#: locale=fr ## E-Learning ### Question Screen quizQuestion_515157AE_66AA_9CBA_41D5_364BBC4FF7C9.ok = OK ### Report Screen quizScore_515977AE_66AA_9CBA_41D3_8FDCB929EBD5.title = - SCORE - quizScore_515977AE_66AA_9CBA_41D3_8FDCB929EBD5.completion = Completed quizScore_515977AE_66AA_9CBA_41D3_8FDCB929EBD5.questionsCorrect = Correct quizScore_515977AE_66AA_9CBA_41D3_8FDCB929EBD5.downloadCSV = Download .csv quizScore_515977AE_66AA_9CBA_41D3_8FDCB929EBD5.questionsIncorrect = Incorrect quizScore_515977AE_66AA_9CBA_41D3_8FDCB929EBD5.items = Items Found quizScore_515977AE_66AA_9CBA_41D3_8FDCB929EBD5.questions = Questions quizScore_515977AE_66AA_9CBA_41D3_8FDCB929EBD5.repeat = Repeat quizScore_515977AE_66AA_9CBA_41D3_8FDCB929EBD5.submitToLMS = Submit quizScore_515977AE_66AA_9CBA_41D3_8FDCB929EBD5.elapsedTime = Time ### Score Name score1.label = Score 1 ### Timeout Screen quizTimeout_515257AD_66AA_9CBE_41D1_31A36FC7332D.title = - TIMEOUT - quizTimeout_515257AD_66AA_9CBE_41D1_31A36FC7332D.repeat = Repeat quizTimeout_515257AD_66AA_9CBE_41D1_31A36FC7332D.score = View Score ## Hotspot ### Text HotspotPanoramaOverlayTextImage_18BDB558_2ABC_4355_41B1_8372C075F2AB.text = Antoine Félix Bürcher \ LEAKS HotspotPanoramaOverlayTextImage_2E846CD6_0C02_D642_414A_EB874930C24C.text = BIFACE I \ Jan Steenman HotspotPanoramaOverlayTextImage_FAF74638_E6C4_40D5_41EA_F4C78229E9F0.text = BODIES OF WATER \ Lea Sblandano HotspotPanoramaOverlayTextImage_7D2131FD_57DB_8D16_41AC_4CBC3892CDAE.text = BODIES OF WATER \ Lea Sblandano HotspotPanoramaOverlayTextImage_1572CB66_488F_D987_41B5_9B409E004146.text = COAST TO SOURCE \ Ricardo Meli HotspotPanoramaOverlayTextImage_2BB0F9F2_3FC4_4355_41AE_FD21654821BF.text = CONCAVA ROAD \ Nacoca Ko HotspotPanoramaOverlayTextImage_2A235565_1AFD_C37F_4189_BF5F7425B1CA.text = Hugo Langlade \ OCTO HotspotPanoramaOverlayTextImage_2890CD8A_1AFC_43B5_418A_A07C8DD8AB6E.text = Jan Steenman \ BIFACE I HotspotPanoramaOverlayTextImage_2FA74538_2EE6_7276_418E_6F552376D012.text = LEAKS \ Antoine Félix Bürcher HotspotPanoramaOverlayTextImage_CB991E1B_E9FC_40CB_41E5_10BE0414F418.text = Lea Sblandano \ BODIES OF WATER HotspotPanoramaOverlayTextImage_18B17049_2944_C0B7_41B2_F91ECD361363.text = Nacoca Ko \ CONCAVA ROAD HotspotPanoramaOverlayTextImage_49D72B29_4BB7_798D_41CC_03588BB18F27.text = OCTO \ Hugo Langlade HotspotPanoramaOverlayTextImage_18B83DA3_2944_43FB_41B6_15F4AF3857AD.text = Paul Fritz \ WATER MARKS HotspotPanoramaOverlayTextImage_2C55535B_1230_39A2_41B9_B4D940CF103D.text = Paulo Wirz \ TERRENO MENTAL HotspotPanoramaOverlayTextImage_2502EB5E_3F4D_C74D_4167_AACF360A0978.text = RIVER ORACLE HotspotPanoramaOverlayTextImage_27F4952E_66CC_40CD_41C0_A1B1E72D5D92.text = Ricardo Meli \ COAST TO SOURCE HotspotPanoramaOverlayTextImage_29F5A329_1AC5_C0F7_4178_9B3C765AEBEB.text = River Oracle HotspotPanoramaOverlayTextImage_25715561_3F44_4377_419F_B9A4A542A4AC.text = TERRENO MENTAL \ Paulo Wirz HotspotPanoramaOverlayTextImage_202B4DF5_3230_2866_41B1_8774FB3E0A36.text = WATER MARKS \ Paul Fritz HotspotPanoramaOverlayTextImage_19B7A1A8_0C3F_CECE_4182_EC532EC3957A.text = crop HotspotPanoramaOverlayTextImage_19DEF57B_0C02_3641_41A5_16FA49AD894C.text = measure HotspotPanoramaOverlayTextImage_19D6961A_0C02_35C2_417E_953C5E46DF9F.text = process HotspotPanoramaOverlayTextImage_13CFF47B_2EAA_12EA_41C0_56BB83433BAE.text = spinning in \ fluid dreams HotspotPanoramaOverlayTextImage_13D44512_2EA9_F23A_41BD_1983C67D974E.text = spinning in \ fluid dreams HotspotPanoramaOverlayTextImage_15EDCEB4_2EAA_0E7E_41A0_FDD5F686BD7A.text = spinning in \ fluid dreams HotspotPanoramaOverlayTextImage_15E7FC3F_2EAA_326A_41A8_6C5AEBAAB949.text = spinning in \ fluid dreams HotspotPanoramaOverlayTextImage_13BEF332_2EAA_367A_41C4_1BA17B5C7F75.text = spinning in \ fluid dreams HotspotPanoramaOverlayTextImage_ED52AA3A_1230_6BE2_41A7_4BEA0D9F2044.text = spinning in \ fluid dreams HotspotPanoramaOverlayTextImage_61A2837A_2EBE_36EA_41B7_08F50FEAE344.text = spinning in \ fluid dreams HotspotPanoramaOverlayTextImage_19F44960_0C02_3E7E_4174_17482EA153DC.text = transform ## Media ### Audio audiores_1DCC921F_3B9F_1A65_4190_8322E8AB86A9.mp3Url = media/audio_1DCC1220_3B9F_1A5B_41C2_9A4B38246487_fr.mp3 audiores_1DCC921F_3B9F_1A65_4190_8322E8AB86A9.mp3Url = media/audio_1DCC1220_3B9F_1A5B_41C2_9A4B38246487_fr.mp3 audiores_1DCC921F_3B9F_1A65_4190_8322E8AB86A9.mp3Url = media/audio_1DCC1220_3B9F_1A5B_41C2_9A4B38246487_fr.mp3 audiores_1DCC921F_3B9F_1A65_4190_8322E8AB86A9.mp3Url = media/audio_1DCC1220_3B9F_1A5B_41C2_9A4B38246487_fr.mp3 audiores_1DCC921F_3B9F_1A65_4190_8322E8AB86A9.mp3Url = media/audio_1DCC1220_3B9F_1A5B_41C2_9A4B38246487_fr.mp3 audiores_1DCC921F_3B9F_1A65_4190_8322E8AB86A9.mp3Url = media/audio_1DCC1220_3B9F_1A5B_41C2_9A4B38246487_fr.mp3 audiores_1DCC921F_3B9F_1A65_4190_8322E8AB86A9.mp3Url = media/audio_1DCC1220_3B9F_1A5B_41C2_9A4B38246487_fr.mp3 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Antoine Félix Bürcher
Leaks
Near electrical installations, the sound of sailing electricity is pervasive. The bzz sounds like insects, a hive of noises nestling energy for potential future movements of matter. Replacing the force of walking bodies with the touchscreen through which water leaks. On the cute hill of green land near the power plant, a small glass sculpture, like a compass, a turbine, a circular movement on which we move and encounter changing times, fossils of local plants and a sea urchin. The glass for the sculpture comes from various glass electrical insulators collected by the artist, destroyed and melted together. In-between the buzzes, glitches of errant sound data flows in the landscape as we navigate and approach the grid where a cloth is hung, mixing different grids, straight and metallic, fluid and textile. The work of Bürcher’s reminds us of a plural time and is an exploration of a post-digital world in which the images of our screens haunt the earth; an archaeology of traces where different temporalities and multiple narratives merge.
