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  • sogetsu ikebana workshop by certified practitioner Hedy Leung

    as part of PF25 cultural projects' autumn programme, the following sogetsu ikebana Japanese flower arrangement workshops are now available in Basel in November: Group workshop: 04.11 1800-1930h maximum of 6 participants per workshop Private workshop available dates: Saturday 5 Nov Wednesday 9 Nov Wednesday 16 Nov Thursday 17 Nov private workshop 4 to 6 participants Where: Pfeffergässlein 25, 4051 Basel via Nadelberg 33 How much: CHF80 per person What is included: demonstration, tools and materials will be provided, flowers can be taken with you after the workshop Registration is essential: email your name, contact number and date of workshop to connect@PF25.org Find out more about sogetsu ikebana, the workshop and the practitioner here. Support PF25 cultural projects!

  • PF25 autumn pop-up 'hands project' opening on Spalenberg 30 on Friday 21 October 17-20h

    As part of this autumn programme, certified sogetsu ikebana practitioner Hedy Leung will lead workshops to share her practice with the participants. Vessels used in the workshop are made especially for the workshop by artist Dorothee Sauter. When: Fridays 21.10 28.10 1800-1930h; Saturdays 29.10 4.11 1630-1800h Where: Pfeffergässlein 25, 4051 Basel How much: CHF80 per person (limited to a maximum of 6 in a workshop) What is included: Demonstration, tools and materials will be provided, flowers can be taken with you after the workshop Registration is essential: email your name, contact number and date of workshop to connect@PF25.org. Private workshop available on request

  • Homeland in Transit: Streetscapes

    Community Event: Let's have a drink and walk in the streets of Hong Kong Friday 2 September 18-20 or till it ends!

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  • HOMELAND in TRANSIT 2020 Chapters

    BIOGRAPHY​ ​ Angelika is committed to engaging with the essence of local culture, heritage and valued stories, and driving a continuous dialogue between local and international communities. In 2018, she co-founded with Donald Mak PF25 cultural projects , a non-profit organisation which aims to build mutual understanding, to develop an intercultural network and to generate creative energies between Basel and Hong Kong. Angelika is the founder and curator of the exhibition series 'Homeland in Transit ' (Basel 2019-2022; Berlin 2020-2021; Murrhardt 2021; Zollikon 2022; Hong Kong, Ishigaki, Freiburg 2023) channelling narratives and imaginations of ‘homeland’ from Hong Kong perspectives: borders, boundaries, roots, diaspora, cultural identity, colonial ideologies and interweaving them with experiences and voices from other parts of the world. Angelika was engaged as an expert for Asia Society Switzerland’s ‘Generation Asia’ programme in 2021 and engaged as a speaker for institutions including Konrad Adenauer Stiftung, Germany and University of Hong Kong. Her other curatorial projects include 'Dorothee Sauter: Geology, Cooking Hearts and other stories' (Basel, 2021); 'Hong Kong Video Talks ' (Museumsnacht, Atelier Mondial, Basel/Münchenstein, 2022); 'Difference/Indifference ' by Isaac Chong Wai commissioned by Kunsttage Basel (Basler Münster, 2022) and the public programme for ‘Brice Marden: Inner Space’ (Kunstmuseum Basel, 2022). ​ Before moving to Switzerland in 2017, Angelika was the founding director of MILL6 Foundation in Hong Kong bringing it to ICOM museum status and achieving the Award for Arts Promotion by Hong Kong Arts Development Council in 2016. She was on the public art advisory panel of Mass Transit Railway Hong Kong between 2013 and 2017. Her previous curated projects in Hong Kong include The Mills Heritage Project 'Chim↑Pom - It's the Wall World' (2015), the public art by VHILS at The Mills (2015), ‘Tracing some places. Leung Chi Wo’ (2015); ‘Social Fabric. New works by Kwan Cheung Chi and Mariana Hahn’ in collaboration with David Elliott (2016), ‘Old Master Q: What The @#$% Is Going On? Original Works by Alphonso Wong’ (2014); ‘Beyond the Paper Screen - An Exhibition of Japanese Erotic Prints from The Uragami Collection’ (2013), ‘NEW INK: an exhibition of ink art by post 1970 artists from The Yiqingzhai Collection (2013)’ and as the director of MILL6, she co-organised with Zhejiang Art Museum ‘Textile Thinking – The International Symposium’ at Hangzhou Triennial of Fiber Art 2016. ​ HOMELAND in TRANSIT PARTNER ORGANISATIONS Ein Fenster inmitten der Welt A window in the middle of the world

