Tobias Kaspar e Gabriyel Bat-Erdene
Foto: Nick-Ash-Berlin-2017
Tobias Kaspar (*1984) espone dal 2009 a livello internazionale in gallerie, istituti e musei. Ciò che contraddistingue l’opera di Kaspar è il confronto con le condizioni generali dell’esposizione, della presentazione nonché della rappresentazione della produzione artistica. Chi rappresenta cosa? Quali attribuzioni di ruoli competono alla posizione artistica? A quali processi di sfruttamento economico è soggetta? In che modo artisti e artiste possono diventare un marchio sulla base dell’identità, dell’individualità e della biografia? E come si costituisce il valore? Tobias Kaspar vive a Zurigo e a Mesocco, nonché a Riga. Nel 2022 ha realizzato l’esposizione personale “The Cherry Orchard” al MAMCO di Ginevra, mentre alla Galerie Peter Kilchmann di Zurigo e alla Galleria FOUNDRY di Seoul ha presentato la mostra “Personal Shopper”. Tobias è membro fondatore della serie di pubblicazioni nonché “brand trans-europeo di lifestyle” 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.
Progetto
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.