Leaks, 2055, found melted glass, 25x25x10cm, fossils Sound: Antoine Félix Bürcher
htmlText_E5302992_8D7B_EFBF_41DF_0A75047251C9.html =
Antoine Félix Bürcher
Leaks
Near electrical installations, the sound of sailing electricity is pervasive. The bzz sounds like insects, a hive of noises nestling energy for potential future movements of matter. Replacing the force of walking bodies with the touchscreen through which water leaks. On the cute hill of green land near the power plant, a small glass sculpture, like a compass, a turbine, a circular movement on which we move and encounter changing times, fossils of local plants and a sea urchin. The glass for the sculpture comes from various glass electrical insulators collected by the artist, destroyed and melted together. In-between the buzzes, glitches of errant sound data flows in the landscape as we navigate and approach the grid where a cloth is hung, mixing different grids, straight and metallic, fluid and textile. The work of Bürcher’s reminds us of a plural time and is an exploration of a post-digital world in which the images of our screens haunt the earth; an archaeology of traces where different temporalities and multiple narratives merge.
Antoine Félix Bürcher is an artist based in Zürich (CH). His work is conceptual, focusing on sculpture, memory and form through a pluridisciplinary practice. His research generates fictional worlds and initiates a reflection on time and a ‘non-linear’ aesthetic, in which the conception of our current reality, and in particular its durability and ephemeral nature, inevitably, take centre stage. Bürcher’s glass sculptures reveal unexplored landscapes in which figurative relics are entangled in an anachronistic vision between future, past and present. In the molecular sense, the vitreous state is a particular state of matter, neither solid nor liquid, an in-between. Glass is collected by the artist in a multiplicity of places and contexts and then fused into moulds. The result is a transfer of materials, forms and a multitude of contained histories.
2055, found melted glass, 25x25x10cm, fossils Sound: Antoine Félix Bürcher
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Hugo Langlade
Octo
The shape of this metal base encouraged me to choose this structure as the carrier of my sculpture. The association of metal and water refers to the industrial and aquatic side of hydroelectric stations. Having a practice that focuses on the living, here I draw a parallel between the turbines and the tentacles which are both designed to capture and efficiently use energy. Turbines are able to convert the kinetic energy of water into electrical energy, while tentacles capture prey for energy. Referring to the delicate flowing lines of the tentacles to suggest the shape of the stronger turbines helps to illustrate the intriguing process of energy transformation. The sculpture is a 3D print to give an industrial touch to the aquatic shapes of the tentacles and represent propellers. It starts at the fountain and moves around the site until the bridge.
Hugo Langlade is an artist based in Geneva (CH). He discovered the digital world and its creative possibilities during a stay in Tokyo. On his return to France, he initiated himself into the production of computer-generated images, sound environments and 3D sculptures to create virtual spaces inhabited by a dreamlike and soaring atmosphere. Inspired by reality, his speculative environments offer him the possibility to develop a narrative around his memories, his relationship to technology and the future of progress.
2023, 3D print
htmlText_20B42708_8DBD_64AB_41B2_E48E767D28A4.html =
Hugo Langlade
Octo
The shape of this metal base encouraged me to choose this structure as the carrier of my sculpture. The association of metal and water refers to the industrial and aquatic side of hydroelectric stations.
Having a practice that focuses on the living, here I draw a parallel between the turbines and the tentacles which are both designed to capture and efficiently use energy. Turbines are able to convert the kinetic energy of water into electrical energy, while tentacles capture prey for energy. Referring to the delicate flowing lines of the tentacles to suggest the shape of the stronger turbines helps to illustrate the intriguing process of energy transformation.
The sculpture is a 3D print to give an industrial touch to the aquatic shapes of the tentacles and represent propellers. It starts at the fountain and moves around the site until the bridge.
Octo, 2023, 3D print
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Jan Steenman
BIFACE I
The sculpture “BIFACE I,” inspired by Janus, the Roman god of beginnings and endings, invites contemplation of the duality inherent in human existence. Through the representation of two faces, each turning towards the past and the future, this work offers a philosophical exploration of the nature of time, the complexity of choices, and the perpetual state of transition, all materialized through the medium of clay.
