Marcel Hörler


“There is nothing more human than art. If art were not human, it would not be art. But not everything is art, is it? That is why the question of the quality and the mediation of art is much particularly exciting, since the focus is on its nature, and thus a meaningful thematic confrontation is made possible.”

Marcel Hörler is an independent curator and cultural mediator, based in Zurich and Lichtensteig. His curatorial practice is characterized by a collaborative working method and lives from uncomfortable to sometimes bulky circumstances. He is driven by the interest in cultural practices, raised on a farm in Appenzellerland, as a son of a housewife, florist and a truck driver. He finished a Bachelor in social work with specialisation in Socioculture at the Lucerne University of Applied Sciences and Arts and The Hague University of Applied Sciences in 2017 and is going to finish a Master Art Education Curatorial Studies at the Zurich University of the Arts in 2021. Marcel Hörler is co-founder of the residency Dogo Residenz für Neue Kunst and co-publisher of HOX magazine. He is also co-founder of the Agentur für permanente Verhandlung (Agency for Permanent Negotiation), which provides the institutional framework for various productions with discursive, collaborative and transdisciplinary approaches in the fields of art and cultural mediation.

Curriculum Vitae



Transformations have always been part of cultural practices that fascinate and disturb at the same time. A living being that suddenly stops, apparently destroys itself and rises again as a completely new creature. From the privileged deities of the pre-Christian polytheistic religions to fantastic hybrid beings - half human, half animal - from legends, fairy tales and fantasy to complex metamorphosis images and stories in literature, the relationship between humans and animals is a frequently treated topic. In the wake of recent technological and medical advances, which make it possible to change bodies and exchange organs between humans and animals, or to breed human cells in animals, questions about a common future of humans and animals a new urgency. For the exhibition VEE (May 23rd to October 3rd, 2020) Badel/Sarbach, Benjamin Egger, Ernestyna Orlowska, Fridolin Schoch, Ina Weise and Patrick Ostrowsky made installative, sculptural and performative interventions on the agricultural farm Hof Blum in Samstagern. Performances, screenings and shows by Daniela Ehrsam, Ivy Monteiro, Maya Rochat and Soya The Cow accompanied the opening and the closing. Furthermore the exhibition was extended by farm talks and mimicry workshops. VEE was created in collaboration with Jakob Lienhard (graphic design), Valérie Hug (editorial) and Martin Blum (infrastructure).

Vernissage VEE

Vernissage. Photo: Stefan Tschumi

Fire Sight

Patrick Ostrowsky, FIRE SIGHT, 2020. Photo: Stefan Tschumi


Daniela Ehrsam, Aerial Hoop Show. Photo: Stefan Tschumi


Soya The Cow, My joy, my choice, my juices, 2020. Photo: Stefan Tschumi

Benjamin Egger

Benjamin Egger, my body is because of dogs, 2020. Photo: Benjamin Egger

Badel/Sarbach, Hotties in the Neighborhood, 2020. Photo: Mischa Schlegel


Ernestyna Orlowska, I’ve Been Feeling It Too (Chicken Farm Version), 2020. Photo: Stefan Tschumi

Ernestyna Orlowska, Nursing Tops & Mum Utility Pants, 2020. Photo: Mischa Schlegel

