Badischer Kunstverein

Romy Rüegger

The Moving Body, The Listening Body – Moving through wires of wind

02 Oct - 29 Nov 2020

Romy Rüegger, A Fabric in Turkey Red, Performance Still, Badischer Kunstverein,
Karlsruhe 2020. Photo: Felix Grünschloss
Romy Rüegger, A Fabric in Turkey Red, Performance Still, Badischer Kunstverein,
Karlsruhe 2020. Photo: Felix Grünschloss
Romy Rüegger, The Moving Body, The Listening Body - Moving through wires of wind, Exhibition view, Badischer Kunstverein, Karlsruhe 2020. Photo: Stephan Baumann, bild_raum
Romy Rüegger, Si Tu Vivais Ici... If you lived here, Performance Still, Badischer Kunstverein, Karlsruhe 2020. Photo: Felix Grünschloss
Romy Rüegger, Si Tu Vivais Ici... If you lived here, Performance Still, Badischer Kunstverein, Karlsruhe 2020. Photo: Felix Grünschloss
The Badischer Kunstverein presents recent works by the artist Romy Rüegger (*1983) in a first comprehensive solo exhibition in Germany. Her formats extend from performance to audio installations, and all the way to choreographed spaces – often in collaborative structures. She joins archival projects, research, and contemporary history with performances, which are further developed into displays – the exhibition is conceived in terms of performance, and interpreted as body-space or as body-time.

Romy Rüegger composes experimental audio pieces, staged conversations, and notations and texts, which have already been multiply performed, recited, published, and broadcast. A number of them appear in her recent publication Language is Skin – Scripts for Performances. With associative material-textual constellations that alternate between poetic and documentary approaches, the artist opens up radical perspectives on the present intersectional moment, and calls for a continual re-reading of conventions, and established knowledge.

At the Badischer Kunstverein, Romy Rüegger exhibits the three central works, "Approaching Ultra Light", "Si Tu Vivais Ici... If you lived here" and "A Fabric in Turkey Red", which she has developed further for this exhibition. Connecting these projects is her critical investigation of work-at-home and reproductive work, industrialized factory work, and labor migration, as well as colonial relations of production and commerce. The spatial installations are activated by Romy Rüegger’s performances bearing the same names; these are central to her practice, and at the same time represent modes of reading, revision, and research. In this sense, the temporary spatial configurations never reach a state of completion; instead they are continuously reformulated as a “work in the now”.