Hello guys. Tell us a little bit about yourself and about the collective „back to type“?
We are a collective of three artist and designer, Jonathan Goldbronn, Stéphane Koyama-Meyer and Francis Chouquet. Our collective is born out of a common passion for lettering and typography. Our artwork revolves around the graphic and visual exploration of this universe. We like to experiment in various artistic fields such as street-art as well as traditional craft-inspired styles on different materials like wood, canvas and walls; and with a large variety of tools ranging from spray paint to acrylic and even pastel.
How do you think is your graphic daily life influencing your artistic output?
Knowledge of graphic design teach us what is good and what is wrong in term of design. Knowing those rules help us broke them! We like to dig in the history of graphic design, revisit classic design applications and adapt them in new and originals ways.
Do you keep the two disciplines (graphic design and art) apart or do you melt them together?
Sometime apart, sometime they blend together. Honestly the edges of the two disciplines are hard to define. Through graphic experiments we play and grow together! We like to push the boundary always further and see what will happen.
What do you plan fort he CAMPBASELrevisited?
We will display hand painted wood letters on the camp. Each of us created one letter in his how unique style. The combination of the letters can create different words. Visually, this piece represent the Back To Type graphic universe.
What can the viewers expect from you during CAMPBASEL? Do you do some life action or some workshop based interaction?
Where can people find out more about you?
Instagram : @backtotype
Sali Matthias. Schön, dass Du wieder dabei bist. Wie sind Deine Erinnerungen an das erste CAMPBASEL?
Das erste Campbasel war eine sehr neue Erfahrung für mich. Ich weiss noch dass mich der experimentelle Charakter des Camps sehr beeindruckt hat, auch war es nach meiner ersten akademischen Kunstausbildung das erste Event dieser Grössenordnung in der freien Wildbahn.
Was hast Du dieses Jahr für uns dabei?
Unter anderem möchte ich das Werk „Den See Zum Singen Bringen“ zeigen. Darin mache ich die Wellenformen des Sees in meiner Heimatstadt Zug sicht- und hörbar. Meine Herangehensweise beinhaltet das Spiel mit der Beschleunigung von Zeit, ähnlich wie bei einem Zeitraffervideo, einfach auf klanglicher Ebene.
Bei Dir hat sich in den letzten Jahren viel getan. Erzähl uns doch ein bisschen was Du so alles gemacht hast und wo Du überall gewesen bist?
Ich bin ziemlich weit herumgekommen... Meine Zeit in London hat mir sicherlich für vieles die Augen geöffnet was ich vorher so nicht kannte. Die Stadt hat einen unglaublichen Drive, der einem entweder mitreisst oder untergehen lässt. Die Noise Szene hat mich sehr beeinflusst, Künstler wie Ryan Jordan haben mich zu neuen Herangehensweisen inspiriert.
In einem kollaborativen Projekt mit KnoR haben wir angefangen, die Clubscape mit immersiven Konzepten zu bespielen. Damit waren wir ausserhalb der Schweiz unter anderem in Kanada und China unterwegs. Die Chinatour war eine sehr interessante Erfahrung; In 10 Underground Techno Clubs konnten wir die Unterschiede zwischen Ost und West hautnah erleben. Improvisation war dort sehr wichtig, da ich mit vorgefertigten Konzepten nur wenig weit gekommen bin :).
Was erhoffst Du Dir vom CAMPBASELrevisited?
Ich hoffe viele neue Bekanntschaften zu machen mit Kunstschaffenden aus aller Welt. Neben dem Reiz der persönlichen Begegnung beinhalten diese auch immer ein Versprechen des Einblicks in die Schaffensweise und Einstellungen von anderen Künstlern, was auch häufig neue Anhaltspunkte für die eigene Arbeit beinhaltet. Und natürlich eine Relativierung der eigenen Standpunkte.
Wie geht es bei Dir weiter?
Ich arbeite derzeit an verschiedenen haptischen Interfaces sowie an neuen generativen Visuals für Clubs. Auch das Ausloten von unterschiedlichen Ausstellungskonzepten steht an; Ich denke hier auch an die physische Manifestation von meinen Werken, welche zwar die direkte Schnittstelle zwischen meiner Arbeit und dem Publikum ist, aber natürlich nur einen kleinen Teil der wirklichen Arbeit ausmacht.
