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Kontaktinformationen, Karte und Wegbeschreibungen, Kontaktformulare, Öffnungszeiten, Dienstleistungen, Bewertungen, Fotos, Videos und Ankündigungen von MAPA, Gemeinnützige Organisation, Winterthur.

09/04/2022

👨‍👩‍👦‍👦 completing the Case Study # 2 “Teresa Margolles and Fernando Brito” , we hosted a workshop with Team Extra, a diverse group of non-museum professionals, to talk about the effects of images of violence. .felicitas.sabel invited a media psychologist, a journalist, a thanatopractician, a poet, an IT expert, and an anthropologist with different social and geographic backgrounds to discuss their approaches to these images. Under the lead of artist .a, we then created a zine with our own experiences and ways to deal with the works by Margolles and Brito. ✂️
👀 Have a look at the materials on the project website https://www.fotomuseum.ch/en/collection-revisited/ 🖥
A big thanks to Team Extra #1:
.prints ; we also thank for the video, .a for the workshop, .felicitas.sabel for bringing everyone together, the team , particularly , for their initiative, and for supporting this new platform of exchange 🙏🏼

03/04/2022

🗣 for the Case Study #2 I had the honor to interview the 🇲🇽 artist Fernando Brito. The basic question was how a European museum can exhibit photographs of violence from a different geopolitical context. His answers and reflections are as illuminating as they are moving. Watch the entire interview on the project website fotomuseum.ch/en/case-study/ 🖥
A big thanks to Fernando, the team , and Laura Rodríguez Pérez for subtitling 🙏🏼

01/04/2022

🗣 for the Case Study #2 I had the pleasure to interview art historian and curator Dr. Elena Rosauro. Elena contextualizes Teresa Margolles’ and Fernando Brito’s works sociopolitically and art historically, while reminding us that we as viewers also play a role in giving meaning to the works. Watch the entire interview on the project website www.fotomuseum.ch/en/collection-revisited/ 🖥
A big thanks to Elena, the team , and Laura Rodríguez Pérez for subtitling 🙏🏼

31/03/2022

In summer 2021 I had the opportunity to work at 🇨🇭 and to develop Case Study #2 for the program „Collection Revisited“– a research and outreach initiative by the museum to shed light on underresearched objects in the collection and on recurring themes in exhibition making. I decided to work on Teresa Margolles and Fernando Brito, whose works PM and Frontpages of La i consist of newspapers from Mexico during the War on Drugs 🇲🇽 The frontpages feature explicit photographs of violent murders. The driving question of the Case Study was how the museum should present these works in light of the sensibilities of the victims and the viewers? The Case Study includes a description of the works and discussion of their main themes, interviews, and a workshop with Team Extra, a diverse group of non-museum professionals.
👀 Have a look at the materials on the project website www.fotomuseum.ch/en/collection-revisited/ 🖥
A big thanks to the artists, Team Extra, and of course the team , especially Doris Gassert, and .felicitas.sabel for their openness, advice, and support🙏🏼

18/01/2022

EVENT –
Reports on global catastrophes, such as climate change, environmental destruction and human rights violations are a fundamental part of our news coverage, and the images are key in demonstrating the urgency and severity of the struggles.
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In an online panel discussion, news collective and NGOs .de and will debate ethical image use in the press and in humanitarian aid.
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The event is held in BOTH English and Portuguese with simultaneous interpretation!
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Join us on Saturday, January 22, 2pm to 3pm on Zoom – link in our bio! 📌
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Image: © Claudia Andujar

19/11/2021

EVENT
・・・
Repost: Do you want to delve into the culture of the Yanomami and learn more about their current situation? 📚
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Our next event looks at Claudia Andujar's photographs in the context of the book The Falling Sky by Yanomami shaman Davi Kopenawa and ethnologist Bruce Albert.
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During a guided tour through the exhibition and talk researchers from the University of Zurich will present stories of the Yanomami, in which myths, dreams and the struggle against the destruction of the Amazon rain forest blend together.
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Saturday, 20.11.2021, 11:00–13:00 📌
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Image: Claudia Andujar, The shaman and tuxaua João blow the yãkoana hallucinogen, Catrimani, Roraima State, Brazil, 1974 © Claudia Andujar

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20/10/2021

VISIT the exhibition “Claudia Andujar: The Yanomami Struggle”, opening this Friday October 22 at Winterthur 🦋 I had the opportunity of assisting in installing the exhibition Winterthur. Originally it was conceived by at in Brazil and has since traveled to

The show brings together photographs, audiovisual installations, Yanomami drawings and other documents, is based on two years of research in Andujar’s archive. It is the first major retrospective dedicated to the work of the Brazilian activist, a survivor of the Holocaust, who has devoted her life to photographing and defending the Yanomami.

There will be an extensive program accompanying the exhibition (in which I also assisted), so I hope to see you there!

