FRANÇAIS
  1. Antoine Weil

    05th of December 2020 -> 08th of December 2020


    Original text in French

    Hi!!

    I'm going to be in the shop for a few days. Not sure what I'm going to do there to be honest. I change my mind too often to get my mind set. At first I wanted to build a beach there and invoke Pamela Anderson. I also wanted to drink a 2L bottle of Coke Zero through a straw. It's a long time dream and this is a great opportunity to do it. I wanted to draw and fill the walls with faces.

    I'm not sure what will stick with me from all these ideas. Anyway, knowing me, I'm going to dance and sing a lot; bring too many clothes and have fun with it; put makeup on while watching Katya and Trixie on youtube (I'll put the link at the bottom, they're iconic); lay on the floor while listening to really good music (there's a spotify playlist link that I'll add to as I go along, watch out it's going to be very eclectic).
    Also, if I'm not there when you want to watch me, I made a best of video links of dance pieces that I binge watch weekly too late at night. Go watch them, they're so good!

    If you have any questions and/or music recommendations, you can DM me on insta @weilantoine

    Kiss kiss,
    Tony

    Documentation [www] Instagram, @weilantoine [audio] SABLI Soundclown playlist [video] UNHhhh, WOWPresents [video] Miguel Gutierrez, 2010, Heavens what have I done ? [video] CC: World – Meg Stuart, 2020, overtime [video] Lucinda Childs, 1978, Katema [video] Julian Weber, 2018, plateau (work in progress)_excerpts
  2. Felipe Nogueira

    12th of December 2020 -> 15th of December 2020


    Original text in French

    Here are the few projects I hope to accomplish during my residency at SABL.

    First, I plan to shoot a scene from an experimental short film that is intended to be a filmic adaptation of composer John Cage's 4"33.

    Secondly, I hoped to be able to reproduce as much as possible the conditions of isolation of a police custody and to subject myself to them again for ten hours. For the first five hours or so, I will have no distractions and will have to be satisfied with water to sustain myself. The second part, which will begin when I am delivered a meager meal, a book and a notebook, is intended to study the impact of the arrival of these objects on my body and mind.

    For the time I have left, I plan to write, read, listen to music, doze, and embrace the ideas that would come to me.

  3. MAGDA & EDEL
    Conjurings for a cotyledon

    06th of January 2021 -> 24th of January 2021


    Original text : French/English

    Comme une sensation de nausée. Calendriers cousus ou brûlés. Odeurs d’essence reparties sans discretion. Une masse d’écailles sous la gorge. L’italienne et son robot. Un rescapé et son double. Figurines pour une fin. Entre deux émissions, entre deux épîtres. Prière de déranger.

    Get ur own abacus or ditch. In parched-for-thirst union (with locations scrambled thicker than breakfast eggs) 2 little creatures come into hiding. How can they cram, cuddle or conjure a shadow for themselves? Themselves, ourselves, yourself.

    Stay tuned among the stars – send instructions to +41(0)779170882.

  4. Grégoire & Sandro

    07th of February 2021 -> 12th of February 2021


    Original text in French

    Art is shared in the same way that a story is shared, whether in the way it is conceived or in the way it is ultimately finished.
    During this weekend we will combine the two by offering an interpretation of Mesper's quest set in the universe of Teuchland. Through our art, we express the brotherhood of our duo and act in symbiosis to best express the story.
    We hope the journey will speak to you and touch you.

  5. CHARLEY klein

    27th of February 2021 -> 03th of March 2021


    Klein:Vision, ep
    1:OhcysPrologue
    Virtual experience of the Charley Klein’s darkroom¥
    Showtime all the Sunday. Are. You. Awake ? Or blind ?
    Be kind
    Be klein.

