David Crowley, the curator of Edita Schubert's exhibition at Muzeum Susch, in conversation with Leonida Kovać and Bojana Pejić, reflecting on Schubert’s life and career in the context of Yugoslavia and its breakup in the 1990s. Kovać and Pejić, as art critics, played a vital role in mediating art in the former Yugoslavia—particularly that of women artists.

Anke Kempkes, Co-Curator of the upcoming Muzeum Susch exhibition "Evelyne Axell. Body Double" in conversation with Jessica Morgan, Director of the Dia Art Foundation, New York.

How does dance and movement add to the existing practice of arts educators and choreographers and lead to more in-depth engagement with museum visitors? This is the question explored by dance artist Ingrid Berger Myhre and Gill Hart, Head of the Devonshire Educational Trust based at Chatsworth in Derbyshire and former Head of Education at the National Gallery London. This conversation, led by dramaturg Monica Gillette, is based on the European Union funded project Dancing Museums, a research project bringing together artists, dance organizations, museums, universities and research centers from seven countries. The project is conceived to explore ways in which working together might result in more powerful interpretations or experiences of art. Dancing in a museum brings visitors closer to performers – its proximity to the perceived stillness of art works interrupts and in effect – changes - codified codes of gallery behavior.

In the 6th episode of the series, two choreographers for whom the voice is a crucial medium - Katarzyna Sitarz and Jule Flierl - contemplate silence, its physicality and its political agency. Dialoguing on and deeply listening to the current troubled times, they are examining silence as a physical practice, meticulously weaving polyphonic sensorial  compositions of voices and thoughts of generations of artists, thinkers and activists. Questioning silence’s presence and absence, its non-obvious qualities as well as the political dimension of speaking up or abstaining from speech in the reality we live in, they unfold a multilayered spectrum of what silence can be or serve for.

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For this episode we have invited Jennifer Higgie, editor at large of frieze magazine and the writer and thinker behind Bow Down an Instagram account and a podcast dedicated to significant women artists. Jennifer is in conversation with Liliane Lijn, an American-born artist based in London, who has been working with kinetic texts as early as since 1962. For decades Liliane has been involving poetry and light - set into motions in objects in space. Her installations induce a physical sense of time, the elapsing of time becomes a gesture, a haptic notion at our hands.

French artist Mathilde Rosier is speaking about her experiences of stillness, questioning our obedience to time, and, finally, sharing her notion of stillness as a form of resilience, resistance, if not, rebellion.

For episode 3 of ‘Stillness & Motion’, dramaturg and writer Guy Cools is sharing his thoughts on traditions that can help us to embody and experience the feelings of loss and grief.

Quinn Latimer is commenting on and listening to Mayra Rodríguez Castro, Anna/Anca Daučíková, Iris Touliatou and Neha Choksi. They are speaking from their specific locations, that is, rooms, from Los Angeles and Prague, Bogota and Athens, about how the terms 'stillness and movement' are currently affecting their thinking.

The first episode in the new series 'Stillness & Motion' features two conversations with artists participating in the exhibition ‘Up to and Including Limits: After Carolee Schneemann’ curated at Muzeum Susch by Sabine Breitwieser. Sabine Breitwieser speaks with Aura Rosenberg in New York and Katrina Daschner in Vienna.

Aura Rosenberg presented several works in the exhibition, notablyThe Dialectical Porn Rock (1990-1993) series, consisting of dozens of rocks wrapped in pages from porn magazines, as well as The Astrological Ways (2012), a series of 12 large-scale body prints representing 12 zodiac signs accompanied by The Afronomical Ways (2012), a video projection with sound by the Dirty Mirrors, a band in which Rosenberg performs on keyboard.

Katrina Daschner’s works in the exhibition in Susch include a selection of photographic collages from the series Zuhälter (Pimp, 1999-2002), 7 photographic prints from her series Vincent (2002) as well as a film Pferdebusen (Horse boobs, 2017), screened in a prepared space that includes a curtain running across the walls created by the artist.

This episode has Mark Sadler and Jörg Heiser sharing pearls of wisdom concerning the grammar of painting, architecture of philosophy and notions of freedom. And suddenly, the horizon is opening up wide.

A series of chapters from Disputaziuns Susch, an annual conference scheme hosted by Art Stations Foundation CH and Grazyna Kulczyk.

In spring 1929, just a glimpse before the Great Depression and the Great Crash to come soon, the Cassirer-Heidegger debate takes place in Davos; Ernst Cassirer pulls his arguments for a broader conception of humanity, his counterpart is Martin Heidegger and his relativism. The quest of a universal truth drives a ‘continental divide’ (Peter E. Gordon) or ‘Weggabelung der Philosophie’ (Henning Ritter), anticipating major philosophical debates to come. 90 years ahead, in Susch, 40 minutes away from Davos, once again in times of disorientation, disillusion, with radical movements on the rise, we were repeating the question that led the historical debate: What is it to be human?

This episode has Elisabeth Bronfen looking at Virginia Woolf’s ‘Breaking the Waves’ and comparing Woolf's feeling of ‘walking a tightrope over nothingness’ to Heidegger’s notion of individual existences as 'being thrown' into the world. Also the horizon (see episode two) is returning to the debate.

A series of chapters from Disputaziuns Susch, an annual conference scheme hosted by Art Stations Foundation CH and Grazyna Kulczyk.

In spring 1929, just a glimpse before the Great Depression and the Great Crash to come soon, the Cassirer-Heidegger debate takes place in Davos; Ernst Cassirer pulls his arguments for a broader conception of humanity, his counterpart is Martin Heidegger and his relativism. The quest of a universal truth drives a ‘continental divide’ (Peter E. Gordon) or ‘Weggabelung der Philosophie’ (Henning Ritter), anticipating major philosophical debates to come. 90 years ahead, in Susch, 40 minutes away from Davos, once again in times of disorientation, disillusion, with radical movements on the rise, we were repeating the question that led the historical debate: What is it to be human?