of existence and non-existence, bringing us together
with so many commonalities despite our differences
and many variations on our paths in life. Supposedly
optimal solutions have been brought forward by
many bright minds. Despite this we came to agrinding halt in so many arenas, for longer periods oftime. This public health matter is the backbone forour socio-economically driven souls and cannot be
uncoupled and treated in isolation from many aspectsof our lives.
Mother Earth has been calling and pleading for ourattentions, reactions, observations, corrections andmindfulness. Mother Earth has been screaming andshouting out loud from the supposed clearer watersof Venice to the smog ridden metropolises and theflaming visualisations emanating from the capital of
the world's largest democracy in Delhi. This weaponof mass destruction cannot be found in a hole in the
ground and operates with the utmost of stealthachieving wide-reaching penetrance, in so many
corners of the globe. Whether we want to run or hide
we are obliged to experience this BIG humancorrection (like on the stock market) and have been
forced to be massively mindful and patient.

Mother Earth Calling
22nd October7th November 2021
Salon Mondial, Baselwww.ramski.net
Mother Earth Calling Art Exhibition is a Global-LocalCommunity collaboration between artists who
travelled from far and wide to extend their art
practice in Basel from Atelier Mondial, alongside our
local artists from the region and from the House Oslo
Ateliers Cooperative. Working closely with local andglobal communities within this epic period of
pandemic lockdowns and isolations, due to therampant spread of virus’ has brought forth awonderful collection of artworks.
The vision of this project has become highly Covid
relevant as we are undeniably still in the midst of thepandemic. It highlights the machinations and innerworkings of humanity, apparent in many ways atindividual, group and country levels leading to a fullblown worldwide cataclysm ! Willingly and unwillingly
we have had to accept different and dynamic states

Mother Earth Calling, brings together declarations,lamentations, primal screams, loud and quiet,
interrupted or flowing, in all their shapes and forms.
Displaying free expressions from painting, drawing,creative writing, sculptures, installations andperformances. For international participants, unable
to travel, artworks have been made possible in theelectronic form. A display of a masala (mix) ofexpressions, showing a vivid collection of global andlocal art, interwoven with community action, presence
and spirit.
The works shown are expressed in varying media
including poetry, paintings, drawings, video
installations, sculptures and performance.
Workshops will be held in English and in German,
with cross language translations where needed.
Many thanks to Atelier Mondial, Alexandra Stäheli,
CMS Genossenschaft Oslo Ateliers, Bruno Steiner for
screens and film equipment, Yota Tsotra and Andreas
Schneider for their professional mentoring andsupport. Also a big thanks to all the amazing artists
and helpers that assisted in setting up the exhibition
and Noë Salinas for photography, Irene, Cecilia,
Robert and Darlene for the pumpkin soup.
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Artists and their work
http://ramski.net/
MotherEarthCalling_EN.html

1Belén Romero Gunset
Installation

Belén Romero Gunset was born in Tucumán, Argentina
in 1983. At an early age she joined a group of
puppeteers together with her mother and sister.
Since 2003 to 2010 she has formed several
performance groups in Tucumán.

Title: What is a Machine? # 2
Material: obsolete machines, screen, lightand plastic sheets.

Description: Video Installation
During her Residency in Atelier Mondial (April-Junes
2021) she made a performance with an
installation, quite similar to this one, the performancewas 44 hours long, in which she asked the public,‘What is a Machine ?’ She collected all the answers on
a big sheet of paper, later processing this information
to create data for her project of Artificial Intelligence,
which aims to create a machine with the capacity tophilosophise. Her conclusion of that performance isthat "Machines are Machines" and in this video, you
may see an example and explanation of that
conclusion.

2

In 2010 she graduated in Arts in the University of
Tucumán and moved to Buenos Aires to participate in
the Artist Program of Di Tella University.

Brendhan Dickerson

Her performances, painting, installation and videos are
exhibited in museums, art spaces, art galleries inArgentina, she received many awardeds and her work
is part of some public and private collections inArgentina.

Born in Johannesburg. Living in Basel, Switzerland.
Brendhan Dickerson has a masters degree in sculpture
from the University of Cape Town.

In 2021 she participated in the exchange program
between URRA (Buenos Aires) and Atelier Mondial asa resident in Basel (April-June) and in "Doce en
Diciembre Basel Edition", another exchange programwith artists from South America and Switzerland in
Kasko, Basel (October).
Her work is a continuous lifelong process, which is
depicted as a threshold between performance andphilosophy, and a process which she can accompany
with systems and diagrams, installations, drawings,
paintings, texts, sculptures and videos.
https://belenromerogunset.com/

Performance and Sculpture

He has worked primarily in wrought iron, often in
combination with wood or bronze. The intense, almost
alchemical process of transforming metal in its
malleable heated state, resonates with his quest for
inner transmutation.
Although he often seeks to articulate lyrical, ironic orsatirical perspectives through his work, it is his
perception of sculpture as fundamentally performativethat drives his formal choices and animates hispractice.
In the 1990s, in parallel with his studio work, he began
an exploration of performative Fire- Sculpture. For
him, there is something atavistic about fire-sculpture,something primal and fascinating in its immediacy andtransience. Ephemeral and irretrievable, it is acounterpoint to the permanence of iron and bronze
sculpture.