    Documentation [www] Instagram - Tiago [www] Instagram - CHARLEY klein [www] Instagram - De Nagi Gianni [www] Instagram - Tina Schwizgebel-Wang [www] Instagram - Kevin Banto [www] Instagram - Vanderlove letter [www] Instagram - Anaelle Amtutz
  6. Nicolas Alvarez

    27th of March 2021 -> 28th of March 2021


    Original text in French

    Pupil of by the miracle unknown thing finally - to be - in a presence
    Construction of which perhaps I far precisely draws maniac of our own servitude. The verse stops at the edge of the abyss of when sweat seems not there that to write without sense then to die without blood?
    Looks and faces of the stared at because only the look remains
    Broken glass thorax locked up palpitation and waiting what mask then? None.
    Let us go and enter the place.

    Some traces: XXXIV

    This place of in-between, purgatory, between earth and sky, between fingers, where elsewhere is only a here, a now, a there, where there is the act, where I open the material, that is, the body, space, time, text. There is the stage, where we come together, spectators and stage body. You are there, and I am there. But we won't see each other. Finally, you will see me, playing with these matters; playing with the there, with the trace; by the movement, by the figures, to configure and disfigure the space-time. Everything is matter, everything is physical, even the imaginary, especially the imaginary.
    And you will give reality to the work, to the fiction, through the resonant, vibrant device. "I, I" only pose it. Possession, exploration, possession exploration, possessionexploration, poessexplotion, expopoplosion.

    Concretely it will be about dance and poetry. The two are confused much. In this sense, always in improvisation, I will be in a process of research on the physical and mental movement, on the physiognomy of words, sounds, on the scenic and performative construction. During the time of occupation of the room, I will divide my research into two main parts. First, I will propose a scene that I will keep for the entrance exam of a performing arts school. I will rehearse it several times, until I feel I have a presentable scenic object. Once I've got it right, I'll launch into a long performance in which I'll listen to what the body and the walls tell me. Maybe some guests will join me in this place then charged with what will be there, and we will improvise together in reaction to what we feel.

    Documentation [www] Instagram - @bakunistasect [film] Performance au TicTac Art center - Nicolas Alvarez (2020) [audio] J'ai appris hier - Antonin Artaud (1947) [img] Un coup de dés - Stephane Mallarmé [film] Performance - Nikita Orlov (2019) [film] Performance - Nikita Orlov (2020) [film] Performance - Nikita Orlov (2020) [film] Solo - William Forsythe (2008) [film] Butoh Dance Performance in Japan - Roger Walch (2007) [film] Locomotion Research - Ido Portal (2010) [film] CHEY vs DYKENS | I LOVE THIS DANCE ALL STAR GAME (2018) [audio] To Composer John Cage - Anthony Braxton (2019) [audio] Want - The soft Moon (2012) [audio] Black Sabbath - The soft Moon (2020) [audio] Gnossienne No.1 (Extended) - Erik Satie (1866 - 1925) [audio] Crusades - Filmmaker (2019) [audio] Intent or Instinct - Pharmakon (2015) [audio] solo contra @ spectrum, 10/18/19 - John McCowen (2019) [audio] Gymnopedie III El Aurora III - Patricia Escudero (2015) [img] Café Müller - Pina Bausch (1978) [img] Bajazet en considération de la peste - Frank Castorf [img] Transfiguration - Olivier de Sagazan
  7. Felipe Nogueira

    05th of April 2021 -> 09th of April 2021


    Original text in French

    Dandruff / impatronize themselves, dictate the sentence, seize themselves in order to split themselves to the exhausted
    Jails / are erected, are confused in artifices, are objectified by the space that one besieges of troubles
    - / the endings vacillate, are irritated by their poetry, are insurgent against the perpetual, against the self, and, will die in some triumph
    /chancelling neo-literacy



    For my second residency at SABL, it will be appropriate to continue the reflections, already started during my first residency, around the cinematographic thing, the isolation and the time. 