Fridolin Schoch, Knot Gathering, 2020. Photo: Stefan Tschumi

Ina Weise

Ina Weise, 0,000005483149859%, 2020. Photo: Mischa Schlegel


Ivy Monteiro, Tituba.2Point.OH!, 2020. Photo: Mischa Schlegel

Finissage VEE

Finissage. Photo: Mischa Schlegel

Plateaux Festival

Sustainability is no longer just a question of ecological circumstances such as climate change, geographical particularities or agricultural technologies but a question of production and consumption. Between April 20th and September 7th, 2019, the Plateaux Festival invited artists to discuss sustainability issues and solutions within the framework of the ecological farm Froh Ussicht in Samstagern, in the periphery of Zurich. In addition, guests* were invited to take up the theme of the festival with a Carte Blanche, in order tackle curated performances, film evenings, installations and actions with unexpected ideas. The festival was conceived in collaboration with Mateo Chacon-Pino, Lydia Perrot and Lisa Li at the invitation of Martin Blum. With artistic contributions by Artist Organizations International, Aurélie Strumans, Bergkrautsyndikat*, Carina Erdmann & Anna Kindermann, Johanna Bruckner, Johanna Kotlaris, Kunsthaus Aussersihl*, Kunst Du*, Martina Mächler, Matthew C. Wilson, Nino Baumgartner, San Keller, Simon Würsten Marin, Thomas Geiger, Violeta Burckhard Razeto*, Wagner & Friends with Carlos Fernández* and Yael Wicki.


Johanna Kotlaris, Economies, 2019. Photo: Samirah Hohl

Song Book

Song Book, San Keller, 2019. Photo: Alicia Olmos Ochoa

Druckfrische Wassermelonen

Aurélie Strumans, Green verticality to a red fiction, 2019. Photo: Alicia Olmos Ochoa


Nino Baumgartner, Shortcut, 2019. Photo: Alicia Olmos Ochoa

Do Some Agrofit

Carlos Fernández, Do Some Agrofit, 2019. Photo: Juliette Chretien


Thomas Geiger, I Want To Become a Millionaire Talks, 2019. Photo: Sandino Scheidegger

Kunsthaus Aussersihl, Aktion 016: im Gjätt, 2019. Photo: Marcel Hörler

Johanna Bruckner

Johanna Bruckner, Körper ohne Währung, 2019. Photo: Samirah Hohl

Simon Würsten Marín, Wenn Kunst Landschaft gestaltet, 2019. Photo: Samirah Hohl

Dogo Residenz für Neue Kunst

Dogo Residenz für Neue Kunst is embedded in the Rathaus für Kultur in Lichtensteig. National and International artists receive an annual scholarship. The selected artists are at the beginning of their careers and are given the opportunity to develop professionally. Site-specific art is produced at Dogo. The artistic processes, as well as the resulting works are documented in the public online archive. During the year Dogo organizes events together with the artists, such as discussions or experimental mediation formats. A further component of Dogo is the mediation of art. Dogo Kunstschule organizes a wide range of workshops and projects. The year is always rounded off by the Dogo Totale, the curated group exhibition with the works created. Dogo opened on March 1st, 2019 and was initiated by Marcel Hörler, Hanes Sturzenegger, Julia Wäckerlin, Maura Kressig and Sirkka Ammann.

2019_Dogo Residenz für Neue Kunst_1

Rathaus für Kultur. Photo: Hanes Sturzenegger

2019_Dogo Residenz für Neue Kunst_2

Rathaus für Kultur. Photo: Hanes Sturzenegger

Sonja Hornung

Sonja Hornung, Sperre II, 2019. Photo: Hanes Sturzenegger

Offenes Atelier

Open Studio. Photo: Hanes Sturzenegger

Patrick Ostrowsky

Patrick Ostrowsky, BURNING!, 2019. Photo: Hanes Sturzenegger


While the tourist takes the gondola lift to the summit and a refugee leaves his home, the digital nomad works somewhere on his boat. Never before has mobility manifested itself in so many ways as it does today. Spatial, social and virtual mobility has become the basic principle of a global and networked world. Anyone who is mobile is receptive - open to something new, perhaps better. Mobility also demands mental and physical mobility from people. On the one hand, it breaks down social structures and, on the other, reinforces the perception of existing, unequal preconditions. The broad concept of mobility was the focus of "Weiter". As part of "Weiter", Christian Eberhard, Collectif Chuglu, Damiano Curschellas, Gisa Frank, Lino Bally, Flurina Brügger, Iris Brodbeck, Marc Jenny, Matthias Rüegg and Robin Michel developed works en route. From September 9th to 23rd, 2017 they presented their works at three different traffic junctions in the lower, middle and upper Toggenburg. The exhibition was a co-production between the Kunsthalle[n] Toggenburg and Arthur Junior.