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In recent years he has immersed himself more deeply
in performance art. Merging the durable andephemeral aspects of his practice. The work thatemerges from this shift explores the intersection of
performative sculptural objects with the performing
body, with the enigma of embodied presence andcommunion.
https://www.brendhandickerson.com/#/home

Sculpture
Title: Agony of the EarthMaterial: Iron rods and bamboo, paper pulp andliquid paraffin

Description: Orangutan, set on fire as part of the
opening ceremony performance.

Performance
Title: Opening Ceremony
Material: Performance with Kali-Ma, fire-sculpture
Description: fire-sculpture which will form part ofthe opening ceremony, are the first in this series.
In the face of our pathological inertia, evenindifference around change to mitigate climatechange, perhaps new, or renewed archetypes areneeded to articulate the contrition and guilt andincandescent fury too - which we, as those who havedespoiled the earth, should be feeling en-mass at the
on-going desecration of mother earth.
Brendhan contemplates about furies; the group ofenraged Greek goddesses, daughters of Gaea (Gaia)
the earth mother, who seek out and punish sin andtransgression against her.
He imagines the awakening again of Gaia’s Furies in
non-human form, as animal superheroes who wreak
havoc to punish and destroy the perpetrators ofecocide.
The fire-sculpture which was form part of the opening
ceremony and the ‘Awakening Gaia’s Furies’ sculpture,
are the first in this series.

3
Dawn Nilo
Installation

Dawn’s work is inspired by the archetypes of thealchemist and the fool, exploring the opposites ofknowing and not knowing as intelligent absurd
naiveté. She writes poems in words performances andvisual art that play between the simpleton-jester-clown
and the disciplined practitioner of The Great Work.
This work includes words, geometric drawings,
cyanotype prints, paintings, videos and installations.
Her solo interactive and group performances focus on
the precise execution of pure raw and improvised play.
Some excerpts from Dawn’s career include a
nomination for the Swiss Art Award (2020) and Swiss
Performance Art Award (2017).

www.dawnnilo.com
https://www.independent.co.uk/news/world/asia/
orangutan-defends-jungle-home-video-digger-apeborneo-indonesia-deforestation-a8387836.html

Sculpture
Title: Awakening Gaia’s Furies
Material: Bronze and wrought-iron sculpture
Description: an elephant flying in a penumbra offoliage, skewers an oil tanker on it’s tusk (Elephantum
giganticus).
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Title: "Nein Nein Ja Nein Ja"
Material: Paper voter’s pamphlet, wooden framewith glass, 300 x 415mm

Description:

National Referendum of the Swiss Confederation,
June 13, 2021
The Federal Council and Parliament recommend
voting as follows on June 13, 2021:
NO People’s initiative for clean drinking water andhealthy food
NO People’s initiative “for a Switzerland without
synthetic pesticides”
YES Covid-19-Law
YES CO2-Law
YES Federal law on police measures to combat
terrorism (PMT)
Notes from the Federal Council. Published by thefederal Chancellery. Press date: May 5, 2021

4
Deneth Piumakshi Wedaarachchige
Film, Sculpture and Painting

Deneth was born in 1980 and is a multidisciplinary
artist from Sri Lanka and living in the French Alps. She
started her first education in arts at home with herfather and later studied in Nepal and in Sri Lanka.
She uses textile, sound, video, photography andperformances in her artistic practice. The subject
Deneth's work focuses on are forgotten colonial
histories, the Sri Lankan diaspora, identity, womenimmigrant workers and women and children in war
zones. Her artistic practice runs along a thin line that
separates art and activism; she intends to play withthat tension. For Mother Earth, Deneth is focusing on
the “age of the pandemic” and finding ways to adapt
to a new world.

Film
Title: ‘Welcome to whatever happened next...’Material: 12 minutes - 2021
Description: The world of uncertainty that we areliving in today, unable to go back to my motherland
and never ending and always changing COVID rules
has inspired me to make this video collage. COVID
pandemic is dividing us, separating us from ourfamilies and loved ones from near and far. It iscategorising us within the society, it controls andleaves us in an unknown place. It changes us, oursociety and ways of living. Power of nature makes us
adapt and keep moving forward in our own ways fromhere to a new world of uncertainty.
Poem
How it is you are who you are & I am someone else
Right here before you
Let’s postpone tomorrow
So the roads will be open again
And we will have freedom
Together we will escape
From this story
And dream of a happy planet with a second chance!

Film
Title: ‘My Mother’s Virtual Diary’
Material: 12 minutes - 2021
Description: Sri Lanka was going through a forth
lockdown and my mother was again isolated. I
imagined living with her virtually during this difficult
time and keeping her occupied daily. ThroughWhatsApp she created a video diary by recording herdaily routine and her feeling.

