Jeremy Nedd, Sabrina Röthlisberger, Rashayla Marie Brown
10.-12.5.19:
Artist Talks & Conversations
Jeremy Nedd
Sabrina Röthlisberger
Rashayla Marie Brown
“Rage To Master (Poor Farm)” by Rashayla Marie Brown
Over the course of three days, 1.1 invites three artists to use the format of a talk to speak about a topic of their choice.
10. May 2019, 4pm
Jeremy Nedd
11. May 2019, 4pm
Sabrina Röthlisberger
12. May 2019, 4pm
Rashayla Marie Brown
10. May 2019, 4pm
Jeremy Nedd
11. May 2019, 4pm
Sabrina Röthlisberger
12. May 2019, 4pm
Rashayla Marie Brown
10. May 2019, 4pm
Jeremy Nedd is a Brooklyn-born, Basel-based choreographer and performer. His work focuses on the processes of dissecting, demystifying and re-contextualising content in order to confront definitions of validity and contemporaneity. We will take a look at his recent work to have a collective conversation about Jeremy’s practice, process and previous works. We’ll also speak about his efforts to incorporate a principle of efficacy into his pieces, both on stage and behind-the-scenes.
Jeremy has choreographed and presented his own productions at spaces such as ROXY Birsfelden, Tanzhaus Zürich, Arsenic, Münchner Kammerspiele and Palais de Tokyo amongst others. He is a 2017 PREMIO Finalist (Nachwuchspreis für Theater und Tanz Schweiz), the 2017 recipient of the Atelier Mondial Stipendium to South Africa. Most recently Nedd completed a Master in Expanded Theater at Hochschule der Künste Bern, and was a part of Performancepreis Schweiz 2018.
Jeremy’s latest piece The Ecstatic explores the overlaps of the Black Pentacostal Church’s Praise Break and the South African Pantsula. It inhabits the space of these ecstatic states in dance and exhaustion creating the fantastical, while drawing upon references from US American Black popular and church culture, art history and elements of Pantsula.
Jeremy Nedd is a Brooklyn-born, Basel-based choreographer and performer. His work focuses on the processes of dissecting, demystifying and re-contextualising content in order to confront definitions of validity and contemporaneity. We will take a look at his recent work to have a collective conversation about Jeremy’s practice, process and previous works. We’ll also speak about his efforts to incorporate a principle of efficacy into his pieces, both on stage and behind-the-scenes.
Jeremy has choreographed and presented his own productions at spaces such as ROXY Birsfelden, Tanzhaus Zürich, Arsenic, Münchner Kammerspiele and Palais de Tokyo amongst others. He is a 2017 PREMIO Finalist (Nachwuchspreis für Theater und Tanz Schweiz), the 2017 recipient of the Atelier Mondial Stipendium to South Africa. Most recently Nedd completed a Master in Expanded Theater at Hochschule der Künste Bern, and was a part of Performancepreis Schweiz 2018.
Jeremy’s latest piece The Ecstatic explores the overlaps of the Black Pentacostal Church’s Praise Break and the South African Pantsula. It inhabits the space of these ecstatic states in dance and exhaustion creating the fantastical, while drawing upon references from US American Black popular and church culture, art history and elements of Pantsula.
11. May 2019, 4pm
Sabrina Röthlisberger is a visual artist who creates narratives that commit her to tell a poetic story of a society beset by silent violence. She will speak about prostitution, art and some of the women who have marked our history.
“I am not passing judgement on the world of prostitution, I am simply recalling a personal experience that I have had at a young age.”
Born in 1988 in Haute-Savoie, Sabrina Röthlisberger was trained at the Geneva University of Art and Design (HEAD), a program completed in 2016 with a postrgaduate degree in Fine Arts.
