DELPHINE CHAPUIS SCHMITZ Documentation of works

DELPHINE CHAPUIS SCHMITZ
Documentation of works
www.dchapuis-schmitz.com
FICTION IS EVERYWHERE
(c’est une question de
circonstances)
Let Language Tell You
Most of the texts are stolen anyway.
Chapuis Schmitz’s works involve
a precise form of artistic research,
they address the question of form,
the possibility of forcing existing
material to talk differently about
questions that concern doing art
today, but also the very nature of the
subjectivity inherent in such a task.
(…)
The use of existing texts, some of
which she ‘steals’ several times over,
reveals another fundamental feature
of Chapuis Schmitz’s work: textual
archive as background. The archive
is associative; it changes and grows.
It consists of theoretical writing,
literature and poetry, commissioned
texts, statements made by other
artists and her own writing. Who
wrote what is not a primary concern.
She may or may not credit the
writer. Chapuis Schmitz recurs
to her collection time and again,
under different circumstances and
in different contexts. She makes
choices, assembles text into collages
and expands the semantic horizon
of individual statements through
her repeated use of the same text.
This gesture of recycling echoes a
profoundly judicious approach to
artistic forms of production. Yasmin
Afschar
Critique is the place of doubt and
there is doubt here, too. In studying
this oeuvre, we are participants in
the research Chapuis Schmitz is
conducting, we are viewers of the
forms she displays, and we are also
readers of the narratives she offers
us. However, critique or sentiments
of distance and doubt are not her
primary concern; she is interested
above all in how these different
materials constitute a new material.
And there is something else that
stands out in her work: an interest
in the formation and development
of new forms of freedom within
given conditions (…) the question
of how to break down conventional
genealogies that determine how we
read, understand, and reassemble
traditional knowledge is a
fascinating field for this artist. Chus
Martinez
//
For Chapuis Schmitz, space is an
adaptable text, a potent screenplay
which the participating audience
act out, even sometimes themselves
direct, leaving our experience
of that space inverted, distorted,
transformed. Chris Fite-Wassilak
//
Poetische Paratexte
Chapuis Schmitz’s interest isn’t
primarily to reveal the normative
structures and economical forces
active in art institutions. Rather
she uses the institutional structures
in order to broaden their medial
possibilities by making them poetic
bearers of meaning. Pablo Müller
the deliquescence of dreams –
part one
A series of interventions for the exhibition “Museum ON/OFF”,
cur. Alicia Knock, Centre Pompidou, Paris, 2016.
The writing performance “WELL-COME” took place during
the event “Museum-Live” as a prolog to the exhibition (see
photograph in the upper corner left).
My first intervention in the exhibition was then to infiltrate the
curated “ideal library for the future” with a selection of books of
my own. The parasitic books, blinded with fluorescent covers,
were available to the visitors during the whole time of the
exhibition.
I also used them as material for the “guide de visite / visitor’s
guide” which I wrote on site during the first weeks of the
exhibition.
The guide was released on May 27. and 600 copies of it distributed
by an invited performer at the entrance of the contemporary
collection to which it refers, proposing an alternative tour of the
museum.
From May 27. until June 2. fragments of the guide were
furthermore selected and written with adhesive letters on the
walls of the exhibition – this happened in the context of a weekly
special: an show inside the show, entitled “It’s not so complicated:
a book”.
On May 27. I read aloud my twitter account @ongoing_pieces,
the lecture was followed by a talk with Alicia Knock, curator of the
exhibition.
© Hervé Véronèse, Centre Pompidou, Paris.
the one who sees the lost continent
Public reading in the framework of Public Pool #1,
“Le Mythe comme parole”, cur. c-e-a (commissaires
d’exposition associé.e.s), Cité Internationale des Arts, Paris,
2016.
For this series of performances featuring Roland Barthes’
Mythologies I re-wrote selected myths from the French
original as well as from the English translation by erasing
words, thus composing new poetic texts, which I read
aloud in the auditorium where the event took place.
© Salim Santa Lucia
if anything remains
Video, 15’ looped, curtain, light. 2016.
Alors voilà, der Raum, you enter the
room – wie soll ich sagen?
the space, oui, espaces, you find a few –
words, you find a few, you f –
see – wie soll ich sagen? worlds?
