Building D & Container

Thu 28.10. – Sun 31.10.2010

Shift in Progress offers students at Swiss art schools an opportunity to present work on the Festival theme. This year's selection encompasses fifteen projects by students from the Academy of Art and Design at the University of Northwestern Switzerland (FHNW HGK), Zurich University of the Arts (ZHdK), Lucerne University of Applied Sciences and Arts (HSLU), Berne University of the Arts (HKB) and two institutions in Switzerland’s west: Geneva University of Art and Design (HEAD) and University of Art and Design Lausanne (ECAL). A new departure for Shift is the cooperation with a different foreign university each year, in this first instance with Media Lab of Aalto University in Helsinki, Finland.

On Friday 29.10. from 14.00–16:00h open discussions with participants in Shift in Progress will take place. On Saturday 30.10. at 14.00h Pipsa Asiala of Media Lab Helsinki and Päivi Meros of the Cartes Center of Art and Technology Espoo will talk about media art in Finland.

Curated by Martina Venanzoni.

Guided tours Exhibition & Shift in Progress

Thu 20.30 h
Fri 13.00 h und 20.00 h
Sat 13.00 h und 20.00 h
Sun 13.00 h
Guided tour in english Sun 16.00 h

Meeting point: Exhibition hall entrance



(*2007, Zürich / CH, lives in Lausanne & Zürich / CH)

Black Box

Building D

"Black Box > Metaphor > Brain > Processes > Unknown > Interaction > Stimuli > Black > Psyche > Translation > Medial Space > Sound > Heartbeat > Machine > Revolving Mechanism > Stage Set > Baroque > Renaissance > Perspective > Mirror > Optical Illusion > Anamorphosis > UV Light > Digital Images > Mix > Circus Attraction > Childhood Memories > 4 Linguistic Regions > Switzerland > Radio Plays > Comics > Books > TV Programmes > Advertising > Fairy Tales > Young Child > 3–7 Years Old > Emotional Influences > Culture > Identity > The Collective Subconscious > Deconstruction > Remembrance > Known World."

Sabrina Davatz

(*1976, Basel / CH, lives in Basel / CH)

Sarah Graf

(*1980, Luzern / CH, lives in Basel / CH)

Monty Python and the Holy Grail (2010)


Building D

On ten monitors one can see various faces reacting to the film "Monty Python and the Holy Grail" which is playing in the background. The viewers' reactions to the cult film vary enormously, depending on their personal memories and ways of seeing things. The film is on the one hand
ʻrediscoveredʼ while simultaneously memories of having seen it are re-evoked. This clearly demonstrates the limits and the selective nature of memory: what remains in one's mind and what is lost?

Jannik Giger

(*1985, Basel / CH, lebt / lives in Basel / CH)

Opus Fatalis

The series of compositions
ʻOpus Fatalisʼ is both a reinterpretation and distortion of what are in part very old and foreign ideas and sounds. Citations and fragments of work by Johann Sebastian Bach through Antonín Dvořák to Georg Friedrich Haas were sampled and collated in an archive of foreign sounds from diverse eras. In juxtaposing and alienating these fragments and interweaving them with his own sounds, Giger gives rise to new musical contexts and realities.
Participants: Pascal Schärli, Tobias Schläfli and Elia Rediger

Annett Raatz

(*1979, Halle-Neustadt / D, lives in Leipzig / D & Genf / CH)

Franziska Gilbert

(*1981, Dresden / D, lives in Berlin / D & Genf / CH)

Ziel, Ablenkung, Neuausrichtung
HEAD / Hochschule für Grafik und Buchkunst Leipzig / Humboldt Universität zu Berlin

Building D

A midsummer-night-long observation of a moth that flies towards a source of light, time and time again...

Calculated motion and its translation into sound and image demonstrate a moth's endeavour to pursue a straight flight path. When the moth mistakes a lamp for its usual reference point, the moon, it becomes caught up in an endless spiralling flight: it recoils and flutters aimlessly before re-embarking on its goal-oriented cycle, only to become distracted and confused, and to launch itself repeatedly towards the source of light

Christine Hasler

(*1987, Jegenstorf / CH, lives in Bern / CH)

Work in Progress. Working Process

Building D

The process of creating a work of art is generally informed by many influences and impressions. There's hardly an artist alive who can avoid being influenced by his or her role models or predecessors. Various texts by Christine Hasler's role models and other sources of inspiration can be heard over loudspeakers while a video of her own performance is projected on the ground. In juxtaposing these elements Hasler asks firstly, what comprises the actual artwork – the supplanted form, the video or the performance – and, secondly, to what extent her role models may have influenced it.

