Bottom Feeders – The Battle of the Cataplasm, Episode 3

22.04.2015, 18:00-18:30
Bottom Feeders – The Battle of the Cataplasm, Episode 3
Hand puppet play


Kunsthalle Zürich
Limmatstrasse 270
CH-8005 Zürich

Tel: +41 (0) 44 272 15 15
Fax: +41 (0) 44 272 18 88

Flavio Merlo and Ben Rosenthal are the recipients of the Kadist – Kunsthalle Zürich Production Award, offered for the third time to young Swiss artists by the Kadist Art Foundation and Kunsthalle Zürich. Merlo and Rosenthal utilized this grant to conceive and realize Bottom Feeders – The Battle of the Cataplasm, a puppet play staging a crime plot for ten puppets and three stages.

For the third episode all of the puppets, actors (Annina Machaz, Garrett Nelson), and stages are leaving their more or less habitual arrangement in order to unfurl their true talents in an exuberant variety show. The malicious sausage machine blends together performative positions, musical extras overrule narrative norms, and even arm-wrestling won’t decide the battle of the cataplasm. 

Flavio Merlo (*1990 in Zug) studied art history at Zurich University, and art at the Zurich University of the Arts. He works mainly in sculpture, performance and music, fusing stage-like installations and larger spatial environments. Small-scale sculptural pieces often bear resemblance to organic props in a broader play of subversive urgency. Collaborative practise is a crucial ingredient to his work, for example with Stefan Tcherepnin, Emmanuel Rossetti, and Tobias Madison. Merlo’s work was most recently presented at The Power Station, Dallas (2013), Supportico Lopez, Berlin (2013), Marbriers 4, Geneva (2014), and at Basel Art Book Fair (2014). 

Ben Rosenthal (*1990 in Zurich) also studied art at Zurich University of the Arts. Through a practise of writing – a novel (A Perfect Lover Is The Angel I Wanna Be, 2012/13), poems, and performances – he generates intimate and/or collective social situations, which transpose poetics into spatial contexts. In his two-day project Chora – an event around writing (presented at the Geneva project space Forde, together with Géraldine Beck) for example  the constellations he creates are fundamentally based on collaborations with other artists. Anthropomorphic sculptural works provide Rosenthal with a further field of inquiry into the monstrosities of feeling, imagination, and politics.


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