JACK PRYCE SELECTED SELECTED - WORKS 2018 WORKS - ZHDK

JACK PRYCE
Selected
 Selected
 Works  2018
 Works
   2021

Jack Pryce +41 79 959 47 07 Education
Hammerstrasse 20 jack.a.pryce@pm.me 2018-2021 Bachelor of Fine Arts, ZHdK, Zurich
8008 Zurich
 Solo Shows
 2020 no hot water. the boiler is broken. Body Archive Project, Zurich

 Group Shows
 2021 Fake Quotes and Sitting Ducks (upcoming)
 2021 Černý bávo bílej boomer, GAMPA, Pardubice, Czech Republic
 2020 Summer Of Suspense, Kunsthalle Zurich
 2018 House Warming, Hamlet, Zurich
 2016 Wear War, ES16, Zurich
 2016 Art Looks Better With Us, A.C. Kupper Modern, Zurich

 Collections
 Helvetia Art Collection

 Screenings
 2019 Telford New Town - Wolverhampton, To Places, Zurich
 2018 Midland Dreaming, When the shadow of the earth covers the moon, Zurich

 Readings
 2021 100 Years Pati Hill, Kunsthalle Zürich
 2020 books & records live, Ozelot Ltd., Zurich

 Curatorial
 2021 Exquisite Corpse with Alexandra Looser and Ramon Hungerbuehler

 Publications
 2018 Up There In Orbit, Neuer Kunst und Medien Verlag, Zurich
 2018 Time Was, Neuer Kunst und Medien Verlag, Zurich
 2015 CSL for the exhibiton

I DON’T WASTE MY EVENINGS, 2021 (ONGOING)
FIORUCCI MADE ME HARDCORE, MADE ME HARDCORE, 2021
A DECENT PAIR OF TRAINERS, 2021
Installation at Zurich University of the Arts, Diploma 2021

 Installation View
 photos by Conradin Frei

I don’t waste my evenings, 2021 (ongoing)
mixed media, dimensions variable, *see index for content
 click here for installation walk through