Similarly, a hydrostatic turbine harnesses the relentless force of water, converting potential energy into kinetic energy, a process that underscores the transformation of natural elements into mechanical energy. In this context, “BIFACE I” can be perceived as a metaphor for the human creative act, where the artist leverages their innate creative potential to shape matter and give birth to a work of art.
At the heart of this creation, the duality of Janus’s faces encourages us to explore our own inner dualities, to reflect on how the past and the future intersect in the present moment, and to contemplate the concept of perpetual transition. Just as a hydrostatic turbine transforms water into energy, “BIFACE I” transmutes these abstract concepts into tangible artistic reflection, embodying an exploration of the human condition.
BIFACE I, 2023, Stoneware (ceramic) and Celadon Green Glaze; Metal Framework; Chamotte Clay, Fiberglass, Red Pigment and Ecoline Ink; epoxy resin. Dimensions: 75 x 70 x 40 cm. Sound: Lucas Wirz
htmlText_B3E18567_8CC6_A765_41E0_C93F27D452AC.html =
Jan Steenman
BIFACE I
The sculpture “BIFACE I,” inspired by Janus, the Roman god of beginnings and endings, invites contemplation of the duality inherent in human existence. Through the representation of two faces, each turning towards the past and the future, this work offers a philosophical exploration of the nature of time, the complexity of choices, and the perpetual state of transition, all materialized through the medium of clay.
Similarly, a hydrostatic turbine harnesses the relentless force of water, converting potential energy into kinetic energy, a process that underscores the transformation of natural elements into mechanical energy. In this context, “BIFACE I” can be perceived as a metaphor for the human creative act, where the artist leverages their innate creative potential to shape matter and give birth to a work of art.
At the heart of this creation, the duality of Janus’s faces encourages us to explore our own inner dualities, to reflect on how the past and the future intersect in the present moment, and to contemplate the concept of perpetual transition. Just as a hydrostatic turbine transforms water into energy, “BIFACE I” transmutes these abstract concepts into tangible artistic reflection, embodying an exploration of the human condition.
Jan Steenman is a Swiss artist born in Geneva. In 2018, he obtained his Bachelor’s degree at the Royal Academy of Arts in La Haie (KABK). He recently completed a master’s degree in visual arts at the Haute Ecole d’Art et de Design de Genève (HEAD). His work offers the public a surreal possibility to experience with the naked eye a hypothetical interpretation of their internal composition, such as a colossal DNA structure floating above the ground or a monumental bacterium extending upwards toward the ceiling. Jan Steenman has developed a unique sculpting technique that combines different sets of skills and materials, allowing him to create complex forms with an organic aesthetic, and he is inspired by Hellenistic sculptures and performative actions such as the art of endurance.
2023. Stoneware (ceramic) and Celadon Green Glaze; Metal Framework; Chamotte Clay, Fiberglass, Red Pigment and Ecoline Ink; epoxy resin. Dimensions: 75 x 70 x 40 cm. Sound: Lucas Wirz
Acquisition by the Ariana Museum, Geneva: May 2023
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Lea Sblandano
Bodies of Water
Unlike a traditional fountain with a bottom receptacle, water is directed onto the ground, completing its natural cycle.
In a speculative vision, how could we infuse artificial physical or digital bodies with the magical water flow that grants us life? Entering the impossible bodies of digital avatars with a virtual camera, I captured images of these typically concealed empty spaces. What occurs when cutting into a virtual character? A strange, glitchy, inverted texture is revealed, almost transcendental, an immersion in a deep macro space voyeurism. Searching for something recognizable in a body- water, bones, muscles, organs, we are confronted with an underwhelming, soulless cavity.
These bodies are inverted upon the fountain, directly exposed to the landscape and external environment, awaiting rainwater to pour in and bestow them with life. Flowing over them, water fills these bodies with what they lack, ceaselessly nurturing them. This performance remains in an unceasing state of motion, embracing the cycle of transformation like a hydroelectric turbine.
Bodies of Water, 2023, Translucent Plexiglass, Aluminium. 2x2x1.5 m Sound: Nacoca Ko
htmlText_A078FC5E_8CC6_A4A7_41D8_9E25DCF44FF2.html =
Lea Sblandano
Bodies of Water
Unlike a traditional fountain with a bottom receptacle, water is directed onto the ground, completing its natural cycle.