    The performance will take place over 5 days.
    It will involve watching extremely long films in their entirety every day. 
    The duration of these films varies between 7h30 and 14h approximately. The list of films is as follows: 

    - Le Tango de Satan, Béla Tarr, 1994, 7h30
    - A l'ouest des rails, Wang Bing, 2003, 9h16
    - Shoah, Claude Lanzmann, 1985, 10h13
    - Out 1, Noli Me Tangere, Jacques Rivette, 1971, 20h30
    - La flor, Mariano Llinás, 2018, 13h53

    If the aforementioned themes necessarily enjoin the highlighting of our problematic relationship to the screens, our capacity of attention which is waning and the over-information, there does not lie the first intention of this performance. Indeed, my performances have for purpose to be perfectly anti-spectacular, to register in the anti-"spectaclist" filiation. To subject oneself to (observe) my performances is a waste of time insofar as they turn out to be completely unproductive. Unproductive because they tear themselves away from the spectacular time, they only serve to search for boredom and meaning through it. In breaths of a Weltanschauung which is objective, these performances are distilled. However, they will become insidiously in breaths of insanity: fatally anhelize in front of the incongruence between what strives to the disalienation and its inexorable production of the spectacular.


    I've enacted a multitude of strict rules. No talking on the phone, no discussion other than about the details of the film, no interrupting the performance, one break per 3 hours of film (rather, take breaks in the film itself);

    It will be allowed to sleep, to bring one's own food and to eat it (as long as it does not cause too much discomfort to the other spectators), to stand up to stretch one's legs, to smoke.

    Some spectators may accompany me during the performance, but they will have the possibility to interrupt the experience at any time, or possibly to leave for a few hours and come back later.

    I reserve the right, as guarantor of the state of the SABL, to evict people who do not comply with the rules set forth and communicated before each session.

    Documentation [book] La société du spectacle, Guy Debord, 1967 [book] Boredom and Art: Passions of the Will to Boredom, Julian Jason Haladyn, 2015 [video] 0’00’’, John Cage, 1962 [img] Caverna dell'antimateria, Giuseppe « Pinot » Gallizio, 1959 [film] La Mort de Louis XIV, Albert Serra, 2016
  8. Montserrat Mayor
    Agathe de Limoges
    AS DE PIC DE MIDI À MINUIT

    08th of May 2021 -> 08th of May 2021


    Original text in French

    Part 1.2 - Proposal of a non-stop day in the open air, and 100% costumes, from 12h to 00h.

    Picnic, spinning salad in helicopter and frisbee
    Intense tanning, shorts t-shirt sunglasses sun cream and reading texts, moreover I was told that under the parasol
    sunscreen is necessary
    then the infernal schreadder, the one that allows us to burn the old stuff.
    We play roles, alter-egos then we will create one more and we will film each other and at the same time, in an infernal whirlwind of filming.
    A new game is a disguised but necessary sting, so we'll have a laughing contest for 1 hour non-stop.
    We'll delve into the future and past by drawing light cards with candles and all the mess
    Infernal costumes, bobo rock concert with microphone, wails, maracas, piano/keyboard and a note.
    Once, an off-time dance party for two and a beautiful masquerade, then
    "C'est la fin des haricots" as they say.

    demidiàminuit, video, 4min, Montserrat Mayor & Agathe de limoges, 2021

  9. Daniel PRENLELOUP, Monica UNSER, Robert ZAMBONI
    in absentia

    24th of May 2021 -> 27th of May 2021


    A trial in absentia – is a criminal proceeding in a court of law which takes place without the presence of the accused.  

    read : e-mail conversation
    A body in a chamber, some sounds break the silence. Bumps and thuds mark the time. A time out of date, a time without reference. A prisoner, but not one of the space. It wants to escape, yet the question is not where, but when.

