Related
Exhibition
November 2021

World’s Rainbow—Graduation Exhibition

Institute Art Gender Nature, FHNW Academy of Art and Design in Basel

Alexandra Münger, poscaenium, 2021. Three-channel video and sound installation with video recording and found footage. Audio: Alexandra Münger and André Hartmann. Photo: Jennifer Merlyn Scherler.

Anita Moser, Falling through the cracks, 2021. Video installation, tiles, 74 minutes. Photo: Jennifer Merlyn Scherler.

Damien Juillard, Utopia is a feeling, 2021. Sticker and chalk on engraved ceramic with perfume. Photo: Jennifer Merlyn Scherler.

Daniela Vollmer, First-come, First-served, 2021. Ceramics, water, bacteria, algae bloom, qnd looped video, 13 minutes. Photo: Jennifer Merlyn Scherler.

Diogo Pinto, Santo Amaro’s bedroom view (after a painting by José Escada), 2021. Oil on canvas. Photo: Jennifer Merlyn Scherler.

Gerome Gadient, magnitudes, tides and voices from the core(-horizon), 2021. Acrylic glass, ceramics, textile, speakers, and four-channel audio, 13 minutes. Photo: Jennifer Merlyn Scherler.

Jacob Ott, fire ages, 2021. chairs, boots, jackets, helmets, gloves, trousers, flashlights, trombone, and musical score. Photo: Jennifer Merlyn Scherler.

Jasper Simeon Mehler, Radicle Knowledge, 2021. Parachute silk, plastic, fans, sound, and time switch. Photo: Jennifer Merlyn Scherler.

Jennifer Merlyn Scherler, so sad so sexy, 2021. Video installation, 4K UHD, digital print on velvet, digital print on velvet pillow, MDF, and steel bars, 18 minutes 45 seconds. Photo: Jennifer Merlyn Scherler.

Jeronim Horvat, FUD (Fear, Uncertainty and Doubt), 2021. Steel, engraved glass, and three  dollar bills. Photo: Jennifer Merlyn Scherler.

Joaquim Cantor Miranda, If it’s not there today it’ll be there tomorrow. 2017, 2019, 2021. Print, acrylic glass, screws, and nuts. Photo: Jennifer Merlyn Scherler.

Kaltrinë Rrustemi, Love, Transform, Repeat, 2021. Wood, branches, traditional red headscarf, and handcrafts. Handcrafts: Elhame Graiçevci and Ajshe Berisha, mother and aunt of the artist. Photo: Jennifer Merlyn Scherler.

Kerstin Mörsch, 4 Läufer, 2021. Paper, rabbit-skin glue, zin baryta white, chalk; Untitled, 2021. Watercolor on paper; Untitled. Watercolor on paper. Photo: Jennifer Merlyn Scherler.

Laurie Mlodzik, fermentedself, 2021. Silk, thread, and fermented sheets. Photo: Jennifer Merlyn Scherler.

Lea Isatou Marong, Rituals, 2021. Installation with Initiation, 2021. HD video, 6 minutes 7 seconds; Protection, 2021. HD video, 13 minutes 11 seconds; Action, 2021. HD video, 9 minutes 39 seconds, objects various materials. Photo: Jennifer Merlyn Scherler.

Leah Nehmert, Something that holds Something else, 2021. Oil on canvas, glazed ceramic, metal; A Dream that stayed with me, 2021. Oil on canvas. Photo: Jennifer Merlyn Scherler.

Lola Willemin, The person you called is unavailable, 2021. Plastic, acrylic, chrome steel, papier mâché, epoxy, varnish, video, and audio. Photo: Jennifer Merlyn Scherler.

Lotte Rose Kjær Skau, Athlete_01, 2021. MDF, paint, rubber, foam; Athlete_02, 2021, MDF, paint, drawing, shoelace, kneepad; Athlete_03, 2021, MDF, paint, rubber, steel, concrete; System_01, 2021. Framed drawing. Photo: Jennifer Merlyn Scherler.

Lysann König, BECOMING LYSANN, 2021. Two-channel video projection with sound, 48 minutes 22 seonds. Photo: Jennifer Merlyn Scherler.