In a speculative vision, how could we infuse artificial physical or digital bodies with the magical water flow that grants us life? Entering the impossible bodies of digital avatars with a virtual camera, I captured images of these typically concealed empty spaces. What occurs when cutting into a virtual character? A strange, glitchy, inverted texture is revealed, almost transcendental, an immersion in a deep macro space voyeurism. Searching for something recognizable in a body- water, bones, muscles, organs, we are confronted with an underwhelming, soulless cavity.
These bodies are inverted upon the fountain, directly exposed to the landscape and external environment, awaiting rainwater to pour in and bestow them with life. Flowing over them, water fills these bodies with what they lack, ceaselessly nurturing them. This performance remains in an unceasing state of motion, embracing the cycle of transformation like a hydroelectric turbine.
Lea Sblandano, a Swiss artist from Lausanne, explores the impact of technology on her generation through a diverse mix of media, focusing on virtual reproduction and human-machine interactions to construct innovative visual narratives that bridge digital and tangible realms.
2023. Translucent Plexiglass, Aluminium. 2x2x1.5 m Sound: Nacoca Ko
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Nacoca Ko
Concava Road
One late night when the street was quiet I went out with my little grocery cart and picked up the heavy rocks piled up from construction workers. The road is sculpture for them, they dig it up, hide tubes inside, close it up, cut it up again.
Technofossils remain- cement, stones, and tar creating a hyper object, a contemporary talisman. By adding plexiglas, acrylic paint, concrete, and resin, they become precious futuristic geodes, and the last materials to decompose in the post-anthropocene.
I go down to the river.
Rusted turbines have stopped turning since a century, but the seasons shed over them in constant motion. Nature reappropriates the terraformed land and artificial waterfalls.
New turbines spin a vortex quietly under the water while energy transforms from mind to water to electricity and back around again into the mind. I am looking for a calm place within the centre of this spiral.
In a pause between traumas I carry my rocks down to this river. I space out the black geodes along the shore, in a circle, in the water, surrounded by the noise of rushing white static, and children’s voices in the trees. These sounds are met in my head by the music of other healing rituals.
Concava Road, 2023. Bitumen rocks, plexiglas, acrylic paint, resin. Dimensions variable. Sound: Nacoca Ko
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Nacoca Ko
Concava Road
One late night when the street was quiet I went out with my little grocery cart and picked up the heavy rocks piled up from construction workers. The road is sculpture for them, they dig it up, hide tubes inside, close it up, cut it up again.
Technofossils remain- cement, stones, and tar creating a hyper object, a contemporary talisman. By adding plexiglas, acrylic paint, concrete, and resin, they become precious futuristic geodes, and the last materials to decompose in the post-anthropocene.
I go down to the river.
Rusted turbines have stopped turning since a century, but the seasons shed over them in constant motion. Nature reappropriates the terraformed land and artificial waterfalls.
New turbines spin a vortex quietly under the water while energy transforms from mind to water to electricity and back around again into the mind. I am looking for a calm place within the centre of this spiral.
In a pause between traumas I carry my rocks down to this river. I space out the black geodes along the shore, in a circle, in the water, surrounded by the noise of rushing white static, and children’s voices in the trees. These sounds are met in my head by the music of other healing rituals.
Nacoca Ko is an artist and curator based in Geneva, Switzerland. She works with physical material such as plastics and concrete, generative AI, digital image, and video, as well as virtual and augmented reality. Her work leads us to reflect on how recent technology impacts our psyche, as she explores the collective consciousness, moving between raw matter and virtual worlds, positioning human beings as a pivotal link between nature and technology.
Nacoca Ko has exhibited at Espace L and Andata/Ritorno galleries in Geneva, at Dock-Basel in Basel, and Espace Arlaud, Lausanne, Switzerland; UltraSuperNew Gallery in Tokyo, Japan; the New Currents Festival in Santa Fe, NM, USA; CADAF in Paris, France, Mock Jungle in Bologna, Italy; and with Offsite Project in London, along with international exhibitions in the metaverse.
2023. Bitumen rocks, plexiglas, acrylic paint, resin. Dimensions variable. Sound: Nacoca Ko
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Paul Fritz
Water Marks
'Water Marks' transports viewers into a village water quality control center, revealing a space that, despite its importance in the inhabitants' daily life appears eerily abandoned.
