A MESSAGE FROM FUZI:
In the last two months, FUZI has traveled to New York, Los Angeles, Taiwan and Paris,
where he has tattooed Diplo, Kavinsky and Os Gemeos, among others.
On Saturday, November 9th, FUZI UVTPK will be tattooing in Bern.
You can choose from one of FUZI’s flash tattoos at the appointment, which are now
conveniently scanned and available to view on an iPad.
Or you can request a custom design in advance. FUZI’s flash tattoos and his custom designs
are both unique pieces of art, and FUZI will only tattoo each design one time.
we require a 50% deposit to be paid up front via Paypal.
Appointment times will be confirmed as soon as the deposit is paid.
Appointments will go fast, so we suggest booking ASAP.
No walk ins!
For appointment please write to firstname.lastname@example.org
First come, first served!
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Elise Lammer is a Swiss curator who has lived and studied in Barcelona, Lausanne and London and is currently based in Berlin. Last summer, she hosted a residency programme in her home country named Kunsthalle Roveredo.
What Elise has created is hard to categorise; rather than choosing physical objects and placing them in the setting of a gallery she has selected artists with whom she had previously worked, and invited them to spend time together at her parent’s home in the Southern part of Switzerland. The artists she chose came from the three places she’s worked and lived; Switzerland, London and Berlin, and were all brought together with the knowledge that the creation of work during their stay was not necessary. What’s more, the idea was to provide a space to think rather than a space to produce.
The choice to house her guests in her parents’ home is interesting, as it follows a long-term tradition to welcome artists and intellectuals to retreat in the house. Was this residency a replication of the Lammer family memories or her very own way to invigorate intellectual and artists discussion?
How much of what Elise Lammer has curated falls into the categories of the deliberate? Was this event a PR tool? A holiday for the artists? A chance to network or a comment on the Swiss ‘art as lifestyle’ mentality? Some answers might be found in the follow-up exhibition that opens tomorrow in Geneva, where all the residency guests will present works that have been physically or conceptually started during the programme.
We have interviewed Elise to find out more about her aims for this intriguing project, how it uncovered and how it will continue.
“Pink Dinner by Pauline Beaudemont and Elise Lammer”
Please tell us a little bit about yourself. First of all what and where did you study?
I studied Fine Art in Spain and did my Masters at Goldsmiths College in London, where I graduated from the Curating department last year.
Where do you currently reside, and why did you choose this place?
I moved to Berlin six months ago after spending some time in Vienna. I chose the city for its artistic scene and because it allows me to afford to be a freelancer.
What do you currently call yourself, as a professional title?
Curator, artist, writer?
What does it entail or mean to you?
That’s a good question. To me, being a curator is not very different from being an artist, it’s one form of expression among many. I’m having a hard time with the multiplication of curatorial studies claiming to train people to be ‘professional curators’. It’s important to be professional, full stop. I don’t like the authority such professionalisation entails… But I shouldn’t bite the hand that fed me in the first place…
Do you have current regular occupations or projects besides the Kunsthalle Roveredo?
My next gig is “Post Digital Cultures”, a 3-day symposium in Lausanne early December. It will explore the relationship between contemporary art and new technologies, from a sociological and philosophical point of view. The list of guest speakers is mind-blowing and I can’t wait to hang out with such great minds! Besides that, I have been selected as a fellow researcher by Fieldwork Marfa in Texas in 2014.
How did Kunsthalle Roveredo come about—why is it relevant on a personal and more general level?
The location of the residency is really important. It’s where my parents live and have been hosting writers, artists and art lovers for the past 15 years. Although the house is in a very remote part of Switzerland, in Graubünden, in the Southern part of the country, it feels like a hub for the arts and one can feel the invisible evidence left by the many great minds who stopped by. I also realised how important it was to provide a retreat to the artists I selected, where they can take some distance from the art market and the social pressure that goes with it, while slowing down their online activity.
Could you tell us about your upbringing in Graubünden? How much has it influenced your work? Did you ever see yourself using that space in the future?
I grew up in Lausanne and my parents moved to Graubünden when I was about 18, therefore I never considered it my home. There is something really special about this place, it’s hard to describe what, but I always felt protected and used it as a conceptual shelter when I needed to write and think. Kunsthalle Roveredo has always been intended to be a long-term project and will take place on a yearly basis.
What were your parents’ reaction to your project?
I think they are really pleased. For them, it makes sense to keep using and sharing the house with like-minded people – art lovers and aesthetes.
Who are the people you invited, why did you chose them?
