Born in 1981 in Zurich, Switzerland. Initiator of the artist-run space STUDIO 47 and the Amsterdam-based publishing platform STUDIO 47 PRESS.
She is currently doing an MA in Contemporary Art Practice - Critical Practice at the Royal College of Art in London (UK).
2017-2019 — Royal College of Art, London (UK)
2011-2013 — Gerrit Rietveld Academie, Amsterdam (NL)
2009-2011 — École d'Art Appliqués, Vevey (CH)
Grants, Awards & special Programs
2018 — Residency at Cité internationale des Arts, Paris (FR)
2018 - Patronagefonds Basler Kunstverein (CH)
2017 — Prix Photoforum 2017, nominee short list (CH)
2017 International short fiction film competition of the 16th Lausanne Underground Film & Music Festival luff, short list (CH)
2016 — Projektbeitrag Kunstkredit Basel-Stadt (CH)
2015 — Werkbeitrag Kunstkredit Basel-Stadt (CH)
2015 — Message in a Photo Foundation (Miap) (NL)
2015 — Gerrit Rietveld Academie (NL)
2015 — Kulturpauschale Basel-Stadt (CH)
2015 — kulturelles.bl (CH)
2014/2015 — 3Package Deal - Grant by Amsterdams Fonds voor de Kunst (AFK) and Bureau Broedplaatsen (BBP) in collaboration with FOAM, Gerrit Rietveld Academie and de Appel Arts Centre (NL)
2014/2015 — 'Talent ontmoet Talent' - Program by the Koninklijke Nederlandse Akademie van Wetenschappen (KNAW), Amsterdam (NL)
2013 — Prix Photoforum 2013, nominee short list, (CH)
2013 — Nominee Gogbot Youngblood Award 2013 (NL)
2013 — Gerrit Rietveld Award, nominee Fine Arts (NL)
2013 — European Photography Award, nominee short list
2013 - Christine Stichting (NL)
2012 - Patronagefonds Basler Kunstverein (CH)
2011 — VFG Nachwuchsförderpreis 2011, Runners up (CH)
Shows & Fairs
2018 RCA WIP Show 2018, Royal College of Art, London (UK)
2017 - Chäs u Chole - Group exhibition at Kunsthaus Langenthal (CH)
2016 - Polly's Playground @ Hotel Maria Kapel, Hoorn (NL)
2016 - Museumsnacht 2016 Van Gogh Museum Amsterdam (NL)
2016 - Ausstellung Kunstkredit Basel-Stadt 2016 Kunsthalle Basel (CH)
2016 - Céline Manz: Rythme sans fin, N° 1 - 1832. Exhibition and artist talk, de Appel arts centre, Amsterdam (NL)
2016 - 'UNLOCKED', Atopos, Athens (GR)
2016 - 'De Correspondent presenteert Artfest: De Copyrighteditie', Tolhuistuin, Amsterdam
2016 - Nieuwe Aanwinsten AMC-collectie AMC Brummelkamp Galerie, Amsterdam
2015/2016 - VBCN 10 Jaar Jong - Exhibition curated by Alix de Massiac and Vincent van Velsen, VBCN Open Space Amsterdam (NL)
2015 - With STUDIO 47: UNSEEN Photo Fair Amsterdam (NL)
2015 - With STUDIO 47: Alt_chp Alternative Art Fair Copenhagen (DK)
2015 - Dead Darlings 8 Anonymous Art Auction, Looiersgracht 60 Amsterdam (NL)
2015 - במה ללא במה - Stage without stage - Evening of multimedia performances by Yuli Kovbasnian and Céline Manz, Anna Loulou Bar, Tel Aviv (IL)
2014/2015 — TRAINS - Céline Manz & Jacqueline de Jong, Sociëteit De Kring, Amsterdam (NL)
2014 — Hungry for Love - The Exhibition: Céline Manz & Xavier Fernandez Fuentes show selected posters from Hungry for Love, WoW, Amsterdam (NL)
2014 — Unseen Photo Fair Amsterdam Downtown Program: New Dawn Paper & Volkshotel present 'The Folk Revisited' - Group Show, Volkshotel, Amsterdam (NL)
2014 — Gazing Upon My Reflection - Group Show, Schwarzwaldallee, Basel (CH)
2014 — Anna Loulou presents: Darkness No3 - Performance of Interference with Yuli Kovbasnian, Anna Loulou Bar, Tel Aviv-Jaffa (IL)
2014 — 1st - Solo Show, Island Hamburg (DE)
2014 — Interference - Presentation of the work in process "online" with Choreographer Yuli Kovbasnian, Gallery Hanut31, Tel Aviv (IL)
2013/2014 — Prix Photoforum 2013: Selection | Auswahl, Group Show, Photophorum Pasquart, Bienne (CH)
2013 — Art in Redlight 9, Art Fair, Beurs van Berlage Amsterdam (NL)
2013 — Beurs van Kleine Uitgevers, Paradiso Amsterdam (NL)
2013 — The Back Room - Impromptu Art Market and Group Show, Looiersgracht60 Project Space, Amsterdam (NL)
2013/2014 — Undercover, Museum For Contemporary Art Erata, Group Show, Saint Petersburg (RU)
