HILDEGARD SPIELHOFER
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HILDEGARD SPIELHOFER
CV - download long version as a pdf
Hildegard Spielhofer grew up in Lucerne, Switzerland where she began her career at the University of Art and Design at the Videode-partment. She is currently living and working in Basel, Switzerland.
CV - download long version as a pdf
Hildegard Spielhofer grew up in Lucerne, Switzerland where she began her career at the University of Art and Design at the Videode-partment. She is currently living and working in Basel, Switzerland.
5 / GO
Bollag Projektraum Basel, 24. November - 2. Dezember 2011, Do-Sa, 16-19:30 Uhr
Eröffnung: 19. November 2011, 18 - 21 Uhr
Basierend auf der Erfahrung ihrer gemeinsamen Ausstellung in Tokio im Sommer 2011, beschlossen Jun Azumatei und Hildegard Spielhofer ihre Arbeiten auch in der Schweiz zu zeigen und dazu zwei befreundete Künstler einzuladen. Gemeinsam installieren die Künstlerinnen und Künstler ihre Werke im Projektraum Bollag. Begleitet wird die Präsentation mit einer Filmreihe und einem «Diner Privé». Es ist ein vielseitiges und wechselndes Arrangement, das die vier Künstler ihrem Publikum bieten: Die Ziffer «5» im Titel, die auf japanisch: «GO» bedeutet, schliesst den Besucher so als fünften Gast in die Ausstellung mit ein.
Bollag Projektraum Basel, 24. November - 2. Dezember 2011, Do-Sa, 16-19:30 Uhr
Eröffnung: 19. November 2011, 18 - 21 Uhr
Basierend auf der Erfahrung ihrer gemeinsamen Ausstellung in Tokio im Sommer 2011, beschlossen Jun Azumatei und Hildegard Spielhofer ihre Arbeiten auch in der Schweiz zu zeigen und dazu zwei befreundete Künstler einzuladen. Gemeinsam installieren die Künstlerinnen und Künstler ihre Werke im Projektraum Bollag. Begleitet wird die Präsentation mit einer Filmreihe und einem «Diner Privé». Es ist ein vielseitiges und wechselndes Arrangement, das die vier Künstler ihrem Publikum bieten: Die Ziffer «5» im Titel, die auf japanisch: «GO» bedeutet, schliesst den Besucher so als fünften Gast in die Ausstellung mit ein.
FACE TO FACE
GalleryCamellia, Tokyo, Japan, October 7th - 22nd, 2011
The works at GalleryCamellia are about «Expanding». «Expanding» seen in may different ways, as to extend a territory, to start a (re)action or a process.
Photo credit: Robert J. Oppenheimer remembers, Fine art prints, 2011
GalleryCamellia, Tokyo, Japan, October 7th - 22nd, 2011
The works at GalleryCamellia are about «Expanding». «Expanding» seen in may different ways, as to extend a territory, to start a (re)action or a process.
Photo credit: Robert J. Oppenheimer remembers, Fine art prints, 2011
WUNSCH ORDNUNG / DESIDERIO ORDINE
ARK, Basel/Switzerland, May 15th - June 19th, 2011
Chiesa di S.Mattia ai Crociferi, Palermo/Italy, July 31st - September 11th, 2011
with: Adalberto Abbate, Urs Aeschbach, Benny Chirco, Andrea Di Marco, Stefania Galegati Shines, HOIO, Cécile Hummel, San Keller, Loredana Longo, Lutz/Guggisberg, Markus Müller, Hildegard Spielhofer, Francesco Simeti, Loredana Sperini, Costa Vece, Curators: Andrea Roca, Francesco Pantaleone, Cécile Hummel
Photo credit: Videostill «ALL OUT», Video by Hildegard Spielhofer, 2011
ARK, Basel/Switzerland, May 15th - June 19th, 2011
Chiesa di S.Mattia ai Crociferi, Palermo/Italy, July 31st - September 11th, 2011
with: Adalberto Abbate, Urs Aeschbach, Benny Chirco, Andrea Di Marco, Stefania Galegati Shines, HOIO, Cécile Hummel, San Keller, Loredana Longo, Lutz/Guggisberg, Markus Müller, Hildegard Spielhofer, Francesco Simeti, Loredana Sperini, Costa Vece, Curators: Andrea Roca, Francesco Pantaleone, Cécile Hummel
Photo credit: Videostill «ALL OUT», Video by Hildegard Spielhofer, 2011
WELTRAUM. DIE KUNST UND EIN TRAUM
Kunsthalle Wien, 1. April – 15. August 2011
Das Weltall ist nicht nur eine physikalische Ausdehnung, sondern auch ein symbolischer Raum: Seit Jahrhunderten drehen sich Träume und Visionen der Menschen darum, die «extraterrestrische Zone» zu erobern, Welten jenseits der Erde kennenzulernen, und vielleicht sogar andere Planeten zu kolonisieren. «Space is the Place» erklärte der Musiker Sun Ra und hunderte Science Fictionromane und -filme legen Zeugnis ab von der Sehnsucht nach dem Anderen, dem Unbekannten, der ,High Frontier‘, der hohen Grenze, die im 20. Jahrhundert zum Schauplatz geostrategischer Positionskämpfe wurde. Sowohl die USA als auch die Sowjetunion investierten ungeheure Summen, um die Vorherrschaft im Weltraum sicherzustellen. Der erste bemannte Raumflug durch den sowjetischen Astronauten Juri Gagarin im Jahr 1961 war in dieser Hinsicht ein Schlüsselereignis – und sein 50-jähriges Jubiläum mit ein Anlass zu dieser Ausstellung.
Kunsthalle Wien, 1. April – 15. August 2011
Das Weltall ist nicht nur eine physikalische Ausdehnung, sondern auch ein symbolischer Raum: Seit Jahrhunderten drehen sich Träume und Visionen der Menschen darum, die «extraterrestrische Zone» zu erobern, Welten jenseits der Erde kennenzulernen, und vielleicht sogar andere Planeten zu kolonisieren. «Space is the Place» erklärte der Musiker Sun Ra und hunderte Science Fictionromane und -filme legen Zeugnis ab von der Sehnsucht nach dem Anderen, dem Unbekannten, der ,High Frontier‘, der hohen Grenze, die im 20. Jahrhundert zum Schauplatz geostrategischer Positionskämpfe wurde. Sowohl die USA als auch die Sowjetunion investierten ungeheure Summen, um die Vorherrschaft im Weltraum sicherzustellen. Der erste bemannte Raumflug durch den sowjetischen Astronauten Juri Gagarin im Jahr 1961 war in dieser Hinsicht ein Schlüsselereignis – und sein 50-jähriges Jubiläum mit ein Anlass zu dieser Ausstellung.
LOOK AT YOUR SELF
Soloexhibition, Fashion Studio Claudia Güdel, Basel/Switzerland
February 23rd - April 3rd 2011
Zur Begrüssung streckt sich uns eine Hand entgegen – entzweit und zwischen zwei unsichtbaren Beinen hindurch. Diese unbetitelte Fotografie zeigt eine Rückenansicht der Künstlerin in einem Kleid der Gastgeberin und Modedesignerin Claudia Güdel.
Soloexhibition, Fashion Studio Claudia Güdel, Basel/Switzerland
February 23rd - April 3rd 2011
Zur Begrüssung streckt sich uns eine Hand entgegen – entzweit und zwischen zwei unsichtbaren Beinen hindurch. Diese unbetitelte Fotografie zeigt eine Rückenansicht der Künstlerin in einem Kleid der Gastgeberin und Modedesignerin Claudia Güdel.
FUJIYAMA -
DA ME jp, USELESS en, SINNLOS de
Soloshow at dock: aktuelle Kunst aus Basel
November 27th, 2010 - January 9th, 2011
Um den Blick in die nähere Umgebung wieder in einen Überblick oder gar in einen Weitblick zu überführen, zeigt dock «Fujiyama». Das Thema der Zweckentfremdung und Offenheit der Bilder thematisiert Hildegard Spielhofer in einer Arbeit genannt DA ME. «DA ME» ist ein Schriftzug auf einem T-Shift des japanischen Hip-Hop Labels Libe Brand Univs. Das Wort kombiniert sich auf dem Kleidungsstück mit dem Bild einer Atombombe, die sich in ähnlicher Schönheit und Ferne wie der Fuijyama darstellt. Zusammen mit dem menschlichen Körper, der Träger des Schriftzugs und Bildes ist, ergibt sich eine Botschaft, die sich auch im Neonschriftzug «PLEEEAAASE PEEEAAACE» wieder findet. Die Diskrepanz und das Paradox des existenziellen Wunsches nach Frieden, seine Darstellung in unerreichbarer Schönheit und seine erfahrene Unrealisierbarkeit sind Fragen, angesichts des hellen Lichtrufs, hinter den Augen zu flimmern beginnen.
DA ME jp, USELESS en, SINNLOS de
Soloshow at dock: aktuelle Kunst aus Basel
November 27th, 2010 - January 9th, 2011
Um den Blick in die nähere Umgebung wieder in einen Überblick oder gar in einen Weitblick zu überführen, zeigt dock «Fujiyama». Das Thema der Zweckentfremdung und Offenheit der Bilder thematisiert Hildegard Spielhofer in einer Arbeit genannt DA ME. «DA ME» ist ein Schriftzug auf einem T-Shift des japanischen Hip-Hop Labels Libe Brand Univs. Das Wort kombiniert sich auf dem Kleidungsstück mit dem Bild einer Atombombe, die sich in ähnlicher Schönheit und Ferne wie der Fuijyama darstellt. Zusammen mit dem menschlichen Körper, der Träger des Schriftzugs und Bildes ist, ergibt sich eine Botschaft, die sich auch im Neonschriftzug «PLEEEAAASE PEEEAAACE» wieder findet. Die Diskrepanz und das Paradox des existenziellen Wunsches nach Frieden, seine Darstellung in unerreichbarer Schönheit und seine erfahrene Unrealisierbarkeit sind Fragen, angesichts des hellen Lichtrufs, hinter den Augen zu flimmern beginnen.
URBANE LEGENDEN UND IHRE GESICHTER / URBAN LEGENDS AND THEIR FACES
Groupshow: Edith Flückiger Luzern, Nica Giuliani Berlin, Cornelia Heusser Zürich, Hildegard Spielhofer Basel
4th - 20th june 2010, Projektraum Bollag-Areal, Basel
Groupshow: Edith Flückiger Luzern, Nica Giuliani Berlin, Cornelia Heusser Zürich, Hildegard Spielhofer Basel
4th - 20th june 2010, Projektraum Bollag-Areal, Basel
SALON BLANC
aus den Beständen der Kunstsammlung der Gemeinde Riehen (Teil 2 / 1945 bis heute) im Kunst Raum Riehen, 21. Januar - 21. Februar 2010.
Salon Blanc legt diesmal in der Auswahl den Schwerpunkt auf die neueren Bestände der Sammlung von 1945 bis heute. Zahlreiche Werke, die vielleicht dem einen oder anderen Besucher in öffentlichen Gebäuden wie dem Spital, dem Haus der Vereine oder dem Gemeindehaus bereits einmal begegnet sind, zeigen sich hier in einem ganz anderen Kontext und lassen sich auf eine neue Weise erleben.
