As part of Parcours Night and in partnership with Centre Culturel Suisse Paris
A tireless walker, his observations of buildings or street scenes often form the basis for his works, be they sculptures, installations or videos. His work mostly assumes the dimension of performance art in his videos, which involve “ritualised” gestures.
60 years of performance art in Switzerland museum Tinguely, 20.09.2017 - 28.01.2018
Clothes, bamboo, hand-painted plates
For a 2003 exhibition in Buenos Aires, Eric Hattan roams through the city and buys, each day, a new set of clothes. He wears them at the museum and creates an installation with his clothes. In Basel, he adds a series of photographs where he is seen changing clothes and going from one identity to the other.
PerformanceProcess Paris, Centre culturel suisse 18.09-13.12.2015
He regularly films himself turning wrappers inside out on his travels. For PerformanceProcess, these three videos are accompanied by the inside-out wrappers themselves.
Eric Hattan sources materials for his performances from his immediate surroundings. ...
Eric Hattan sources materials for his performances from his immediate surroundings.
Eric Hattan does not seek to bring new artworks into the world; instead he aims to observe and pay attention to what already exists. Everything in his approach contributes to this process. He always begins a project by examining his surroundings and absorbing the location. Then comes the intervention itself. Often attentive to the architecture of the exhibition venue, he displaces objects to create a sense of reversal and distortion—for example propping up furniture on ceilings or walls using timber laths from building sites. His approach to sculpture and installation begins with this simple act. It also features in his performance pieces, which he documents using video as a kind of notebook. In the series entitled Unplugged, he turned wrappers inside out to conceal the message conveyed by their graphic design. In Insideoutsidein (pour attitudes) (1996), he deconstructed the packaging for a light bulb, reassembling it inside out before putting the bulb back.
For Insideout (Unplugged Paris) (1998), he naturally, and not without a hint of humour, turned a baguette wrapper inside out. When invited to Buenos Aires for a project, he began by walking around the city. Every day during these exploratory outings to various districts, he used the production budget to buy clothes he then wore for the rest of the day. When he returned to the museum, he changed out of the clothes in the exhibition space, turned them inside out, and transformed them into sculptures. The operation is documented in Et moi et moi et moi (2003- 2004) as an intimate process of cultural acclimatisation.