Dimitrina Sevova | Zurich University of the Arts (original) (raw)
Papers by Dimitrina Sevova
International Public Symposium at Pfingstweidstrasse 6, 8005 Zurich, ZHdK, 14/15/16 November 2013... more International Public Symposium at Pfingstweidstrasse 6, 8005 Zurich, ZHdK, 14/15/16 November 2013, around the notion of play, its processual (diagrammatic) and political and aesthetic potential in times of cognitive capitalism and its mechanisms of control over life and the urban environment.
Written and curated by Dimitrina Sevova in collaboration with Christoph Brunner
SPEAKERS: Paolo Caffoni, Giusy Checola, Binna Choi, discoteca flaming star (Cristina Gómez Barrio & Wolfgang Mayer), David Dibosa, Anja Kanngieser, Maurizio Lazzarato, Isabell Lorey, m-a-u-s-e-r (Mona Mahall & Aslı Serbest), Carmen Mörsch, Daniel Morgenthaler, Roberto Nigro, Susanna Perin (S.M.U.R.), Gerald Raunig, Adrian Rifkin, Kerstin Schroedinger, Marco Scotini, Diego Segatto, Joshua Simon, Kuba Szreder, Axel Wieder, Espace Temporaire (Magdalena Ybarguen).
RESPONDENTS: Jens Badura, Christoph Brunner, Karmen Franinović, Roberto Nigro, Romy Rüegger, Dimitrina Sevova.
PERFORMANCES: Chiara Fumai, T. Melih Görgün, Michael Hiltbrunner, Franziska Koch, David Maroto.
SCREENINGS: Marcelo Expósito, Silvia Maglioni and Graeme Thomson, RELAX (chiarenza & hauser & co).
MICROPOLITICAL WORKSHOP: Wiktoria Furrer & Sebastian Dieterich in cooperation with Elke Bippus.
Newspaper published by Sinopale, International Sinop Biennial, Turkey and Corner College, Zürich ... more Newspaper published by Sinopale, International Sinop Biennial, Turkey and Corner College, Zürich on the occasion of the exhibition Collecting the Future. 2014–2006–2016. A Sinopale Exhibition, which took place at Corner College from 13 February to 14 March 2015. The exhibition collected in a non-linearly organized display at Corner College reflections, documentation, archive and research materials as well as some art works from the five editions of Sinopale – International Sinop Biennial, in-between its past, present and future. Especially for this exhibition, the Swiss participants in the past two editions reflected on their work at Sinopale in contributions between archive, research and art work.
Interview with Uriel Orlow by Dimitrina Sevova in the context of his personal exhibition Geraniu... more Interview with Uriel Orlow
by Dimitrina Sevova
in the context of his personal exhibition Geraniums Are Never Red at Corner College, Zurich, 1 April - 6 May 2017.
Poster for the exhibition End!angered Species - Plantation Memories and Other Troubled Voices in ... more Poster for the exhibition End!angered Species - Plantation Memories and Other Troubled Voices in the Age of the Capitalocene at Kunstverein Wagenhalle e.V. in Stuttgart, Germany, 28 October 2016 - 26 November 2016, curated by Dimitrina Sevova. Based on Dimitrina Sevova's e-mails with notes and instructions regarding the graphic design.
The exhibition project End!angered Species critically and aesthetically interrogates some contrad... more The exhibition project End!angered Species critically and aesthetically interrogates some contradictory aspects of the current dominant concept of the Anthropocene in the economy of knowledge, and rather prefers to take further the alternative terms of the Capitalocene and the Plantationocene. It proposes an other geopolitics of knowledge through a practice of telling stories whose counter-memory goes beyond the asymmetrical distribution of knowledge in the rhetoric cartography of power to invent potentialities of emancipation and visibility, new social relations and distribution of bodies across space and time.
The project expresses indignation with the current human and nonhuman conditions in the Capitalocene and opens up an emergent social space where a new political body can be imagined. It is a process that requires more sociality and more stories, non-innocent and non-entertaining stories in which the referent is no longer inevitably on Nature’s side, and the speaker on the side of society and the subject. The stories, in which “there is no linguistic play of a speaking subject on the other,” envelop new forms of thought, whose quasi-objects have not been named yet. They belong to nature and technology, to the collective, to discourse and the social, but do not play out stereotypes of the “Real as Nature, narrated as discourse, collective as Society, existential as Being: […] the quasi-objects that the moderns have caused to proliferate.”