2013 — (S)elected Amsterdam Art Weekend, Group Show, Castrum Peregrini, Amsterdam (NL)
2013 — (S)elected Sunday Salon, Artist Talk with Sacha Bronwasser, Castrum Peregrini, Amsterdam (NL)
2013 — (S)elected - Gerrit Rietveld Awards Show, Group Show, Castrum Peregrini, Amsterdam (NL)
2013 — ReadArt Down The Rabbit Hole, Group Show, Lichtfabriek, Haarlem (NL)
2013 — Tokyo Art Book Fair, Tokyo (JP)
2013 — Gogbot Youndblood Graduates 2013, Group Show, Tetem Kunstriumte, Enschede (NL)
2013 — Graduation Show, Group Show, Gerrit Rietveld Academie, Amsterdam (NL)
2013 — Growing Between Spaces, Group Show, Hotel Arena, Amsterdam (NL)
2013 — New Dutch Photography Talent, Group Show, GUP, Amsterdam (NL)
2012 — The Ultimate Performance — No More Boring Art, Group Show, Gerrit Rietveld Academie, Amsterdam (NL)
2012 — Foam Lab presents: ShortCut — One Day Exhibition Contest, Group Show, winning project, De Verdieping, Amsterdam (NL)
2012 — Somatic Intersection, Group Show, WG Punt, Amsterdam (NL)
2012 — Transmit, Group Show, P/////AKT, Amsterdam (NL)
2012 — Transmit, Group Show, Sint Lukas Gallery, Brussels (BE)
2011 — Rietveld Uncut — The Living Object, Group Show and Performance, The Brakke Grond, Amsterdam, (NL)
2011 — Vanitas Objects, Solo Exhibition, Provisorische Tramhaltestelle, Basel (CH)
2010 — Portes ouvertes, Group Show, CEPV, Vevey (CH)
2009 — Werkschau — Der Berner Salon, Group Show, Berne (CH)
2009 — GAF Stellt Aus, Im Viadukt, Group Show, Zurich (CH)
2015 — (Editor) Sonia de Jager: The Author Has Collected The Remarks Of Various People...", Brochure, STUDIO 47 PRESS, Amsterdam, ISBN:978-90-822850-0-0 (NL)
2015 — (Editor) Sonia de Jager & Lotte Reimann: Venus de Milo is a man, Audio cassette and foldout, STUDIO 47 PRESS, Amsterdam, ISBN:978-90-822850-1-7 (NL)
2014 — Hungry for Love, collaboration with Xavier Fernandez Fuentes, artist book, ISBN: 978-90-817584-3-7, online publication, Amsterdam (NL)
2014 — The Appropriators User Guide - Interactive PDF for the students of the Gerrit Rietveld Academie, Amsterdam (NL)
2013 — The Appropriators User Guide - The Checklist, on 1000 Things, Encyclopedia of the Studium Generale at the Royal Academy of Fine Arts, De Hague (NL)
2013 — The Appropriators User Guide, artist book, self published, Amsterdam (NL)
2013 — What Do You Know About Art, You're Not A Lawyer, Essay, PDF, Amsterdam (NL)
2016 —Atopos: UNLOCKED - Book (GR)
2015 — Het Grote Amsterdamse Kunstkalender 2016 (NL)
2015 — Up & Coming - digitaler Katalog der jungen Kunst (CH)
2013 — New Dutch Photography Talent 2013, catalogue, GUP magazine, xpublishers BV, Amsterdam (NL)
2016 - Museumsnacht 2016 Van Gogh Museum Amsterdam (NL)
2015 —VBCN 10 Jaar Jong
2009 — Vincent unser, collaboration with Andreas Schneitter. Publication of Basler Zeitung for the Van Gogh Exhibition at Museum of Arts in Basel (CH)
LIFO Magazine (print), 20.02.2016 (GR)
UNSEEN Magazine: Interview Céline Manz on STUDIO 47, 09.2015
De Volkskrant | Review on (S)elected at Castrum Peregrini by Jeanne Prisser, November 29th 2013
Leaving Traces - Graduates 2013, interviews and portraits of graduates from the Gerrit Rietveld Academie Amsterdam. Rieder Willem (Ed.), Blurb. E-book
SSBA-SALON | REVIEW: FoamLab presents Shortcut. By Joris Bunder, october 15 2012. (Team 2)
The content of this website is copyrighted, it may not be reproduced in any way or used without permission.
Set in Linux Biolinium (libre font) and Cambon (beta version) by Aude Debout
Built on Stacey
During my ongoing residency at the Cité internationale des Arts in Paris I am reproducing a text through walking. The project is inspired by Paul Auster’s novel „City of Glass“, where a private detective secretly follows a linguistic professor who is walking patterns through the streets of New York, which, when transcriped from a map, recreate letters.