(aus dem Austellungstext)
aus den Beständen der Kunstsammlung der Gemeinde Riehen (Teil 2 / 1945 bis heute) im Kunst Raum Riehen, 21. Januar - 21. Februar 2010.
Salon Blanc legt diesmal in der Auswahl den Schwerpunkt auf die neueren Bestände der Sammlung von 1945 bis heute. Zahlreiche Werke, die vielleicht dem einen oder anderen Besucher in öffentlichen Gebäuden wie dem Spital, dem Haus der Vereine oder dem Gemeindehaus bereits einmal begegnet sind, zeigen sich hier in einem ganz anderen Kontext und lassen sich auf eine neue Weise erleben.
(aus dem Austellungstext)
SEH-WECHSEL | FRANCIOS BURLANDS TOYS AND PHOTOGRAPHY OF HILDEGARD SPIELHOFER
Museum im Lagerhaus, St. Gallen
8th December 2009 - 7t March 2010
Den «Toys» von François Burland sind Fotografien der Serie PORTOBELLO von Hildegard Spielhofer gegenübergestellt. Baut Burland seine Schiffe aus Abfallmaterialien zusammen, zeigt Spielhofer das selbst zum Fundstück gewordene Schiff. Ungewöhnliche Ansichten verfremden den Charakter des Schiffes. Einzelne Holzstücke des Wracks hat Spielhofer gesammelt, mit dickem Japanpapier umkleidet und mit Texten beschrieben. Sie erzählen von der Vielschichtigkeit des Motivs: Das Schiff als Sehnsuchtsort, als Geisterschiff, als Fähre zwischen den Welten.
Als «Gegenort» (Foucault) bedeutet das Schiff das «grösste Reservoir für Fantasie».
Der Ausstellungstitel «Seh-Wechsel» bezieht sich einmal auf den inhaltlichen Perspektivwechsel, den Burland wie Spielhofer in ihren Arbeiten transportieren. «Seh-Wechsel» meint hier aber auch den Blickwechsel in der Gegenüberstellung von Outsider Art und zeitgenössischer Kunst.
Leseperformance PORTOBELLO mit Daniel Buser am 24. Januar 2010, 11 Uhr.
Museum im Lagerhaus, St. Gallen
8th December 2009 - 7t March 2010
Den «Toys» von François Burland sind Fotografien der Serie PORTOBELLO von Hildegard Spielhofer gegenübergestellt. Baut Burland seine Schiffe aus Abfallmaterialien zusammen, zeigt Spielhofer das selbst zum Fundstück gewordene Schiff. Ungewöhnliche Ansichten verfremden den Charakter des Schiffes. Einzelne Holzstücke des Wracks hat Spielhofer gesammelt, mit dickem Japanpapier umkleidet und mit Texten beschrieben. Sie erzählen von der Vielschichtigkeit des Motivs: Das Schiff als Sehnsuchtsort, als Geisterschiff, als Fähre zwischen den Welten.
Als «Gegenort» (Foucault) bedeutet das Schiff das «grösste Reservoir für Fantasie».
Der Ausstellungstitel «Seh-Wechsel» bezieht sich einmal auf den inhaltlichen Perspektivwechsel, den Burland wie Spielhofer in ihren Arbeiten transportieren. «Seh-Wechsel» meint hier aber auch den Blickwechsel in der Gegenüberstellung von Outsider Art und zeitgenössischer Kunst.
Leseperformance PORTOBELLO mit Daniel Buser am 24. Januar 2010, 11 Uhr.
FONTANA-GRÄNACHER-PRIZE 2009
Celebration at Kunsthalle Basel, 30 November, 2009, 7 pm
The Fontana-Gränacher-Prize 2009 will be awared to Hildegard Spielhofer.
Celebration at Kunsthalle Basel, 30 November, 2009, 7 pm
The Fontana-Gränacher-Prize 2009 will be awared to Hildegard Spielhofer.
DELOCALISATION
14 – 28 November, 2009
Curator: Fatos Ustek
Artists: Marjolijn Dijkman, Claire Fontaine, Laura Kuch, Runo Lagomarsino, Ine Lamers, Ahmet Ogut, and Hildegard Spielhofer
press to exit project space, Skopje | Republic of Macedonia
DELOCALISATION adherently refers to the dialectical imbalance of locality and universality. The project is an attempt to introduce another dimension to the binary opposition of interpretation of the local and the global. That is to say, how the norms of the local are produced in relation to the larger scale main-stream receptions, expectations and understanding, and vice versa. Today, both terminologies are in immense use of articulating difference and diversity or commonality and the familiar. Delocalise means to approach to a certain time-location specific sphere of interaction from a drained-off-pitoresque-elements perspective. Hence it is an act of re-approaching to the understanding of cultural practices, rituals, and customs as well as the historical, political, economical, psychological dimensions of a society. Delocalisation is specifically compiled for Skopje, aiming to implement macro levels of the categorisation of local and universal.
14 – 28 November, 2009
Curator: Fatos Ustek
Artists: Marjolijn Dijkman, Claire Fontaine, Laura Kuch, Runo Lagomarsino, Ine Lamers, Ahmet Ogut, and Hildegard Spielhofer
press to exit project space, Skopje | Republic of Macedonia
DELOCALISATION adherently refers to the dialectical imbalance of locality and universality. The project is an attempt to introduce another dimension to the binary opposition of interpretation of the local and the global. That is to say, how the norms of the local are produced in relation to the larger scale main-stream receptions, expectations and understanding, and vice versa. Today, both terminologies are in immense use of articulating difference and diversity or commonality and the familiar. Delocalise means to approach to a certain time-location specific sphere of interaction from a drained-off-pitoresque-elements perspective. Hence it is an act of re-approaching to the understanding of cultural practices, rituals, and customs as well as the historical, political, economical, psychological dimensions of a society. Delocalisation is specifically compiled for Skopje, aiming to implement macro levels of the categorisation of local and universal.
AN ECHO OF CHANGES
Celebration of the 15th Internationale Musikfesttage B. Martinu, 2009
31th October, 18.15 pm, Festsaal Stadtcasino Basel
Inauguration of the memorial plaque of Bohuslav Martinu, czech composer, AN ECHO OF CHANGES of Hildegard Spielhofer.
Celebration of the 15th Internationale Musikfesttage B. Martinu, 2009
31th October, 18.15 pm, Festsaal Stadtcasino Basel
Inauguration of the memorial plaque of Bohuslav Martinu, czech composer, AN ECHO OF CHANGES of Hildegard Spielhofer.
TOPICS
EXISTENCE
UNTITLED (double)
UNTITLED (calm)
UNTITLED (ready)
UNTITLED (inside)
2010, Fine Art Print, 57 cm x 60 cm, je Edition 10
UNTITLED (calm)
UNTITLED (ready)
UNTITLED (inside)
2010, Fine Art Print, 57 cm x 60 cm, je Edition 10
CITY CHAIRS
Installation with a neon sign, 380 cm x 20 cm x 20 cm and a lot of plastic chairs, 2009
Hildegard Spielhofer produce a site-located work. CITY CHAIRS is composed of a neon sign reading SAVE THIS PURPLE PLASTIC CHAIR in Macedonian and a body of chairs that are stacked inorderly in the yard of Press to Exit Project Space. The chairs are collected from donators living in Skopje, receiving a signed certificate from the artist confirming their participation in the production of the work. The ordinary everyday object becomes part of an artwork thus the artwork itself. If we recall the paraphrasing of Boris Groys, that artist is the one who can transform the objects of everyday into an artwork, Spielhofer is confronting us with this fact. Moreover, she is bringing us further with the framework of the whole piece. Plastic chairs are generic objects that can be found in anywhere all over the world, the possibility of producing them in large quantities for small amounts enables their mass production. (Text by Fatos Üstek)
Installation with a neon sign, 380 cm x 20 cm x 20 cm and a lot of plastic chairs, 2009
Hildegard Spielhofer produce a site-located work. CITY CHAIRS is composed of a neon sign reading SAVE THIS PURPLE PLASTIC CHAIR in Macedonian and a body of chairs that are stacked inorderly in the yard of Press to Exit Project Space. The chairs are collected from donators living in Skopje, receiving a signed certificate from the artist confirming their participation in the production of the work. The ordinary everyday object becomes part of an artwork thus the artwork itself. If we recall the paraphrasing of Boris Groys, that artist is the one who can transform the objects of everyday into an artwork, Spielhofer is confronting us with this fact. Moreover, she is bringing us further with the framework of the whole piece. Plastic chairs are generic objects that can be found in anywhere all over the world, the possibility of producing them in large quantities for small amounts enables their mass production. (Text by Fatos Üstek)
STOP
Sculpture, 2008
Project for a public art competition (Zentrale Informatikdienststelle Basel, Steinengraben 51) of Kunstkredit Basel in october 2008.
Sculpture, 2008
Project for a public art competition (Zentrale Informatikdienststelle Basel, Steinengraben 51) of Kunstkredit Basel in october 2008.
SOMETHING HAS SLIPPED AWAY (SERIE 2)
Ink drawing with LED-backlight, 52 x 31 cm, 2008
A second series of ink drawings uses motifs gleaned from various newspaper portraits of people facing crisis situations. Spielhofer has diminished the documentary character of the source material and focused on individual elements of the original picture. By opting for watercolour-like drawings on transparent paper and presenting her art as illuminated-box drawings, she transfers an originally singular motif into something that is generally valid. The emotional content is thus emphasized and also incorporates the viewer in the presentation. The ephemeral nature of Spielhofer's work alludes to past events, dissolution, and memories in general.
Ink drawing with LED-backlight, 52 x 31 cm, 2008
A second series of ink drawings uses motifs gleaned from various newspaper portraits of people facing crisis situations. Spielhofer has diminished the documentary character of the source material and focused on individual elements of the original picture. By opting for watercolour-like drawings on transparent paper and presenting her art as illuminated-box drawings, she transfers an originally singular motif into something that is generally valid. The emotional content is thus emphasized and also incorporates the viewer in the presentation. The ephemeral nature of Spielhofer's work alludes to past events, dissolution, and memories in general.
LOGIK DER MACHT (LOGIC OF POWER)
4 pigment ink prints, each 90 x 230 cm, 2007
Various walks through Berlin led me to places that
I wouldn't forget as they had something myster-iously paradox and strangely wrong about them which virtually obliged me to contemplate on them. Walking became a tool stimulating the thinking process and the slow steps intensified my percep-tion of the details of my surroundings. One day, I passed by the Grossfürstenplatz. This square is located in the Grosse Tiergarten in Berlin and is today a remote and abandoned place. The name Grossfürstenplatz goes back to Paul I Petrowitsch, 1754-1801.