The exhibition project End!angered Species critically and aesthetically interrogates some contrad... more The exhibition project End!angered Species critically and aesthetically interrogates some contradictory aspects of the current dominant concept of the Anthropocene in the economy of knowledge, and rather prefers to take further the alternative terms of the Capitalocene and the Plantationocene. It proposes an other geopolitics of knowledge through a practice of telling stories whose counter-memory goes beyond the asymmetrical distribution of knowledge in the rhetoric cartography of power to invent potentialities of emancipation and visibility, new social relations and distribution of bodies across space and time.
The project expresses indignation with the current human and nonhuman conditions in the Capitalocene and opens up an emergent social space where a new political body can be imagined. It is a process that requires more sociality and more stories, non-innocent and non-entertaining stories in which the referent is no longer inevitably on Nature’s side, and the speaker on the side of society and the subject. The stories, in which “there is no linguistic play of a speaking subject on the other,” envelop new forms of thought, whose quasi-objects have not been named yet. They belong to nature and technology, to the collective, to discourse and the social, but do not play out stereotypes of the “Real as Nature, narrated as discourse, collective as Society, existential as Being: […] the quasi-objects that the moderns have caused to proliferate.”
in: Binna Choi, Maria Lind, Emily Pethick, Nataša Petrešin-Bachelez (eds.), Cluster: Dialectionar... more in: Binna Choi, Maria Lind, Emily Pethick, Nataša Petrešin-Bachelez (eds.), Cluster: Dialectionary (Berlin: Sternberg Press, 2014).
About the book:
Contributions by Can Altay, Ayreen Anastas and Rene Gabri, Ricardo Basbaum, Céline Condorelli, Cooperativa Crater Invertido, Mark Fisher and Nina Möntmann, Daniel Foucard, Rebecca Gordon-Nesbitt, Elaine W. Ho, Annette Krauss, Mattin, Andrea Phillips, Marion von Osten, Dimitrina Sevova, Simon Sheikh, Steven Ten Thije
Cluster is a network of eight contemporary visual arts organizations that are each located in residential areas situated on the peripheries of European cities, extending to the Middle East with one member in Holon, Israel. Each organization is focused on commissioning, producing, and presenting contemporary art, and the nature of the work is often experimental, process-driven, involves research, is based on working with international and local artists, and often engages with diverse publics on a local level.
Compiled after a series of meetings in each organization over a period of two years, Cluster: Dialectionary aims to find new ways to position this work and the work of contemporary visual arts organizations more broadly, particularly in relation to wider social, political, and cultural concerns.
This is the overall concept, written by Dimitrina Sevova in collaboration with T. Melih Görgün, f... more This is the overall concept, written by Dimitrina Sevova in collaboration with T. Melih Görgün, for the 5th edition of Sinopale – International Sinop Biennial, which took place in Sinop, Turkey, from 12 July to 31 August 2014.
Books by Dimitrina Sevova
Creative Assemblages // Yaratıcı Asamblajlar, 2013
Group exhibition Artists: Benjamin Egger, Petra Elena Köhle & Nicholas Vermot Petit-Outhenin, Fer... more Group exhibition
Artists: Benjamin Egger, Petra Elena Köhle & Nicholas Vermot Petit-Outhenin, Ferhat Özgür, Elodie Pong, Roee Rosen, Riikka Tauriainen, Borjana Ventzislavova
Curator: Dimitrina Sevova
Co-curators: Mürteza Fidan, T. Melih Görgün
Siemens//sanat, Istanbul, Turkey, 06.02. - 05.03.2013
The exhibition unfolds in the border zone in-between the ruins of the image, its regime of re-presentation and re-production, of text and texture, in-between semiotic and semantic, in-between grammar and experience in the metabolism of exchange in social production. It deploys and enacts an exhibition display as a territory of performative assemblages of re-used ready-made opinions, estranged from imaginary machines, from mass mythologies and their mediatic regimes as paradigms of the neurotic forms of intense communication and the biopolitical embedding of a systematization, stimulation and interiorizing on the basis of algorithmic abstraction. The exhibition asks the viewers to move their view from the imaginary and abstract to the concrete sensual object and aesthetic experience, on the principle of observation, geometrical reasoning and theatricality.
