☰
1989 in Ernen - lives and works in Basel

mail (at) raphaelstucky.ch


CURRENT
2026 Hinterm Horizont geht's weiter!, group show at Kunstmuseum Olten
Waldbühne*, open-air exhibition, Twingi 26, Binntal

UPCOMING
2026 S4E2, group show at Portland, Zurich
Valuables, group show at For, Basel
Verein Ateliers Mühlacker VAM, group show, Zurich

Sound Performance by the Hammer Band:
Twingi Jubiläumsfest, 29.08.2026 16h
For, Basel, 31.10.2026

SOLO/DUO EXHIBITIONS (selection)
2024 Troposonic, Manor Art Prize, Musée d'Art du Valais, Sion
2023 Lying (in the grass), Lokal-int, Biel/Bienne
2021 Ro-ro-rotate, GPS, Le Manoir de la Ville de Martigny
2020 Dienstraum #11, Kunstmuseum Olten
2018 Set and Reset, Ausstellungsraum Klingental, Basel
No corner for the ant to hide, with Claudia Breitschmid, S11, Solothurn
Vibrato dans les os, with Martin Jakob, L’OV, CAN Centre d'art de Neuchâtel
A Year Passed, with Claudia Stöckli, ZHdK, Zurich
2016 Noise for Cars, Museum Langmatt, Baden
2015 Schritt halten, Galerie 3000, PROGR, Bern

GROUP EXHIBITIONS (selection)
2026 DYS curated by Lysann König, Milieu, Bern
You are the end of desire, Migros Schaan (Liechtenstein)
Diane, They're Still Moving, Betoj Rief at Rebgasse 10, Basel
In Between, space25, Basel
2025 Biennale Son, le Pénitencier, Sion
Frequenzen, Stapflehus, Weil am Rhein
2024 Bonimentheureuses, Regionale 25, Kunsthalle Mulhouse
Rusty Beam, Amore, Basel
2023 Echo Chamber Bowls, Twingi Art, Binntal
Cage no Cage, Zur frohen Aussicht, Ernen
Stone to the Sun, Grenette, Ferme-Asile, Sion
2022 We are so many here, Regionale 23, Kunsthalle Basel
Alabaster, Musée d'art du Valais, Sion
Liebe Grüsse, group exhibition, Museum Langmatt, Baden
Welcome Stranger, invited by Josiane Imhasly, Lemme, Sion
The Joy of Transforming Kapital into Art, sales exhibition, Kasko, Basel
Bang Bang, contribution in a vitrine curated by Chris Regn, Tinguely Museum, Basel
2021 Laube zur schiefen Lage, Cabaret Voltaire at Münsterhof, Zurich
Animated Matter*, invited by Matthis Pfäffli, La Dépendance, St-Imier
Piano Piano, Môtiers - Art en plein air, Val-de-Travers
Kurzer Fall, intervention at Max Frisch Bad, Zurich
Neck of the Wood, tomorrowsorrow, Zurich Altstetten
Zirkuliere!, Helmhaus Zurich
2020 City Links, Museum Bellerive, Zurich
Paperwork, Zitrone Manegg, Zurich
Hortus, in the garden of Samuel Haitz, Zurich
True Grid, unanimous consent, Zurich
2019 Splendid Isolation, Regionale 20, Kunst Raum Riehen
2018 If it‘s Conceivable it‘s Possible, WallRiss, Fribourg
Tempo, Zeitfestival: Nacht der 1000 Fragen, Alte Krone, Biel
From the Studio, MFA Degree Show, ZHdK, Zurich
Rosebud, Group Show, Milieu, Bern
2017 Kolorit, Klangfestival, mikro, Zurich
Klangwelten, Zeughaus Kultur, Brig
Was bleibt?, Küefer-Martis-Huus, Ruggell
2016 Wwork, U10 Art Space, Belgrade
LISTE TOTAL, Dr. Kuckucks Labrador, LISTE 21, Basel
2015 Camouflage, Zur frohen Aussicht, Ernen
Going Places, aller-retour, Atelier Mondial, Basel
2014 Retreat. Void. Here, Regionale 15, Kunstraum L6, Freiburg in Br.
7 Rooms, Regionale 15, Kunst Raum Riehen
Das Ohr an der Tür, Ausstellungsraum Klingental, Basel
Les Voisins c‘est nous, Galerie Cité des Arts, Paris
Plattform14, ewz-Unterwerk Selnau, Zurich
2013 Being Specific, Regionale 14, Kunsthaus Baselland, Muttenz

