://freight.cargo.site/t/original/i/acf92f0c78190d6cc2a3b2cb89173510f0bc063ad27604ed63ee5c581e20e7dc/AD_Wasteland_2021_06.jpg" data-mid="134368228" border="0" src="https://freight.cargo.site/w/1000/i/acf92f0c78190d6cc2a3b2cb89173510f0bc063ad27604ed63ee5c581e20e7dc/AD_Wasteland_2021_06.jpg" /> <img width="2048" height="1536" width_o="2048" height_o="1536" data-src="https://freight.cargo.site/t/original/i/925203a3dece5b832f3b2a14163bbf6ae080bcacf6a7d3c6581a36bd3c8d80a8/AD_Wasteland_2021_07.jpg" data-mid="134368229" border="0" src="https://freight.cargo.site/w/1000/i/925203a3dece5b832f3b2a14163bbf6ae080bcacf6a7d3c6581a36bd3c8d80a8/AD_Wasteland_2021_07.jpg" /> <img width="2048" height="1536" width_o="2048" height_o="1536" data-src="https://freight.cargo.site/t/original/i/0a95085882dae6b4c71562ff86bb34102a6ca03edec03f0cb652049ebfdcaaaf/AD_Wasteland_2021_08.jpg" data-mid="134368230" border="0" src="https://freight.cargo.site/w/1000/i/0a95085882dae6b4c71562ff86bb34102a6ca03edec03f0cb652049ebfdcaaaf/AD_Wasteland_2021_08.jpg" /> <img width="2048" height="1536" width_o="2048" height_o="1536" data-src="https://freight.cargo.site/t/original/i/7fe6c7ab35828228d5f77ab12a0ab0eafdb1f0bf8353ff231b71a85c64f51d58/AD_Wasteland_2021_09.jpg" data-mid="134368232" border="0" src="https://freight.cargo.site/w/1000/i/7fe6c7ab35828228d5f77ab12a0ab0eafdb1f0bf8353ff231b71a85c64f51d58/AD_Wasteland_2021_09.jpg" /> <img width="2048" height="1536" width_o="2048" height_o="1536" data-src="https://freight.cargo.site/t/original/i/24a307e91ce44eb9bfde47210432a10754384c9270fb466696dfaca83f4a6bc9/AD_Wasteland_2021_10.jpg" data-mid="134368233" border="0" src="https://freight.cargo.site/w/1000/i/24a307e91ce44eb9bfde47210432a10754384c9270fb466696dfaca83f4a6bc9/AD_Wasteland_2021_10.jpg" /> <img width="2048" height="1536" width_o="2048" height_o="1536" data-src="https://freight.cargo.site/t/original/i/7295387f68fa01f167c0caa006be1b3e9634e73a6fcee21ea4fc68ae33f3c86d/AD_Wasteland_2021_11.jpg" data-mid="134368234" border="0" src="https://freight.cargo.site/w/1000/i/7295387f68fa01f167c0caa006be1b3e9634e73a6fcee21ea4fc68ae33f3c86d/AD_Wasteland_2021_11.jpg" /> https://wasteland.earth/21_1-1 Sun, 20 Sep 2020 16:47:03 +0000 wasteland https://wasteland.earth/21_1-1 ︎ 21_1.1&nbsp; MY INTERNET IS NOT YOUR INTERNET BUT MY REALITY&nbsp; Jennifer Merlyn Scherler &nbsp; ONLINE VIDEO PREMIER 24.03.21, 8 pm The video work, which is a follow up on the collaboration for Residency Dienerstrasse last autumn, is a performative work exploring online (in)visibility of sex workers and and the entanglement of internet worlds and realities. To accompany the virtual world expansion and lecture madness you can sign up for a LIMITED EDITION MULTI-SENSORIAL HOME EXPERIENCE GOODIE PACKAGE to provide some grounding: put togehter with loving hands by the artist. Send us your address until Wednesday, 17.03.2021, via bird@wasteland.earth to get yours. Find the video script here.