09/10/2021

📽The 3rd Videojournée coincides spatially and thematically with this amazing exhibition and has one of its organizers, .cceres as a speaker at the Q&A:
A Forest of Many Worlds

October 9th - 30th, 2021 | la_cápsula, Anwandstrasse 8, 8004 Zürich

with Paula Baeza Pailamilla, Aldir Polymeris, Willimann/Arai, Sarina Scheidegger, Dominik Zietlow and Paloma Ayala.

Opening on Saturday, 9th October 202, 6 pm.
Please bring a valid covid certificate.

Wood is needed to heat the exhibition – Please bring a piece of firewood.

How do we inhabit the forest? We walked in the forest. Under the sun, a storm, and rain, we walked. On soil, mud, and trails, we walked. By river, streams, and puddles, we walked. With plants, animals, and insects, we walked (consciously or unconsciously). We walked for months in the Sihlwald, a forest between the Sihl river and the Albis hills, which for centuries was called the city forest, der Zürcher Stadtwald. The histories of the Sihl Forest are a complex entanglement of human and nonhuman cycles, materialities, and agencies. As we walked in the forest, we touched, played, and narrated with the multiplicity of beings; we enacted multiple relations, perspectives, and temporalities. We walked (with) the forest into being, into question:

Which forests carry our languages? Where does the city come from? Which histories does death tell us? What knowledges are embedded in the forest? Is there a wilderness? How are forest beings interconnected? How does the forest animate the river? What does the materiality of water evoke in me? How can we ground our sensibility? What does our body become in the forest?

A Forest of Many World is an attempt to answer such questions - not completely, mostly fragmented. At the same time, the exhibition would change and transform during the following four weeks to recognize the fluidity of our relation to the forest. We do not propose to solve these questions but to encourage potential and speculative sensibilities, readings, and connections in more-than-human worlds.

A Forest of Many Worlds was made possible with the generous support of School of Commons, Kanton Zürich, and Pro Helvetia.

08/10/2021

📽 video journée #3: is one of our guests for the Q&A and also shows us her work Wüfko (2019). The video begins with a Mapuche woman telling us a dream she had about her own body sensitivity. Upon walking in the forest the next day, she arrives at Wüfko, which refers to a body of water, a spring of great purity and also the name of a sacred site in the forest of Challupen. There, she encounters the vision of her dream manifest in a tree, revealing a kimün (knowledge) linked to her experience. The tree is more than an analogy, more than an outer image that reflects her inner state. The kimün breaks this dichotomy and merges the oneiric, corporeal, and physical realms into one sphere of knowing and feeling.

This project was carried out in “Cuerpos en Tensión” Residency, by FICWALLMAPU.
Camera and Photography: Felipe C**a; Translation: Bianca Messinger; Subtitles: 11th Berlin Biennale; Special thanks: Gabriela Llankinao, Cecilia Caniuman and their community, Felipe C**a, Patricio Pradines, Eduardo Rapiman.
https://paulabaezapailamilla.com/

06/10/2021

📽Video journée #3: Ana Mendieta’s Siluetas are cases in point for her pathbreaking works that merge video art, body performance, and land art. Her travels from the United States to Latin America were not only a cultural translocation but also a temporal displacement, from the center of postmodernity to pre-columbian sites. The places of her interventions testify to both the persistence of a human presence and the forces of the environment. Her staged burials in the series Siluetas collapse this relation in an ephemeral moment, and, as Ara Osterwell states, “remind us that all flesh returns to the earth.” At the same time however, Osterwell continues that “while painting and sculpture make delusional claims to immortality, the Siluetas captured the artist’s inevitably and deliberately failed attempt to fuse human and geologic time” (Artforum, November 2015). Our lives and experiences are, despite all overarching cyclicality, unique instances which we have to negotiate among ourselves and with our environment.

https://www.anamendietaartist.com
Untitled: Silueta Series, 1978 (GP1772)
Video, color, silent, super-8mm film transferred to high-definition digital media, 3:14 min.
Silueta Sangrienta, 1975 (GP1802)
Video, color, silent, super-8mm film transferred to high-definition digital media, 1:51 min.

🎨 illustration done by the magnificent .ordenes.san.martin 🤩

04/10/2021

📽 Video journée #3: presents “Descubrimiento” and “La creación” (both 2019). The former shows the artist in a shallow hole in the ground, slowly being filled in. The second is a narrative of her grandmother, who is descendant of the Mapuche community but grew up strictly Catholic and in denial of her original culture. The combination of the works creates a link between the Christian story of creation and the “discovery” of America, which illustrate the simultaneity of the preservation and destruction of the environment. The feeling of belonging to a certain place is central to Coñoepan’s work, which in Descubrimiento is introduced by her grandmother retelling the myth of Adam and Eve. The fallacy of this narrative is that there is a “natural” right to live in a certain place, especially in light of the legacy of the Spanish colonization of indigenous land, which complicates the problem of who is allowed to live on whose territory. Nature, in such discussion, can be misunderstood as part of this pregiven order. However, we have to decolonize nature by avoiding its conceptualization as a site of origin. We have to think nature as the place in which we all, of different origins, live now, together.

https://paulaconoepan.com/2019/12/16/descubrimiento/

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Winterthur

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http://mapa-art.org/

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