Sebastian Stadler Portfolio 2018

My work as an artist is informed by questions regarding the conditions of the photographic, or more general, the digital image in relation to the contemporary world. There are two major themes which interest me. The first topic is best described by the value or power of images: We are surrounded by images that seem to depict reality, and in turn shape our perception of it. I grew up aware of the possibilities which the internet and digital images held. Today, in my opinion, images occupy a dual role. On the one hand, a single image counts for nothing as everyone is able to produce and distribute photo-graphic material within seconds. On the other hand, images influence our perception and our behavior in the world. They play a major role in politics, public life as well as in the private sphere and therefore are powerful factors in our lives.

Associated inherently with the first topic, is the question if truthfulness or honesty is still attributed to photographic

images. It amazes me, that despite the changed conditions in image production and distribution, the assumption or belief that photography is capable of truthfully depicting reality still looms large. The truth of photographic images is hardly ever challenged by a wider public and discussions about declaring certain retouches on the images themselves only gradually start to arise.

Of course, this poses an interesting playing field for me to work in: How can I deal with the ubiquity of photographs? Can and should I add something to the stream of pictures surrounding us? What can I achieve through taking pictures? How can I react to the assumed veracity of photographic images? Is there even a way to question this (mis)conception through the use of photographic images? Can I challenge the photographic parameters in order to change the mode of perception?

Sebastian Stadler Statement

STREAM https://tinyurl.com/y6v4rty5

Installation view: Propstei St.Peterszell2018 2 video projectionssynchronised, 10’11”

Apartment Ararat

2018 Silkscreen on Travertine40 plates

Installation view: Hay Art, JerevanTravertines

2018 Travertines Silkscreen on Travertine40 plates

Installation view: Hay Art, Jerevan

2018 Travertines Silkscreen on Travertine40 plates

Installation view: Hay Art, Jerevan

42 Inkjet Prints, Glas 2018 Stones from Above

42 Inkjet Prints, Glas2018 Stones from Above

42 Inkjet Prints, Glas2018 Stones from Above

official language. The photographs and their titles were chosen by Stadler from the archive of Wil’s fire department, civil protection and emergency services. A coherent visual language is typical for this seris of documentary photographes, even if it is recorded by different people. This is thanks to Stadler’s work on the pictures. With an eye for compelling detail, the artist selected image sections and imprinted his own view on to the archive material. ‘Scheune fing Feuer’ (barn caught fire) results in an impressive piece of work that focuses on genuine photographic themes – it raises inevitable questions as to the evidentiary strength of photographs and the function of an archive.

In addition to the work on display in the building, an artist’s book has been published that combines all the text and images into a double book. SARAH WIESENDANGER

The photographs that Sebastian Stadler applied to the walls of two stairwells, using a screen printing process, in the new operations building for the security association for the Wil re-gion (SVRW), bear witness to tragedies both large and small. What at first glance looks like friends on a walk through the forest turns out to be the rescue of an injured parachutist, but whether or not the cat on the roof is the subject matter or simply a spectator of the whole affair is not entirely clear. Columns of smoke and jets of water spewing out from manhole covers transform into moments of abstract beauty within the picture, while people in protective gear are kept busy attempting to resolve tangible problems. As for the texts that go with each picture, these complement the scene using dry reporting language. ‘Pfannenbrand’ (pan fire), ‘Wohnung entlüften’ (airing out the flat) – events are de-scribed briefly, some of which are partly obvious but often don’t provide information on which emergency is behind the