The panoramic views are disrupted by numerous post-it notes arranged in a sort of digital watermark pattern, covered with insignificant debris - the kind that accumulates at the bottom of one’s pocket - meanwhile, a potpourri of sound recordings from various context plays in the background.
'Water Marks' highlights the often unseen and overlooked part of the system of the everyday.
Water Marks, 2024, collection of sounds
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Paul Fritz
Water Marks
Water Marks transports viewers into a village water quality control center through three 360-degree panoramic views, revealing a space that, despite its importance in the inhabitants' daily life appears eerily abandoned.
The panoramic views are disrupted by numerous post-it notes arranged in a sort of digital watermark pattern, covered with insignificant debris - the kind that accumulates at the bottom of one’s pocket - meanwhile, a potpourri of sound recordings from various context plays in the background.
Water Marks highlights the often unseen and overlooked part of the systems of the everyday.
Paul Fritz is a pluridisciplinary artist and video artist. He works and lives in Lausanne (CH). Through his
work, he seeks to go beyond the questioning of the veracity of images. Film, photography, drawing, CGI, etc.
Paul Fritz uses without classification a plurality of mediums as simple storytelling tools.
2024, collection of sounds
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Paulo Wirz
Terreno Mental
Composed of three different interconnected interventions, Terreno Mental, reflects the current state of my research, influenced by texts dealing with onirism and the oniric world, the relationship between material and immaterial, as well as questioning how faith and technology will jointly evolve.
Material and immaterial are both wor(l)ds very present in the core of my research and practice. Throughout the past year, I have been reflecting on the human connection and exchange within the material world, and how objects that we have created throughout our history, have been mediating knowledge and permeating our collective imaginary. Parallel realities, past lives, the after-life, as well as issues related to visibility, invisibility, possession, and preservation are also topics that nourish my production.
This project took place inside my studio, rumored to have once been part of a hydroelectric plant, and outside my studio- including a found space by the river shaped by a weir. The collaboration allowed me to transform my physical work into data, bringing a new perspective on how I perceive my practice, and inspiring new possible ways of working.
Paulo Wirz (1990* Pindamonhangaba, Brazil) lives and work in Zürich. Wirz obtained a BA in photography from the art school of Zürich and an MA in fine arts from the art school of Geneva. In 2019 he was awarded with the Prix New Heads and in 2021 with the Swiss Art Awards. From September 2023 until June 2024, he will be enrolled as an early-career fellow at the Collegium Helveticum/ETH, in Zürich, working on his first film project.
2023. Variable dimensions and materials. Sound: Lucas Wirz
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Paulo Wirz
Terreno Mental
Composed of three different interconnected interventions, Terreno Mental, reflects the current state of my research, influenced by texts dealing with onirism and the oniric world, the relationship between material and immaterial, as well as questioning how faith and technology will jointly evolve.
Material and immaterial are both wor(l)ds very present in the core of my research and practice. Throughout the past year, I have been reflecting on the human connection and exchange within the material world, and how objects that we have created throughout our history, have been mediating knowledge and permeating our collective imaginary. Parallel realities, past lives, the after-life, as well as issues related to visibility, invisibility, possession, and preservation are also topics that nourish my production.
This project took place inside my studio, rumored to have once been part of a hydroelectric plant, and outside my studio- including a found space by the river shaped by a weir. The collaboration allowed me to transform my physical work into data, bringing a new perspective on how I perceive my practice, and inspiring new possible ways of working.
Terreno Mental, 2023, Variable dimensions and materials. Sound: Lucas Wirz
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Ricardo Meli
Coast to Source
The forces gather at the reservoir like buds that prepare themselves, building up pressure until they open.
The sculptural work of Meli is a glimpse into the future, a scaffolding that could not withstand its own weight, a moment for reflection where communities have turned away from the dominant society and its system. These communities live autonomously but do not shut themselves off from so called modern technology. They have their own aesthetics and continued to develop technologies of their own.
The work is intended to reflect on autonomy and possible alternatives to singular energy politics also, should it raise awareness of the potential of our natural surrounding and its design.
Coast to Source, 2024, metal and plaster, variable dimensions
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Ricardo Meli
Coast to the Source
The forces gather at the reservoir like buds that prepare themselves, building up pressure until they open.