    in absentia began first of all as a critical look at SABL's exhibition platform, referring to our interaction with it, not only as artists in residence but also as spectators. A mailing list hosting a critical brainstorming on the nature of the space constituted our preliminary approach to the work intended for it. In an extension of SABL, what came into being was a space of cohabitation and care, namely an affective network.
    The result has been the effort to escape from the ordinary bonds between subject and space, imagining a body and its temporality beyond the material presence. What does a live transmission mean for the creation and reception of images? How can a space like SABL question all those mutual forces involved in our post-presence time?
    We decided to deal with those questions, presenting the space itself as if we had been a customary user, namely through the cameras that constitute the very site and exhibitory space. A 3D surrogate of SABL has been prepared from the camera’s viewpoint, a specular image that became the interface to address a choral tale. To a situation that tacitly implies a presence subject to the voyeuristic gaze of the cameras, we decided to respond with an absence. The artists are not there, rather a placeholder acts in their place.
    A projection of a 3D reconstruction of SABL's space rests on a corner of the room itself as if to cover it with a texture, or to reveal its underlying virtuality, like a scanning gaze that reduces spaces and materials to the hyper-image of their model. A rectangular hole shows the naked mesh. Sounds fill the room evoking the image of a body intent on training. Rhythms hint at a code; subtitles act as an intelligible interface to the thought of the figure, referring to the flat gaze of the camera that constitutes SABL itself. What originated is a game of layered surfaces: the bi-dimensional surface of our screens projecting the framings of SABL’s cameras, the materiality of SABL’s room and once again the flat veil of the 3D image projected onto the walls.


    Documentation [text] Bruce Sterling, Shaping Things, MIT University Press (Chicago) 2007 [text] Anselm Kiefer, Notizbücher, band I, Suhrkamp (Berlin) 2011 [text] Giorgio Agamben, Stasis. Guerra Civile come paradigma politico, Bollati Boringheri (Milano) 2015 [text] Hito Steyerl, Duty Free Art. Art in the time of the global civil war, Verso 2015 [text] Paul Virilio, L’intertie polaire, Christian Bourgeois Editeur 1990 [text] Nicolas Bourriaud, Esthétique relationelle, Les Presses du réel 1998 [text] Omar Khoeif, You Are Here - Art after the internet, Cornerhouse, SPACE 2014
  10. Antoine Félix BÜRCHER
    May 30, 2021 walk

    28th of May 2021 -> 31th of May 2021


    Original text in French

    First, I have to build the conditions for the imaginary space to exist.

    Then, at an unexpected moment, I come into the space for few hours.
    For a while, I am in the space and I explore.
    An empty room without windows, between four concrete walls,
    spied on by surveillance cameras, without blind spots.
    It's dark, I can be seen,
    I can't see anything.

    The infrared vision of the cameras.
    I hear.
    I explore a sound space activated by the deplacement of my body.
    Traces left on the ground as I pass.
    The traces are witnesses of the passing of time.
    The times are superimposed, the traces allow the sound to stay.

    This imaginary space is a park.
    I accompany you between the tree trunks, along the streams,
    when it rains and when it blows.
    A heavenly synthetic voice is our guide.

    At an unexpected moment, I come a few hours in space.
    The performance activates the space.
    During the rest of the residency, I am not in the space, but the space remains activated by the traces.

  11. Anthropie
    Dio

    12th of June 2021 -> 13th of June 2021


    Original text in French

    Dio is first of all a text.
    It proposes a rewriting of the myth of Dionysus, hacked from the data compiled by Euripides in the Bacchae.
    We dream of a cyborg insurrection, enabled by the advent of Dio's transforming energy, newly arrived on Earth to bug reality, glitched the molotov and datamoshed the sun - until the general fire.

    Dio serves as a support for a reading-performance whose contours and forms are constantly changing. Sometimes, Dio is embodied on stage, sometimes, Dio is just a VR simulation that bodies experience. Usually, it all ends in a bug overdose, or a love riot.
    Under the video surveillance of the SABL cameras, anthropie will record a video reading of the text.

    Duration of the reading: 50 minutes
    Saturday June 12: 7pm
    Sunday June 13th : 3pm

    Not suitable for photosensitive people.