SOUND PERFORMANCES/SCREENINGS (selection)
2026 Jetzt sind die Schatten leise*, organ concert, Stadtkirche Olten
2025 Sequenzen*, sound performance, Stapflehus, Weil am Rhein
Halbhimmel Variationen*, sound performance, Basilica of Valeria, Sion
Untitled*, sound performance in collab with Sara Grütter, Peripherie8, Basel
Rosen im Schlaf*, sound performance, Solothurnerstrasse 8, Basel
2024 Halbhimmel Variationen*, sound performance, Basilica of Valeria, Sion
Untitled*, sound performance, edition fink - House of Books, Zurich
2023 Echo Chamber Bowls (Performance)*, invited by Wallriss/Wallstreet, Fri-Son, Fribourg
Pentatonische Versenkung*, sound performance, CAN Centre d'art de Neuchâtel
Echo Chamber Bowls (Performance)*, Twingi Art, Binntal
Pentatonische Versenkung*, sound performance, Migros Museum für Gegenwartskunst, Zurich
Horizontale*, sound performance, klang*himmel, Biel/Bienne
2022 Nasses Salz, sound performance at Atelierhaus Klingental, Kunsttage Basel
Pentatonische Versenkung*, sound performance, Radio X and Kasko, Basel
An Eerie Glow, sound performance with Claudia Stöckli, Cité des Arts, Paris
2021 Concert at WURM*, invited by Michi Zaugg, klappfon, Basel
La Vie et la Mort, collab with Claudia Stöckli, Cabaret Voltaire at Münsterhof, Zurich
Broken Lights, concert for the video installation by Philip Frowein, Ahoi, Luzern
Fiolle*, performance in two parts, La Dépendance, St-Imier
In diesen Kurven aus Teer & Luft*, sound contribution for Palazzina, Radio X
2020 Gramer*, video screening, Pudel-Rudel, online event
Pigeons, sound improvisation with Angi Nend, Museum Bellerive, Zurich
Untitled*, improvisations in two parts, Zur frohen Aussicht, Ernen
All Eyes on us*, performance, Sattelkammer, Bern
2018 Sound intervention in the exhibition of Martin Jakob, Display, Berlin
Untitled*, Kaserne Basel, Klang Basel
2017 Pocket Drawings, Volumes 2017, Helmhaus, Zurich
2015 Alpsegen, video screening at Nidwaldner Museum, Stans
2014 175 Jahre Basler Kunstverein, screening at Stadtkino, Kunsthalle Basel

ART IN PUBLIC SPACE
2026 Canal Ovale, art intervention at Fondation Upéo, Martigny
2025 Himmel und Hölle, memorial for victims of compulsory social measures and placements, Sion

GRANTS/RESIDENCIES
2024 Manor Art Prize, Valais
2020 Förderatelier Klingental, supported by the Department of Culture of Basel-Stadt (6 years)
2018 What’s next_Studio, ZHdK
2016 Hirschmann grant for master‘s degree student
2014 Paris Residency, Christoph Merian Stiftung, Atelier Mondial
2013 Schaffensbeitrag, Valais

EDUCATION
2018 MA Fine Arts, ZHdK, Zurich
2013 BA Kunst, HGK, Basel

PUBLICATIONS
2024 Humification, coedited by edition fink and Musée d‘Art du Valais,
on the occasion of the Manor Art Prize 2024 Valais, 144 p.
2021 Hammer Band, vinyl record, published for the exhibition Zirkuliere at Helmhaus, Zurich, 33 min

Member of the Hammer Band, founded by Raphael Stucky and Andreas Thierstein. (since 2018)

Organizer of the Deep Listening Study Group (ZHdK) in which DIY instrument making workshops, listening/jam sessions and concerts take place. (2016–2018)

Member of the coordination team of ∑ - Summe, the networking platform for independent, non-commercial art spaces in Basel. (2014-2017)

Member of the artist-curator-collective Dr. Kuckucks Labrador, Basel, organizing art festivals, exhibitions, performance nights and projects in public space. (2012-2020)

Member of the chanson-punk band Könige Kleiner Länder. (2011–2017)

*Works by the Hammer Band (Raphael Stucky & Andreas Thierstein)










Siren Disc, 2024, polished steel, 200 cm (diameter)
Exhibition views, Milieu, Bern, 2026