INDEX - i don’t waste my evenings, 2021

books artworks

Albers, Josef: Interaction of Color, 2013 (1963) Valentina Demicheli, 4ever liminal, 2019
Bachelard, Gaston: The Poetics of Space, 2014 (1964) Ryan Gander, Time would not pass, 2020, Edition 20/20
Baker, Chris: Sunday League, 2016
Buchmann, Sabeth / Lafer, Ilse / Ruhm, Constanze: Putting Rehearsals to the Test, 2016 photocopies from books
Burn, Gordon: Sex & Violence, Death & Silence, 2009
Butin, Hubertus: Begriffslexikon zur zeitgenössischen Kunst, 2014 Marc Camille Chaimowicz, The World Of Interiors, 1995, pp.44-45
Butt, Gavin / Eshun, Kodwo / Fisher, Mark: Post Punk Then And Now, 2016 Sarah Lucas, Exhibition Catalog 2005, p.56
Deller, Jeremy: Procession, 2010 Michael Riedel, Kunste Zur Text, 2012, p.183
Detterer, Gabriele / Nannucci, Maurizio: Artist-Run Spaces, 2012
Edwards, Sean: Undo Things Done, 2019 inkjet prints
Emin, Tracey: Strangeland, 2005
Evans, David: Appropriation, 2009 Association Amalgam Mission Statement, 29.7 × 21cm
Foster, Joe: Shoe Maker, 2020 baked beans close up, 21 × 29.7cm
Fox, Charlie: The Young Monster, 2020 (2017) “everything is fucked” meme, 7.5 × 9.5cm
Gilbert, Annette: Publishing as Artistic Practice, 2016 Exquisite Corpse logo, 8 × 8cm
Douglas Gordon, Museum für Gegenwartskunst Zürich Exhibition Catalog, 1996 Grandma with Ramon Hungerbühler face filter, 11.4 × 6.5cm
Griffin, Brian: Copyright 1978 “laughing shoe” meme, 11.7 × 18.3cm
Guyton, Wade: Das New Yorker Atelier, Abridged, 2017 mud-covered reeboks, 14.2 × 14.7cm
Hancox, Dan: Inner City Pressue The Story of Grime, 2019 (2018) Nike socks and cigarette buds in bin, 19 × 14.3cm
Hertz, Richard: Jack Goldstein and the CalArts Mafia, 2013 (2003) photomontage: baked beans and Nike Total Laser 90 II football boots, 29.7 × 21cm
Hoffmann, Jens: The Studio, 2012 “quiz show” meme, 8.5 × 12.3cm
Holder, Julian / Parissien, Steven: The Architecture of British Transport in the Twentieth Century, 2004 “Rodney from Only Fools and Horses” meme, 9 × 9cm
Hooks, Bell: all about love, 2001 Safari Bookmarks Folder: art_works_exhibitions, 110 A4 pages
Hornby, Nick: Fever Pitch, 1996 (1992) scrunched up photograph of books that arrived by mail on January 11, 2021
Hungerbühler, Ramon: Pensieri Passano Per Genova, 2019 smiling face with tear Emoji, 7.5 × 7.5cm
Images, Fridericianum Kassel Group Show Exhibition Catalog, 2016 umbro backpack, 22.4 × 20cm
Derek Jarman, Garden Museum Exhibition Catalog, 2020 “walking tree” meme, 10 × 11cm
Keene, John: Counter Narratives, 2020 (2015)
Sarah Lucas, Kunsthalle Zürich, Kunstverein in Hamburg, Tate Liverpool Exhibition Catalog, 2005 food & drink
Lynch, David / Mckenna, Kristien: Room to Dream, 2019 (2018)
Macey, David: Dictionary of Critical Theory, 2000 cheese & pickle sandwich
McDonough, Tom: Boredom, 2017 “This is Jack’s Liverpool Mug” with PG Tips Black Tea
Scott Myles, Kunsthalle Zürich Exhibition Catalog, 2005 Used PG Tips Black Tea Bags
Noble, Paul / Owen, Peter / Hale, Matt: City Racing, 2002 Walkers “Ready Salted” crisps
Owens, Susan: Spirit of Place, 2020
Payne, Oliver / Relph, Nick: Taschen, 2004 clothing
Oliver Payne & Nick Relph, Serpentine Gallery, Kunsthalle Zürich Exhibition Catalog, 2004
Prince, Richard: Collected Writings, 2011 Liverpool Home Jersey 19/20, Size Small, “Dream Kid” Printed On Back
Rebentisch, Juliane: Aesthetics of Installation Art, 2012 Sergio Tacchini “Dallas Track Top”, Size Small, Navy/Red/White
Richard, Sophie: Unconcealed, 2010 (2009)
Rideal, Liz: How to read paintings, 2015 (2014) objects
Robilliard, David: Swallowing Helmets, 1987
Roth, Ariane / Schutz, Marina: The Dynamic Library, 2015 925 silver skull ring
Ruscha, Ed: Crackers, 1969 ashtray with 16 cigarette buds
Russell, John: Doggo, 2017 a “Build Your Own Brutalist London Barbican Estate Lauderdale Tower”
Russo, Camila: The Infinite Machine, 2020 “Born in Darkness” Crystal Stone
Schlejdahl, Peter: Hot, Cold, Heavy, Light, 2020 original press photograph of Douglas Gordon’s video installation Trigger Finger, 1994,
Sillman, Amy: Faux Pas, 2020 documented by John Riddy
Stiles, Kristine / Selz, Peter: Theories and Documents of Contemporary Art, 2012 pair of white cotton gloves
Stone Island: Storia, 2020
Veli & Amos: This is Not A Commercial, 2020
Waidner, Isabel: We Are Made Of Diamond Stuff, 2019
Zobernig, Heimo: schwarzescafé, 2017

fiorucci made me hardcore, made me hardcore, 2021
20 Fiorucci Made Me Hardcore LP’s, 31.3 × 31.5 × 7.8 cm  

a decent pair of trainers, 2021
Reebok classic trainers, UK7, dirt, water repellent nano spray

REEBOKS ARE POETS

 2020

 click here to listen
 audiobook, stereo, 29’
 field recordings, found footage, myself reading from “we are made of diamond stuff”, 2019, written by Isabel Waidner

 “The Reebok Working Class Plus, sorry, the Reebok Workout Plus, is a classic trainer design connected to
 a particular British stereotype. (Not even funny, comparing the Msses Thing—the reeboks—to racial stereo-
 typing.) (I’m not talking about the reeboks—I’m talking about Reebok classic trainers. Shae is wearing the
 things—.) Point being, you read NDN, just standing there. You read working-class, just wearing Reeboks (or
 not). Just talking. Just going about your life. At best, your resistance defines you: Pico writes Nature Poem.
 The reeboks are writing Reebook, their first full-length poetry collection. [...]”