  • Sogetsu Ikebana by Hedy Leung | ONKILI

    Ikebana gives life to the present moment. Every moment counts, not one moment repeats itself. Ikebana is an encounter between humans and plants. Flowers and stems are given a new life when they are arranged in a vessel or a space. Ikebana allows flowers and vessels, which exist on their own, to become one. A different harmonious beauty is created. Ikebana is a tactile art. Enjoying visual movement through our hands, it allows us unique opportunities to experience the flower, the vessel and space. In the practice of Ikebana, we will explore the flower’s rhythm flows in our imaginations and the inspiring energy between the organic vessels and the plant arrangements. ​ ​ ​ Hedy Leung Qualification 2022 member of the Sogetsu Teachers' Association Sogetsu Ikebana Teachers' Diploma 3rd Grade Sankyu Shihan ​ 2017-2022 studied under the tutelage of sensei Mr Ho Hin Shing (1st Riji), Hong Kong ​ Exhibition & Project 2022 PF25 cultural projects 'hands project ' project concept and sogetsu ikebana demonstrations and workshops ​ Location Basel, London, Hong Kong ​ Coming Workshops ​ ​ ​ Basel Oct-Nov 2022 Ishigaki Jan 2023 Enquiries Sogetsu Ikebana by Hedy Leung About the artist ​ ​ Hedy Leung is a member of the Sogetsu Teachers' Association. She learnt under the tutelage of sensei Mr Ho Hin Shing (1st Riji) since 2017. In 2022, she received the Sogetsu Ikebana Teachers' Diploma (3rd Grade Sankyu Shihan). Hedy is a certified senior Chinese medicated food dietician with the recognition of the International General Chinese Medicated Meal of Self Recovery Association as well as the Commercial Vocational Skill Certificate from The State-owned Assets Supervision and Administration Commission of the State Council, The PRC. In 2020, Hedy graduated with the Diploma Program in Practical Chinese Medicine (Chinese Medicine Nutritional Studies) at The University of Hong Kong School of Professional and Continuing Education. She has a bachelor degree of Social Science in Psychology Studies, Hong Kong Metropolitan University.

