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Performance by Philippine Hoegen @ UNFINISHED BUSINESS 9-24 May, Bern

Caradt-researcher Philippine Hoegen shows her solo performance Ventriloquists III at the opening night of the exhibition Unfinished Business: the politics of art production and labour in the domestic space at the Sattelkamer in Bern. The exhibition, including work by Hoegen and other female artists, can be visited until 24 May.

Unfinished Business
9. – 24. May 2019
Zähringerstrasse 42
3012 Bern

Caradt Research

With her performance Hoegen presents her research; “The self as a relational infrastructure in proces”. She carries out this research for Caradt under the supervision of professor Sebastian Olma. Her research is a practice-driven exploration of strategies and technologies that we use to make other versions of ourselves. Hoegen explores what the existence of those other versions mean to our understanding of the self.


The title of the exhibition refers to an incomplete project or rather an incomplete discourse that picks up the loose ends of the occidental feminist discourse held in the 80’s about labour and art production in the domestic space.

The exhibition provokes questions surrounding the politics of labour, power and traditional role allocations today. A superposition of material that opens up the spectrum from a gender bias discussion towards a reflection that stands solidary to and influenced by all forms of discrimination, classicism and racism.

Twelve artistic positions, including Caradt-researcher Philippine Hoegen, elaborate on themes such as the everyday, the female body, the domestic, care taking, or the shift between the private and the public space, creating a relation and dialogue to relocate the position and different aspects of the feminist discourse today.

In the frame of the show, each of these artistic contributions, contradicts, questions or confirms certain clichés or realities we live today, and how close it’s politics often border to the absurd.
As Jacques Ranciere confirms: „Politics in general is … about the visibilities of the places and abilities of the body in those places, about the partition of private and public spaces, about the very configuration of the visible and the relation of the visible to what can be said about it.“

More informationarrow about the exhibition.

The Self as a Relational Infrastructure in Process

This research project is a practice-based enquiry into personhood and autonomy. 

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‘Performance is about engaging with versions of the self, stretching the gaze to see what others see when they look at you.’

Philippine Hoegen was a researcher within the Cultural and Creative Industries research group from 2016 until 2020. In that period, she also was a tutor at St. Joost School of Art & Design and the Master Institute of Visual Cultures. Currently Philippine works as an independent artist and researcher.

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Research Group: Cultural and Creative Industries

The research group Cultural and Creative Industries investigates the role of artists and designers as creative innovators and drivers of social and economic change. Affiliated researchers analyse the cultural and creative industries from a critical point of view and examine the conditions under which timely forms of aesthetic expression and social connectedness can actually take place within the precarious reality of this field. What economic models are required by artists and designers to create a meaningful practice within the aesthetic, social, and economic intentions of the cultural and creative industries? What skills sets are required for those artists and designers who don’t just want to follow movements, but actually shape novel social and economic models of the future?

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