    Dio, Anthropie, Full text (French)

  12. MAL:MAL
    (Eva Maspoli &
    Caspar Danuser)
    Display

    03th of July 2021 -> 03th of July 2021


    "Display" is not a performance, it is a realistic impression at the borders of abstraction, reality and surrealism.
    The protagonists experience life, hunger and breathing, while watching and being watched. Their experience of the ordinary temporarily becomes a documentary.
    Just the way it does when we go to buy milk. But fear not, because in the end, what remains are traces of the soup, as DNA is neither stolen nor gifted.

    malmal.club

  13. Nacoca Ko
    Rapid Skye Movement

    01th of October 2021 -> 29th of October 2021


    OCTOBER 1   - Nest Building 10:00
    OCTOBER 13 - Incubation 11:00 
    OCTOBER 19 - Robots Live (With Jo Vargas) 16:00 
    OCTOBER 28 - Nest Abandonment 12:00 

    timezone CET

    Through the month of October, Nacoca Ko will create a liminal nest, spawning a space where multiple lines of realities converge: the physical space-time room, with its contained objects and humans, robots and sensors; the digital plane of video art interfacing between the virtual and the real; dreams and memories- (past and future space-times manifesting); the surreal adaptations of machine-learning programs; the distorted perspective of the livecams; and you, in your own complex reality.
    _

    The immortal Phoenix has its own nest of fire and ash, circling upon itself. But it gets lonely and wants to love something other than itself. 

    Dividing into two, they find an old red vase in someone’s backyard, a human nest, and she lays her eggs there. A nest within a nest. 

    She sits alone in the dark for hours waiting. Her phone glows as she scrolls. If predators come near, she beats her wings against the echoing tin vase, amplifying the protective sounds of her love. 

    Sometimes he is the guardian and she flies. They take turns hunting insects and larvae, a relay race of protection and nourishment. Survival is precarious and nearly impossible but full of hope and surrender, disruption, redemption.

    The Nest is cosmogonic, where a world can be built from nothing, where thought, identity, and dreams are incubated. It begins in a place before time, before birth, and it is woven from creatures and objects already in existence. It hatches agency, hazard, will, chaos. It manifests compassion, rhythm, and evolution. Generous gifts toward the unknown.

    You are looking at me in my 4 blank walls, but I can only see your 4 black eyes.  There are no real blank walls, only environments for nesting. You survey me but you cannot see what I really am. You have recognised my face, saved my preferences, updated my password. But I have hacked your cameras with interpreted and distorted narratives. You can only see a single frame of me- if you are lucky, maybe a sequence. Maybe you have 4 reference points, but it’s not enough. My personal data is an infinite universe. 
    _

    The work was informed by entangling with birds that chose to nest in my home, as well as a livecam of buzzards high in the mountains, creating a nest from sticks and plastic bags, feeding city pigeons to their young.

    Items are brought from my studio and outside the Sabl space to create a nest for artistic research. Videos accumulated from my observations and re(de)construction of the world meet new AI-formed birdlike creatures. The original birds in the dataset are from Haeckel’s drawings who positioned them in unnatural ways, reinterpreting their beauty and potential. 
    With Alan Ixba, GANs morph the birds and try to clone their calls. With Jo Vargas, autonomous robotic nest eggs hatch a world-song in a tempo and sonority of their own.


    in collaboration with : Alan Ixba Jo Vargas playform.io Antoine Félix Bürcher

    Documentation [www] Nacoca Ko [exhibition] newart.city - Nacoca Ko [exhibition] andataritornolab - Nacoca Ko [instagram] Nacoca Ko [article] Spike Magazine, WITHOUT YOU, Benjamin H. Bratton, 2015 [article] Imaginary Magnitudes, Stanislaw Lem, 1981 [article] Prophetic Culture, Recreation for Adolescents, Frederico Campagna, 2021 [www] Emissaries, Ian Cheng, 2015-2017 [video] Life after bob, Ian Cheng, 2021 [text] Realist Magic Objects, Ontology, Causality by Timothy Morton, 2013 [text] Codex Seraphinianus, Luigi Serafini, 1981 [article] The Stack by Benjamin H. Bratton [book] The Revenge of the Real, Politics for a Post-pandemic World, Benjamin Bratton, 2021
  14. Balthazar Zin

    22th of November 2021 -> 27th of November 2021


    Original text in French

    In SABL, I will immerse myself in a virtual reality - a digital replica of the place in which I will evolve, perform actions. I will interact with the double reality; virtual and material, the spectator will be connected to it by the Stream.