(and back again)
A text scrolls on the screen from down to top:
languages mix, meet, and disappear while
guitar chords create a remote layer of sound
in the background. A curtain covering the
fourth of the gallery wall glitters faintly in the
light of a projector coming from the ground.
© Valentina Suter
As a special guest to the show, the
philosopher and physicist Richard Dawid has
been invited to give a talk in the installation,
introducing the main ideas and problems of
string theory*.
* A physical theory developed to overcome
the discrepancies between general relativity
and quantum mechanics, string theory has
the capacity to explain cosmological events
as well as the behavior and properties of
elementary particles, thus presenting itself as
a final theory – only it poses great challenges
to our current understanding of what a
physical theory is, evading the possibility of
empirical testability, among other things.
Installation view and screenshot of the video
at Milieu, Berne.
> Documentation of the show on Milieu’s
website.
die Zumutung (l’affront)
2 capture-screen videos, computer, videoprojector, 2016.
Il s’agit d’écrire un texte qui ressemble à une
page, c’est-à-dire qui ait autant de réalité qu’une
page. Mais dans son genre. Le genre de page sur
lequel on écrit de nos jours,
ni blanche, ni une, ni bi-, ni même tridimensionnelle.
Une page à multiples layers, des possibles (fast)
END-LOS.
The texts appearing on the video and on
the projection in the installation stem from
the collection of texts generated for the
exhibition www.corner-college.com from the
website of corner college. See below.
> Documentation of the show on Corner
College’s website.
Screen shot of the video and installation view
at Corner College, Zurich.
Aus der Ferne
Capture-screen video, projection, loop, 2015.
The video shows a computer screen where
a text is being written in a TextEdit window.
The text in the first person is based on
fragments from “The Unnamable”, a novel by
Samuel Beckett.
Once written, each “page” of the text is
deleted before a new one starts over. The
fragments appear and disappear according
to an intuitive rythm following the writing
process.
From time to time, a video showing clouds
passing by from left to right opens up in a
new window.
Screen shots of the video
We’d rather not talk about
Ludwig / We’d rather not talk
about Margarethe
5-channels sound installation based on the
Palais Stonborough, aka Haus Wittgenstein,
together with Veronika Spierenburg, 9’ loop,
2015.
Starting point of the piece is the Haus
Wittgenstein on Kundmanngasse in Vienna,
a house which Ludwig Wittgenstein built
between 1926 and 1928 for his sister
Margarethe Stonborough-Wittgenstein.
“Working together, the artists engaged with
Wittgenstein’s architecture using text and
images, exchanging personal recollections
and/or imagining spaces using the medium
of speech. For their sound installation, their
own and found text passages and words are
linked to form thematic sequences – about
the interiors, the doors and the windows
or about how light is directed – and then
re-fragmented, repeated and overlaid in
three languages, using five sound channels.
Language undergoes the same meticulously
precise refinement that Wittgenstein
practised throughout the design, planning
and realisation of the residential building –
and in his philosophy of language.” Anna
Francke
View of the installation in Réunion, Zurich.
Photos Claude Gasser
The Missing Part
Freely adapted excerpts form IBUKA!, a
musical in three parst based on the book
Erasmus is late by Liam Gillick (1995),
adhesive text, wall, ca. 2x3m, 2015.
In the context of the group show “Work
and studio grants of the City of Zurich”, I
have composed a text based on fragments
from a piece by Liam Gillick which is itself
adapted from a previous book of his. The text
I composed describes a performative piece
fitting to the present situation of the group
show. Potentially present, it remains to be
activated in the mind of the viewers–readers
of the exhibition.
Installation view in Helmhaus, Zurich.
Photo Peter Schneider.
NOW THAT IS SOMETHING
NOT TO THINK BUT TO
LINK
–
Notes towards a probable
future.
Performance, Collection Cahiers d’Artistes,
Druckwerk, LISTE 20, Basel, 2015.