2017 Scheune fing Feuer 150 silkscreen prints 150 texts, stencilled

art-in-buildingSicherheitsverbund Wil

2017 Scheune fing Feuer 150 silkscreen prints 150 texts, stencilled

art-in-buildingSicherheitsverbund Wil

150 silkscreen prints 150 texts, stencilled

art-in-buildingSicherheitsverbund Wil

2017 Scheune fing Feuer

2015-2018 l’apparition

A path leading towards nowhere is superimposed with a luminous blue rectangle, seeming to form a window on the picture plane. A delicate spider web attached to a metal pole becomes sidelined by dominant geometric lines. These images are paradigmatic for „L’apparition“, a series mainly consisting of double exposures. First, Stadler exposed the film to situations in the ‘real’, material world through photographing cityscapes or interiors. After rewinding the film roll, he superimposed these images with macro photographs of pixel landscapes from computer screens or mobile phone displays. While some of the resulting double exposures are easily recognizable as such, others are less obvious – the streaks of light could be mistaken as coming from faulty film material or broken cameras. In confronting material and virtual worlds, Stadler reflects the conditions of pictorial productions. However, the photographs not only reflect medium-specific conditions, they provoke the viewer to become proactive. The mysterious motifs, as well as the title of the series invite the viewer to connect the material, virtual and possibly even spiritual worlds, and regard the emanating lights as otherworldly apparitions. SARAH WIESENDANGER

Installation view: Pasquart, Biel27 C-Prints

27 C-Prints Installation view: Pasquart, Biel2015-2018 l’apparition

Installation view: Pasquart, Biel2015-2018 l’apparition 27 C-Prints

2016

STREAM https://tinyurl.com/y8v5o784

2 monitorssynchronised, 24’37”

Vos travaux

In ‘Vos travaux’, Sebastian Stadler focuses the camera on one of the most frequented, traditional photo labs in Paris, a city with an internalised spirit of photographic tradition that mani-fests itself again and again in Parisians’ daily lives. From an apartment on the opposite side of the street, a camera is fo-cused on the window of the lab. In the centre of the shot is theselection of intimate snapshots that are revealed by the light boxes.

Audio-video-projection, 7’34”

STREAM https://tinyurl.com/yarldd3g

2015

1 2 Lucius Burckhardt: Warum ist Landschaft schön? Die Spaziergangswissenschaft, hg. v. Martin Schmitz Verlag, 2011, P. 110.

Lucius Burckhardt describes Disneyland Paris as a ‘hypertypical landscape of modern times’1, a ‘consciously designed combination of spectacular, object-like and narrative elements’.2 The work ‘Welcome to Disneyland’ rejects the depiction of Disneyland itself and allows its own view to take its place. ‘Welcome to Disneyland’ is recorded on the huge on-site car park.

The film turns a mechanical movement into a theatricalpiece. With the moving walkway that takes visitors

from their cars to the entrance of Disneyland Paris, the camera travels over the vast area.

A voice-over welcomes guests and instructs them to make a note of the location of their car – as though their cars are their last link to the outside world. The soundtrack to ‘Welcome to Disneyland’ alternates between this absurd greeting and the music played across the entire car park over loudspeakers.

Welcome to Disneyland

Das Warten auf den Sommer, das Warten auf denWinter. Das Warten auf eine Aktion, die vielleicht nie eintritt.« Lumi / ei lunta » verdichtet die Filmaufnahmen einesnordischen Winters und Sommers zu einer sich ständigwiederholenden Montage.

Swiss Art Award, 2013

2013 Installation view: Swiss Art Awards, 2013lumi / ei lunta snow / no snow

STREAM https://tinyurl.com/y7ntvg89

Audio-video-projection, 9’34”

Sebastian Stadler (CH/FI)b. 1988 St.Gallen, Switzerland

Sebastian Stadler lives in Zurich where he works as an artist and freelance photographer. He studied Photography at the University of Arts in Zurich (ZHDK) and the Unitersity of Arts in Lausanne (ECAL). After having graduated in Lausanne he stayed and worked in Berlin, Helsinki, Paris (studio grant at cité des arts) and did a working stay in Yerevan (Armenia) for half a year. Stadlers work has been shown in solo and group exhibitions, most recently at the Kunstzeughaus in Rapperswil (2017). Stadler received a Swiss Award in 2013 and 2017 the grant of Canton of Thurgau. In December 2017 he finished his first art-in-building project in Switzerland. Works by Sebastian Stadler are represented in various collections, such as the Canton of St.Gallen art collection and Collection Credit Suisse.

