Mike Bourscheid

– casa wabi 2018

Community Project

Dres Adress – Alumnos de telesecundaria, El Venado
The objective of the project was to make pieces of clay and plaster with the participants so that they fit their shins and shoulders and play with body perception and how our dress influences the way in which each one behaves, in addition to learning basic modeling techniques with these materials.

During the first meeting Mike showed his work to the participants and showed them a collection of images of armor and haute couture dresses to inspire the participants to design a set of shoulder pads and shin guards to which they could add unusual elements and force them to walk in different ways than usual. The following sessions were devoted to the making and modeling of these pieces, first making the molds in plaster and then using the clay to elaborate the final figures.

Log-Piece

  • Dos espinilleras de barro con adornos 34 x 14 cm

  • Sin Título (2018) Espinillera de barro con adornos 34 x 14 cm

Dos espinilleras de barro con adornos
34 x 14 cm

Sin Título (2018)
Espinillera de barro con adornos
34 x 14 cm

Luxembourg

lives and works in Vancouver

Mike Bourscheid, born in 1984 in Esch-sur-Alzette (Luxembourg), studied at the Université d’Aix-Marseille (France) and Universität der Künste Berlin (Germany).
Today, he lives and works in Vancouver, Canada. Recent exhibitions include: Kunstverein Braunschweig (Germany), Nanaimo Art Gallery (Canada), Cantor Fitzgerald Gallery (USA) and inSitu (Germany).
He represented Luxembourg at the 57th Venice Biennale in 2017.
Mike Bourscheid’s sculpture- and performance-based practice, which often involves his fabrication of ungainly appendages and prosthetics, channels alternate, often gender-fluid personae and abject humour as devices for exploring aspects of his own Luxeumbourgian heritage, as well as the absurdities of normative masculine expression and patriarchal power. In Bourscheid’s performances, these “costume-objects” often become actors in their own right, functioning simultaneously as “ritualistic semaphores and as theatrical props. Much of Bourscheid’s work reveals the actions and accoutrement of these characters to be uncomfortably out of step with their environment. The artist’s process of learning the eccentric suite of skills necessary to produce his work – from pattern making to baking to copper soldering – is a fundamental part of his practice, and an important means for him to query and confound stereotypes of masculine and feminine labour (which he observed early on in his own parents’ separation of skills – his mother was a seamstress and his father a welder).
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