CURA.

THIS MORNING, IN THE SWEET TORPOR OF THE GREAT FOREST, IS LIKE EVERY MORNING IN THE WORLD
@ Country SALTS
Curated by Samuel Leuenberger and Claudia Comte

Game Of Goose
@ City SALTS
Curated by Stéphanie Saadé

SARA SJÖLIN’S SPECIAL IMPROVISED COMEDY ROUTINE
@ City SALTS Fiancé
Curated by Cassidy Toner

Country SALTS, Bennwill
October 04 – December 17, 2020

City SALTS, Birsfelden
September 17 – January 30, 2021

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Press release

This Morning, in the Sweet Torpor of the Great Forest, is Like Every Morning in the World curated by Samuel Leuenberger and Claudia Comte is the inaugural exhibition of SALTS' new space. The exhibition launches Country SALTS ́ programme in its new environment perched amongst the rolling green hills of the canton Baselland (Canton of BL), with a discussion on nature imagined through the diverse approaches of seven artists: Violeta Burckhardt, Elise Corpataux, Claudia Comte & Adeline Mollard, Solange Pessoa, Ugo Rondinone, Peter Zumthor.

Spanning various media - including painting, sculpture, graphic design, and landscape/architecture - the artworks in the exhibition highlight the ways in which artists today, during a time of immense social and environmental upheaval, identify with nature and the often romanticized pastoral scene. The exhibition challenges the concept of the countryside as a peripheral space, always outside the citified centre, and reflects on the regenerative force with which nature persists in the realm of art history until today. The artists in the exhibition, are drawn together through their nuanced examinations of the inexhaustible link between the human condition and nature. Here, we find ourselves able to take repose in states of torpor, emboldenment or something other.

Simultaneously, at City SALTS, two exhibitions are currently on view. Game of Goose is a show conceived by Stéphanie Saadé, with works by herself and seven artists with whom she knows personally: Caline Aoun, Sirine Fattouh, Paul Hage Boutros, Martin Laroche, Marwan Moujaes, Sanne Vassen and Maha Yammine. Thematically and stylistically the exhibition appropriates the eponymous board game’s rules and structures. Like the board game, space is choreographed inside a spiral, it also invites the viewer to participate.

Played by Saadé as a child, the Game of Goose was not initially intended as a children’s game, a somewhat forgotten today. Originating in the XVIth century, the Game of Goose was decorated with illustrious illustrations depicting the political and societal concerns of the century. Common themes shared by the works in the exhibition oscillate between the childish, the tiny, the ludic, the poetic, the psychological, the social and the political. The works derive from or are accidentally linked to current events such as the worldwide sanitary crisis and its consequences, the lockdown, or the current political and economic turmoil in Lebanon, becoming allegories of these shared or distant experiences.

Recalling comedy - and remembering that there are always two sides of it (the inner-life and the outer-life), what’s presented to an audience is the aftermath of a period of internal reflection. Sara Sjölin’s exhibition at Fiancé could be considered a physical manifestation of this idea. On the exterior wall of the exhibition space, the artist has mounted two large television screens to display her videos. Hotel Scene (2020), depicts Sjölin as the musical entertainment for a hotel lounge, where she plays with the idea of musicians being praised for their vulnerability. Not some lip-synching fake, but like Taylor Swift crying in her bedroom. Like most comedians, Sjölin tends to over analyze things many of us take for granted in our daily lives.

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This Morning, in the Sweet Torpor of the Great Forest, is Like Every Morning in the World, installation view, 2020, Country SALTS, Bennwill. Photo: Gunnar Meier 
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This Morning, in the Sweet Torpor of the Great Forest, is Like Every Morning in the World, installation view, 2020, Country SALTS, Bennwill. Photo: Gunnar Meier 
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This Morning, in the Sweet Torpor of the Great Forest, is Like Every Morning in the World, installation view, 2020, Country SALTS, Bennwill. Photo: Gunnar Meier 
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This Morning, in the Sweet Torpor of the Great Forest, is Like Every Morning in the World, installation view, 2020, Country SALTS, Bennwill. Photo: Gunnar Meier 
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Game of Goose, installation view, 2020, City SALTS, Birsfelden. Photo: Gunnar Meier  
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Game of Goose, installation view, 2020, City SALTS, Birsfelden. Photo: Gunnar Meier 
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Game of Goose, installation view, 2020, City SALTS, Birsfelden. Photo: Gunnar Meier 
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Sara Sjölin’s Special Improvised Comedy Routine, installation view, 2020, City SALTS, Birsfelden. Photo: Gunnar Meier 
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Sara Sjölin’s Special Improvised Comedy Routine, installation view, 2020, City SALTS, Birsfelden. Photo: Gunnar Meier 

Featured image: This Morning, in the Sweet Torpor of the Great Forest, is Like Every Morning in the World, installation view, 2020, CountrySALTS, Bennwill. Photo: Gunnar Meier

OTHER TIPS
Here, in the building where Georges Bizet wrote his masterpiece Carmen in 1875, Matt Copson premieres a bildungsroman opera in three laser-projected parts: Age of Coming, Coming of Age and Of Coming Age. His opera tells the story of a baby at odds with a vengeful god, who tries to convince him that life is miserable and cruel, and nothing more. On view High Art, Paris
Sørlandets Kunstmuseum, Kristiansand
Der Tank of the Art Institute, Basel
Lafayette Anticipations, Paris
Kunsthalle Lissabon, Lisbon
JTT, New York
Édouard Montassut, Paris
Avant-Garde Institute, Warsaw