time and moment

Gabriella Disler<
time and moment （2012）／ Gallery Kobo Chika, Tokyo<

fading memories – old story （2012）／ Tokyo Wonder Site Aoyama, Tokyo
Repli Round #04

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time and moment――Gabriella Disler

――Sky and forest, a variety of natural landscapes on acrylic
board spread in horizontal and vertical way, with delicate
cutout ornamentation of fractal-like patterns. There spreads
the segregating inner vision in-between light and shadow.
Around the crystallization of spatial-temporal duration, aninterview with Gabriella Disler of “time and moment.”――Would you please introduce yourself first?
Gabriella Disler (GD): I'm based in Basel, where I havegrown up. After two degrees and some years ofexperiences, I focused on art.
My artistic researches observe various territories,
articulates unrecovered moments and traces of the space.
By tracking down, detecting and capturing situations,fragments and details, I follow the edge of the common
and the remaining: what falls out of the system.
My interest as a photographer is based on discovering
the traces of everyday life. On one hand I explore thepotential in discovering new and unknown momentsby relating the images within a space. I draw the scene
and the dialogue, considering therein the images of thevoid, dedicated to the inner structure of the space. It is aconstellation in space and a searching in notes.
A perception that opens on to what normallyis overlooked. By engaging in the “invisibility,” a spacecomposed perhaps action, as a means of reflection of
thinking on space – a reacting in space – as a sort of afragmented meticulous, metaphor of time and void.
―― As often referred in the history of the aesthetics, theroom is analogous to the corpus of human mind and thecamera itself. The system of visual perception has been
well represented through the device of camera, or thephotography. Human being had his own corpus of memory
in his mind in the medieval age, then after the inventionof the camera in the modern age, the camera replaced thehuman mind. The photograph posits the reality as if it werethe universal fact for everyone.
What is pictured on an image is taken for real as written
in Susan Sontag's On Photography . In your exhibition intime and moment (Gallery Kobo Chika), fading memories– old story (Tokyo Wonder Site, and notice of a journey at
Swiss Embassy) in Japan, 2012, what kind of conceptual
motives did you investigate?
GD： I focused on remembrance and the recall of thenon obvious traces, moments and ambiances in space.
Summarized under “a random sight of the space or thenature of inner visibility.”
I'm fascinated by the “invisibility;” the essential ofawareness. The perception of the embodiment of what
has been. I'm looking out, what remains within a space.
The content of time, moments, instants – what rests.
In fading memories (nowadays disappearance
memories Ⅰ & Ⅱ (showed at Chelsea Gallery, Laufen
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Switzerland; 2013 void and profusion ); Void is theconsequence on the continuing remain of absence. The
significant fragment that rests when everything elseis gone. The permanence of memories applies within
the non-appearance. Memory and remembrance are
meticulously committed and dedicated to “space” and“time.”The photographs time and moment (showed atGallery Kobo Chika, Tokyo, 2012), recovers diverse given
nebula situations and focuses on landscapes in themist. To know that beyond and within the mist there issomething divined attracted my attention. How often do
we not see a situation over all, beside that we do not see
after someone? Do we have the capacity to explore anarea in a variety of possibilities? We try to see and to find –at least we might explore an area of promises.
As a transformation of the solid crystal surfaces,
I used the delicate ornamentations of formal fractal
crystallization to cut out the photographs. The skeleton of
the mounts is like a required reducing and elected to put
out. There is a self – segregating in-between of light andshadows. By using different layers to present the fine art
prints; the images become an irritating in-between state
and reacts on a variable motion.
At the Embassy of Switzerland, Tokyo, a section ofdaily-life photograpy was presented under the title noticeof a journey . There has been photographic notes of anarchive, which is raw material and a part of my artistic
source.
――When thinking about “invisibility,” the image itself
is momentary and the transformation of a picture isrepresented barely in a series of images. Between every
image or record (a kind of snap-shot) of moment, the time
duration intervenes. That is how the visibility envelops theinvisibility inside and the photography misses the reality
itself yet seeking to grasp the whole space-time. The gap
between the space and the room, the nature and thehuman perception also comes from the impossibility oflong-lasting correspondence: nature itself is chaotic andunable to assimilate.
For the audience of time and moment , it was impressingthat the picture (C-Type print) was cut out and the void ofgeometrical ornament emerged in the surface. The break
between objectivity and subjectivity was well represented
through the physical invisibility.
What does this cut out imply for you? Does thegeometrical ornament have any connection to the “crystal”?
GD: It is the inner and outer eyed, being in front of andalso behind someone's seeing. Concerning those two
separations I observed the possibility of balancing.
Photographs, usual a two-dimensional item, becomes akind of qualified and conditional transparency. Beyond
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time and moment （2012）／ Gallery Kobo Chika, Tokyo