In hommage to Boris Vian I use the method described by Auster to reproduce the two pages from Vian’s controvertial novel „J’irai cracher sur vos tombes“ that led to the famous law suit that ultimately played a role in his early passing. The work will be gathered on a website later in the year.
According to the legend, Boris Vian and publisher Jean d'Halluin met in Paris in 1946 to discuss an offer for a book. An admirer of Henry Miller's, the editor asked Vian to write a story in the likes of 'Tropic of Cancer'. Vian, taken by this proposal, agreed under the condition to make it a bet, vowing that he could write a best-seller in no more than two weeks time. And indeed, Vian wrote 'J'irai cracher sur vos tombes' (I shall spit on your graves) in a fortnight during a vacation in August and published the book under one of his many pseudonym's names: a fictional African-American writer called Vernon Sullivan. Due to the erotic nature of the text the editor advertised it as a “novel which the Americans didn't dare to publish” and that was presented to the French audience thanks to the translation by Boris Vian. In a twist of fate similar to that of Miller's, Vian was sued in early 1947 by the “Cartel d'action sociale et morale” because of the novel's 'obsenity' - with a looming conviction of twenty years in prison and 5000 Francs in fines. The lawsuit was initated by a protestant architect named Daniel Parker – who was previously also responsible for banning Henry Miller's 'Tropic of Cancer' in France. As a reaction to the lawsuit, Vian would write a second Sullivan novel, 'Les morts ont tous la même peau' (The Dead all have the same skin), the very month of his prosecution. Its protagonist was a triple murderer that went by the name of Dan Parker. The book was published in 1948. After an annotated edition of Vian's 'I shall spit on your graves' was found lying next to the cadaver of a woman who was the victim of a crime of passion, Vian was facing a conviction as a “murder by proxy”. Although he previously privately admitted being the novel's author, he now had to publicly deny authoring Vernon Sullivan's books. To make his case more credible, he hastily edited some English texts which he claimed to be the 'originals' that served for his 'translation'. The not-authorship was believably established and, in 1947, the prosecution suspended. With the release of the bill of amnesty of 1947 an investigating judge advised Vian to make use of the bill to finally admit his authorship in public. Which he did, under the wrong assumption that he could no longer be liable for the novel. Meanwhile Daniel Parker and his 'Association to defend morality' were waiting for the English translation of 'I shall spit on your graves' to be released to take back the stage with another lawsuit. With success; the novel was banned in 1949 and Vian was sentenced to pay a compensation that far exceeded the income he gained from his sales. Unable to pay the fine, he had to sell all his copyrights on the book. In the subsequent years, many adaptations of his novel were made, most of which against the will of the author. The one he rejected the most was a film adaption by Michel Gast. During the process of production the author vehemently fought the producers who, in his opinion, utterly failed in their interpretation of the original material. Having lost all his copyrights, the only remaining possibility to distance himself publicly from the project was to insist on his moral rights -which legally forced the producers to remove his name from the credits. When the film hit the theatres in 1959, he was suffering from complications caused by a live-long heart weakness and at first refused attend a screening. It is said that it was his friends that made him change his mind and attend the premiere. While the opening credits were still on, Vian suffered a heart attack. He died in the ambulance on the way to the hospital, at 39 years old.
