This makes me want to predict the past


kuratiert von KATJA KOBOLT

Vernissage & Dialog-Gespraäch
Katja Kobolt und Iris Špringer

27. Juli, 20.00 Uhr

27. Juli – 8. August 2019

Cana Bilir-Meier zeigt den Film “This makes me want to predict the past” im Kunstraum Dreiviertel parallel zu ihrer Ausstellung im Rahmen von Ars Viva 2019 im Kunstmuseum Bern, wo weitere Teile ihrer Arbeiten zu sehen sind.

Am 27. Juli um 20.00 Uhr im Kunstraum Dreiviertel findet ein Dialog-Talk zwischen der Kuratorin Katja Kobolt und der Bildungsaktivistin Iris Špringer, beide aus München, über den Film von Cana Bilir-Meier statt.

Mit der Frage „Wie lässt sich verkörpertes (historisches) Wissen in Kunst und Bildungsaktivismus vermitteln“ werden Katja Kobolt und Iris Špringer in einem Gespräch aber auch im aktiven Dialog mit dem Publikum die antirassistischen Methoden ihrer jeweiligen Praxen zusammenbringen.

Der Film “This makes me want to predict the past” (“Das bringt mich dazu, die Vergangenheit vorhersagen zu wollen”) der Filmemacherin Cana Bilir-Meier bildet ein Teil einer umfangreicheren Arbeit, die sich den Fragen der Erinnerung an den rassistisch motivierten Anschlag im Olympia Einkaufszentrum in München, im Jahr 2016 widmet. Beim Anschlag kamen neun vor allem junge Menschen ums Leben und fünf weitere wurden durch Schüsse verletzt. Sämtliche Opfer hatten interkulturelle Erfahrung und damit auch interkulturelles Wissen.


artist talk

23. July, 20.00 h

We are glad to invite you for the artist talk with Asya Marakulina, artist-in-residence at, PROGR_Zentrum für Kulturproduktion
Asya Marakulina from St.Petersburg, Russia, is a winner of the Young Artist Prize by Credit Suisse in frame of the Moscow art fair COSMOSCOW.
After one month of her residence at the cultural center PROGR, Asya will speak about her projects and impressions of her experience in Switzerland in form of an artist talk at the art space Dreiviertel.

The event is taking place in a collaboration with the


In 2006 graduated from a Professional College #1 in Perm with a diploma in Computer Graphics. Since 2008 has been living and working in St. Petersburg, Russia. In 2015 graduated from the Faculty of Arts at Saint Petersburg State University, majoring in Production and Design of Animated Films and from «The School for Young Artist», PRO ARTE Foundation for Culture and Arts, Saint Petersburg, Russia. Participated in group exhibitions in Saint Petersburg, Moscow, Perm, Helsinki, New York, Kaliningrad. Participant of the artists group «North-7» in 2014-2015. The recipient of Garage’s (Garage Museum of Contemporary Art, Moscow) program in support of emerging Russian artists 2015-2016. The winner of the Credit Suisse Cosmoscow Prize for Young Artist (Cosmoscow International Contemporary Art Fair, 2018)



curated by 
Tonči Kranjčević Batalić

Vernissage1. June, 19.00
Exhibition1. – 7. June 2019

Interaktive Videoausstellung “Processes” mit der kroatischen Künstlerin Tanja Minarik, kuratiert vom Künstler und Kurator Tonči Kranjčević Batalić aus Split. Die Ausstellung findet statt im Rahmen eines Ausstausches mit der Queer-Kunstplattform QueerANarchive aus Split in Zusammenarbeit mit dem Athens Museum of Queer Arts und ŠKUC, Ljubljana.

Tanja Minarik (b. 1983) holds a MA in New Media Arts in Zagreb and BSc in Film and Video in Split. She deals with various aspects of video art and design – installations, audio/visual performances, VJ-ing, editing and interactive installations. She exhibited and presented films on a series of group exhibitions and festivals. With queer feminist a/v band Žen she has performed everywhere.

“We had the same starting point. We were born in the same geographic location. Several countries later, we have different passports. Without additional governmental approvals, I can visit 143 countries; for her there are 155. Simultaneously, the processes we are going through while searching for a country where we could live together are not clear”

This is one of the opening segments the author uses to indicate the geopolitical and biopolitical context from which the work Processes originates. Tanja Minarik views politics from a personal and intimate position of a person who is looking for a place, a country, where she could coexist with her partner . From a technical point of view, the multi-channel video installation Processes is the work in which the notions of private and public are intertwined. It is introduced by the author through a text logbook that fragmentally follows and questions the processes that transform and determine the life experience of this same sex couple. The diary records track the video clips of cities through which, the author explains, one could contemplate relationships via nodes, empty spaces and interspaces. Through a display of cities without identity and history, the work Processes becomes the couple’s search for a personal anthropological place.

