What's left?
the 60th edition of the biennale is organised by a 3 curatorial teams:
Lorenzo Balbi & Dobrila Denegri: for the project Trace
Matthieu Lelièvre & Maja Kolarić: project Aesthetic(s) of Encounter(s)
Lina Džuverović, Emilia Epštajn & Ana Knežević: project Hope is a Discipline
(Dis) connected
The Switzerland's biggest biennial of visual arts is back with its unique concept: site-specific outdoor and indoor photographic installations in Vevey's streets and parks, on the facades of its building, in its museums and galleries, and even on Lake Geneva. To be discovered free of charge throughout Vevey.
(dis)connected: the theme of the Biennial Images Vevey 2024 explore one of the major issues of our time – the great divide created by digital technologies between past and present. The projects presented aim to create links between a certain nostalgia for the past and curiosity about an uncertain future. With this in mind, some fifty national and international photographic projects will be presented, playing on the feelings of connection and disconnection between tangible reality and digital fantasy.
Indoors and outdoors, throughout the city of Vevey, artistic proposals play on the feeling of connection and disconnection between tangible reality and digital fantasy.
As we move deeper in time:persistent landscapes
video screenings curated by Arie Amaya-Akkermans.
Artists: Gregory Buchakjian & Valérie Cachard / Leyla Cárdenas / Huniti Goldox / Lamia Joreige / Mudassir Sheikh
The concept of ‘deep time' in archaeology is as old as the idea of antiquity, born in the 1860s,
but it has become widespread today in ecology and landscape archaeology, due to the impact of
GIS (geographical information systems), and LiDAR images (light detection and ranging),
identifying previously unknown features of archaeological sites, using a combination of archival
and public domain images and artificial intelligence. In landscape ecology, we hear often that
due to the ‘time depth available from the archaeological record', long-term processes can be
studied at a variety of temporal and spatial scales. But what exactly archaeologists mean by
‘time depth' is far less understood. Chilean archaeologist Cristián Simonetti wrote in 2014 that,
as we move deeper in time, we do not know with precision which direction is implied in this
depth: Is it running downwards, moving backwards, going up vertically, or moving forward?
The passage of time is well conceptualized in stratigraphy as a vertical column, but does this
time column move from top to bottom or the other way around? What happens when the time is
out of joint, and the layers become inverted, or suddenly go missing? The video screening
series is inspired by Colombian artist Leyla Cárdenas' video ‘Interpretation of Deep Time, First
Attempt' (2017) that articulates time as a multidirectional function of the real, physical space. In
the video, the upside down view of a rammed earth wall in the outskirts of Bogotá, is a physical
stratigraphy of time, not simply as a result of erosion, but of spatial and environmental violence.
The traces of human violence and destruction now have geological qualities that have left
permanent marks in the landscape. For Cárdenas, the wounded landscape is not simply a site
of damage, but also a historical and political condition of disorientation that unmakes any simple
passage between past and future.
In the series, “As We Move Deeper in Time: Persistent Landscapes”, we will be looking at video
practices in conversation with Cárdenas, that examine the problem of directionality in time, but
not in the abstraction of linear or metrical time, but rather, embedded in complex assemblages
between nature, culture, history and time, with a particular eye on postcolonial landscapes.
Either landscapes that stand for arenas of reflection for the experience of political violence, or
landscapes that themselves have become rapidly changed by aggressive transformations. In his
book, “Making Time: The Archaeology of Time Revisited” (2021), Gavin Lucas wrote, partially in
response to Simonetti, that movement in time is not only chaotic and unpredictable, but it can
also become suddenly multidirectional, pushing in different directions at the same time,
stretching temporality, and sometimes suspending it or collapsing it. Nature becomes a site of
tension, paradox and discontinuity....
Exhibiting in Tirana these reflections about political violence, either inflicted on the landscape
directly, or re-interpreted through the natural sublime, anchors the question of time depth in a
city undergoing brutal social, economic and political transformations, and which might become
eventually not only unrecognizable, but also unrememberable. The ability of the moving image
to use time as a physical force and sculpt it, even if only temporarily, connects history with
non-human elements as a continuous assemblage of materials, archives and present ruins.
With a greatly expanded notion of historical time, inherited from archaeology, the distant past of
nature might reappear in relative proximity to the political present, and crucially overlap.
Simonetti has called this process, ‘feeling forward into the past': “Concepts of time are not
abstract entities, fixedly stored in the mind, but sentient acts of conceptualization that depend on
the dynamic field of forces in which things and people become entangled.”
Raising Flags
"Raising flags" is a longterm project by Museum In Progress by Alois Herrmann and Kaspar Mühlemann Hartl, displaying flags by more than 30 Artists in various venues. In 2024 the project is shown in Vienna, Stubenbrücke, India 3600 m above sea level in Ladakh and at “sommer.frische.kunst” in Bad Gastein, Austria.
artists : Thomas Bayrle, Minerva Cuevas, Shilpa Gupta, Peter Jellitsch, Miriam Jonas, Martha Jungwirth, Gerhard Kaiser, Samson Kambalu, Peter Kogler, Agnieszka Kurant, Jonathan Meese, Maurizio Nannucci, Olaf Nicolai, Sophia Pompéry, Haleh Redjaian, Christian Robert-Tissot, Eva Schlegel und Erwin Wurm
In this context, Sophia Pompéry created "Close to the wind". The term originates from the nautical world and means to take the wind as much from the front as possible. If you sail too close to the wind, the sails start to kill. They flutter like a flag on a mast; in a broader sense, the phrase means to take a risk, to be in danger, to defy the odds, to be on the brink (e.g. of ruin). The expression is often used to describe the aggressive course of a company. „CLOSE TO THE WIN(D)“ can therefore also be seen in an economic context. This is, of course, about the winnings, about profit. - But is growth possible without losses? The banner is an experiment that exposes the much-vaunted motto to the forces at work. - „Close to the wind“, not only in sports.
Landscape of the Imagination
curated by James Putnam, Koen Vanmechelem and Michael Vandebril
Marathon, la Course du messager
curated by Jean-Marc Huitorel et Dominique Marchès
Exhibition on the theme of running and message. Running as a means of travel, and much more as an experience in its own right. With in particular an approach of the race as a carrier of message, where the race and its message appear inseparable.
Passions partagées - Collection Lambert
New Worlds: Women to Watch 2024
Visionary artists reimagine the past, present alternate realities, and inspire audiences to create different futures. During the past few years, our world has been transformed by a global pandemic, advocacy for social reform, and political division. How have these extraordinary times inspired artists? Works by the 28 artists featured in New Worlds: Women to Watch 2024 explore these ideas from perspectives that shift across geographies, cultural viewpoints, and time.
Sophia Pompery represents Germany
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