BLUE GOLD
SOFT SPHERES
A CONSTANT SOUND CARPET
Ìsàlè Èkó - The message never sees the light of day, but is understood

A shallow grave was dug for the recording instruments to lie in.
Dirt heaped on top, the dirt blocked out the sunlight, the sound of
beneath grows louder.
Submerged, shards of lighter higher sounds filtering through the
topsoil like young stalks breaking through the soil seeking the face
of the sun to grow. Life and death.
The intensity of the pressure of being underground is then compounded
by layering the sub harmonics of the composition with some tube valve
warmth to emulate the heat of the earth,
All the energy lies in the sub, the reach of a sub harmonic wavelength
is long, the message is carried further underground, like a network of
tree roots.
The message never see the light of day, but is understood.
by Leke "CHiFY" Awoayinka

NORI
UNDERWATER ECONOMY
CULTIVATING AUTONOMY
A world where violence, foreign domination and profit prevail and our relationship to the earth, or how it is used and abused, is seen by the artist as synonymous with how bodies and their emotional “landscapes” are dealt with. The more resources, including copper—without which our contemporary digital world is inconceivable—are mined, the more the search for or connection to inner resources seems relevant.
These various themes and their associated stories are not necessarily addressed directly in the exhibition or reproduced. Rather, they are kept present through the materials enlisted, by relating to their origin, their use, their historical relevance, their development and the trade routes that have shaped our society very physically over time.
The artist creates a space, in a certain sense a “third space”, in which a larger spectrum of stories and their complex interrelations with matter, material and their transformation and relationship to people can be experienced, and other perspectives made possible. From the materials and plants that are addressed, she extracts, in a way, the essence of their inherent energies and logics, makes them physically perceptible and thus ultimately also calls upon their nourishing properties.
Text by Nikola Dietrich
INSTEAD OF LONGING
MARKET
SUSNNE WENGER DIARIES
TAT TWAM ASI
SPIRITUELLES TAGEBUCH Ich lebe nicht vergebens
MEMOIRES OF A SEER:
VORWÄRTS-ERINNERN, 2020
Composition and voice by Jumoke Adeyanju aka mokeyanju, 9:15min
Poetry (German Original): Susanne Wenger
Poetry (English / Yorùbá Original): Jumoke Adeyanju
Sample von: Jack Mensah
DEATH OF NATURE, 2020 - WALPURGISNACHT by Johannes Praetorius (1656) and DE RE METALLICA by Georg Agricola (1556)
DRIFT AND SHIFT Kunstverein Göttingen
Her research also leads her into the area surrounding Göttingen and the Harz region. The Harz was an important mining area for copper, which was also partly used for the production of Manillas. A West-African currency, used by the colonial powers from the late 14th century into the 18th for trading.
MANILLA
Performance with Jeremiah Day and Hilla Steinert
Union Trading Company LTD Basel, Broad Street, Lagos, Nigeria - around 1953
A PERSONAL AFFAIR. DIGGING TO REMEMBER FORWARD. PART TWO.

As in the Lagos Biennale installation, the work deals with the history of the Union Trading Company (UTC) that was established in 1928, and has it’s roots in the Basler Mission, which has been operating since 1854 in Ghana.
The UTC was one of the most important colonial trading companies of the 19th and 20th centuries. In the beginning the company exported cocoa, palm oil and cotton. Later on they traded in vehicles, textiles, tools, machinery, and much more. It also ran large, elegant department stores in Accra and Lagos and its Swiss staff imported and disseminated know-how.
This piece is the second chapter of the installation. It was specially developed for the Swiss Art Awards competition that took place in the fair hall 3 in Basel. This hall was built in the 1934 and hosted the first trade fairs in Switzerland.
All the elements used for the installation belonged once to the UTC. The preoccupation with the company is a personal affair in the regard, that they traded also with Oris watches, a former family business.
PART TWO.
LAGOS BIENNALE
A PERSONAL AFFAIR. DIGGING TO REMEMBER FORWARD.
THE WORD FOR WORLD IS FOREST
ODU by Susanne Wenger in Oshogbo, Nigeria
UNLEASHED GHOSTS
Slimy


TOO MUCH SUN IS NO GOOD FOR DREAMS






SORRY, YOU ARE NOT INVITED.
BUT DON'T TAKE IT PERSONAL

yam, kneepad
IT'S BETTER TO STAY ANGRY
nori paper
I KNOW IT’S A ZEBRA WHEN I SEE STRIPES
NEXT GENERATION
It belongs to us a little less than we belong to it

