Tobias Kaspar und Gabriyel Bat-Erdene
Foto: Nick-Ash-Berlin-2017
Tobias Kaspar (*1984) stellt seit 2009 international in Galerien, Institutionen und Museen aus. Kaspar’s Praxis zeichnet sich durch die Auseinandersetzung mit den Rahmenbedingungen des Ausstellens, der Präsentation sowie Repräsentation künstlerischer Produktion aus. Wer repräsentiert was? Welche Rollenzuschreibungen kommen der künstlerischen Position zu? Welchen ökonomischen Verwertungsprozessen unterliegt sie? Wie werden anhand von Identität, Individualität und Biographie Künstler:innen zur Marke geformt? Und worüber konstituiert sich Wert? Tobias lebt in Zurich und Mesocco, sowie Riga. 2022 realisierte Tobias Kaspar im MAMCO Geneva die Einzelausstellung “The Cherry Orchard” und in der Galerie Peter Kilchmann in Zürich sowie in der Galerie FOUNDRY in Seoul jeweils die Ausstellung “Personal Shopper”. Tobias is Gründungsmitglied von der Publikationsreihe und dem “trans-European Lifestyle Brand" PROVENCE.
Foto: Regula Bearth
Gabriyel Bat-Erdene, *1987 in Ulaanbaatar, is a mul:disciplinary visual ar:st, lives and works in Zurich. She studied Bachelor of fine arts at the Zurich University of the Arts, a Bachelor in art history at the University of Zurich, and a Master of Fine Arts at the Zurich University of the Arts. Since then she has worked as a freelance ar:st on her own projects. She works with various mediums such as pain:ng, video, ready-made installa:on, and sculpture. She expresses her main subject maMer, dark themes, through fashion elements. Her works are visually stylish and genuinely creepy.
Project
Installing and displaying works of art in space is art.
The risk of changing the original concept of the art when curators and institutions decided to stage the work. The modes of a display formed along curatorial and institutional decisions represent the primary communication tool of exhibitions, which shapes its perception profoundly. In accordance with the different techniques of display, visitors are addressed differently. The display then orients the visitor, builds, unfolds, masks relations, and articulates political statements alongside aesthetical ones. It reflects the accumulation of various political, economic, and aesthetic aspects and mirrors them even if unintentionally. Revealing the preconditions of producing and displaying art among the institutional frames of the art field, which were previously hidden from the eye of the public, the display became a focal point of critical engagement of artists and curators.
