Una Szeemann, Secrets of Things, 2018. Detail
Una Szeemann, Secrets of Things
2018. Wild boar skin, stones, size variable
Bohdan Stehlik, Cloud Chamber, 2018
Bohdan Stehlik, Cloud Chamber
2018. Glass, felt, isopropyl alcohol, dry ice, light source
Every place has its invisible counterpart.
Where nobody has been, but everybody saw their version.
A room of intersections, where walls or air are alike, and drifted thoughts leave the body in order to build its chamber.
Ghost trespass matter and matter become ghosts.
Stone and people, the substance of a place through collective circumstances, somewhere between skin and locus, an invisible room full of dreamers.
Una Szeemann / Bohdan Stehlik, Differences on a shared pillow
2018. Performance-lecture
Is there an eternal golden braid (Hofstadter, 1979), interweaving Gödel's incompleteness theorems (1931) and Weiner's answer to an elderly lady's question about the nature of art: Art is, because there always has to be an unanswered question (2007)? We don't know, and at least half of us don't care. It may be related, but was for citing only. We won't talk about that, at least not intentionally. What we will talk about, are our respective views on art, the void, and what ensues.
Bios
Una Szeemann’s installations follow material traces and transferences of invisible phenomena. An approach and exploration through the possibilities of parallel thinking and an investigation between the complex relationship of reality and illusion. In addition to her artistic practice, she is involved in curatorial projects and publications. She gives lectures, seminars and is guest professor in various art academies in Switzerland and abroad. Since 2006 she collaborates regularly with Bohdan Stehlik.
Solo shows include: In, um es herum und unterhalb Kunsthalle Winterthur; Dann Immer Erst, Immer Erst Dann. Museo Cantonale Lugano; Assumption over Matter Townhouse Zurich; Montewood Hollyverità Alexandre Pollazzon Gallery, London; Kodama Gallery Tokyo; Haswellediger & Co. Gallery, New York.
Group shows include: What people do for Money Manifesta 11, Zurich; Sviluppo - parallelo Kunstmuseum Luzern; The Day will come when Photography revises Kunstverein Hamburg; Utopie Gesamtkunstwerk 21er Haus, Belvedere Vienna; EXPosition of mythology - ELectronic technology Nam June Paik Art Center Korea; Vilnius is Blurring Fondazione Sandretto Re Rebaudengo, Torino; Contour: Biennial for Video Art, Decoder Mechelen; 00s-The history of a decade that has not yet been named Lyon Biennial; Hamsterwheel Venice Biennale.
Bohdan Stehlik’s work, is it, is he? Oh yes, thank you for asking, I’m doing well, and my work is coming along quite nicely. It’s just that it takes some time to figure out if it all makes sense. You see, I’m only interested in what I consider to be fundamental matters, and, well, you understand. Since 2006 I’m collaborating regularly with Una Szeemann.
Solo shows include: Affaires de scène Zentrum Varese; Dann immer erst, immer erst dann Museo Cantonale Lugano; Assumption over Matter Townhouse Zurich; White Nights, Dark Dreams CAC Centro d’arte contemporanea Bellinzona; Les fantômes Centre pour l’image contemporaine Geneva.
Group shows include: Sviluppo – parallelo Kunstmuseum Luzern; The Day will come when Photography revises Kunstverein Hamburg; Vilnius is Blurring Fondazione Sandretto Re Rebaudengo, Torino; Contour: Biennial for Video Art, Decoder Mechelen; 00s-The history of a decade that has not yet been named Lyon Biennial.