Painting
Title: ‘Tree of life'
Material: Acrylic on Cheetha textile. 150 x 80 cm.
Description: Courtesy the artist and Gandy gallery.
2011

https://denethpiumakshi.com/

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Film

Description: The faces are representing the evil

Title: Project Me and my garbage _ Mother andChild’

Material: 5.08 minutes - 2019
Description: 2019 in Sri Lanka I was traveling to doa research project, following the scientific expedition
by Swiss naturalist, Sarasin cousin brothers in 1883. My
focus was to stop on each village as they stopped anddocument the environmental changes. Sarasins were
hunting many elephants in search of elephant embryo
but they were left with none. One of the areas they
had visited in 1883 had become a protected Nature
reservoir. With a development project built by Chinesecompany, a village was disappeared and relocate next
to the Nature reservoirs. The collected daily wastefrom the village is dumped on this nature reservoir.
Unfortunately it had turned into a large garbage spot
where elephants came to search for food. The
Elephant mother and child were often coming to eat
garbage that is wrapped in plastic bags.

human mind that always thinking ways to destroy
nature as well as each other. The colourful floral textile
is representing
the nature and its strength that overtake the evil man
to bring peace and beauty to the earth and humanity.
Courtesy the artist and Gandy gallery. 2012

5
Dorothea Rust
Photography

https://vimeo.com/manage/videos/59668086

Sculpture
Title: ‘Nature war’
Material: a dead bee and a real ancient gun bullet –2017

Description: Bees are tiny that we rarely notice
them, but they are the most efficient, being
responsible for 80% of the process of building ourecosystem.
The numbers of dead bees are rising today caused bya toxic agricultural pesticide used in the fields andgardens. To feed growing populations & in highdemand for more honey, the hard-working bees are
selected and genetically modified and copied tobreed more hard-working bees. This is a man's war
against nature.
Courtesy the artist and Gandy gallery.

Painting

Dorothea Rust aka DoroR practices wild inclusion of
performative and somatic practices in trans-local andcontinental contexts, sometimes channelling this into
performances, photographic works, videos andinstallations, sometimes writing to/about performative
practices and otherness, sometimes organisingprojects that bring artists* and others.x together.
www.dorothearust.ch

Title: the bird can’t sleep 3
Material: Image work shot with iPhone, inkjet-print
on matt archival paper

Description: ... walking through the forest ... a bird
sprayed in poison-green paint on a tree trunk jumps
into my retina ... then the sentence DER VOGEL
KANN NICHT (MEHR) SCHLAFEN - the bird can’t
sleep (anymore) -, which I had written a long time ago,comes into my hands ... from then on I turn todissimilar things like trees ... together we practise
otherness in being close to each other ... exchange
genetic information about skin and tree bark ...
together we retrieve the fictitious to describe the real…

Title: ‘The Man I know’
Material: Mix media on canvas, 9 individual pieces
30 x 30cm, can be put together as one - 2012

6

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6
Eva Borner
Photography

Eva Borner, born in Switzerland, lives and works inmany places. She studied media art at the Universityof Applied Sciences Northwestern Switzerland in
Aarau and received her diploma with distinction in2003.
She works in the field of video installation and sound,and also with photography and objects. Exhibitions at
national and international level show her current work.
She has received numerous awards and grants.
Exhibition participation at the 6th Thessaloniki
Biennale, in France for the Lectoure Summer
Photography Festival, as well as in Sedan (F), at the
Spinnerei/Werkschau in Leipzig, Kunsthalle Wil,
Northwest University Museum, Xian (China) and in
Pafos (Cyprus) for the European Capital of Culture Year2017, frac Alsace and Museum Maxxi in Rome- toname just a few stations.
Her residencies include Swatch Art Peace Hotel
Shanghai, LIA in Leipzig, Cité Internationale des Arts
Paris, Goethe Institut Thessaloniki, Centre forContemporary Art NAIRS in Engadin, and the Atelier
Mondiale Basel awarded her a travel grant to Greece
two years ago.

Voyeuristic looking is far from the artist's intention;rather, through her cautious stagings, she wants tobring us closer to the difficult and often gruelling
reality of those affected.
„Borner’s installation works present as aestheticallysubtle, emotionally touching and socially relevant
contemporary projects. They are at the same time
immensely tender and profound.“http://www.evaborner.ch/

Title: Erzähl mir Meer
Material: Photography 2021
Description: On a breakwater, the spray, darkened
by the pollution, splashes up. It looks like a furious anddesperate uprising of the sea in the face of themountain of rubbish made of pet bottles that has
washed ashore. Every year, an estimated 4.8 to 12.7
million tonnes of plastic waste ends up in the oceans.
From plastic bags to bathing ducks, most of the waste
we produce on land eventually ends up in the sea. The
photograph "Tell me about the sea" by artist Eva
Borner is a call to pay attention and listen to the needsof nature - especially the sea. The multi-layered title
relates the work to, among other things, the "Mother
Earth Movement", which campaigns for individual
ecosystems to be recognised as legal entities and thus
be able to sue against pollution or threatening
projects.
October 2021, Eveline Schüep