Mariana Murcia Arévalo, Everything from shells, 2021. Single-channel video, 7 minutes; Buoyancy - Two sets of inland floating devices, 2021. Plaster and paint. Photo: Jennifer Merlyn Scherler.

Mariana Tilly, MEN CRYING: DISCO LOCKER ROOM, TONY FROM SKINS, I’M NOT CRYING, 2021. Paint on canvas and wood. Photo: Jennifer Merlyn Scherler.

Marie Do Linh, Lämmer, 2021. Oil, pastel, wax crayons, marker and pencil on linoleum; Geburtstage, 2021. Clay, bamboo, and sisal. Photo: Jennifer Merlyn Scherler.

Marlijn Karsten, Maze, 2021. Glass, tin, screws; Wind II, 2021. Herbs, tin, wasp nest, and loudspeakers. Photo: Jennifer Merlyn Scherler.

Mäschi, www.mäschi.com, 2021. Forty metal plates, spray paint. Photo: Jennifer Merlyn Scherler.

Maya Hottarek, Soft radiation, 2021. Glazed ceramic, glass, lightbulb, and cable. Photo: Jennifer Merlyn Scherler.

Melissa Absarah Torres, Catch Up, 2021. Film, 17 minutes; Catch Up Posters, 2021. Posters and acrylic paint. Photo: Jennifer Merlyn Scherler.

Michael Ray-Von, In Excess of Playtime, 2021. Audio, special effects, and software made by the artist, 18 minutes; Untitled, 2021. Inkjet print; Untitled, 2021. Plaster and paint. Photo: Jennifer Merlyn Scherler.

Mio Lena Itschner, another space of time, 2021. Paint on canvas. Photo: Jennifer Merlyn Scherler.

Osama Al Rayyan, Portrait, 2021. Oil and airbrush on paper on wood. Photo: Jennifer Merlyn Scherler.

Pauline Coquart, POV I’m Your Boyfriend (We met on TikTok and now we’re vlogging), 2021. Video, 6 minutes 49 seconds; Eat Shit and Die, 2021. Plastic pearls. Photo: Jennifer Merlyn Scherler.

R. Sebastian Schachinger, Frame for One, 2021. Oak, two double-vinyl LPs “Moonflower,” Santana. Photo: Jennifer Merlyn Scherler.

Robert Finn Curry, River, 2021. Steel, stone, chewing gum, pyrite, wasp nest, permanent marker, and graphite. Photo: Jennifer Merlyn Scherler.

Samuel Bron, Have you seen my snake?, 2021. Artificial grass, twenty-eight apple sculptures of acrystal and acrylic paint; Epic Fail, 2021. Plastic cup, sticker, acrystal, glass marbles, and steel. Photo: Jennifer Merlyn Scherler.

Selina Zurkirch, Umarme mich, 2021. Oil, oil crayon, acrylic paint, pencil on canvas, and oil on glass. Photo: Jennifer Merlyn Scherler.

Sergio Rojas Chaves, What does it take to win your love for me?, 2021. Two-channel HD video installation, wall painting, and inkjet print on cotton, 10 minutes 40 seconds. Photo: Jennifer Merlyn Scherler.

Sophia Remer, Nébuleux, 2021. 4K video, 10 minutes. Photo: Jennifer Merlyn Scherler.

Thy Truong, A Body In My Shadow, 2021. Acrylic paint, spray paint, thread, sound, and foil. Photo: Jennifer Merlyn Scherler.

Vital Z’Brun, cheval, chien, coq, 2021. 4K video 12 minutes 8 seconds. Photo: Jennifer Merlyn Scherler.

Installation view, “World’s Rainbow.” Bachelor and master graduation exhibition, Institute Art Gender Nature HGK FHNW in Basel, Kunsthaus Baselland, 2021. Photo: Jennifer Merlyn Scherler.

Installation view, “World’s Rainbow.” Bachelor and master graduation exhibition, Institute Art Gender Nature HGK FHNW in Basel, Kunsthaus Baselland, 2021. Photo: Jennifer Merlyn Scherler.

Installation view, “World’s Rainbow.” Bachelor and master graduation exhibition, Institute Art Gender Nature HGK FHNW in Basel, Kunsthaus Baselland, 2021. Photo: Jennifer Merlyn Scherler.