The sculptural work of Meli is a glimpse into the future, a scaffolding that could not withstand its own weight, a moment for reflection where communities have turned away from the dominant society and its system. These communities live autonomously but do not shut themselves off from so called modern technology. They have their own aesthetics and continued to develop technologies of their own.
The work is intended to reflect on autonomy and possible alternatives to singular energy politics also, should it raise awareness on the potential of our natural surrounding and its design.
Ricardo Meli is an artist based in Zurich (CH). His practice is mainly sculptural, driven by an interested in conventions of design and the way in which materials are used and standardized.
As a learned mechanical designer, industrial processing methods take a central role in his work. He is inspired by the evolution of science fiction. Seeing science fiction not merely as an anticipation, rather than a catalyst for a dialoge between science, and imagination.
His sculptures and installations reflect the aesthetics of a post-industrial and increasingly digitalized society, thus his work incapsulates the collective consciousness within the dimensions of our time and space.
2024, metal and plaster, variable dimensions
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Spinning in Fluid Dreams
hydroelectric transmutations in the Swiss landscape
River Oracle, Lea Sblandano, Nacoca Ko, Paulo Wirz, Ricardo Meli, Paul Fritz, Antoine Félix Bürcher, Hugo Langlade, Jan Steenman
This project, initiated in 2022, brings together Swiss artists and curators who are interested in sculpting tangible objects as well as using new art forms such as worlding and gaming to bridge the fluidity of our analog and digital reality.
The site-specific works were installed near hydroelectric power stations or infrastructures that regulate and facilitate movement of water and electricity of the artists’ choosing. They were then captured through 360° imaging and 3D digital scanning. The map at the introduction is based on a data-generated hydrology system of Switzerland. Much like the water system of this map, the curators and artists were able, through digital networking, to plan and produce these works in a virtual community throughout Switzerland.
Through these interventions, energy is transformed, from the interaction with the older turbine technology, through human questioning about the fluidity of our dreamlike realities, to newer technologies, and the resources from nature that our energy requires.
Switzerland, characterized by its Alpine topography, boasts an abundance of lakes, rivers and streams, all connecting different regions and cultures. The flow of water and its veins is often controlled, stopped, put to the benefit of the organization of human life that has formed around this resource by dams. The site of these man-made reservoirs was chosen as the starting point for an in-situ artistic exploration of the imaginary worlds conveyed by hydroelectric installations.
The hydroelectric process— a turbine’s revolving cascade, ensuing electrical generation, and a resultant propeller of power in all aspects of our human lives— conveys not merely a mechanical transformation but an alchemical transmutation of the elements. Evocative of the Fibonacci sequence and its Golden Ratio, as mirrored in natural phenomena ranging from mollusk shells to galaxies, the turbine’s spiral choreographs water into an energy conduit. What was considered a symbol of non-permanence in the ancient philosophy of Heraclitus is engineered into a structured symphony.
The sculptures in “Spinning in fluid dreams” act as semiotic talismans, focal points that draw awareness to the ceaseless electro-metamorphic interplay between the tangible and the virtual, or what one might term “digital reliquaries”—entities that oscillate, submerge, exhale, and fluctuate akin to a river’s course within the metaphysical turbine’s spiral.
Water, much like the digital screens that refract our waking realities, serves as a malleable tableau, perpetually in flux, both liquid and evolving. Metaphorically and chemically, water is the origin of our evolution, it crosses bodies and environments, it defies binaries between culture and nature.
As Astrida Neimanis points out, bodies of water are interpermeating in a world where porosity and fluidity prevail. As “bodies of water”, reflecting on our interconnectedness with this matter is a political and ethical act. Within dams, this water is temporarily sequestered, only to be eventually freed, in a cycle that feeds our digital architectures, including this exhibition.
Through anthropogenic interventions in the landscapes, the artists engage in a dynamic interplay, meditating upon the interrelations of materiality, fluidity, and the fertile imaginaries engendered by these spaces.
The artistic worlds of “Spinning in fluid dreams” each confront in their own way the knowledge that water carries, its memory, the meanings hidden in the matter that makes up hydroelectric environments, and the energy transformations they embody.