In her artistic work, Eva Borner engages with thequestion of the presence of absence. She brings
experiences that have shaped her personally into awider context and pursues the concept of home inmultifaceted ways. Borner’s media art is not only
distinguishable due to its interaction with other areas
such as film, photography, sculpture, music or dance.
It is touching because it always aims to link technicalmedia and a concrete vision. It emerges from thedirect confrontation with its environment, whether
through encounters with people or by addressing
political and social circumstances.
Her works awaken memories and associations in theviewer in a poetic or narrative way. In impressive
video, sound and object installations she gives'speechless' people a voice, the physical absence ofthe protagonists being characteristic of their work.
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7
Irene Maag
Installation

Irene Maag has a BA in fine Arts and MA in
Kunstvermittlung from the Polytechnic of Art and
Design in Basel (HGK FHNW) and works in the fields
of performance installation/intervention cultural policy
and as an independent art mediator. In both her
artistic and art mediating work, she likes to generate
new meaning and options of ways of thinking. With
playfully irritating actions, new realities are developed.
Thus she works alone, collaboratively or inparticipation with others - preferably site-specific andwith everyday materials - on public social and virtual
space. With art as art mediation or strategy, new offersof experience and possibilities for action are createdand supposed realities are redefined. Irene Maag has
been represented with personal and collective works
at performance festivals and exhibitions in Switzerland
and internationally since 1998. In 2014, she wasawarded the Canton Basellandschaft Art Prize (Culture
Prize) for her artistic work. She is a co-founder ofseveral collectives, including the performance group
GABI (1998 - 2005), the performance group Kollabor(first called LABOR) in 2005, as well as the culturally
politically active association Kultur Baselland, which
she co-presided from its founding in 2016 until 2019and now manages.Between 2001 and 2009, Irene
Maag was active on the board of the
Kaskadenkondensator Basel as a curator and project
initiator. Since 1996, she has created various art
education formats with children, young people, adults,
disabled people and mentally unstable people.

The work Ashes by Irene Maag is a memento mori.
Being born, living and dying - a perpetual cycle. All
are and everything is transient and vulnerable. To carefor the earth, the new that arises and the existing is
the task in our lives.
The work refers to and cooperates with othercontributions to the exhibition and was created onsite: the ashes come from the fire that Irene Maag kept
outside in a fire bowl during the opening of Mother
Earth Calling. With this fire, Rama Kalidindi as Kali-Ma
ignited the moving orang-utan fire sculpture by
Brendhan Dickerson. In his performance ‘Awakening
Gaia's Furies’, Brendhan and assistants moved theburning and raging orang-utan sculpture forward.

https://irenemaag.ch/

Title: Ashes
Material: Ash, Angular Iron, Paper, 1m2
Description: In the exhibition room, a metal frame
the size of one square meter lies on the floor. It weighs
down the large white sheet on which wood ash can beseen (and smelled).

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8Ishita Chakraborty

She has presented artist talks in Beletage Aarau,
Switzerland (2021) KHOJ PEERS Residency New Delhi
India (2018) Culture Clash in Dock Basel
Switzerland(2017) Rajya Charukala Parishad in Kolkata(2017) and Museum Forum Schloss Platz Aarau
Switzerland (2017).

Installation

https://www.ishitachakraborty.com/

Ishita Chakraborty (b. 1989) is an artist and poet bornin West Bengal India. She lives and works between
Switzerland and India. Chakraborty's artistic practiceentails scratched drawings installations poetry
performance and sound. She investigates thestrategies and the discourse of resistance narrated byindividuals—often the subalterns. Their contexts aremarked by the traces of displacement the trauma ofcolonialism their articulation in language oral history
and identity. Chakraborty is represented by Gallery
Espace New Delhi India. She has received her MFA
degree in 2021 from ZHdk (Zurich University of theArts, Switzerland) and another MFA in 2013 from
Rabindra Bharati University Kolkata. She taught Fine
Arts as an assistant professor at Amity University
Kolkata (2016-2018). Her recent and upcoming shows
include Auswahl 21 in Kunsthaus Aarau LifeLines atJohann Jacobs Museum Zurich (2021) curated byRoger M. Buergel and Francesca Ceccherini Hermes
Trismegistos Dreams of Futures within Futures (While
Zhuang Zhou Eats a Butterfly) at Die Diele (2021) in
Zurich curated by Damian Christinger Mother EarthCalling in Atelier Mondial(2021) in Basel Switzerland
5th International Biennale de Casablanca in Morocco(2022) curated by Christine Eyene.

Title: EUROPA
Material: Fired unglazed different ceramic clays,

She recently had her solo exhibitions in Keinraum inLuzern Switzerland(2021) Prameya Art Foundation
New Delhi India (2020) Museum Forum Schlossplatz in
Switzerland (2017). She has participated in 'Abstract
Notations' at Gallery Espace in New Delhi (2020) Small
Projects for Coming Communities Stuttgart Germany
and Oncurating Project Space (2019) Zurich What
Leaf? What Mushrooms? in Art Container Zurich (2019)
Art for peace in Kunsthaus Zofingen in Switzerland(2017). She has won a number of awards including
Visiting Artist Fellowship at Lakhshmi Mitaal SAIHARVARD UNIVERSITY (2020) ZHdK Avina Foundationin Switzerland (2020) and Research Grant from
Aargauer Kuratorium in Switzerland(2021).
Chakraborty was awarded Gästeatelier Krone
residency in Switzerland (2017) and Piramal Museumof Art residency in Mumbai India (2015).

