2021
L'ombre du Corbusier
Fondation suisse / Pavillon Le Corbusier, Paris
Cabinet de Curiosité
Galerie les Dilettantes, Sion
2021
2021
L'arche de Watteau
Collection Ferme-Asile, Sion
Spondias Dulcis
ArtisteDici, Ferme-Asile, Sion
Oscillations (with Matthias Pabsch)
Gallery Urs Reichlin, Zug
2018
2020
Superpositions (with Matthias Pabsch)
Gallery Oblique, Vitrines 3, St. Maurice
Ombre de Vulcain / Transformation (with Matthias Pabsch)
Triennale Bex&Arts 2020, Bex
2018
2019
Modulations (with Matthias Pabsch)
Fondation Suisse / Pavilion Le Corbusier, Paris
Animaux de Legende (with Matthias Pabsch)
LiLu Light Festival, Lucerne, Switzerland
2018
2018
Myths et Legendes
Kunsthaus Steffisburg, Switzerland
House Europe
ZentraleDepot Meiningen, Germany
Sylphe / Noctiluca (with Matthias Pabsch)
7th Swiss Triennial of Sculpture Bad Ragaz, Switzerland
terra incognita
Espace Culturel Assens, Switzerland
2017
Hyperion Legendaire
Lumina St Maurice, Switzerland
Pylons
Triennale Valais/Wallis 2017, Switzerland
2016
Je suis sortilège
Jetzt Kunst #5, Bern, Switzerland
2016
Europe island
Winterlicht - Kunst am See 2, Bielersee, Switzerland
2015
A light in the dark can be cozy and enticing, as evidenced by the many pre-Christmas illuminations. However, lights in a dark landscape can also be unsettling. The show "Winterlicht" plays with the different facets of light in the evening nature. Christine Hurni and Christoph Rihs have set up a winter open-air exhibition in the historic park of the Von Rütte estate on Lake Biel. Nine artists have created objects and installations for the park on the lake shore that glow warmly or shimmer mysteriously and unfold different effects as the daylight fades. Eggs Bitschin placed a raft with a kind of oversized colorful lantern on a small duck pond. […] Even more than in summer open-air exhibitions, the weather influences the effect of the show, shrouding it in soft fog, surrounding it with pale twilight or a frosty, clear night.
Martin Sutter, Art Bulletin 1/2.2017
Endogram Window
Lachen, Switzerland
House Europe,
Bundestag Berlin Metro Station 2016 - Europe, Berlin, Germany
2015
2015
2014
Embarkation (with Elisabeth Sonneck)
6th Swiss Triennial of Sculpture, Bad Ragaz, Switzerland
Turbulent turbulons
La camera degli ospiti - Castello Colomna, Olevano Romano, Italy
P-CUBE N°2 / 2015
JE VIS SUR SIMA
A CAPCALINE
MOI NYMPH ESPIEGLE
ET FILLE D'ETHER
JE PORTE CUISSARDES
BLUES A POIS VERTS
DE MA TERRACE
ACCUEILLANTE
CORN BRUMEUSE
JE REGARDE LA TERRE
JE CUEILLE SA PRESENCE
SON ESSENCE
ELLE ME DEVOILE
SES PLUS BEAUX ATOURS
ME CHUCHOTE
L'INCANTATION
AU POUVOIR
DES SONS NOSTALGIQUES:
"SOIS AVIDE
DE MES PARTICULES
BLANC BRILLIANT
VIBRANTES AU DIAPASON
MODULES AND CADENCE
DOUCE TRUBLIONE VIENS"
P-CUBE N°3 / 2015
VAGUE PUISSANTE
MONTE JAILLIT DE MON PASSÉ
DANS MA TÊTE OU AILLEURS
TOUT RÉPOND À MES ENVIES
TANT QUE CE DISQUE JOUE
L ́ESPACE EST COMBLÉ
A DE LA SAVEUR
AU RYTHME DES MARÉES
RIEN NE PEUT M ́ARRIVER
TANT QUE CE DISQUE JOUE
LES IMAGES DEFILENT
UN VOYAGE DIVIN
APPOINTMENT PAR
LE POUDRE DE TA CHAIR
TANT QUE CE DISQUE JOUE
ET TES FRONDAISONS
TES FLEURS ROUGES
SUR TON ARBRE
LEUR PERFUME DE CANNELLE
TANT QUE CE DISQUE TOURNE
2014
2013
Islands
Jetzt Kunst #4, Bern, Switzerland
"Islands", Eggs Bitschin's floating pictorial space, seems to be a work of art for twilight: not conspicuous enough during the day, too prominent at night, in late twilight it appears with a soft, glowing, rich intensity. Should her Böcklinian reflection on life and death show a melancholy merging of analog and digital signals? Also melancholy, because you know that like every happy synthesis, this one too can release moments of illusion only for a short phase of transition?