Wo kann man mehr über Dich erfahren?
Auf meiner Website http://matthiasmoos.com
Hi guys. Tell us a little bit about you?
Bruno Alder lives and works as artist and freelance photographer in Zürich and France.
He studied photography and film in London as autodidact before becoming a student of Charles Camberoque at the Ecole des Beaux-Arts of Montpellier in France, followed by a diploma as professional photographer at Zürich in Switzerland. He is specialized in Portrait, Still, interior and experimental photography. Several Exhibition and Book projects are in progress. Bruno Alder likes to break up classical rules and experiment with the different fields in art and their sensations. With the Project "Seascape" Bruno Alder is continuing his work of photography-installations, like the project "Le tunnel" with David Gauthier, musician from Canada or the "London-Portrait" , a photography-collage-installation in combination with urban field-recordings from London.
Since 2001, Andreas Glauser has been continuously engaged with development of analogue electronic instrument. His Instrumentarium is based almost exclusively on disposed, faulty and no-longer-usable-devices such as organs, mixing consoles, tape machines, analogue crossovers, color-coated-Records and modular synthesizers. Glauser’s art practice is based on experimentation and manipulation through which he creates his equipment. He deconstructs the device and deliberately ignores its intended applications to develop a new noise / noise modules that he then uses for his live concerts and sound installations. Each live concert is used to understand the devices and to improve upon them further.
Andreas Glauser is an artist, musician and cultural organizer. He has presented his works and sound performances at exhibitions both in Switzerland and abroad over the last 16 years. During this time he has given Solo performances beside working with musicians and artists in various projects that range from free improvised concerts, instant composing, sound installations and conceptual work.
Wie seid Ihr auf Eure Kollaboration gekommen?
Wir sind seit einiger Zeit Ateliernachbarn im Gleis70 in Zürich. Dadurch ist über die Zeit das Interesse gewachsen zusammen die photographische und klangliche Eben enger zu verknüpfen.
Was dürfen wir von Euch am CAMPBASEL erwarten?
Ein imaginäres Schiff steuert in einen Ozean aus perkussiv rauschenden Wellen, welche sich an analogen Frequenzen brechen. Die Ruhe des Bildnisses kollidiert mit dem gewaltigen Getöse der Wassermassen in der weiten Ferne.
Was erhoffst Ihr Euch von den Tagen in Basel?
Ein Publikum, welches sich auf diesen Wellengang einlässt.
Wie geht es bei Euch weiter?
Das werden wir sehen.
Wo kann man mehr über Euch erfahren?
Are you an „uncomfortable“ artist?
I hope so. Because nasty art makes people think about the status quo of different topics. And therefore things get discovered from an other perspective. So, I would take it as a compliment. But people have to judge for themselves, if I’m a nasty and uncomfortable artist.
What can you tell us about your installation for CAMPBASELrevisited?
My project for CAMPBASEL is called „uncomfortable“. Relaxing and comfortable objects transform into nasty objects. To be aware of the world today, you have to think twice about our daily environment. So, thanks for the first question. It fits perfectly with my work.
Are visitors allowed to use your work? Is there an interaction?
My installations and objects are - in general - not planned for interaction with people. But at fairs and on shows people somehow can’t resist to touch my work or play with it. Let’s see how people react this time.
What do you expect from the Art Basel week?
The Art Basel week is always a unique experience. The biggest global art supermarket attracts people from all over. From art investors of different banks, multi-million collectors and celebs to art students, artists and hundreds of thousands of art lovers have one thing in common: curiosity. Therefore I expect a good time.
What are your future plans?
After the CAMPBASEL I start working for the City Leaks Urban Art Festival in Cologne. And some other exhibitions are under discussion.
Where can people find out more about you?
Hoi Ona. Du bist wieder zurück in Basel – was hast Du vor?