Size: variable, 2700 until today, 2019 ongoing.

Description: Performative installation organically‘grown’; influenced by the placement of other artworks
in the exhibition.
Europa is a large-scale sculptural installation thatinvolves a community-based participatory workshop. It
explores the themes of migration citizenship raceinclusion and Ecology of care. In this work existential
questions of human life morph into ecological ones.
Ishita imagines each human being is like a mushroom;
diverse and individual but interconnected throughdifferent roots as hair-like fungal threads called
Hyphae. Like fungi stitches different organisms into
relation. Here she draws the concept of relation in
Édouard Glissant's work where he describes relation asa point of departure of a model of communication a
way to communicate with others in the impossibility of
the unity of origins and history. The relation is aconnection that articulates past and present in thehuman identity. Ishita imagines the migrants are
stretching all over the world while interweaving themulticulturism, exchanging ideas in a new society. Bychoosing different earths and the firing process
mushrooms of different colours are created. For Ishita,
these different hues represent the different human skintones - they give her a sense of diversity amongpeople much like an ecosystem. The European
classification of cultural differences such as skin colorand hair texture were not only important in the past
but still relevant today and has not been overcome.

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This project asks questions about our coexistence andthe conflicts between citizens and refugees. The racial
discrimination kept the people in separate boxes
rather than celebrating diversity. So Ishita’s mushroom
project Europa is an attempt to make the others in a
Eurocentric society visible. A few years ago she moved
from India to Switzerland. As an immigrant, a largepart of her assimilation and integration consisted oflanguage training. She developed this project inparallel with her German courses at the Autonomous
School in Zurich. There she had the opportunity tomeet many other immigrants and refugees and listen
to the stories of people forced to flee war-torncountries to find asylum in Europe hoping for better
living conditions. The result of colonisation includes
degradation of natural resources capitalism and rapid
urbanisation, enforcing governmental economic
political and other social policies in the post-colonialsocieties that distribute resources unequally among
their nation's members. Metaphorically themushrooms are also a reminder of the spread andunfolding of organic movements of humankind
beyond controlled borders and doomed immigration
policies. The movement is a resistance.The artistic
research of the project was inspired and influenced byreading the book "The Mushroom at the end of theWorld" by Anna Tsing. It says that after an atomic
bomb destroyed Hiroshima the first living thing toemerge from the destroyed landscape was amatsutake mushroom." Another inspiration is Édouard
Glissant's “The Caribbean Discourse”, where Glissantevokes the metaphor of the forest.
But at the heart of this work are also the narratives andfates of the people she meets. Ishita has conductedparticipatory workshops where refugees, migrants,
and locals meet to model mushrooms together. They
tell each other our stories during the workshop, speakin their native languages, and sing Songs ofResistance. These workshops are not primarily about
making mushrooms but serve as a connector andplatform for meeting people. Shaping mushrooms
becomes a spiritual journey, transferring people's
handprints and time spent together into themushrooms.

9
ManmeetDigital Prints
Manmeet is an interdisciplinary artist, based in Delhi.
She has a post- graduate degree in painting from
Jamia Milia Islamia University, Delhi. She has a postgraduate degree in painting from Jamia Milia Islamia
University, Delhi.
Her work is closely linked to her own life and lifesituations, often with key feminist concerns as aforeground.
She has performed as part of- Khoj Live 2008;- Regional Arts and Performance Events (R.A.P.E.)
Guwahati, 2012;- KNMA, 2012;- School of Art and Aesthetics-JNU, 2013;- Live Art Lab, Bangalore, 2014;- Illicit Bodies, Bengluru,2014;- Der Langest Tag, Zurich 2015;- Was also on the 2012 shortlist for the prestigious
Skoda Prize.
- Recipient of Pro Helvetia Research Residency
2015-2016: Dhaka Art Summit;- Festival of stories,Bengluru; JNU, SAA 2018
- Srinagar Biennale 2019 ;- The Mothers' Studio, a curatorial exercise, as part of
5 million incidents, supported by Goethe Institute, incollaboration with Raqs Media Collective.
Manmeet is a trial poet, school teacher and a single
mother, surviving the everyday war zone. She loves to
day dream and dance. And she lives her life on her
own terms.

Title: #lockdownstories
Material: Inkjet on Paper
Description: Instagram posts from lockdown in the
big city; Delhi

Price: upon request

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Video10
Margarit Lehmann
Printworks and Video

Born 1958 in Lucerne/Switzerland
1985 until 2012 resident in Barcelona
2012 move to Basel
1989-94 La Massana, Cenre d'Art i Disseny Barcelona
1995 La Llotja, l'Escola Superior de Disseny i Art,
Barcelona
Universitat de Barcelona - Facultad de Filosofía,
1996 GrisArt, Higher School of Photography

Printworks
Title: A Year without Skin
Material: 2021
56 x 76 cm
Photogravure
Sheet from a series of 10 / Edition of 3 each
Somerset 250 g/m2