&nbsp; <img width="3024" height="4032" width_o="3024" height_o="4032" data-src="https://freight.cargo.site/t/original/i/aee2bf49734f23ce97dabd9d70c36d6646d40c6cee75c73253694f7451ea7e7c/Flyer_Internet.jpg" data-mid="101765616" border="0" data-scale="100" src="https://freight.cargo.site/w/1000/i/aee2bf49734f23ce97dabd9d70c36d6646d40c6cee75c73253694f7451ea7e7c/Flyer_Internet.jpg" /> https://wasteland.earth/20_1-1 Tue, 28 Jul 2020 10:13:19 +0000 wasteland https://wasteland.earth/20_1-1 ︎ 20_1.1 &nbsp; Ruven Joas Stettler with Jennifer Merlyn Scherler &amp; friends @ Residency Dienerstrasse 05.09.2020 —04.10.2020, &nbsp; Opening &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; 04.09.2020 &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; 6pmDienerstrasse 8 &nbsp; &nbsp; &nbsp; &nbsp; Open house&nbsp; 5.09/06.09,12 –– 5pm Saturdays 12 –– 5pm and by appointment Ruven Joas Stettler @ Residency Dienerstrasse By Paolo Baggi The time horizon of painting holds a large set of affects and visual stimuli that seem inexhaustible. Painting can act as a preser- vation of a certain potentiality, its unlimited capacity of staging meanings and actions. As David Joselit says, “ painting marks time, rather than intervening in the events that populate it ”. In other words, unlike politics, there are no short-term objectives and analysis, but rather the live display of accumulation of time. Combining liveliness and vitality, Ruven Joas Stettler’s paintings present to the viewer their capacity to advocate for a simultaneous and ongoing marking of time, a painting on the spot. As opposed to painting en plein air, the paintings exhibited at Dienerstrasse are not substitutes for an ephemeral moment but rather the privileged site to negotiate atten- tion, interfaces that act as sites for the painter to deal with its own position of author in a time of massive image production and circulation. In other words, a place where the capacity of painting to be the holder of affective time in an economy of attention is renegotiated. Throughout the building, soft paintings ( none is presented stretched on a canvas ) float more or less detached from the walls that should assure them their verticality, the position that legitimize painting as a medium and that give its authority. Here however, their wavy essence, sometimes shaped as more recogni- zable symbolic forms, insist on their capacity to store the time of their making. On some of them, numbers appear, in an opaque logic from the outside, arbitrary numbers that only respond to their own organizing structures, as if the paintings could be the holders of different kinds of accumulation. It is therefore not only time that is displayed, but it could be also favorite numbers of some people close to the artists, marking an affective feeling towards them ( and deferring affectivity to other authors than the painter himself ), or it could also be, more prosaically, the numbers displayed on a clock when the paintings were produced. Symbols and painting’s language are therefore negotiated inside the frame of a processual gesture, as the space of the paintings is itself inhabited by the life of the painter, as recalled by their materiality made from inexpensive and accessible materials like charcoal, oil and spray. Ruven Stettler’s painting stage and store their own events, shaping the rooms at Dienerstrasse as sites where preservation and vitality are displayed. Accumulation is here not about remembering past events but rather insisting on a capacity to display the ongoing. Painting is staged as a souvenir of life, however the paintings do not behave as surrogates of their own capacity to act as images but rather as a live display of their vitality, a continuous and simultaneous deferral of lived experience. Jennifer Merlyn Scherler&nbsp; @ Residency Dienerstrasse by Selma Meuli&nbsp; Die Fragen nach der Beanspruchung von Raum, im geografischen wie auch im soziologischen Sinne, sind