Hoi Roy – ja, und ich freue mich sehr! Ich werde während der Art Basel Woche quasi Open Air die Plattform der Bar des Bollwerk Basel bemalen. Eine schöne Location! Ebenso werde ich für Terrorsamba in Zusammengang mit einem Event ein Mural gestalten.
Was können wir von Dir am CAMPBASELrevisited zu sehen bekommen?
Allzu viel kann ich noch nicht verraten. Aber es wird sehr plakativ und knallig – ein toller Eyecatcher auf alle Fälle! Zudem werden kleine Originalgemälde (15 x 15 x 4 cm) ersichtlich und käuflich sein.
Deine Kunstform ist im Moment sehr populär – wie wird sich die Street Art in der Zukunft entwickeln?
Ich könnte mir vorstellen, dass Street Art für viele plötzlich noch “normaler“ wird. Häufiger ersichtlich in verschiedensten Formen und Varianten. – Der Mensch gewöhnt sich daran und freut sich – so hoffe ich - an der Kunst und Inspiration darin, an der Botschaft - egal ob bewusst oder unbewusst - die der Künstler einem vielleicht mitteilen wollte. Möglicherweise auch eine Refelektion seiner selbst, an verschiedensten Orten und rund um den ganzen Globus zugänglich…
Gibt es für Dich Schnittstellen zwischen der Kunst und Alltagsgegenständen?
Man kann Alltagsgegenstände mit Kunst durchaus verändern, verschönern oder gar komplett aufwerten. Egal ob Handyhülle, Handtasche oder Designermöbel.
Was würdest Du in der Zukunft gerne noch machen?
So grosse Gemälde wie möglich – aber dieser Prozess braucht viel Zeit und geht natürlich nicht von heute auf morgen. in diesem Zusammenhang wären verschiedene Kooperationen mit unterschiedlichen Galerien oder Brands sicherlich etwas interessantes.
Wo kann man mehr über Dich und Deine Kunst erfahren?
Auf meiner Website www.ona-sadkowksy.com findet man alle Informationen über mich und meine Kunst. Auf der Seite sind alle News betreffend Ausstellungen, Projekten etc. ersichtlich. Ebenso gibt es einen Download-Bereich, in welchem man verschiedene Dokumente wie Presseberichte, Preislisten, Fotos u.v.m. einsehen und herunterladen kann.
Genya, tell us a little bit about you?
I am originally from Moscow and have started my artistic career with Russian exhibitions. It was an excited time, when artists were occupying old abandoned buildings to show and create their art there. Then I begun to take part in international exhibitions starting with some art shows in Italy. It was a great experience and I became to get familiar with art scene in Europe. In 2013 I met Roy Hofer during the Onesize art show in Basel. Our collaboration has been very fruitful. We worked together at several art projects and exhibitions, both in Europe and Russia, and I am very happy and proud to be a core member of the a-space gallery that is lead by Roy.
Your art is at the moment in a transformation? Can you tell us how this new project for the CAMPBASEL show begun to evolve?
My art is always evolving. I am used to develop artistic series that may last for a few years and then start something new. The project that I show in the CAMPABASEL is a product of both art and science and it has been possible thanks to technical skills of my husband-engineer. My next installation has an interactive shape and speaks about human being and the new technology.
Technical aspects in a project can be sometimes tricky. What is important to double check if you do a project abroad?
It is definitely not trivial to organize exhibition abroad, even inside Europe. First of all it is important to know the logistic and the bureaucracy of different country. Speaking the local language may help a lot, as most the information is not in English. For instance, speaking Italian and German helps me a lot with that. It is very important to know the customs rules of your country to ship artworks abroad, especially in case of no-EU countries.
Where will the new technology lead us?
We will be surrounded by technology. Almost every object we will use, will be somehow intelligent and most likely connected. Art will be touched too.
What should CAMPvisitors do? Are you going to interact with them?
One of the goals of my installation is to engage with visitors. @Voyager_mirror is a mirror that reflects an image not only on its surface but also on the hyperspace. When a CAMPvisitor pushes the button on the mirror, @Voyager_mirror will post his/her photo immediately on its Twitter account. This photo is like a message in the bottle, sent into the “Internet Ocean” and every CAMPvisitor can leave a trace of their visit.
