installations-selection-en

stöckerselig ®
Installations
2004 - 2017 (Selection)

Code
stöckerselig
«Code»
Maseinmountaincollege, Masein, 2017
Carpet with embossed code
800 cm x 120 cm
«Teppiche»
FABRIKculture, Huningue (FR), 2016
Teppiche mit eingestanzter Schrift
1200 cm x 400 cm
Courtesy widmertheodoridis

stöckerselig
«Code»
Arbeitsprozess, 2017
The red carpet, which is the basis of the work «Code», has
a long history. It was used for performances, dance theater
and staged interviews by Philippe Olza (CH) and traveled
the world with the actor, dancer and choreographer.
Philippe Olza gave stöckerselig the relic for further artistic
processing.
«Code»
Maseinmountaincollege, Masein, 2017
Carpet with embossed code
800 cm x 120 cm

Code
2017
«Code»
Studio Basel, 2017
Wood varnished 2x 800 cm x 100 cm

stöckerselig
...if there was a minefield and I could hear the sea far away...
«Carpets
Kunstraum, Dornbirn (AU), 2018
Carpets with embossed writing
1200 cm x 400 cm

if there was a minefield here
Installationen
The work ...if there was a minefield and I could hear the sea far away... takes
us on a mental journey.
The place where we find ourselves becomes an unsafe territory. The gaze is
directed into the distance, the sound of the sea is audible. This can be connected
in our memory with a romantic rapture, but conditions change and the
sea also loses its innocence.
«Carpets»
FABRIKculture, Huningue (FR), 2016
Carpets with embossed writing
1200 cm x 400 cm

«Carpets»
Kunstraum, Dornbirn (AU), 2018
Carpets with embossed writing
1200 cm x 400 cm
stöckerselig

«360 Grad»
Das Esszimmer, Raum für Kunst, Bonn (DE), 2014
2-channel video installation
600 x 600 cm
2014

360 Grad
Installationen
In the video installation 360 degrees, different time levels shift on top of each
other and rewrite history. The attack dog held on a leash at a demonstration in
Paris and the circling rocky landscape captured as if by a sensor have nothing
to do with each other at first glance. Two moments hold hands, seemingly contradictory
and contradictory things are complicitly connected.
360 degrees
Das Esszimmer, Raum für Kunst + , Bonn (DE), 2014
2-channel video installation
600 x 600 cm

Installationen révolte
2007
In the work cycle «traverser Paris», stöckerselig explore urban
space for forgotten places, everyday situations and unnoticed
moments. Based on the observation of a city like Paris, which
is characterized by its urbanistic complexity and the meeting of
different social realities, a dense audiovisual archive has been
created.
After the installation «place d'aligre», which shows life and activity
like a seismograph in the square of the same name near
the Bastille, «révolte» loses itself in the context of a city characterized
by rebellion and protest. Politically, the individual is
insignificant, but he gains strength when masses come together
and in this way counter the power of a political elite with arguments.
This is an exciting moment in which bourgeois disobedience
takes shape in the form of demonstrations as a peaceful
means of exerting pressure, often culminating in violence on the
fringes. Using various visual and acoustic media, stöckerselig
has brought a piece of this urban life to Kunsthalle Basel.
«révolte»
Kunsthalle Basel, 2007
wood, digital printing on photo paper,
glass, wallpaper, glass, wooden frames,
chalk drawings, LED ball
ca. 10 x 10 m

évolte 2007
«révolte»
Kunsthalle Basel, Regionale, 2007
Digital prints on photo paper, glass
120 x 150 cm

Installationen 2007
évaluer une société qui au lieu de protéger ses enfant se protège de ses enfants
«révolte»
Kunsthalle Basel, Regionale, 2007
Digital prints on photo paper, glass
120 x 150 cm

place d'aligre 2004
stöckerselig
«place d'aligre»
Kunsthalle Basel, Regionale, 2004
Wood, digital printing on photo paper
and on aluminum, glass, wooden
frames, monitors, projection on plastic
sheeting, ca. 5 x 5 m

good news bad news
stöckerselig
The good news first: stöckerselig are everywhere; the bad news: stöckerselig
are invisible! Cleverly, stöckerselig slip into an omnipotent role and sneak into
all kinds of news like a virus. Those who think that a scapegoat has finally been
found for all the wealth and misery in the world are proven wrong. stöckerselig's
role play is perfectly staged. They are catapulted by leaps and bounds into a
sequence of permanent events. Like two heroes from an adventure novel, they
traverse time and space at the speed of light and are everywhere and nowhere.
Two opposing channels are used in the process. One fixed location is the exhibition
space of the Kunsthalle Palazzo, which functions as a satellite terminal.
The other channel is inserted into the public space of Basel's urban space.
The role of the mobile word carrier is taken over by Urs Marti, who incorporates
stöckerselig's news and reads it out according to the principle of pleasure
and coincidence and mixes it with his own messages. The oral channel works
according to the principle of chance and with surprise effects. The two artists
research beyond the exhibition context by taking up unusual, uncontrollable
situations in their environment. In this case, they investigate the modalities of
the traditional use of language, from which they extract the audible and visible
aspects of language. In this way, the stories receive new content and a new truth
content. stöckerselig confront the viewer and listener with the out-of-control flow
of information and use their open ear for headlines. The multiplication of news
has as a consequence a diffuse and incomplete reception by the addressee.
The voyeuristic tendency is exposed by the artists' astute and socially critical
view. The fact that stöckerselig is "involved" in the news by name deliberately
causes unrest and leads to the actual news collapse.
The provocation lies in the fact that the artists, as the thread of the experiment,
remain physically hidden from the viewer. Only their "label" is in the foreground.
Thus they become a constructed and fictitious product of the media. We,
however, remain in the dark: what or who is behind it, and where in the world
are stuck? Helen Hirsch (shortened text)
Clip
«good news ─ bad news»
Collection Kunstmuseum
des Kanton Thurgau
Digitalprint, 100 x 70 cm

Installationen
stöckerselig
«good news ─ bad news»
Collection Kunstmuseum
des Kanton Thurgau
Digitalprint, 70 x 70 cm