Monday, 31 August 2015

Performance Process
To mark its thirtieth anniversary, the Centre Culturel Suisse in Paris has designed an event devoted to performance art, a medium at the intersection of several different disciplines.

Pro Helvetia's Centre Culturel Suisse, situated in the heart of the Marais district in Paris, is celebrating its 30th anniversary.

Federal Counsellor Alain Berset opened the jubilee production "PerformanceProcess", which presents Parisian audiences with highlights of Swiss performance art from the pioneers of the 1960s to the discoveries of today.

The Centre Culturel Suisse (CCS) is the Swiss Arts Council's oldest office abroad.  

Swiss performance: from Jean Tinguely's happenings to the present day
With "PerformanceProcess" the two directors of the CCS in Paris, Jean-Paul Felley and Olivier Kaeser, have developed a new format specifically for the jubilee event, combining exhibition and festival. Overall, 46 Swiss artists and groups from the fields of visual and performing arts will be showing works and documentation connected to performance over the coming three months. The list of participants contains several internationally renowned names, but also offers opportunities for coming across fresh talent. Among those taking part are dancer and choreographer La Ribot, who lives in Geneva, Kassel and Munich based artist Urs L├╝thi, originally from Lucerne, and Roman Signer, a blasting artist from Eastern Switzerland. Lesser known names there to be discovered include Martina-Sofie Wildberger, Aldo Walker and Anna Winteler. Twelve art practitioners are provided with a monographic exhibition for a period of five days each. To start off, the series spotlights Jean Tinguely and his auto-destructive machines created in 1960. The spatial design of the rooms at the Paris centre for the "PerformanceProcess" project is a production of the Geneva-based architecture duo "Bureau A". And finally, graphic designer Ludovic Balland from Basel is there to set up an electronic work of reference in real time.

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