Title: NON-BINARY
Material: 2019
Video HD ohne Ton, 8:08 Min /LoopLCD Bildschirm
Holzrahmen, 63 x 80 cm
Edition 4

Description: The work is based on a fall: The Fallby the Dutch painter Cornelis van Haarlem (1592). The
work is in the Rijksmuseum in Amsterdam, and shows
Adam and Eve before eating the apple*. Non-Binary isa mental experiment examining the patriarchal
representation of human history.
This work opposes common forms of knowledge
formation and history. It is an artistic position that
understands gender and identity as a construction thatis not determined, but rather performative, andtherefore temporary. This non-binary subject, difficult
to describe, is interwoven with fragments of works
from other times, places and contexts.
Facts and fabrications create ambiguous, transformed
bodies, coming from the past and dissolving into a
possible future.
Public domain illustration
http://margaritlehmann.eu/portfolio/non-binary/

Description: This conceptual work was created in
the Corona year 2021.
Physical closeness, touching and the previously
everyday giving of hands is accompanied by viral fear.
So after months of distance, I decided to photographmy friends' hands, photopolymer the images onto a
copper plate and print them.
This way, when I wiped the ink off the printing plates, I
could touch the image of their hands. This resulted ina series of ten sheets.
The imprint of the palms is a formative memory of thistime.
http://margaritlehmann.eu/portfolio/a-year-withoutskin-parvez/

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11
Márcio de Abreu
Film

12
Mohsin Sha
Artist Book

Márcio (Momó) de Abreu is a Brazilian filmmaker andresearcher. He has a Bachelor’s degree in History andcompleted M.A. programs in Critical Theory andCultural Studies and in Culture and Society. He
currently attends a doctoral program in Social
Psychology. His academic and artistic work focus on
Racial Representations and the Media, Race Relations,
Theory of Subjectivity, Cultural Psychology, and AfroBrazilian Culture and History.
Márcio began his trajectory as a filmmaker in 2011 asan Associate Producer in the feature-length
documentary CAPOEIRA: FLY AWAY BEETLE, a SilverAward winner at the Philadelphia International Film
Festival and Market 2012. Since then, Márcio has
worked in various documentary productions about thehistory and culture of peoples of African descent inBrazil. In 2014, he made his debut as a screenwriterand director with the short documentary film, OF
SLAVES AND SAINTS, Best Documentary Short winnerat the Black Star Film Festival 2015, Philadelphia. His
latest work includes the short experimental films
CONFINED, A DINNER, and BREATH, compiled as atrilogy under the title TALES FROM THE
QUARANTINE (2020). He is also the author of O Efeito
Negro Encantado: Representações Étnico-Raciais na
Era Obama (The Magical Negro Effect: Racial
Representations in the Age of Obama), published in
Brazil by Editora Devires in 2018.

Title: Breath
Material: Video
Description: For some people, the coronavirus
pandemic is an aggravating factor for an alreadysuffocating reality.

Mohsin Shafi is an interdisciplinary artist living andworking in Lahore – Pakistan.
Shafi’s practice focuses on South Asian identity and its
intersectional relationships with his national, cultural,
spiritual and religious interpretations and on thepropensity of these ideas to collectively produce andperpetuate institutionalised oppression anddomination on his sexual identity a queer man. Froman art-as-therapy perspective, he aims to support an
ethic of radical empathy through his works bycombining sentiments of tragedy, tenderness andhumor.
Shafi’s practice in other mediums further takes
advantage of personal archives, offering multiple
perspectives that reveal entrenched socio-politicalcontradictions in Pakistani society. In his process he's
seeking to create non-colonial gestures to enact
healing, rebalance and repair from the colonialism. He isinterested in the role of art in social change,transformative healing and collective justice.
Shafi uses collages, photography, video, text,
installations and performance for his art practice.
In the last decade, shafi has showcased his workthroughout all prominent galleries in Pakistan. His
work has also been part of various travelling shows, art
fairs, galleries and alternative space displays aroundthe globe. In 2019, He was awarded a Studio
Residency at Alter Mondial, Basel organised by Pro
Helvetia, Zürich - Switzerland.
Shafi holds a Masters Degree in visual arts andBachelors Degree in visual communication, both fromthe oldest school of art in Pakistan, the National
college of Arts in Lahore. He served his alma mater foralmost seven years as faculty before he was exiled for
his outspoken writings and activism in early 2018.

fi

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Poems and verses

Title: “Doobaa” (Sunken)
Material: A set of 33 leafs - 5x7 inches each / Inkjet
prints on Hahnemühle Paper / AP + Editions of 2 V/P
on request, 2018-2019

Description: The work in the show “Sunken”(Dooba in Urdu) is an artist book inspired by southasian sufi poetry and its inspiration in Pakistani musicfrom 1980’s. I grew up listening to this song “Tere Ishq
Mein Jo Bhi Doob Gaya” which was one of themergers between a Sufi artist and a Pop Artist, which
now in contemporary times is founded as the genre
we called Sufi Rock.
“Tere ishq mein jo bhi doob gaya,
usse dunya ki lehron se derna kaya”.
'The one who gets drowned in your love, doesn't haveto fear the waves of the world. What everyone thinks
about me has ceased to bother me. I have reached astage where all that matters to me is you. In every
single entity of the universe, I seek your traces and thesigns which you have left for me. I seek your traces inthe sky and the world which lies beyond the stars.. The
one who gets life from water of a stream need not fear
it's mighty flow.”
The artist book reflects upon the power of surrenderand belief system and going with the flow of love thatis pure and virgin. I made this work in the times I
experienced fire of love and ashes of betrayal.. that’s
when I encountered the the meaning of surrender tothe earth and the universe.