Four pedestals are arranged in a semi circle around the square and the Triton-fountain is located in its centre. The pedestals once carried sculptures allegorizing the four big German rivers: Elbe, Oder, Rhein and Weichsel. The sculptures were made around 1860 by Alexander Calandrelli (Elbe), August Wittig (Weichsel) and Rudolf Schweinitz (Oder and Rhein). The memorials built out of sand-stone got badly damaged during World War II and due to environmental influences. Lacking money for their restoration the Senate of Berlin decided to place them in storage in 2002.
For me the four remaining pedestals are a meta-phor for the transience of power and for the rise and fall of the claim to power also expressed through the history of the name - given with splen-dour and then disappeared. The four unused pede-stals continue facing wind and weather. They are forgotten and became a pièce de resistance.
4 pigment ink prints, each 90 x 230 cm, 2007
Various walks through Berlin led me to places that
I wouldn't forget as they had something myster-iously paradox and strangely wrong about them which virtually obliged me to contemplate on them. Walking became a tool stimulating the thinking process and the slow steps intensified my percep-tion of the details of my surroundings. One day, I passed by the Grossfürstenplatz. This square is located in the Grosse Tiergarten in Berlin and is today a remote and abandoned place. The name Grossfürstenplatz goes back to Paul I Petrowitsch, 1754-1801.
Four pedestals are arranged in a semi circle around the square and the Triton-fountain is located in its centre. The pedestals once carried sculptures allegorizing the four big German rivers: Elbe, Oder, Rhein and Weichsel. The sculptures were made around 1860 by Alexander Calandrelli (Elbe), August Wittig (Weichsel) and Rudolf Schweinitz (Oder and Rhein). The memorials built out of sand-stone got badly damaged during World War II and due to environmental influences. Lacking money for their restoration the Senate of Berlin decided to place them in storage in 2002.
For me the four remaining pedestals are a meta-phor for the transience of power and for the rise and fall of the claim to power also expressed through the history of the name - given with splen-dour and then disappeared. The four unused pede-stals continue facing wind and weather. They are forgotten and became a pièce de resistance.
SOMETHING HAS SLIPPED AWAY (SERIE 1)
Ink drawing with LED-backlight, 22 x 29 cm, 2006
Ink drawing with LED-backlight, 22 x 29 cm, 2006
THE NEW YORK TIMES, SUNDAY, SEPTEMBER 16, 2001
Silkscreen print series in 9 parts, 70 x 50 cm, 2006
The nine-part series of screen prints contains obituaries dedicated to the victims of 9/11 in New York, published by various companies. Jewelry and clothing companies like Cartier, Bulgari, Chanel, retailers and department stores like Blooming-dale's, K-Mart, and Sears, investment firms like Prudential Financial, Cushmann & Wakefield, Merrill Lynch, and Allianz Group, as well as furniture out-fits like Ethan Allen used these obituaries not just as a way of showing their sympathy, but also to advertise their own corporate identity and products. Spielhofer parses the language employed by the ads that happen to have been placed on that specific day, generating a selection of words whose content suggests a forward-looking and proactive coping strategy even though the words appear in the context of mourning and disaster. Words like "act, confident, continue, effort, forget, guide, hope, join, offer, overcome, relief, renewed, stand, strength, unite..." convey an atmosphere that encourages people to carry on in the face of per-sonal and collective trauma. Some of the screen prints of obituaries are superimposed by these strings of words and thus repeat the overabun-dance of information and instructions given in the immediate wake of 9/11.
Silkscreen print series in 9 parts, 70 x 50 cm, 2006
The nine-part series of screen prints contains obituaries dedicated to the victims of 9/11 in New York, published by various companies. Jewelry and clothing companies like Cartier, Bulgari, Chanel, retailers and department stores like Blooming-dale's, K-Mart, and Sears, investment firms like Prudential Financial, Cushmann & Wakefield, Merrill Lynch, and Allianz Group, as well as furniture out-fits like Ethan Allen used these obituaries not just as a way of showing their sympathy, but also to advertise their own corporate identity and products. Spielhofer parses the language employed by the ads that happen to have been placed on that specific day, generating a selection of words whose content suggests a forward-looking and proactive coping strategy even though the words appear in the context of mourning and disaster. Words like "act, confident, continue, effort, forget, guide, hope, join, offer, overcome, relief, renewed, stand, strength, unite..." convey an atmosphere that encourages people to carry on in the face of per-sonal and collective trauma. Some of the screen prints of obituaries are superimposed by these strings of words and thus repeat the overabun-dance of information and instructions given in the immediate wake of 9/11.
IDENTITY
UNKNOWN (Woman with dead swordfish)
28 heliographures, 35 cm x 52 cm, Edition 28, 2010
Hildegard Spielhofer gets into an active exchange and demands the viewers to collaborate with the work by exchanging their signature with the heliograph depicting a mysterious scenario: a healthy but rather bored looking woman in her prime, dressed in a white bikini is sitting on a boat with a can of bear in her hand, a sword fish at her feet, and both “staring” in completely different directions, as if they weren’t on the same vessel – where does culture start and where nature end? (Cataloguetext)
28 heliographures, 35 cm x 52 cm, Edition 28, 2010
Hildegard Spielhofer gets into an active exchange and demands the viewers to collaborate with the work by exchanging their signature with the heliograph depicting a mysterious scenario: a healthy but rather bored looking woman in her prime, dressed in a white bikini is sitting on a boat with a can of bear in her hand, a sword fish at her feet, and both “staring” in completely different directions, as if they weren’t on the same vessel – where does culture start and where nature end? (Cataloguetext)
LOOK AT YOURSELF
Photography collage, 2010
Photography collage, 2010
ICH & DU (ME & YOU)
Installation with photography and video, 2007
Speaker: Klaus Broemmelmeier
The installation ME & YOU consists of two op-posed works - a video and a photography empha-tically questioning human identity. On a flatscreen we see a man reciting a text in perfect German.
He hears this text over headphones and repeats it very accurately interrupted from time to time by short intervals of intense listening. The speaker is so concentrated on his task that the meaning of the words does not seem to reach him. It is an inter-view with Vilém Flusser. In a touching way the old philosopher looks back on his life. The strength of the video is also generated by the additional, precisely matched subtitles clearly showing the break between formal and content-based layers.
On the photography we see the artist performing
a headstand. But as the picture is turned 180° her head seems to be pressed against the ceiling. In combination with the video the photo can be read as an insistent search for the own position.
The work convinces by combining intellect and physicality and leaves enough space to the subtle melancholic atmosphere emanated by it.
Installation with photography and video, 2007
Speaker: Klaus Broemmelmeier
The installation ME & YOU consists of two op-posed works - a video and a photography empha-tically questioning human identity. On a flatscreen we see a man reciting a text in perfect German.
He hears this text over headphones and repeats it very accurately interrupted from time to time by short intervals of intense listening. The speaker is so concentrated on his task that the meaning of the words does not seem to reach him. It is an inter-view with Vilém Flusser. In a touching way the old philosopher looks back on his life. The strength of the video is also generated by the additional, precisely matched subtitles clearly showing the break between formal and content-based layers.
On the photography we see the artist performing
a headstand. But as the picture is turned 180° her head seems to be pressed against the ceiling. In combination with the video the photo can be read as an insistent search for the own position.
The work convinces by combining intellect and physicality and leaves enough space to the subtle melancholic atmosphere emanated by it.
VIDEOPOEMS # 01 - 07
Video-objects, 6.8 inch LCD-monitors, 2005
The VIDEOPOEMS depict a woman executing different activities, such as sleeping, walking, resting, covering herself with a blanket. These activities are combined with recordings of nature - water lilies on a pond, a ride over an acre, awhirl algae in the sea, coloured ribbons in the wind - atmospheric pictures asking for roots and depicting the feeling of being thrown back to one's self.
Video-objects, 6.8 inch LCD-monitors, 2005
The VIDEOPOEMS depict a woman executing different activities, such as sleeping, walking, resting, covering herself with a blanket. These activities are combined with recordings of nature - water lilies on a pond, a ride over an acre, awhirl algae in the sea, coloured ribbons in the wind - atmospheric pictures asking for roots and depicting the feeling of being thrown back to one's self.
IT'S A MAN'S WORLD
Video, 16 minutes, 1999
A woman sings: "It's a man's world" (cover version of "The Residents"). The recording was manipu-lated with manual speed-up and slow-down. There-fore certain passages of the text are emphasized others ignored. The work is an ironical remark on the difference of gender.
Video, 16 minutes, 1999
A woman sings: "It's a man's world" (cover version of "The Residents"). The recording was manipu-lated with manual speed-up and slow-down. There-fore certain passages of the text are emphasized others ignored. The work is an ironical remark on the difference of gender.
PERCEPTION
GEN/ius
Four Collages, 42 cm x 21 cm
Four Collages, 42 cm x 21 cm
VIDEOPOEM #13
Video-installation, fourteen LCD-monitors, 2008
videopoem #13 starts on the left side with three monitors, which are showing the skyline of Chigaco in direction to Lake Michigan. They're in a line and respond to the infinity of space. The emptiness of the lake is the border of the urban space. Followed by a big monitor, showing the sunrise over Lake Michigan. The sun appears over the lake and disappears in the clouds. Then a group of 9 monitors, showing the city from Sears Tower in fragments. The images are contrastful, the skyscrapers are absolutely geometric, very sculpural. The very two right ones of this group showing suburbs structures. The last monitor shows the white and the red strips of the US flag in the wind.
Video-installation, fourteen LCD-monitors, 2008
videopoem #13 starts on the left side with three monitors, which are showing the skyline of Chigaco in direction to Lake Michigan. They're in a line and respond to the infinity of space. The emptiness of the lake is the border of the urban space. Followed by a big monitor, showing the sunrise over Lake Michigan. The sun appears over the lake and disappears in the clouds. Then a group of 9 monitors, showing the city from Sears Tower in fragments. The images are contrastful, the skyscrapers are absolutely geometric, very sculpural. The very two right ones of this group showing suburbs structures. The last monitor shows the white and the red strips of the US flag in the wind.
DIE FAHNE (THE FLAG)
Video, 2 minutes, 2007
Speaker: Tom Vogt, Sound design: Hanspeter Giuliani
THE FLAG is a re-narration of a story by Hui Neng, Japanese Eno, 638-713, 6th Patriarch of China: It is cold. A harsh wind is blowing. Two monks are watching a flag. One of them says: "The flag does not move." The other replies: "The wind does not move." Snowflakes dance through the air. The abbot, who listened to the monks, says: "Neither wind nor flag do move, your mind does." The snow is slowly covering the city with silence.
Video, 2 minutes, 2007
Speaker: Tom Vogt, Sound design: Hanspeter Giuliani
THE FLAG is a re-narration of a story by Hui Neng, Japanese Eno, 638-713, 6th Patriarch of China: It is cold. A harsh wind is blowing. Two monks are watching a flag. One of them says: "The flag does not move." The other replies: "The wind does not move." Snowflakes dance through the air. The abbot, who listened to the monks, says: "Neither wind nor flag do move, your mind does." The snow is slowly covering the city with silence.
PORTOBELLO
C-prints, 135 x 88 cm, 2000-2006
The wreck of the sailing boat Voile Liberté (Liberty Sail) on the northern coast of Sardinia was photo-graphed many times in different light conditions over the last seven years. Finally, a part of the boat has been transported to a gallery to become part of an exhibition.
