slot_ shows Magali Dougoud and Anna Lena Eggenberg from 09.05.22 - 05.06.22 at the Kunstpavillon Luzern. With the format in conversation, the two artists are invited to work together at the Kunstpavillon. In the Salon IDA the two artists will talk about their collaboration, ideas and works.
Anna Lena Eggenberg has finished her bachelor’s degree in fine arts last summer at the Lucerne School of Art and Design and is ever since full-time freelance artist and part-time exhibition supervision at Zentrum Paul Klee and Kunstmuseum Bern. She lives and works in Bern.
In her Art practice she's busy thinking about interpersonal and cross-species relationship structures and their historical narratives. Since language (not static but changeable) and its historical tradition is always a mirror of cultural concepts and identities, this world urgently needs other, different, new stories to acknowledge and sustain its diversity. In the tradition of the great thinker and doer Donna Haraway she is interested in storytelling as a feminist practice to preserve and pass on the stories and knowledge of the long ignored, unheard and/or suppressed. As she is mainly a painter, sometimes a writer too, her way of telling stories are mostly images, now and then words. Her paintings move between abstract landscapes, concrete figures, existing as well as fictional entities frozen in an assemblage of memory snippets from either real life or invented encounters made (up) by the artist herself. The woven painterly networks of narratives are supposed to offer opportunities to immerse themselves in abstract fabrics, to follow possible narrative threads, to ignore others, to condense, contract, extract, collaborate, resonate, argue, or even create new ones. Paintings especially in their abstraction can challenge the spoken language and therefore provoke other ways of understanding and communication. On the other hand, paintings as well as words have the power to open up fictional worlds seducing the viewer to look closer. Being seduced to look closer the more details will become visible. The more details appear, the more complex the world becomes. The more complex the world is being understood, the more fragmented units will be, and the more fragmented units are, the more unsettling identities become…
Magali Dougoud is graduated in visual arts from HEAD-Geneva and HKB-Bern. Her work has been presented in various art spaces, museums, and festivals in Switzerland and abroad. She has participated in several residencies, notably at the CAB in Tierra del Fuego in Puerto Yartou (CL), at Air Berlin Alexanderplatz (DE), at the Cité Internationale des Arts in Paris (F) and at the Kin ArtStudio in Kinshasa (DRC) in partnership with Pro Helvetia. In 2020, she received the Bourse des Arts Plastiques of Canton de Vaud.
Magali Dougoud dismantles dominant historical and scientific narratives to find other possible subjectivities. She develops an emancipatory feminist imaginary through notions such as liquidity — as a means of heterogeneous connection —, violence, eroticism, plural, and inter-species intelligence. Her work, mainly video, is inspired by hydrofeminism (NEIMANIS Astrida, Bodies of Water: Posthuman Feminist Phenomenology), the idea that we are all "bodies of water" and that this water is in perpetual circulation between and within bodies. This liquidity that we share connects humans, non-humans, and the planet through a temporality that always remembers and anticipates. In her visual work, Magali Dougoud immerses her camera in troubled waters, offering, through effects of overexposure and visual blur, the disordered and blind spectacle of an opaque bath, which brings to the surface multiple, incomplete and diffracted identities. In this liquid flow drift, without faces, aqueous female characters and voices in apnea make themselves heard. Through the emancipating resources offered by speculative fiction and through the treatment of the image, working through aerial breakthroughs, aquatic immersions and inlays, Magali Dougoud thus opposes a resistance to the socio-political liquefaction as much as to the physical liquefaction of these feminine stories. Thanks to a strategy of recomposition-reconstitution, the emergence of an emancipatory imaginary repairs the violences carried to the bodies of these women. The effects of visual diffractions in her work, oppose to the principle of transparency of the beings and the bodies in liquid society. These new emancipatory narratives underline the power relations and the gendered oppressions which underlie the construction of identities.
Veranstaltung in Kooperation mit slot_ und dem Kunstpavillon Luzern