  • Dorothee Sauter: Geology, Cooking Heart, Curious and other stories

    Dorothee Sauter: Geology, Cooking Heart, Curious and other stories Vernissage: Friday 11 June 2021 16h – 20h Exhibition: 12 – 26 June 2021 Thursdays - Saturdays 13h – 19h Pfeffergässlein 25 (via Nadelberg 33), 4051 Basel, Switzerland Curator: Angelika Li Enquiry: info@onkili.com ​ ​ ​ Dorothee Sauter’s solo exhibition “Geology, Cooking Heart, Curious and other stories” (Basel, 2021) offers an extraordinary landscape populated by ambiguous free life forms. One may wonder if the scene is terrestrial or underwater? A myriad of mind games. The enigmatic sculptures stand as a cluster with their own wills: breathing, yelling, grasping; mouths, eyes, ears; protuberances, limbs, phalli; outward, inward, gesturing an urgency of energy discharge, if not explosion. Our eyes drift along these tentacular movements which suggest a potent life force with immense resilience and willpower. The colours are unmanipulated raw pigments from different continents, disarming in their utmost honesty. Placed together they create an almost-palpable fluctuation in atmosphere and temperature. Are they vessels carrying distant ancestral memories, dwellings inhabited by organisms beforetime, rhizomes in evolution, symbols of fertility or a group of quasi-objects extending from Bruno Latour’s concept of a ‘parliament of things’? Sauter wittily muddles our sense of time, shifting prehistory and future. Staying curious, Sauter’s technical interest is geared towards the properties and transformation of clay minerals, metal oxides and the vitreous state of rocks, with aspirations to bring together testimonies from completely different geological time periods into her work. To Sauter, her sculptures are films for the mind’s eye: fragments of memory whether conscious or subconscious, moments in a lecture, images in the newspaper, something she has seen but cannot fully understand, stimulation by science and literature. Her goal is not only the finished sculptures and vessels, it is also her developing process: the peculiar poetry of becoming, the dance between intent and chance. ​ Excerpt from the curatorial essay by Angelika Li ​ Click here for the List of Work ​ ​ Photo: Nici Jost Photos: Marco Schibig Photos: Nici Jost Artist Website Launch ​ Complementing Dorothee Sauter's first solo exhibition in Basel which opens on Friday 11 June, we are very happy to announce the launch of her artist website, a collaboration between the artist and the curator: Dorothee Sauter: Geology, Cooking Heart, Curious and other stories ​ Angelika Li Basel, Spring 2021​ ​ Geology is a constant topic for Swiss artist Dorothee Sauter. Growing up surrounded by forests in Aarau, Switzerland, she is the eldest of four daughters whose father was a chemist and mother was a teacher. At an early age, Sauter developed a curiosity about nature and the evolution of life, thinking of the oscillation between the prehistoric and the contemporary. “What is the origin of life?” is Sauter’s question. Intrinsically scientific and humanistic, her thinking processes imagine the times before human existence. The primal living substance – earth – has become Sauter’s main source and medium in her quest. Sauter describes her working method as ‘thinking with the hands’. For her, the working process with clay is a balancing act between control and letting go, giving freedom to the material to work with, sculpting her emotions. Throughout the act of morphing, her hands leave marks on the material that constitute memories, both tangible and intangible; sealed and irreversible. During her formative years in the 1970s, Sauter was exposed to diverse cultures and practices of ceramics: from the distinctive regional techniques in Switzerland, to the well-preserved ancient wood-firing heritage in Sifnos, Greece, to the Asian aesthetics, philosophy and practice inspired by traditional Japanese porcelain-making in Henrichemont, France. She studied under professor Setsuko Nagasawa from Kyoto at the Ecole des Arts Décoratifs (section céramiques) in Geneva, a school open to new influences and international exchanges at the time. Sauter’s quest did not just stop there. Instead, she embarked on multiple journeys to the United States from the 1980s which marked pivotal points in her artistic development. She advanced her study on sculpture at the San Francisco Art Institute; explored cutting-edge techniques in Sun Valley, Idaho; and was exposed to the freedom of expression and experimentation of the Californian ceramicist community. In the American Southwest a new horizon on prehistoric cultural resources led her into an archaeological investigation on the Mimbres pottery culture and Anasazi cliff dwelling architecture, providing a prelude to her pursuit of landscape architecture starting in 2000. Along Sauter’s journey are the inspirational lives and work of feminist revolutionaries including Iris von Roten, Simone de Beauvoir, Eva Hesse, Lynda Benglis and Donna Haraway. Fresh from her graduation, Sauter worked at the first woman-led pottery workshop in Switzerland founded by Margrit Linck where she engaged in utilitarian ceramics in the Bauhaus