Combi, stoneware, 2026
Exhibition view, Milieu, Bern, 2026




Cage no Cage, 2023, single channel video on monitor, colour, sound, 17 min
Egg Shaker, 2023, plastic eggs filled with grain
Exhibition view, You are the end of desire, Migros Schaan, Liechtenstein


Hammer Band, Waldbühne, 2026, fir wood, 800 x 800 x 45 cm
Participatory installation on a public hiking trail local
Twingi 26, Binntal, 2026




Opening Act, 2025, 4k, color, sound, 18:05 min
Biennale Son, Sion, 2025







In Ear, 2025, Series of five photographs, fine art prints, framed each 28 x 21 cm
Biennale Son, Sion, 2025








In Ear, 2025, Series of five photographs, fine art prints, framed each 28 x 21 cm
Biennale Son, Sion, 2025





Une Puce, 2025, Music stand, paper clips and photocopy on paper, endless copies
Biennale Son, Sion, 2025



Frequenzen, installation views, Stapflehus, Weil am Rhein, 2025



118, 2023/25, laser print on silver paper, paste
Stapflehus, Weil am Rhein, 2025







Lying (in the grass), 2023 dried blades of grass, telephone cards, aluminium profiles
Stapflehus, Weil am Rhein, 2025



Schwarzer Himmel, 2025, HD Video, 12min, no sound
Stapflehus, Weil am Rhein, 2025





Tasten Tropfen (I-III), 2024, three riso prints on paper, framed
Stapflehus, Weil am Rhein, 2025




Sound & Zeichnung, Hammer Band & Sara Grütter, 2025, sound performance, live drawing
Peripherie 8, Basel








Himmel und Hölle, 2025, Memorial for victims of compulsory social measures and placements
art in public space, Sion



V, 2024, screen print on paper, 100 × 70 cm
Musée d‘Art du Valais in the Ancienne Chancellerie, Sion
Photos: Olivier Lovey



Cage no Cage, 2023, single channel video on monitor, colour, sound, 17 min
Musée d‘Art du Valais in the Ancienne Chancellerie, Sion
Photos: Olivier Lovey



Exhibition views, Troposonic, Musée d'Art du Valais in the Ancienne Chancellerie, Sion
Photos: Olivier Lovey



Siren Disc, 2024, polished steel, 200 cm (diameter)
Musée d'art du Valais in the Ancienne Chancellerie, Sion
Photos: Olivier Lovey











Anti-Volumen, 2024, ceramic sculptures (stoneware), series of 55
Dimensions between 10 × 7 × 5 cm and 30 × 15 × 10 cm








Halbhimmel Variationen, 2024, sound performance, 25 min
Basilica of Valeria, Sion
Photos: Olivier Lovey





Humification, 2024, compostable publication (cradle to cradle certificate)
soft cover, german / english / french, no binding, 144 pages
design and production: Atelier Georg Rutishauser
publishers: Kunstmuseum Wallis, Sion and edition fink, Zurich



Echo Chamber Bowls, 2023, glas, wood, felt, 230 x 210 x 50cm
Regionale 25, La Kunsthalle Muhlouse, 2024
Photos: Emilie Vialey





Tasten Tropfen (I-III), 2024, three riso prints on paper, framed
Exhibition view at Amore Basel, (left: Marilola Peter Wili, right: Kelly Tissot)
Photos: Studio Stucky (1, 2, 3), Linus Weber (4)





Exhibition views at lokal-int, Biel/Bienne













Lying (in the grass), 2023, dried blades of grass, telephone cards, aluminium profiles
Lokal-int, Biel/Bienne






118, 2023, laser print on silver paper, paste
Lokal-int, Biel/Bienne






Echo Chamber Bowls, 2023, glas, wood, felt, 230 x 210 x 50cm
A homage to Harry Partch
Twingi 23, Binntal (Valais)
Photo: Matthias Luggen (1), Studio Stucky (2-5)






Echo Chamber Bowls (Performance), Hammer Band, 2023, 30min
Twingi 23, Binntal (Valais)
Photo: Ulrich Stucky



Echo Chamber Bowls (Performance), Hammer Band, 2023, 30min
Fri-Son, organised by Wallriss/Wallstreet, Fribourg
Photo: Julie Folly



Cage no Cage, 2023, 4k video with sound, 17min
Zur frohen Aussicht, Ernen, Valais