    In these spaces, I will come to drink coffee before going to work, to make myself food and break everything, to vacuum the waves, to look at the forest through the TV while eating chips, to lie down to see the starry sky, then to stop everything.

  15. DISTORTED ORCHESTRA

    22th of January 2022 -> 23th of January 2022


    Distorted Orchestra is a punk and dissonant sounding project - recordings of ambient sounds, distorted, saturated, and rhythmically aligned to make shattering industrial techno.
    It is the recipe for Distorted Orchestra's sets and productions - a dissonant orchestra that invites the audience to explore a place.

    On the 23th of January, there will be a Dj-set by Distorted Orchestra, a mix of original and non-original compositions.
    The live mixed visuals of Felix will accompany the Dj set. This Swiss artist makes vi-jing sets by distorting video streams through a mixture of obsolete and more recent audiovisual technologies. For each of his sets, he uses different collections of data.
    Here, he proposes a dataset of surveillance cameras: passages, forests, and distorted and colored mountains aligned to the shattering rhythms of Distorted Orchestra.

    Documentation [www] Distorted Orchestra [podcast] Distorted Orchestra invited at Stonehenge Rituals, 11.2021 [clip] KING'S AGONY, Distorted Orchestra
  16. Eva Maspoli
    TRAINING TO ENTER

    25th of February 2022 -> 26th of February 2022


    Conceived as a necessary search for bodily introspection into Eva Maspoli's own artistic process, TRAINING TO ENTER at sabl explores four aspects of live performance: the intimate relationship of the artist to the bodily act, the relationship to the platform and the live audience, the relationship between the artist and the physical space of the sabl as a shell, and the temporality of a repetitive act. After a short acclimatization residency in the space on February 25, Eva Maspoli will perform in the afternoon of February 26, from 15.00 until open end. This piece explores the possibility of an intimate introspection whose goal is to reach a state of full consciousness in order to unlearn and de-construct in repetition, despite the constraints of the online off-space. Is it possible to do intimate introspection under the gaze of surveillance cameras?
    The impossibility of co-presence with the public, imposed by the sabl, presents itself as an opportunity for the artist to reflect on the interaction between an absent public and the performance space. Those who wish to do so can send sounds, music and noises live and beforehand to feed a common playlist over which the artist has no control, a playlist that will scroll and constitute the sound environment of the action (you can find the link to this playlist in the documentation). But this sound will perhaps also be a distraction from the action itself for Eva Maspoli, a relationship to the outside and to the public that the body seeks to forget in its introspective research. The work questions the very device of the sabl in its performative and interactive potential, and the possibility of this stage of intimate introspection, close to trance, necessary to any work starting from the body as medium.

    Interventions and schedules:
    25.2.22: arriving
    
26.2.22: performance, 15:00 - open end

    —> Link of the common playlist in the documentation tab.
    ___________________
    The Act
    It will last at least 6 hours. In a room, only with my body and the sound as a diversion in-between the space environment and the world ‘outside’.
    
A very intime scene, inside of myself, like walking on a mountain to feel my body, to forget my ego and be in the moment. But this time there is no mountain, no landscape, only this room and myself…

    The Audience/ the platform
    The audience as voyeurs, watching the performer in their own privacy, observing and reacting in their own space, invisible to my own eyes. However, one possible interaction: the audience can bring their thoughts or feelings in form of music or voice memos inside of this space and add it to a playlist running live. The performer has no control over it. Those messages from outside are in this case the outer environment brought inside of this room.

    The room, my body/clothes and my thoughts/innerlife
    A blank room, four walls, no windows, without personality - how can I become a raw material like this room? Is it possible for me, in a room with close and clear borders (walls) to concentrate on my body and let it act free? The room is a shell, my clothes are a shell, my body is a shell. A shell in a shell in a shell. How to forget those shells or integrate them fully in the being in each moment?

