Beyond the Real / Regionale 17, Kunsthalle Basel, 2016
Curated by Elena Filipovic, Claudio Vogt and Renate Wagner


For the 17th edition of the Regionale exhibition, Kunsthalle Basel presents seven young artists of the region. Their work negotiates the so-called “real” in diverse ways—documenting it, attempting to replicate it, or oneirically charging it so
as to create works that can best be described as surreal. In each case, either a proximity to or a distance from the real equally suggests an engagement with it. Brought together in the exhibition, these various responses to reality —
via interrogation, celebration, refiguration, or distancing—offer a keen commentary on our contemporary world. Beyond the Real looks at the productions of artists who use everyday materials to reflect on reality as well as the possibilities for its reimagination.

Gregory Hari’s hand and face is a performance and installation inspired by a photograph taken in 1996, showing the artist on the balcony of his family home. Wearing a colorful girl’s dress, with a blue wading pool in the shape of a seashell in the background, Hari “performed” for the camera then as he performs for his audience now. The installation recalls the photo and includes a small plastic pool filled with talcum powder and water, two oversize terry-cloth towel banners suspended from the ceiling (with the words FACE and HAND on them), pieces of Plexiglas
the size of the windows at the house where the photo was taken (sprinkled with talcum powder), and the original photograph taken by his mother. The performance reenacts a ritual of cleansing in order to clean, as Hari insists, “the surface and the inner life of the artist.”


begone before somebody drops a house on you too, Corner College, Zurich, 2016
Curated by Dimitrina Sevova and Alan Roth, excerpt by Dimitrina Sevova


“Suddenly, this story came in and took possession. It really seemed to write itself.”
L. Frank Baum, the author of The Wonderful Wizard of Oz (1900)

With his exhibition project at Corner College, Gregory Hari undertakes an experiment with the medium of exhibition and performativity, site specificity and the relation between mapping and performance. He further explores issues on belonging and territory, home and journey, inspired by the contexts of the novel The Wonderful Wizard of Oz, written by Lyman Frank Baum and published in 1900, and its most successful and popular movie/musical adaptation starring 13-year-old Judy Garland, which launched in 1939 to six Oscar nominations, and become influential for the new era of Walt Disney and the later Disney Empire, and by their aesthetic, social and political impact in the mainstream and in subculture.

The artist generates a performative map or diagram of movements and fragments that will open up a process, and project power-knowledge relations that reveal the hidden social and political issues and their potential to aesthetically and critically engage the audience. But the production of the event is not an ‘exchange of knowledge for power,’ nor a symbolic force. The performance confronts the audience with its archival moment across various narratives structures, and scatters in an-other geography of a journey as a vehicle for metamorphoses that go through contradictory permutations, as every act activates on this topography the performing strategies of an Odyssey. The topography becomes a “science of the sensible – the science of total joy,” a chaosmos journey of micro-physical mapping and mind-map of micro-desires. They are a journey as a cognitive concept and narrative future of a body, interwoven with Gregory Hari’s research materials, which displays the source of his movements and directions.

The artist situates himself on a yellow strip around one meter wide, where his performance takes place. He improvises ‘across seemingly exhaustive ground.’ It is a process of taking place – a particular place and a particular time. The performance transforms these temporal and spatial categories to a “threshold” that un-rolls an-other flexible and self-multiplying strip of impersonalized and individuated, self-constructed temporal and spatial relativity that constitutes a world yet to be explored. The artist’s performance starts from this particular coordinate of time and space where it takes place and places things in context. With this, the artist emphasizes a dependence of his performance on its specific chronotope (Bakhtin) that animates a process of ‘endlessly’ expanding its performative territory with the time of the body’s movements and the “time space” of the traveler who carries this place with themselves as they travel through it. A journey like a blank page.

“Green clothes the earth in tranquillity, ebbs and flows with the seasons. In it is the hope of Resurrection. We feel green has more shades than any other colour, as the buds break the winter dun in the hedges. Hallucinatory sunny days.” (Derek Jarman)

“Did they secretly drag up in all those emerald dresses that the girls had cast off?” (Derek Jarman)

Hallucinatory sunny days and perception of landscape in a journey, a journey in colors separated in a three-strip process by diffraction and subtraction! Transferences! For this dazzling rainbow palette, “brilliant, gorgeous, painted, gay”:

Red stands for the ruby slippers/red shoes
Yellow stands for the yellow brick road
Green stands for the Emerald City of Oz
(Gregory Hari)

Green: “Green is a colour which exists in narratives … it always returns. The grass is always greener on the other side of the fence.”
Yellow: “The nimbus of the saints, haloes and auras. These are the yellows of hope.
The joy of black and yellow Prospect Cottage. Black as pitch with bright yellow windows, it welcomes you.
Yellow is a combination of red and green light. There are no yellow receptors in the eye.”
Red: “Red protects itself. No colour is as territorial. It stakes a claim, is on the alert against the spectrum.”
“Red explodes and consumes itself.”
“Liverpool. Early 1980s. I join the march. V. (REDgrave) says, ‘Derek, you carry a red flag.’ There are fifty of us. The ghostly galleon of revolution past. We march through the deserted and derelict city with the sound of the wind whipping through the flags, a rosy galleon on the high sea of hope. The sunlight dyeing us red. Shipwrecked on the last coral-reef of optimism. Someone says to me, ‘The red of the square is beautiful. The root of the red is life itself.’”
(Derek Jarman)


High Spot Latitude, Rotolux, Bagnolet (FR), 2016
Curated by Anaïs Leroy and Arianne Foks, text by Arianne Foks


"But if you die, then you shall make sweetest song" de Gregory Hari.

