Location

Location

Location

Location

Lemoyne Project, c/o Feld
Feldstrasse 121
8004 Zurich, Switzerland

About

About

About

About

About

The Lemoyne Project is a space that brings art back to the everyday by challenging conventional thinking on what an art practice can be and what is meant by audience. Therefore, it focuses on showing art that is connected to various techniques of reproduction. The Lemoyne Project focuses on exhibiting editions in various forms, such as prints, photographs, objects, installations, performances, periodicals and artist books. Here emerging artists will meet established artists. Works from the archive are brought into play with contemporary pieces.

Contact

Contact

Contact

Contact

Contact

E-Mail, Facebook, Instagram

Imprint

Imprint

Imprint

Imprint

Responsible for Content:
Kristin Brüggemann, c/o Feld Club, Feldstrasse 121, 8004 Zurich, Switzerland

Design and Development:
David Liebermann

Dolls Exhibition

Dolls Exhibition

Dolls Exhibition

Dolls Exhibition

Dolls Exhibition

Dolls Exhibition

May Day Exhibition

Dolls Exhibition

Dolls Exhibition

Dolls Exhibition

Between 2011–2018, Amélie Korzil photographed a total of 1142 mannequins in 641 analogue photographs all over the world. These have become the basis of ‘dolls’, an archive that the concept artist has since dealt with. Subjective questions on the representation of gender, race and taste are at the focus of her multimedia practice. Korzil finally exposes her ‹dolls’ as representatives of social norms that are actually obsolete for consumer choice. Lemoyne Project is pleased to present for the first time the entire archive and all related works.

Artist

Artist

Artist

Artist

Artist

Artist

Amélie Korzil

Curation

Curation

Curation

Curation

Curation

Curation

Lemoyne Project

Opening

Opening

Opening

Opening

Opening

Opening

Saturday, 28 September, 7:00–9:30 pm

Exhibition dates

Exhibition dates

Exhibition dates

Exhibition dates

Exhibition dates

Exhibition dates

29 September–18 October

Opening hours

Opening hours

Opening hours

Opening hours

Opening hours

Opening hours

Fridays, 3:00–7:00 pm and by appointment.

May Day Exhibition

May Day Exhibition

May Day Exhibition

May Day Exhibition

May Day Exhibition

May Day Exhibition

May Day Exhibition

May Day Exhibition

May Day Exhibition

May Day Exhibition

A slow drip of a viscous material congeals into a solid mass. Wax is made by bees, specifically worker bees, whose hexagonal designs are arranged by the hive-mind. From the day of birth, these labourers are assigned with a societal order – a responsibility to their queen.

May Day is labour’s festivity, a celebration of production by the erasure of work. Abolishing work could be possible with automation, but today it seems more likely to experience the end of the world than the end of work. Never before have we toiled more hours under 0-hour-contracts and countless methods of social self-surveillance. Algorithms outpace our thinking, collecting online “cookies” and replacing domestic labour. The female voices of our first mass-servants Alexa and Siri strive to seduce and to please.

Our unconscious desires surround us through targeted ads. Prediction itself has always been a business that homogenises the population. Fortune cookies were first served in San Francisco where today’s tech companies crowd the Bay Area. Like palmistry, or tarot, it is based on systemic methods of applying data and generalised formula – and yet what would happen if we knew the future? The scientific projections of environmental cataclysm strike no emotion. 2 degrees Celsius. When it slowly melts, changes its outlines and transforms its shape as it approaches the water, does it remain the same as before? AI and jellyfish will survive in the future landscape – bees and humans will find a different fate.

Sea-snail shapes adapt to the inside of our waxy inner ear. A mechanical humdrum, Balenciagasponsored- apocalypse-shelters, larval bodies occupying hexagonal frames. Another May Day passes on our warming planet. The wax gets softer.

Extended

Extended

Extended

Extended

Extended

Extended

Until 9 June.

Artist

Artist

Artist

Artist

Artist

Artist

Achinoam Alon

Curation

Curation

Curation

Curation

Curation

Curation

Àngels Miralda

Photography

Photography

Photography

Photography

Photography

Photography

Joseph Devitt Tremblay

Words Exhibition

Words Exhibition

Words Exhibition

Words Exhibition

Lemoyne Project zeigt die Ausstellung «Words» mit Arbeiten von Carl Andre, Beni Bischof, Henri Chopin, Sylvie Fleury, den Guerrilla Girls, Sarina Scheidegger und Ariane Koch, Alina Kopytsa, Barbara Kruger, Richard Long, Cy Twombly, Jenny Holzer und Virgil Abloh.

Sind Wörter in Zeiten von Social Media und Motivationssprüchen zum reinen Kitsch verkommen? Sind sie im als «postfaktisch» bezeichneten Zeitalter bedeutungslos und leer geworden? Was passiert, wenn man sie ausspricht, sie hört, in Dialog mit ihnen tritt?

