Simone Steinegger holds a Masters in Fine Arts – Contemporary Art Practice from the Institute of Art Gender Nature at the University of Art and Design in Basel under the supervision of Prof. Chus Martínez. She completed the postgraduate Programa de Artistas directed by Inés Katzenstein at the Universidad Torcuato di Tella in Buenos Aires. Her artistic training began with the extended preliminary course at the School of Design led by Enrique Fontanilles and continued with a Bachelor's degree in Fine Arts under the mentorship of Matthias Frey, Muda Mathis and Alexandra Navratil. Simone owns a certificate of advanced studies in sculpture with various crafts – including a pedagogical license to teach creative practice. Her studio is based in Basel and she has lived and worked in Switzerland, Germany, Italy, France, Portugal, Argentina and Mexico, among others. - Simones work thrives in multiple tactics that span the expanded fields of sculpture, performance, game- and public art projects. The inspiration comes from a range of human desires, both physical and psychological, including the cognitive demands of the human mind in relation to the environment. That opens a wide field of concepts, critical thinking within political, social and cultural life to which she refers. For the production of her pieces, she collects and processes recycled materials and researches various strategies. In addition to experimentation, the inclusion of chance and loss of control play an equally important role as well as the concrete analysis and of given circumstances, sometimes engaging in hazardous and exciting activities. A great motivation is the exploration of unknown territory and no medium is excluded from her playful extensions. The playful is explicitly defined as the utopian-childish playful, including fun, radicalism, being in love and fictional rules that can be reversed at any time. Simone celebrates a surrealist approach and offers a different perspective on the nature of things and the world in its possible alternative forms. Her visual language comprises processual and performative facets in connection with sculpture, movement or interaction as essential components, with the aim of creating an immersive atmosphere that enables a multi-sensory exploration of her work.
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