During the whole week of LISTE 2015
Andrin has been appointed to read and
annotate a selection of books among which
the followings were to be found: Samuel
Beckett, Le Dépeupleur; Roberto Bolano,
2666; Ray Bradbury, Fahrenheit 451; Italo
Calvino, Una Notte d’inverno un viaggiatore;
Elias Canetti, Die Blendung; Don DeLillo,
Underworld; Georges Perec, Ein Mann
der schläft; David Foster Wallace, Infinite
Jest; Thomas Pynchon, Gravity Rainbow;
Gertrude Stein, How to Write.
When addressed or asked something by
the audience he would simply reply: «I am
reading» and go back to the book.
Reading in the digital
age.
Online Publication, Terpentin, 03-2015.
This paper deals with the processes of
writing and reading online. It contains
hyperlinks extending or displacing the
meaning of the primary text.
> Full article on Terpentin website.
The Slowness of Writing
as a Way of Reading
or
A Curious Amalgam of
Voices.
Lecture-Performance. Corner College,
Zurich, 2015.
During ca. 5 hours, I gave a lecture of
Kenneth Goldsmith’s I Look to Theory
Only When I Realize That Somebody Has
Dedicated Their Entire Life to a Question I
Have Only Fleetingly Considered*: rather
than speaking the text out loud, I chose
to enact it in front of the audience by
rewriting it. I introduced some changes in
the original when it seemed appropriate
and/or needed.
*Published in 2012, edited by Mathieu
Copeland as a first movement of «Suite for
Exhibition(s) and Publication(s)» as part of
the Satellite Program at the Jeu de Paume,
Paris.
Conversation
An hour-long
polyphonous glance
from five to six behindthe-scenes – scripts as
well as excerpts are
highly welcome
Online Publication, all-over. Magazin
für Kunst und Ästhetik, Ausgabe 8,
2015.
The text material of this paper comes
from a previous work «www.cornercollege.com» which I realized on the
website of Corner College in 2014. For
the publication in all-over, I composed
Conversation out of the text fragments
I had selected from the section «each
one teach one» which archives 153
events that were organized by the
artist Philip Matesic and held at Corner
College between July, 2009 and April,
2014 under this title.
> Full article on all-over website
In Other Words (1) –
Elisabeth Costello.
Performance. Perla-Mode, Zurich,
2015.
During a five hours performance
I rewrote the first chapter of the
novel Elizabeth Costello by Nobel
Prize Winner J.M. Coetzee. I replaced
the third person describing the main
character of the book by the first
person, introduced small changes
in reaction to the current situation,
and replaced «he» by «you» in the
course of the evening.
My computer screen was projected
live during the performance while
I was sitting in a private room on the
second floor of the building, thus
remaining invisible to the audience.
21 Proposals for the
Kunsthalle Tropical.
Leaflet, offset print Mödrudalur,
Iceland. In collaboration with Marcel
Meury.
The Kunsthalle Tropical has been
founded in 2012 by the artist Marcel
Meury and the curator Sandino
Scheidegger. It is located in the
North of Iceland and can be reached
from the Mödrudalur farm, the
last inhabited place before the
highlands. The Kunsthalle Tropical
is a fictional institution located at
a real place. It is activated through
collaboration with invited artists.
Together with one of the founders
of the Kunsthalle Tropical I have
written a series of proposals
available to the visitors on site and
all displaying potential actualization
of this imaginary space.
> Link to the Kunsthalle Tropical
website.
Une autre fois peut-être.
In the framework of the performance
“À la recherche d’objets trouvés d’un
temps continu”, performed by ZAP
in november 2014, a quote of Marcel
Proust’s À la recherche du temps
perdu* is burried on the location of the
Kunsthaus-Extension, Zurich and will
remain there.
*Tome 7: Le Temps retrouvé, Paris:
Editions Gallimard, 1992, page 260,
lines 28-32.
48. There are things
that I want to do
but until they have
a place they remain
necessarily vague
and indeterminate.
and
48. There are things
that I want to do
but until they have
a place they remain
necessarily vague
and indeterminate.31
2014. Collection of texts,
audioguides, adhesive numbers,
spaces of the Museum Haus
Konstruktiv (Zurich) over two
exhibition periods.