Wild Grain, 2023, fine art prints, each 21 x 14.8cm
Zur frohen Aussicht, Ernen, Valais




Egg Shaker, 2023, plastic eggs filled with grain
Zur frohen Aussicht, Ernen, Valais




Circular Field, 2023, vinyl record, branch, alu pin
Sone to the Sun, La Grenette de la Ferme-Asile, Sion








Pentatonische Versenkung, Hammer Band, 2023, sound performance, 30min
Opening of the exhibition Acts of Friendship, Migros Museum für Gegenwartskunst, Zurich
Photo: Philip Frowein






Pentatonische Versenkung, Hammer Band, 2023, sound performance, 30min
Indice Ultraviolet: Out, CAN, Centre d'art Neuchatel
Photo: S. Verdon (1, 2, 4, 5) / Thalles Piaget (3)



Hammerflöten (selection), 2016-2018, modified tools
We are so many here, Regionale 23, Kunsthalle Basel





Piano Piano, 2021, two piano dummies, varnish on wood, 280 x 160 x 70cm
We are so many here, Regionale 23, Kunsthalle Basel



Untitled, 2022, first greeting card sent to the Museum Langmatt, Baden /
painting in the upper corner: Paul Cézanne, Peaches, Carafe, and Figure, ca. 1900



Untitled, 2022, second greeting card sent to the Museum Langmatt, Baden /
painting in the upper corner: Paul Cézanne, Bathers, ca. 1895/96



Untitled, 2022, third greeting card sent to the Museum Langmatt, Baden
painting in the upper corner: Camille Pissaro, Autumn in Eragny, 1899




An Eerie Glow, 2022, sound performance by Claudia Stöckli and Raphael Stucky
at the Cité des Arts, Paris, photo: Flavio Karrer


Untitled, 2017/2019/2022, wax pastel and acrylic on canvas,
140 x 100 cm, studio view, Basel


Untitled, 2017/2019/2022, wax pastel and acrylic on canvas,
140 x 100 cm, studio view, Basel


Hammerflöten (selection), 2016-2018, modified tools
vitrine curated by Chris Regn at the Tinguely Museum, Basel






Nasses Salz, 2022, sound performance, 15min
Kunsttage Basel, Atelierhaus Klingental, photos: Andreas Thierstein


Tell a Bee (3), 2020, stoneware spray
Lemme, Sion, photo: Romain Iannone





Pentatonische Versenkung I, Hammer Band, 2022, sound performance, 20min
Mental Doors: Sound x Performance, Kasko Basel, photos: Linus Weber



Fiolle, Hammer Band, 2021, performance relic, two umbrellas with bells touching water /
La Dépendance, St. Imier, photo: Claude Barrault



Fiolle, Hammer Band, 2021, performance in two parts, 40 min /
La Dépendance, photo: Matthis Pfäffli

Fiolle is the name of the small but acoustically very present brook that runs through the grounds of La Dépendance. Inspired by the fresh spring water, which is used as a fridge or shower during the residencies, the Hammer Band developed a site- specific performance. Two umbrellas, fitted with bells on the inside, were placed in the streamlet so that they begin to sound. Accompanied by the continuous sound of water and bells, Raphael Stucky and Res Thierstein improvise on self-made pipes. The call and response piece, which was performed in the stream and in the bushes, mimics a form of an animal communication.

The second part of the performance took place in the musty-smelling cellar without any lights. The audience as well as the performers themselves were surrounded by complete darkness. The sound of the electric bass (played with a bow) was accompanied by a distorted voice and echoed through the void.

The Deep Listening practice developed by composer and musician Pauline Oliveros plays an important role in the creation of the Hammer Band‘s sound performances. The active perception of the surroundings and the attention to oneself and the attention to another are central. In this sense, listening takes on a social dimension that can teach us about empathy and sharing.





Hammerflöten, 2016–18, set of modified tools / Helmhaus Zurich

The artist’s interest in the proximity of labour, rhythm and music becomes visible in Hammerflöten. His idea was to add the characteristic of a musical instrument to a hammer in order to emphasize its already existing sonic expression. These hybrid objects have a sculptural as well as a functional character. Stucky investigates the process of revaluating, recirculating and reanimating an artefact.




