{"id":3610,"date":"2024-06-28T11:14:43","date_gmt":"2024-06-28T09:14:43","guid":{"rendered":"https:\/\/www.kloentaltriennale.ch\/hinterland\/dev\/?p=3610"},"modified":"2025-04-16T15:01:08","modified_gmt":"2025-04-16T13:01:08","slug":"romy-nina-ruegger","status":"publish","type":"post","link":"https:\/\/www.kloentaltriennale.ch\/hinterland\/dev\/?p=3610","title":{"rendered":"Romy N\u00edna R\u00fcegger"},"content":{"rendered":"\n<details class=\"wp-block-details has-contrast-color has-text-color has-link-color wp-elements-c94dde01fc0fecbe6e02813c1a137083 is-layout-flow wp-block-details-is-layout-flow\"><summary>ENGLISH<\/summary>\n<p class=\"wp-block-paragraph\"><strong>Romy N\u00edna R\u00fcegger<\/strong> has dedicated her research since 2013 to the history of laborers, textile production, and the colonial trade in motifs and fabrics. Through an expansive intervention in a former weaving mill at the Legler Areal titled <em>A Fabric in .&nbsp;.&nbsp;. Red<\/em> (2024), through a video and sound work, and a performance entitled <em>Clich\u00e9 no Protagonist [accountable<\/em>] (2024), she questions historical narratives, juxtaposing documentary with subjective accounts. Her focus spans waterways and anticolonial and feminist narratives within Glarus\u2019 textile history.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Central to her exploration is a lost print motif dating back to 1836, depicting Turkish red fabric with a Far Eastern pattern, sourced from the Wirtschaftsarchiv in Schwanden\/Glarus. This motif serves as a catalyst for examining early industrial textile production, labor strikes by women and children, early labor rights, \u201csilent colonialisms,\u201d and Europe\u2019s involvement in the slave trade and labor migration. She prints various archival materials onto a length of fabric and\u2014guided through the building\u2014makes it the carrier of her search for the specific shade of red that made the factory owners wealthy. In doing so, she investigates the injustices of Europe and its involvement in the slave trade.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">In an immersive sonic experience, she acoustically transforms the exhibition space with 240 beats per minute, echoing the resonant impact of wooden mallet hammers used in early industrial printing presses. Her work for the Kl\u00f6ntal Triennale extends beyond Glarus to include ongoing research in Schwanden, Diesbach, Ancona, Indonesia, and Shanghai.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>Romy N\u00edna R\u00fcegger<\/strong> (*1983, CH, lives in Zurich and Berlin) has presented her recent performances at venues such as the AR\u00e9 Performing Arts Festival (Yerevan) in 2023, and had commissions and solo exhibitions at Cashmere Radio (Berlin) in 2023, at the Stedelijk Museum (Amsterdam) in 2022, and the Badischer Kunstverein (Karlsruhe) from 2020 to 2021.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><\/p>\n<\/details>\n\n\n\n<div style=\"height:50px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n<p>Romy N\u00edna R\u00fcegger<span style=\"font-weight: 400;\"> recherchiert seit 2013 zur Geschichte der Arbeiter*innen, zu Textilproduktion und kolonialem Motiv- und Stoffhandel. Mit einer raumgreifenden Intervention mit dem Titel \u00abA Fabric in \u2026 Red\u00bb (2024) im Geb\u00e4ude der ehemaligen Weberei, einer Video- und einer Soundarbeit sowie einer Performance mit dem Titel \u00abClich\u00e9 no Protagonist [accountable]\u00bb (2024) befragt Romy N\u00edna R\u00fcegger historische Narrative und konfrontiert dokumentarische mit subjektiven Erz\u00e4hlweisen \u2013 entlang von Wasserwegen sowie anti-kolonialen und feministischen Narrativen in der Glarner Textilgeschichte. <\/span><\/p>\n<p><span style=\"font-weight: 400;\">Die K\u00fcnstlerin nimmt ein verschollenes Druckmotiv von 1836 f\u00fcr ein t\u00fcrkischrotes Tuch mit einem fern\u00f6stlichen Muster aus dem Wirtschaftsarchiv in Schwanden\/Glarus zum Ausgangspunkt ihrer Recherche zu fr\u00fchindustrieller Textilproduktion, Arbeitsstreiks von Frauen und Kindern, fr\u00fchen Arbeitsrechten, \u00abstillen Kolonialismen\u00bb und Involviertheiten in den Sklavenhandel und in Arbeitsmigration. Sie bedruckt eine Stoffbahn mit verschiedenen Archivmaterialien und macht sie \u2013 durch das Geb\u00e4ude gef\u00fchrt \u2013 zur Tr\u00e4gerin ihrer Suche nach demjenigen Rot, das die Fabrikanten reich machte und geht so den Ungerechtigkeiten Europas und seiner Involviertheit in den Sklavenhandel nach. Mit 240 Beats pro Minute wird der Ausstellungsraum zudem akustisch zum Resonanzk\u00f6rper von Holzschlegel-H\u00e4mmern, die einst auf Druckmodel einschlugen und durch die Hallen der fr\u00fchindustriellen Druckstuben donnerten. <\/span><\/p>\n<p><span style=\"font-weight: 400;\">Ihre Arbeit f\u00fcr die Kl\u00f6ntal Triennale ist eine Erweiterung einer fortlaufenden Recherche an Orten wie Glarus, Schwanden, Diesbach, Ancona, Indonesien oder Shanghai.