Hi There
Hi There
Esther Hunziker
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Austria, Germany: €4 — Rest of EU, Switzerland: €6 — Rest of the world: €12
Softcover, perfect binding, 21 × 28 cm, 120 pages & booklet, saddle stitching 16 × 24 cm, 64 pages
Edition: 500, co-published by Kunsthaus Baselland, design Esther Hunziker & Astrid Seme, 2018
Writers: Ines Goldbach
‘Hi there, is there anybody out there?’ This quest for interaction with unknown others, out there, is what engages Esther Hunziker in her work. In this work she creates a relationship between huge, unknown extra-terrestrial forms and fully terrestrial, everyday ‘alien-like’ structures of being foreign in and around us. Her publication allows us insight into a personal chain of associations, in which she brings together widely varying and decentralised sources to form a comprehensive collection of material on the topic of ‘alienation’.
In these she looks for connections to estrangement within and around us — for social estrangement and isolation in the age of networked, digital communication, as well as unfamiliar, foreign alien forms and ideas. Here the Marxist theory of alienation meets young YouTube streamers’ flow of emotions, illustrations of meteorite impacts contrast with images of anonymous laboratories, research approaches from exobiology are mixed with texts from anonymous chatbots, narcissistic selfies relate to artefacts from unknown specimens, or photographs of her own sketches bump into standardised stock photography … The foreign meets the well-known; the puzzling meets the identifiable.
Edition: 500, co-published by Kunsthaus Baselland, design Esther Hunziker & Astrid Seme, 2018
Writers: Ines Goldbach
‘Hi there, is there anybody out there?’ This quest for interaction with unknown others, out there, is what engages Esther Hunziker in her work. In this work she creates a relationship between huge, unknown extra-terrestrial forms and fully terrestrial, everyday ‘alien-like’ structures of being foreign in and around us. Her publication allows us insight into a personal chain of associations, in which she brings together widely varying and decentralised sources to form a comprehensive collection of material on the topic of ‘alienation’.
In these she looks for connections to estrangement within and around us — for social estrangement and isolation in the age of networked, digital communication, as well as unfamiliar, foreign alien forms and ideas. Here the Marxist theory of alienation meets young YouTube streamers’ flow of emotions, illustrations of meteorite impacts contrast with images of anonymous laboratories, research approaches from exobiology are mixed with texts from anonymous chatbots, narcissistic selfies relate to artefacts from unknown specimens, or photographs of her own sketches bump into standardised stock photography … The foreign meets the well-known; the puzzling meets the identifiable.

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