Rythme sans fin - Limited Edition
Rythme sans fin
Series of case studies that investigate issues around legacy and copyright in digital age.
Website including the research here
Images: Kunsthalle Basel, courtesy of Kunstkredit Basel-Stadt, photos by Nici Jost.
Ada W. Potter's project SCREEN_ [ "screenspace"] is an email-based art "space" that produces monthly artworks, sent/received via email. Each participating artist creates a unique artwork for each installment. Email recipients are asked to subscribe. This opt-in structure is meant to elicit an engaged audience and help the project avoid spam status. Subscribe here
OPEN CALL: tweet art at POTUS
STUDIO 47's Open Call for contributions to a Twitter exhibition on the occasion of POTUS' 100th day in office is now online.
Featuring works by: Christine Bachmann Triss Baranyai Conrad Bosshard Tim Bruening Benjamin Bubb Andrew J Burford Hannah Celsius Yun-hua Chen Amelia Clark Clementine BG Catalina Codreanu Caterina Detti Float010 Femke Habets Wolfgang Herbst Esben Holk Sonia de Jager Nikolaos Kachrimanis Amanda Karlsson Audrey Keenan Wednesday Kim KubistaBolve Kika Kyriakakou Fabian Landewee Ruth Legg Jana Leňová Stephano Loiacono Filippo Luini Céline Manz Achim Mohné Tony Morton Yotaro Niwa Lee Nutbean Bianca Pedrina Eric Peter Kaspar Ravel Btihal Remli Ksenia Safina Katerina Sidorova Navin Thakoer Esther de Vlam Ketch Wehr Paula Winkler
Follow us on Twitter @STUDI047 while we are tweeting art at POTUS!
START: 08 PM CET
STUDIO 47 has launched an open call for artworks that will be tweeted at the 45th President of the United States
The open call offers an online platform for works and initiatives that counterweight his ongoing dark rhetorics. Artists from all backgrounds are invited to send works that can be presented on a website and shared by a tweet.
The artworks should carry a positive message and stand for social engagement and equality of any kind.
You can find more information here: Open Call
Please send your work or link to: firstname.lastname@example.org
If you think that it could interest artists that you know, please feel free to share!
Comission for the group show "Chäs u Chole" at Kunsthaus Langenthal, Switzerland.
"Chees and Coal. A photographer from Gondiswil, Johann Schär (1855–1938) 3 x 3 contemporary approaches. David Elsener, Nicolas Fernandez, Matthias Gabi, Nina Haab, Urs Mannhart, Céline Manz, Valerio Moser, Nele Stecher, Maria Ursprung.
Stately farms, beautiful cows, proud cheese makers, youngsters and cheerful women picking berries in the forest – Johann Schär's photographic documentation of a sedate rural life at the beginning of the 20th Century has no comparison in its density and quality in Switzerland. The documentation of the coal surface-mining in and around Gondiswil is unique and gives an impressive testimonial of this rare activity of mining in Switzerland.
For the first time, Kunsthaus Langenthal presents an overview of Johann Schärs's (1855–1938) work. Over 4000 glas-negatives, historic prints, album and postcards were secured, researched and digitalized by Fotobüro Bern.
The exhibition was curated by Markus Schürpf (Fotobüro Bern) and will be accompanied by an extensive catalogue that will be published on 18 March 2017.