<\/span><\/p>\n\n\n<figure class=\"wp-block-image size-large content_bild\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"681\" src=\"https:\/\/www.kloentaltriennale.ch\/hinterland\/dev\/wp-content\/uploads\/2024\/06\/Bildschirmfoto-2024-07-17-um-15.17.59-1024x681.png\" alt=\"\" class=\"wp-image-4173\" srcset=\"https:\/\/www.kloentaltriennale.ch\/hinterland\/dev\/wp-content\/uploads\/2024\/06\/Bildschirmfoto-2024-07-17-um-15.17.59-1024x681.png 1024w, https:\/\/www.kloentaltriennale.ch\/hinterland\/dev\/wp-content\/uploads\/2024\/06\/Bildschirmfoto-2024-07-17-um-15.17.59-300x199.png 300w, https:\/\/www.kloentaltriennale.ch\/hinterland\/dev\/wp-content\/uploads\/2024\/06\/Bildschirmfoto-2024-07-17-um-15.17.59-768x511.png 768w, https:\/\/www.kloentaltriennale.ch\/hinterland\/dev\/wp-content\/uploads\/2024\/06\/Bildschirmfoto-2024-07-17-um-15.17.59-1536x1021.png 1536w, https:\/\/www.kloentaltriennale.ch\/hinterland\/dev\/wp-content\/uploads\/2024\/06\/Bildschirmfoto-2024-07-17-um-15.17.59-2048x1362.png 2048w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><figcaption class=\"wp-element-caption\">Romy N\u00edna R\u00fcegger, The Moving Body, The Listening Body \u2013 Moving through wires of wind, Badischer Kunstverein, Karlsruhe 2020. \u00a9 Felix Gr\u00fcnschlo\u00df <\/figcaption><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\">Romy N\u00edna R\u00fcegger (*1983, CH, lebt in Z\u00fcrich und Berlin) k\u00fcrzliche Auftritte und Einzelausstellungen fanden statt 2023 auf dem AR\u00e9 Performing Arts Festival (Yerevan), 2023 Cashmere Radio (Berlin), 2022 im Stedelijk Museum (Amsterdam), sowie 2020\u20132021 im Badischen Kunstverein (Karlsruhe).<\/p>\n\n\n\n<p class=\"has-text-align-center has-medium-font-size wp-block-paragraph\"><br>Foto: Romy N\u00edna R\u00fcegger, The Moving Body, The Listening Body &#8211; Moving through wires of wind, Ausstellungsansicht, Badischer Kunstverein, Karlsruhe 2020. \u00a9 Stephan Baumann, bild_raum<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Romy N\u00edna R\u00fcegger recherchiert seit 2013 zur Geschichte der Arbeiter*innen, zu Textilproduktion und kolonialem Motiv- und Stoffhandel. Mit einer raumgreifenden Intervention mit dem Titel \u00abA Fabric in \u2026 Red\u00bb (2024) [&hellip;]<\/p>\n","protected":false},"author":1,"featured_media":5246,"comment_status":"open","ping_status":"open","sticky":false,"template":"exhibition-einzelseite-template","format":"standard","meta":{"_EventAllDay":false,"_EventTimezone":"","_EventStartDate":"","_EventEndDate":"","_EventStartDateUTC":"","_EventEndDateUTC":"","_EventShowMap":false,"_EventShowMapLink":false,"_EventURL":"","_EventCost":"","_EventCostDescription":"","_EventCurrencySymbol":"","_EventCurrencyCode":"","_EventCurrencyPosition":"","_EventDateTimeSeparator":"","_EventTimeRangeSeparator":"","_EventOrganizerID":[],"_EventVenueID":[],"_OrganizerEmail":"","_OrganizerPhone":"","_OrganizerWebsite":"","_VenueAddress":"","_VenueCity":"","_VenueCountry":"","_VenueProvince":"","_VenueState":"","_VenueZip":"","_VenuePhone":"","_VenueURL":"","_VenueStateProvince":"","_VenueLat":"","_VenueLng":"","_VenueShowMap":false,"_VenueShowMapLink":false,"footnotes":""},"categories":[307,19],"tags":[],"class_list":["post-3610","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-de","category-exhibition"],"_links":{"self":[{"href":"https:\/\/www.kloentaltriennale.ch\/hinterland\/dev\/index.php?rest_route=\/wp\/v2\/posts\/3610","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.kloentaltriennale.ch\/hinterland\/dev\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.kloentaltriennale.ch\/hinterland\/dev\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.kloentaltriennale.ch\/hinterland\/dev\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.kloentaltriennale.ch\/hinterland\/dev\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=3610"}],"version-history":[{"count":16,"href":"https:\/\/www.kloentaltriennale.ch\/hinterland\/dev\/index.php?rest_route=\/wp\/v2\/posts\/3610\/revisions"}],"predecessor-version":[{"id":5228,"href":"https:\/\/www.kloentaltriennale.ch\/hinterland\/dev\/index.php?rest_route=\/wp\/v2\/posts\/3610\/revisions\/5228"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.kloentaltriennale.ch\/hinterland\/dev\/index.php?rest_route=\/wp\/v2\/media\/5246"}],"wp:attachment":[{"href":"https:\/\/www.kloentaltriennale.ch\/hinterland\/dev\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=3610"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.kloentaltriennale.ch\/hinterland\/dev\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=3610"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.kloentaltriennale.ch\/hinterland\/dev\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=3610"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}