fading memories – old story （2012）／ Tokyo Wonder Site Aoyama, Tokyo

these two dimensionalities, there is a generated andrequired correspondance to an alternative, allegoricalspace. It leads you out of the framed moment.
The true “image” is the experience that results fromthis encounter, an experience that could be described
as a journey in the course of which the viewer hovers
between various inner and outer places [NOVAK Anja; the Site

breathing accordingly to the heartbeat of the viewer. Now
s/he is inside a mist, minute transparent particles of theair, becoming a screen for the scenery and the landscapeof the dark green forest, the blue sky, or the shadow of a
massive mountain.
GD: For time and moment I research on to the coherencesof “reality and imagination.”
Beyond the visibility of the two dimension there's
furthermore a content and it does not end within thevisual “image.” Behind and beyond what we see when we
regard an image - there is alternate space, an additional
perception, an other time (Walter Benjamin in “aura," 1936).
――So it seems that the installation spatial of a studio ora gallery might be called “camera memoria” or “camera
architectura.” A small room elaborated by the photographic
art beyond the line of space and time. In this room, theaudience might experience the accumullated images
and perspectives of the artist and of the framed subject/
object. The virtual vacuum is a reference to the varietyof the possible worlds in our memories, or one mode of
the actual world in a visual architecture. Or the emptinessin the photographic installation might be seen as asculpture representing the fictional “camera” between theremembrance and the architecture.
What kind of aspects on photography are you
interested in?
GD: It is alterning and hoovering between the past,
the previuos (my archive), the present, the current(contemporary images) and the unforeseen future, theupcoming – images. I'm interested in the timelessness,the regular complexity of the contemporaneous andinstant within. It is the fragile sensations, the situation on
the firmly line, like a membrane between here and then.
Through the camera I capture the apparently
insignificance of life, when I request and investigate inspaces, bodies, objects and the inherently remembrance.
It is the marginal zones that is perception.
An argument - you decide to push the shutter. In thisof Installation Art – Hovering between ‘Inner and Outer Places’ in Take

Place by Helen Westgeest (ed), Valiz Antenea, Amsterdam 2009].

――Experiencing your exhibition of time and momentand fading memories , I found a close relationship between
the memory and the architecture. The installation ofphotographes with cutouts and wooden bare bones had acool affinity to the audience as if enveloped by an unseen
matrix, or standing in a sublime edifice of a cathedral.
Roland Barthes wrote in his Camera Lucida: Reflections

on Photography about the spectrum of the subject or
the object in the photography. The spectrum of the pastimage based on the present interpretation, the time gap
that dually durate in the seer and the seen, or of the otherpossible narratives, unspoken stories in the history.
Through your works on fading memories , one might
imagine how the past residents lived their life in a small
room of an old collective house in Tokyo. Through thegap of the entrance-window, s/he sees the broken sliding
doors or ragged paper doors, tracing the past history of the
inhabitans. There had been a defeat in war, reconstructionof the infrastructure, a student movement, or a bubble
economy and its crash, then again stock reconstruction,etc. The character in the emptiness of the apartement in
the picture changes and the spectrum of the residents
inconsciously emerges.
Or with time and moment , the audience would havefelt that s/he was installed in the natural space that wasreconstructed by the artist's grand hand. A sense of awe
inspiring for the artistic intuition, or the god hand, haunts
to the experience of the gallery space itself. The sublimity isthere. Given by nature, the crystallization of the geometry is
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time and moment――Gabriella Dislerthe moment lies a very precise and sharpen attention by

