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

Asya Marakulina graduated in Computer Graphics from in Perm, Russi. 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.





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.

Robert Butler – HOCUS FOCUS


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.

Reagenz – Grenze des Systems – Dialog No. 4

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

Pamela Breda – Light Magic


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).