The aesthetic of Beat Kuert's work has many parallels with painting: exaltation of motion, the attention to color, light and shadow while apparently neglecting the narrative aspect. However, on a closer look we recognize that narrative has not been ignored, but employed to convey those segments of reality which are usually invisible or hard to perceive.

His art is based on the synergy between live performance, videoart and the selected (and edited) video stills which crystallize into photoprints. His intention is to create events in which the observer isn't only a spectator but ends up partecipating in the action.

For his events and installations he writes poetry and commissions ad hoc soundtracks, working closely with a group of young artists. His art is complex and not always immediately accessible. We could say it demands a careful elaboration of all visual, textual and acoustic fragments.  (Novella Prestigiovanni)






"Grave new world"
Video: Grave new world







A woman, whose only legs and boots are framed, enters an abandoned house; at the sound of his footsteps, the dormant spirits that populate the building awaken. The scenario seems almost apocalyptic: the ghosts rise from piles of rubble, come out of the walls, seem to come back to life. However, at the end of the video, the hand that had gently opened the door of the past, in the same way, closes it again.  



Venice "Donna Carnivora"
Performance "Donna Carnivora I" Venice


THE END: A girl repeatedly throws a watermelon against the wall, crushes it under her feet and devastates it, smearing the kitchen floor. The shots are mounted with an extremely syncopated rhythm so that, in some moments, such a sudden sequence leads them back to photographic images. The sound of the pulp of the watermelon, pounded by the feet of the protagonist, recalls the "click" of the camera. Colors such as lemon yellow, primary red and green prevail. The girl, after having dismembered the watermelon, avidly tastes the juicy contents, until it bites the fruit, thirsty. What is the best way to understand things? Breaking the boundaries, facing them, digging them to the end, scrutinizing the deepest details, savoring them, grasping their essence.

INCOLORE PAOLA: The waves of the sea break in a specular manner. A feminine silhouette rises and falls, creating a sort of graceful ballet that recalls the movement of the waters. Nature and technology contaminate each other, even in sound. Through a game of mirrors and images that multiply, the video represents a sort of homage both to the tradition of video art, and to the infinite creative possibilities opened up by the use of information technology.


Secrets of a Watermelon
Secrets of a Watermelon

SECRETS OF A WATERMELON: In the video work Secrets of a Watermelon (9’47” Video 2007), he creates a multiple narrative structure around a girl and a watermelon and the elusively complex implications between man and object, between people, between man and incidence; he uses these symbols to create a labyrinth of language. Does the artist see the watermelon as a lover? Or as a baby? As a sex toy? It seems that love is also an injury that accompanies you and dialogues with you day and night, meets you in your dreams and fights with you in reality. The destroyed watermelon can be food as well as blood flowing from a wound... these images make up the dual contradictory relationship between the body and matter. (And one day I had my days and I was thirsty for blood, for blood - blood-red flesh the flesh of a watermelon) These lyrics cause a displacement in our interpretation of the video work; here, if the watermelon is not an object or a person, then what is it?   (Zhang Xiaotao)






Based on a book by Herman Burger, the story is about a schoolteacher who is driven to insanity by his isolation in a remote part of Switzerland (Schilten).The teacher is full of enthusiasm but the people of the area are close-minded and lacking spirituality. He attempts to reform the local school but fails miserably in doing so.

Country: Switzerland  / Year: 1979 / Director: Beat Kuert / Producer: Barbara Eva Riesen / Photography: Hansueli Schenkel / Screenplay: Beat Kuert, Michael Maassen / Sound: Florian Eidenbenz / Starring: Michael Maassen, Norbert Schwientek / Lenght: 90 Min. / Language: German (v.o), English

Awards:  Critics Award / Special Award of the Jury /Award of the International Association Cinema d ́Arts et d ́Essai /1979 Award of the Ecumenical Jury, Film-Award Zurich (1979)


HR GYGER  Hans Ruedi Giger  (5 February 1940 – 12 May 2014) was a Swiss painter, best known for airbrush images of humans and machines linked together in a cold biomechanical relationship. Later he abandoned airbrush work for pastels, markers, and ink. He was part of the special effects team that won an Academy Award for design work on the film Alien. In Switzerland there are two themed bars that reflect his interior designs, and his work is on permanent display at the H.R. Giger Museum at Gruyères. His style has been adapted to many forms of media, including record album covers, furniture, and tattoos. (Wikipedia)

SOPHIE HUNGER : Sophie Hunger (born 31 March 1983) is a Swiss singer-songwriter, film composer, multi-instrumentalist (guitar, blues harp, piano) and bandleader, living currently in Berlin.