Making a film, for example, has nothing to do with making a sculpture. Why do I make this distinction? Do I know what a sculpture is? And in times of fundamental crisis and change, is the question even relevant? Do we need to ask if something is sculptural, or how a sculpture is created?

I am preoccupied with these questions, and think about them constantly. It never ceases to surprise me, therefore, that other people don’t seem to think about them at all.

Take last year, at a bar. The waitress approached her customers with great reservation. Whenever she came near, her face and body remained still, despite the barely perceptible backward gesture of her shoulder. Without a glimmer of understanding the order, she turned. I was fascinated by her detachment, and how she was able to establish her own personal space in such a crowded room. This austere choreography of approach and retreat was conducted in a single movement, and all the while she remained her unique, mysterious self. A picture of somebody fishing sprang to mind. The line was cast and pulled back, before it had even touched the water. As if somebody was obviously fishing for something, which I could never see or come even close to be able to explain.

Gent, October 2015

born in Switzerland.
education, prizes, residencies:
HISK Residency Programm, Gent (BE).
Berlin University of the Arts (DE).
Lucerne University of Applied Sciences and Arts (CH).
Residency at Barracão Maravilha, Rio de Janeiro (BR).
Residency at Kunsthaus 19/21, Pforzheim (DE).
Working stipend from the city and the canton Lucerne (CH).
Helmut-Thoma-award, Berlin (DE).
Bernhard-Heiliger-stipend, Berlin (DE).
NICA-exchange-scholarship at Hunter College, New York (USA).

selected exhibitions:
Catch of the Year 2017, DIENSTGEBAEUDE Zurich (CH).
Swiss Art Awards 2017, Messe Basel (CH).
De Nieuwe Garde, Kunst in huis-expo, Antwerp (BE).
Little Hisk, Poortgebouw, Antwerp Art Weekend (BE).
Eutopia '28', Cultuurcentrum Strombeek (BE).
Jahresausstelllung Zentralschweizer Kunstschaffen, Museum of Art Lucerne (CH).
There's a gap in between / There's a gap where we meet / Where I end and you begin, Coup de Ville @ Nylonfabrik, Sint-Niklaas (BE).
The outer limit of some thing, Lamart Projects Antwerp (@ former Gallery Marion De Cannière), (BE).
It takes two to make an accident, HISK final show - curator: Selen Ansen, Gent (BE).
Now. You are here, Zwartwild, Gent (BE).
Aktuelle Kunst, Stadtmühle Willisau (CH).
Rio sem fumaça, Barracão Maravilha Arte Contemporanea (with Manu Engelen), Rio de Janeiro (BR).
The seismographical back, Kunsthalle São Paulo (solo), (BR).
Zentralschweizer Kunstschaffen, Museum of Arts Lucerne (CH).
Werkbeiträge 2012 Kt. und St. Luzern, Monosuisse (akku), Emmen-Lucerne (CH).
How Did The Night Get So Strong, Ringstube, Mainz (DE).
Pursue Other Avenues, Corner-College, Zurich (CH).
Werkbeiträge 2011 Kt. und St. Luzern, Kunsthalle Lucerne (CH).
About Abstraction, KTV-Club, Berlin (DE).
Aus einem steinleichten Schweigen heraus, Hans-Kock Foundation, Kiel (solo), (DE).
Mit dem Rücken zum Publikum, Wäscherei Kunstverein Zurich (solo), (CH).
Ausgewählt, Kunstplattform Akku Emmen, Emmenbrücke-Lucerne (CH).
Zentralschweizer Kunstszenen, Museum of Arts Lucerne (CH).
In the fall of twothousandandten we flowed upstream and had nothing to eat, Gallery Suzy Shammah, Milan (with Mickaël Marchand), (IT).
The first Rendez-Vous, Playstation at Galerie Fons Welters, Amsterdam (solo), (NL).           
Zwischen zwei Investoren, Klasse Slotawa: former studio building of Anton v. Werner, Potsdamerstrasse, Berlin (DE).
Gute Karten, Award-winners and fellows of UdK Berlin 2008-2010, Haus am Kleistpark, Berlin (DE).
Wir können auch anders!, Bourouina Gallery, Berlin (DE).
© Flurin Bisig, 2016. All rights reserved.
© Flurin Bisig
© Maurin Bisig, Wolhusen (maurin-bisig.ch)
© Laure Cottin Stefanelli, Brussels/Paris (laurestefanellicottin.fr)
© GJ van Rooij (Gallery Fons Welters, Amsterdam)
Thomas Schmidiger, Bern
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