SAMUEL HAITZ SELECTED WORKS 2018-2021 - ZHDK
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Samuel Haitz Selected Works 2018-2021
Samuel Haitz +41 79 238 37 96 *17.06.1997 in Muri, AG, Switzerland Solo Exhibtions
Rigaer Strasse 23 samuelhaitz@icloud.com Lives and works in Berlin and Zürich 2021 The Bellermann Hypnotist, Sangt Hypolit, Berlin (upcoming)
10247 Berlin 2021 Memorabilia, Cabaret Voltaire, Zürich
2019 on the filmy foundation of my dreams, Plymouth Rock, Zürich
Education Selected Group Exhibitions
Since October 2020 Guest student, class Josephine Pryde, UdK, Berlin 2021 Another Map To Nevada, The Performance Agency, Vienna, Austria (upcoming)
2017 – 2020 Bachelor Fine Arts, ZHdK, Zürich 2021 Kiefer Hablitzel | Göhner Kunstpreis, Swiss Art Awards, Basel (upcoming)
2021 The Crossdresser and the Phoenix, Nevven Gallery, Göteborg, Sweden (upcoming)
2021 Plattform21, MASI, Lugano (upcoming)
2021 ZHdK Diplom Redux, Kunsthaus Glarus, Glarus (cancelled)
2020 Period, Longtang, Zürich
2020 Another Map To Nevada, The Performance Agency, Vienna, Austria (postponed)
2020 Call Me, Gärtnergasse, Vienna, Austria (cancelled)
2019 Tesla of Justice, Nest, Zürich
2018 Kunst: Szene Zürich, Zürich
2018 ZHdK Highlights, ZHdK, Zürich
2018 The Photographic, UG Museum Folkwang, Essen, Germany (part of the zine collection)
2018 Gender in Digital Reality, Material, Zürich
Readings
2021 Soiree 2 (After), Cabaret Voltaire, Zürich
2021 Soiree 1 (Before), Cabaret Voltaire, Zürich
2019 The Reading, Bar 3000, Zürich
Varia
2021 Interview with Swetlana Heger for PROVENCE (upcoming)
2021 Text in collaboration with Karolin Braegger for Neue Neue Zeitung (upcoming)
2020 Text in collaboration with Karolin Braegger for Screenspace, brand-new-life.org / ZHdK
Prizes and Grants
2020 Projektbeitrag, Bundesamt für Kultur (BAK), Kulturfonds
Curatorial Projects
2021 Casa Uovo, Sangt Hypolit, Berlin (with Anne Fellner and Burkhard Beschow) (upcoming)
2020 Hortus, in the garden of Rotbuchstrasse 18 and Seminarstrasse 21, Zürich
2020 Edition A0 (publisher for poster editions, with Milena Langer / edition-a0.com)
2019 Saint Luke (exhibition space in Zürich, with Milena Langer / saintluke.ch)
Talks
2019 Act 04 N°1, Le Foyer in Process, Zürich (with Milena Langer and Esther Eppstein)
Archive Table, 2021 (detail)
Wooden table from Cabaret Voltaire; acrylic glass; mixed media (publications, ephemera, artworks by peers etc.)
139.5 × 72 × 94 cm
Installation view: Memorabilia, Cabaret Voltaire, Zürich
Archive Table, 2021
Wooden table from Cabaret Voltaire; acrylic glass; mixed media (publications, ephemera, artworks by peers etc.)
139.5 × 72 × 94 cm
Installation view: Memorabilia, Cabaret Voltaire, Zürich
Samuel Haitz, Spent My Late Youth Copying You, Longtang, Zürich In Spent My Late Youth Copying You a book is turned into a room, an imaginary space turned into an actual space. Scans of a reworked copy of Hubert Fichte‘s seminal coming-of-age novel Versuch über die Pubertät (Essay on Puberty) are plastered across two walls of LONGTANG’s entrée. The work continues Haitz‘ on-going re-reading of queer cultural history, a mapping of desire and its representation, of representation, and the desires it engenders, their intricate, and sometimes treacherous, interplay. When Fichte‘s quasi-autobiographical Versuch über die Pubertät was published in 1974, it became an instant scandal as it was one of the very German novels that picked up on the spirit of the nascent gay-liberation movement sweeping across the West. It describes the narrator‘s troublesome éducation sentimentale in the stuffy, claustrophobically conventional Hamburg of the 1950s, striving to find a place for his desires for men and his wish to become an actor in the adult world he is about to enter. What was new about the book was its language, which marked a clean break with the gushy and whiny sentimentality of homophile literature. The text is not continuous, but arranged in lines in the manner of a poem. The sentences are often truncated, sometimes mere lists. The narrative is not linear, rather a dizzying eddy of fragments and digressions, poetry and journalism, which tries to instill an urgent sense of „now“. In many regards, Fichte‘s way of writing is reminiscent of the breathless poems of Frank O‘Hara, which Haitz has frequently referenced in earlier works. The open-ended, fragmentary form of the book invites the re-working Haitz has undertaken, which is comment on the novel as well as a reflection on the book as an everyday object. Most books are denied the hallowed statues of bibliophile objects of desire. Rather they are in daily Spent My Late Youth Copying You, 2020 use: They get carried around in bags, are read in public transportation and cafes, get underlined Laserjet prints, paste and annotated. Photographs, postcards, and ephemera are used as bookmarks or are stowed Dimensions variable away for safekeeping. Likewise Haitz underlines and encircles sentences and keywords, crea- Installation view: Longtang, Zürich ting a condensed subjective version of the book. Bills and tickets, as well as frottages of coins See next page for single scans → and keys, locate the process of reading in quotidian continuity. Fragments from artists‘ writings, quotes from