This work consists in a textual
exhibition. I have selected for
the Museum Haus Konstruktiv
136 texts from artists’ writings,
literature and philosophy, as
well as dictionary entries and
texts I have written myself. I
recorded these texts, had them
programmed on an audioguide,
and located them in the whole
museum by means of adhesive
number positioned at various
locations, not only in the
exhibition rooms, but also in
the café, on the facade, in the
elevator, in the library... When
entering one of these numbers
on the keypad of the audioguide,
the corresponding text began
to play. Each visitor could thus
make her own way though the
building and activate her own
“private” exhibition.
Different relationships of
meaning between the texts and
their concrete location could
be experienced: At times, a text
was given a new meaning by
its concrete presence on site,
or it was be reactivated by the
contextual shift, at other times,
the text had an effect on the
location, thus shedding new light
on what was there to be seen and
the way it was looked at.
Time and recollection
furthermore played an important
role in the second exhibition
period for which the localization
of the texts had been totally
modified, thus producing a new
version of the work, as indicated
by the alteration of the title. The
following text was then to be
heard in the audioguide under
the number 31:
31: «Most of my work has
been conceived with at least a
generalized sort of place in mind,
but lately my pieces have all
been more specifically bound to
one particular site, or rather: one
particular situation. This doesn’t
mean that I won’t redo a piece in
a new location, or for that matter
in a new situation, but it will be a
whole new kettle of fish.»
> Link to Haus Konstruktiv
www.corner-college.com
2014. Reprogrammed Website.
The exhibition „www.corner-college.com“
took place on the website of Corner College,
an independent art space in Zurich. During the
two and a half weeks of the show, the website
was displayed in an unusual way: I asked the
programmer of the site to alter its code in order
to “erase” its whole content, i.e. every word and
image was programmed so as to appear as white
per default and to reappear as black only when the
cursor was moved on it. I subsequently reworked
the whole content of the website (announcements
of future events, archive of past events,
biographies of involved artists and curators,
description of the institution, etc.) by selecting
single words I wanted to stay visible – I used for
this the specially created command “((“ “))” which
cancelled the effect of the reprogramming, leaving
the words black as usual. In this way I composed
new texts in the form of ephemeral collages out of
the found material, thus exploring different kinds
of meaning and sense/non-sense relationships.
A documentation of the reprogrammed website
can be provided on demand.
11’5.1 – loop
2013. 5-canals audio, audio player, 5 speakers.
1:200
N
EG-Zone / Säulenraum
PARTERRE / GROUND FLOOR
H = 4.20m
L2
N
5 spakers on tripods at ear’s height are placed
at five locations in the exhibition space. They
are positioned at the core of the exhibition so
that the words arising from them can echo
in the whole space. Pieces of the following
sentence are thus to be heard, separated by
long intervals of silence:
H = 4.20m
H = 2.63m
H = 2.71m
EG-Zone / Säulenraum
H = 3.60m
1:200
L4
H = 4.20m
L1
EG-Zone / Säulenraum
PARTERRE / GROUND FLOOR
H = 4.20m
L2
Main
Entrance
Elevator
H = 2.63m
H = 2.63m
Elevator
L5
Reception
Desk
EG-Zone / Säulenraum
H = 3.60m
L3 H = 2.71m
L4
L1
H = 2.63m
Main
Entrance
L5
Reception
Desk
L3
Grundriss mit Position der Lautsprecher im Kunsthaus Baselland.
Stellen Sie sich vor: eine leere Stelle in der
Welt, die noch nicht entdeckt worden ist.
I have written this sentence and spoken out
loud its components for the recording. The
audio lasts 11 minutes during which the
sentence is spoken out and it is played in loop.
Consequently, the words repeatedly reappear
during the whole visit of the exhibition.
Spätnachmittag, früh
am Abend.
2013. Torn poster, inkjet print on
blueback paper, 160 x 220 cm.
„Spätnachmittag, früh am Abend“
has been realized for a group show
at the F+F, Schule für Kunst und
Mediendesign in Zurich. Scouting
the place in view of the show at the
end of an afternoon / beginning of
the evening, I came to register in
a text form the state of the rooms
as their where to be perceived at
that moment, trying to capture
the changing of light, the sounds
coming from various directions,
forgotten threads, and diverse left
over objects. I then transferred this
description on a poster I pasted on
the wall and subsequently torn.
After the show, the poster itself
disappeared.
Gruppenausstellung.