it to everyone has such a significant impact that we are

outlining moments of volatility and movement.

overfloated and covered up with pictures.

It is “the unforessen, the unpredictable” where new

We can't “see” anymore. I guess and realise there is acharacteristics and astonishments are exposed. Heresignificant uprising movement in the art world. We drift on

and now, new images can be subsequently generated. A

to a more profounded way of producing or re-producing

gesture of the moment is one target, the investigation on
and within the “the nature of visibility.”
My ambition is to capture a given scene as a noticeof an elusive landscape. That seemingly unpretentious
moments can be adequate dignified and be contemplated
as an unprecise environment.
――The system of perception and the transfer of images
in contemporary world, by the grace of digital technology,
spread the visual documentation even with texts andinterpretations as a monolithic monument to everyone,
though in reality every image has its own accidental
succession in the process of time duration.
The emptiness, or the transparent color in white,
becomes the pure void frame that every kind of image
pours in. As the camera also means “shine scratching,” theornamental frame of the tableau might be the trauma forthe mind that was shot before the natural landscape, thetranscendent impressed with the differential codes: reality/ illusion, visibility / invisibility, existence / emptiness, color /monochrome, analogue /digital, etc. All kind of code might
be mixed in voids of a surface: the absence of meaning in
the external shines in its ornamental cutout, or scratch.
What is the difference between the analogue and thedigital, or the monochrome and the color for you?
GD: The temporality of the process is the difference. In
analogue photography there are 12, 24 or 36 negative
to exposure. We are not able to see these images before
the film is developed. This final process influences yourselection of the image - the moment of unpredictability
and all the questions within. Can the photo illustrate what
I have seen in that particulary moment – or is the scene
not what it invented to be?
I articulate this as an exceptional time slot / timeframe. Therein connected with the temporality in theanalogue photography. This authenticity of the reality isjust crucial.
However what is real, what is authentic? Or whichsources does “authenticity” estimate? What is the concept,
the meaning of authenticity?
Susan Sontag wrote in her essay On Photography

images over the time. This movement is very criticalthat the authenticity of an image has to do with thecondition that we believe what we see in a photography
has happened in real.
Today the “benefit” in digital photography is theestablished condition in the making, which is immediately.
Just being fast, faster and approximately being “in time.”
In our stage the immediate screening this life, to expose
Repli Round #04

upon consumption, focuses more on precise reduce sets,
not only materialize the works - less is more. This criticalreflecting request and propose an alternative way ofseeing – in this sense a different perception is necessary
on both sites. A remake of minimal art with contemporary
media and impacts – the spatial identification into thetemporal interpretation.
――Like Benjamin's Illuminations . Have you thought of
the function of sensation in your photographic art? As
Kant describes, the sensation is the fundamental function
to grasp the form of space-time. Everything comes andgoes everyday. One lives in her or his life in fluidity and isceaselessly affected by objects in the nature. A camera or
the human eyes then focuses on an essential moment, a
sense-data that scratches and remains to leave a specifictime and place in her or his mind to configure a mode ofrecognition, an individual corps of memory: when andwhere s/he is at the very here and now.
The images of your works seem to interweaving avariety of human sensations, an amorphous edifice ofmemories. The other dimension different from the twodimension might breathes in a fold of memories, a trace of
intimacies.
GD: For me “the presence of the past and the futureis visual on different layers (layers of recollections, liketraces of the history). A places recalls different stages ofmemories, serves seperate characteristics meanings of aplace” (Kevin Lynch in What time is this place , 1984).
In fact “to be at the very here and now;” is an essential
moment, a trace, a specific time and place that configuresa mode of ecognition, an individual corps of memory. Likean iconic imprint of an instant.
As we do not just see or hear atmospheres, we feelthem with our whole body. “Our embodied be-in-theworld,” to use an expression by Maurice-Merleau Ponty,
and turn into an intervention that only we ourselves canperform.
On these moments, precisely in LICHT RAUM LICHT(Kunsthalle Wil, SG, 2013), I presented this three spaces
with different qualities and ambiances. You ask about the
specific effect of the monochrome. In accordance withthe decent light situation, which changes randomly orsmooths and these works emphase on the ephemerality
on this given situation. A sensitive subtle change in theperception of the visitor an awareness that has been by
the non-obviousness of the spectator.
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time and moment （2012）／ Gallery Kobo Chika, Tokyo