Complex songs

Eine musikalische Performance
9. Juni, 19.00 Uhr

Musikalische Performance von der ägyptischen Künstlerin Sara Hamdy aus Kairo. Die Veranstaltung ist eine Kooperation mit, PROGR. Nach dreimonatigem Residenz-Aufenthalt präsentiert die Gastkünstlerin einen Teil ihres Multimediaprojekts “Margins of the Madness” in Form einer Performance.

Sara Hamdy is a visual artist living and working in Cairo-Egypt, graduated from faculty of fine arts oil painting department 2009, currently guest artists at the, PROGR. The residency of Sara Hamdy is organized and sponsored by Swiss Arts Council Pro Helvetia Cairo.
Hamdy had a special interest in sound as a subject and a medium; In her practice she connects her whole cognition through visual art and sound, searching for the lines between opposition, madness and the limitations of languages.


curated by Adán Vallecillo
in collaboration with Honduras Forum Schweiz

13. – 19. Juni 2019

Guided tour with the curator
18. Juni, 18.00

“Persecuted journalists – press freedom in Honduras”, moderated discussion
18. Juni 19.00

Finissage and the clothing party
19. Juni from 19.00



Vernissage: 2. April ab 19.00
Ausstellung: 2. – 22. April

“A Lovers’ Bath”

Finissage: 23. April ab 19.30
Performance: 23. April um 20.30

„— There is a tendency I have, I want to please you. In fact, I oscillate quite often between my own pleasure and yours. I wonder: How to negotiate boundaries and politics i overstep in this delicate relation created through my own pleasure and desire.“

In her drawing series please the performing artist Natascha Moschini investigates concepts of pleasure and pleasing within her own bodily practice. She develops figures that explore expectations, social tenseness and gaze regimes. They play with ambiguities that are inherent in the word please and trace internalized violence throughout the relationship towards their own body.


“Brennpunkte und Ordnungen einer Erfahrung. Resultierende Programme: trennen, mischen, kleiden — erneut trennen. Mit sich, miteinander — in unregelmässigen Abständen. Befeuchten und trocknen — täglich.

A Lovers’ Bath ist der Versuch, auf eine körperliche Technik hin zu untersuchen, was es bedeutet, sich und anderen Lust und Leid zu bereiten. Natascha Moschini und Marie Popall greifen über somatische Verfahren auf private Erfahrungssequenzen zu und fragen: Was macht man mit sich? Wie macht man das mit sich? Und wie macht man es vor und mit dem anderen? Man stellt sich einander vor. Man badet in einem Teppich aus grauem Plastik. Man schaut sich dabei zu. In der Mitte der Bühne: ein weisser Kühlschrank. Man setzt und stellt sich neben ihn. Man steigt übereinander auf ihn. Druck von Körpergewicht. Faltung der schwarzen Jeans in der Hüftbeuge. Dazu ein Song und ein Tanz. Man singt mit: „Uh. You are so dirty. Uh…“ Moschini/Popall behaupten anhand einer Abhandlung über Körper in a Lovers` Bath eine sinnliche Technik und erkunden die Stimulation durch Routine.“


Cabinet de regard: MicroItalics

Vernissage 15. February, from 19.00h
Exhibition 15.  – 28. February


Microcollection Museum was founded in May 1990 by the Italian artist Elisa Bollazzi during her visit to the British Pavilion at the Venice Biennale.

Almost by chance Bollazzi picked up a few fragments that had accidentally fallen onto the floor from a work by Anish Kapoor. These “microparticles”, overlooked by everyone else, represented the intuition of a new form of creation. From then on the search was for new “micro-acquisitions”.

The collection nowadays counts hundreds art-particles that can be viewed under a microscope.

Since Microcollection Museum was opened, several artists and collectors have donated micro-fragments of contemporary artworks and actively contributed to the development of the Museum.

Works by artists like Joseph Beuys, Daniel Buren, Tony Cragg or Richard Long and major Italian artists like Alberto Burri, Piero Gilardi, Aldo Mondino, Giuseppe Penone, Giulio Paolini, and many others, are present in the collection.