Sara Jacobsen

(*1975, Chimney Rock / USA, lives in Helsinki / FIN)

Immersive Bauhaus
Media Lab Helsinki

Building D
Original Video: Courtesy of Harri Kivilinna

Many Bauhaus School buildings no longer serve their original purpose, yet these former residences and workshops still influence their surroundings today – even if in a different way than before. With her video installation
ʻImmersive Bauhausʼ, Sara Jacobsen draws on footage of the Bauhaus buildings in Dessau to visually crystallize original Bauhaus theories. Primary colours, theories of form, geometric compositions and lighting design influence the design of the installation.
Original Video: Courtesy of Harri Kivilinna.


Martin Chramosta

(*1982, Basel / CH, lives in Basel / CH)

Jannik Giger

(*1985, Basel / CH, lives in Basel / CH)

Pascal Schärli

(*1986, Bern / CH, lives in Bern / CH)

Find Yourself In A Lost Memory

In this age of digital cameras, the more classic means of creating or presenting images – analogue photography, for example, or the slideshow – are becoming increasingly rare. Yet one special way of presenting an image can still be found on the fairground, namely the wooden Ê»body switcherʼ template. Whoever pops his head through the hole is transformed into a knight, an animal, a fair maiden or whatever. LSDAP combine the body switcher and the slideshow in a cryptic and surprising manner. The one medium is technically passé, while the other pragmatically unsophisticated enough to evade any risks posed by technical progress. Together they give rise to an individual souvenir, a bridge between the past and the present.

Philipp Madörin

(*1976, Basel / CH, lives in Basel / CH)


Building D

Ê»tubeʼ part of the name YouTube is a reference to the cathode ray tube found in early electronic monitors. As tube TV and monitors are practically a thing of the past it seems strange to see an internet portal use this term in its name. The Ê»ReTubeʼ project consists of presenting YouTube clips on an old b/w tube-monitor, then using a tube-camera to film these screenings before ultimately uploading the results back on to YouTube. The original YouTube clip is no longer the same. Distortions caused by tube-technology, visitors' interactions and the surrounding lighting effects give rise to new visual content. 

Nara Pfister

(*1981, Basel / CH, lives in Zürich / CH)

Play me
Building D

A white plaster cast of a bone mounted on the spindle of an old record player turns on its own axis. This construction is a reference to kinetic sculptures of the 1950s and also, on account of the revolving
ʻboneʼ, triggers associations with our own mortality. Nara Pfister's sculpture only hints at such overtones, however, a touch of irony allowing their playful dimensions to unfold within the rickety, filigree technology.

Ian Purnell

(*1988, Liestal / CH, lives in Berlin / D)

safeguard (2010)

Building D

“I make a video of a video and save it.”
As soon as an audiovisual project is complete the process of preserving it begins. In his film Ian Purnell has addressed the issues of preservation and conservation as part and parcel of the artistic process. ʻabsichernʼ" is devoted entirely to the question of the film's own physical consistence and fate, for the recorded images are to be preserved for all eternity – "an undertaking that, with today's technology or at least with that of yesteryear, must surely be possible."

Angelika Schori

(*1981, Basel / CH, lives in Basel / CH)

Itsy Bitsy


The source material for ʻItsy Bitsyʼ is a 16mm American vintage glamour film with a simple plot: four young ladies are enjoying themselves in and around a swimming pool. The original titles of the sequence list –– ʻA swimming poolʼ – ʻA woman sits on its edgeʼ – ʻShe plays with a huge beach ballʼ – ʼTwo naked beauties jump inʼ and so forth – were fed into YouTube's search engine. The YouTube clips subsequently indicated were superimposed on the film at random, to generate constantly changing visuals

Oliver Schwarz

(*1986, Bern / CH, lives in Littau / CH)

Standstill (2010)


Building D

Everything appears to be frozen and at a standstill in the seedy hotel in the middle of nowhere. A recluse with a mysterious figure on his tail is fighting a battle with himself. His childhood flashes before his mind's eye, underpinned by a haunting melody, and ultimately leads him back to a different reality. 

Timo Ullmann

(*1987, Luzern / CH, lives in Luzern / CH)

The Observatory I

L'Osservatore Iʼ is not a film still but a still film. Movements in the film are minimal and perceptible only at second glance. The eleven characters – all of which are played by the author – directly observe the viewers, whose shadows fall menacingly across the film set. A rapidly diminishing lit cigarette symbolises the passage of time. All things considered, a dangerous, yet also seductive tension fills the room. What on earth are these staged characters doing in today's world? Was haben die inszenierten Figuren in unserer heutigen Welt zu suchen? Who`s lost? Who`s found?

Laurie Vannaz

(*1987, Châtel-St-Denis / F, lives in Thônex / CH)

Fabrice Rossel

(*1987, Péry / CH, lives in Thônex / CH)

Bunk Here

Building D

The project
ʻBunk Hereʼ addresses the history of the Swiss bunkers built during WWII, which have since been abandoned and left to rot. Vannaz and Rossel invent a story that could unfold in the bunkers, in which people took refuge for a variety of reasons. The people's actions are shown on three interacting screens. Concrete information on the people and the reasons for their presence is consciously withheld, however; the main focus is the space itself and its atmosphere.