Active as a collective since 2012 in Switzerland and recently internationally, she’s the recipient of the New Heads Prize, the Cantonal Fellowships of the City of Geneva and a resident in the joint program of Pro Helvetia and the Swiss Institute of New York. Since 2014, she has developed within the collective LGGSB a practice centered around women, healing and an active rewriting of their own history through an understanding of reality through the prism of adolescence. Today, Sabrina is interested in the links between education, childhood and utilitarian design, between sets and installations, art and music. Through furniture, sculpture, video and performance, she looks at the otherness of memory to unveil the links between power, fascination and art. Her work often combines references to the history of painting – utilitarian design and as well allusions to her own history and social identity.
Sabrina Röthlisberger is a visual artist who creates narratives that commit her to tell a poetic story of a society beset by silent violence. She will speak about prostitution, art and some of the women who have marked our history.
“I am not passing judgement on the world of prostitution, I am simply recalling a personal experience that I have had at a young age.”
Born in 1988 in Haute-Savoie, Sabrina Röthlisberger was trained at the Geneva University of Art and Design (HEAD), a program completed in 2016 with a postrgaduate degree in Fine Arts.
Active as a collective since 2012 in Switzerland and recently internationally, she’s the recipient of the New Heads Prize, the Cantonal Fellowships of the City of Geneva and a resident in the joint program of Pro Helvetia and the Swiss Institute of New York. Since 2014, she has developed within the collective LGGSB a practice centered around women, healing and an active rewriting of their own history through an understanding of reality through the prism of adolescence. Today, Sabrina is interested in the links between education, childhood and utilitarian design, between sets and installations, art and music. Through furniture, sculpture, video and performance, she looks at the otherness of memory to unveil the links between power, fascination and art. Her work often combines references to the history of painting – utilitarian design and as well allusions to her own history and social identity.
12. May 2019, 4pm
“The Air We Breathe”
US-based artist Rashayla Marie Brown presents a rough cut of her film-in-progress, Rage to Master, followed by a discussion of strategies for naming white supremacist structures in places that continue to deny race despite their histories of complicity with it. The film uses a photograph by Swiss-born scientist Louis Agassiz of the enslaved Delia as a starting point to question the liberatory potential of photography and the power of redefining what art can do from a legal standpoint. The demeaning photographs of Delia and her father Renty are currently embroiled in a legal battle between Harvard University and her descendants making claims for reparations.
Artist-scholar Rashayla Marie Brown manages an “undisciplinary” studio practice through photography, performance, writing, installation, and video. A lifelong nomad who moved 24 times, she began her practice as a poet in London. RMB has presented work internationally at Tate Modern, London; Krabbesholm Højskole, Copenhagen; Turbine Hall, Johannesburg; and in commissions at Bemis Contemporary, Omaha; Museum of Contemporary Art, Chicago; Museum of the African Diaspora, San Francisco; Rhodes College, Memphis; among others. She holds degrees from Northwestern University, the School of the Art Institute of Chicago, and Yale University; and was the first Director of Diversity in the history of the Art Institute of Chicago.
“The Air We Breathe”
US-based artist Rashayla Marie Brown presents a rough cut of her film-in-progress, Rage to Master, followed by a discussion of strategies for naming white supremacist structures in places that continue to deny race despite their histories of complicity with it. The film uses a photograph by Swiss-born scientist Louis Agassiz of the enslaved Delia as a starting point to question the liberatory potential of photography and the power of redefining what art can do from a legal standpoint. The demeaning photographs of Delia and her father Renty are currently embroiled in a legal battle between Harvard University and her descendants making claims for reparations.
Artist-scholar Rashayla Marie Brown manages an “undisciplinary” studio practice through photography, performance, writing, installation, and video. A lifelong nomad who moved 24 times, she began her practice as a poet in London. RMB has presented work internationally at Tate Modern, London; Krabbesholm Højskole, Copenhagen; Turbine Hall, Johannesburg; and in commissions at Bemis Contemporary, Omaha; Museum of Contemporary Art, Chicago; Museum of the African Diaspora, San Francisco; Rhodes College, Memphis; among others. She holds degrees from Northwestern University, the School of the Art Institute of Chicago, and Yale University; and was the first Director of Diversity in the history of the Art Institute of Chicago.