    The time
    The act is repeated over hours. The relevance of the space, the personality, the audience change. The body gets tired and the brain stops to think where it is or who is watching. I start to forget the surrounding - I will potentially enter a kind of trance. Maybe because of the sound from time to time I will remember where I am.
What will happen?

    Documentation [playlist] Playlist "Training to enter"
    [www] Website - Eva Maspoli
    [www] Instagram - @_evaspli_
  17. I'm obsessed with
    Reality Show

    14th of March 2022 -> 19th of March 2022


    I'm obsessed with Reality show, finally a realistic-reality-show! The Collective, which resides at sabl, will take you on a week-long journey that you can watch in streaming around the clock. Three contestants will compete in various challenges, eventually facing the public vote during a big prime time evening.
    The goal of the game? To prove one's diverse talents, authenticity and creativity in order to win the audience's heart. In other words, to be the best in all areas.
    The contestants will have to give their best in their way of life, in making accessories and decorations that reflect their extraordinary personality, as well as in their daily life andin surviving in a confined environment. They will impress you with their creations, their creative magic, their public speaking skills, their best moves and their personal aesthetics.
    Follow the contestants and their evolution throughout the week and join us on Friday night for a sensational evening hosted by our fierce commentators! During this fateful primetime, you will hold in your hands the fate of a candidate who will be eliminated. The next day, relive the best moments with the remaining candidates, who will report on the best and worst moments of this intense week.


    The collective I’m obsessed with is composed of :
    Antonia Marjeru, Camille Martin, Garance Deprez, Laure Fannière, Raphaëlle Detheve, étudiantes Master Monstre ESAAA - Annecy ;
    Charlotte Laurent, Noémie Gambino, Victor Delétraz, étudiant.es WORK.MASTER HEAD - Genève ;
    Adrian Fernandez Garcia, Chloé Devanne Langlais, artistes - Genève.

    Instagram : @i_m_obsessed_with
    E-mail :
    collectif.imobsessedwith@gmail.com

    Documentation [video] Carnalito Full Option, Sara Sadik, 2020, Manifesta 13 [film] France, Bruno Dumont, 2021 [video] Center Jenny, Ryan Trecartin, 2013 [video] Painter, Paul McCarty, 1995 [www] Raoul Pictor, Hervé Graumann, 1993 [www] Berenice Serra, residence Street View [article] « La crypto-contrefaçon crispe le monde de l’art », Le Monde, Roxana Azimi, 2022 [www] Cindy Sherman [www] Fables de La Fontaine, édition illustrée par J.J. Grandville - Les Animaux malades de la peste, Grandville, 1838-1840 [www] Juliana Huxtable [www] « Furies »
  18. Christophe Pithon
    Animé

    04th of April 2022 -> 19th of April 2022


    Original text in French

    sabl as the last bastion of dreams against unbridled capitalism.

    For more than two weeks, sabl will be transformed into an animation studio. While in the cinema everything is done to hide the production process so that it looks as if the footage falls from the sky, here the process is on display, with its sweat and its mistakes.

    You will see how I animate objects by photographing them. I will breathe life into these childlike objects (toys, magazines, balloons) and turn them into real characters fighting against alienation. Because yes, toys have feelings and anger. Anger that they are disposable, that they are victims of fashion, that they are of poor quality. They demand revenge, cinematic revenge. And while I animate these toys, I will be a little your toy through the cameras of sabl?

    Documentation [Website] Website of Christophe Pithon
  19. Duo ON

    24th of April 2022 -> 25th of April 2022


    Original text in French

    Build
    Stack
    Stretch a gesture
    Open
    Cover
    Arrange the wall
    Destroy
    Modulate
    Fold

    This residency is a collaboration with the curatioral association Laissez-passer which will broadcast simultaneously the images of this residency on screens in different cities in Europe.