vielschichtig. In letzterer Hinsicht werden Räume stets im Verhältnis zu sozialen Handlungen verstanden, wobei durch die kapitalistisch orientierten gesellschaftlichen Strukturen zunehmend eine Homogenisierung der Nutzungsansprüche von Raum und des darin stattfindenden urbanen Lebens entsteht. Das Bedürfnis nach Raum der ehemaligen Bewohner*innen und Sexarbeiter*innen der Dienerstrasse 8, welche für ein spekulatives Bauprojekt aus ihren Zimmern weichen mussten, veranlasste Jennifer Merlyn Scherler (*1996, Oberdiessbach) ihre rechercheorientierte künstlerische Praxis um einen neuen Themenkreis zu erweitern. Sie befasst sich auf zweierlei Weisen mit dem Konzept von Raum: Einerseits dienten die Problematiken der Marginalisierung, Zensur und Gentrifizierung, welche mit den physischen Räumlichkeiten der Liegenschaft und deren Nutzung einhergehen, als inhaltliche Ausgangslage für die eigens für Wasteland konzipierten Werke. Andererseits erweiterte Scherler den vorgefundenen Raumbegriff um sein im Internet situiertes virtuelles Pendant, eine Dimension, die vermeintlich Unsichtbarem eine neue Plattform gibt. Die unterschiedlichen Formen, wie sich die Sexarbeiter*innen den Internetraum – insbesondere Instagram – als Manifestierungsort ihrer eigenen Stimme, des professionellen Austausches und der Vernetzung, des Protestes sowie der direkten Dienstleistung aneignen, veranlassten Scherler zu umfänglichen Recherchearbeiten. Diese kulminierten an der Schnittstelle zwischen cyber Popkultur und Sexarbeit im Internet nicht nur inhaltlich, sondern auch formell zu vier neuen Videoarbeiten und Digitalprints. Ausgehend von Videos, wie jenen von FKA twigs oder Hustlersvon Jennifer Lopez, in welchen Räume von Sexarbeiter*innen für künstlerische Arbeiten appropriiert werden, und den daraus entstandenen GIFs, kritisiert Scherler in ihrer multimedialen Praxis die Aneignung von fremdem Inhalt in der Kunst. Durch fotografische Nachbearbeitung dieser Internetmedien, sind Werke entstanden, welche die Stimmen der Betroffenen möglichst direkt und projektionsfrei wiederzugeben versuchen und zugleich die Grenzen des virtuellen Raums als Plattform für Sexarbeit fern von gesellschaftlichen Normen und Strukturen aufzeigen. So stellt Jennifer Merlyn Scherler schlussendlich fest: «The internet is just as gentrified as the building you are standing in will be». Um die in den ausgestellten Werken behandelten Problematiken tiefgründiger thematisieren zu können, lädt Jennifer Merlyn Scherler am 23.09.2020 um 19:30 Uhr an der Dienerstrasse 8 zu einer Lecture Performance ein. Als Erweiterung ihrer künstlerischen Praxis, hin zu einem vermittlungsorientierten Format, wird Scherler ihre Recherchen vorstellen und einen vertieften Einblick in ihre Arbeitsweise bieten. Lecture performance by Jennifer Merlyn Scherler 23.09.20, 7.30pm Sex work as an aesthetic backdrop in pop cultureHow the internet served as a platform for sex workers to critique FKA Twigs and to enroll a conversation with negotiation potentialA lecture performance with youtube chill Sunday talks: property - body, space Sonntagsgespräche: Eigentum - Körper, Raum 20.09.20 &amp; 27.09.20, 2 pm Dienerstrasse 8Hosted by Anna-Thea Jaeger Andrea Abegg Serrano&nbsp;Join the discussion about the building at Dienerstrasse 8, about property and property rights in relation to body and space.As preparation for the talks we have curated a reader with numerous contributions about property and property rights. The digital version can be sent to you upon your request (just send us and email). The printed version can be viewed on the 5th floor at Dienerstrasse 8. With contributions by&nbsp; Ruven Joas Stettler, Anna-Thea Jaeger, Marie Kappen, Jennifer Merlyn Scherler, Bahar, Eva, Claire Plassard, Laurence Steinemann, Paolo Baggi, Tilia Novotny,&nbsp;Jan Serwart, Andrea Abegg Serrano, K., J., S. , Bahar Yildirim, Ariela Braunschweig, Merlin Linder ... and many others.