Do you hear us?

Kunst, Gruppenausstellung, Roma

WED/FRI: H14:00-18:00
THU: H14:00-20:00
SAT/SUN: H11:00-18:00
Entrance: Via Ludovisi 48

Kunst, Gruppenausstellung

WED/FRI: H14:00-18:00
THU: H14:00-20:00
SAT/SUN: H11:00-18:00
Entrance: Via Ludovisi 48

Do you hear us?
An exhibition on silence, noise, and listening, con:

Mohamed Almusibli (n. 1990, vive e lavora a Ginevra/CH)
Pauline Boudry / Renate Lorenz (lavorano insieme a Berlino dal 2007)
Miriam Cahn (n. 1949, vive e lavora a Stampa/CH)
Nina Emge (n. 1995, vive e lavora a Berlino/DE e Zurigo/CH)
Nastasia Meyrat (n. 1991, vive e lavora a Losanna/CH)
Dorian Sari (n. 1989, vive e lavora a Basilea/CH)
Hannah Weinberger (n. 1988, vive e lavora a Basilea/CH)

Die Erfahrungen der Pandemie haben unsere Wahrnehmung der Welt verändert. An die Wochen des Lockdowns in Rom zurückdenkend, erinnere ich mich insbesondere an die veränderte Geräuschkulisse. Die Stadt wurde still und in der Stille hörte ich plötzlich andere Dinge: Das Kreischen der hungrigen Möwen (die sich, so lese ich, in den Städten von den Essensresten der Restaurants ernähren) und das Dröhnen der Polizeihelikopter über den Dächern.
Die Stille, der Lärm und das (Zu-)hören (‘listening’) haben immer auch eine gesellschaftliche, ja eine politische Dimension. Die Geräusche, ja der Lärm, die uns umgeben, kreieren immer einen bestimmten gesellschaftlichen Raum. Jemanden zum Schweigen bringen ist ein gewaltsamer Akt, zugleich kann Stillsein eine widerständige Geste sein und das Zuhörern als aktive politische Handlung verfochten werden, die ungehörten, überhörten Stimmen Raum gibt. «Hearing”, schreibt die Komponistin Pauline Oliveros, “happens involuntarily, Listening, on the other hand, is a voluntary process that produces culture through training and experience.” Auf Italienisch meint das Verb ‘sentire’ nicht nur zuhören, sondern auch fühlen. Die Gruppenausstellung Do you hear us?  im Istituto Svizzero in Rom will diesen Dingen nachspüren. Dabei tasten die teilweise eigens für die Ausstellung konzipierten, teilweise bestehenden künstlerischen Arbeiten ein vielschichtiges Thema ab. Die eingeladenen Künstlerinnen und Künstler thematisieren das Hören von migrantischen Stimmen und Erinnerungen und der Bedeutung von Musik und Gesang in diesem Kontext, sie zeigen, dass Schweigen oder Stillsein kraftvolle perfromative Akte des Widerstandes sein können, berufen sich auf die Wurzeln des Zuhörens als aktive politische Strategie in den feministischen Bewegungen der 1960er und 70er Jahren oder erinnern uns daran, wie schnell wir gewisse Stimmen im Dauerrauschen der Sozialen Medien überhören.

Gioia Dal Molin, August 2021

In accordance with current regulations, the public is required to present a Covid Green Certificate at the entrance in order to access the event. This includes one of the following:

  • • You have received the anti-COVID-19 vaccination, with proof that you have received the first dose of vaccine at least 15 days previously or that you have completed the vaccination cycle;
  • • Recovery from COVID-19 within 6 months prior to the date of the event;
  • • Present a rapid antigenic or molecular test with a negative result within 48 hours prior to admission.


Mohamed Almusibli (b. 1990, lives and works in Geneva/CH) is an artist and curator based in Geneva where he runs the project space Cherish. His work is distinctly interdisciplinary, using his own or found texts for installation, sound and video-works as well as performance. His own writing is often the result of personal poetic anecdotes that find their way into a common space through questioning and depicting our shared human emotions, beliefs and values. Mohamed Almusibli’s work could therefore be seen as political, albeit on a personal level.

Pauline Boudry and Renate Lorenz have been working together in Berlin since 2007. They produce installations that choreograph the tension between visibility and opacity. Their films capture performances in front of the camera, often starting with a song, a picture, a film or a score from the near past. They upset normative historical narratives and conventions of spectatorship, as figures and actions across time are staged, layered and re-imagined. Their performers are choreographers, artists and musicians, with whom they are having a long-term conversation about the conditions of performance, the violent history of visibility, the pathologization of bodies, but also about companionship, glamour and resistance. Their recent work, Moving Backwards, featuring choreographers/performers Latifa Laâbissi, Werner Hirsch, Julie Cunningham, Marbles Jumbo Radio and Nach premiered at the Swiss Pavillon of the 58th Venice Biennale. Their works have been shown in Europe and abroad.