PAC #6 (Possible Album Cover), 2020, acrilyc on canvas, artist frame, 90 x 90 cm / Helmhaus Zurich



Silence, 2018, found object (fake organ pipes, made out of wood), 60 x 40 x 10cm / Helmhaus Zurich





Hammer Band, 2021, limited edition of 20 vinyl records / Helmhaus Zurich

This vinyl record, produced for the Helmhaus, is an agglomeration of the various works on view in the exhibition. On side A, one discovers the sounds of the Hammerflöten recorded in the wintry forest in the Valais. You can listen to the footsteps in the snow, the flute playing, the little brook and at the end of the track the birds singing. Side B features a four-hand improvisation piece played on the Aebi organ in Ernen. Raphael Stucky‘s father is the organist in the village.




Kurzer Fall 2021, steel tubes, hammocks, 450 x 420 x 300cm / Freibad Letzigrund, Zurich, photo: Claude Barrault

Kurzer Fall is a site-specific installation that provokes ambivalent feelings through a historical reference to the gallows of Zurich. In the same place where nowadays visitors of the open-air swimming pool relax on the lawn, people were once hanged. During the renovation of the pool in 2006, human and animal skeletons and the remains of the gallows were excavated. The artwork adopts the triangular shape of medieval gallows, letting three hammocks dangle between steel tubes. Violence, death and the exercise of power are paired with conformism, relaxation and leisure culture.





Piano Piano, two piano dummies, varnish on wood,
280 x 160 x 70cm / Môtiers - Art en plein air

Piano Piano consists of two piano dummies stacked on top of each other. By reducing the pianos to their outer forms, the artwork emphasizes the physical and sculptural presence of a musical instrument. The black painted pianos are installed at the train station in Môtiers and refer to the phenomenon of street pianos in public space. They also recall John Cage‘s compositions for closed pianos (A Flower and The Wonderful Widow of Eighteen Springs) where the piano is merely used as a drumming body. The title Piano Piano literally stands for the doubling of the instrument, but it also refers to the Italian expression, which calls for deceleration, calm and slowness.



Sitting and Waiting, 2021, screen printing on transparent film, rose paper, spacer frame, 30 x 21cm





Mouthpiece, 2021, glas tube, whistle and shell, 160 x 20 x 20cm / tomorrowsorrow, Altstetten

The work Mouthpiece assembles three objects: A snail shell, a whistle and a glass tube that used to be part of a floor lamp. The elements have come together over a long period of time. Cultural and natural objects now face each other and mutually examine their meaning. They ask questions about the origin of instruments, how they found their form and how nature and culture are interconnected. The work was inspired by the legend that appears in various ancient cultures that music was discovered by humans listening to the wind blowing over the reeds and creating sounds.
The group exhibition Neck of the Wood took place on a sunny summer day in the forest of Altstetten.




La Vie et la Mort, sound performance, collaboration with Claudia Stöckli, 20 min /
Cabaret Voltaire at Münsterhof, photo: IIDA

Claudia Stöckli and Raphael Stucky continue the discussion of dissolution and new beginnings in their Totentanz (dance of death). The artists begin with a bone oracle that creates a situation to reflect on the past, present and future. This also involves playful image- making as a starting point for sonic interpretations: The artists create a finely woven carpet of sound, sometimes condensed, then loose again, samples and drones, with briefly flaring spherical MIDI keyboard sounds, synthesizer rhythms, footsteps in the gravel, a crow dialogue and electric bass sound bowed with a bow. (text excerpt by Salomé Hohl)




Knochenorakel, porcelain, acrylic on cotton, collab with Claudia Stöckli, 100 x 100cm / Cabaret Voltaire at Münsterhof, photo: IIDA



Lichtkörper, 2020, installation with neon light, paper, textile
and metal, each approx 190 x 60 x 60cm / Le Manoir de la Ville de Martigny

The lampshades, newly wrapped in paper and fabric, are loosely stacked on top of each other. They become fragile and vulnerable bodies, illuminating the space and the visitors at the same time.The round and funnel-shaped forms are reminiscent of the self- made costumes of the Dadaists, such as those of Hugo Ball and Sophie Taeuber-Arp.



Strassenmusikant, 2020, leather, glue, 30 x 10 x 4cm / Le Manoir de la Ville de Martigny

This mysterious object refers to the cubist assemblages of the early 20th century. Its shape and material seem to be a hybrid of a miniature musical instrument case, a shoe sole, or a bottle. An abstract composition on the inside is part of the same network of references.