Under the title «3x3» the Kunsthaus invited nine artists and writers to approach the photographs by Johann Schär from a contemporary perspective and react to them with a new work." Source: Website Kunsthaus Langenthal
Based on some of Hitchcock's notorious scenes that subverted the 'Hays Code' and an artist's trials and tribulations to make the perfectly legal piece of appropriation art.
Details taken from screenshots of online museum catalogues which are not allowed to show reproductions of artworks from their own collections due to copyright limitations. Commissioned work for the 100th issue of the Dutch Art Magazine Tubelight. With interview.
Website Original habitat
Html, Google Street View, digital collageCommissioned work for the Van Gogh Museum Amsterdam on the occasion of Museumsnacht 2016, curated by Vincent van Velsen. 'Original habitat' takes the painting 'Flowering Plum Tree (after Hiroshige)' from 1887 by Vincent van Gogh back to the environment that inspired Hiroshige’s original painting 'Plum Tree Teahouse at Kameido' (1857). Accompanied by the singing of the Japanese Bush Warbler bird and with help of Google Streetview 'Original habitat' invites the viewer to a virtual walk through the plum tree fields of the Kairaku-en Park in Mito, Japan.
The Triangular Nature of Desire
Contribution to the Pictures Generation issue of Metropolis M Magazine. Based on Sherrie Levine’s Statement from 1982, including plagiarized quotes by Sherrie Levine, Sarah Charlesworth and Barbara Kruger. Samples of interviews and artist statements given between 1981 and 2016:
THE TRIANGULAR NATURE OF DESIRE
I worked for many years using images from popular culture, but never related to the word ‘appropriation’. I'm not interested in stealing images. I want to know what this strange world of images is that I live in. This is why I deconstruct images, take them apart, to find out what they're made of, how they function and how they picture the world for us. A symbolism is attached to particular images, becomes marked in the unconscious. So I abstract objects that socially carry a strong emotional charge or symbolic significance. The arrangement of images is loaded in many different ways which allows multiple interpretations. The viewer completes the act of interpretation. It allows even contradictory interpretations. To me, a picture is a tissue of quotations drawn from the innumerable centers of culture. To exorcise it, to rearrange it, to reshape it, to make it my own, involves unearthing it, describing it, deploying it in form, and then rearranging it. Casting my world back into the given world. It’s like a reformulation of language, a recreation of a new metaphor. I'm interested in as many layers of meaning as possible. The more you know, the more meaning and the more history can be brought to bear on it. Ergo the viewer is very, very important. He is the tablet on which all the quotations that make up an image are inscribed without any of them being lost, so to speak. I did a lot of commercial art for money and freelance illustration stuff when I was younger, so I do understand how magazines work. I use images drawn from that culture because I see in each piece an interface between my personal subjectivity and a given world. Being socialized within similar constructs of myth and desire, it is not surprising that most people are comforted by popular depictions. Sometimes these images emerge as ‘semblances of beauty;’ as confluences of desirous points. We have seen that pictures and words have become the rallying points for certain assumptions. There are assumptions of truth and falsity and the narratives of falsity are called fictions. In most design work, received images and words are arranged and aligned to produce assigned meanings. I am engaged in rearranging and realigning these dominant assignments. The idea is to broaden the discussion, not to narrow it. The idea of multiple images and mechanical reproduction fascinates me. When I first started to work as a commercial artist, I was really interested in how advertisers dealt with the idea of originality. If they wanted an image, they'd just take it. It was never an issue of morality; it was always an issue of utility. There was no sense that images belonged to someone; all images were in the public domain and as an artist I found that very liberating. I just imagined that they're mine. Over the years, I've come to the conclusion that copyright and so-called intellectual property is a euphemism for corporate control in so many ways. But don't get me wrong. I believe in copyright. I do. But it's been taken to such lengths. So much of our sense of art history is based on copies, fakes and forgeries. I think of originality as a trope. It's not that I don't think that the word ‘originality’ means anything or has no meaning. I just think it's gotten a very narrow meaning lately. What I think about in terms of my work is broadening the definitions of the word ‘original’. Sometimes when things are almost original they can be as disturbing. When it is close, but not the same, as the original, in my mind, there's a different kind of tension. The pictures I make are really ghosts of ghosts; their relationship to the original images is tertiary, that is, three or four times removed. I like to celebrate doubt and uncertainty. To provoke answers but don’t give them. To withhold absolute meaning by incorporating parasite meanings. As far as the visual presentation goes, I purposely avoid a high degree of difficulty. A lot of people are like me: they have relatively short attention spans. So I shoot for the window of opportunity. Whatever power, whatever affect the images have, works on its own. A new work should have as much aura as its reference. The tension between the reference and the new work doesn't really exist unless the new work has an auratic presence of its own. It's all about what the work makes you think about. Somebody would say, ‘They’re really awful but come to think of it, they’re really beautiful.’ A picture's meaning lies not in its origin, but in its destination.