SOLO

2017 Objects in Mirror are closer than they appear, Kunsthaus Rapperswil 2016 Outremer, Harpe 45, Lausanne 2015 We see the whole picture, Widmer Theodoridis, Eschlikon 2015 Welcome to Disneyland, PasquArt Biel, Photoforum, Biel 2015 Superstrada, Guerilla Galerie, St.Gallen

GROUP

2018 Shifting Cascades, Propstei St.Peterszell 2018 Aller Retour, Helsinki (FI), Lapinlahti 2018 Minerals, Katz Contemporary, Zürich 2018 Travertine Future, Jerewan, Hay Art Gallery 2017 Ein Augenschein von 1944–2017, Haus Konstruktiv Zürich 2016 Schere, Stein Papier, Galerie Luciano Fasciati, Chur 2016 Werkschau TG, Galerie Adrian Bleisch 2016 Nuit des Images, Fotomuseum Lausanne 2015 Video Arte Palazzo Castelmuur, Stampa, Bergell 2015 Photo15, Basel 2014 Neue Kollektion, Kunstmuseum Thurgau 2014 Plattform, Fotomuseum Winterthur 2014 Nordsicht, Nextex, St.Gallen 2013 Swiss Art Awards, Basel 2013 Vordemberge–Gildewart–Stipendium, Kunstmuseum Liechtenstein

ART IN BUILDING

2017 Scheune fing Feuer, Sicherheitsverbund Wil

PRIZES

2018 Foam Paul Huf Award (Nomination) 2017 Förderbeitrag Kanton Thurgau 2015 Förderbeitrag der UBS Kulturstiftung 2014 Plat(t)form Special Mention, Fotomuseum Winterthur 2014 Internationale Bodenseekonferenz, Förderpreis für Fotografie 2014 Studio grant visarte.ost, Cité des Arts Paris 2013 Vordemberge-Gildewart-Stipendium (Nomination) 2013 Swiss Art Award Collections

Canton of St.Gallen Canton of Zürich Thurgauer Kantonalbank Credit Suisse Collection Collection Art Museum St.Gallen Collection Art Museum Thurgau

EDUCATION / RESIDENCIES

2016 Civil service, Yerevan 2014 Cité des Art, Paris (studio grant, visarte ost)2011 Bachelor of Arts, Photography ZHDK / ECAL 2008 High-School, Kantonsschule Wil

Video works

2011 Lumi / ei lunta, 9:34 https://tinyurl.com/yb2g3g8v 2013 Neuer Komfort, various lengths 2013 Kreisel, 4:54 https://tinyurl.com/y8hdtmge 2014 Travelling Nr. 1-30, various lengths 2014 Welcome to Disneyland, 7:34 https://tinyurl.com/yarldd3g 2015 Autostrada, 1:21 2015 Superstrada, 13:29 2015 Sturz ins Bergell – Gegenrichtung, 14:24 https://tinyurl.com/ycxka7pd 2015 Glaskugel, 1:44, double projection 2016 Vos travaux, 24:37, double projection https://tinyurl.com/y8v5o784 2016 Outremer, 5:06 2017 100 cars, 0:10 https://tinyurl.com/ycuhdxjs 2018 Apartment Ararat, 10:11 https://tinyurl.com/y6v4rty5 2018 The Gambit քայլ, 3:41

Artist Books

2007 Hauki 2008 Thurhof 2008 Vuoi Comprare 2009 Marianne 2010 Take my life, please 2011 10.00-14.30 2014 We see the whole picture 2017 Burnt Manuscript 2017 Solar City (Fabrikzeitung) 2018 Scheune fing Feuer 2018 Before Sunrise, Talk Asia