Installation view, “World’s Rainbow.” Bachelor and master graduation exhibition, Institute Art Gender Nature HGK FHNW in Basel, Kunsthaus Baselland, 2021. Photo: Jennifer Merlyn Scherler.

Installation view, “World’s Rainbow.” Bachelor and master graduation exhibition, Institute Art Gender Nature HGK FHNW in Basel, Kunsthaus Baselland, 2021. Photo: Jennifer Merlyn Scherler.

Installation view, “World’s Rainbow.” Bachelor and master graduation exhibition, Institute Art Gender Nature HGK FHNW in Basel, Kunsthaus Baselland, 2021. Photo: Jennifer Merlyn Scherler.

Installation view, “World’s Rainbow.” Bachelor and master graduation exhibition, Institute Art Gender Nature HGK FHNW in Basel, Kunsthaus Baselland, 2021. Photo: Jennifer Merlyn Scherler.

Installation view, “World’s Rainbow.” Bachelor and master graduation exhibition, Institute Art Gender Nature HGK FHNW in Basel, Kunsthaus Baselland, 2021. Photo: Jennifer Merlyn Scherler.

Installation view, “World’s Rainbow.” Bachelor and master graduation exhibition, Institute Art Gender Nature HGK FHNW in Basel, Kunsthaus Baselland, 2021. Photo: Jennifer Merlyn Scherler.

Installation view, “World’s Rainbow.” Bachelor and master graduation exhibition, Institute Art Gender Nature HGK FHNW in Basel, Kunsthaus Baselland, 2021. Photo: Jennifer Merlyn Scherler.

Installation view, “World’s Rainbow.” Bachelor and master graduation exhibition, Institute Art Gender Nature HGK FHNW in Basel, Kunsthaus Baselland, 2021. Photo: Jennifer Merlyn Scherler.

Installation view, “World’s Rainbow.” Bachelor and master graduation exhibition, Institute Art Gender Nature HGK FHNW in Basel, Kunsthaus Baselland, 2021. Photo: Jennifer Merlyn Scherler.

Installation view, “World’s Rainbow.” Bachelor and master graduation exhibition, Institute Art Gender Nature HGK FHNW in Basel, Kunsthaus Baselland, 2021. Photo: Jennifer Merlyn Scherler.

Installation view, “World’s Rainbow.” Bachelor and master graduation exhibition, Institute Art Gender Nature HGK FHNW in Basel, Kunsthaus Baselland, 2021. Photo: Jennifer Merlyn Scherler.

Installation view, “World’s Rainbow.” Bachelor and master graduation exhibition, Institute Art Gender Nature HGK FHNW in Basel, Kunsthaus Baselland, 2021. Photo: Jennifer Merlyn Scherler.

Installation view, “World’s Rainbow.” Bachelor and master graduation exhibition, Institute Art Gender Nature HGK FHNW in Basel, Kunsthaus Baselland, 2021. Photo: Jennifer Merlyn Scherler.

“World’s Rainbow.” What comes to your mind? Imagine a planet (ours or another) embraced by a ring of colors. The clouds that loop around the sphere have pastel colors and they playfully form figures. The winds caressing the oceans produce a calming sound, like an intimate whisper spoken to all animals and humans and plants. One can sense some microscopic life smiling at us. A safe space, a caring space, a joyful space, a trusting space, a common space. This is what this exhibition is. What do these artists have in common? They all graduated this summer. They all pursued their studies during these pandemic times. They all care immensely for each other and have managed to produce a response to a situation that demanded imagination and nerve in the form of an artwork. What was that situation? A health crisis, yes, but also the sense of a large transformation happening in the world of culture. We sense a shift, an end to some formats and forms of interactions, an end to a certain sense of relevance. But we also expect much more in terms of justice, impact, climate, responsibility, language, and care. Do we also experience precarity? We do.

