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Mouvement III – The City Performed


Vito Acconci, Francis Alÿs, Pablo Bronstein, Stanley Brouwn, Trisha Brown, Paulo Bruscky, Martin Creed, Felipe Ehrenberg, VALIE EXPORT, Dara Friedman, Gelitin, Tomislav Gotovac, Alberto Greco, Anna Halprin, Maria Hassabi, Noritoshi Hirakawa, Sanja Iveković, Christian Jankowski, Jiří Kovanda, Liz Magic Laser, Klara Lidén, Marko Lulić, Babette Mangolte, Rachel Mason, Dave McKenzie, Dieter Meier, Ocaña, Neša Paripović, Ewa Partum, Alexandra Pirici, Miervaldis Polis, Kim Sooja, Mladen Stilinović, Beat Streuli, Rirkrit Tiravanija, Ulla von Brandenburg, Ai Weiwei.

The 12th edition of the Swiss Sculpture Exhibition, entitled Le Mouvement, challenges the very definition of public art by creating no sculpture at all. The three-part exhibition is dedicated exclusively to performance in the city. While the first two movements take place in the streets of Biel/Bienne, the third one is shown in a museum.

The exhibition The City Performed at Kunsthaus CentrePasquArt extends the concept of performance in public space in both historical-geographical and political terms. It explicitly incorporates artists who have implemented street performances under various circumstances – in  some cases at the risk of being arrested and imprisoned. The museum-based exploration offers a more in-depth examination of the context of performance, in which the definition and interpretation of public space differs with each work shown. Considering differences and distinctions is the only way to tackle the complexity of the system of discourse, society, city and public space.

It is, however, not always a desire to have an impact in a political context that drives artists out into the street – on the contrary. The urge to abandon the protective walls of the art institution has been omnipresent since the sixties. Parallel to Land Art, which chose the world of nature as exhibition venue, more and more artists turned to the street and used it as a platform, an alternative to art spaces, neutral place, not appropriated by institutional art discourse. The precursors were the Situationists, wandering around in Paris, allowing themselves to be driven “aimlessly” in unfamiliar parts of the city at the whim of mood and the draw of the architecture.

The city is viewed as neutral terrain, which is not integrated into an art discourse and is free from the preferences of official art policy. Artists who renounce the context of the exhibition space signal their independence. However, the documentary records of these performances often end up back in the museum.

Curators: Gianni Jetzer and Chris Sharp

Publication: A lavishly illustrated catalogue with texts by Cleoriana Benacloche, Bojana Cvejić, Gianni Jetzer, André Lepecki, Natasa Petrešin-Bachelez, Chris Sharp, Betty Stocker and Jan Verwoert has been published by Distanz-Verlag, Berlin, 288 pages. Price: CHF 50.–

 With the generous support of: Kultur-Stadt Biel-Bienne, Kanton Bern, Pro Helvetia, HKB, Burgergemeinde Biel, Zumsteg-Stiftung, LUMA Foundation Zürich, Ernst Göhner Stiftung, Migros-Kulturprozent, Johnson Stiftung, McKinivan Moos Inc. Cham, Burger Collection Hong Kong, Kägi Söhne AG,

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Mouvment III – The City Performed, Ausstellungsansichten / vues d’exposition / exhibition views Kunsthaus Centre d’art Pasquart 2014
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