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.

Grenze des Systems
Dialog No. 4

30. Juni – 12. August



Ilya Fedotov-Fedorov was born in 1988. He currently lives and works in Moscow. Ilya Fedotov-Fedorov studied genetics (bioengineering), philology and art in Moscow. 

The main motif of Fedotov-Fedorov’s art is the use of natural scientific knowledge. The artist adopts its main characteristics: the depiction of biological processes and forms from the cell to the habitat, linguistic features and ways of presenting knowledge (formulas, drawings, and so on), methodological principles and types of representation (entomological collections, card catalogues). With their help, he reveals the subjective nature of the acquisition of knowledge and its dependence on individual experience. He shows that we perceive and describe the surrounding world in accordance with the language we use.


Julia Joswig is a biologist and geographer by training and now working at the Max Planck Institute for Biogeochemistry in Jena, Germany in the field of functional ecology. More specifically she touches on the characteristics of global plant form and function.

The aim of her recent study was to quantify environmental drivers’ influence on global plant function. This simplification of plant- environment interaction will hopefully ameliorate global vegetation – atmosphere models but might also allow predictions about plant function with global change.


“We are presenting our idea of how nature regains ground on the man-made land of plastic, which floats with the size of a country in the Pacific, the so-called “Great Pacific Garbage Patch”.

In our discussions we brought together the fascination about form and function of plants and shaped it into a positive vision about the future. We imagined how natural processes might lead to the evolution of plants, that digest the unwanted and deadly remains of humans: Plastic”.

More details on


11. Juni – 29. Juni 2018

Präsentation einer Videoarbeit & Artist’s Talk
25. Juni ab 19.00 Uhr


The video explores the laboratories and archives of Swiss Cinematheque “Lichtspiel”. A silent observers looks at details of machines and images from the history of cinema.
The titles echoes the original german expression used to describe cinema, a fascinating illusion created by light and movements. The images are accompanied by abstract from Deleuze “L’image mouvement”.


Artist and Researcher. Lives and Works in London.
She took part at residency programs in Italy, Spain, Switzerland, Scotland, Estonia,
among the others at Atelier, Fondazione Bevilacqua la Masa (2014, Venice, IT), Dolomiti Contemporanee – Terraformazione 2015(IT)
VIR, ViaFarini in Residence 2016 (Milano, IT)
and in 2014 Atelier, Fondazione Bevilacqua la Masa (Venice, IT),- 2014 Internationale Sommerakademie fur Blidende Kunst
(Austria), Artist Resiency TartuAir (EE) financed by Moving’Up funding scheme, Hospitalfields Contemporary Art Center (Scotland, UK),
Fondation Botin (Santander, Spain)

Her work has been exhibited in international venues in Venice, London, Madrid, Moscow, Trondheim,
Santander, Salzburg, in institutions such as Karlsruhe Kunsthalle, Fondation Francois Schneider, Fondation
Botin, Fondation Bevilacqua La Masa, Fondation Francesco Fabbri, Venice Architecture Biennale
and Moscow Biennale for Young Art. Her research to date mainly focuses on cultural visual
tropes and traditions, on the contingency of the artistic process and its multiple outcomes, exploring
themes such as the appropriation of artworks and the delegation of authorship, the impact of digital
imagery on our way of seeing and making images, the evocation of an absent or dematerialised
body, the concepts of duration and dormancy, memetics and the generative processes of memory
(as personal and collective history).


“The brain, as an object, has been elevated to the pinnacle of investigation and production in science and art, respectively.
An aura of omnipotent explanatory momentum seems to be surrounding this organ fostering its solid status as THE object of awwq at the center of attention in science, society and the arts – the last frontier and the final code to crack.

Starting from a confrontational premise, artist and scientist soon overthrew the limiting dichotomies and embraced a systemic perspective of the embedded organ fusing a range of views from the traditional Yellow Emperor’s philosophy to modern neuroscientific insights of the bi-directional brain-gut axis.
the brain-object is examined from different angles probing its real works, status and potency.

The object cult is revised while the culture producing brain-object is contemplating itself through self-reflection: brain signals are derived, relayed, mapped to the senses – experiences are petrified, quests documented and epistemic moments sparked”.


A sense of the enchanting absurdity of human nature runs throughout Yutie Lee’s practice. Whether it takes the form of delighting in the apparent incommensurability of cultural rituals or mirth at the various levels of miscommunication engendered in cosmopolitan exchanges, Lee’s combination of tightly-scripted and open-ended elements within all her works evokes a form of modern-day commedia dell’arte.
2015 Diplom, Meisterschülerin of Olaf Nicolai an der Akademie der Bildenden Künste München
Upcoming solo show in Kunstverein Göttingen /DE (03.08 – 16.09.2018)
Yutie Lee lives and works in Munich and Taipei


studied neuropsychology, linguistics and neuroinformatics and is currently working in auditory neuroscience on the topic of tinnitus. On the side, he is loosely affiliated with the computer music institute in Zurich performing transdisciplinary research. Besides his main research foci, his interests are in cultural and biological evolution, psychology and digital sound design. Furthermore, he considers himself a pre-digital native, an early crypto-anarchist and cyberpunk promoting open data science as well as individual freedom of expression.

Grenze des Systems
Dialog No.2


28. Februar – 15. April 2018 (verlängert)


Originally an architect based in Bern and Athens, working mainly with installation and land art and drawing. She focuses on atmospheric, spatial, multi-sensory experiences that refer to questions of perception and control, also in a political and philosophical context.