Grup sergisi
Sanatçılar: Benjamin Egger, Petra Elena Köhle & Nicholas Vermot Petit-Outhenin, Ferhat Özgür, Elodie Pong, Roee Rosen, Riikka Tauriainen, Borjana Ventzislavova
Küratör: Dimitrina Sevova
Eş-küratörler: Mürteza Fidan, T. Melih Görgün
Siemens//sanat, İstanbul, Türkiye, 06.02. - 05.03.2013
Bu sergi, imgenin temsili ve yeniden üretiminin arasında kalan kalıntılardan oluşan, sosyal üretimin değişen ve dönüşen yapısının dil bilgisi ve pratik anlamları arasında bulunanları ve buna ek olarak, metin ve dokunun göstergesel ve anlamsal oluşumlarının sınır hattında yerleşik olanları gözler önüne sermektedir. Yeniden kullanılan hazır-yapıt fikirlerin edimsel birleştirmelerinden oluşturulan, imgesel makinelerden, kitlesel mitolojilerden, aşırı iletişimin nevrotik biçimlerinin tezahürü olan medyatik yöntemlerden ve biyo-politik sistemleştirmeyle, uyarım ve içselleştirme girişimlerinden, algoritmik soyutlamayla farklılaştırılmış bir alan bu serginin teşhiri olarak burada konumlandırıldı ve sahneleniyor. Sergi izleyicilerinden, görüş alanlarını, gözlem, geometrik akıl yürütme ve tiyatrallık ilkelerine göre imgesel ve soyut olandan somut duysal objelere ve estetik deneyime çevirmelerini talep ediyor.
Reality Manifestos, or Can Dialectics Break Bricks, 2012
The project takes as its point of departure the "first entirely detourned film in the history of ... more The project takes as its point of departure the "first entirely detourned film in the history of cinema": Can Dialectics Break Bricks? (1973) by René Viénet, which adapts a spectacular film to a radical critique of cultural hegemony. The French word détournement is employed here for stealing, derailing, appropriating, misusing, re-enacting, rather than the specific term of appropriation that has acquired a special aura in an art-historical context, following John Stezaker's recognition that "appropriation is actually a misleading term, because it suggests mastery."
Christoph Schenker and Andrea Portmann (eds.), Mind the Gap. Kunsthof Zürich 1993-2013, Materialien und Dokumente, edition fink, Zürich, 2013
In einer kollektiven, prozesshaft angelegten Untersuchung wird das soziale und politische Mikrokl... more In einer kollektiven, prozesshaft angelegten Untersuchung wird das soziale und politische Mikroklima von offentlichen Spielanlagen der Stadt Zürich erforscht und das gesammelte Material produktiv gemacht. Von Mai bis Oktober finden im Kunsthof und den benachbarten Quartieren Ereignisse mit unterschiedlichen thematischen Schwerpunktsetzungen statt - leitend sind das Spiel und sein dynamisches Potenzial. Der Kunsthof fungiert dabei als Labor, Begegnungsort, Ort für Interventionen, als Forum für polemische Diskussionen, als Bar und als Open-Air-Kino.
Konzept von und kuratiert von Dimitrina Sevova
Teilnehmende: Sarah Bernauer, Black Milk (Zoë Darling, Anina Thug, Eve Trash), Amélie Brisson-Darveau, Christoph Brunner, Rebekka Burckhardt, Mortimer Chen, Zoë Darling, DJ Dott, Benjamin Egger, Peter Emch, Fokus-Grupa (Iva Kovač, Elvis Krstulović), Ralf Homann, Silvan Kappeler, Franziska Koch, Petra Elena Kohle, Burçak Konukman, Aurelio Kopainig, Sandra Lang, Rudi Maier, Konstantinos Manolakis, Daniel Morgenthaler, Carmen Mörsch, Carlos Motta, Garrett Nelson, Cat Tuong Nguyen, Kika Nicolela, Rayelle Niemann, Tobias Oehmichen, Sam Porrit, Jacqueline Poloni, Aoife Rosenmeyer, Romy Rüegger, Lisa Schiess, Dimitrina Sevova, Aria Spinelli, Bettina Stehli, Riikka Tauriainen, Navid Tschopp, Francesco Urbano Ragazzi, Nicolas Vermot Petit-Outhenin, Stefan Wagner, Anne Käthi Wehrli
International Public Symposium at Pfingstweidstrasse 6, 8005 Zurich, ZHdK, 14/15/16 November 2013... more International Public Symposium at Pfingstweidstrasse 6, 8005 Zurich, ZHdK, 14/15/16 November 2013, around the notion of play, its processual (diagrammatic) and political and aesthetic potential in times of cognitive capitalism and its mechanisms of control over life and the urban environment.
