Jürg Lehni, Flood Fill – Verbs, 2016

Flood Fill – Verbs, Jürg Lehni

Jürg Lehni uses the Flood Fill algorithm that he already modified and further developed for his 2003 work Flood Fill – Global Warning to visualize verbs from Richard Serra’s Verb List of 1967-68. On two pieces of paper, which are now part of the collection of MoMA in New York, Serra listed 84 verbs and 24 contexts in which the verbs could be found. Based on his famous slogan “Drawing is a verb”, Serra saw the list as a stock of actions related to oneself and to the material, location and process of art.

Jürg Lehni / Guy Meldem, Flood Fill – Global Warning, 2003

Flood Fill – Global Warning, Jürg Lehni / Guy Meldem

With the six video animations that make up Flood Fill – Global Warning, the artists Jürg Lehni and Guy Meldem announce an absurd warning: “Animals & Plants steal our vital energy! Act before it’s too late!” The vital energy is visualized as an empty, geometric net, which a cat, for instance, pulls out of a woman’s brain. 

Yves Netzhammer, Vororte des Körpers, 2012, still

Vororte des Körpers, Yves Netzhammer

Vororte der Körper is a consistent animation, which casts the film medium back on its origin, the image. Beginning with divers on an ocean platform, the viewer plunges simultaneously through pictorial spaces in pictorial worlds, whose associative inner logic collides with the routines of conventional narration.

Hervé Graumann, Raoul A. Pictor cherche son style, 1993, installation view

Raoul A. Pictor cherche son style, Hervé Graumann

On the tiny monitor of a Macintosh Colour Classic Computer, Hervé Graumann created a painstakingly detailed artist's studio for his protagonist Raoul A. Pictor, upon whose artistic activity he has continued to expand in subsequent years. 

Yves Netzhammer, Dialogischer Abrieb, 2011, still

Dialogischer Abrieb, Yves Netzhammer

The metaphorically applied storyline of a dialogue in the form of a car crash, in which two subjects approach each other in slow motion and finally collide, provides the formal structure of the film. Mutual dependencies and influences are illustrated symbolically. 

Jonas Baumann, The Touch of Vacuum, 2014, still

A Touch of Vacuum, Jonas Baumann

In Jonas Baumann's A Touch of Vacuum, a loose series of short, digitally generated moving sculptures, set before neutral, indefinitely open visual spaces, moves past the viewer. One sees, for instance, a white cross, which is touched by a piece of cloth with a strictly geometric pattern of black and white cubes that then falls over it to the ground – and one thinks immediately of a mixture between Malevich, Suprematism and early Mondrian.

Philipp Gasser, Der, der kommt, ist nicht der, den du erwartet hast, 1999, installation view

Der, der kommt, ist nicht der, den du erwartet hast, Philipp Gasser

Since his beginnings as an artist, Philipp Gasser's focus has been on drawing. This is still the case today, when he mainly works as a media artist. Although his animations are staged as simple projections, they exert a physical "pull" on the viewer, reaching outside the image to draw us in.

Philipp Gasser, Der moderne Mensch, 2000, still

Der moderne Mensch, Philipp Gasser

On the occasion of the new millennium, Philipp Gasser created Der moderne Mensch (The Modern Human) in order to address a new image of mankind that was supposed to accompany the change in millennium. In a normally lit exhibition room, a mirror is used to split a projection into two projections, onto both sides of a corner or two opposing walls.

Yves Netzhammer, Formales Gewissen, 2013, still

Formales Gewissen, Yves Netzhammer

Formales Gewissen (2013) represents the end of the trilogy begun by Dialogischer Abrieb (2011) and continued in Vororte der Körper (2012), in which Yves Netzhammer studied possible forms of interaction between human beings and their environment.

collectif_fact, ce qui arrive, 2005, screenshot

ce qui arrive, collectif_fact

The video animation ce qui arrive is a virtual tour though a large office building, whose anonymous corridors and meeting rooms could be anywhere in the western world. As the camera moves through the building on a horizontal or vertical path, the configurations of people in each room change through overlapping still images.