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Artist in Residence 2019

31.05.2019

Gina Folly (b. 1983) is a Swiss artist who lives and works in Paris and Basel. She completed an MA at ZHdK, Zürich in 2014.

She is interested in a multitude of cultural and social phenomena. Plants, animals, as well as everyday objects and situations play a vital role in her work. She examines how those imitate nature and contribute to artificially build and shape our daily environment, forming new ways of being. Such confrontation between humans and their natural surrounding is translated in Folly’s installations, ceramic objects and photography.

Her work has been the subject of a solo show at Ginevra Gambino, Koln, Germany (April 2017); Almanac, London, UK (2016); Gina Folly et Elle&Antélio en conversation, Tunnel Tunnel, Lausanne, CH (2016); Soon is now, SPREEZ, Munich, CH; (2015) New Conditions, Ermes-Ermes, Rome, IT (2015); Me You 2, with Lene Adler Petersen, Space Is The Place, Basel, CH (2015); Ströme, with Mandla Reuter, S.A.L.T.S., Birsfelden, CH (2015). Selected group shows: in 2016 Adrift on Plastic Island, Galerie Bernhard, Zurich, CH; Body pt. 1 (zombie), Ginevra Gambino, Cologne, D; L’etat parfait, Freymond-Guth Fine Arts, Basel, CH; A MYSTICAL STAIRCASE, curated by Francesco Urbano Ragazzi for 63rd77thspeps.com; Some of My Best Friends Are Germs, Le Doc, Paris, FR; The Free Design, Art Bärtschi & Cie, Geneve, CH. Since 2013 she runs the artist space ‘Taylor Macklin’ in Zurich together with Selina Grüter and Michèle Graf.

Artist in Residence 2019

31.05.2019

Laurence Sturla (b. 1992) is a British artist primarily working in ceramics, currently living and working in Vienna.

Viewing works not purely as objects, but rather highlighting their capacity to interact and converse with their surrounding/audience, Sturla’s work aims to conflate the distance between human and non-human. By levelling the parameters, dialectics such as form and function, or thought and language are suspended as though in mid-air, as exaggerations, caricatures of their formerly rigid categorisations. With works acting as hybrids of history and fantasy, they enter the framework of a society rooted in the ghosts of industrialisation, nodding to how our notions of the present are composed. Honest fantasies recall histories which have been subject to a biased memory, reshaping and reinterpreting how we feel about the present and look towards the future.

Laurence Sturla lives and works in Vienna. His work has recently been exhibited at Pina, Vienna, (2018); Goswell Road, Paris, France (2017).

Artist in Residence 2019

31.05.2019

Nicolas Deshayes

Nicolas Deshayes (b. 1983) is a French artist who lives and works in London and Dover. He completed an MA in Sculpture at the Royal College of Art in 2009 and a BA in Sculpture at Chelsea College of Art and Design in 2005.

Working primarily with various methods of industrial casting, Nicolas Deshayes’s sculptures tend to be hard, made from materials such as plastic, ceramic, vitreous enamel, aluminium or cast iron. Formally, however, his works reference soft, moving and malleable things; things that are alive and functioning. Recent sculptures have been made from glazed earthenware, fabricated using a slip-casting process in Veneto, Italy. Reminiscent of traditional domestic washbasins in their forms and colouring, they are also variably abstract and painterly, each with their own composition. Like vessels turned inside out, or bulging body parts, Deshayes’s ceramic sculptures play with positive and negative space.

Nicolas Deshayes’s work has been the subject of solo exhibitions at Stuart Shave Modern Art, London (2019); Battersea Park’s Pleasure Gardens, Pumphouse Gallery, London (2018); Basement Roma, Rome, Italy (2018); Fonderia Artistica Battaglia, Milan, Italy (2016); Glasgow Sculpture Studios, Glasgow (2015); Tate, St. Ives, Cornwall (2015); S1 Artspace, Sheffield (2013); His work has been included in group exhibitions at FRAC Grand Large, Dunkirk, France (2018); FRAC Ile de France, Chateau de Rentilly, Bussy-Saint-Martin, France (2018); Tate St Ives, Cornwall (2017); Drawing Room, London (2017); Inverleith House, Edinburgh (2016); Polish Institute, Berlin, Germany (2016); Eastside Projects, Birmingham (2016); Fridericianum, Kassel, Germany (2015); Leeds City Art Gallery, Leeds (2015); Kestnergesellschaft, Hannover (2014) and David Roberts Art Foundation, London (2014).

Exhibition Design

31.05.2019

For the first time the final exhibition of the Thun Ceramic Residency will not be brought together by a curator, but we are honoured to welcome back Giles Round (resident in 2017) as exhibition designer.