Is this the only way people can meet you online or do you have other links?
I am always available on my Facebook page “Genya Krikova” and through my website www.genyakrikova.com. I am happy to contact with other artists and visitors to talk about art.
I never know which name I should use. Tell us a little bit about your two names?
My great-grandmother's name was Maie. The spelling of my name is based on her name, though it's pronounced the same as Michelle. There was a saucy actress named Mae West. I married a West and kept the name when I married a Davies. That's why it's west-davies.
How is PAM de Bahr influencing your art?
Pam is a study of milenials and their engagement with social media. I was working on her full time for about 2 years. The next stage of the project is the #instapam bags made from donated clothing. This is my first time working with that material. I am doing an installation at a street festival in June. It's a collaboration with a textile artist and a choreographer. I'm not sure what we're going to do yet, but I'd like to incorporate donated clothing.
I have some other ideas of pieces based on her experiences from twitter and online dating. One is a series of life size blow-ups of online dating profile pics with the faces cut out so you can shoot your own like at a fair.
What can people expect from PAM de Bahr at CAMPBASELrevisited?
There will be images from Pam's instagram printed on aluminum and videos of her making her way through the maze of milenial life.
There will also be #instapam bags that are drawstring backpacks you can put on your head and instantly become a version of Pam. I'm in the process of making the bags now. Once I have them ready, I'll use them in a film based on Pam getting ready for her first Tinder date.
The #instapam bags are made from donated clothing. I had already started the project when I found her in a bag of donated clothing. That's how she became the face of it. When she started instagram, it was all images. During the time I saw it change and become more commercial. The bags reflect that change and also answered a need I had while carrying her around waiting for an instagram moment.
And, of course, Pam will be at CAMPBASELrevisited.
How people can engage with your project?
She will be there instagraming with anyone who wants. The other plan is to have her first tinder date. She'll be in Basel and online from Tuesday, so keep your eye out for her.
What is your next projects?
As I mentioned before, I'm doing a collaboration at a street festival in June. Otherwise I'm working on some video work about body shaming. I am also continuing my garden construction where I'm using doors and windows that I'd rescued and turned into installations. Now I'm returning them to being part of a structure, but reinvented in new contexts.
Kunsthallekleinbasel is taking part in this years YIA art fair Basel. The booth will display over 100 artworks from many artists. A few of them are also doing projects at CAMPBASEL.
See more here:
Joost, tell us a little bit about you and from the area you are coming from?
I love traces. To trace the imprints in the sand, to trace the imprints in time...
I was born in Utrecht, The Netherlands and I grew up in a small village in its vicinity. This of course doesn't mean that much; it's just a place. It doesn't tell you anything about who I am. Yes, it will probably mean that I speak Dutch as my native tongue. Maybe I may have an accent, or a specific sound from the region where I grew up, this is all normal and the same for everybody. However, is there an essential “Dutchness” to my work? Peter Frank does argue for this in his : “THE LATE-NETHERLANDISH ABSTRACTION OF JOOST DE JONGE” (read more about it).
To my opinion this is mostly found in the overall sense of the miniaturist and the genre painter. I, on the other hand, feel my genes might be even more important. My maternal grandfather's surname is Verduin. In the 17th century there was one Verduin a still life painter. My father's father was a practicing Sufi. He knew healers and people that were clairvoyants; he himself healed people as well with his hands. My maternal grandfather used to say to me that beauty was all around and that I just had to look for it and could collect items of beauty, but also memories. On the other hand, the line of my grandfather's mother (Sterk) was made up of gentry and scholars, who consecutively held positions and or studied at the University of Utrecht for over a period of about 400 years. Some of my father's ancestors can be traced to the ancient nobility of the coastal province of Zeeland, ‘Schouwen’ is one such name and Island. But also for example the family of Van Deurne, who had moved to Rotterdam, leaving their grand castle in Brabant.
