Julie Magnenat (Lausanne, 1992) is a multidisciplinary artist with a special focus on sculpture, installation and sound. She holds a BA from Edhéa (2017) and a MA from Ecal. She has exhbited her work solo in Switzerland and collectively in Switzerland, Chile and Germany. Her practice focuses strongly on relationships and links that can exist between diverse living and non-living beings and objects, also in the invisible. There are some kind of a ghosts and spirits making things come together in harmony or in a more tense relationship. The concept of «pharmakon» is omnipresent in her work.

Apathia. A real pleague in our contemporary societies. Cause in the end, what’s worst than capitalism itself ? Apathia is not to feel anything anymore. To have become insensitive and to wander following ideas built in the past by others.
You walk along a river, you find yourself smiling, your face gets calmer, the river sound makes you feel tranquil. You forgot this rumor in the background. This constant flow of machines’sounds, this perpetual friction of rubber over concrete roads, motors like if they wear the main specy living over the sealevel, the wind hitting the metal shields.
As soon as you hear it again. As soon it gets back to your consciousness, you feel a tension. This rumor represents this contemporary tension that can be called anxiety. Am I enough ? Yes. Is it the end of times ? Yes. From this point on, hard not to feel the overwhelming and fast ourobouros well on his way with his self-defeating behavior. In my work, as we assume living in the Capitalocene, I’m trying to find ways to underline this condition of existence and the possibilities that could arise from it. I’m interested in the traces of past choices, the ruins of the Progress, but I’m also well aware of the derives of the present. I’m trying to make use of the world, as there’s still in my opinion some pleasure we can experience, specially experimenting from the senses. I really consider my practice’s starting point as being very observant and listening. Because for me, it’s only with being fully openend to a caring way of being and listening that we could conduct a change.
I try in my work to show spaces being inhabited by alter-designs, regular objects are diverted and their function or non-function traces a line for imagining a narrative, that’s open for the spectator to be active in. Sometimes we feel like walking in a scene, a strange decorum.