Giles Round (b. 1976) lives and works in London, United Kingdom. He graduated from a BA at Middlesex and subsequently an MA from the Royal College of Art, London. His practice ranges across several media and includes design, ready made and ceramic objects, architectural screens and paintings among others. His installations often unfold as spaces for potential habitation, allowing the viewer to project themselves into the work.

Solo Exhibitions include The Director, The Hepworth Wakefield, West Yorkshire (2018); 1967, Goswell Road, Paris, (2018); They bow. Curtain. No applause., Spike Island, Bristol, (2017) and We live in the office, The Architecture Gallery, RIBA, London, (2016). He is also the art director for Serpentine Galleries General Ecology series The Shape of the Circle in the Mind of a Fish, (2018 to present). Amongst other books he designed the monograph Edge of Tomorrow – Lucy Raven, together with Roland Brauchli, published by Koenig London, (2017). He was in charge of the exhibition design with Andrés Ros Soto, Magnificent Obsessions at Sainsbury Centre, Norfolk, 2016 and  Francis Bacon & the Masters, (2015). He created the set design for live and filmed works of artist Cally Spooner including And You Were Wonderful, On Stage, (2013 – 2015) and He’s In A Great Place!, BMW Live Performance Room commission, Tate Modern, London, (2014). Further on Giles oversaw the exhibition design and curation, Ljubljana, 1955, (2015). [Partially recreated in Repétition, Villa Empain, Brussels, 2016] as well as The Influence of Furniture on Love, together with Lotte Juul Petersen at Wysing Farmhouse, Cambridgeshire, (2014).

Artist in Residence 2018

21.05.2018

Adriano Costa

Adriano Costa (b. 1975) is a Brazilian artist working and living between São Paulo and Europe. He graduated with a BA in art from the Universidade de São Paulo.

Costa’s sculptures and installations update the modernist and Minimalist legacies of geometric abstraction for contemporary Brazil through the use of everyday objects. His work also speaks to the lingering traces of colonialism, queer history and the potential of a localized artistic tradition. Applying a feel for compositional harmony, the artist disregards the objects’ original functions and combines them according to form, highlighting their visual relationships through strategic rearrangement. Costa’s works are usually installed chaotically across exhibition spaces in a style that the artist has dubbed “pre-sculptoric.” His avoidance of the pedestal and the frame highlights the vernacular aspect of the objects he uses and emphasizes their deviation from art-historical tradition.

Recent solo exhibitions include: We Chose Life . What Now, Georg? Tshirts ?, Mendes Wood DM, São Paulo (2018); wetANDsomeOLDstuffVANDALIZEDbyTHEartist, Kölnischer Kunstverein, Cologne (2018); B A  I   L    E, Instituto Tomie Ohtake, São Paulo (2018); DearMeatCutsDevilMayCry, David Kordansky Gallery, Los Angeles (2016); Every Camel Tells a Story, Mendes Wood DM, São Paulo (2015). Recent group exhibitions include Everyday Poetics, Seattle Art Museum, Seattle (2017); Frucht & Faulheit, Lothringer13 Halle, Munich (2017); IMAGINE BRAZIL, Astrup Fearnley Museet, Oslo & Musee D’Art Contemporain de Lyon, France (2014).

Artist in Residence 2018

21.05.2018

Hella Gerlach

Hella Gerlach (b. 1977) is a German artist based in Berlin. She studied experimental sculpture at the Kunstakademie Düsseldorf, art history at the University of Cologne and design at the Cologne International School of Design.

Sculpture, object, installation, scent, performance and sound…The interrelationship between architectural, physical (human) and social bodies lies at the core of Hella Gerlach’s artistic practice. She produces ephemeral works out of ceramic and industrially manufactured fabrics. Her sculptures recall theories of embodiment, which underscore the physical, epistemological and situational aspects of subject formation. For Gerlach sculpture is not a static object. Her works aim instead to provoke a particularly physical or embodied experience/dialogue with the viewer (or user) through the deployments of elastic materiality, evocative surfaces, kinetic movement, ephemeral scents and sounds, and interactive devices. Together, these contrive to interweave the body of the viewer, the artwork and the space of display into a connected field of action.

Recent and forthcoming exhibitions took place at the Kunstverein Jesteburg (2018), Berliner Festspiele (2017), Kunstverein Braunschweig (2016), Bargehouse, London (2016), Palazzo Fruscione, Salerno (2016), Asia-Pacific-Center, Seoul (2015), Galeria Acappella, Naples (2015) Kunstverein Hildesheim/Roemer-Pelizaeus Museum, Hildesheim (2014), Kunstverein Langenhagen, (2013) Goethe Institut, Glasgow (2013) Kunstverein Schwerin/Museum Schloss Schwerin (2013) Mark Morgan Perez Garage, Buenos Aires (2010).