fading memories – old story （2012）／ Tokyo Wonder Site Aoyama, Tokyo

The irritating situation arised by the moment whens/he enters the space: s/he has to investigate in the here
and now. No eye-catcher ituation, dwelling and being–anexperience.
I did a recourse to a basic printing technic. Heliogravure,a photo process whereby a copper plate is coated witha light-sensitive gelatin foil, had been exposed to a film
positive. In ancient days, the exposure has been donewith sunlight (helios). The template has been 6x6 black& white negative. This technic allows the opportunity to
explore another method of printmaking. Especially thehaptic quality of the transformation, an analogue picture
into heliogravure is immense. Done by the heliogravure
or photogravure the print produces a sensibility surface, ahaptic experience of the images.
Walter Benjamin writes about his interest in thehaptic experience - a multi-sensorial “appropriation” ofthe fleeting, the fragment, and the non-monumental.
A central skein provides a definition of “memory” as anunderstanding of the space as “a physical landscape andcollection of objects and practices that enable recollectionof the past and that embody the past through traces ofthe space.”――What is interesting for you about Japanese culture?

What did you find during residency in Tokyo?
GD: The synchronism of the contemporary and tradition,
its complexity and simplicity. For my eyes it is a constantalterning between the past, the future and the presence.
The poetic sensuality and the mysthicism is challengingly
stimulating. A situation which nullifies your impression andimagination as an artist.
I found a subtle handling of color and light, a simplicity
and clarity, which attracts me. The Idea of a thing suggests
different states of “time / space” in a subject. This leaves
and leads the vistors onto the opportunity to interpret whats/he sees and to adjust the detected with his / her own
sense. A personal strategy for encrypting a message andinviting the visitors to be engaged in an intuitive read of thedisplay. What is and could be the essence of situations, theintimacy in common life, in particular the representation of
the precariousness.
The poetic and narrative sight lies whitin to berelated to the surrounding space, the void and the time a substantial part in my work. A significant research within
the elusive, the fragmented and reduction. The sensitivity ofspace had come further in my focus. I extended my practiceand attempted to point on where forms and function blurby converting these topics into different media.

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time and moment――Gabriella DislerI explored and worked specific on‚ the void and theinside or outside the accidental rhythm (punctum) in thespace. MA – a node for Time and Space – Void. The filled

photograph or the installation. The void as negative space

void – the profusion – in itself has to be read ambiguously

or Ma seems to reside in the gap of the pure form. Your

as a space promising opportunities for concentration, timearchitecture of “camera,” a room of crystallized images bears

and place.

multiple perspectivisms of the bird's eyes: a bird that flies in―― Ma or “inter-ness” functions as a node of time / space,or an prosthetic concept in-between the pure forms oftime and space: time compliments to space, and vice versa.
Taking an example of Haiku, a Japanese traditional poetry of
5-7-5 pattern, which means “cutting” in its essencial sense,
the scenery of room or landscape affects the memory of
the audience, and s/he reflects upon in-between the image
and imagination, which fluidize the spacial recognition
into the temporal interpretation (in-between time / space).
Basho Matsuo, the master in the Edo period, might haveseen himself before his death like a desert field with dreams
for his journeys:

the history of the photography and the art.

