Ten years ago, as an assistant to an art collective, I was involved for the first time in the creation of an exhibition. My job was to coordinate the selection of artists for an event in the Sao Paulo Biennale's off-program. Having no prior reference point, I opted for a collaborative mode of working, asking the artists how their practice could enter into dialogue with the exhibition concept. Since then, using the conversational form as a curatorial structure has become my personal methodology. Wishing to expand my knowledge after this first Brazilian experience, I completed a Master's degree at the Academy of Fine Arts in Vienna.

Ten years ago, as an assistant to an art collective, I was involved for the first time in the creation of an exhibition. My job was to coordinate the selection of artists for an event in the Sao Paulo Biennale's off-program. Having no prior reference point, I opted for a collaborative mode of working, asking the artists how their practice could enter into dialogue with the exhibition concept. Since then, using the conversational form as a curatorial structure has become my personal methodology. Wishing to expand my knowledge after this first Brazilian experience, I completed a Master's degree at the Academy of Fine Arts in Vienna.

Artists: Abdul Sharif Baruwa, Cana Bilir-Meier, Juliana Borinski, Guillermo Gómez-Peña & Balitronica Gómez (La Pocha Nostra), Verena Melgarejo Weinandt, Stephanie Misa, Érika Ordosgoitti / Curating: Gudrun Igenthron (Catalina Ravessoud, Maria Elena Rodriguez)

Field Within, s'interroge sur les dynamiques d'inclusion et d'exclusion et sur les politiques de marginalité. Pour ce faire, elle présente des œuvres d'artistes qui traitent des thèmes de l'altérité, de l'engagement et de l'autoreprésentation. Les œuvres d'art, en se référant -directement ou indirectement- aux méthodes employées en anthropologie ou en ethnographie, traitent d'une certaine forme de "scientificité" véhiculée par ces disciplines. Par un regard sceptique, Field Within aborde le paradigme de l'anthropologue dans les arts.

Field Within, inquires the dynamics of inclusion and exclusion, and politics of marginality. It does so by presenting works of artists dealing with the topics of alterity, engagement, and self-representation. The artworks, by referring -directly or indirectly- to the methods employed in anthropology, or ethnography, deal with a certain kind of “scientificity” carried by these disciplines. Through a sceptical look, Field Within addresses the paradigm of the anthropologist in the arts.

Artists: Hong Zeiss, Michael Kral / Curating: Gudrun Igenthron (Catalina Ravessoud, Ana de Almeida)

Virtual Virtue est une exposition sur la peinture. La peinture au-delà de la peinture, la peinture en tant que matière elle-même, en tant que médium qui détermine les moyens de sa propre transcendance. L'exposition est conçue comme une installation à grande échelle. Ici, le vrai et le faux se côtoient: une colonne factice, à la fois support et oeuvre vient ponctuer l’espace. Autour, les accords picturaux idiosyncrasiques de Hong Zeiss et Michael Kral se trouvent déconstruits puis ré-agencés.

Virtual Virtue is an exhibition about painting. Painting beyond painting, painting as a material itself, as a medium that determines the means of its own transcendence. The exhibition is conceived as a large-scale installation. Here, the real and the fake are side by side: a fake column, both support and work, punctuates the space. Around it, the idiosyncratic pictorial arrangements of Hong Zeiss and Michael Kral are deconstructed and then rearranged.

Artists: Andreas Hochuli, Yota Ioannidou, Nuno da Luz, Sandra Monterroso, Berenice Olmedo, Alicja Rogalska / Curating: Gudrun Igenthron (Catalina Ravessoud, Ana de Almeida, Maria Elena Rodriguez)

No need for references, exposition dont le titre n’est ni une thèse, ni une instruction, a souhaité interroger les liens entre production artistique et production de connaissances. En thématisant la pratique de la recherche, ce projet intervient dans le débat omniprésent autour du concept d’« artistic research ». Conçue comme une plateforme proposant trois perspectives curatoriales, No need for references convie les œuvres de six artistes et met en dialogue les relations que chacun d’entre eux entretient avec la recherche en art.

No need for references, an exhibition whose title is neither a thesis nor an instruction, questions the links between artistic production and knowledge production. By thematizing the practice of research, this project intervenes in the omnipresent debate around the concept of "artistic research". Conceived as a platform proposing three curatorial perspectives, No need for references invites the works of six artists and puts into dialogue the relations that each of them has with art research.

Festival with Cinenova : Karolin Meunier, Charlotte Procter, Kerstin Schroedinger, and other members of Cinenova Working Group

Invitée par la Kunsthalle Exnergasse, Cinenova a proposé le festival Select and Dispossess. Enracinée dans les milieux féministes des années 80, Cinenova est une association qui archive, distribue et restaure des films et vidéos féministes de 1920 à nos jours. Intéressé par la production de récits alternatifs et par la notion très subjective d'objectivité, le festival a remis en question les schémas dans lesquels tous les récits sont intégrés. Pour ce faire, des intervenants ont été invités à animer un programme auquel j'ai participé.

Invited by the Kunsthalle Exnergasse, Cinenova proposed the Select and Dispossess festival. Rooted in feminist circles of the 80s, Cinenova is an association that archives, distributes and restores feminist films and videos from 1920 till nowadays. Interested in the production of alternative narrative and the very subjective notion of objectivity, the festival questioned the schemas in which all narratives are embedded. To achieve this, speakers were invited to animate a program in which I participated.