Artist in Residence 2018

21.05.2018

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Paloma Proudfoot (b.1992) is an English artist living and working in London. Proudfoot studied her BA (Sculpture) at Edinburgh College of Art graduating in 2014 before completing her MA (Sculpture) at Royal College of Art in 2017.

Proudfoot uses sculptural objects as characters, a set of players that repeat, morph and re-emerge across different works through installation and performance. Using slip-casting to make hollow ceramic husks, Proudfoot manipulates these casts creating concave cheeks, gutted bellies and protruding spouts. These shallows and openings transform the objects into vessels, creating opportunities to fill their emptiness with materials that perish or metamorphose over time. Drying and decaying eggs, flowers, berries, home-brewed alcohol and bath salts mould over and alloy to the ceramics exposing their vulnerability and interrupting the immutability of the medium. Transposing her experience in clothes-making techniques to clay, Proudfoot also uses pattern-cutting methods to slab build figurative work, playing between the two-dimensional pattern pieces and three-dimensional forms they make up.

Recent and forthcoming solo exhibitions include The Detachable Head Serves as a Cup, Cob Gallery, London (2018); The Bin Room, Stryx Gallery, Birmingham (2017); There is One Missing From Your Bunch, May Projects, London (2016) and The Jockey, Edinburgh Sculpture Workshop (2015). Recent and forthcoming group exhibitions include Becoming Plant, Tenderpixel, London; La Louisiana, Sans Titre, Paris; The Clean Carcass of the Host, Marso Galeria, Mexico City (with Galerie Sultana and Sans Titre for Condo Mexico) (all 2017).

Curator 2018

21.05.2018

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Melissa Canbaz is a writer and curator based in Berlin, where she currently works at Haus der Kulturen der Welt. She is one of the founding members of the working group Stations, a nomadic platform that engages with discussions around forms of collaboration and dialogue within the context of exhibition making. Her recent curatorial projects are the group show Llave Cadena (Transpositions) at Alto Refugio in Buenos Aires (2017), with works by Victoria Colmegna, Chris Kraus, Valentina Liernur and Amelie von Wulffen, and the solo show with Jonas Lipps at Gallery Celine in Glasgow (2017). She is a regular contributor to various magazines and artists’ publications.

Artist in Residence 2017

09.06.2017

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Giles Round (b. 1976) lives and works in London, United Kingdom. He graduated from a BA at Middlesex and subsequently an MA from the Royal College of Art, London. His works are dense with historical references, often comic and materially various. Giles creates sculptures and assemblages composed of an array of materials, which includes ready made and ceramic objects, architectural screens and paintings. In his exhibitions he arranges these objects so as to divide space and invite a directed movement around a room. He appropriates craft and design into an art context in an attempt to collapse the hierarchies of applied and fine arts. More mischevous undertones are often camouflaged by safe and interior aesthetics.A firm believer that design and architecture play an active role in well-being, Giles’ work uses these tactics to create immersive and thought-provoking viewer experiences.

Recent solo and collaborative exhibitions include: They bow. Curtain. No applause., Spike Island, Bristol (2017); Design Work Leisure, part of ‘Underline’, Art on the Underground, London, (2015–2016); Printshop!, with Edwin Pickstone, Tramway, Glasgow, (2016); Ettore. Sorry!, J.W.Anderson Workshops, London, (2016); Ljubljana, 1955, Galerija Jakopič, part of Over you/you, 31st Biennial of Graphic Arts, Ljubljana, (2015); AGAIN! SORRY! AGAIN! SORRY!, YOUNG TEAM, London, (2015); The Grantchester Pottery paints the stage, Jerwood Visual Arts, London, (2015)

Artist in Residence 2017

09.06.2017

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Lindsay Lawson (b. 1982) is an American artist based in Berlin, Germany. Lindsay studied fine arts UCLA in 2007 (MFA, New Genres Program) and was Guest Student with Judith Hopf at the Städelschule, Frankfurt am Main). Spanning film, installation, photo, sculpture, performance and text, the Berlin-based artist “investigates states of infatuation” with the objects she chooses to engage with. This object oriented ontology manifests itself by collecting objects either physically or virtually and re-contextualizing them so that the emotions they elicit become evident, thereby exposing their inner lives. Her interest in shifting understandings of an object’s agency is in line with schools of thought such as object-oriented  new materialism and speculative realism.

Lindsay’s most recent solo exhibitions were Agency, 8-11, Toronto, Canada (2017); Dear Stranger, with Jenine Marsh, Entrée, Bergen, Norway (2017); Arrangements, 1646, The Hague, Netherlands (2016); Lampshading, Canapé Canopy, Auckland, New Zealand (2016) and The Inner Lives of Objects, Gillmeier Rech, Berlin (2016)