Stricken on a journey,
My dreams go wandering round
Withered fields.
(Basho Matsuo, 1694. [trans. Donald Keene])

Here Basho flies in his dream around the past andthe future for his journeys and would become a fertile
desert in a cold day of winter. Basho's image in Haiku andimagination filled within cristallized into architecture, afrozen music of his memory. The cutting of 5-7-5 of images,
or the in-between the series of images, Ma, “inter-ness,”the void generated by his cutout of word images, lets his
epitaph live forever in the archive of history.
A Japanese philosopher Shuzo Kuki once cited aphrase of Maine de Biran “La pensée doit remplir toutel'existence (The thought must fill all the existence)” at the
beginning of his most reknown work Iki no Kozo (Thestructure of Iki) , in 1930. Iki, or liminarity of relation, consistsof three concepts of Japanese traditional culture: Bitai (chic),
Ikuji (valor), and Akirame (resignation), which implicatesthe interactivity among the affinity in appearance, thewill to defiance, and the sign of oblivion. This concept forthe beauty of simplicity appeared in the Edo period and
one is found Iki as s/he (Geiko or Samurai) approached tosomeone in her or his adoration without a faint of affinity.
They know that their longing for the other does not lastforever and played their formal role with intensive deviation
to express their intimacy. The imagination for the otherfilled her or his existence with their thought, which might
have born a Haiku, a cutout tapestry of word images.
After experiencing your works, the audience mightfind the duration of time in your picture through tracing
the elaborated cutouts, or the momentum of space in yourinstallation through the liminality of geometric analogy
between the cutout and the fractal pattern in the nature.
The picture or space for the audience (stadium) will oscillate
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If the structre of Iki signifies the liminality of therelationship between the past and the present, or thetime and the spase, or the memory and the architecture,
the shining gray, white, blue, or dark green of your works
would represent an aesthetic aspect of Iki, that affects
auddience's eye, transposing their perception into theirmemory with a sense of awe that transcends any borders.
The photographic architecture in which you actually try
to graspe the images would implicate the Ma or interness when the cutout is folded by hand. A cristallization ofmemory and architecture would bear the image-sculpture
for the existence during the time of seeing.
GD: My interest and fascination have grown over a longer
term. Japan had influenced Art since the 1920 and isan ongoing significant inspiration for artists. In 2008,
my debut stay in Japan, enhanced my interest from thevery first moment. I was absorbed and fascinated. A
world – another zone with all the unforeseen and theunpredictable moments, situations. By reflecting myearlier works, I realized and found that a clear estic has
always be a part of my visual language. The pure, thereduce moment, between the ambiguity of light anddarkness, attraction and repulsion, my aproach turnedmore and more into a kind of minimal, ephemeraland “light” interventions. Over times I researched onfollowing the traces and to frame given situation. An
obvious accordance‚ what is and could be the essence ofsituations, intimate, daily moments and life itself. Being
concentrated in this elementary content.
Purposeless, I want to go further. This – as you know
– there is always something more beyond – and I'm stillcurious. I only saw a small part of it – there is so much
more to explore.
Some of my central points reffering to my “criterias”
on observing a space. First there is the concentrationof traces; the interaction between the inner structure(architecture / interior design), light (daylight or artificial)
and the shadow. Second the tuning or, you might call it
the “genius loci .”Are there obvious signs, symbols or marks? What is
irritating? Is there an inner movement? Which idendity is
writen within?
By walking, passing, reflecting, searching, tuning,reading, dwelling, seeing, re-reading, re-acting, repassing, my perception within the space all this has to beobserved.
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fading memories – old story （2012）／ Tokyo Wonder Site Aoyama, Tokyo