Exhibition view: RO-RO-ROTATE, Le Manoir de la Ville de Martigny, 2020-21


Trompeting, 2020, stoneware


Holding, 2020, stoneware


Drumming (No.2), 2020, stoneware


SOO HÜÜ, 2018–ongoing, series of ceramic animals,
stoneware / Le Manoir de la Ville de Martigny


Exhibition view: RO-RO-ROTATE, Le Manoir de la Ville de Martigny, 2020-21


PAC #2 (Possible Album Cover), 2020, acrylic on canvas,
artist frame, 90 x 90cm / Le Manoir de la Ville de Martigny

PAC (Possible Album Cover) is an ongoing series of paintings on a square format. The painting surface becomes the place where an ephemeral moment is captured, similar to a recording. The focus is on movement and process. The compositions created in this way share, as the title suggests, the possibility of becoming the cover image for a vinyl or a CD.



Untitled, 2020, lamp, printed foil, cardboard box,
60 x 35 x 72cm / Le Manoir de la Ville de Martigny

Echoing the large lamps in the first room, these small living room lamps, placed on cardboard boxes, evoke a temporary arrangement.Theycreateatransitorywarm and personal space. On the reused lamps, which were mass-produced industrially, there are now small foil snippets on which printed black and white smartphone photos can be seen. Letters or fragmentary words can be made out on some of them. The resulting compositions become abstract poems.







Pigeons, 2020, sound improvisation, video projection, Raphael Stucky & Angi Nend /
Museum Bellerive, Zurich, photo: Stefan Burger




Tell a Bee, 2020, stoneware, spray / group exhibition in the garden of Samuel Haitz, Zurich, photos: Simon Javed Baumberger




Board (1-7), 2020, wax pastel on paper on waste wood,
series of seven panels, each 65 x 30 cm / Paperworks, Zurich



Wind, 2019/20, stoneware, wooden boards, paint, 80 x 40 x 40cm and 65 x 40 x 40cm / Kunstmuseum Olten






GRAMER, 2020, music video by Hammer Band, HD 16:9, 16:30 min


Licking, 2018, stoneware / unanimous consent, Zurich, photo: Michal Florence Schorro





Gramer, Hammer Band, 2019, sound performance, overhead projector, flutes and shards, 25min / Sattelkammer, Bern, photos: Samuel Rauber


Untitled, 2019, acrilyc on wood panel, 60 x 50cm





Untitled, 2019, wax pastel on canvas, 70 x 50cm


Part 1, Hammer Band, 2019, concert in the bunker,
performed in complete darkness / Zur frohen Aussicht, Ernen




Part 2, Hammer Band, 2019, four-handed improvisation on the Aebi organ, 20min /
Zur frohen Aussicht, Ernen



Picking, 2018, stoneware / WallRiss, Fribourg


Sawing, 2018, stoneware / WallRiss, Fribourg


Brushing, 2018, stoneware / WallRiss, Fribourg


Singing, 2018, stoneware / WallRiss, Fribourg


Hammering, 2018, stoneware / WallRiss, Fribourg


Balancing, 2018, stoneware / WallRiss, Fribourg




SOO HÜÜ , 2018, stoneware, wooden tables / WallRiss, Fribourg (wall: Anna Diehl, floor: Maya Hottarek), photos: Guillaume Baeriswyl

Stucky deals with the question of how music came into being, where is its origin? He thus circles around various themes, such as work and rhythm, zoomusicology and animal music. In the ongoing ceramic series SOO HÜÜ, all these strands of research merge and reveal themselves as humorous representations of animals. Boundaries between humans and animals, between work and fun, noise and music seem to blur.



Siril , 2018, found object / Milieu, Bern


Untitled, acrilyc and wax pastel on canvas, each 40cm x 30cm / Milieu, Bern (middle: Liao Fei, right: Vera Trachsel)


Untitled (diptich)/ two drawings / wax pastel on A4 paper in spacer frame / 2018









Untitled, 2018, Hammer Band, sound performance, 20min / Ausstellungsraum Klingental, Basel, photos: Claudia Stöckli



Grass Grows Back, 2018, video loop / Ausstellungsraum Klingental, Basel



Reparing, 2018, stoneware / Ausstellungsraum Klingental, Basel



Untitled (Herdern), 2018, acrylic and wax pastel on canvas,
120 x 100cm / Ausstellungsraum Klingental, Basel



Set and Reset, 2018, video with sound, 10min 30 / Ausstellungsraum Klingental, Basel






