• Exhibition view, automotiv, 2019, Bourses Berthoud Lissignol-Chevalier et Galland, Contemporary Art Center, Geneva, © Lucas Olivet
  • automotiv 4, detail, 2019, plaster, flock, 34 × 41 × 139 cm, © Lucas Olivet
  • Exhibition view, automotiv, 2019, Bourses Berthoud Lissignol-Chevalier et Galland, Contemporary Art Center, Geneva, © Coline Mir
  • Untitled, 2019, mixed media, 70 × 240 × 125 cm, © Lucas Olivet
  • Untitled, detail, 2019, © Coline Mir
  • Table d’examen, 2019, mixed media, 70 × 283 × 112 cm, © Coline Mir

automotiv

  • automotiv 1, 2018, 2 pieces, ready made, epoxy, plaster, 47 × 43 × 47 cm, © Coline Mir
  • automotiv 4, image, 2018, Hit edition, © Coline Mir
  • automotiv 5, image, 2018, Hit edition, © Coline Mir
  • automotiv 6, image, 2018, Hit edition, © Coline Mir
  • automotiv 2, 2018, 2 pieces, flock, plaster, 46 × 36 × 57 cm, © Coline Mir
  • automotiv 2, 2018, 2 pieces, flock, plaster, 46 × 36 × 57 cm, © Coline Mir
  • automotiv 2, 2018, 2 pieces, flock, plaster, 46 × 36 × 57 cm, © Coline Mir
  • automotiv 3, 2018, 2 pieces, plaster with lacquer, 44 × 38 × 22 cm, © Coline Mir

automotiv

  • Exhibition view, Accept Baby, Forde, Genève, 2017. © Julien Gremaud
  • Exhibition view, Accept Baby, Forde, Genève, 2017. © Julien Gremaud
  • Jeudi, Accept Baby, Forde, Genève, 2017. © Julien Gremaud
  • https://colinemir.net/wp-content/uploads/2018/09/automatedemo-1.mov
    Jeudi, 2018, demo, 00'35, © Coline Mir
  • © Coline Mir

Jeudi

2017, sculpture, automate sweat shirt ceramic, 167 × 50 × 30 cm

  • Bain de soleil, Les Prétendantes de Sainte-Clotilde, 2017. Photo: Kevin Gotkovsky
  • Bain de soleil, detail, Les Prétendantes de Sainte-Clotilde, 2017. Photo: Kevin Gotkovsky
  • Exhibition view, Les Prétendantes de Sainte-Clotilde, 2017. Photo: Quentin Lannes

Bain de soleil 

2017, sculpture, extruded polystyrene and flock coating, 100 × 53 × 76 cm, © Coline Mir

Un paio di scale 

2017, sculpture, extruded polystyrene and flock coating, scala 190 × 70 × 60 cm, scala 160 × 80 × 60 cm, © Coline Mir

  • Griffon frères, 2016, sculpture, polystyrène floqué, 150 × 71 × 47 cm, © Coline Mir
  • GRIFFON frères, 2016, "Cet air, vous entendez, là?", exposition collective, commissaires Marie Brines, Zenn Al-Charif et Leo Peru-Gely, Saint-Cergues, France, © Coline Mir

Griffon frères

  • Cooktailored, 2016, sculpture, ceramic and fabric, 42 × 44 cm, © Coline Mir
  • performance and Decoder (Muscha 1984) screen shots, A tribute to her, Genève, 2016. video recording : Gitte Hendrikx
  • performance and Decoder (Muscha 1984) screen shots, A tribute to her, Genève, 2016. video recording : Gitte Hendrikx
  • performance and Decoder (Muscha 1984) screen shots, A tribute to her, Genève, 2016. video recording : Gitte Hendrikx
  • performance and Decoder (Muscha 1984) screen shots, A tribute to her, Genève, 2016. video recording : Gitte Hendrikx
  • performance and Decoder (Muscha 1984) screen shots, A tribute to her, Genève, 2016. video recording : Gitte Hendrikx
  • performance and Decoder (Muscha 1984) screen shots, A tribute to her, Genève, 2016. video recording : Gitte Hendrikx
  • performance and Decoder (Muscha 1984) screen shots, A tribute to her, Genève, 2016. video recording : Gitte Hendrikx
  • performance and Decoder (Muscha 1984) screen shots, A tribute to her, Genève, 2016. video recording : Gitte Hendrikx
  • performance and Decoder (Muscha 1984) screen shots, A tribute to her, Genève, 2016. video recording : Gitte Hendrikx

A tribute to her

2016, performance and sculpture
 
The first part of the performance is a remake of a Decoder’s scene (Decoder by Muscha 1984). It involves Ashley Cook and Coline Mir ; friends and artists. Ashley wears a sophisticated mosaïc ; a reproduction of Ash’s blazer. They re-enact their relashionship in German and in English using Christiana and F.M.’s tormented conversation. Then, appears a skype conversation with Priscille, friend and artist. An unexpected tribute is spoken. Priscille is getting married the 16th of July.
 
© Gitte Hendrikx

  • https://colinemir.net/wp-content/uploads/2018/09/italoimprovisationpresent-1.mov
  • https://colinemir.net/wp-content/uploads/2018/09/performanceitaloimproweb-1.mov

italo improvisation

2015, performance, Performance Proletarians#2 with Sophie d’Ishtar, Scarlett Martini and Fiammentta Fabrizi, Rome Swiss Institut, 8’24

  • https://colinemir.net/wp-content/uploads/2018/09/miamiweb-1.mov

Miami

2015, video, sound recording and subtitles, Rome, 53’09
 
Miami is a one shot interview of a strip bar manager. The place, where we had an appointment with Sig. Pino is called Miami, « mi ami » as « love me ». Initially I asked Camilla Paolino to collaborate with me on this investigation for a Laptop Radio broadcast happening at the Swiss Institute in Rome. We brought ourselves into a suburban Roma strip bar to make a visit, to see, to chat with the manager and to sound record everything. MIAMI has No-images. We feel the atmosphere of the bar, listening to Pepe’s playlist and the people entertaining themselves with the ones working. Del Rey’s subtitles lustfully appear on the black screen, translating while people are explaining, interpretating, joking, questioning, talking rubbish, showing off, singing and fighting.

  • Arfrader, Kiel, 2012. Photo: François Baglin
  • Arfrader, Kiel, 2012. Photo: François Baglin
  • Arfrader, Kiel, 2012. Photo: François Baglin

Arfrader

2012, sculpture, plaster and elastic yarn, 100 × 30 × 23 cm

  • https://colinemir.net/wp-content/uploads/2018/09/DSCN0253-9-1.mov

entraînement pour une variation

2013, video, with Annabelle Mir, Manon Gachenard, Laurie Renaud, Caroline Jousse and Clémence Caffin, 7’52
 
Les filles sont prêtent, en tenue.
L’action se passe dans le vestiaire. Dans cet espace de transition, elle se prépare, elle retire ses vêtements.
Elle passe une blouse rouge. Elle noue ses lacets.
Le montage ne fait pas de distinction entre la préparation et l’évènement. Il n’y a pas de continuité dans la narration. Cela semble toujours être le Off du moment attendu.