Written and curated by Dimitrina Sevova in collaboration with Christoph Brunner
SPEAKERS: Paolo Caffoni, Giusy Checola, Binna Choi, discoteca flaming star (Cristina Gómez Barrio & Wolfgang Mayer), David Dibosa, Anja Kanngieser, Maurizio Lazzarato, Isabell Lorey, m-a-u-s-e-r (Mona Mahall & Aslı Serbest), Carmen Mörsch, Daniel Morgenthaler, Roberto Nigro, Susanna Perin (S.M.U.R.), Gerald Raunig, Adrian Rifkin, Kerstin Schroedinger, Marco Scotini, Diego Segatto, Joshua Simon, Kuba Szreder, Axel Wieder, Espace Temporaire (Magdalena Ybarguen).
RESPONDENTS: Jens Badura, Christoph Brunner, Karmen Franinović, Roberto Nigro, Romy Rüegger, Dimitrina Sevova.
PERFORMANCES: Chiara Fumai, T. Melih Görgün, Michael Hiltbrunner, Franziska Koch, David Maroto.
SCREENINGS: Marcelo Expósito, Silvia Maglioni and Graeme Thomson, RELAX (chiarenza & hauser & co).
MICROPOLITICAL WORKSHOP: Wiktoria Furrer & Sebastian Dieterich in cooperation with Elke Bippus.
Newspaper published by Sinopale, International Sinop Biennial, Turkey and Corner College, Zürich ... more Newspaper published by Sinopale, International Sinop Biennial, Turkey and Corner College, Zürich on the occasion of the exhibition Collecting the Future. 2014–2006–2016. A Sinopale Exhibition, which took place at Corner College from 13 February to 14 March 2015. The exhibition collected in a non-linearly organized display at Corner College reflections, documentation, archive and research materials as well as some art works from the five editions of Sinopale – International Sinop Biennial, in-between its past, present and future. Especially for this exhibition, the Swiss participants in the past two editions reflected on their work at Sinopale in contributions between archive, research and art work.
Interview with Uriel Orlow by Dimitrina Sevova in the context of his personal exhibition Geraniu... more Interview with Uriel Orlow
by Dimitrina Sevova
in the context of his personal exhibition Geraniums Are Never Red at Corner College, Zurich, 1 April - 6 May 2017.
Poster for the exhibition End!angered Species - Plantation Memories and Other Troubled Voices in ... more Poster for the exhibition End!angered Species - Plantation Memories and Other Troubled Voices in the Age of the Capitalocene at Kunstverein Wagenhalle e.V. in Stuttgart, Germany, 28 October 2016 - 26 November 2016, curated by Dimitrina Sevova. Based on Dimitrina Sevova's e-mails with notes and instructions regarding the graphic design.
The exhibition project End!angered Species critically and aesthetically interrogates some contrad... more The exhibition project End!angered Species critically and aesthetically interrogates some contradictory aspects of the current dominant concept of the Anthropocene in the economy of knowledge, and rather prefers to take further the alternative terms of the Capitalocene and the Plantationocene. It proposes an other geopolitics of knowledge through a practice of telling stories whose counter-memory goes beyond the asymmetrical distribution of knowledge in the rhetoric cartography of power to invent potentialities of emancipation and visibility, new social relations and distribution of bodies across space and time.
The project expresses indignation with the current human and nonhuman conditions in the Capitalocene and opens up an emergent social space where a new political body can be imagined. It is a process that requires more sociality and more stories, non-innocent and non-entertaining stories in which the referent is no longer inevitably on Nature’s side, and the speaker on the side of society and the subject. The stories, in which “there is no linguistic play of a speaking subject on the other,” envelop new forms of thought, whose quasi-objects have not been named yet. They belong to nature and technology, to the collective, to discourse and the social, but do not play out stereotypes of the “Real as Nature, narrated as discourse, collective as Society, existential as Being: […] the quasi-objects that the moderns have caused to proliferate.”
