Schaffter and Stünzi demonstrate how sovereignty over the social shaping of reality can be reconquered. They build study objects during a preparatory phase on site. Schaffter presents and analyses these newly created "sculptures" during the performance.
In Constructionisme, Marius Schaffter and Jérôme Stünzi try to regain control over the social construction of reality. Before the public performance, they create objects for study from scratch, like modest craft projects. When the time comes, Marius Schaffter presents, analyses and dissects these sculptures. Meticulous, erudite and passionate, he brings out the meaning that resides within—or on the surface of— the objects. Constructionnisme earned Marius Schaffter & Jérôme Stünzi the Premio 2015, a Swiss award that encourages performing arts initiatives.
In a hilarious performance, duo Marius Schaffter and Jérôme Stünzi take an artwork, and art discourse, to pieces. ...
In a hilarious performance, duo Marius Schaffter and Jérôme Stünzi take an artwork, and art discourse, to pieces.
An object, and a lecturer talking about it: based on this ostensibly basic idea, Constructionisme by Marius Schaffter and Jérôme Stünzi is a hilarious performance, reeling out a whole string of clichés used in academic lectures. The idea took shape following an invitation to the inauguration of the science faculty of the Society of Geneva University in September 2014. Constructionisme was awarded the Swiss Premio Award in 2015.
A man in a shirt, with sleeves rolled up and sweat-stained armpits, talks about an art object. The performance takes the form of a lecture that juggles with description, intuition and analysis, testing out the sociological theory of constructivism as it goes along. Making extensive use of improvisation, the talk is punctuated by pregnant pauses, masterful gestures, knowing smiles and interactions with the intrigued and highly amused audience.
Like public dissections in the past, the performance involves a lecturer (Marius Schaffter) making an inert object—here, a unique artwork produced during a public workshop—reveal its secrets by cutting it to bits using a hammer and saw. Though a normal thing to do during an anatomy lesson, this is absolutely unimaginable—and thus transgressive and very funny– in the field of art, where such dangerous tools are banned: if you want to touch a painting or an installation, you usually have to use gloves. Prepare for an iconoclastic experience!
Samuel Schellenberg, journalist in charge of the arts section of Le Courrier.