THE MASTER‘S TOOL
WILL NEVER DISMANTLE
THE MASTER‘S HOUSE



LAUGHTER IS USUALLY THE END OF THE CONVERSATION

CV

  • 2021
  • 2020
  • 2019
    • Red Gold. Auswahl 19. Aargauer Kunsthaus, Aarau
  • 2018
  • 2017
  • 2016
  • 2015
  • 2014
    • Attemps to read the world (differently). Stroom, Den Haag, NL (2 year project until 2016)
    • Too much sun is no good for dreams. Auswahl 14, Aargauer Kunsthaus, Aarau
    • Having a good time. Galleria Periferia, Luzern. Curated by Maude Leonard-Contant
    • Helvetic Zebra. STATION, Beirut. Curated by Donatella Bernardi
    • Friendship is not negotiable. Kunstkredit, Kunsthalle Basel. Curated by Ruth Kissling
    • Swiss Art Award. Basel
    • Newpressionism: 1, 11, 111. Instituto Svizzero, Milano. Curated by Miltos Manetas
    • I know it‘s a zebra when I see stripes. Piano Nobile, Geneva (solo). Curated by Isaline Vuille and Marie-Eve Knoerle
    • Seeing things. Glasgow International, Across the City, Glasgow. Curated by the artists
  • 2013
    • Laughter is usually the end of the conversation. Instituto Svizzero, Milano (solo) Curated by Salvatore Lacagnina and Valentina Sansone
    • We would prefer not to. Sic! Raum für Kunst, Luzern. Curated by Nadine Wiedlisbach
    • Under a hunch. Ausstellungsraum Klingental, Basel (solo with G. Küng). Curated by Rahel Schelker
  • 2012
    • Balises. Piano Nobile, Genf. Curated by Isaline Vuille
    • Auswahl 12. Aargauer Kunsthaus, Aarau
    • A word for a play. By Radio Arthur. Reginale 13, Kunsthaus Baslland, Muttenz. Curated by Sarah Bernauer, Franziska Glozer and Oliver Dolder
    • We are rolling, At Home IX. Galerie J, Genf. Curated by Martina- Sofie Wildberger and Raphael Julliard
    • Degree Show. Glasgow School of Art, Glue Factory, Glasgow Stay Vector, Stay!, Glasgow
    • Stay Vector, Stay!. Glasgow. Curated by the artists
    • Manufacture. CentrePasquArt, Biel. Curated by Zoë Gray and Sandra Patron
    • Buccleuch. exhibitions in a living room, Glasgow. Curated by me
  • 2011
    • Meubler la solitude. Kunsthaus Baselland, Muttenz. curated by Simon Bauer
    • Down the road. Project space of Gallery Ribordy contemporary curated by Isaline Vuille, Genf (solo)
    • The Wonders of the Invisible World. Northern Gallery for Contemporary Art, Sunderland, GB. Curated by Alistair Robinson
    • Territoires. BEX & ARTS, Bex, Schweiz. Curated by Noémie Enz, Jessica Schupbach and Pascal Häusermann
    • Il n‘y a que les montagnes qui ne se rencontrent pas. Agent Double, Genf. Curated by Isaline Vuille
  • 2010
  • 2009
    • Prolog. Landwirtschaftsbetrieb Frohe Aussicht, Zürich. Curated by Martin Blum
    • Timewarp, Project Room. CRAC Alsace, Altkirch, France (solo). Curated by Felicity Lunn
    • Caravan. Aargauer Kunsthaus, Aarau (solo). Curated by Madeleine Schuppli
    • Auswahl 09. Aargauer Kunsthaus, Aarau
    • US. Johannesburg Art Gallery, Johannesburg. Curated by Bettina Malcomess and Simon Njami
  • 2008
    • Auswahl 08. Aargauer Kunsthaus, Aarau
    • Regionale 09. Kunsthaus Baselland, Muttenz
  • 2007
    • Regionale 8. Kunsthalle Basel, Basel
    • Inventing tradition - Pah’Bèt. Residency and screening at ANNEX, Jan Van Eyck, Maastricht. Hosted by Marjolijn Dijkman
  • 2006
    • Tu Vas Où – Compte Rendu. Espace Céateurs, Douala – Cameroun (solo). Self initiative
    • On the way to work- iaab “Choices”. Kunstraum Riehen
    • Exit Tour. A 2 month travel project from Douala to Dakar, Artbakery, Douala - Cameroon
  • 2005
    • Enough room for space Part II. Claragraben 131, Basel. Curated by Schalter and Filiale.
    • Regionale 6. Kunsthaus Baselland, Muttenz
    • Boulev´art 05. Cotonou – Benin. Curated by Dominique Zinkpe and Elise Daubelcour
    • Establishing a residency program between Iaab, Christoph Merian Stiftung, Basel and Artbakery, Douala - Cameroon (until 2011)
  • 2010 - 12
    • MFA, Glasgow School of Art
  • 2001 - 04
    • BA, Academy of Art and Design, Basel
  • 2000 - 01
    • Basic year, School of Art and Design, Basel

Credits

C R E D I T S 
(
    [Copyright] => © 2021 Dunja Herzog
    [Photographers] => 
        (
            [Ayo Akinwande] => Photo 51
            [Emanuele Biondi] => Photos 86, 87 and 88
            [Jhoeko Fotografie] => Photo 63
            [Dunja Herzog] => Photos 6, 7, 9, 22, 52, 57 and 67
            [Stefan Jaeggi] => Photos 81, 83, 84 and 85
            [Judith Kakon] => Photos 75, 76, 77, 78 and 79
            [Alex  Kern] => Photo 50
            [Viktor Kolibal] => Photo 80
            [Niklas  Taleb] => Photos 72 and 73
            [Mareike Tocha] => Photos 1, 2, 4, 5, 10, 14, 17, 18, 19, 24, 25, 26 and 30
        )

    [Website] => by Fuchs Borst, www.fuchsborst.de
)