Schieflage – eine Haltung / Lopsidedness – a Position
25.09.–23.10.2021

The exhibition project SCHIEFLAGE – EINE HALTUNG is curated by Leo Bettina Roost and Ursula Scherrer

Artists
VISUAL ARTS
Katharina Bürgin, Schaffhausen
Ray Hegelbach, Oslo/Frauenfeld
Leo Bettina Roost, Schaffhausen
Joseph Sappler, Düsselforf, D
Margrit Schlumpf-Portmann, Bauma

PERFORMANCE
Christine Bernhard, Überlingen, D
Gisela Hochuli, Ruppoldsried
Judith Huber, Emmenbrücke
Ursula Scherrer, NYC/Schaffhausen
Julie Semoroz, Genf

The exhibition title Schieflage – eine Haltung / Lopsidedness – a Position refers to on the one hand the literal – something material, which is out of balance – and, on the other hand in a figurative sense, to something (a situation, a relationship, finances, etc.) which has gone awry. The exhibition examines the artists’ engagement with the dynamics between their biographies and respective artistic attitudes. The interplay of production and artistic position in the public sphere is always a highly individual practice. This circumstance is brought alive.

The list of lopsidedness worldwide is endless. At this moment, it just so happens that the entire culture sector has come askew due to the Pandemic. Preserving oneself in imbalance as a state of living turns out to be a permanent condition. The balance we long for and work towards: it remains an exception and thus becomes a moment of happiness. Strategies to achieve these special moments are diverse and contradictory, they drive us, yet are no guarantee of arriving anywhere. Nevertheless, real change arises from movements that address “Schieflagen”, and try to adjust them.

The artists are experts in holding and bearing askew positions of all kinds. Our location, the Haus zur Glocke, offers an exceptionally fitting place for the theme with its crooked rooms.

The performances are also part of the exhibition. They’re about food for thought, expanding on and blowing up concepts, turning the conventional upside down. A performance as lopsidedness – it can enter unknown territories. Where does a performance start being performance? Is it irritation or poetry, an image, pictures hung together, or a movement, food or a work of art, sound, note, or rather noise?