Gisa Frank, Iifahre – Usfahre, 2017. Photo: Hanes Sturzenegger


Robin Michel, Ferrari, 2017. Photo: Hanes Sturzenegger


Flurina Brügger, Iris Brodbeck, Gesprächsteppich, 2017. Photo: Hanes Sturzenegger


Collectif Chuglu, Immense comme un detail, 2017. Photo: Hanes Sturzenegger


Matthias Rüegg, Please Wait Over There, 2017. Photo: Hanes Sturzenegger

Water Walling, Collectif Chuglu, 2017. Photo: Hanes Sturzenegger

Marc Jenny

Marc Jenny, 2017. Photo: Hanes Sturzenegger

Gisa Frank, Iifahre – Usfahre, 2017. Photo: Hanes Sturzenegger

Matthias Rüegg, Ignore, 2017. Photo: Matthias Rüegg

Matthias Rüegg, You're Completely Wrong, 2017. Photo: Matthias Rüegg

Christian Eberhard, 2017. Photo: Hanes Sturzenegger

Imagine Rhythm

Imagine Rhythm used the expressiveness of dancing and filmmaking to overcome intercultural and linguistic obstacles. A group of 34 deaf and hearing young people from Armenia, Switzerland and Germany created a dance performance during ten days together with the choreographer Melanie Alexander and the dance coach Hayk Hobosyan and showed it in public space in the city of Zurich in August 2017. Through a inclusive approach, the participants could create their own movements, make use of their skills and integrate it in a contemporary dance performance. The whole activity was filmed on site by a group of participants interested in filmmaking in collaboration with the documentary filmmaker, producer Seg Kirakossian in order to document the learning process. The project was designed also for engaging the participants in social life and giving them knowledge on how they can implement social initiatives in the future. Besides the dance workshop, a group discussion was held, with a focus on the problems and needs of deaf people to promote awareness about the Convention of the Rights of Persons with Disabilities. The project was a collaboration between Subkult and Doctor Cinema NGO.


Rehearsal. Photo: Stefan Tschumi


Rehearsal. Photo: Seg Kirakossian


Rehearsal. Photo: Stefan Tschumi


Performance. Photo: Stefan Tschumi


Performance. Photo: Stefan Tschumi


Performance. Photo: Stefan Tschumi


Catherine Xu, Samuel Koch, Nina Emge, Lucie Biloshytskyy, James Stephen Wright, Domingo Chaves, Edmée Laurin, Fridolin Schoch and Martina Mächler received six orange envelopes on 9 July 2016. Six thousand Swiss francs in thousand notes - the most valuable banknote in the world. The artists had the task of spending all the money on Obere Bahnhofstrasse, the shopping street of Wil. The works that were presented to the public from July 30rd to August 13th, 2016 and were created from the purchased goods. "Shopping" dealt with a theme that has always moved society and the art world. We want it, we love it and we do it. From young to old. Whether conscious, ecological or wasteful. We shop, we choose and shopping should be fun, or not?! That's why the cross-media art action treated consumption as a act of life and asked questions. Questions about the commodity art, questions about artistic work, questions about investment. The artistic processes were documented and were part of the exhibition, which was initiated by Arthur Junior and the city of Wil in collaboration with the graphic design studio Badesaison.


Fridolin Schoch, Edmée Laurin, Fridolin Schoch, Limited Time Offer, 2016. Photo: Hanes Sturzenegger


Graphic Design, Badesaison, 2019. Photo: Hanes Sturzenegger


Lucie Biloshitskyy, papier. wert. papier, 2017. Photo: Lea Huser


James Stephen Wright, Argent, 2017. Photo: Lea Huser

Catherine Xu

Catherine Xu, 2017. Photo: Hanes Sturzenegger

Martina Mächler

Martina Mächler, 100%@work / do what you love, 2016. Photo: Hanes Sturzenegger

Domingo Chaves, Edmée Laurin, Fridolin Schoch, Limited Time Offer, 2017. Photo: Hanes Sturzenegger