5 DECENT PAIRS OF TRAINERS
2020

 Intervention at Kunsthalle Zürich for the show Summer of Suspense, 2020
 Reebok classic trainers, UK7, dirt, water repellent nano spray
 photos by Flavio Karrer

no hot water. the boiler is broken.
 Solo Exhibition at Body Archive Project, 2020

 In five circular stages, the expansive installation no hot water.
 the boiler is broken. unfolds a cacophony of everyday life. At
 first glance, the different artistic approaches (three screens,
 a living room situation, a pair of Reebok trainers and football
 jerseys in a sink) stage moments of a typified pop-cultural
 British lifestyle - they are in turn titled front room, double tap,
 icy whites, dream kid and time was (all 2020). Synoptically, the
 installation circles from stage to stage around the problem-
 atic fields of representation, the construction of reality and
 the spectacular stirring of emotions: Outrage, compassion,
 shock, scandal, approval, rejection, belonging. In no hot water.
 the boiler is broken., what could be defined as economised
 emotion unfolds in multimedia. The codes of the everyday life
 of a so-called British working class are called up within this
 circuit, as is the staged monotony of ordinary life, which does
 not need to have an illuminating narrative, since it feeds entire-
 ly on itself in order to declare the ordinary a spectacle. Those
 who take a seat on the sofa of the first work front room, who
 indulge in this staged as well as performed tele-intimacy and
 distraction, allow themselves to be seduced and according
 to Siegfried Kracauer, “that one does not come to oneself”.
 It would be too simple to dismiss no hot water. the boiler is
 broken. as a milieu show, as a statement and critique of low
 culture from the perspective of so-called high culture - rather,
 each stage plays with common codes in order to question and
 illuminate buzzwords such as identity and everyday life. [...]

 click here for the full essay

 - Alexandra Looser

 Exhibition view
 photos by Flavio Karrer
 click here for exhibition walkthrough

no hot water. the boiler is broken. 2020
Exhibition view

front room, 2020
Gogglebox S14E15 - Best of 2019
HD-Video, 16:9, colour, stereo, loop, subtitles, 92’, mixed media, installation dimensions variable
click here to watch

double tap, 2020
HD-Video, 9:16, stereo, loop, 59’
click here to watch

dream kid, 2020
mixed sports clothing, washing liquid
 installation dimensions variable

time was, 2020
HD Video, 9:16, sound, loop, 50’
 click here to watch

TION AMAL
 CIA

 O

 GA
 ASS

 M
 FO
 U N DED 2020

Mission Statement
The Association Amalgam’s aim is to collaborate with groups performing or practicing traditional,
vernacular, contemporary folklore and myth, to then perform in art institutions or open spaces.

The Association pursues the following goals:

- to collaborate with various types of traditional associations like clubs, bands, choirs, orchestras and
 performative groups, exploring new and old traditions, the roles they fulfill - or not - in today’s
 society, and their functions in suburban and rural communities.
- to experiment with transposing them from their original environments (events, villages, community
 centres and churches) to the environment of contemporary art, with its institutions and codes. The
 ASSOCIATION AMALGAM
 resulting joint works will be shown within an art context, i.e. exhibition/happening. 2020
- to pose questions relating to the politicised view of vernacular and folk culture from a contemporary
 art perspective, and vice versa.
 The Association Amalgam launched during a semester show in January 2020 at Zollikerstrasse 249
The re-evaluation of both sides, and their rarely considered similarities, in Zurich. Lorenzo Bernet, who runs the space Suns.Works, allowed me to transform his office in to
is a substantial aim of the research side of the Association Amalgam.
 a temporary headquarters for the duration of the show, removing everything apart from the furniture
If you to want engage, or be kept up-to-date, please contact:
 and a couple of books that matched the interests of the Association. A couple of older works by
info@association-amalgam.com
 Bernet, which he had stored in the building at the time, were hung on the walls.