C-prints, 135 x 88 cm, 2000-2006
The wreck of the sailing boat Voile Liberté (Liberty Sail) on the northern coast of Sardinia was photo-graphed many times in different light conditions over the last seven years. Finally, a part of the boat has been transported to a gallery to become part of an exhibition.
CAPO TESTA
C-Prints, 135 x 88 cm, 2007
CAPO TESTA is a series of night photographies of a damaged house standing in the former military exclusion zone on the northern coast of Sardinia. The images are long-term exposures depicting the movement of a torchlight pointed at the house. Everything that was lighted is visible on the photography everything in the dark remains invisible.
C-Prints, 135 x 88 cm, 2007
CAPO TESTA is a series of night photographies of a damaged house standing in the former military exclusion zone on the northern coast of Sardinia. The images are long-term exposures depicting the movement of a torchlight pointed at the house. Everything that was lighted is visible on the photography everything in the dark remains invisible.
ÜBER NAHES UND FERNES (ABOUT THINGS CLOSE AND DISTANT)
Videoprojection with wall drawing, 2004
Sound design: Hanspeter Giuliani
An Indian family watches the sunset on the beach. It is a holy beach said to wash away all sins when taking a bath there. The family looks into the west. They linger. The picture freezes for several seconds in irregular rhythms. Graphite drawings on the projection screen mark the outlines of the people during theses stop motion sequences. Another part of the installation is the writing from the west, to the west, in the west, where the sun goes down in English and Kannada (language of the south Indian population in Karnataka) on the right wall of the room.
Videoprojection with wall drawing, 2004
Sound design: Hanspeter Giuliani
An Indian family watches the sunset on the beach. It is a holy beach said to wash away all sins when taking a bath there. The family looks into the west. They linger. The picture freezes for several seconds in irregular rhythms. Graphite drawings on the projection screen mark the outlines of the people during theses stop motion sequences. Another part of the installation is the writing from the west, to the west, in the west, where the sun goes down in English and Kannada (language of the south Indian population in Karnataka) on the right wall of the room.
LIKE A FOUNTAIN
Postcard-project, 2003
I am carrying a gallone Mountainside Springs, sparkling mineral water on my head.
Postcard-project, 2003
I am carrying a gallone Mountainside Springs, sparkling mineral water on my head.
TIMELESSNESS
DISSIPATIVE STRUKTUREN (Remake zweier Artikel von Erich Jantsch, NZZ, Nr. 275 + 281, 1975)
Inkjetprints, 92 cm x 144 cm, 2006 - 2010
«Dissipative Strukturen» is a remake of two articles of Erich Jantsch in Neue Zürcher Zeitung from 1975 with the following titles: «Dissipative Strukturen: Ordnung durch Fluktuation; Anwendung der Theorie dissipativer Strukturen».
Inkjetprints, 92 cm x 144 cm, 2006 - 2010
«Dissipative Strukturen» is a remake of two articles of Erich Jantsch in Neue Zürcher Zeitung from 1975 with the following titles: «Dissipative Strukturen: Ordnung durch Fluktuation; Anwendung der Theorie dissipativer Strukturen».
AN ECHO OF CHANGES
Two Heliogravure, 2009
53.5 cm x 76 cm and 76 cm x 107 cm
A portrait of the czech composer Bohuslav Martinu for the International Musikfestival B. Martinu in Basel.
Two Heliogravure, 2009
53.5 cm x 76 cm and 76 cm x 107 cm
A portrait of the czech composer Bohuslav Martinu for the International Musikfestival B. Martinu in Basel.
NI ESPOIR NI PEUR
drawing in four parts, each 21 x 30 cm, 2008
N'espoir ne peur is the original phrase in old french, stitched on a the tapestry, called "Trois Couronnements", located in the cathedral of St. Etienne in Sens, France. The tapestry was a present of Charles de Bourbon, archbishop of Lyon in the 15th century.
NEITHER HOPE NOR FEAR is neither a duality nor a polarity. Hope doesn't suspend fear and hope doesn't complement fear. Hope is an illusion, because hope aims the future. Fear paralyzes the viability, for example the fear of death. Living without hope and fear, is living right now.
drawing in four parts, each 21 x 30 cm, 2008
N'espoir ne peur is the original phrase in old french, stitched on a the tapestry, called "Trois Couronnements", located in the cathedral of St. Etienne in Sens, France. The tapestry was a present of Charles de Bourbon, archbishop of Lyon in the 15th century.
NEITHER HOPE NOR FEAR is neither a duality nor a polarity. Hope doesn't suspend fear and hope doesn't complement fear. Hope is an illusion, because hope aims the future. Fear paralyzes the viability, for example the fear of death. Living without hope and fear, is living right now.
VIDEOPOEM #12 (Nightmare)
Video-object, two 6.4 inch LCD-monitors, 2008
The left image shows the moonlight reflecting on the sea. The right image shows two dogs fighting in the dark.
Video-object, two 6.4 inch LCD-monitors, 2008
The left image shows the moonlight reflecting on the sea. The right image shows two dogs fighting in the dark.
VOILE LIBERTE & UNTITLED (NZZ 21.08.1966)
Sculpture, 250 x 350 x 200 cm, 2006
Silkscreen print, 30 x 40 cm, 2006
Spielhofer found the wreck of the sailing boat Voile Liberté on the northern coast of Sardinia, and photographed it many times under different light conditions over the last seven years. Part of the boat has been transported to the gallery. The in-stallation is completed by a print based on a page form the Neue Zuercher Zeitung from August 21, 1966, which features, among other celebrities of that time, Prince Aga Khan IV awarding prizes at a regatta in Sardinia.
In 1962, the Prince founded the international "Consortium Costa Smeralda", which developed high-end tourist infrastructure on the northern coast of Sardinia for the international Jet-set. In juxta-posing the photography, its subject - the boat as found object - and the newspaper cutting, Spiel-hofer metonymically represents the changing economy of the area she was visiting. Her work describes the change of traditional life in Sardinia - made to seem exotic by Thomas Forester in his "Rambles in the Islands of Corsica and Sardinia" (1858) and still being present in D.H. Lawrence's diaristic "Sea and Sardinia" (1921) - to the tourist industry of the present day.
Sculpture, 250 x 350 x 200 cm, 2006
Silkscreen print, 30 x 40 cm, 2006
Spielhofer found the wreck of the sailing boat Voile Liberté on the northern coast of Sardinia, and photographed it many times under different light conditions over the last seven years. Part of the boat has been transported to the gallery. The in-stallation is completed by a print based on a page form the Neue Zuercher Zeitung from August 21, 1966, which features, among other celebrities of that time, Prince Aga Khan IV awarding prizes at a regatta in Sardinia.
In 1962, the Prince founded the international "Consortium Costa Smeralda", which developed high-end tourist infrastructure on the northern coast of Sardinia for the international Jet-set. In juxta-posing the photography, its subject - the boat as found object - and the newspaper cutting, Spiel-hofer metonymically represents the changing economy of the area she was visiting. Her work describes the change of traditional life in Sardinia - made to seem exotic by Thomas Forester in his "Rambles in the Islands of Corsica and Sardinia" (1858) and still being present in D.H. Lawrence's diaristic "Sea and Sardinia" (1921) - to the tourist industry of the present day.
ZEIT TOTSCHLAGEN (KILLING TIME)
Video-object, 1999
I am drawing parallel lines on a roll of paper for hours. The monitor shows this action. At the point the monitor is completely filled with pencil lines the image freezes for a while until new paper is rolled of and the act of drawing continues. The concen-tration of the image lies in the parallelism of the lines. The intense sound of the different pencils supports the movement of drawing a line.
Video-object, 1999
I am drawing parallel lines on a roll of paper for hours. The monitor shows this action. At the point the monitor is completely filled with pencil lines the image freezes for a while until new paper is rolled of and the act of drawing continues. The concen-tration of the image lies in the parallelism of the lines. The intense sound of the different pencils supports the movement of drawing a line.
NO PLACE TO STAY
Videoinstallation, 1997
Sound design: Marie-Cécile Reber
Following the circle the ground is shifting into all four points of the compass - I am not looking for
a place.
Videoinstallation, 1997
Sound design: Marie-Cécile Reber
Following the circle the ground is shifting into all four points of the compass - I am not looking for
a place.
WALKS
16 x IN 24 STUNDEN
Video, 6'20'', 2010
Speaker: Tom Vogt, Sound design: Hanspeter Giuliani
Cosmonauts talking about their experiences in the space.
Video, 6'20'', 2010
Speaker: Tom Vogt, Sound design: Hanspeter Giuliani
Cosmonauts talking about their experiences in the space.
STARWALKS
7 drawings, ink on luminescent leaf, 50 x 28 cm, 2009
Abstraction of different walks in different cities.
7 drawings, ink on luminescent leaf, 50 x 28 cm, 2009
Abstraction of different walks in different cities.
BERLINER SPAZIERGÄNGE (BERLIN WALKS)
Five photomontages on wooden walls, 2007
Right at the entrance of the exhibition space the visitor stands in front of a wooden wall blocking the view. It shows a memorial plaque reminding of the Berlin Wall and is part of the installation "Berlin Walks". The work in five parts reflects on today rather unimposing places in Berlin and their moved history. The walls with the plaques are placed according to the geographical position of these places on the city map. "Bornholmer Strasse" and "Falkplatz" refer to former openings in the Berlin Wall, "Volkspark Hasenheide" to Turnvater Jahn and his patriotic vision of a united nation.
Five photomontages on wooden walls, 2007
Right at the entrance of the exhibition space the visitor stands in front of a wooden wall blocking the view. It shows a memorial plaque reminding of the Berlin Wall and is part of the installation "Berlin Walks". The work in five parts reflects on today rather unimposing places in Berlin and their moved history. The walls with the plaques are placed according to the geographical position of these places on the city map. "Bornholmer Strasse" and "Falkplatz" refer to former openings in the Berlin Wall, "Volkspark Hasenheide" to Turnvater Jahn and his patriotic vision of a united nation.
WALK NO. 6 (CAIRO-BASEL)
Drawings with multimedia installation, 2005
Programming: Daniel Meier
Spielhofer consistently takes up certain key themes and groups of work again, for example, the series of mappings negotiating personal orientation in specific cultural surroundings. With walks through different geographic rooms she questions her posi-tion in a specific radius. She collects the resulting observations and perceptions, intensifies them with images and sound-recordings and brings every-thing to an extremely reduced form. In the work CAIRO-BASEL she transfers the routes that she used in Basel, respectively Cairo, into acoustics, images and writings and in this way visualises the different views on both cities.
Drawings with multimedia installation, 2005
Programming: Daniel Meier
Spielhofer consistently takes up certain key themes and groups of work again, for example, the series of mappings negotiating personal orientation in specific cultural surroundings. With walks through different geographic rooms she questions her posi-tion in a specific radius. She collects the resulting observations and perceptions, intensifies them with images and sound-recordings and brings every-thing to an extremely reduced form. In the work CAIRO-BASEL she transfers the routes that she used in Basel, respectively Cairo, into acoustics, images and writings and in this way visualises the different views on both cities.