    Documentation [www] Oskar Fougeirol [www] Niels Hung [www] Association Laissez-passer
  20. Collectif sous-titre
    Chaussures sablières

    02th of May 2022 -> 08th of May 2022


    Original text in French

    The project at sabl Chaussures sablières will be the occasion to reflect a narrative in real time, manipulating the notion of time (tempstemps, tintin), taking the train to drag, swirling gently. They will use the space at sabl the mountain and this time two people, Elia and Marie (Fidanza and Lucas).

    [...] et puis
    pas d’coup de soleil dans un sous-sol
    Pipo dans les bois
    gencives étoilées
    pas d’sablés à sabl non plus
    pipi dans l’évier
    la pluie, tant pis
    mastiquer la peur de la paresse dans une tarte au poire comme ça
    bougeotter comme si bientôt l’été
    une semaine de sept
    quatre chaussettes
    on sera ici par là
    quelques fois [...]

    Collectif sous-titre is a collective with variable geometry which functions in the manner of a cabinet of curiosity. Inspired by elements of everyday life, it questions the relationship between space and body, body and body, body and objects, object and objects.
    Elia Fidanza and Marie Lucas live in Geneva and are students at the HEAD - Geneva.

    Documentation [www] Instagram: @sous__titre
  21. Sara Zannoni
    Sara va a sabl

    05th of July 2022 -> 10th of July 2022


    Original text in Italian

    urban vacations.

    A vacation is, literally, the condition of that which is empty. It stands for suspension, interruption, and can correspond to the temporary cessation of an activity, desired or forced, planned or unforeseen; it is a state of exception to normality, to the usual productive and determinative state; it is, after all, a monstrosity, since it is a mode of existence that differs from the ordinary. It is absence, which does not necessarily generate regret; on the contrary, it is also a juncture of availability of high maieutic potential, capable of generating opportunity and becoming. (Annalisa Metta, Il paesaggio è un mostro)Vacation is actually where absence becomes possibility. Within this vacus/vague lives my prediletta (beloved, favourite).

    The prediletta manifests herself in everything that is not the point of the treated fact, A lot of things happen during her work. i find it interesting to observe everything that happens in her outline, in what she leaves behind, in what she chooses not to do, looking at all the gestures it takes to get to the point. She shows herself because all she can do is be there, like drinking water, at some point to drink water you have to introduce water into your body.
    
Many things are not definable, certainly we all hear them as voices of ghosts passing by. They, however, are most important here.
Let's go find the prediletta.

    ____

    During the residency period, the secret place of sabl will be explored and an extremely lively unveiling will be introduced.
    The residency will follow a methodology of mapping paesaggi avanzati (advanced landscapes)*. What characterizes these landscapes is the ambiguity - the vagueness - of being both domestic and wild, cared for and barded. The paesaggi avanzati* are not only natural or urban windows, but also symbols of knowledge/transformation and magic, experimental laboratories, wrecks and ruins.

    * avanzato (advanced in Italian):
    1 - diametrically opposed to.
    2 - 1) "what remains", is superfluous or useless because it is obsolete or because we don't know what to do with it. 2) what is in the forefront and represents the progress of knowledge and skills, of abilities.

    Documentation [ref] Monique Wittig & Sande Zweig, appunti per un dizionario delle amanti [ref] Ursula K. Le Guin, The Carrier Bag Theory of Fiction, 1986 [ref] IIosif Aleksandrovič Brodskij, Fuga da Bisanzio, Adelphi 1989 [ref] Rainer Maria Rilke, Poesie (1907-1926) [ref] Elisa, POESIA, dal suo diario privato, 2022 [ref] Bruno Munari, Fantasia, 1977 [ref] Annalisa Metta, Il paesaggio è un mostro. Città selvatiche e nature ibride, 2022 [ref] Gruppo di Performer Y (gruppo intergenerazionale, giovanissimi performer) [ref] tamara cubas, Moltitud, performance, Santarcangelo Festival 2017. [www] Instagram: @sararomagnola