The influence of your ancestral heritage is hard to define. I personally feel that it is a kind of road map to your conduct (your disposition). Like the Diepenhorst (my maternal grandmother's maiden name) family had a specific way of standing, a specific posture and specific gestures. Families tend to harbor words and sayings through the centuries, expressing a sense of togetherness, of belonging. My handwriting looks exactly like that of one of my Sterk ancestors on a document from the early 15th century. So, this interests me. There must be some motoric heritage, a physical sense of learning, of understanding that is carried through the ages. I like this notion of interiority. A kind of closeness beyond time, so close is the ancestors’, so close... This is all that matters to me. Within my drawing, I want to be close. Close to what I’m saying, close to the meaning of a line, close to the tenderness of a brushstroke, close to what drawing and painting really are onto them. Close to you when you see the work; the seeing and perceiving, the comprehension takes place within you; could we be any closer...?
You had an interesting project with writers. Tell us a little bit about how it all started?
As a youngster, I used to visit exhibitions of prints with my grandfather and printers as well. So when I was very young it was usual for me to visit artists' studios. Sometimes he ordered graphics with a poem to it. He had many illustrated bibliophile books in his collection. One such a book was “L’après-midi d’un faune”by Stéphane Mallarmé with etchings by Albin Brunovsky. So I always, had a strong sense of the poetic with an image and the poetic within an image. I have always felt that the poetic as something ephemeral, a feeling or the true and deeper meaning of life in an aesthetic manner is the most important. For my work to be understood and for me to understand art, me in art, and me, I had to reach out to the poets to clarify my position. To give birth to the poet-painter, I had to meet poets that dreamed of being painters, who painted dreams of poetry. I have many a good and strong friendships emerging from this connection. This is something like artist seeks artist to enjoy being an artist within the realm of the poetic, but just a little different from what you are used to.
The process of collaboration has many paths? How do you influence the spirit of collaboration with other artists?
I like to influence it as little as possible. However I love to be influenced. Changed a bit. I feel my influence is very subtle. I always want a collaborator to own one work by me before he or she starts writing his or her contribution to the project. Maybe I could influence them almost unseen. This, like the light of the stars, which we do not think of that much, may influence us in our dreams. This light, though not consciously perceived, may give us the sense of spirituality we crave. When we make this apparent, a matter of some urgency in our life, only then will it really surface. You must think here of Steiner, who wrote beautifully about the origin of colours.
What do you think of painting and it’s future in the art history?
This is a very difficult question to answer. I feel that without painting, truly, we have no art history. So for the future, if there is painting, the art historians will have to consider its position in modern day art practice/discourse. Anyway, this position may well be a minor one. We will not know how far the hype of modern day's robotic fashion will deter us from that, which is most innate to human expression. The feelings of humans are not easily translated to a computer code. One-day maybe, people will see that each system is the shadow of that which it describes. That our body and our conscience are more direct than any technological invention will ever be. I think it is still most important what it means to me. In a way it is all just about painting, about drawing about its processes without any bigger meaning then my enjoyment as an artist. However, I will make a strong case to put painting and poetry forward within a larger structure of social meaning. To show the strength of a simple material, telling a story about people's urges and dreams, which I feel are the same for most of us. So as long as there are artists like me, the future of art history will be one with painting in it.
What can CAMPvisitors see from you?
They can see sketches, drawings, poetry and painting by me.
I feel, the all-important thing I want to show is my artistic process. How I am looking for a composition, a position of the formal units of the structure. How I search through forms for a structure, for a narrative of feeling and meaning. So, drawings, sketches and a completed work that will show you a possible outcome and make you feel that there is always an (other) (invisible) masterpiece that may materialize any time from the process.
What do you hope for your stay in Basel?
I hope many people will come and look at the art. Maybe the colours of my painting will touch them and stay with them like the way in which a soft note of the piano fades away slowly in space, in time. That maybe my work will stay with them like a memory, a colourful and strange sound comforting them in this all too material age.
Where can we see more about you in the future?
My work will be shown in a solo show in November in Geneva at the Centre culturel du Manoir de Cologny.
At Empty Mirror you may expect to find new work by me:
Further announcements at:
Peter Frank’s “THE LATE-NETHERLANDISH ABSTRACTION OF JOOST DE JONGE”
Icarus Variation, 65 x 50 cm, acrylics and oils on paper, 2016.