time and moment （2015）／ Christophe Guye Galerie, Zurich

You as an editor, an art critic, what is your personalview upon the distinctive influence Japanese culture hasin art? Do you have an explanation why the European art
market and the art scene has an increasingly and keeninterest in Eastern art and culture over the last years?
And how is it perceptible for you? Does it describe a new
movement, another cosmos in European art?
――A unique aspect of epistemology in Japan is thatthe subjectivity and the objectibity are always flowing
inside the thing itself. When one speaks to the other, s/
he speaks from the perspective of the other; whicn meansthat one thinks of the thing through the thinking of theothers. Traditionally, the subjectivity is often omitted in
the literature before the modernism, so the readers need
to be absorbed into the situation of the authors' writing
with their complicated perspectives in accordance withcharacters. Through this process, the readers become thesituation of the work itself and feel the world as it is: s/hebecomes the world. The multiplicity in the simplicity is theone aspect that would attract the Western art scene after
the end of the perspectivism and the experimentalism of
the twentieth century. See the cutout of Haiku, the free flowof the scenery and the sensation.
In regard to the cultural movement under the globalism
and information society, a kind of integration of the Westernand the Eastern, that is, the Christianity and the Buddhism
is occurring. So, the interest of the Western to the Eastern isjust a result of the spatial and temporal approximity: today,
people in reality find a new friend or enemy in the globe.
The “genius loci” you might find your calling in Japan would
be a new embryo of the eye that gazes the abime of thething, or the void. In Japanese architecture, the void is said
to have a space that multiple gods reside in.
In addition, one of the canon of Zen is entitled“Shobogenzo,” which means “Treasury of the True Dharma
Eye.” In the ancient and medieval era, or still even today,

the Japan has been located at the terminal of the Silk Road.
That is why Japan is sometimes called Utopia (no-where)
from the Orientalistic perspective. It may seem that youreyes of camera, the fleeting glance are invited to the grandarchive of the memory of the eyes. The bird's eyes wouldfind another cascade to the history of the photography.
Hope your architecture of memory find a new tapestry of
the history to come.
GD: What is your motivation for these series of interviews
Repli Round ? Which topic has been remarkable points inyour eyes as an art critic - as a writer?
――In general, through this interview series Repli Round ,08