Grind , 2016/18, video with sound, 6min 27 / Ausstellungsraum Klingental, Basel

Improvisation, Wiederholung und handfestes Tun sind zentrale Methoden, aber auch Motive in Raphael Stuckys Kunst. Er beobachtet und hört im Alltäglichen und baut mit kleinen Eingriffen und spezifischen Anordnungen Atmosphären des scheinbar Zufälligen. Set and Reset integriert Videos, Objekte und Zeichnungen in das noch-nicht Fertige der temporären Niederlassung des Ausstellungsraums Klingental und verwandelt damit das Provisorische des Orts in einen Bestandteil der künstlerischen Setzung. Zwei Videos untersuchen Baustellensituationen auf ihre musikalische und choreographische Qualität. An einer weiteren Schnittstelle zwischen bildender Kunst und Musik sind die selbstgebauten Hammerflöten angesiedelt. Die Instrumente aus gefundenen, gebrauchten Werkzeugen sind Teil der Ausstellung und werden im Rahmen des Festivals KlangBasel von der Hammer Band (Raphael Stucky & Res Thierstein) aktiviert.
(Text von Thomas Heimann, 2018)





Untitled, Hammer Band, 2018, sound performance, 25min / MFA Degree Show ZHdK, Zurich, photos: Stefan Jäggi


SOO HÜÜ, 2018–ongoing, series of ceramic animals, stoneware, wooden tables / MFA Degree Show ZHdK, Zurich


Screaming, stoneware / MFA Degree Show ZHdK, Zurich


Forming, stoneware / MFA Degree Show ZHdK, Zurich,
photos: Stefan Jäggi

Musik, Töne und Klänge sind wiederkehrende Themen in Raphael Stuckys künstlerischer Praxis. So hat er beispielsweise aus alten Hämmern, die er auf Flohmärkten oder in Brockenhäusern gesammelt hat, Instrumente gefertigt. Diese Hammerflöten aktiviert er im Rahmen von Performances und spielt sie gemeinsam mit Musikerinnen und Musikern. Viele der Töne in seinen Videoarbeiten entdeckt er im Alltag. Ein im Wind flatterndes Absperrband oder der Lärm von vorbeifahrenden Mopeds werden in seinen geloopten Videos zu rhythmischen Klängen zusammengefügt. Dabei ist auch die visuelle Ebene wichtig.
Aktuell arbeitet Raphael Stucky an einem Video, in dem er mit Wiederholungen und Schnitten die gefilmte Arbeit eines Bühnenaufbaus als Choreografie aus Bewegungen und Geräuschen inszeniert. Nicht zuletzt klingt die Musik auch in seinen Zeichnungen an, die für den Künstler oft eine Art von Partituren darstellen. Für die Degree Show hat er ein für ihn neues Material gewählt und Objekte aus Ton gefertigt. Die Arbeit mit den Händen, so Raphael Stucky, habe für ihn einen Ausgleich während dem Verfassen der schriftlichen Abschlussarbeit dargestellt. Entstanden sind verschiedene Tierfiguren, die mit Gegenständen und Instrumenten Musik und Töne erzeugen.
(Text von Gioia Dal Molin, 2018)



Hammerflöte, 2018, modified sledgehammer /
Künstlerhaus S11, Solothurn


Untitled, 2018, acrilyc and wax pastel on canvas, 70cm x 50cm /
Künstlerhaus S11, Solothurn, photo: Claudia Breitschmied




Pocket Drawings, 2017, invisible drawing performance during the opening of Volumes 2017 / Helmhaus, Zurich





Vibrato dans les os, sound performance with Antoine Humberset et Martin Jakob, 40min / CAN Centre d'art Neuchâtel


Improvisation for Neuchâtel, 2017, wall drawing with pencil, dispersion, spit, coffee and dirt / CAN Centre d'art Neuchâtel


Man in a Van, 2017, video projection, 1.5sec video loop with sound / CAN Centre d'art Neuchâtel (floor: Martin Jakob)


Kamel, video on flatscreen, 1sec Video loop with sound / CAN Centre d'art Neuchâtel


Hammerflöten, 2016–2018, modified tools / ZHdK, Zurich


Exhibition View: A Year Passed / ZHdK, Zurich








Untitled, 2017, acrilyc and wax pastel on canvas, each 70cm
x 50cm / ZHdK, Zurich



