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One of the few artists at PerformanceProcess who almost exclusively practices performance art. Some of her projects are “written” and thus “played” and “replayed”; others are circumstancial responses to a given spatial context.

PerformanceProcess Basel 2017-2018
PerformanceProcess Paris, Centre Culturel Suisse 18.09-13.12.15
sat 19 Sep 2015
1
15h
In Touch with M.O. (2013)Centre culturel suisser+33 1 42 71 44 50

In this piece, Gisela Hochuli references certain works by Meret Oppenheim (M.O.). She considers the artist's work not only from an aesthetic standpoint, but also in terms of its materiality and its importance in a historical and social context. Using a selection of works, she creates a unique piece focusing on the body, the study of materials, and their transformation. In Touch with M.O. was awarded the Prix Suisse de la Performance.

sun 20 Sep 2015
1
16h30
In Touch with M.O. (2013)Centre culturel suisser+33 1 42 71 44 50

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One of the few artists at PerformanceProcess who almost exclusively practices performance art. Some of her projects are “written” and thus “played” and “replayed”; others are circumstancial responses to a given spatial context.

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Gisela Hochuli, In Touch with M.O. (2013)

gisela-hochuli

Gisela Hochuli, In Touch with M.O. (2013)

gisela-hochuli

Gisela Hochuli, In Touch with M.O. (2013)

gisela-hochuli

Gisela Hochuli, In Touch with M.O. (2013, 30') © Simon Letellier / CCS, Paris

gisela-hochuli

Gisela Hochuli, In Touch with M.O. (2013, 30') © Simon Letellier / CCS, Paris

gisela-hochuli

Gisela Hochuli, In Touch with M.O. (2013, 30') © Simon Letellier / CCS, Paris

gisela-hochuli

Gisela Hochuli, In Touch with M.O. (2013, 30') © Simon Letellier / CCS, Paris

gisela-hochuli

Gisela Hochuli, In Touch with M.O. (2013, 30') © Simon Letellier / CCS, Paris

gisela-hochuli

Gisela Hochuli, In Touch with M.O. (2013, 30') © Simon Letellier / CCS, Paris

gisela-hochuli

Gisela Hochuli, In Touch with M.O. (2013, 30') © Simon Letellier / CCS, Paris

gisela-hochuli

Gisela Hochuli, In Touch with M.O. (2013, 30') © Simon Letellier / CCS, Paris

gisela-hochuli

Gisela Hochuli, In Touch with M.O. (2013, 30') © Simon Letellier / CCS, Paris

gisela-hochuli

Gisela Hochuli, In Touch with M.O. (2013, 30') © Simon Letellier / CCS, Paris

gisela-hochuli

Gisela Hochuli, In Touch with M.O. (2013, 30') © Simon Letellier / CCS, Paris

gisela-hochuli

Gisela Hochuli, In Touch with M.O. (2013, 30') © Simon Letellier / CCS, Paris

gisela-hochuli

Gisela Hochuli, In Touch with M.O. (2013, 30') © Simon Letellier / CCS, Paris

gisela-hochuli

Gisela Hochuli, In Touch with M.O. (2013, 30') © Simon Letellier / CCS, Paris

gisela-hochuli

Gisela Hochuli, In Touch with M.O. (2013, 30') © Simon Letellier / CCS, Paris

gisela-hochuli

Gisela Hochuli, In Touch with M.O. (2013, 30') © Simon Letellier / CCS, Paris

gisela-hochuli

Gisela Hochuli, In Touch with M.O. (2013, 30') © Simon Letellier / CCS, Paris

gisela-hochuli

Gisela Hochuli - In Touch with M.O. © Simon Letellier

gisela-hochuli

Gisela Hochuli - In Touch with M.O. © Simon Letellier

gisela-hochuli

Gisela Hochuli - In Touch with M.O. © Simon Letellier

gisela-hochuli

Gisela Hochuli - In Touch with M.O. © Simon Letellier

gisela-hochuli

Gisela Hochuli - In Touch with M.O. © Simon Letellier

gisela-hochuli

Gisela Hochuli - In Touch with M.O. © Simon Letellier

gisela-hochuli

Gisela Hochuli - In Touch with M.O. © Simon Letellier

gisela-hochuli

Gisela Hochuli - In Touch with M.O. © Simon Letellier

gisela-hochuli

Gisela Hochuli - In Touch with M.O. © Simon Letellier

gisela-hochuli

Gisela Hochuli - In Touch with M.O. © Simon Letellier

gisela-hochuli

Gisela Hochuli - In Touch with M.O. © Simon Letellier

gisela-hochuli

Gisela Hochuli - In Touch with M.O. © Simon Letellier

gisela-hochuli

Gisela Hochuli - In Touch with M.O. © Simon Letellier

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Elements and allusions

Gisela Hochuli's performances feature tributes to artists and allusions to art history. ...

Gisela Hochuli's performances feature tributes to artists and allusions to art history.

Gisela Hochuli composes performances that are remarkable for the simplicity and symbolism of her gestures, which involve her entire body, for instance when she leans over a puddle in the street, lets her hair dance in the water, and then shakes her head with staccato movements. Or when she moves through the crashing cascade of a waterfall. Or the performance where she stands naked in a room, her back covered in a thick layer of black paint, like Meret Oppenheim in Man Ray’s famous photograph.

Gisela Hochuli includes many references to historic artworks or ancient myths in her work. And yet what captivates the viewer is above all her body, her posture and her almost animal movements. She elaborates her performances by exploring direct references to the human body and studying the concrete properties of materials and natural elements and the ways in which they are transformed.

In another performance, Gisela Hochuli brings in a block of ice she has found outside, sits next to it on a windowsill as if it were her friend, puts it on her head and lets the water run down her face. As time goes on, and because of what she does to it, the ice block constantly changes shape, becoming in turn a bag, a snowball sliding across the floor, and finally a pile of muddy snow that the artist rolls around in. Ultimately, there is nothing left of the ice—just wet patches on the floor and on her clothes.

 

Sibylle Omlin

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