 Work with the Association had to be put on hold due to the pandemic and will resume this summer
 with various projects already set.

 mixed media, text, crest
 Office view at Zollikerstrasse 249
 photos by FBM

association amalgam, 2020
Office view at Zollikerstrasse 249

association amalgam, 2020
 Office view at Zollikerstrasse 249
 untitled, 2015 by Lorenzo Bernet
right: sunvault, 2018 by Lorenzo Bernet

A DECLARATION OF LOVE
2019

The Zurich Caledonian Pipe Band was founded in 2007 in
Gockhausen, Switzerland. At the time several musicians
decided to form a band focusing on having fun with music.
There were 10 members when the band was founded, today
there are over 20 active musicians. They play as a full band,
a small group or just as soloists at various events.

Performance with The Zurich Caledonian Pipe Band
Piper: Ruedi Attinger
Drummer: Martin Attinger
Music selection and arrangement: Jack Pryce

text, inkjet, framed, 40 × 30 cm
Performance by The Zurich Caledonian Pipe Band, 20‘
click here to watch

TELFORD NEW TOWN –
WOLVERHAMPTON
2019

The view from a window during a train journey from Telford
New Town to Wolverhampton in England. Telford was built in
the 60s/70s to accommodate the population overspill from Bir-
mingham. Wolverhampton is an industrial city & lies in the heart
of the Black Country, so called because the industry was so
heavy it covered the region in a layer of black dust.

The audio is from a live recording by Throbbing Gristle taped in
1977 and named after the city.

 telford new town - wolverhampton, 2019
 HD Video, 4:3, colour, sound, 18’
 film stills
 click here to watch

UNIUN DA CANT
2018

The Choir Group Vuorz consists of the former mixed choir
and male choir of Waltensburg and was founded in 1998.
They rehearse from October to the end of May every
Wednesday evening at 8.15 pm. Their performances are di-
verse and take place at birthdays, hotels, retirement homes,
hospitals as well as on public holidays in church. Once a
year there is a concert.

A video recording of a rehearsal by the Vuorz Choir Group
in Graubunden, Switzerland. The recording was projected
in the rehearsal room which was transformed into an exhibi-
tion space for the evening of 11 October 2018.

view of board and piano in rehearsal room

uniun da cant, 2018, installation view at Casa Da Scola, Vuorz
HD Video, 16:9, colour, sound, loop, 66’, black board, chairs
click here to watch

JACK PRYCE
Selected
 My artistic practice is characterised by an associative, multi-medial approach. The gesture of the
 ready-made underlies both the staging of domestic interiors, the reference palace formed by col-
 Works
 lecting and archiving art books and exhibition catalogues as well as virtual reading lists. The Reebok
 trainers and football shirts, which appear in various works and the contexts of different installations
 such as 5 decent pairs of trainers 2020, icy whites 2020 or dream kid 2020, are also from my private
 inventory, which I use to address topics of identity, escapism and fandom.
 Furthermore, all my works share the claim to negotiate the cultural contexts of British and Swiss class
 structures. The former is evident in the references to British TV and pop culture as a vernacular code.
 A similar concern is behind my work with the Association Amalgam. Founded in 2020, further devel-
 oping the approaches of uniun da cant 2018 and a declaration of love 2019, the Association aims to
 collaborate with Swiss groups dedicated to traditional and contemporary folklore, vernacular culture
 and myth and to invite them to perform in art institutions as well as to introduce vice-versa contem-
 porary art to suburban and rural communities.

 My work revolves around moving between these two contrasting worlds and bringing them together.
 These processes underlie my, so to speak, ‘normal’ upbringing and background, shaped by British
 culture, as well as my fascination for the Art World. In reconstructing familiar settings, for example
 living room situations or the table in i don’t waste my evenings 2021, I reflect both social spaces of
 possibility and entrenchments and make them visible. xx