• Describe your work in five words.
Five words? ‘Politician.’ ‘Woman.’ ‘Lobster.’ ‘Grass.’ That’s it! No, wait… the ‘sex of a fish’. The big sex of a sports fish. Or maybe the little sex of a small fish… a stickleback. You know what I’m saying, right?
• Why did you apply and what will you do, if you win the Schweizer Kunstpreis?
When the seagulls follow the trawler, it is because they think sardines will be thrown into the sea.
• What is your favorite work of art?
An artist in my eyes, is someone who can lighten up a dark room. I have never and will never find difference between the pass from Pelé to Carlos Alberto in the final of the World Cup in 1970 and the poetry of the young Rimbaud. There is in each of these human manifestations an expression of beauty which touches us and gives us a feeling of eternity.
• Where do you come from, where are you now, where are you going?
It’s my country but I don’t want to know about France – I was born there but I feel English.
Florence Jung, a Swiss Art Awards participant in the Art section, has a piece included in a group show at Yvon Lambert gallery in Paris. The show, titled “Scars of Our Revolution,” examines the contemporary construction of our subconscious in response to an ever-more virtualized reality. Along with David Horvitz, Sean Raspet, Brad Troemel and Andrew Norman Wilson, Jung (in collaboration with Nicolas Leuba) engages in exploring the essential absence facing our unbounded channels of digital communication, media and language. None of the artworks in the show are bound to the space-time of the exhibition, thus the viewer is exposed to the void similarly grounding our electronic psyches. Jung’s work is most often executed as happenings or interventions set in public or semi-public spaces. Ephemeral and undocumented, what keeps the works alive—and what defines them as artworks—is that they are passed on by word of mouth. Unrecorded, -tweeted, -gram’d, -pinned or -posted, her works exist in a dimension seemingly at odds with our digital revolution.