En-tête

Tobias Kaspar et Gabriyel Bat-Erdene

tobiaskaspar

Photo: Nick-Ash--Berlin-2017

Tobias Kaspar (*1984) expose depuis 2009 dans des galeries, des institutions et des musées au niveau international. La pratique de Tobias Kaspar est marquée par la confrontation avec les conditions-cadres d’exposition ainsi que par la présentation et la représentation de la production artistique. Qui représente quoi? Quels rôles attribue-t-on au positionnement artistique? À quels processus de valorisation économique est-il soumis? Comment les artistes se transforment-ils en marque via leur identité, individualité et histoire? Et par quels moyens crée-t-on de la valeur? Tobias Kaspar vit à Zurich et à Mesocco ainsi qu’à Riga. En 2022, Tobias Kaspar a présenté son exposition «The Cherry Orchard» au MAMCO de Genève et son exposition «Personal Shopper» à la Galerie Peter Kilchmann à Zurich et à la Galerie FOUNDRY à Séoul. Tobias Kaspar est membre fondateur de la série de publications et de la «marque lifestyle transeuropéenne» PROVENCE.

Gabriyel Bat-Erdene

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.