the ongoing process of the dialogue between art andphilosophy in the contemporary phase is recorded. An
artist creates works and speaks her/his thought, some
philosophical terms would follow or the words trace theimages, and there appears fresh discourse: a page of history
in the world of aesthetics. How thoughts and images are
implicated in the art work or how the words and objects
communicate with each other is a main interest in thisinterview. In addition, this interview would become anew bridge over the “East” and the “West” even in such a
globalized situation today and a new cascade that destroys theestablished theories in art and philosophy: a grand hammer
to create a new discourse for the philosophy to come.
For an editor/critic in Japan, a series of your works
in Japan are quite interesting to know how the light andshadow interweave inbetween the time and the spacewith regard to the private and the public history, and thememory crystallizes into architecture or become a sculptureof photography.
Let us see some references in Japanese contemporary
art scene. Jiro Takamatsu, who transposed with a series
of installations such as Shadow in gray the relationshipbetween the real and the virtual images and Double
Negatives Architecture, who construct an inner view
time and moment――Gabriella Dislerpoint for the recognition of the landscape with Dust Eyes,
Dust Architecture are interesting to see how the visualexperience changes in accodance with the condition ofobservation.
In the context of Japanese photography, Tadashi Ono's
fieldwork from periphery and Nobuhiro Fukui's Multiple or
Juxtaposition questions how the form or phenomenon of
the public space appears and projects vision in the urban
sphere or its subverb with sociological and aestheticalperspectives, while Naoya Hatakeyama's Lime Works grasp
the structure or the thing itself and Eri Makita's trasience
mediates mathematical flow each in their private itinerary.
After your visit to Tokyo, what is your next stage foryour activities?
GD: In 2012, back in Europe I focused on the Show Licht
Raum Licht at Kunsthalle Wil, SG (CH), 2013. The centre
has been to frame the exhibition space within Light andShadow . In a manner of speaking – three spaces withdifferent qualities and ambiances. For several months I
examined the architecture of the Kunsthalle Wil with its
particular atmospheric qualities and details. Concentrated
my investigations specifically on the changing intensityof the light in various areas. A photographic record of
the ceaselessly changing effects of the light as it altered
my perceptions of the architectural space. This provided
the raw material for the three light installations and an
additional limited edition of a heliogravure-series (www.
gabrielladisler.ch/gd_khwil_2013.html, foldertext: www.
gabrielladisler.ch/gd_lightspacelight_eng_Obrist.html).
Photographic research on “the void” during myresidence in Tokyo, 2012, has been successfully presented
in “void and profusion” at helsea Gallery, Laufen CH, 2013.
I participated once again as A-I-R at Nairs, Scuol Engadin,
CH (www.nairs.ch). In fall 2013, I started the – Masterof Fine Arts in Arts – Public Spheres Programm at ECAV
Sierre, CH (www.ecav.ch).
My practice explores the tension between the present,
the past and in a metaphorical way “the future.” In thiscase: it's to follow a path, a passage from “what is alreadythere – obviously and previously there” by passing by thein between to “whatever I do not know now” what will be.
It focuses on the above themes and histories in sphere(intimate, private, the public space). I developed a natureof an “intimate ethoric essay” which often combines‚
images, situations and traces of common vivants. I
continued my research in the medias; photography, site
specific and installation. Personally it is about searchingfor the affinity between the revealed space and one own's
private aesthesia. A looking for the trace of space.
Taking the obvious and sensitive changes in alienationand transform it into explicit – it is my araising request to
create widespread moments of ephemerability. I'm well
Repli Round #04

aware of this ephemerality, yet my work is still on the very
limits where it's a question of whether people
notice it or not, whether they can see it or not.
“I'm interested in the fleeting glance, which touches

the world and yet doesn't fix an image of it .”Or as noted before: it's to follow a path, a passage
from “what is already there - obviously and previously
there” by passing the in between to “whatever I do notknow now” what will be . Thank you.
―― Thank you for your interview, and I wish you a very
good luck for your future. ■[Rcorded in January, 2012 – August, 2015]

Postscriptum: Gabriella Disler finished succesfully
the Master of Fine Arts in Arts June 2015 with herthesis: traces of space – on the poetic essence andthe non obvious presence in space (this mémoire
revolves on experiences of space and reflects upon
different compositions of it, sometimes actions,as a means to think about spatialities – a fictional
dialogue). If a memory means far more than asimple reproduction of images and imaginations
may we then imply that they actively internalize thepast moment? Poems and poetry are located at theinterface of times, and as they juxtapose and combine
in the past, presence and future, time consciously
creates gaps between them (editors note - gabrielladisler, 2015) and the sensitive presentation of remotememories – a metaphorical photographic process inthe space as a site specific piece.

――Gabriella Disler
Born in 1963. Master of Fine Arts, MAPS ECAV Sierre (2013-2015). time and moment, Kobo Chika Galerie. Tokyo. JP (2012), Light Space
Light, Kunsthalle Wil, Wil SG (2013), 20/20vision -20Curators/20Photographers Christophe Guye Gallery, Zürich (2015), etc.
URL www.gabrielladisler.ch――Art-Phil
As a creation unit, Art-Phil mainly publishes a booklet Repli , a cultural magazine of art. In regard to art, philosophy, and society,multiple modes of communication in general will be investigated.
URL www.art-phil.com【 Publication――Art-Phil www.art-phil.com 】
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10time and moment――Gabriella Disler