In the hour of fuzziness, the cube mouvant (as a derivation of tableau vivant) sways on the boundary between water and air, historical symbolism and contemporary technology, between the city's exterior and the interior of the images. The white figure on the boat in Arnold Böcklin's "Die Toteninsel" has the appearance of a statue, petrified before its arrival. So the painter sends a work of art on a journey across the water, and the same thing happens in "Islands" with Böcklin's works: they go on a journey into a still unfathomable world of which we know neither the beginning nor the end.
At the same time, the lighter surface of life is also addressed and the viewers/flaneurs of the exhibition "Now Art No. 4" in Bern's Marzilibad can find themselves reflected in the image personnel of the "Lebensinsel" with a view of "Islands". It can be understood as an invitation to enjoy the extensive nature park and to let life flow by like a carefree summer's day in social distraction and to let one's deeper thoughts rest until "Islands" shows its dark side again.
Dr Marvin Altner
2013
2012
Liebesinsel
Hochzeiten! Belvedere Palace Pfingstberg, Potsdam, Germany
2012
Scheurer's Gate
Gleisdreieck Berlin 2012, Berlin, Germany
2011
For their installation Scheurers Tor at a closed transition from Ostpark to Westpark, which is under construction at the time of the exhibition, Eggs Bitschin used an existing steel gate like a picture pedestal, over which a translucent fabric of color rises. Parts of an untitled painting by the Swiss artist Jean Scheurer served as a template for the iridescent structures of her work. The resulting color print with the character of strongly compressed sky reflections points beyond the clearly contoured park landscape.
Perhaps Scheurer's bridges are a reference to the fact that visual art can penetrate into inaccessible areas where no visitor can physically reach, because the picture surface towers over the park fence. The concept of the “gate” can also be taken literally as a metaphor: the work of art leads from a park path to a color field that, as an endogram, opens up a dimension beyond immediate perception. It shows a technically mediated imagery that, despite all its artificiality, is linked to the experience of nature by allowing the viewer to let their eyes rest on the complex image structures and at the same time keep them in constant, searching movement.
dr Marvin Altner
2011
2008
Unité
État d'Âme - Belle Idée - HUG, Geneva, Switzerland
Eggs Bitschin installed in the park of the psychiatric clinic of Geneva, Belle-Idée, a temporary structure initially titled Cellule (Cell) and re-titled Unité (Unit) at the request of the direction of the psychiatry.
This utopian architecture, an open and translucent room, based on the floor plan of a security chamber of the clinic, was the main proposition of the event États d'Âme conceived and organized by the same artists and around which exhibitions, installations and conferences took place.A utopian architecture is the site of possibilities (Guatarri‟s possibles), where an initial encounter between artists and caretakers can take place to discuss informally the questions pertaining to the idea of representation in general and of psychiatry in particular, and thus during these interdisciplinary exchanges preconceived ideas can be abolished or at least their mechanisms revealed. How to deconstruct preconceptions without naming them?
The intent of this artwork was to translate in the open field, with permeable and soft materials, an inside space, solid and closed, which is still today the subject of many fantasies whereas the simple idea of its existence should be unbearable. The paradox of "locking up in order to protect" is a complex, arduous concept that makes sense and no sense at all. How to understand what is really at stake? Perhaps, in starting to dismantle misconceptions, in sharing each of our knowledge and ignorance, respecting of particular practices but outside of any specific practice and while withholding judgment. For example in discussing freely about a work of art such as the one proposed by Eggs Bitschin and at this occasion allowing for naivety, in the sense of a non formatted point of view, and inviting a mixed audience.
Anne-Laure Oberson
2008
New chamber for the new chambers
NKNK! Luisenplatz Potsdam, Germany