PARISER SPAZIERGÄNGE (PARISIAN WALKS)
Installation with 3 videos and drawing, 1998
This installation with three videos and a walldrawing puts the focus on a subject trying to locate itself in an extremely layered reality. Diary-like fragments, quotes and locations are written on the wall and linked by lines resembling thought bubbles or a map. Three monitors show the artist performing different actions. On the first she sings: "It's a Man's World". On the second she is asleep on the third she is surrounded by plastic bags, which she regroups. Personal issues melt into exemplary ones without excluding the paradoxical and allowing ambivalence and doubts.
Installation with 3 videos and drawing, 1998
This installation with three videos and a walldrawing puts the focus on a subject trying to locate itself in an extremely layered reality. Diary-like fragments, quotes and locations are written on the wall and linked by lines resembling thought bubbles or a map. Three monitors show the artist performing different actions. On the first she sings: "It's a Man's World". On the second she is asleep on the third she is surrounded by plastic bags, which she regroups. Personal issues melt into exemplary ones without excluding the paradoxical and allowing ambivalence and doubts.
ARCHIVE
2008-2005
PORTOBELLO-EXCERPTS
Reading performance, May 8th, 2008
Costume: Claudia Guedel, Photo: Ketty Bertrossi
Four authors wrote texts based on the works from the Portobello series. The actor Silvester von Hoesslin read during an opening fragments of the text by Matthias Kuhn.
Reading performance, May 8th, 2008
Costume: Claudia Guedel, Photo: Ketty Bertrossi
Four authors wrote texts based on the works from the Portobello series. The actor Silvester von Hoesslin read during an opening fragments of the text by Matthias Kuhn.
A SCENE AT THE SEA (SERIE 1)
7 pigment ink prints, each 90 x 90 cm, unique copies, 2006
7 pigment ink prints, each 90 x 90 cm, unique copies, 2006
VIDEOPOEM #10
Video-object, two 15 inch LCD-monitors, 2006
Sound design: Hanspeter Giuliani
The left image shows a woman waiting a the sea. She looks to the horizon. The right image shows the waves, slightly slow down.
Video-object, two 15 inch LCD-monitors, 2006
Sound design: Hanspeter Giuliani
The left image shows a woman waiting a the sea. She looks to the horizon. The right image shows the waves, slightly slow down.
-
TIER IN MIR (ANIMAL INSIDE ME)
Happening on the grounds of Hueningerstrasse 63, Basel/Switzerland, chalk paint, 20 x 15 m, 2006
The City of Basel owned apartment buildings on the grounds of Hueningerstrasse 63 from 1947 on. The houses were paid with the "Kriegsbatzen" (money used for social projects after 1945) and rented to families with low income. In common parlance they were called "parrot houses". The area was sold to the pharmaceutical company Novartis in order to enlarge their so-called Novartis-Campus. Some of the tenants left the houses already in the summer of 2005 and as soon as the apartments in the ground or first floor were free workers from southern Germany closed windows and doors with bricks. In November 2006 the houses were demolished. The happening TIER IN MIR took place during the night of December 9th, 2006.
Happening on the grounds of Hueningerstrasse 63, Basel/Switzerland, chalk paint, 20 x 15 m, 2006
The City of Basel owned apartment buildings on the grounds of Hueningerstrasse 63 from 1947 on. The houses were paid with the "Kriegsbatzen" (money used for social projects after 1945) and rented to families with low income. In common parlance they were called "parrot houses". The area was sold to the pharmaceutical company Novartis in order to enlarge their so-called Novartis-Campus. Some of the tenants left the houses already in the summer of 2005 and as soon as the apartments in the ground or first floor were free workers from southern Germany closed windows and doors with bricks. In November 2006 the houses were demolished. The happening TIER IN MIR took place during the night of December 9th, 2006.
TRÄUMEN UND ERINNERN (DREAMING AND REMEMBERING)
Photography for the hospital of Riehen, 2005
With my proposal I wanted to seduce the sick people, wake their longings and touch their hearts to make their suffering a bit lighter. Therefore,
I used two different image layers orientating them-selves towards dreaming and remembering.
One of them draws on one of my videopoems using photographies of the monitor showing the video. The motifs are layered images of plants, flowers and grasses moving in the wind. They are light and colourful and glow on the bright back-ground. The different layers create a depth and the fuzziness of the motifs deriving from movement causes a mysterious atmosphere. The images invite to dream, they open gates to the own depth, to unfulfilled longings and faded hope.
The second layer of the photography uses pictures made on journeys by my family especially by my grand uncle who travelled to the cradles of our culture in the Mediterranean. We see temples, columns, landscapes and ruins, moments of a life-time, documentary fragments serving as meta-phors and inspiring the viewer's mind to bring up own memories.
Photography for the hospital of Riehen, 2005
With my proposal I wanted to seduce the sick people, wake their longings and touch their hearts to make their suffering a bit lighter. Therefore,
I used two different image layers orientating them-selves towards dreaming and remembering.
One of them draws on one of my videopoems using photographies of the monitor showing the video. The motifs are layered images of plants, flowers and grasses moving in the wind. They are light and colourful and glow on the bright back-ground. The different layers create a depth and the fuzziness of the motifs deriving from movement causes a mysterious atmosphere. The images invite to dream, they open gates to the own depth, to unfulfilled longings and faded hope.
The second layer of the photography uses pictures made on journeys by my family especially by my grand uncle who travelled to the cradles of our culture in the Mediterranean. We see temples, columns, landscapes and ruins, moments of a life-time, documentary fragments serving as meta-phors and inspiring the viewer's mind to bring up own memories.
PORTOBELLO
C-Prints, 135 x 88 cm, 2000-2006
Hildegard Spielhofer asks for the place of humans in landscape, in his living environment. In a playful way she depicts life as a constant change perma-nently needing new orientation. Since years Hilde-gard Spielhofer takes photographs of a stranded boat glowing out of the darkness of the unknown like an emotional UFO. The Voile liberté is subject to her photographic scanning in the series Porto-bello where the simplest means - camera, torch, long-term exposure - turn seemingly known objects into mysterious ones and approach them from a new point of view.
C-Prints, 135 x 88 cm, 2000-2006
Hildegard Spielhofer asks for the place of humans in landscape, in his living environment. In a playful way she depicts life as a constant change perma-nently needing new orientation. Since years Hilde-gard Spielhofer takes photographs of a stranded boat glowing out of the darkness of the unknown like an emotional UFO. The Voile liberté is subject to her photographic scanning in the series Porto-bello where the simplest means - camera, torch, long-term exposure - turn seemingly known objects into mysterious ones and approach them from a new point of view.
SOMETHING HAS SLIPPED AWAY
Neon sign, 20 x 205 x 20 cm, 2006
Neon sign, 20 x 205 x 20 cm, 2006
OHNE TITEL (ULTIMO VIAGGIO)
Lambda-Print, 205 x 80 cm, 2006
Lambda-Print, 205 x 80 cm, 2006
WALK NO. 9 (NAIRS)
Installation with video and drawing, 2006
Basis for this cycle of work is the question for orientation in and appropriation of the mostly unknown surroundings of public space. When I visit a new city I mount one of my drawings made out of one line and in a symmetrical order onto the map. Each crossing of the line and a street is marked as orientation point. Then, I walk to these places with a GPS. The data (lines of longitude and latitude) is transferred to lists, which are complemented with images, sound, texts and sketches and then used as basis for wall drawings. I already charted the cities Bangalore - Malleswaram, New Dehli - Nizzamudin East, Santa Cruz della Sierra, Altdorf, St. Gallen, Barcelona, Basel, Kairo.
Installation with video and drawing, 2006
Basis for this cycle of work is the question for orientation in and appropriation of the mostly unknown surroundings of public space. When I visit a new city I mount one of my drawings made out of one line and in a symmetrical order onto the map. Each crossing of the line and a street is marked as orientation point. Then, I walk to these places with a GPS. The data (lines of longitude and latitude) is transferred to lists, which are complemented with images, sound, texts and sketches and then used as basis for wall drawings. I already charted the cities Bangalore - Malleswaram, New Dehli - Nizzamudin East, Santa Cruz della Sierra, Altdorf, St. Gallen, Barcelona, Basel, Kairo.
INTERROGATION (SUMMER 2005)
Audioinstallation, 64 minutes, 2005
Conversations about art between Hildegard Spielhofer and Doa Aly, Daniel Baumann, Hala Elkoussy, Aleya Hamaz, Cornelia Heusser, Clara Saner, Helen Hirsch, Remo Hobi, Cécile Hummel, Mahmoud Khaled, Adam Szymczyk, Christoph Schenker and William Wells.
Audioinstallation, 64 minutes, 2005
Conversations about art between Hildegard Spielhofer and Doa Aly, Daniel Baumann, Hala Elkoussy, Aleya Hamaz, Cornelia Heusser, Clara Saner, Helen Hirsch, Remo Hobi, Cécile Hummel, Mahmoud Khaled, Adam Szymczyk, Christoph Schenker and William Wells.
2004-2000
WALK NO. 5 (ALTDORF)
Installation with video and drawing, 2004
Spielhofer consistently takes up certain key themes and groups of work again, for example, the series of mappings negotiating personal orientation in specific cultural surroundings. With walks through different geographic rooms she questions her position in a specific radius. She collects the resulting observations and perceptions, intensifies them with images and sound-recordings and brings everything to an extremely reduced form.
Installation with video and drawing, 2004
Spielhofer consistently takes up certain key themes and groups of work again, for example, the series of mappings negotiating personal orientation in specific cultural surroundings. With walks through different geographic rooms she questions her position in a specific radius. She collects the resulting observations and perceptions, intensifies them with images and sound-recordings and brings everything to an extremely reduced form.
HOW TO DO ART?
21 Objects with blue LED-writing, 2004
Seven terms are written in blue LED-points in English, German and Kannada. With the fading in and out of the LED lights pulsate the words patience, determination, equanimity, generosity, effort, truthfulness, renunciation.
21 Objects with blue LED-writing, 2004
Seven terms are written in blue LED-points in English, German and Kannada. With the fading in and out of the LED lights pulsate the words patience, determination, equanimity, generosity, effort, truthfulness, renunciation.
DOCUMENT 03 (26.09.2003)
Two drawings, 400 x 150 cm, 2003
Two drawings, 400 x 150 cm, 2003
DURCH DIE NACHT SCHWIRREND (BUZZING THROUGH THE NIGHT)
Videoinstallation, 2003
Unstoppable as it is the process of aging takes place individually and without rules. Contrary to blood cells constantly slowing down until they freeze - as shown by Hildegard Spielhofer in her video BUZZING THROUGH THE NIGHT - the individual person opposes the steady decomposition.
Videoinstallation, 2003
Unstoppable as it is the process of aging takes place individually and without rules. Contrary to blood cells constantly slowing down until they freeze - as shown by Hildegard Spielhofer in her video BUZZING THROUGH THE NIGHT - the individual person opposes the steady decomposition.