Wörter spielten in der visuellen Kunst jeher eine prominente Rolle: Vom Surrealismus, Dadaismus über die Konzeptkunst, die Visuelle Poesie bis hin zu politischen bzw. aktivistischen Kunst des Feminismus und Konsumkritik wurden Wörter von Künstler_innen immer wieder als visuelles Mittel eingesetzt. Sie sind dabei je nach Kontext und Form politisch, ironisch, poetisch, typografisch, abstrakt aber auch konzeptuell oder dokumentarisch.

Gedruckt, gezeichnet, gemalt, getippt, gesprochen – oder sogar gestickt finden sie ihren Platz in Büchern, Filmen, im Internet, auf Postkarten, T-Shirts oder Postern. Wörter können platt wirken, aber auch als Zeichen unendlich viel beinhalten, vermitteln und kommunizieren, Begehren erwecken, eine ganze Welt hinter dem Wort freigeben. In Sätzen miteinander verbunden können sie Sinn vermitteln, oder Unsinn. Sie können hinterfragen, auf etwas verweisen, als Text etwas erzählen oder aber auch zum reinen grafischen Zeichen werden. Je nachdem an wen sich die Wörter richten sollen, setzen Künstler_innen unterschiedliche Sprachen ein: In den meisten Fällen Englisch, jedoch auch Spanisch, Portugiesisch oder Arabisch.

«Words» soll die Auseinandersetzung über die Bedeutung von Wörtern in der Kunst anregen und die grosse Variation im Umgang mit Sprache und Text innerhalb der Kunst aufzeigen. Dafür setzt «Words» unterschiedliche künstlerische Positionen aus verschiedenen Zeiten miteinander in Bezug.

Opening

Opening

Opening

Opening

Opening

Opening

Tuesday, 16 April, 7:30–9:30 pm

S.M.S. Exhibition

S.M.S. Exhibition

S.M.S. Exhibition

S.M.S. Exhibition

The Lemoyne Project presents Shit Must Stop in its entirety for its inaugural exhibition in Zurich. Reconnecting with the artistic ideas of S.M.S. in 1968, the Lemoyne Project will highlight the timelessness of their conceptual and democratic approach to art.

About S.M.S.

About S.M.S.

About S.M.S.

About S.M.S.

Shit Must Stop (S.M.S.) was founded in 1968 by William Copley and Dmitri Petrov in a loft on the Upper West Side in New York, which became the production site of the artist magazine during its short-lived production time between February and December 1968. It was published non-commercially every two months with each of the six editions having a circulation of 2000.
Copley invited leading but also lesser known members of the Fluxus, Concept, and Pop Art movements as well as surrealists and dada artists such as Christo, Marcel Duchamp, Richard Hamilton, On Kawara, Roy Lichtenstein, Claes Oldenburg, Meret Oppenheim, Man Ray and Dieter Roth to produce small-format editions. Each artist was paid $100 for their contribution no matter what their status. Copley’s Letter Edged in Black Press loft became an important hangout for many New York artists and participants of S.M.S.
For each issue, the different contributions were packed in a folder designed by one artist and mailed to the subscribers. Inspired by the media-hybrid character of the Fluxus movement and the avant-garde’s claim to unite art and life, the artists multiplied the individually-designed works as original luxurious reproductions with the intention of making artistic content and ideas accessible to a wider audience. The large edition size and the relatively low price of $125 per subscription enabled a wide audience to collect many of the already internationally recognized artists.
The periodical has a wide range of different media and techniques that have been assigned equivalent status. It contains contributions such as drawings, prints, photographs, tapes, letters, postcards, poems or objects that often have an experimental character. All artworks are contained in the six mailing folders and can be unpacked and activated as artworks. The approach to create an art collection in a box was inspired by Marcel Duchamp’s Boîte-en-valise, which was created as a portable museum during uncertain times in which many artists were constantly travelling.

Opening: Saturday, 28 September, 7:00–9:30 pmOpening: Saturday, 28 September, 7:00–9:30 pmOpening: Saturday, 28 September, 7:00–9:30 pmOpening: Saturday, 28 September, 7:00–9:30 pmOpening: Saturday, 28 September, 7:00–9:30 pm

Extended until 9 JuneExtended until 9 JuneExtended until 9 JuneExtended until 9 JuneExtended until 9 June

16.–24.

April 19

Words

Opening: Tuesday, 16 April, 7:30 – 9:30 pmOpening: Tuesday, 16 April, 7:30 – 9:30 pmOpening: Tuesday, 16 April, 7:30 – 9:30 pm

25.11.–

15.12.18

S.M.S.

Opening: Saturday Nov. 24th, 7:30 – 9:30 pmOpening: Saturday Nov. 24th, 7:30 – 9:30 pmOpening: Saturday Nov. 24th, 7:30 – 9:30 pm