2013. Audio 4’11, 3 iShuffles with headphones,
1 bench.
Three iShuffle with headphones are placed
on a bench in a group show: when activated,
they convey the description of an exhibition
or, more precisely, of the fictional visit of an
exhibition taking place in the actual exhibition
space.
I have conceived the immaterial exhibition
based on unrealized ideas the participants to
the actual exhibition – including myself – have
had during the preparation of the show. It thus
consists in 4 works fictionally displayed in the
real space of the exhibition. The unrealized
works resemble in part the realized ones, and
in part distantiate themselves from them. The
visit of the exhibition to be heard consequently
finds itself in an ubiquitous state between
reality and potentiality.
I have written the text describing the fictional
exhibition during a residency at the Maison
Baron, Embassy of Foreign Artist, and I have
spoken them out loud for the audio piece.
L’appartamento.
2012. Audio 5’50, 2 speakers, computer, black curtains.
L’ombra del crisantemo.
2012. Artist book, black and white, 32 pages, single copy.
The two works “L’appartamento” and «L’ombra del crisantemo»
have been realized during a residency at interno4 in Bologna.
Before arriving in the apartment where the residency and the
exhibition were to take place I asked the curators and the other
invited artists to send me a description of the place. I received
four texts in Italian and one black and white digital image.
I used the texts as material for the audio piece “l’appartamento”
and the image for the artist book “L’ombra del crisantemo”.
For “L’appartamento” I have recorded the four texts I received,
talking in a whisper, I have then mixed the four audio tracks
together and dispatched them on two speakers arranged as
a tower in the room. An indistinct murmur fills the exhibition
space, only some of the whispered words make their way to the
foreground where they can be clearly understood.
I had the picture printed in a poster format which I folded and
bound as a book. The noise of the pixels on the enlarged picture
echoes to the whispers in the space.
In partenza
2012. During the opening times of the group show «corso
aperto» which took place in Como I left on board of the trains
going from Milano Centrale to Zurich via Como copies of the
book I had written in Como during the three preceding weeks I
had spent there as part of a residency.
The book is entitled «como», it is black and white, and contains
84 pages in Italian. It describes scattered fragments of the
landscape, sensations evoking memories, images, moments.
A copy of the book is available at the library of the Fondazione
Ratti, Como (I).
No documentation.
Copies of the artist book entitled Erasmus /
Erasme are being left in the compartments
of the parisian subway train lines 2, 5, and 7
during the opening times of the exhibition
Jeune Création 2012.
Des exemplaires du livre d’artiste intitulé
Erasmus / Erasme sont déposés dans le
métro parisien, à bord des lignes 2, 5,
and 7, pendant les horaires d’ouverture de
l’exposition Jeune Création 2012.
The 32 pages black and white booklet
is divided into twelve chapters, each of
which is composed of selected sentences
retrieved from Liam Gillick’s essay Erasmus
is late, along with their french translation.
Le livre (n/b, 32p.) est composé de 12
chapitres contenant chacun une série de
phrases extraites de l’essai de Liam Gillick
Erasmus is late. Chacune des phrases de
l’original est accompagnée de sa traduction
française.
An attempt at overcoming
solipsism.
2012. This work has been realized for the
group show «Jeune Création 2012», Le
104, Paris. It consists in two parts:
(1) The first is to be seen in the exhibition
space and consists in two texts made of
black adhesive letters on a grey wall (see
left page).
(2) The second part consists of artist’s
books (english/french, 32p., black on grey
paper) which have been left during the
opening times of the exhibition on board
of the parisian subway, on the lines 2, 5,
and 7 which all stop near by the exhibition
space.
56 Räume / 56 espaces / 56 spaces
2011. Booklets and adhesive numbers, space.
In the vestibule before the entrance to the space, three versions
(german, english, and french) of the same booklet await the
visitor. The booklets contain a collection of texts written by
artists, philosophers, writers, and by myself, which reflect the
different aspects of the concept «space», going all the way from
abstract reflections to concrete instructions. Numbers from 1 to
56 are displayed at definite places in the otherwise empty space,
each of them referring to a definite text in the booklet. The
localization of the texts in the space is carefully chosen to as to
“fit” the corresponding text. Not only the text are thus localized,
but also their meanings. As a matter of consequence, certain
displacements between the usual meaning and the positioned
meaning of the texts are to be observed and experienced.
