Lexikonartikel SIKART Lexikon zur Kunst in der Schweiz

Lexikonartikel SIKART Lexikon zur Kunst in der Schweiz

by Irene Müller

published online in «SIKART Lexikon zur Kunst in der Schweiz», 2018

about SIKART lexicon of art Switzerland

SIKART is the biographical online lexicon of art in Switzerland and is updated every day.

SIKART Lexicon on art in Switzerland is SIK-ISEA's online information system on historical and contemporary art in Switzerland and the Principality of Liechtenstein. Richly illustrated, it is edited and updated on a daily basis. SIKART offers combined query facilities on artists, works, exhibitions, literature and awards, and now features 17,000 entries on current and historical artists, as well as 1,700 in-depth biographical articles.
SIKART's team of scholarly editors regularly produces new articles. Where historical artists are concerned, the focus is primarily on new research findings; in the case of contemporary artists, the entries reflect their reception in the art world

lexicon article for the entry of Dorothea Rust, originally in German, tranlated in English by Dorothea Rust

Dorothea Rust grew up in the canton of Zug. 1979-1983 trained in modern dance in Zurich and Bern, 1983-1991 in postmodern dance and performance in New York, among others with Eva Karczag (member of the Trisha Brown Company), Simone Forti and in the Merce Cunningham Studio; until 1999 interdisciplinary dance projects and collaborations. 1999-2003 Studies in Fine Arts, Hochschule für Gestaltung und Kunst, Zurich. 2004-06 MAS Culture/Gender Studies, Zurich University of the Arts. Since the early 2000s curatorially active, for example with Der längste Tag, 16 hours of non-stop performances in the open air (2004-2008 co-curatorial with Peter Emch; since 2014 with Irene Müller) and GNOM gruppe für neue musik baden (2009-2015). Before 2000 various awards in the field of dance, afterwards among others Performancepreis Kunstkredit Basel (2007), Performancepreis Schweiz (2016) and Anerkennungspreis der STEO Stiftung (2015). Since 2000, regular performances as a performance artist as well as solo and group exhibitions at home and abroad. In addition, active as a lecturer at various Swiss art and (technical) colleges.

The New York dance scene, the Judson Dance Theater and its reception, as well as the collaboration with dancers, choreographers and musicians in the 1980s and early 1990s exert a lasting influence on Rust. Since then, movement and improvisation have formed the pivotal point of her working method, which always includes research into the performance and exhibition contexts: be it the concrete venue or the framework conditions of a live performance, be it the eventful characteristics of the spatial-social situation. Thus, in the art-on-a-building work Alles wird gut 47° 9' / 8° 32' (Zuger Kantonsspital, Baar, 2013) or in the live performances Letten Venus (Zurich, Badeanstalt Oberer Letten, 2017) and Ritual für (den) einen Mittelpunkt (Performancepreis Schweiz, Lupsingen BL, 2016), the artist takes up site-specific circumstances and functions. However, urban features, architectural characteristics and historical-contextual contexts of the sites played on are also decisive for the development of the works (for example, Pegelstand I-III, 2010; Haus Martinsberg I-II, 2012; Hecht an der Grenze, 2014).

Also fundamental is Rust's conception of one's own body as a "community space" that positions itself in the act of performative action not only bodily but also in a social-communicative way. The materials used (shoes, apples, stones, branches) and props (written and pictorial panels, sound) play an important role in this. On the one hand as an occasion for specific physical and vocal gestures or treatments, on the other hand as an associative point of contact for the audience. Equally characteristic is the willingness to expose oneself physically, to bring one's own body into interaction with media-technological tools and thus to question the possibilities and conditions of performative and media representation on the basis of one's own presence. In recent years, due to stays in India, translocal references have increasingly come into focus, which the artist usually takes up in cooperative works.

Dorothea Rust shares a strong interest in the artistic transmission of performance art with performers such as Andrea Saemann, Pascale Grau or Gisela Hochuli, whereby the theoretical and historical references in her works often experience a playful, sometimes ironic translation. Working in groups of works (for example, the Anna cycle, 2010-2014, animoteur 1-4, since 2015, or Übung/Exercise, since 2015) testifies to a strategy that is fundamentally conceptual and pursues live performances as well as their medial, sometimes also installative further writings as equal and equal formations of the same initial idea.

Works: Art Collection Canton Zug.

Irene Müller, 2017