13
Parvez

Performance video, Installation
Parvez is a multidisciplinary conceptual andperformance artist from India, currently based in Basel
Switzerland.
His work focuses on the (de)construction of identities,
the status quo and (neo)colonialism. He finds his ideas

from the social conditions around him and works witha variety of media that ranges from his own body,
video, images, sound and colors to found objects,
industrial material etc.
He studied Medicine in India and later worked in
Psychiatry until 1995. He then moved to film making
from where he gravitated towards Art.
His videos have been screened and awarded atinternational film festivals since 2001. His artworks andperformances have been shown in a number of
exhibitions, including solo shows, in Switzerland, India
and beyond.

Website: www.parvez.work
Instagram: @parvezunart

Performance video
Title: A Song For Them Too
Material: 13 Min/ HD with stereo sound/ English/
2017, Performed at:
LEGS Basel – Ausstellungsraum Klingental, Basel,
Switzerland. June 17, 2017

Description: Those, who may never be able tolisten to our songs; those, who may be hiding under
the debris of their own homes to avoid random bombs
or bullets somewhere, in some faraway land; those,
who may be struggling to find some food to keep
themselves alive this very moment… how does one
get a song for ‘them’ going?

Installation
Title: Everything Is Fine
Material: Polyester, Match sticks, Brass wire/
Dimensions: 51 x 32 x 11 cm, 2018

Description: In a frenzied world with continuousand senseless destruction of the planet, in the name of
production, efficiency and profits; post-truth politics isa perfect fit. To sooth one's nerves and numb one's
mind to an obvious future, one laps up every false
assurance merely to feel a sense of stillness and calm,
just like an addict wants his/her dose of a drug,
knowing well that it changes nothing.

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Installation
Title: Blood Money Plant
Material: Acrylic paint, money and glass on a metal
object, Dimensions: Approx. 30 x 20 x 20 cm
2021

Description:

Money was originally conceptualised as a token to
improve upon the barter system and help the people
buy only the goods they require. However
imperialism, colonisation and notion of accruing
capital and making profits, turned it into a commodity
itself. The unequal valuation of currencies, played out
through a convoluted game of politics of economies.
ensures that colonial loot continues unabated.

14
Petra Keinhorst
Sculpture

Petra returned to live and work in Basel 8 years ago after many years in South Africa and some in Ireland.
She grew up in Germany and graduated in Sculpture
from Frankfurt College of Art in 1992. She won several
art awards and residencies. Her sculpture work uses
hard paraffin wax that she has been re-melting (from afirst public sculpture in 1999) and re-working since.
The material transforms into ever new projects that
increasingly address issues of the impact ourenterprises cause on the biosphere. She was actively
involved in wildlife conservation and is a keen birder.
http://www.petrakeinhorst.com/

Sculpture
Title: Hanging Tusks
Material: Hard paraffin wax
Description: 8 tusks in netting, suspended from theceiling.

Sculpture
Title: Baby Blues

Material: Hard paraffin wax
Description: Baby in a packet with face masks next
to it.
* Petra is showing two of her works: "Hanging Tusks"
and "Baby Blues", which were both made in thecontext of her installation series Anthropocene,
starting from before the declaration of the new
epoch. She has been casting, carving or forming
numerous objects from hard paraffin wax, some ofwhich can be seen as symbolic of our harmful
activities on this planet, assembling these to createa certain atmosphere that is alluring, yet troubling,
too. The fragility of the sensual material plays into it,
adding to the transient character of the work andwhat it stands for.

15
Rama Kalidindi

Performance, Installation, Signage
Rama is an artist, computer scientist, yogi, mother anda dog walker.
She had many years of experience with Informatics
projects and a decade ago she made a switch into thevisual arts fields. After completion of her Foundation
Art and Design course at the Basel School of Designand embarking on an MFA in Graphic Design at the
HGK in Basel, she has been working as a freelancegraphic and web designer and as a visualcommunicator in her work as an artist and curator. Her
work is inter-disciplinary, she enjoys painting, drawing,
installation, digital art and performance.
In 2019, she was prolific in a multitude of exhibitions;
two solo and two group exhibitions, three of which she
curated and exhibited her own work and one of which
she was invited to participate in Delhi, India.
In 2020 and 2021, she has been part of three groupexhibitions, two of which were as an artist in her
cooperative and now in 2021 ‘Mother Earth Calling’,
which she curated and participated in as an artist.
http://ramski.net/
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Performance
Title: Kali Ma
Material: Black Costume, Painted face, Axe andDrum

Description: Whirling, spinning Kali Ma, enraged
and restless, leading the crowd outside to light the fire
sculpture.