Miriam Cahn (b. 1949, lives and works in Stampa/CH) exposed her works internationally, significant solo exhibitions include Palazzo Castelmur (Stampa, 2021); Sifang Art Museum, Nanjing (2020); the exhibition I AS HUMAN at Kunstmuseum Bern (2019) which travelled to Haus der Kunst, Munich (2019) and Museum of Modern Art, Warsaw (2019); Museo Nacional Centro de Arte Reina Sofía, Madrid (2019); Kunsthaus Bregenz (2019), among others. Miriam Cahn has participated in numerous group exhibitions in Tokyo, Dallas, Washington D.C., Tel Aviv, Dublin, Berlin, Bonn, and elsewhere. She has been the recipient of notable awards, including the Oberrheinischer Kunstpreis Offenburg, Basler Kunstpreis, Käthe-Kollwitz-Preis Berlin, Ströher Preis Frankfurt/Main and the DAAD grant in 1985. In 2022 Cahn will be awarded the 14th Rubens Prize from the city of Siegen. Her works are included in renowned collections such us the Museum of Modern Art (New York), Tate Modern (London), Museo Reina Sofia (Madrid), Kunstmuseum Basel and Museum for Modern Art (Warszaw), Rubell Collection (Miami) and Pinault Collection (Paris). She has recently exhibited at Kunsthal Charlottenborg in Copenhagen. The exhibition titled ME AS HAPPENING will be shown in a new iteration at the Power Plant in Toronto this upcoming Fall. Additionally, Palais de Tokyo (Paris); ICA Milan and MAN (Nuoro -Italy) will be presenting solo exhibitions in 2022. She was born in Basel in 1949.

Nina Emge (b. 1995, lives and works in Berlin/DE and Zurich/CH) often examines organic forms, sound and its effect in her practice. In addition, questions around the concept of listening play a central role. This is evident in her research and archival work, her installations and drawings, and in the often collaborative working and creation processes of her works, among others. Nina Emge is an active member of the Transnational Sound Initiative, DAAD Fellow. Her works have been shown at Les Complices* Zurich, Les Urbaines Lausanne, Shedhalle Zurich, Kunsthalle Zurich and other national and international project spaces.

Nastasia Meyrat (b. 1991, lives and works in Lausanne/CH) received an MA with honours from HEAD Geneva University of Art and Design in 2015. In 2021, among several exhibitions, she showed her work at the Musée Cantonal des Beaux-Arts of Lausanne, during the show Jardin d’Hiver #1 curated by Jill Gasparina and she exhibited at ICA Milano. In 2020 she was invited to exhibit in Marseille for Manifesta 13. She was a fellow resident from 2019-2020 at the Istituto Svizzero in Rome. From 2018-2019 she co-directed a project-space based in Lausanne, Tunnel Tunnel. Meyrat was selected in 2018 for the Kiefer Hablitzel prize and her work was exhibited at the Swiss Art Awards the same year. She was in residency with the Davidoff Art Initiative in 2017, in the Dominican Republic. In 2015, she exhibited her work in Port-au-Prince (Haiti), after she attended the residency Ghetto Biennale. In 2015, she exhibited at the Musée Cantonal des Beaux-Arts of Lausanne and was selected for the New HEADS – BNP Paribas Foundation Art Awards prize in 2015, concurrent with the group exhibition GET OUT, curated by Latifa Echakhch.

Dorian Özhan Sari (b. 1989, lives and works in Basel/CH) obtained an MA in Visual Arts at the Institut Kunst Basel in 2018, after studying at HEAD Geneva University of Art and Design and at Paris Sorbonne University. He was awarded with the Manor Kunstpreis in 2020, the Kunstkredit Basel and the Swiss Art Award in 2019 and several other prices and scholarships. He was a resident at the Akademie der Künste in 2020 and at The BAR Project and La Fondazione Lac O Lemon in 2017. He exposed his work in the framework of many group and solo shows in France, Turkey, Spain, Germany, Brazil and Switzerland. He was born in Izmir (Turkey), and he is represented by Gallery Wilde (CH), Gallery Öktem&Aykut (TR).

Hannah Weinberger (b. 1988, lives and works in Basel/CH) graduated from the Zürcher Hochschule der Künste in 2013 with an MA in Fine Arts. Collaboration and participation are hallmarks of Hannah Weinberger’s practice. Her work draws on the potential of sound and the properties of spaces to facilitate collective encounters or to assign a performative role to the audience. From 2011 to 2013 she co-directed the space Elaine in the courtyard of Museum Gegenwart/ Kunstmuseum Basel. She presented solo exhibitions at Centre d’Art Contemporain Geneva; Kunstverein Braunschweig; Badischer Kunstverein, Karlsruhe; Schinkel Pavillon; Kunstverein Harburger Bahnhof; Kunsthaus Bregenz; MIT List Center for Visual Arts, FriArt, Freiburg; Swiss Institute New York; Kunsthalle Basel. Her work has also been exhibited internationally: Vleeshal Middleburg; Copenhagen Contemporary; Okayama Art Summit; Manifesta 11; Astrup Fearnley Museum of Modern Art, Oslo; Migros Museum für Gegenwartskunst, Zurich; the Lyon Biennale; Stedelijk Museum Amsterdam; the Institute of Contemporary Art, Philadelphia; Kunsthal Charlottenborg; Kunstverein München; Kunsthaus Glarus. Since 2016 he has been a lecturer at the Institute of Art at the Basel School of Art and Design, and since 2013 he has been on the board of Kunsthalle Basel.

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