OPEN STUDIOS FALL
15.11.2025
For the fall session of the Open Studios, the artists in residence shared a glimpse of their ongoing research through installations, performances, screenings, and sonic or visual works.
Judith Hamann activated the library with Mixtape (La Becque), a sound collage composed of field recordings and sonic debris. In her apartment, she performed Desire Path fragments, for cello and voice, exploring repetition, gesture, and embodied memory.
Caroline Ricca Lee continued their project HOMEBODYTERRITORY, where the household becomes an extension of the body and an imagined motherland. They created ceramic figures and hybrid pieces combining textile gestures and anatomical echoes, weaving embodied resonance into form.
Alioune Thiam presented Interactive Memories – Olympic Echoes, an interactive installation inspired by the first African Games held in 1965 in Brazzaville. Using a touch table, projections, and 3D objects, the audience reactivated fragments of African trace through gesture, sound, and light.
Trevor Yeung presented Sweet Sweat, a scent-based work made of herbs, essential oils, and operculum of Rapana venosa. Engaging the sense of smell to trigger unconscious imprint, the piece evokes emotional and interspecies connections.
Zahra Malkani revealed Noorani Echo Sound, the first in a trilogy of tapes expanding her long-term project A Ubiquitous Wetness. Weaving lullabies, laments, and field recordings, she proposed a sonic memory that resists linearity.
Jazmín López presented The Origin of the World, a single-take short film inspired by Courbet’s iconic painting. The work questions obscenity, framing, and mediation by contrasting cinematic movement with painterly stillness.
Pedro Marrero Fuenmayor explored the cyborg body as a site of convergence between nature and technology. In collaboration with Leonor Sifontes, they offered a poetic vision of interdependence as a strategy for access, identity, and artistic belonging.
Samir Laghouati-Rashwan presented a series of sculptures of so-called “dangerous” dogs, alongside a sound piece blending derogatory terms used for wolves, dogs, and Arabs. By blurring these identities, the work exposes mechanisms of projection and marginalisation.
Ventura Profana shared a theology shaped by biblical interpretation, ceramic work, and digital collage. Sculpting women in supplication and reflecting on colonial violence, her work summoned pleasure, care, and remnant as acts of resistance.
La Becque’s public program is supported by the City of La Tour-de-Peilz, Loterie Romande, the Coromandel Foundation, the Philanthropique Famille Sandoz Foundation, and Pensimo Fondsleitung AG.
La Becque, 2025, photo Matthieu Croizier