A machine on a construction site in Amman (Jordan) becomes a dystopian symbol of unrestrained growth & human exploitation.

The first edition of the Biel/Bienne Video Festival will took place in the historic center of Biel. The works shown deal with transformation as a point of equilibrium between destructive and constructive forces. 

Apparently, certain people have the phenomenon that lint accumulates in the navel and forms little nests. Do you know this? It happens to Janosch Perler. He has collected and packed 150 of these lint balls for the edition Fàsting Plockare. The video for this was made in collaboration with Moritz Praxmarer.

Text by Chri Frautschi, Biel (Transated from German)

An experimental study in form of a visual mapping of the city. Digital Archive. 

With the help of a mobile scanner, a wide variety of surfaces are scanned. I would like to exploit the specific properties of scanning to see how this affect the way places are perceived. It might tell us other things about how we see the world than told by „usual“ photographic pictures… I see it as a visual archive of experimental examination of space.

Two neon tubes span luminous arcs between the parts of the building, held only by foam parts. A field of tension with the softness of foam and the hardness of the walls.During the day, the neon tubes appear in a diffuse pastel tone, when it darkens, an intense luminosity unfolds. The sculpture is reduced to two abstract lines of light and stands as an artistic gesture between the new and old buildings of the Kunsthaus Pasquart.

Text: Stefanie Gschwend, translated from german

A 24-minute cinematic tribute to the Chinese art of Tai-chi, or the "uninterrupted flow of life." The sequential images show the progression of an entire day from early morning to late evening, creating a continuous and observational flow of people, their routines, the architecture and the surrounding landscape. These moments are captured from a single location: a balcony on the 4th floor of a residential building in the center of Biel/Bienne.

Wide open sea. The camera pans down to a lonely beach. The waves come and go, drawing their lines in the sand. A person with a wooden stick appears and tries to give these movements an outline, to delimit them. A drawing emerges for a moment, only to be blurred again shortly afterwards. The Portuguese title “não dar em nada” means something like “lost in the sand” or “it's not going anywhere”.

A street from above can be seen. Cars whiz by. We listen to barely recognizable snippets of conversation between the drivers. Suddenly the camera moves slowly upwards, a complex street structure is visible. As the highways get bigger, the conversations get longer. At some point the image slowly tilts upwards and it becomes recognizable that we are in a metropolis, the city of Brasilia.The capital of Brazil, created by Oscar Neumayer on the drawing board, has a crazy as well as highly complex (street) structure, which is repeated in every single 24 quarters. Only the bird‘s eye view allows to understand how the streets are arranged and what kind of drawing quality they have.

Five artists are asked to make a seat for the art space Espace Libre. One of them is a cardboard box made of concrete. The laborious journey of the almost 100kg box from the studio to the exhibition space is captured on film and can be viewed through 360-degree glasses.

In processing the bitumen, the road builders follow a certain sequence of work steps and movements that, viewed in isolation, seem repetitive, like a ritual or prayer in which certain basic postures are repeatedly adopted. The artist sees the transformation of liquid into form in interaction with the cryptic movements of the workers as a formal reduction, whereby actions become gestures and image detail becomes drawing. This rhythm contrasts with the visual content of the second projection, in which Perler uses a drone to follow the color and shape of the bitumen drawings on the streets from a bird's eye view.

Text: Stefanie Gschwend, translated from german

A character stands for the time between before and after. The feigned movement suggests that a virtual world is being built or dismantled. The indefinite period of time offers space for thoughts and expectations.

The sign stands for something abstract, is at the same time an object in real space and connects reality and fiction, perception and imagination.

Every day from 8 to 9 p.m., the Lokal-Int is transformed into an acoustic membrane; sounds from the outside world are sent via radio to the outside pane of the restaurant. The work is part of a multi-part series titled "How to Dissapear."

More info here as PDF

An accident involving a lifting platform is reinterpreted as a Kunst am Bau, entitled “Sorry!”.

During a one-year stay in Jordan, I became interested in waste containers. Originally with the idea of making a film about the waste collectors in Amman in mind, everything turned out differently: after an initial test with the 3D Polycam software, I was fascinated by the resulting images - they became worlds of their own that you could immerse yourself in. And they perhaps say more about a society and its consumer behaviour than is apparent at first glance. 40 different scans could be viewed on this evening using a small controller.

Click here for an interactive example 

An experimental study in form of a visual mapping of the city. Digital Archive. 

With the help of a mobile scanner, a wide variety of surfaces are scanned. I would like to exploit the specific properties of scanning to see how this affect the way places are perceived. It might tell us other things about how we see the world than told by „usual“ photographic pictures… I see it as a visual archive of experimental examination of space.

Apparently, certain people have the phenomenon that lint accumulates in the navel and forms little nests. Do you know this? It happens to Janosch Perler. He has collected and packed 150 of these lint balls for the edition Fàsting Plockare. The video for this was made in collaboration with Moritz Praxmarer.

Text by Chri Frautschi, Biel (Transated from German)

Two neon tubes span luminous arcs between the parts of the building, held only by foam parts. A field of tension with the softness of foam and the hardness of the walls.During the day, the neon tubes appear in a diffuse pastel tone, when it darkens, an intense luminosity unfolds. The sculpture is reduced to two abstract lines of light and stands as an artistic gesture between the new and old buildings of the Kunsthaus Pasquart.

Text: Stefanie Gschwend, translated from german

A street from above can be seen. Cars whiz by. We listen to barely recognizable snippets of conversation between the drivers. Suddenly the camera moves slowly upwards, a complex street structure is visible. As the highways get bigger, the conversations get longer. At some point the image slowly tilts upwards and it becomes recognizable that we are in a metropolis, the city of Brasilia.The capital of Brazil, created by Oscar Neumayer on the drawing board, has a crazy as well as highly complex (street) structure, which is repeated in every single 24 quarters. Only the bird‘s eye view allows to understand how the streets are arranged and what kind of drawing quality they have.

Five artists are asked to make a seat for the art space Espace Libre. One of them is a cardboard box made of concrete. The laborious journey of the almost 100kg box from the studio to the exhibition space is captured on film and can be viewed through 360-degree glasses.

A character stands for the time between before and after. The feigned movement suggests that a virtual world is being built or dismantled. The indefinite period of time offers space for thoughts and expectations.

The sign stands for something abstract, is at the same time an object in real space and connects reality and fiction, perception and imagination.

Every day from 8 to 9 p.m., the Lokal-Int is transformed into an acoustic membrane; sounds from the outside world are sent via radio to the outside pane of the restaurant. The work is part of a multi-part series titled "How to Dissapear."

More info here as PDF

A 24-minute cinematic tribute to the Chinese art of Tai-chi, or the "uninterrupted flow of life." The sequential images show the progression of an entire day from early morning to late evening, creating a continuous and observational flow of people, their routines, the architecture and the surrounding landscape. These moments are captured from a single location: a balcony on the 4th floor of a residential building in the center of Biel/Bienne.

In processing the bitumen, the road builders follow a certain sequence of work steps and movements that, viewed in isolation, seem repetitive, like a ritual or prayer in which certain basic postures are repeatedly adopted. The artist sees the transformation of liquid into form in interaction with the cryptic movements of the workers as a formal reduction, whereby actions become gestures and image detail becomes drawing. This rhythm contrasts with the visual content of the second projection, in which Perler uses a drone to follow the color and shape of the bitumen drawings on the streets from a bird's eye view.

Text: Stefanie Gschwend, translated from german

An accident involving a lifting platform is reinterpreted as a Kunst am Bau, entitled “Sorry!”.