MEINE WELT BESTEHT AUS ROT, GRÜN UND BLAU (MY WORLD CONSISTS OF RED, GREEN AND BLUE)
Wallpiece, 2003
Hildegard Spielhofer weaved old videotapes from her archive and created a wall piece in form of a regularly structured netting. First reference point of this work is the artist herself. The dimension of the work derives from her size and she works with personal original material - her artistic fund. What seems to be a self-destructive act at first sight is as well a trans-formation. The videotapes turn from a memory filled with saved available and specific images (original duration 179 minutes) into a memory of images that only exist because they are known and remembered. Although the pictures lose the precision our imagination lets them grow beyond time and borders. Hildegard Spielhofer created a complex work that breaks the limits of the men-tioned personal reference. The netting of black tapes reflect the surroundings and with them the viewers. The reflection stays vague on the surface, yet, it evokes an endless depth. The pattern of the wickerwork fragments it and thereby imitates the pixel of a digital image. MY WORLD CONSISTS OF RED, GREEN AND BLUE makes us think about video as a medium, about saving and keeping images, memory and maybe even more general about the limitations of imaging itself. At the same time the artist connects the medium video to the female handicraft of braiding which has a meditative aspect and opens another layer of immerging into the world of images and of reflecting about the world.
Wallpiece, 2003
Hildegard Spielhofer weaved old videotapes from her archive and created a wall piece in form of a regularly structured netting. First reference point of this work is the artist herself. The dimension of the work derives from her size and she works with personal original material - her artistic fund. What seems to be a self-destructive act at first sight is as well a trans-formation. The videotapes turn from a memory filled with saved available and specific images (original duration 179 minutes) into a memory of images that only exist because they are known and remembered. Although the pictures lose the precision our imagination lets them grow beyond time and borders. Hildegard Spielhofer created a complex work that breaks the limits of the men-tioned personal reference. The netting of black tapes reflect the surroundings and with them the viewers. The reflection stays vague on the surface, yet, it evokes an endless depth. The pattern of the wickerwork fragments it and thereby imitates the pixel of a digital image. MY WORLD CONSISTS OF RED, GREEN AND BLUE makes us think about video as a medium, about saving and keeping images, memory and maybe even more general about the limitations of imaging itself. At the same time the artist connects the medium video to the female handicraft of braiding which has a meditative aspect and opens another layer of immerging into the world of images and of reflecting about the world.
LET IT HAPPEN
Video, 54 minutes, 2003
A woman follows the instructions of an Indian Yogi coming from a CD. She tries to do what the voice tells her, to follow the rhythm and perform the exercises. She goes through the whole programme several times. Each version is unlike the other. The time patterns coming together on the videotape are different. The image displaces her body on the screen.
Video, 54 minutes, 2003
A woman follows the instructions of an Indian Yogi coming from a CD. She tries to do what the voice tells her, to follow the rhythm and perform the exercises. She goes through the whole programme several times. Each version is unlike the other. The time patterns coming together on the videotape are different. The image displaces her body on the screen.
TERRE CELESTE
C-Print, 130 x 88 cm, 2002
C-Print, 130 x 88 cm, 2002
PIXELBEEREN (PIXELBERRIES)
Videoinstallation, 2000
Sound design: Hanspeter Giuliani
The PIXELBERRIES grow out of the walls. They sprawl into space - acoustically and visually. The PIXELBERRIES are objects made out of polyester with a build-in monitor, a loudspeaker and a light bulb. The image on the monitor shows their blood streams. Microscopic pictures of the artists blood. The sound transfers the language of the pixelberry, sometimes audible sometimes not. The room is filled with blue light.
Videoinstallation, 2000
Sound design: Hanspeter Giuliani
The PIXELBERRIES grow out of the walls. They sprawl into space - acoustically and visually. The PIXELBERRIES are objects made out of polyester with a build-in monitor, a loudspeaker and a light bulb. The image on the monitor shows their blood streams. Microscopic pictures of the artists blood. The sound transfers the language of the pixelberry, sometimes audible sometimes not. The room is filled with blue light.
BETWEEN
Collaboration with Hanspeter Giuliani
Synchronised audio-video-installation, 2000
BETWEEN plays with images and sounds, dreams and memories, move-ments and cessation. The pictures and tones tell about being-in-oneself and resting-in-between. A person in a silver dress runs through different landscapes. The sequences show a lapse of time (in the seasons) a colour gradient (from blue to green to red and white) and a move-ment (from bottom to top).
Collaboration with Hanspeter Giuliani
Synchronised audio-video-installation, 2000
BETWEEN plays with images and sounds, dreams and memories, move-ments and cessation. The pictures and tones tell about being-in-oneself and resting-in-between. A person in a silver dress runs through different landscapes. The sequences show a lapse of time (in the seasons) a colour gradient (from blue to green to red and white) and a move-ment (from bottom to top).
1999-1994
FLOATING FACES
Videoinstallation, 1999
Sound design: Hanspeter Giuliani
The installation FLOATING FACES shows the layered portraits of 16 persons known by the artist. They were asked to look quietly and directly into the camera for seven minutes without thinking any-thing. Later, parts of the videos were layered with the ones of other persons, which leads to a changed pulsating expression. The whole room transforms with the slow rhythm of images. It becomes an inner room for projections of the viewer. The succession of faces follows a mathematical principle. The sound consists of words spoken by the specific persons but composed in a new order.
Videoinstallation, 1999
Sound design: Hanspeter Giuliani
The installation FLOATING FACES shows the layered portraits of 16 persons known by the artist. They were asked to look quietly and directly into the camera for seven minutes without thinking any-thing. Later, parts of the videos were layered with the ones of other persons, which leads to a changed pulsating expression. The whole room transforms with the slow rhythm of images. It becomes an inner room for projections of the viewer. The succession of faces follows a mathematical principle. The sound consists of words spoken by the specific persons but composed in a new order.
SUMATORI
Video and photography, 1999
The series consists of two image layers. The original material was taken from the TV-broadcast of the first sumo competition outside of Japan taking place in Paris in 1997. The four black and white photos are videostills of the fight taken directly from the television and the eight colour photos are taken from a video projection of the same images. Extracts of the fights and fragments of bodies are depicted in the RGB colours.
The media celebrated the sumo competition as the sportevent of the year then. Each grain of rice and sand was brought directly from Japan, each wooden bench, each garment - every detail was arranged and built according to the original.
I switched on the TV by chance and stopped at the sumo contest watching the promised pictures, a result of the manipulation that this would be such an important event. Fascinated I took my camera, put it on a tripod, decided for a certain view and recorded the competition in a sloping position. Soon I was completely taken in by the fighters, their heavy bodies, by the concentration and this one moment deciding about winning or loosing, luck or destruction, within just a second. I watched this spectacle. The rituals were cryptic to me, the order unclear. But that special moment deciding everything - one little inattention and a body was put to ground or thrown over the barriers into the audience. On the one hand I followed these heavy bodies, pure meat, firm and flexible and on the other hand I waited for the illusion of a moment judging about standing or falling.
Video and photography, 1999
The series consists of two image layers. The original material was taken from the TV-broadcast of the first sumo competition outside of Japan taking place in Paris in 1997. The four black and white photos are videostills of the fight taken directly from the television and the eight colour photos are taken from a video projection of the same images. Extracts of the fights and fragments of bodies are depicted in the RGB colours.
The media celebrated the sumo competition as the sportevent of the year then. Each grain of rice and sand was brought directly from Japan, each wooden bench, each garment - every detail was arranged and built according to the original.
I switched on the TV by chance and stopped at the sumo contest watching the promised pictures, a result of the manipulation that this would be such an important event. Fascinated I took my camera, put it on a tripod, decided for a certain view and recorded the competition in a sloping position. Soon I was completely taken in by the fighters, their heavy bodies, by the concentration and this one moment deciding about winning or loosing, luck or destruction, within just a second. I watched this spectacle. The rituals were cryptic to me, the order unclear. But that special moment deciding everything - one little inattention and a body was put to ground or thrown over the barriers into the audience. On the one hand I followed these heavy bodies, pure meat, firm and flexible and on the other hand I waited for the illusion of a moment judging about standing or falling.
VANISHED DAYS
Videonstallation, 1999
Sound design: Hanspeter Giuliani
Three monitors show box fights three others water lilies. We hear insistent rhythms. The contrast is striking. The water lilies gently swaying on the water appear spooky while the slowed down and unsharp movements of the two boxers make them look more like lovers than fighters. With this and other inversions in her work Spielhofer disappoints discreetly the common conception.
Videonstallation, 1999
Sound design: Hanspeter Giuliani
Three monitors show box fights three others water lilies. We hear insistent rhythms. The contrast is striking. The water lilies gently swaying on the water appear spooky while the slowed down and unsharp movements of the two boxers make them look more like lovers than fighters. With this and other inversions in her work Spielhofer disappoints discreetly the common conception.
MUSEUMSSPAZIERGÄNGE (MUSEUMSWALKS)
Drawings, 30 x 21cm, 1998
Drawings, 30 x 21cm, 1998
POLA POEMS 01 - 07 (NEW YORK)
Polaroid pictures, 1996
I made one double exposed Polaroid picture every day. The places were chosen on walks in New York City between March 28th and April 16th, 1996.
Polaroid pictures, 1996
I made one double exposed Polaroid picture every day. The places were chosen on walks in New York City between March 28th and April 16th, 1996.
FROZEN EYE GOT DRY IN THE DESERT OF MONTPIE
Video, 4 minutes, 1994
Landscapes pass by my face.
I observe - stare - persevere until the red water runs out of my eyes and down to my feet.
Video, 4 minutes, 1994
Landscapes pass by my face.
I observe - stare - persevere until the red water runs out of my eyes and down to my feet.
TEXTS
MONIKA KÄSTLI: LOOK AT YOURSELF
Ausstellungstext, bei Claudia Güdel Wo/Mens Wear, Basel, 19.2. - 26.3.2011
Zur Begrüssung streckt sich uns eine Hand entgegen – entzweit und zwischen zwei unsichtbaren Beinen hindurch. Diese unbetitelte Fotografie zeigt eine Rückenansicht der Künstlerin in einem Kleid der Gastgeberin und Modedesignerin Claudia Güdel.
Ausstellungstext, bei Claudia Güdel Wo/Mens Wear, Basel, 19.2. - 26.3.2011
Zur Begrüssung streckt sich uns eine Hand entgegen – entzweit und zwischen zwei unsichtbaren Beinen hindurch. Diese unbetitelte Fotografie zeigt eine Rückenansicht der Künstlerin in einem Kleid der Gastgeberin und Modedesignerin Claudia Güdel.
