Tobias Kaspar and Gabriyel Bat-Erdene
Photo: Nick-Ash-Berlin-2017
Tobias Kaspar (b. 1984) has been exhibiting internationally in galleries, institutions and museums since 2009. Kaspar's practice is characterized by an examination of the conditions of exhibiting, presenting and representing artistic production. Who represents what? What role attributions are assigned to the artistic position? What economic processes does it undergo? How are artists turned into brands based on identity, individuality and biography? And how is value constituted? Tobias lives in Zurich and Mesocco, as well as Riga. In 2022, Tobias Kaspar realized the solo exhibition ‘The Cherry Orchard’ at MAMCO Geneva and the exhibitions ‘Personal Shopper’ at Galerie Peter Kilchmann in Zurich and Galerie FOUNDRY in Seoul. Tobias is a founding member of the publication series and the ‘trans-European lifestyle brand’ PROVENCE.
Photo: Regula Bearth
Gabriyel Bat-Erdene, *1987 in Ulaanbaatar, is a multidisciplinary visual artist who lives and works in Zurich. She studied for a 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 artist on her own projects. She works with various mediums such as painting, video, ready-made installations, 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.