The exhibition project End!angered Species critically and aesthetically interrogates some contrad... more The exhibition project End!angered Species critically and aesthetically interrogates some contradictory aspects of the current dominant concept of the Anthropocene in the economy of knowledge, and rather prefers to take further the alternative terms of the Capitalocene and the Plantationocene. It proposes an other geopolitics of knowledge through a practice of telling stories whose counter-memory goes beyond the asymmetrical distribution of knowledge in the rhetoric cartography of power to invent potentialities of emancipation and visibility, new social relations and distribution of bodies across space and time.
The project expresses indignation with the current human and nonhuman conditions in the Capitalocene and opens up an emergent social space where a new political body can be imagined. It is a process that requires more sociality and more stories, non-innocent and non-entertaining stories in which the referent is no longer inevitably on Nature’s side, and the speaker on the side of society and the subject. The stories, in which “there is no linguistic play of a speaking subject on the other,” envelop new forms of thought, whose quasi-objects have not been named yet. They belong to nature and technology, to the collective, to discourse and the social, but do not play out stereotypes of the “Real as Nature, narrated as discourse, collective as Society, existential as Being: […] the quasi-objects that the moderns have caused to proliferate.”
in: Binna Choi, Maria Lind, Emily Pethick, Nataša Petrešin-Bachelez (eds.), Cluster: Dialectionar... more in: Binna Choi, Maria Lind, Emily Pethick, Nataša Petrešin-Bachelez (eds.), Cluster: Dialectionary (Berlin: Sternberg Press, 2014).
About the book:
Contributions by Can Altay, Ayreen Anastas and Rene Gabri, Ricardo Basbaum, Céline Condorelli, Cooperativa Crater Invertido, Mark Fisher and Nina Möntmann, Daniel Foucard, Rebecca Gordon-Nesbitt, Elaine W. Ho, Annette Krauss, Mattin, Andrea Phillips, Marion von Osten, Dimitrina Sevova, Simon Sheikh, Steven Ten Thije
Cluster is a network of eight contemporary visual arts organizations that are each located in residential areas situated on the peripheries of European cities, extending to the Middle East with one member in Holon, Israel. Each organization is focused on commissioning, producing, and presenting contemporary art, and the nature of the work is often experimental, process-driven, involves research, is based on working with international and local artists, and often engages with diverse publics on a local level.
Compiled after a series of meetings in each organization over a period of two years, Cluster: Dialectionary aims to find new ways to position this work and the work of contemporary visual arts organizations more broadly, particularly in relation to wider social, political, and cultural concerns.
This is the overall concept, written by Dimitrina Sevova in collaboration with T. Melih Görgün, f... more This is the overall concept, written by Dimitrina Sevova in collaboration with T. Melih Görgün, for the 5th edition of Sinopale – International Sinop Biennial, which took place in Sinop, Turkey, from 12 July to 31 August 2014.
Creative Assemblages // Yaratıcı Asamblajlar, 2013
Group exhibition Artists: Benjamin Egger, Petra Elena Köhle & Nicholas Vermot Petit-Outhenin, Fer... more Group exhibition
Artists: Benjamin Egger, Petra Elena Köhle & Nicholas Vermot Petit-Outhenin, Ferhat Özgür, Elodie Pong, Roee Rosen, Riikka Tauriainen, Borjana Ventzislavova
Curator: Dimitrina Sevova
Co-curators: Mürteza Fidan, T. Melih Görgün
Siemens//sanat, Istanbul, Turkey, 06.02. - 05.03.2013
The exhibition unfolds in the border zone in-between the ruins of the image, its regime of re-presentation and re-production, of text and texture, in-between semiotic and semantic, in-between grammar and experience in the metabolism of exchange in social production. It deploys and enacts an exhibition display as a territory of performative assemblages of re-used ready-made opinions, estranged from imaginary machines, from mass mythologies and their mediatic regimes as paradigms of the neurotic forms of intense communication and the biopolitical embedding of a systematization, stimulation and interiorizing on the basis of algorithmic abstraction. The exhibition asks the viewers to move their view from the imaginary and abstract to the concrete sensual object and aesthetic experience, on the principle of observation, geometrical reasoning and theatricality.
