How to live a Complicated Life
2022, mural, variable dimensions
Tbilisi Triennial, Center for Contemporary Art, Tbilisi
How to live a complicated live is a list of simple statements suggesting that “living complicated” is
as much about an approach to everyday life as it is about productivity. The simple, clichéd statements
are well known from supposedly inspirational social media content or advice literature.
With the reversion of suggesting how to make live complicated, instead of how to keep it simple,
the statements become humorously direct and almost stubborn. By doing so, the work invites to
think about self-optimization, the notion of complicacy and whether it necessarily has to be negatively
All Orgasms are Clitoral
2022, performance, 10 min, 3D printed object, QR code
Diploma show ZHdK, Zürich
The myth of the vaginal and the clitoral orgasm is persistent. Even tough it had been proven wrong
long ago. In her work Zaugg clears up with popular half knowledge, rants about Freud and provides
knowledge abou the clitoris. A 3D printed model of the clitoris visualizes the anatomy. With a
QR code the audience has acces to a PDF. In this file, the artist lays open the bibliography about
the research, so the audience can educate themselves.
Read the PDF by scanning the QR Code.
Stills Video Documentation
I am a very complicated woman
Collaboration with Murielle Gräff
2022, Installation, various dimensions, plexiglas, horrmones, paper
Rausch, groupshow Zentralwäscherei Zürich
In this work, the two artists deal with hormonal contraception and its effect on emotions, psyche and character. Hormones can make you euphoric or depressed, give you energy or make you passive, can trigger sexual desire or put it to sleep.
Both artists have used hormonal contraception for a long time. One continues, the other abstained from it. The blisters of each pill are displayed in the showcase. In addition, there is a list of all hormonal contraceptives approved in Switzerland.
The statements on the wall are taken from the diary of one of the artists. When she stopped taking the pill, she noticed sometimes irritating changes in her behaviour, character and psyche. In order to register and control the developments, she began to keep diary-like records.
Translated into English, these subjective observations take on a general validity. The letters made of Plexiglas refer to advertising and entrepreneurial settings. Through this formal design, the personal statements are lifted into a universal context, emotionality, which often has negative connotations, experiences validation.
What remains is a dissonance: Is it necessary to accept that women are strongly influenced by their hormones? Or, conversely, is the realization that women are more than a social construct an empowerment? Wouldn‘t it even be trivializing to leave biology out of the equation and define women as passive recipients of social roles? Who, moreover, all come from a patriarchal society?
The artists move in this field of tension with this work and offer approaches to reflect on their own relationship between biology and feminism.
Bridge over troubled bubbles
2022, performance, 20 min
Commissioned work for Kulturstiftung des Kantons Thurgau
Covid, discussions about the vaccine, political initiatives, the US-elections – during the past years lots of issues showed that social disruption became bigger. How should we discuss, when we even cannot agree on the same facts? How can we get over this? And what roles can art and culture play? Can art contribute as a cohesive element? And if so, should this be an aim?
On the occasion of the 30 years jubilee, the cultural foundation of the canton Thurgau organized a discussion on this issue with politicians, artists and journalists. The Performance is a commissioned work for this event.
Base for the performance are interviews with protagonists. Zaugg casted people from different bubbles, people with diverse backgrounds – from young art lovers to elderly conspiracy theorists, and talked to them about social disruption, their understanding of art and culture, their fears or about the pandemic. Based on transcriptions of the interviews she wrote a script for the performance, in which she included the statements of the protagonists in form of questions from an imaginary audience.
Stills Video Documentation