style. While running her own studio in Bern, Switzerland, Sauter was also sporadically teaching and working on public works commissioned by the City of Bern. Her work began addressing the social structures and norms she encounters: gender identity, woman’s role and domesticity. She reengineered everyday utilitarian objects associated with gender stereotypes in the domestic realm, for instance in ‘Leibesrolle’ (1989) and ‘Pfeifenwunsch’ (1990), into large-than-life-size sculptures with mutated bends, edges, and twists against their functionality. Rounded parts become piercing angles, acting as a rebellious statement, if not a forceful protest. These feminist narratives were demonstrated in her exhibition at Kunsthalle Bern and two-person exhibition with Silvia Bächli in Burgdorf in the early 1990s. As a young mother, Sauter was eager to find out more about human biology – again: “What is the origin of life?” – and this directed her to the medical archive at the University of Bern where she found research materials on the phenomenon of sperm deformity and its relation to sickness, inflammation, damage and death. This extends to the curiosity about what constitutes a ‘normal’ and ‘abnormal’ life form in morphology. The research was instrumental to the ‘Spermien’ series (1992) and shed light on the ‘Einzelstück (Hand) aus Verhinderung’ series (1994), a connection between the hands and the cerebellum (the “little brain”) that controls our muscles, movements and balance. Eva Hesse’s influence on the pursuit of new material is evident. In Sauter’s “Red Vinyl” series, she revisits her childhood and the recurring subject of gender identity. Casts from domestic objects of deceased women and her sons’ toy cars, representations of body parts and human organs oscillate between death and birth, beauty and vulgarity, pop up conspicuously in her solo exhibitions at Galerie Francesca Pia, Bern in 1996 and the University of Illinois in 2001. Sauter experiments with non-traditional materials such as a bold red plastic which is challenging to handle and provocative to the senses, especially to the olfactory. The radical colour and texture resonate flesh and blood, a rebirth of forgotten domestic objects. In 2000, together with her family, Sauter moved to the United States, and it was also when her cultivated passion for landscape architecture brought her into a master’s programme at the University of Illinois, Urbana-Champaign. Particularly significant for Sauter’s artistic transformation were the practicum at Champaner-Pavagadh Archaeological Park in Gujarat, India in 2003 and her involvement in the renovation in 2005 of Houston's Emancipation Park, one of the oldest public parks in the city, before she started practicing in a landscape architecture office in Houston. She returned to Switzerland in 2016, living in Basel with a studio in Rheinfelden. Sauter’s solo exhibition “Geology, Cooking Heart, Curious and other stories” (Basel, 2021) offers an extraordinary landscape populated by ambiguous free life forms. One may wonder if the scene is terrestrial or underwater? A myriad of mind games. The enigmatic sculptures stand as a cluster with their own wills: breathing, yelling, grasping; mouths, eyes, ears; protuberances, limbs, phalli; outward, inward, gesturing an urgency of energy discharge, if not explosion. Our eyes drift along these tentacular movements which suggest a potent life force with immense resilience and willpower. The colours are unmanipulated raw pigments from different continents, disarming in their utmost honesty. Placed together they create an almost-palpable fluctuation in atmosphere and temperature. Are they vessels carrying distant ancestral memories, dwellings inhabited by organisms beforetime, rhizomes in evolution, symbols of fertility or a group of quasi-objects extending from Bruno Latour’s concept of a ‘parliament of things’? Sauter wittily muddles our sense of time, shifting prehistory and future. Staying curious, Sauter’s technical interest is geared towards the properties and transformation of clay minerals, metal oxides and the vitreous state of rocks, with aspirations to bring together testimonies from completely different geological time periods into her work. To Sauter, her sculptures are films for the mind’s eye: fragments of memory whether conscious or subconscious, moments in a lecture, images in the newspaper, something she has seen but cannot fully understand, stimulation by science and literature. Her goal is not only the finished sculptures and vessels, it is also her developing process: the peculiar poetry of becoming, the dance between intent and chance. ​ ​ "Clay is full of sculptural possibilities - with its malleability and its ambivalence between permanence and transition, its reflection of nature and existence, especially of life cycles. Pottery is an ancient craft that explores these qualities directly with the use of hands and fingers. While working with the wet material, repetitively poking, hitting, squeezing, in a process that connects the living and the dead, I let the hands guide me. I describe my daily work as thinking with the hands."

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