STUDIO 47 is a collective reflection on property and ownership in digital age initiated by Céline Manz. The studio’s activities are complemented on the website studio-47.org. For information on the program please contact us here
Studio 47 Press
BANNERs - Online Catalogue
Catalogue accompanying the installation BANNERs - 8 artworks and the corporate logos of their respective owners.
Hungry for Love - The Exhibition
Improvised dance piece superposed with a live sound performance created by two laptops which were connected via Skype, recorded at Banana Beach in Tel Aviv in May 2014.
Collaboration with Israeli dancer and choreographer Yuli Kovbasnian.
Banana Beach is a variation on the "Interference" piece we repeatedly performed in Tel Aviv earlier in 2014.
Commissioned work for the Dutch Art Magazine Metropolis M for the issue Nr 3 2014 - Summer of Love & Hate: Tribute to Ed van der Elsken.
After Ed van der Elsken's 'Beethovenstraat 1967'
Courtesy of Metropolis M
Hungry for love
Enter here for free download.
In collaboration with Xavier Fernandez Fuentes .
"What, they seem to be asking, can one do after all has been displayed, when provocation becomes conformist? Sisley’s milk-fed version of porno chic may just lead the way out of the rut and into a new season. It’s got all the subversion, with ironic, wholesome, goodness to boot" - M.K.Hoffman on Sisley's 2001 campaign 'Hungry for love' shot by Mr. Richardson.
"Terry's a really cool guy. There's something very beautiful, very raw about it and I'm glad that there is a photographer out there that does work like that." — Noot Seear, Model
44 ColorWave poster prints in DIN A1
Nominated for the Gerrit Rietveld Award in Fine Arts 2013
The Appropriator's User Guide
Limited edition, 25 copies.
Thesis, Gerrit Rietveld Academie Amsterdam. Practical tips when working with appropriated images, including an introduction on copyright, frequently asked questions about the notions of “copy” and “originality”, a chapter with case studies, a checklist and a list with further links.
Click here for the thesis essay "What do you know about art, you're not a lawyer".
1 hour 28 minutes
1 hour 28 minutes 04 seconds of clapping, webcam performance.
Video and audio installation.
Winning the game
when the rules have been changed
Photographs under hypnosis.
Rietveld Uncut is an annual happening at the Brakke Grond Art Center in Amsterdam. Each department of the Gerrit Rietveld Academie is invited to contribute a project. The 2011's edition theme was the living object. Taking the photographer's ambition to "photograph the beyond" by word, I asked a hypnotist to hypnotize me during the opening and convince me that I was able to photograph the invisible.
The Rorschach Tableaux are Inspired of Roland Barth's Essay "Camera Lucida", in which he describes his unability to -literally - recognize himself on photographs. These 4/5 inch analog portraits were abstracted in the darkroom. Following the principle that photography is a highly subjective medium, the viewer is invited to create his own projection on the person portrayed.
Extract from a series of photograms made with objects which belonged to my grandparents. Both of them had the habit of keeping whatever could be re-used again. When clearing their flat we found an extensive collection of neatly stored everyday objects; used wrapping paper, buttons, corks, elastics, nails, etc. I felt very attracted by these little objects which told my family's story over many years. Before throwing them away I used a part of this collection for an abstracted photographic review. By lightening the photographic paper indirectly with mirrors, glass and punctual lights, the photograms don't show their imprints but just their reflections.
The Vanity Collection
Three photographs a day, all uploaded before midnight, dealing with the double meaning of the french word "vanité" (meaning both vanity and vanitas). As the capacity of free websites is limited, the project ended the day no further pages could be added.