Standstill, 2016, video loop 22sec, projection, no sound / ZHdK Infotage, Zurich, photo: Romain Mader



wwork , 2016, video projection with sound / U10, Belgrad


Noise For Cars , 2016, sound via the internal speakers of the car / Museum Langmatt, Baden

Raphael Stucky thematisierte das mutwillige Zerkratzen von Autos mit Schlüsseln. Seine Audio-Arbeit störte empfindlich das gediegene Setting von Jaguar und Jugendstilvilla, erreichte aber gleichzeitig eine schillernde Balance zwischen Zerstörung und Schönheit. Seine Arbeit war nicht zu sehen, sondern zu hören: Kratz- und Schabgeräusche drangen aus dem Inneren des Fahrzeugs. (text by Markus Stegmann)


Noise For Cars , 2016, CD with booklet, audio file 32min, images from the internet, edition of 100 / Museum Langmatt, Baden



No-Key , 2016, porcelain, edition of 11 / Museum Langmatt, Baden



Parasite, 2015, A3 prints, paste, site specific intervention / ZHdK, Zurich, photo: Helvetia Leal


Schritt halten , 2015, unfired clay, glass, video loop 1.5sec / Galerie 3000, Bern



Camouflage, print on PVC, site specific installation at the gallows / Zur frohen Aussicht, Ernen









Tier 1, 2, 3 , 2015, HD video loops, cassette tape layering, sound by Olivar Garcia / Atelier Mondial Basel



Untitled, 2014, various watches / Ausstellungsraum Klingental,
Basel



Tempo, 2014, 1 sec video / Ausstellungsraum Klingental, Basel, photo: Christian Knörr



Blitzzeichnungen (lightning drawings), 2014, pen on paper, size A5 / Ausstellungsraum Klingental, Basel



Yellow Music , 2014, sound performance in collaborantion with Lysann König, 20min / Ausstellungsraum Klingental, Basel



Waltz, HD video with sound / Chur



Eck , 2014, 4min video loop, 36 drawings, pen on paper / Plattform14, Zürich

Les travaux de Raphael Stucky sont empreints de délicatesse, voire de fragilité, tout en démontrant force et intensité. Cette dualité, intrinsèque à sa démarche artistique, se retrouve – indépendamment du matériau choisi – dans chacune de ses oeuvres. La diversité et la richesse du parcours de l’artiste se reflètent également dans son cheminement esthétique.

Raphael Stucky travaille avec différents médias et supports. La vidéo ayant une place centrale dans son oeuvre ; la photographie, la performance, l’installation et le dessin sont également des modes d’expression qu’il explore et sait s’approprier tout en restant fidèle à sa démarche. Si ses thèmes de prédilection sont le quotidien et l’inaperçu ; l’Histoire, la religion et la musique représentent par ailleurs quelques-unes de ses nombreuses sources d’inspiration.

Ses oeuvres ouvrent une dimension nouvelle à notre perception du quotidien. Elles permettent un regard nouveau, ciblé – voire averti –, calqué sur celui, aiguisé, de l’artiste toujours en quête du moment, de la forme suggérée par une ombre ou encore de l’angle d’un monument mis en valeur par une source lumineuse, au détour des rues qu’il arpente. L’artiste s’em pare d’éléments d’instants de tous les jours qui, dans un premier temps, semblent désuets: des sortes de ready-mades furtifs et éphémères, saisis sur le vif. À travers cette chasse aux subtilités quotidiennes – quoique dissimulées –, c’est une nouvelle dimension esthétique pleine de poésie et d’humour, ainsi qu’une redécouverte du quotidien et de son environnement qui s’offrent au spectateur. Même si ce dernier connaît et reconnaît les sujets projetés, ils sont néanmoins présentés sous une forme inédite et par conséquent recontextualisés. En effet, la situation de présentation est totalement nouvelle, puisque – comme le veut la tradition du ready-made – les objets sont transposés dans un contexte d’exposition.
À travers son cheminement, l’artiste donne ainsi à ces composantes d’apparence anodine un rôle prépondérant. La sobriété avec laquelle il façonne et présente ses pièces fait la force de son travail. (text by Jessica Bourgoz)




Reading, 2014, GIF, 14 sec




Hope, 2014, pen without inc on paper, size A6 / Kunstraum L6, Freiburg i. Br. & Cité des Arts, Paris


Shoe, Stone, Mattress , 2013, collection of video loops, 15min / Kunsthaus Baselland, Muttenz