Myriam De Wurstemberger
Myriam de Wurstemberger comes from an ancient Swiss aristocratic family, this made her live in contradiction with her aristocratic name, her historical past, wealth and the family crest and growing up in a very modest quarter. The only luxuries left from that aristocratic past are castles in the sky and the desire to live pleasurably, Myriam expresses. As in her family history in her art we can appreciate a contradiction; the beauty and the underlying theme.
In my art I examine things, situations, ideas that cross my path and inevitably weave them with my own life experiences such as suffer, sadness, contradictions or even joy of life, enthusiasm and love. By combining these supposed opposites, a harmony is created, like transience in beauty, humor in sorrow, happiness in pain. For me, it is central to make direct and comprehensible art through an emotional and sensual approach, which builds a bridge from personal experiences to globally important topics.
While be trained as a dressmaker I learned to work precisely, to specialize in the details, to do tricky work with perseverance and to follow an aesthetic line. Last but not least, it is also thematically relevant for me as a stigma of the typical housewife’s work. It is a concern of mine to focus on gender roles and related behaviour patterns. Art is my vitamin bomb for mind and body. It mirrors, reflects, appeals, contradicts and, last but not least, questions society. Art constantly teaches me to think outside the box and to rethink my own view of life.
The program challenged me to look where I felt uncomfortable. I seized the opportunity to perform tasks in writing as well as to visualize the theme of inner fronts while meditating with the tool of painting. During this month I realized that I am able to form my creative thoughts into understandable sentences, to translate them and thus bring my view of art closer to the viewer.
The exchange among us participants as well as with the ´ACE team was very warm and interesting.
Myriam De Wurstemberger
1981 Fribourg, Switzerland.
Lives and works in Bern.
2012 | Bachelor of Fine Arts I Hochschule der Künste I Bern, Switzerland
2001 | Apprenticeship Dressmaker & Fashion Design I Issue Design I Basel, Switzerland
2021 | Obscure Offspace Viktoria, Bern, Switzerland
2019 | FilRouge, Galerie Mayhaus, Erlach, Switzerland
2017 | Geld, Gold, Diamanten, Galerie Vitrine, Luzern, Switzerland
2013 | Sons noch ne Wurst? La Perla, Zürich, Switzerland
2012 | Das Raster gehört ein bisschen Mondrian, Kunsthaus Langenthal, Bern, Switzerland
2011- 2021 | Stage designs and costumes for free theatre scenes
2005- 2020 | Independent fashion design company
2019 | Research work, Tokio, Osaka, Kyoto, Japan
2012 | Research work, Buenos Aires, Argentina
2006- 2007 | Research work, Different parts of Australia & New Zealand
Exhibitions, Together Apart
#3 | FRONTIER: results
Artists in dialogue
Frontiers as geopolitical frontiers, as cultural, biopolitical; frontiers as limits and as separations within the artistic disciplines, frontiers as hegemonic considerations of our bodies and identities…were some of the approaches on FRONTIER general theme in the Together Apart Program #3 session.
Through 4 encounters we collectively and individually created ideas and artworks which explored a non-binary approach of the topic. The participant artists also had the possibility to dialogue with Kristina Borg and Liz Ingram & Bernd Hildebrant, international artists and former ´ace artists-in-residence, invited to present their contributions and explorations in relation to the topic. For this session we also gave priority to moments of peer review or collective feedback and to open discussions which drifted through issues of art and therapy, art and research, participatory art, the complexity of artistic collaboration and how collective practice appears to be a right to claim even more in moments of isolation.
Through different theoretical readings and artistic references, and through the proposals of each of the participant artists, we identified the importance of liminal states, the non-binary, we assumed the difficulty of inhabiting the in-between but also recognized that art practice is what allows us to live in ambiguous states and to constantly raise questions. We also explored other practices as breathing techniques, meditation and knowledge and skills sharing as methods to break through discriminative or isolating frontiers.
Using poetry, film, online performances, video art and the creation of a network for artists through the method of “participatory asset mapping”, the artists from this cohort created in search of commonalities in their migrant’s everyday experiences, resonances among the natural conditions of the places they live in, the links among their identities and psychological researches and in search of practical collaborations to continue working in the future.
DANIELA RUIZ MORENO | curator-in-residence