IRENE STOLL-KERN: LAUDATIO
anlässlich der Preisverleihung des Fontana-Gränacher Preises 2009 an Hildegard Spielhofer in der Kunsthalle Basel am 30. November 2009
Basel, Luzern, Melbourne, Long Beach, Berlin, Bangalore, Paris, Kairo, Skopje – das sind nur die wichtigsten Stationen von Hildegard Spielhofer in den vergangenen Jahren. Da kommt einem der vielzitierte Spruch von Blaise Pascal in den Sinn: „Ich habe herausgefunden, dass das ganze Unglück des Menschen allein daraus kommt, dass er nicht ruhig in einem Zimmer zu bleiben vermag.“ (Auszug aus der Laudatio)
anlässlich der Preisverleihung des Fontana-Gränacher Preises 2009 an Hildegard Spielhofer in der Kunsthalle Basel am 30. November 2009
Basel, Luzern, Melbourne, Long Beach, Berlin, Bangalore, Paris, Kairo, Skopje – das sind nur die wichtigsten Stationen von Hildegard Spielhofer in den vergangenen Jahren. Da kommt einem der vielzitierte Spruch von Blaise Pascal in den Sinn: „Ich habe herausgefunden, dass das ganze Unglück des Menschen allein daraus kommt, dass er nicht ruhig in einem Zimmer zu bleiben vermag.“ (Auszug aus der Laudatio)
LOVE AFFAIRS: HILDEGARD SPIELHOFER SPRICHT ÜBER "PARK" VON AGNES MARTIN
Museumsnacht, Kunstmuseum Basel, 2009
Das Werk PARK, 1965, kommentiert Agnes Martin im Gespräch mit Marischa Burckhardt wie folgt: "Du musst wissen wie es ist, du gehst durch einen Park und da sind Gras und Bäume, Blumen und Sonnenschein. Du gehst da durch und es leert deinen Geist und da ist Freiheit, Abenteur und Freude."
(aus Perceive and Receive - Sammlungs-
päsentation rund um ein Gemälde von Agnes Martin, einem Geschenk von Marischa Burckhardt)
Museumsnacht, Kunstmuseum Basel, 2009
Das Werk PARK, 1965, kommentiert Agnes Martin im Gespräch mit Marischa Burckhardt wie folgt: "Du musst wissen wie es ist, du gehst durch einen Park und da sind Gras und Bäume, Blumen und Sonnenschein. Du gehst da durch und es leert deinen Geist und da ist Freiheit, Abenteur und Freude."
(aus Perceive and Receive - Sammlungs-
päsentation rund um ein Gemälde von Agnes Martin, einem Geschenk von Marischa Burckhardt)
HELEN HIRSCH: NACH DER BILDER-FLUT
in «Kunst-Bulletin», September 2006
Die in Basel lebende Künstlerin Hildegard Spielhofer ist diesen Herbst an mehreren Ausstellungen in der Schweiz beteiligt: Zeit sich dem komplexen Oeuvre etwas anzunähern. Mit unterschiedlichen Medien erforscht sie verborgene Ebenen der Gesellschaft und entwickelt neue Sichtweisen auf kulturelle Symbole und Zeichen des kollektiven und individuellen Gedächtnisses.
in «Kunst-Bulletin», September 2006
Die in Basel lebende Künstlerin Hildegard Spielhofer ist diesen Herbst an mehreren Ausstellungen in der Schweiz beteiligt: Zeit sich dem komplexen Oeuvre etwas anzunähern. Mit unterschiedlichen Medien erforscht sie verborgene Ebenen der Gesellschaft und entwickelt neue Sichtweisen auf kulturelle Symbole und Zeichen des kollektiven und individuellen Gedächtnisses.
ADAM SZYMCZYK: A SEA CHANGE
in «Portobello», edition fink, 2006, Zürich
The boat's name Voile Liberté (liberty sail), is still readable in red letters painted on the side. The once brave boat has been quietly rotting in the sand on the beach of Portobello for many years now, while the surrounding area has gone through more or less dramatic changes. Since 2000, the wreck has been the subject of Hildegard Spielhofer's photographic investigation.
in «Portobello», edition fink, 2006, Zürich
The boat's name Voile Liberté (liberty sail), is still readable in red letters painted on the side. The once brave boat has been quietly rotting in the sand on the beach of Portobello for many years now, while the surrounding area has gone through more or less dramatic changes. Since 2000, the wreck has been the subject of Hildegard Spielhofer's photographic investigation.
MAJA NAEF: SCHIFF REST GRUND
in «Portobello», edition fink, 2006, Zürich
Üœber sechs Jahre hat Hildegard Spielhofer denselben Ort mehrmals aufgesucht und einem fotografischen Prozess unterzogen: einen entlegenen, verlassenen Strand an der Nordküste Sardiniens. An diesem Inselsaum hat sei ein gestrandetes Boot gefunden.
in «Portobello», edition fink, 2006, Zürich
Üœber sechs Jahre hat Hildegard Spielhofer denselben Ort mehrmals aufgesucht und einem fotografischen Prozess unterzogen: einen entlegenen, verlassenen Strand an der Nordküste Sardiniens. An diesem Inselsaum hat sei ein gestrandetes Boot gefunden.
ALF SCHLIENGER: SCHEITERND WEITERKOMMEN
in «Programmzeitung», Oktober 2006, Basel
Transformationsprozesse scheinen Hildegard Spielhofer besonders zu interessieren. Den Dingen ihren üblichen Filter nehmen, sie buchstäblich in ein neues Licht rücken, sie immer wieder anders sehen, das ist ihre künstlerische Leidenschaft.
in «Programmzeitung», Oktober 2006, Basel
Transformationsprozesse scheinen Hildegard Spielhofer besonders zu interessieren. Den Dingen ihren üblichen Filter nehmen, sie buchstäblich in ein neues Licht rücken, sie immer wieder anders sehen, das ist ihre künstlerische Leidenschaft.
IRENE MÜLLER: THE MEMORY REMAINS
in «Visions of a future. Art and art history in changing contexts», SKI, 2004, Zürich
Ausgangspunkt der Arbeiten ist das Band-Archiv der Künstlerin, welches das gesamte bisher aufgenommene Rohmaterial umfasst. Bestimmte Bilder finden in Videoarbeiten Eingang, sie werden weiterverarbeitet. Üœbrig bleibt eine grosse Ansammlung von gespeichertem audiovisuellem Material. Nach einer erneuten Visionierung der Bänder befreit Spielhofer die aufgezeichneten Videobilder sorgfältig aus ihren zeitlichen Versiegelungen und legt das schimmernde Magnetband frei.
in «Visions of a future. Art and art history in changing contexts», SKI, 2004, Zürich
Ausgangspunkt der Arbeiten ist das Band-Archiv der Künstlerin, welches das gesamte bisher aufgenommene Rohmaterial umfasst. Bestimmte Bilder finden in Videoarbeiten Eingang, sie werden weiterverarbeitet. Üœbrig bleibt eine grosse Ansammlung von gespeichertem audiovisuellem Material. Nach einer erneuten Visionierung der Bänder befreit Spielhofer die aufgezeichneten Videobilder sorgfältig aus ihren zeitlichen Versiegelungen und legt das schimmernde Magnetband frei.
SABINE SCHASCHL SPRICHT ÜœBER DIE ARBEITEN VON HILDEGARD SPIELHOFER
in «art-tv.ch», 2006
Sabine Schaschl spricht über die Ausstellung SOMETHING HAS SLIPPED AWAY, Kunsthaus Baselland in Muttenz/Basel im August 2006.
in «art-tv.ch», 2006
Sabine Schaschl spricht über die Ausstellung SOMETHING HAS SLIPPED AWAY, Kunsthaus Baselland in Muttenz/Basel im August 2006.
PETER STOHLER: INTERVIEW MIT HILDEGARD SPIELHOFER
in «Kunst im Un-Privaten», edition fink, 2004, Zürich
Peter Stohler: Deine Videoinstallation im Roentgenraum basiert nicht auf Narration...
in «Kunst im Un-Privaten», edition fink, 2004, Zürich
Peter Stohler: Deine Videoinstallation im Roentgenraum basiert nicht auf Narration...
IRENE SCHUBIGER: ANEIGNUNG
in «bei Tweaklab», 2002, Basel
In der Aneignung der materiellen Welt über das künstlerische Verfahren verschränken sich eine Prüfung von deren Eignung für das Leben und der im Künstlerischen angelegte, weit über das materielle Leben hinaus weisende Impuls.
in «bei Tweaklab», 2002, Basel
In der Aneignung der materiellen Welt über das künstlerische Verfahren verschränken sich eine Prüfung von deren Eignung für das Leben und der im Künstlerischen angelegte, weit über das materielle Leben hinaus weisende Impuls.
EDITIONS
SPECIALS
EDITION #04: BHALTIS
50 bags of Sablés, 2009
BHALTIS is an old custom of Basel. The host gives his guests a little present before they're going home.
So there are given 50 bags of cookies to the guest of the celebration of the Fontana-Gränacher-Prize at Kunsthalle Basel, 30th of November, 2009.
50 bags of Sablés, 2009
BHALTIS is an old custom of Basel. The host gives his guests a little present before they're going home.
So there are given 50 bags of cookies to the guest of the celebration of the Fontana-Gränacher-Prize at Kunsthalle Basel, 30th of November, 2009.
EDITION #03: MARMALADE (GLAS 1 - 21)
21 glasses of orange marmalade, 100 gramme, organic and homemade, 2009
26th of March 2009:
21 glasses of Sardinian orange marmalade are ready. You are cordially invited to come to my studio to get your own piece.
Please write a mail to tell me, when you'll come.
21 glasses of orange marmalade, 100 gramme, organic and homemade, 2009
26th of March 2009:
21 glasses of Sardinian orange marmalade are ready. You are cordially invited to come to my studio to get your own piece.
Please write a mail to tell me, when you'll come.
EDITION #02: NI ESPOIR NI PEUR
Four drawings, each 21 x 30 cm, unlimited, 2008
Free download pdf
17th of December 2008:
The saying NEITHER HOPE NOR FEAR encourages us to live at present neither looking in to a hopeful future nor to succumb to fear.
"N'espoir ne peur" is the original sentence in old french. Today to be understood as "Ni espoir ni peur" which is stitched on a tapestry called "Trois Couronnements" (three coronations) located in the cathedral of St. Etienne, France.
The tapestry was a gift of Charles de Bourbon, archbishop of Lyon in the 15th century.
Four drawings, each 21 x 30 cm, unlimited, 2008
Free download pdf
17th of December 2008:
The saying NEITHER HOPE NOR FEAR encourages us to live at present neither looking in to a hopeful future nor to succumb to fear.
"N'espoir ne peur" is the original sentence in old french. Today to be understood as "Ni espoir ni peur" which is stitched on a tapestry called "Trois Couronnements" (three coronations) located in the cathedral of St. Etienne, France.
The tapestry was a gift of Charles de Bourbon, archbishop of Lyon in the 15th century.
EDITION #02: NI ESPOIR NI PEUR
Four drawings, each 21 x 30 cm, unlimited, 2008
Free download pdf
17th of December 2008:
The saying NEITHER HOPE NOR FEAR encourages us to live at present neither looking in to a hopeful future nor to succumb to fear.
"N'espoir ne peur" is the original sentence in old french. Today to be understood as "Ni espoir ni peur" which is stitched on a tapestry called "Trois Couronnements" (three coronations) located in the cathedral of St. Etienne, France.