The scarcity of resources and opportunities, the rise of complete control by capital, the indifference toward the impoverishment of the public sector, the segregation of the social… What should one expect in this exhibition, in this rainbow, in this world? Attentiveness. If there is a trait common to all the artworks offered here, it is a delicate approach to the processes that condition perception and touch. The possibility of presence emerges hand-in-hand in the exhibition with the responsibility toward life. The exhibition emerges as a place in which to exercise the senses while thinking about the role that art and artists play helps to maintain a sense of freedom. Freedom… The word is no scream, no code for further violence and bias, the idea is not ideologically presented to you. It is something you feel in your skin, you wish everyone would sense, keep, cherish, fight for even in a time when energy is so low. Oh! I forgot! The works are charged. Yes, they do emanate a force that bonds us to them, creating a flow inside the space that reminds us that a quality of young art is to believe in the continuation of the discipline and to find new forms for it. We should move into a new intersectional world. Artists of different generations having their studios in public schools, in hospitals, in elderly homes… every neighborhood possessing a small place to exhibit, artists-in-residency in myriad residences. Every mall, every supermarket, every garden should include artworks. We should populate the world with rainbows. It is not a fantasy but an antidote to stop the incrementation of the technocratic colonialism that is being superimposed on every process that claims to manage our public and private life. Make space for art, we need it.

We extend our gratitude to the Kunsthaus Baselland, its director Ines Goldbach, and her team for collaborating with us to host our graduation exhibition for the sixth time. We would also like to thank the entire team of the Art Institute for all their support, from conceptually guiding the students to realizing the exhibition.

Claire Hoffmann and Chus Martínez

Participating Artists

Melissa Absarah Torres
Osama Al Rayyan
Samuel Bron
Joaquim Cantor Miranda
Pauline Coquart
Robert Finn Curry
Marie Do Linh
Gerome Gadient
Jeronim Horvat
Maya Hottarek
Lea Isatou Marong
Mio Lena Itschner
Damien Juillard
Marlijn Karsten
Lotte Rose Kjær Skau
Lysann König
Mäschi
Jasper Simeon Mehler
Jennifer Merlyn Scherler
Laurie Mlodzik
Kerstin Mörsch
Anita Moser
Alexandra Münger
Mariana Murcia Arévalo
Leah Nehmert
Jacob Ott
Diogo Pinto
Michael Ray-Von
Sophia Remer
Sergio Rojas Chaves
Kaltrinë Rrustemi
R. Sebastian Schachinger
Mariana Tilly
Thy Truong
Daniela Vollmer
Lola Willemin
Vital Z’Brun
Selina Zurkirch

Claire Hoffmann is head of visual arts programming and curator at Centre culturel suisse in Paris. After her studies in art history and English literature, with stays in Pisa and New York, she worked for Schaulager Basel, Kunsthaus Zurich, and Kunsthaus Langenthal. From 2010 to 2018 she was involved in the nomadic curatorial collective deuxpiece, realizing various exhibitions, for instance, at Copenhagen Contemporary in 2017 and at Kunsthalle Basel  in 2016. In cooperation with Katharina Brandl she co-founded the talk-series “Schnittmengen” in 2018. She is also working on her PhD project on Maria Lassnig’s drawings and is member of the Graduate School eikones, University of Basel, having obtained a research fund in Vienna in 2018. In her position at Centre culturel suisse, she has curated numerous solo exhibitions with Pedro Wirz, Mélodie Mousset, Reto Pulfer, and Dorian Sari, among others.

Chus Martínez is head of the Institute Art Gender Nature FHNW Academy of Arts and Design in Basel. She was the expedition leader of “The Current,” a project initiated by TBA21–Academy (2018–2020) and from 2021 she is the artistic director of Ocean Space, Venice, a space initiated by TBA21–Academy. “The Current” is also the inspiration behind Art is Ocean, a series of seminars and conferences held at the Institute Art Gender Nature which examines the role of artists in the conception of a new experience of nature. At the Institute Art Gender Nature she is currently leading the research project “The Womxn’s Factor,” on the role of education in enhancing women’s equality in the arts.

Institute Art Gender Nature, FHNW Academy of Art and Design in Basel is dedicated to visual arts education. We are a public institution with a hundred students divided in a three-year bachelor’s program and a two-year master’s program. At the core of our curricula is the embrace of nature and social justice. Therefore, we have several programs, from international symposia, a series of discursive events entitled “Art Taaalkssss” and an art commission program open to the public. We understand the mission of art and artists as an essential contribution to imagine and experience freedom and the possible futures of the social. Working in friendship with foundations such as TBA21–Academy allows us to enhance our aims and learn from activists and scientist ways of understanding the oceans.

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