press texts, encyclopedia entries, and reproduc- tions of artworks provide avenues into a personal art history and specific art-world discourses. Images from the mid-century Swiss gay magazine Der Kreis, recurring motifs in Haitz‘ work, pictures of Warhol muse Joe Dallesandro, and trademark photographs by Bruce Weber provide a visual context for Fichte‘s text and showcase Haitz‘ own desires. Photographs of furniture by Franz West and Shiro Kuramata, which transcend the border of design and art, provide glimp- ses of material yearnings. All these additions comment on Fichte‘s novel, while simultaneously turning the book into Haitz‘ diary. He slowly overgrows Fichte’s autobiography with his own. Texts and images can be use objects not merely on material level. We can avail ourselves of them to fashion our identities, mirror and discover us in their narratives. We incorporate them, and they incorporate us. Paradoxically we become ourselves by copying. Desire and identification are intricately enmeshed, greedily assimilating the other into our- selves. We are mere collages of acquired, and stolen, fragments, quite like Haitz‘ re-worked Versuch über die Pubertät. – Martin Jaeggi
Almost Identical Twins With Very Different Memories, 2020 Pigment print on archival paper, framed 24 × 30 cm
I am always looking away, or again at something after it has given me up, 2020 Laserjet on overhead-projector foil and tape on window 30.2 × 42 cm
Something About Us, 2020 Something Between Us, 2020 C-Print in birch-wood frame C-Print in birch-wood frame 29.7 × 42 cm 29.7 × 42 cm
Having a Coke with You, 2019 C-Print in birch-wood frame 29.7 × 42 cm
Samuel Haitz, on the filmy foundation of my dreams, Plymouth Rock, Zürich
Der Kreis was a gay men‘s magazine published in Zurich between 1943 and 1967. With essays
on the political situation of the gay community, poetry, drawings, short stories and soft core
photography (Karlheinz Weinberger and Herbert List published anonymously or under coded
names); it was a nexus of a certain type of gay thought and communal desire throughout Eu-
rope in the mid-century.
For the past couple years Samuel Haitz has used the archive of Der Kreis in aspects of his
work as a vocabulary that reveals desire and form in an oblique idea of collage. Sifting through
these issues Haitz found echoes of his own longings in a visual language that felt contempo-
rary or timeless: a fascination with the past feeling sexually relevant, rather than nostalgic. The
images grabbed here: nudes, swimmers, dreamers; are attractive by consensus- only of the
kind found in the temples of the Classics - those bodies that homophobic Western society to-
lerates appreciation of.
Some are etched on aluminum panels so that we may never glimpse them in totality, the reflec-
ted light adding aura as it denies a visual demanded. Others are simple black and white copies,
the full magazine layout intact, arranged along one another, creating compositional plays of
line, shadow, torso, back and ass. Pinned and stacked under high-UV lighting these totems
fade while enjoyed, in a compositional relation to these bodies now withered by time.
Alongside this all are parts of an ongoing series of paired unopened soda cans that continue
Haitz’s riff on the legacy of gay desire in art: here Frank O’Hara’s Having a Coke With You and
Jasper Johns’ Two Beer Cans, both from 1960, are brought unified to the present. Within all the
pieces is an obsessive interest in the male body gazed, whether in private or through targeted
advertising that wets the tongue and quenches the thirst. As Haitz reanimates these men, he
reanimates desire- fleeting and Frankensteinian as it is. It is summertime and taut muscles
reverberate in the pool, the park and the construction site; if not the mirror. We have our wants
met or unmet but visually we drink it up, and we all have our dreams for August and after.
– Mitchell Anderson
This image (2019) was used to announce on the filmy foundation of my dreams.Youth, 2019 Youth, 2019 Having a Coke with You (special friends), 2019 Laserjet prints, push pins on birch wood Laserjet prints, push pins on birch wood Coca-Cola cans 59.4 × 42 × 1.8 cm 42 × 29.7 × 1.8 cm and 63 × 29.7 × 1.8 cm 15 × 11.5 × 5.2 cm Installation view: Plymouth Rock, Zürich Installation view: Plymouth Rock, Zürich Installation view: Plymouth Rock, Zürich Full documentation + text available here Full documentation + text available here Full documentation + text available here
Youth, 2019 Youth, 2019 Laserjet prints, push pins on birch wood Laserjet prints, push pins on birch wood 63 × 29.7 × 1.8 cm and 89.1 × 63 × 1.8 cm 63 × 29.7 × 1.8 cm and 84 × 29.7 × 1.8 cm Installation View: Plymouth Rock, Zürich Installation View: Plymouth Rock, Zürich Full documentation + text available here Full documentation + text available here
Having a Coke with You (magic 2gether), 2019 Coca-Cola zero cans 15 × 11.5 × 5.2 cm Installation view: Plymouth Rock, Zürich
Having a Coke with You (yes for real), 2019 Coca-Cola cans 15 × 11.5 × 5.2 cm
My parents were expecting a swan, 2018 Inkjet on archival paper in birch-wood frame 40 × 56 cm Installation view: Gender in Digital Reality, Material, Zürich
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