The 2013 residents were Pauline Beaudemont, Jan Kiefer, Benjamin Orlow, Maria do Carmo Pontes, Chan-Young Ramert, Emanuel Röhss and Max Ruf. Since my intention was from the beginning to turn this residency into a sustainable and meaningful project, for its first edition I wanted to make sure the space, rhythm and concept were working. I didn’t want to test such key features on strangers and therefore decided to invite curators and artists I already knew. What’s more, most of the residents had shown great interest for the project when it was only an idea, which was the most important selection criteria to me. However, I’m considering the possibility of doing an open call next year.
Did you go there with a specific script? What had been pre-defined and what did you leave up to chance?
I didn’t want to impose anything in terms of artistic production. The idea was to gather a group of great artists and curators, whose practice I deeply admire with the goal to generate discussions and friendships. I also assigned each resident to cook for everyone else during one day and that brought some interesting situations. Everything happened very organically.
How often were the artists left to their own schedule?
All the time, there was no imposed schedule at all.
Did any of the artists already know each other before arriving at Graubünden?
Some of them did, but most didn’t.
Can you describe the chronological development and noteworthy events of the workshop part?
One of the highlights was a day trip we did to visit Lake&Only, a project space located in a cabin in the mountains nearby. It’s run by Raphael Linsi, who’s been organising great exhibitions for the last two years. It was comforting to see that such a great project could exist in a very remote place. The last day of the residency coincided with the Swiss national day and we organised an Open House event, for which a few guests managed to reach the house after a small hike. We had a great party with sausages and fireworks.
And the result?
I had great feedbacks from all the residents who told me that such a retreat was needed in the stressful context of the cities where they were based at the time. In concrete terms, the results of the programme will be presented at Galerie M J in Geneva during the month of November. Besides the exhibition, we are launching a publication of fictional tales about Kunsthalle Roveredo, for which we collaborated with Edition Taube.The exhibition will open on 31 October at MJ Gallery in Geneva, www.mjgallery.ch
1st – 28 novembre.–
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As an aspiring medievalist, I am often fascinated by the body part reliquaries of the Middle Ages and beyond. Created both to encase and to display the remains of saints, body part reliquaries often mimicked their relics: a hand of benediction might hold an arm bone, a foot reliquary nail clippings, etc. With lustrous gold and silver shells, sometimes embellished with polished gemstones, these reliquaries at once encased their less photogenic contents and served as a visual reminder of their saint’s corporeal form, which might have glowed with holy light during life. (There were often rumors of saints’ bodies emitting light, a visible sign of their extreme piety.) These magnificent structures also tested their audiences: quite counterintuitively (for us), medieval viewers were confronted with gold, silver, and precious stones in order to recognize that true value lay in the fragmented bits of bone or bloody dirt that remained unseen.
[A German arm reliquary ca. 1190 + an X-ray image of a human arm bone contained therein]
[A foot reliquary from the Swiss National Museum. I don't know anything about its date and unfortunately can't find much information on it at all.]
*Top: An amazing hand reliquary from the V&A with rock crystal “windows” that potentially could have allowed a glimpse of the enclosed relics
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Jack W. Groves was born in 1925 of British descent. During the late 1940s and early 1950s, Groves visited Apia, Samoa, creating an extensive collection of drawings depicting tattoos he had seen on the Samoan population
Now part of the British Museum’s collection, Groves’s drawings offer a unique insight mid 20th century tattoo practices in Samoa. The British Museum’s online collection holds 56 examples of Groves’s drawings, primarily illustrations of tribal tattooing on Samoan men (of the 56 drawings, only 2 are of women’s tattoos). One interesting feature worth noting is the appearance of distinctly Western motifs, which are in one instance applied alongside traditional tribal tattoos.
For more images and information see the British Museum’s online collection here.
“Drawing; image of a Samoan tattoo. 1940s-1950s.Pigment ink.”
“Drawing; three views of a section of Tafao’s leg, from the front, back and side, showing tattoos. May 1949. Pigment ink and watercolour.”
“Drawing; image of a section of the top half of a female leg and female genitals, showing tattoos. May 1951.Graphite.”
“Drawing; image of a male torso and legs; from the front, and from the back showing tattoos. January 1952. Pigment ink and watercolour.”
“Drawing; image of eighteen Samoan tattoos. 1940s-1950s. Pigment ink.”
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Beyond pioneering and beyond ahead of his time. Without Lou Reed where would we all be now? THANK YOU LOU!
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Jacques-André Boiffard, Untitled , Article “Le Caput Mortuum ou la Femme
de l’Alchimiste », Documents, 1930, No8
sans titre, ca. 1930
Mouth , Documents No5, 1929
Read a fantastic essay by Oliver Chow about Boiffard and Bataille’s inter-repulsive investigations into the pornography of death here
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