The following text could for instance be read at position # 4 on
the floor by the entrance:
“4. Stripped of any element of the spectacular, the playful or the
colorful, this experience is as simple—but also as serious—as
possible. Its key feature is walking—and in fact, since there is no
ultimate goal, strolling.”
Text # 4 was to be read nearby:
«5. My interest in art has never been about abstraction–it has
always been about experience [...] my pieces were meant to be
considered experientially.»
When we came forth, and once more
saw the stars.
2012. disco light / exhibition light.
This work consists in two possible situations alternating in the
context of a group show (The videos and the installation in
the middle of the space on the pictures left are works by other
artists):
Situation 1 (picture on the left): The exhibition space is empty,
the disco light is on, the exhibition light and the videos are off.
Situtation 2 (picture on the right): When a viewer enters the
space, a motion sensor is activated and turns on a relay
station: The disco light is now off and the exhibition light is
on. The videos are furthermore correctly projected thanks to
light sensitive cameras and a computer software specially
programmed for this work.
DELPHINE CHAPUIS SCHMITZ
*1979, lives and works in Zurich, Switzerland
Exhibitions
* with catalogue
2016. Museum ON/OFF, curated by Alicia Knock, Centre Pompidou,
Paris.
2016. No-where? Now-here! curated by Dimitrina Sevova, Corner
College, Zurich.
2016. if anything remains. Milieu, Berne (solo).
2015. Thank you for your time. And you can thank me for mine, curated
by Robert Steinberger and Lea Loeb, Friction at Gessnerallee, Zurich.
2015. We’d rather not talk about Ludwig / We’d rather not talk about
Margarethe, together with Veronika Spierenburg, curated by Le Foyer,
Réunion, Zurich.
2015. Werk- und Atelierstipendien der Stadt Zürich, Helmhaus, Zurich.
2015. Die Basis. Kunsthaus Langenthal, Langenthal.
2014. minimale2. Alpineum Produzentengalerie, Luzern.
2014. I never read, Printed matter’s, LA Art Book Fair, Museum of
Contemporary Art, Los Angeles.
2014. 48. There are things I want to do but until they have a place,
they remain necessarily vague and indeterminate. Museum Haus
Konstruktiv, Zurich. (solo)
2014. www.corner-college.com, Corner College, Zurich. (solo)
2013. Werkschau 2013. Fachstelle Kultur Kanton Zürich, F+F Schule für
Kunst und Mediendesign, Zurich.
*2013. It Is All In The Detail. Curated by Sabine Schaschl,
Kunstmuseum Baselland, Basel.
2013. Staging Point, curated by Marie-Ève Knoerle and Madeleine
Amsler, Piano Nobile, Geneva.
2013 I never read, Printed matter’s, LA Art Book Fair, Museum of
Contemporary Art, Los Angeles.
2012. Catch of the Year. Dienstgebäude, Zurich.
2012. Uno, Interno 4. Bologna.
*2012. Jeune Création. Le 104, Paris.
2012. Je veux danser, je veux penser, je veux danser, je veux penser,
curated by Geraldine Tedder, Hinterhof, Basel.
2012. The Presence of the Past in the Future. Stedefreund, Berlin.
*2012. Corso Aperto, Curated by Andrea Lissoni, Fondazione Ratti,
Como.
2012. Master Fine Arts Degree Show. Migros Gebäude Herdern, Zurich.
2012. Joëlle Allet, Delphine Chapuis Schmitz, Esther Kempf.
Dienstgebäude, Zurich.
2012. Mit-Ohne. Urgent Paradise. Lausanne.
2011. 56 Räume / 56 espaces / 56 spaces. Projekt Da, Berne.
2011. scenery change. Pah!project, Fribourg. (solo)
2011. how to build a space with two legs. Station 21, Zurich. (solo)
2011. De part et d’autre. Galerie du Théâtre, Vanves (F). (solo)
2011. Catch of the Year. Dienstgebäude, Zurich.
2011. Werkschau 2011. Fachstelle Kultur Kanton Zurich, F+F Schule
für Kunst und Mediendesign, Zurich.