How does one bear witness to the ontological shifts between the circulation of pixelated images, permutations of energy, and corporeal matter? Between pixelated imagery and the tangible lies a fine boundary, one that oscillates through human intervention, between the awe-inspiring grandeur of nature and the minutiae of digital constructs.
Along this liminal skin in a state of osmosis, we begin to shift our reference point at the nexus of these hydro-empowered realms.
The project is currently on show at artgenève with the gallery ‘Espace L’.
Curation: Nacoca Ko, Antoine Félix Bürcher, Monica Unser
Design: Antoine Félix Bürcher, Nacoca Ko, Lea Sblandano
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River Oracle - Paloma Ayala, Melody Chuan, Anne-Laure Franchette, Riikka Tauriainen and Kay Zhang
River Oracle
The River Oracle is a cyanotype series printed in the Rhine river basin, in which diverse narratives of care in rural land, riverine ecology and industry are told through a feminist speculative approach. It is intended as a situational tool for self-reflection as well as for raising awareness of ecological and political issues.
In “Spinning in fluid dreams,” the cyanotype fabric bodies take place back in the aquatic environment in which their colours and forms appeared, whether in the water of the river following the turbine spiral, or on the hydroelectric architecture itself. The environmental installation merges with the water in which it was created; it is there without visible human presence, as if carried by the current. The River Oracle evolves as a process of asking questions to the river and wondering what it can tell us.
This gesture is meant to emphasise the importance and necessity of changing our anthropocentric way of thinking in order to develop different relationships with planetary beings. In her essay “Hydrofeminism: Or, On Becoming a Body of Water” (2012), Astrida Neimanis encourages us to think of embodiment as watery in order to blur Western categories of thought. Water passes in and through bodies, human and non-human, connecting all scales of life, even the imperceptible: “To drink a glass of water is to ingest the ghosts of bodies that haunt that water.” The fabric bodies are imbued with stories; in a world where the anthropocentric hierarchy is temporarily suspended, we are invited to listen to what the ghosts of this place have to tell us.
The River Oracle is a collaborative project envisioned by Paloma Ayala, Melody Chuan, Anne-Laure Franchette, Riikka Tauriainen und Kay Zhang as an artistic-feminist research and tool to develop methods around practices for working with oracles and to speculate on what kind of meaning a shift in antropocentric thinking can have. It unfolds in different forms: a cyanotype series, oracle cards, a sound installation and a website: http://riikkatauriainen.net/river_oracle/index.html (not for mobile devices). It was part of group exhibitions at RADIUS - Center for Contemporary Art and Ecology «Underland Chapter 1 EMOTIONS ARE OCEANS» in Delft, The Netherlands and «Protozone 7 – Zones of Kinship, Love, & Playbour» at the Shedhalle in Zürich.
2023. Variable dimensions and materials.
Sound: River Oracle
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River Oracle - Paloma Ayala, Melody Chuan, Anne-Laure Franchette, Riikka Tauriainen and Kay Zhang
River Oracle
The River Oracle is a cyanotype series printed in the Rhine river basin, in which diverse narratives of care in rural land, riverine ecology and industry are told through a feminist speculative approach. It is intended as a situational tool for self-reflection as well as for raising awareness of ecological and political issues.
In “Spinning in fluid dreams”, the cyanotype fabric bodies take place back in the aquatic environment in which their colours and forms appeared, whether in the water of the river following the turbine spiral, or on the hydroelectric architecture itself. The environmental installation merges with the water in which it was created; it is there without visible human presence, as if carried by the current. The River Oracle evolves as a process of asking questions to the river and wondering what it can tell us.
This gesture is meant to emphasise the importance and necessity of changing our anthropocentric way of thinking in order to develop different relationships with planetary beings. In her essay “Hydrofeminism: Or, On Becoming a Body of Water” (2012), Astrida Neimanis encourages us to think of embodiment as watery in order to blur Western categories of thought. Water passes in and through bodies, human and non-human, connecting all scales of life, even the imperceptible: “To drink a glass of water is to ingest the ghosts of bodies that haunt that water.” The fabric bodies are imbued with stories; in a world where the anthropocentric hierarchy is temporarily suspended, we are invited to listen to what the ghosts of this place have to tell us.
River Oracle, 2023. Variable dimensions and materials.
Sound: River Oracle
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