The tapestry was a gift of Charles de Bourbon, archbishop of Lyon in the 15th century.
Four drawings, each 21 x 30 cm, unlimited, 2008
Free download pdf
17th of December 2008:
The saying NEITHER HOPE NOR FEAR encourages us to live at present neither looking in to a hopeful future nor to succumb to fear.
"N'espoir ne peur" is the original sentence in old french. Today to be understood as "Ni espoir ni peur" which is stitched on a tapestry called "Trois Couronnements" (three coronations) located in the cathedral of St. Etienne, France.
The tapestry was a gift of Charles de Bourbon, archbishop of Lyon in the 15th century.
EDITION #01: PLEEEAAASE PEEEAAACE
Neon sign, 20 x 170 x 10 cm, Edition 10, 2008
21st of July 2008:
The first 10 visitors sending back an email are authorised to produce the neon sign within the next 5 years (until the 21st of July 2013) and on their own cost. They get a technical drawing in actual size and a certificate declaring them owner of the work.
21st of August 2008:
The edition of 10 has found its owners.
Neon sign, 20 x 170 x 10 cm, Edition 10, 2008
21st of July 2008:
The first 10 visitors sending back an email are authorised to produce the neon sign within the next 5 years (until the 21st of July 2013) and on their own cost. They get a technical drawing in actual size and a certificate declaring them owner of the work.
21st of August 2008:
The edition of 10 has found its owners.
SELLABLES
CARTOGRAPHY #6 (BASEL - CAIRO)
Interactive CD-Rom, Edition 10
CHF 20.00 / Euro 14.00 / USD 18.00
A sonic walk through Basel and Cairo. You follow a path, listening to sounds and watching images of the two cities.
This project took place during the exhibition Actual Position - Topography and Identity, curated by Helen Hirsch and Aleya Hamaz at Townhouse Gallery, Cairo and Kulturzentrum Nairs in 2005/06.
Request: MacOSX 10.4.8, Safari 2.0.4, Explorer 11.1.0, Flash Player 9
Interactive CD-Rom, Edition 10
CHF 20.00 / Euro 14.00 / USD 18.00
A sonic walk through Basel and Cairo. You follow a path, listening to sounds and watching images of the two cities.
This project took place during the exhibition Actual Position - Topography and Identity, curated by Helen Hirsch and Aleya Hamaz at Townhouse Gallery, Cairo and Kulturzentrum Nairs in 2005/06.
Request: MacOSX 10.4.8, Safari 2.0.4, Explorer 11.1.0, Flash Player 9
BEI TWEAKLAB
CHF 28.00 / EUR 18.00 / USD 27.00
Dokumentationskatoalog mit DVD
Grafik und Programmierung: Cornelia Heusser
Tweaklab, Basel
Das Labor-, Ausstellungs- und Vermittlungsprojekt BEI TWEAKLAB wurde von Hildegard Spielhofer initiiert. Zwischen Oktober 2001 und Dezember 2003 stellten acht Künstlerinnen: Ruth Blesi, Edith Flückiger, Gertrud Genhart, Cécile Hummel, Franziska Koch, Hildegard Spielhofer, Chris Weibel und Andrea Wolfensberger ihre Arbeiten aus und taten in einen Dialog mit den Kunsthist-orikerinnen: Irene Müller, Irene und Pia Schubiger, Susann Wintsch, Annina Zimmermann und Isabel Zürcher. Sie schrieben in Zusammenarbeit mit den Künstlerinnen die Ausstellungen begleitenden Texte. 2004 startete BEI TWEAKLAB mit einem zweiten Projektteil, den Irene Schubiger und Hildegard Spielhofer zusammen entwickelt haben. Im zweiten Projektteil wurde der Fokus auf Labor und Vermittlung verstärkt. KünstlerInnen erhielten die Möglichkeit Arbeiten im Bereich der elektro-nischen Medien zu produzieren und auszustellen. Die Ausstellungen wurden von ausführlicheren Texten begleitet. Im Werkgespräch konnte der künstlerische Entstehungsprozess und die installative Umsetzung diskutiert werden. Für die Leitung des Werkgesprächs und die Texte war die Kunsthistorikerin Irene Schubiger verantwortlich. Für die Ausstellungen BEI TWEAKLAB 2004 wurden Anna Weber, Claudio Moser, Matthias Kuhn und Köppl/Zacek ausgewählt.
CHF 28.00 / EUR 18.00 / USD 27.00
Dokumentationskatoalog mit DVD
Grafik und Programmierung: Cornelia Heusser
Tweaklab, Basel
Das Labor-, Ausstellungs- und Vermittlungsprojekt BEI TWEAKLAB wurde von Hildegard Spielhofer initiiert. Zwischen Oktober 2001 und Dezember 2003 stellten acht Künstlerinnen: Ruth Blesi, Edith Flückiger, Gertrud Genhart, Cécile Hummel, Franziska Koch, Hildegard Spielhofer, Chris Weibel und Andrea Wolfensberger ihre Arbeiten aus und taten in einen Dialog mit den Kunsthist-orikerinnen: Irene Müller, Irene und Pia Schubiger, Susann Wintsch, Annina Zimmermann und Isabel Zürcher. Sie schrieben in Zusammenarbeit mit den Künstlerinnen die Ausstellungen begleitenden Texte. 2004 startete BEI TWEAKLAB mit einem zweiten Projektteil, den Irene Schubiger und Hildegard Spielhofer zusammen entwickelt haben. Im zweiten Projektteil wurde der Fokus auf Labor und Vermittlung verstärkt. KünstlerInnen erhielten die Möglichkeit Arbeiten im Bereich der elektro-nischen Medien zu produzieren und auszustellen. Die Ausstellungen wurden von ausführlicheren Texten begleitet. Im Werkgespräch konnte der künstlerische Entstehungsprozess und die installative Umsetzung diskutiert werden. Für die Leitung des Werkgesprächs und die Texte war die Kunsthistorikerin Irene Schubiger verantwortlich. Für die Ausstellungen BEI TWEAKLAB 2004 wurden Anna Weber, Claudio Moser, Matthias Kuhn und Köppl/Zacek ausgewählt.
PORTOBELLO
978-3-03746-101-3
CHF 32.00 / EUR 19.50 / USD 32.00
edition fink Zürich
Mit PORTOBELLO legt Hildegard Spielhofer ihre erste Publikation vor. Der sorgfältig und raffiniert gestaltete Bildband zeigt zahlreiche Fotografien aus der Arbeit PORTOBELLO und vertieft den Kontext der Arbeit mit zwei präzisen Texten von Maja Naef und Adam Szymczyk.
Spielhofers Werk ist äusserst vielschichtig. Zwischen Installation, Video und Fotografie, Solo- und Teamwork entwickelt sie Projekte von grosser Dichte. Für PORTOBELLO hat sie während sieben Jahren den selben Ort mehrmals aufgesucht und einem fotografischen Prozess unterzogen: einen entlegenen, verlassenen Strand an der Nordküste Sardiniens. An diesem abgeschiedenen Ort hat sie ein gestrandetes Boot gefunden.
Maja Naef beschreibt in ihrem Text den Arbeits-vorgang: «Dort fixiert sie die Kamera mit dem Stativ an einem bestimmten Ort, den sie für jede Aufnahme anders wählt. Sie öffnet die Kamera-linse bei einer Belichtungszeit von zwölf Minuten. Dann beginnt sie, mit einer Taschenlampe die Oberfläche des Bootes abzuleuchten. Als könnte dabei etwas hervortreten, was sich im Tageslicht nicht zeigt. Im Gegenteil; der starke Lichtstrahl der Taschenlampe durchleuchtet nichts und schafft auch keine Transparenz. Das Licht, welches der Apparat schliesslich aufnimmt, scheint die materielle Oberfläche des Schiffkörpers zu verschliessen. Er wird opak und schwer. Wie im Traum, wo sich die Zustände verkehren, bedrohlich werden und fremde Gesichter zutage treten.»
Die Fotografien aus PORTOBELLO sind von zauberischer Kraft und grossem Assoziations-potenzial. Adam Szymczyk schreibt: «The shipwreck serves as a monument to adventurous individual existence, to be contemplated in awe and silence.»
978-3-03746-101-3
CHF 32.00 / EUR 19.50 / USD 32.00
edition fink Zürich
Mit PORTOBELLO legt Hildegard Spielhofer ihre erste Publikation vor. Der sorgfältig und raffiniert gestaltete Bildband zeigt zahlreiche Fotografien aus der Arbeit PORTOBELLO und vertieft den Kontext der Arbeit mit zwei präzisen Texten von Maja Naef und Adam Szymczyk.
Spielhofers Werk ist äusserst vielschichtig. Zwischen Installation, Video und Fotografie, Solo- und Teamwork entwickelt sie Projekte von grosser Dichte. Für PORTOBELLO hat sie während sieben Jahren den selben Ort mehrmals aufgesucht und einem fotografischen Prozess unterzogen: einen entlegenen, verlassenen Strand an der Nordküste Sardiniens. An diesem abgeschiedenen Ort hat sie ein gestrandetes Boot gefunden.
Maja Naef beschreibt in ihrem Text den Arbeits-vorgang: «Dort fixiert sie die Kamera mit dem Stativ an einem bestimmten Ort, den sie für jede Aufnahme anders wählt. Sie öffnet die Kamera-linse bei einer Belichtungszeit von zwölf Minuten. Dann beginnt sie, mit einer Taschenlampe die Oberfläche des Bootes abzuleuchten. Als könnte dabei etwas hervortreten, was sich im Tageslicht nicht zeigt. Im Gegenteil; der starke Lichtstrahl der Taschenlampe durchleuchtet nichts und schafft auch keine Transparenz. Das Licht, welches der Apparat schliesslich aufnimmt, scheint die materielle Oberfläche des Schiffkörpers zu verschliessen. Er wird opak und schwer. Wie im Traum, wo sich die Zustände verkehren, bedrohlich werden und fremde Gesichter zutage treten.»
Die Fotografien aus PORTOBELLO sind von zauberischer Kraft und grossem Assoziations-potenzial. Adam Szymczyk schreibt: «The shipwreck serves as a monument to adventurous individual existence, to be contemplated in awe and silence.»
CONTACT
HILDEGARD SPIELHOFER
lives and works in Basel | Switzerland
For all inquiries:
office@hildegardspielhofer.ch
Further movies:
http://compiler.moviepool.ch
To receive occasional emails about upcoming events, join the Hildegard Spielhofer mailing list:
This website was designed by
ILE FLOTTANTE fabrique
www.ileflottante.ch
and programmed by
Julien Félix
www.julienfelix.com
Special thanks to
www.tweaklab.org
lives and works in Basel | Switzerland
For all inquiries:
office@hildegardspielhofer.ch
Further movies:
http://compiler.moviepool.ch
To receive occasional emails about upcoming events, join the Hildegard Spielhofer mailing list:
This website was designed by
ILE FLOTTANTE fabrique
www.ileflottante.ch
and programmed by
Julien Félix
www.julienfelix.com
Special thanks to
www.tweaklab.org