Installation
Title: Isolation, Desolation and Dereliction
Material: Oak and Glass
Description: States of isolation, detachment,
deterioration, desolation and degradation. Withoutmaintenance and care, becoming vescicles ofreflection and silent observation without interaction,
thought, inter-change and repair. During the
pandemic, all around the world, people have been
behind windows, in quarantine or lockdowns. People
have also left their abodes fleeting to freer places in
the countryside with lower population densities andperhaps more resources were available. Thereby, inthis migration of populous, leaving many buildings
and abodes, uninhabited or derelict, leading todisrepair and desolated landscapes. Former wellinhabited places, offices spaces, where people switch
to a ‘home office’ modus, these buildings become
under-visited and ghostly, in desperate need for
occupation and community. The artist is also remindedof the images of the flames, fires and smoke
emanating from cremation grounds of Delhi, postdelta variant rise, she saw these images through theglass of the TV screen. Her information about the lossof life and social distancing and isolation was not only
first-hand from her relatives in India but also throughmainstream news channels through the ‘tube’.

Signage
Title: MyMacrocosm Within
Material: Signage, Alu-Dibond
Description: The universe is within me and I am
within the universe; everything is within us, in a smaller
form, even if the ego is bigger than the universe attimes.

Signage
Title: High Carbon Footprint, Sattvic Diet
Material: Signage, Alu-Dibond
Description: This type of signage might typically be
used to forbid the feeding of fish. Interestingly
though, in this sign, it is the opposite and a positive
affirmation towards feeding the fish. Flying ingredientsin, from all over the planet, to serve the demandingneeds of a highly differentiated palate, offering
varieties that go far beyond the tolerances of buying
locally and testing the adaptability of the human body,to support varieties beyond staple needs. This
opposes the ideas of a yogic Sattvic diet; to eat
freshly, locally, lightly and a plant-based diet, AKA
vegetarian !

16
Tomoko Hashimoto
Drawing and Film

Tomoko is a painter, living and working in Chiba,
Japan. In 1996 she completed Master's Degree
Course, Graduate School of Tama Art University (MFA)
and in 2002 she received the 17th Received the 17th
Holbein Scholarship Grant. In 2003 she was Selectedin the 6th Art Documents Support Program by
SHISEIDO, then in 2019 she was an Artist-inResidence at Atelier Mondial, Basel, Switzerland.
Tomoko has a many years of experience as a painterand a long portfolio of solo, group exhibitions as welland her works being part of public collections andbeing involved in many other illustrative works.
She creates oil paintings from motifs of nature, such asapples, camellias or rivers on huge canvases, or paints
on panels which have been cut in the shape of the
motif, using these to produce installations within an
exhibit space. In this exhibition, she presents 2 works,
a drawing and video slides. This motif of works is theBirs River in Basel. She stayed in Basel on her Art
Residency at Atelier Mondial in 2019 and walked
along the Birs River for many days.
http://hashimoto-tomoko.com
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Drawing
Title: Walk along the River: The Birs
Material: 78×56 cm, Watercolour, Persimmon
Tannin on Paper

Description: *Film
Title: Walk along the River: Plants
Material: Video slides displayed on an iPad, "1'48''"
Description: *Tomoko paints plants and rivers. Plants symbolise life,
rivers symbolise death. At first glance, life and deathappear totally opposite. However, there is deathbecause there is life, therefore there is life because
there is death. That is, life includes death.
Plants are kept alive by water. The rain that has fallen
on the plants sinks deep into the soil. Then it turns
into a river and flows into the sea. The sea createswater vapour, and rain, which then falls on the plants.
Everything is connected in the same circle. That isreincarnation.

education and innocence. As an example, the art
project FROZEN EDUCATION, presented at
Kaskadenkondensador, Basel, in 2018, in collaboration
with Dr. Kuckuckslabrador.
www.yotatsotra.com
www.frozeneducation.com

Title: Hope is every cloudy sunset (2021)
Material: Acrylic on canvas, 70 x 80 cm
Description: A child stands alone, watching thesunset. The surrounding landscape seems empty andfragile, however the colours create a sense of joy andinnocence. The posture of child shows strength andvigilance, as if he can see in the sky the future of theworld.

17
Yota Tsotra
Painting

Yota Tsotra *1975, Patras/Greece, lives and works in
Basel and Aarau/Switzerland.
Yota Tsotra completed her studied in MechanicalEngineering in Greece and Germany with a PhD
degree in 2004 and she received a Master Degree in
Fine Arts from the Art Institute in Basel in 2016. She
works with a variety of media to explore the overall
process of life, the connections between the atoms,
components and beings, the energy required to breakthese relationships and the potential of a newperspective after the breakage. Research and curating
are important parts of her artistic practice. The lastyears she has been focusing on the concepts ofPage: 15/ 16

Exhibition Space Plan*

MARCIOPARVEZTOMOKO

RAMA

PETRA

BELÉN

MANMEETDAWN*ISHITA

*
*
IRENE

*

*

*

MOHSINMARGARIT

EVA* ENTRANCE*DOROTHEAYOTAKITCHEN/ CHILL MONDIAL**DENETH

BRENDHAN*

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