Pour sa performance "But if you die, then you shall make sweetest song" dont le titre est une citation de l’hymne d’Homère à Hermès, Gregory Hari à fait fabriquer un textile imprimé d’environ 5 mètres de long composé d’un assemblage d’images et de textes dont il se servira pour organiser son récit.

Fraîchement diplômé de la F+F School of Art and Design de Zurich et intégrant cette année le Master of Arts de FHNW HGK de Bâle, Gregory Hari présentera pour la première fois son travail en France. Loin de vouloir porter l’attention sur sa personne, Gregory Hari est simplement présent, à la fois discret et difficile à ignorer. Un début, un milieu et une fin rythme le silence de ses actions narratives. Quelque chose se passe. En incarnant les observations culturels du philosophe Gerhard Johann Lischka, Gegrory Hari pointe comment la globalisation des medias transforme les rapports humains, et amène certaines personnes à se comporter comme un media en soi et par la même, traverser leur vie comme s’il s’agissait d’une performance.


Rotolux accueille le second épisode d’une série de rencontres de performance organisées par Arianne Foks et Anaïs Leroy. Sur le principe du duo d’invités, elles convient cette fois les artistes Fériel Boushaki et Gregory Hari à investir les lieux. Nous serons les témoins de leur mouvement de conquête envers des coutumes et des mythes appartenant à de lointaines contrées ou à des époques révolues.

Elle gravit un sommet, il dévale un abîme. Une géographie musculaire ou respiratoire. Une zone de confort, un précipice, un morceau de tissu suspendu au ciel. Un objet brille, il nous réchauffe et nous maintient à température. J’allais oublier les fantômes, ceux qui nous sont chers, ceux qui nous chantent des airs entraînants. Cette latitude infra-mince, cette liberté liminale est là devant nous. La distingue-t-on vraiment ou s’agit-il d’un mirage?


Plattform 16, Kunstraum Walcheturm, Zurich, 2016
Text by Alexandra Looser


Die Performances von Gregory Hari sind Spektakel des Affektiven. Sanft, leise, subversiv setzen sie eine Dynamik in Gang, die die Zuschauer zwischen die Normen und Regeln der Kunst und Popkultur als Schauspiel versetzt. Ob Hari hierfür die Betrachter während viereinhalb Minuten zu passiven Akteuren transformiert, in dem er in der Rolle eines demütigen Ring-Küssers durch die Reihen schreitet und diskret Wertvolles durch den rituellen Gestus des Küssens ins Rampenlicht rückt, oder ob er für seine Diplomarbeit „stuck“ an der F+F während drei Stunden einen Lift im 60-er Jahre Look als nicht definierter Ort besingt; es werden stets Spuren gelegt, die in der Anspielung verharren müssen. Dabei bleibt der Lift eine unbeständige Passage von A nach B, ein Wartezimmer, das in die Höhe steigt oder in Tiefe fährt. Wie die Ringe dient er als skulpturale Requisite zur Festlegung einer szenischen Bühne. Auf ihr verbrüdern Musik, Gesang, Gesten die Akteure dieses Raumes zu Portalen möglicher Identitäten. Performer, Skulptur und Publikum werden Teil einer Arena des Kontrapost: Als Ort der Statik innerhalb eines bewegten Spiels, in der die Präsenz des Künstler als Bindeglied über Werden und Vergehen in der Autopoiesis eines Loops regiert. In diesem Setting transformiert Hari ausgewählte Splitter der Popästhetik in einer Zeit der medialen Allgegenwärtigkeit. Zuschauende werden durch kaschierte Referenzpunkte überfrachtet, durch die redundante Performanz gesättigt – der Überfluss im Rituellen generiert ein romantisches Moment, dessen eindeutige Botschaft aber durch das Fehlen eines befreienden Narrativ nicht einzulösen wird. Wie eine Pop-Maschine fragmentieren Haris Performances Bezüge aus Film, Musik, Tradition und Mode bis zur Unkenntlichkeit. Die Darbietungen berühren dabei stets ein Verborgenes, das sich im reduzierenden Gestus der Wiederholung als Reflexion entpuppt. Eine Kunst-Kraft entlädt sich über dem Publikum. Alles erstarrt und rauscht zugleich, ist temporär, live, manchmal die gedämpfte Version einer modernen Operette, manchmal stumm, fluid, populär; bis der Dirigent verschwunden sein könnte. Zurück bleibt eine Grenzerfahrung des Bewusstseins, Nostalgie, Konfusion und ein paar Requisiten, die ohne den Akteur Hari als Surrogate im Raum verbleiben. 


Position 5, Galerie Bob Gysin, Zurich, 2014
Curated by Marion Wild, text by Marion Wild


Gregory Hari does not call attention to himself. He simply is – unobtrusive yet impossible to overlook. His silent actions are narratives with a beginning, a middle and an end. Something happens. often inspired by the artist‘s own life experiences, the ‚something‘ varies from one performance to the next. Hari may embody cultural philosopher Gerhard Johann Lischka‘s observation that the media globalisation has transformed human beings themselves into media, constantly forcing people to act out their own lives as if they were performances.

Beim Performancekünstler Gregory Hari stehen nicht laute Gesten oder plakative Präsenz im Vordergrund, primär ist er. Seine Anwesenheit manifestiert sich unaufdringlich, aber unübersehbar. Seine stummen Aktionen sind geprägt durch Narration, einen Anfang und ein Ende, dazwischen spielt sich etwas ab. Welcher Art, ist sehr divergent, zumeist sind es biographische Themen, welche die Ausgangslage zu seinen Performances bilden. Gregory Hari scheint zu verkörpern, was der Kulturphilosoph Gerhard Johann Lischka feststellt. Dass nämlich die mediale Globalisierung dazu geführt habe, dass der Mensch selbst zum Medium mutiert und dadurch in ständiger Performanz zu leben habe.

using allyou.net