Installation: 21 – 27. Januar
Performance: 21. Januar 19.00 Uhr



Curatorial talk and an infiltration of the platform blind_spot by Ivan Isaev

11 Januar from 19.00 h

We wish you a happy start in a new year and welcome you to slowly enter 2019! In a sleepy January hole (Januarloch) we are inviting you to the infiltration of a platform blind_spot initiated by Ivan Isaev, to speak about weakness, insomnia, fatigue and the use of faintness.


is a short term, soft and powerless institution that aims to develop the values of passivity, weakness, subtlety and deceleration through the means of contemporary art, cultural collectivism, mumblecore modality and alternative economical relations.


An independent curator (*1986) based in Moscow, currently curator-in-residency from Pro Helvetia at the Ausstellungsraum Klingental and Atelier Mondial, Basel.
Initiator of platform blind_spot.
Co-founder of «Triangle» curatorial studio (Moscow, 2014-2016).
Participant of Infra-Curatorial Platform in 11th Shanghai Biennale (2016).
Curator of project Start, Winzavod, season 2014-15, and “Leaving Tomorrow” exhibition (2015, Moscow). Member of ICI (Independent Curators International).

More on platform blind_spot:


Vernissage: 30 October, 19.00
Exhibition: 30 October – 1 December


The show is an outcome of the curious clash of two different artistic practices and approaches which found their common ground during a residency in Bern (

Ustina Yakovleva’s delicate semi-abstract graphics and fabric objects evoke an image of the pre-human organic world. This realm is crossing over into the post-human digital landscape created by German Lavrovksy. Pre and post merge at the meeting point of here and now.


“Large part of my practice is constituted by graphic works which consist of identical individual strokes which grow into abstract forms. It is a kind of automatic writing which binds the time into the material form. Works in other media have the similar principle – embroideries which evolve into forms often unpredictable for me, beads and thread sculptures reminding continents or icebergs, or possibly electronic circuits rooted in empty air. Some projects I develop are figurative and represent imagined or real landscapes, there various techniques allow to reveal the peculiarities and variativeness of the same landscape, depending on objective and subjective factors. I create works without sketches, as I am interested in self-forming composition as part of the creation process; drawing develops as a living organism, taking new forms throughout the work. Individual elements construct larger structures, like the atoms and cells construct the objects around us” (Ustina Yakovleva).


Artistic practices of German Lavrovsky refer to philosophical speculations that emerge as regard to boundaries of anthropocentric picture of the world. Gender, physicality, sexuality undergo repeated diffusion and reconstruction in ephemeral digital space of his works. Finding specific plasticity and non-permanence, the characters of German’s works reflect insights about possible models for new identities. Subjectivity is burst forth from an individual and is distributed between threads and connections, in which desires, machine codes, neural networks, body parts, polygons and algorithms, visual effects and fragments of human memory participate. An important conceptual element of German’s art is work with conception of surface. Every thing is a tool for broadcasting and transmitting data. The surface does not hide anything, but on the contrary – this is the place where interpenetrations and connections occur. A vivid example of such logic is the image of the body-screen, which is often found in the works of German.


An Adventure in the third Dimension


24. September – 5. Oktober 2018

24. September, ab 19.00 Uhr

Butler stammt ursprünglich aus Orange County in Los Angeles, ist Grafiker, Musiker und Siebdrucker. Er lebt seit 25 Jahren in Bern, arbeitet an unzähligen Musikprojekten, betreibt sein eigenes Siebdruckatelier und experimentiert fleissig mit allen möglichen Medien. Aktuell “spielt” er mit Techniken zur Erzeugung von 3D-Effekten und druckt seine Entwürfe sowohl auf Leinwand wie auch auf feste Gegenstände. Durch Drehung erzeugte Fokusverschiebungen schaffen eine Lebendigkeit wie sie Butler mit Vorliebe auch seiner Musik verleiht.


Erster Teil der Ausstellungs Trilogie Umwerfer I-III.
Skulpturen aus Fiberglas.


15. August – 16. September 2018

Remy Erismann is working with the topic of high-tech research and development within cutting-edge sports. His work is especially inspired by the reduced forms of the designs, the materials used, and the moment where performance and aesthetics come together. Such high-tech products are the starting point for his artistic work.

The core of his current studio work is the derivation of sculptures from a multi-step casting or mold making process, consisting of a positive, a negative and a final shape. He investigates all these states for their sculptural potential. Through a kind of reverse engineering, he appropriates the shapes, builds the selected objects by hand and counters the high-tech process with a low-tech one. The more definitive the process the more self-referential it becomes. Eventually the topic takes a back seat as the work becomes more formal and a new terminology comes into play. The function of the elements turns into a pseudo function and the individual objects are no longer readable as high-tech.