&nbsp; <img width="2477" height="3507" width_o="2477" height_o="3507" data-src="https://freight.cargo.site/t/original/i/7d65a88807afb27945dcf4fb24d9f0bfc1e09ff4dd40e006a1d7e852ac3a0d0c/plakat_text_neu_korr_zentriert.jpg" data-mid="83153986" border="0" src="https://freight.cargo.site/w/1000/i/7d65a88807afb27945dcf4fb24d9f0bfc1e09ff4dd40e006a1d7e852ac3a0d0c/plakat_text_neu_korr_zentriert.jpg" /> Jennifer Merlyn Scherler &nbsp; &nbsp; xyz, 2020 &nbsp;<img width="4541" height="5320" width_o="4541" height_o="5320" data-src="https://freight.cargo.site/t/original/i/f0cf78d8d1bec9caca30592e596863973492bb873fbaf47fc9c61676a7d31913/Ruven-Stetter-15.png" data-mid="78528251" border="0" src="https://freight.cargo.site/w/1000/i/f0cf78d8d1bec9caca30592e596863973492bb873fbaf47fc9c61676a7d31913/Ruven-Stetter-15.png" /> Exhibition views Ruven Joas Stettler @ Residency Dienerstrasse&nbsp; <img width="4000" height="2667" width_o="4000" height_o="2667" data-src="https://freight.cargo.site/t/original/i/2023ef933d27378f36fee566f1326496dbeca045f1f965783ae3ef9f7d347368/Wasteland_02_DSC1149.JPG" data-mid="83732148" border="0" src="https://freight.cargo.site/w/1000/i/2023ef933d27378f36fee566f1326496dbeca045f1f965783ae3ef9f7d347368/Wasteland_02_DSC1149.JPG" /><img width="4000" height="2667" width_o="4000" height_o="2667" data-src="https://freight.cargo.site/t/original/i/97f977748b3be858373f084158f58e6bf53b4b6cf1723cab14f6f914d2ad2d4d/Wasteland_03_DSC1210.JPG" data-mid="83732149" border="0" src="https://freight.cargo.site/w/1000/i/97f977748b3be858373f084158f58e6bf53b4b6cf1723cab14f6f914d2ad2d4d/Wasteland_03_DSC1210.JPG" /><img width="4000" height="2742" width_o="4000" height_o="2742" data-src="https://freight.cargo.site/t/original/i/ce10e9f89b1012905bebc3b8128aca9ee332a58ddb6a4ef408cba4a0a8b5a5c1/Wasteland_06_DSC1209.JPG" data-mid="83732153" border="0" src="https://freight.cargo.site/w/1000/i/ce10e9f89b1012905bebc3b8128aca9ee332a58ddb6a4ef408cba4a0a8b5a5c1/Wasteland_06_DSC1209.JPG" /><img width="4000" height="2667" width_o="4000" height_o="2667" data-src="https://freight.cargo.site/t/original/i/5514cdcc753f9bcd5c5d4154a4c8ba20a70a8ac5184cf2bf07f7391a476cc18c/Wasteland_07_DSC1190.JPG" data-mid="83732154" border="0" src="https://freight.cargo.site/w/1000/i/5514cdcc753f9bcd5c5d4154a4c8ba20a70a8ac5184cf2bf07f7391a476cc18c/Wasteland_07_DSC1190.JPG" /><img width="4000" height="2667" width_o="4000" height_o="2667" data-src="https://freight.cargo.site/t/original/i/a0e99def1742eacfb68a6e84c09226030f5953b0ce7b1434f819865cdb5e5648/Wasteland_10_DSC1217.JPG" data-mid="83732156" border="0" 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data-src="https://freight.cargo.site/t/original/i/c88f44b77473c9f82ca3b41736d65a6f16a6f97911430b0651b221027eb24c19/Wasteland_23_DSC1196.JPG" data-mid="83732166" border="0" src="https://freight.cargo.site/w/1000/i/c88f44b77473c9f82ca3b41736d65a6f16a6f97911430b0651b221027eb24c19/Wasteland_23_DSC1196.JPG" /> <img