Her research concerns “coming together” art-oriented activities in socio-political contexts. Since 2016 she is an artistic director of Greveniti Residency, an artist residency on the greek mountains that offers space for exchange, interaction, sharing between art related practitioners and thinkers.


Political scientist (PhD) based in Moscow. Senior Researcher at the Center of Scientific Information Studies on Global and Regional Issues, Institute of Scientific Information on Social Sciences (INION), Russian Academy of Sciences. Senior Lecturer, Department of Culture of Peace and Democracy. Russian State University for the Humanitarians (RSUH), Moscow.

Scientific interest: political parties, political regimes: democracy – dictatorships, democratic transit, tolerance and human rights, European security system, international crisis. At the moment (2017-2019) scholarship holder of Russian Foundation for Basic Research with a research project «Heterotopy: The Civilization Context». INION RAS. Recent publication to the topic:
– Kutyrev G.I. New Social Movements and Political parties in Portugal through the Prism of Heterotopy concept // Urgent Problems of Europe. – 2018. – No. 2 (in the press)
– Kutyrev G.I. The Concept of Heterotopy and Modern forms of Media in Portugal // Time of Big Changes: Politics and Politics. Russian Association of Political Science – M.: RUDN University, 2017. P. 216-217.

performanceABEND #vier
– remember, remember the end of december

21. Dezember 2017, ab 19.00 Uhr

Ein performativer Jahresabschluss mit Kurzbeiträgen von Matteo Petruzzi, Ernestyna Orlowska, Nadja Geisser & Lea Gasser, Annick Bosson & Klarissa Flückiger, Marc Norbert Hörler.

Kuratiert von Anne Bossok und Michael Sutter

Grenze des Systems

La propagande par le fait:
Mikhail Bakunin in 2017


Gespräch im Schaufenster
30. November – 4. Dezember

4. Dezember – 20. Dezember 2017

Der Philosoph Mikhail Kurtov und der Künstler und Dichter Pavel Arsenev sind eingeladen um sich mit dem Thema “Grenze des Systems” auseinander zu setzen. Nach einer gemeinsamen Überlegung haben sich die Beteiligten einen Unterbereich des Themas ausgesucht. Zum Abschluss des “Revolutionsjahres” werden sich unsere Gäste aus St. Petersburg an den, in Bern beerdigten, russischen Anarchist Bakunin erinnern und von ihm entwickelten Begriff “Real deeds” und damit verbundenen “Propaganda der Tat” reflektieren. Diskussion wird die geografische, zeitliche und politische Grenze überschreiten und sammelt uns zusammen auf einem Tee in der “Metakitchen” des Kunstraumes… Es handelt sich um eine Kommunikation oder noch genauer eine “Metakommunikation”…
Mehr können wir Euch nicht verraten, da wir weder Ablauf noch Ergebnis des Gesprächs kennen und sind gleichermassen gespannt auf die Präsentation.


Künstler, Dichter und Gründer des unabhängigen Buchverlags “Translit” in St. Petersburg. Arsenev arbeitet mit grafischen Aspekten und Materialisierung des Textes, beteiligte sich an zahlreichen internationalen Ausstellungen, unter anderen an der Manifesta 10, Büro für kulturelle Übersetzungen (Leipzig) und “Disobidient objects” (Victoria and Albert Museum). Einige seiner Publikationen sind zu finden im New Literary Observer, the Moscow Art Magazine, Political Critique und in der Zeitschrift des Künstlerkollektivs Chto Delat. Arsenev ist Gewinner des Andrei Bely Prize (2012) und war ein Research Fellow am Comparative Epistemology Research Center for Linguistics of Central and Eastern Europe an der Lausanne Universität, Schweiz.


Philosoph und Medientheoretiker, Associate Professor am Metarussian Institute of Technotheology, Ph.D. in Philosophie (2011), Autor von “Between Boredom and Daydream. The Analytics of the Cinematic Experience” (2012) und “The Genesis of Graphical User Interface. Towards the Theology of Code” (2014). Kurtov erstellte die erste Übersetzung von Arbeiten Gilbert Simondon’s ins Russische.

Ilya Fedotov-Fedorov

27. Oktober – 29. November 2017
Finissage (Datum geändert)
29. November, ab 18.00 Uhr

Ilya Fedotov-Fedorov (1988) aus Moskau ist der aktuelle Gastkünstler in der Residenz im PROGR – Seine “Nonatu”-Recherche hat in der Volga Region Russlands den Anfang genommen und wird nun in Bern fortgeführt. Das Projekt wird aktuell an der 7. Moskauer Biennale präsentiert. Wir freuen uns sehr, “Nonatu” jetzt auch im Kunstraum Dreiviertel vorstellen zu können. Ebenfalls zu sehen gibt es Ilya’s Arbeiten aus seiner Serie “Objects in the corner” (Позиции в углу).

Im langfristigen Projekt “Nonatu” untersucht Fedotov-Fedorov die Beziehung zwischen Menschen mit verschiedenem kulturellen Hintergrund und die sie umgebende Natur. Dieser Prozess folgt dem Muster einer archäologischen Recherche und basiert auf Fundobjekten wie Gegenstände aus Lehm oder Keramik, Baumwurzeln, Steinen, kultivierten Blumen sowie verlassenen oder weggeworfenen Pflanzen. Der Künstler spricht sich los von Allgemeinwissen indem er die gefundenen Artefakte anhand alternativer Methoden analysiert und damit seine eigene Menschengeschichte erzählt.