Urs Fischer

Born in Zurich, Switzerland
Lives and works in Berlin, Los Angeles and Zurich
Studied Photography at the Schule für Gestaltung, Zurich
Visited ‘de ateliers’, Amsterdam
Artist in Residence, Delfina Studios, London

Spontaneous and unpredictable, Fischer says ‘My work never ends up looking the way I intended... all that matters is if the artwork takes on a life of its own.’ Many of his pieces begin in play and consistently evidence their experimental evolution, even when highly finished, and they often appear in a state of decay or metaphysical transformation. If the entropic space between opposites is one of Fischer’s staples, the alchemy of the commonplace is another – furniture and fruit being among his favourite subjects. Brimming with voodoo or shamanistic energy, Fischer’s works positively palpitate with anthropomorphism, eliding definition between beautiful and ugly, elegant and awkward, graceful and burdened.

‘Each work begins with a quick sketch, but as soon as I start to work with materials, something goes wrong. For example, the thing won’t stand up and my irritation about that then leads to something else. My work never ends up looking the way I had intended. […] I don’t consider those sculptures unsuccessful. Something else just developed while I was working. It’s a two way street. Your thoughts determine the images, and it is the images, in turn, which determine your thoughts.’
Fischer’s interest lies with the everyday objects of our surroundings – food, drink, tables, chairs, cats. Instead of using and reconfiguring ready mades, Fischer makes objects. As his comments above highlight, the production process is organic and experimental, embracing both construction and destruction. The traces of this process remain at the core of the finished work - a roughness in the end piece often bears testimony to these signs of evolution. And at the extreme, as in the works Fischer made for his last show at HQ, What if the phone rings, a triptych of three life size women candles, the works continued to transform without the artist’s intervention, as the wicks were lit and the candles burnt down, morphing into new forms, beyond the artist’s control. And even with other finished objects, there is somehow an, albeit largely false, impression that they retain the potential for further evolution. This is perhaps not least due to the artist’s choice of riddle-like titles, a linguistic complement to the works, in which he combines common words into unexpected phrases, throwing out surprising verbal and visual connections. The finished works are unified by an upbeat feel.








Jesse Ruins

Jesse Ruins - a music solo project by a girl from Tokyo, Japan. Produce dreamy/electronic music over internet but remain anonymous. Who cares? We just love good music (perhaps followed by a music video that reminds us of a cult film.)

Here she shared some of her random facts with us

Interview by Define Us

Define Yourself 
I cannot define myself yet. 
Any Muse Or Influence
At the end of the day, it can be anything, I guess.

Pros and Cons being a(n) artist/musician
Being an artist is by itself really a brilliant thing, and I'm happy about that, including my surroundings. But at the same time, it's always associated with a great risk for me. 
Favourite Place(s)
Where I live.
Ever (Feeling ) Lost?
Always happen. It might happen tomorrow as well. I'm walking on the edge all the time.
Best Gig
Think I haven't seen the best one yet.
Three Essential Things
Where I belong to, people who understand me, something new that inspires me.
Movie Or Picnic
Definitely movie.

JESSE RUINS - SOFIJA directed by Tim O'Sullivan from Hidden Horizons on Vimeo.


Annelies Strba

b. 1947, Zug, Switzerland
Annelies Strba’s work is concerned with notions of time and history; subjects which she expresses in a metaphorical and highly personal way. In the past Strba has approached a wide range of subjects; from the earthquake-stricken city of Kobe or the gloom of Auschwitz to wild flowers on the Bronte Moor. Her attention is most often turned towards her family and their home at Melide, Switzerland, a place with an unmistakable aura. Her working process is only concluded when the images are exhibited, often a number of variants of the same story emerge and connections are made visible. Making pictures is part of Annelies Strba’s everyday life; it is her way of engaging with and making sense of her world.


Helena Almeida

Helena Almeida (Lisbon, 1934 -), daughter of sculptor Leopoldo de Almeida (1898 - 1975) is a leading contemporary Portuguese artists. Her work includes painting, drawing, installation, sculpture, sound and video but since the 1970s photography has been a central element. Although she always uses herself as her model, she insists that her images are not self-portraits. In her photographs she assumes positions that she has painstakingly choreographed in order to create complex visual compositions that are about space and line, as well as the relationship between the artist and the image.

‘I consider myself a painter. I studied painting and my works, as far as I’m concerned, are paintings. It’s my way of painting’

‘To live the experience of black was an experience of expansion in an uncontrollable live space. It was as if my inner self had fled to the extremities of my body and finding no further refuge, left, branching out and spreading over an indeterminate exterior'

‘We look at the body and see that it ends abruptly at the feet and hands... why do I end there and begin here? Why am I tied to this form, why am I isolated in this way?’

‘I turn myself into a drawing. My body as a drawing, myself as my own work’

‘The image of my body is not an image. I’m not producing a spectacle. I’m making a painting’

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