width="2667" height="4000" width_o="2667" height_o="4000" data-src="https://freight.cargo.site/t/original/i/65891806d713785f53951f89010c4d7858eaebb7e90fda56e353a007ebf8619e/Wasteland_01_DSC1148.JPG" data-mid="83732147" border="0" src="https://freight.cargo.site/w/1000/i/65891806d713785f53951f89010c4d7858eaebb7e90fda56e353a007ebf8619e/Wasteland_01_DSC1148.JPG" /><img width="4000" height="2667" width_o="4000" height_o="2667" data-src="https://freight.cargo.site/t/original/i/c2fffa9153aaeed960b0f997bcf2eda57fc5bf27fbca44148cbdf1782bb2c286/Wasteland_33_DSC1171.JPG" data-mid="83732170" border="0" src="https://freight.cargo.site/w/1000/i/c2fffa9153aaeed960b0f997bcf2eda57fc5bf27fbca44148cbdf1782bb2c286/Wasteland_33_DSC1171.JPG" /><img width="4000" height="2667" width_o="4000" height_o="2667" data-src="https://freight.cargo.site/t/original/i/ee173bd9d2e8509235448504491f7797cec44f44270e5ca190ab0834feb108b7/Wasteland_30_DSC1224.JPG" data-mid="83732167" border="0" src="https://freight.cargo.site/w/1000/i/ee173bd9d2e8509235448504491f7797cec44f44270e5ca190ab0834feb108b7/Wasteland_30_DSC1224.JPG" /> Exhibition views Jennifer Merlyn Scherler @ Residency Dienerstrasse <img width="2667" height="4000" width_o="2667" height_o="4000" data-src="https://freight.cargo.site/t/original/i/785aae54952e4cbc62cd690c99a02ec7abc04d6774d24b965443b99bd592bce4/Wasteland_36_DSC1227.JPG" data-mid="83732199" border="0" src="https://freight.cargo.site/w/1000/i/785aae54952e4cbc62cd690c99a02ec7abc04d6774d24b965443b99bd592bce4/Wasteland_36_DSC1227.JPG" /><img width="2667" height="4000" width_o="2667" height_o="4000" data-src="https://freight.cargo.site/t/original/i/d05cc356dff1398774f05bb0f58aa4446aa2b07c0b0bc158341b221deca644a2/Wasteland_34_DSC1185.JPG" data-mid="83732196" border="0" src="https://freight.cargo.site/w/1000/i/d05cc356dff1398774f05bb0f58aa4446aa2b07c0b0bc158341b221deca644a2/Wasteland_34_DSC1185.JPG" /><img width="4000" height="2667" width_o="4000" height_o="2667" data-src="https://freight.cargo.site/t/original/i/4d986fb7860d85fb7824d7c54a115d69f29f6ce008eb3aa18c0c76e4b1d3e92b/Wasteland_37_DSC1207.JPG" data-mid="83732227" border="0" src="https://freight.cargo.site/w/1000/i/4d986fb7860d85fb7824d7c54a115d69f29f6ce008eb3aa18c0c76e4b1d3e92b/Wasteland_37_DSC1207.JPG" /><img width="4000" height="2667" width_o="4000" height_o="2667" data-src="https://freight.cargo.site/t/original/i/46373a6c974dc9304b0eca532203c961471943f6e44f3bcebcb5a5c159b4a7df/Wasteland_38_DSC1230.JPG" data-mid="83732333" border="0" src="https://freight.cargo.site/w/1000/i/46373a6c974dc9304b0eca532203c961471943f6e44f3bcebcb5a5c159b4a7df/Wasteland_38_DSC1230.JPG" /> <img width="2247" height="2996" width_o="2247" height_o="2996" data-src="https://freight.cargo.site/t/original/i/5fc4a188a6d8ab5f864da9a962f37fd97352b9d72a137e7f561e7f2ea55516de/plakat_lecture.jpg" data-mid="83153494" border="0" src="https://freight.cargo.site/w/1000/i/5fc4a188a6d8ab5f864da9a962f37fd97352b9d72a137e7f561e7f2ea55516de/plakat_lecture.jpg" /> https://wasteland.earth/Pixel-Muster Tue, 28 Jul 2020 11:48:42 +0000 wasteland https://wasteland.earth/Pixel-Muster https://wasteland.earth/Secondary-Page Mon, 27 Jul 2020 20:07:14 +0000 wasteland https://wasteland.earth/Secondary-Page "God, yes," Noah said. "They've taken over big chunks of the Sahara, the Atacama, the Kalahari, the Mojave, and just about every other hot, dry wasteland they could find. As far as territory goes, they've taken almost nothing that we need.Octavia E. Butler