2011. Nullpunkt. ewz Unterwerk Selnau, Zurich.
2010. Basement Projects 1. Kunsthaus Aussersihl/Museum Bärengasse,
Zurich.
2010. Ruheraum–Kein Essen. Gruppenausstellung initiated by, and with,
Richard Wentworth, Fachschule Viventa, Zurich.
2010. Zwischenräume. Projektraum ZHdK, Zurich.
Lectures, Performances
2016. Well-come!, Museum Live, Centre Pompidou, Paris.
2016. re-vi-ra. A play / eine Ausstellung in 4 parts. Together with Julia
Bodamer, Ines Schaerer, Gian-Andri Toendury. Réunion, Zurich.
2015. Rooftop Reading IV, curated by Sarina Scheidegger and Nora
Locher, Basel.
2015. In Other Words (2), Anne Desbarèdes, Forum im Juni, curated by
Inès Schaerer and Damiano Curschellas, Chur (CH).
2015. Collection Cahiers d’artistes at LISTE 2015, Basel.
2015. The Slowness of Writing as a Way of Reading or A Curious
Amalgam of Voices, Corner College, Zurich.
2015. In Other Words (1), Elisabeth Costello. Perla Mode, Zurich.
Awards, Grants, Residencies
Oct. 2015-Jan. 2016. Studio Grant from the Department of Culture,
Canton of Zurich, for a residency at the Cité Internationale des Arts,
Paris.
2015. Art Prize, City of Zurich.
2013. Art Prize, Department of Culture, Canton of Zurich.
Juli 2012. Residency at Fondazione Antonio Ratti, Como (I).
Februar 2011. Residency at Beerhaus-offenes Atelier. Berne.
September 2011. Residency at Ziegelackerstrasse 11a., initiated by
Projekt DA, Berne.
2010. Grant of the Kulturfond der Landeshauptstadt Salzburg for
participation in the International Summer Academy in Fine Arts. (Class
of Liliana Moro).
Education
2009-2012. Master of Arts in Fine Arts. Zurich University of the Arts.
2006. PhD in Philosophy. University Paris 1-Panthéon Sorbonne.
2002. Master in Philosophy. University Paris 1-Panthéon Sorbonne.
1998-2001. Studies in Philosophy, Aesthetics, Art History, University
Toulouse III and University Paris 1-Panthéon Sorbonne.
Publications
Delphine Chapuis Schmitz. Cahier d’Artiste, with a text by Chus
Martinez, Prohelvetia / Edizione Periferia, 2015.
Reading in the digital age, Terpentin, 03.2015. http://www.terpentin.org/
en/reading-digital-age
Conversation. An hour-long polyphonous glance from five to six behindthe-scenes – scripts as well as excerpts are highly welcome, in all-over,
Magazin für Kunst und Ästhetik, #8, Frühjahr 2015. http://allovermagazin.com/?p=2030
Ansichten – I do not wish to add any more. Kunstbulletin, 12.2014.
Partitur (des jonquilles), with a text by Geraldine Tedder, ed. Marie-Eve
Knoerle and Madeleine Amsler, Piano Nobile, Geneva, 2014.
Rita and Roger at the bar, 2013. Presented by „I never read“ at „Printed
matter‘s, LA Art Book Fair“, Museum of Contemporary Art, Los
Angeles, 2013.
„To whom it may concern“, in Uno, interno4 editions, Bologna, 2012.
Méditations, self-published, 2012.
Ausstellungsräume zu, self-published, 2012.
Raum / espace / space, self-published, 2011.
„Window Piece“, in Kunst im Kopf. Interdisziplinäre Zeitschrift N° 2,
ed. by Lena Conrad, Zurich, 2011.
Catalogues
It Is All In The Detail, Kunsthaus Baselland, Scheidegger and Spiess,
2013.
The Choice is Yours. XVIII Advanced Course in Visual Art with
Liliana Moro, Fondazione Antonio Ratti, Como. Contribution by Liliana
Moro, Anni Ratti, Andrea Lissoni, Angela Maderna, Eva Marisaldi,
Arto Lindsay, Toni Negri, and all the participating artists, Mousse
Publishing, Milano, 2012.
Jeune création 2012, Paris.