Grup sergisi
Sanatçılar: Benjamin Egger, Petra Elena Köhle & Nicholas Vermot Petit-Outhenin, Ferhat Özgür, Elodie Pong, Roee Rosen, Riikka Tauriainen, Borjana Ventzislavova
Küratör: Dimitrina Sevova
Eş-küratörler: Mürteza Fidan, T. Melih Görgün
Siemens//sanat, İstanbul, Türkiye, 06.02. - 05.03.2013
Bu sergi, imgenin temsili ve yeniden üretiminin arasında kalan kalıntılardan oluşan, sosyal üretimin değişen ve dönüşen yapısının dil bilgisi ve pratik anlamları arasında bulunanları ve buna ek olarak, metin ve dokunun göstergesel ve anlamsal oluşumlarının sınır hattında yerleşik olanları gözler önüne sermektedir. Yeniden kullanılan hazır-yapıt fikirlerin edimsel birleştirmelerinden oluşturulan, imgesel makinelerden, kitlesel mitolojilerden, aşırı iletişimin nevrotik biçimlerinin tezahürü olan medyatik yöntemlerden ve biyo-politik sistemleştirmeyle, uyarım ve içselleştirme girişimlerinden, algoritmik soyutlamayla farklılaştırılmış bir alan bu serginin teşhiri olarak burada konumlandırıldı ve sahneleniyor. Sergi izleyicilerinden, görüş alanlarını, gözlem, geometrik akıl yürütme ve tiyatrallık ilkelerine göre imgesel ve soyut olandan somut duysal objelere ve estetik deneyime çevirmelerini talep ediyor.
Reality Manifestos, or Can Dialectics Break Bricks, 2012
The project takes as its point of departure the "first entirely detourned film in the history of ... more The project takes as its point of departure the "first entirely detourned film in the history of cinema": Can Dialectics Break Bricks? (1973) by René Viénet, which adapts a spectacular film to a radical critique of cultural hegemony. The French word détournement is employed here for stealing, derailing, appropriating, misusing, re-enacting, rather than the specific term of appropriation that has acquired a special aura in an art-historical context, following John Stezaker's recognition that "appropriation is actually a misleading term, because it suggests mastery."
Christoph Schenker and Andrea Portmann (eds.), Mind the Gap. Kunsthof Zürich 1993-2013, Materialien und Dokumente, edition fink, Zürich, 2013
In einer kollektiven, prozesshaft angelegten Untersuchung wird das soziale und politische Mikrokl... more In einer kollektiven, prozesshaft angelegten Untersuchung wird das soziale und politische Mikroklima von offentlichen Spielanlagen der Stadt Zürich erforscht und das gesammelte Material produktiv gemacht. Von Mai bis Oktober finden im Kunsthof und den benachbarten Quartieren Ereignisse mit unterschiedlichen thematischen Schwerpunktsetzungen statt - leitend sind das Spiel und sein dynamisches Potenzial. Der Kunsthof fungiert dabei als Labor, Begegnungsort, Ort für Interventionen, als Forum für polemische Diskussionen, als Bar und als Open-Air-Kino.
Konzept von und kuratiert von Dimitrina Sevova
Teilnehmende: Sarah Bernauer, Black Milk (Zoë Darling, Anina Thug, Eve Trash), Amélie Brisson-Darveau, Christoph Brunner, Rebekka Burckhardt, Mortimer Chen, Zoë Darling, DJ Dott, Benjamin Egger, Peter Emch, Fokus-Grupa (Iva Kovač, Elvis Krstulović), Ralf Homann, Silvan Kappeler, Franziska Koch, Petra Elena Kohle, Burçak Konukman, Aurelio Kopainig, Sandra Lang, Rudi Maier, Konstantinos Manolakis, Daniel Morgenthaler, Carmen Mörsch, Carlos Motta, Garrett Nelson, Cat Tuong Nguyen, Kika Nicolela, Rayelle Niemann, Tobias Oehmichen, Sam Porrit, Jacqueline Poloni, Aoife Rosenmeyer, Romy Rüegger, Lisa Schiess, Dimitrina Sevova, Aria Spinelli, Bettina Stehli, Riikka Tauriainen, Navid Tschopp, Francesco Urbano Ragazzi, Nicolas Vermot Petit-Outhenin, Stefan Wagner, Anne Käthi Wehrli