Leonie Brandner

Collaboration with opera singer Nina Guo ‘If Only’ is the contemperoray reinterpretation of the story surrounding the mysterious, magical mandrake plant in the form of a performance for 50 singers. Photo: Eugenia Mashenko, Bildrechte, Kunstlokal Festival (2024)

Collaboration with opera singer Nina Guo ‘If Only’ is the contemperoray reinterpretation of the story surrounding the mysterious, magical mandrake plant in the form of a performance for 50 singers. Photo: Eugenia Mashenko, Bildrechte, Kunstlokal Festival (2024)

Collaboration with opera singer Nina Guo ‘If Only’ is the contemperoray reinterpretation of the story surrounding the mysterious, magical mandrake plant in the form of a performance for 50 singers. Photo: Eugenia Mashenko, Bildrechte, Kunstlokal Festival (2024)

Collaboration with opera singer Nina Guo ‘If Only’ is the contemperoray reinterpretation of the story surrounding the mysterious, magical mandrake plant in the form of a performance for 50 singers. Photo: Eugenia Mashenko, Bildrechte, Kunstlokal Festival (2024)

Collaboration with opera singer Nina Guo ‘If Only’ is the contemperoray reinterpretation of the story surrounding the mysterious, magical mandrake plant in the form of a performance for 50 singers. Photo: Eugenia Mashenko, Bildrechte, Kunstlokal Festival (2024)

Collaboration with opera singer Nina Guo ‘If Only’ is the contemperoray reinterpretation of the story surrounding the mysterious, magical mandrake plant in the form of a performance for 50 singers. Photo: Eugenia Mashenko, Bildrechte, Kunstlokal Festival (2024)

Three Becomes Two Becomes One Becomes None explores the medicinal and magical mandragora plant, and the many stories that grew around it across history. Artist Leonie Brandner's writing moves from the beginning of recorded storytelling toancient Egyptian and Greek mythology, tracing the lines the mandragora has left behind in medicinal books, folklore and eventually the impact the plant had in the hunt on so-called witches in the Middle Ages. Gently weaving her own perception and encounters with the plant through her rigorous historical research, Leonie Brandner creates a kaleidoscopical image of human-plant-imaginations across time. photo: Emilia Martin

Three Becomes Two Becomes One Becomes None explores the medicinal and magical mandragora plant, and the many stories that grew around it across history. Artist Leonie Brandner's writing moves from the beginning of recorded storytelling toancient Egyptian and Greek mythology, tracing the lines the mandragora has left behind in medicinal books, folklore and eventually the impact the plant had in the hunt on so-called witches in the Middle Ages. Gently weaving her own perception and encounters with the plant through her rigorous historical research, Leonie Brandner creates a kaleidoscopical image of human-plant-imaginations across time. photo: Emilia Martin

Collaboration with my deceased grandad Frank Basler During his lifetime, my grandad Frank Basler was an avid crystal collector. But his interest went beyond mere collecting, he was invested in investigate the inner life of crystal, to find an access to their world beyond their surface. Over the course of 30 years, the time in which I was born, he not only collected but photographed his extensive collection of crystals. My memory of my grandad is largely one of sitting next to him, him telling me about his crystals and trying to make visible their inner structures with torches. Upon his death in August 2023, he didn’t only leave behind his collection but his extensive notes written in minuscule pencil writing and photographs. I was invited to do a joint residency at Forum Schlossplatz in Aarau as part of the program Residenz Residenz and asked if my residency partner could be my deceased grandad Frank Basler and his crystal collection. Over the course of the residency I have created three rooms, with three degrees of crystal abstraction. Starting with my grandad’s crystals, I created three-dimensional wooden structures reminiscent of my granddad’s boxes with oversized, soft fabric-crystals and slides to end in an immaterial kaleidoscopic re-iminaginations of my grandad’s crystals in the last room.

Collaboration with my deceased grandad Frank Basler During his lifetime, my grandad Frank Basler was an avid crystal collector. But his interest went beyond mere collecting, he was invested in investigate the inner life of crystal, to find an access to their world beyond their surface. Over the course of 30 years, the time in which I was born, he not only collected but photographed his extensive collection of crystals. My memory of my grandad is largely one of sitting next to him, him telling me about his crystals and trying to make visible their inner structures with torches. Upon his death in August 2023, he didn’t only leave behind his collection but his extensive notes written in minuscule pencil writing and photographs. I was invited to do a joint residency at Forum Schlossplatz in Aarau as part of the program Residenz Residenz and asked if my residency partner could be my deceased grandad Frank Basler and his crystal collection. Over the course of the residency I have created three rooms, with three degrees of crystal abstraction. Starting with my grandad’s crystals, I created three-dimensional wooden structures reminiscent of my granddad’s boxes with oversized, soft fabric-crystals and slides to end in an immaterial kaleidoscopic re-iminaginations of my grandad’s crystals in the last room.

Collaboration with my deceased grandad Frank Basler During his lifetime, my grandad Frank Basler was an avid crystal collector. But his interest went beyond mere collecting, he was invested in investigate the inner life of crystal, to find an access to their world beyond their surface. Over the course of 30 years, the time in which I was born, he not only collected but photographed his extensive collection of crystals. My memory of my grandad is largely one of sitting next to him, him telling me about his crystals and trying to make visible their inner structures with torches. Upon his death in August 2023, he didn’t only leave behind his collection but his extensive notes written in minuscule pencil writing and photographs. I was invited to do a joint residency at Forum Schlossplatz in Aarau as part of the program Residenz Residenz and asked if my residency partner could be my deceased grandad Frank Basler and his crystal collection. Over the course of the residency I have created three rooms, with three degrees of crystal abstraction. Starting with my grandad’s crystals, I created three-dimensional wooden structures reminiscent of my granddad’s boxes with oversized, soft fabric-crystals and slides to end in an immaterial kaleidoscopic re-iminaginations of my grandad’s crystals in the last room.

Collaboration with my deceased grandad Frank Basler During his lifetime, my grandad Frank Basler was an avid crystal collector. But his interest went beyond mere collecting, he was invested in investigate the inner life of crystal, to find an access to their world beyond their surface. Over the course of 30 years, the time in which I was born, he not only collected but photographed his extensive collection of crystals. My memory of my grandad is largely one of sitting next to him, him telling me about his crystals and trying to make visible their inner structures with torches. Upon his death in August 2023, he didn’t only leave behind his collection but his extensive notes written in minuscule pencil writing and photographs. I was invited to do a joint residency at Forum Schlossplatz in Aarau as part of the program Residenz Residenz and asked if my residency partner could be my deceased grandad Frank Basler and his crystal collection. Over the course of the residency I have created three rooms, with three degrees of crystal abstraction. Starting with my grandad’s crystals, I created three-dimensional wooden structures reminiscent of my granddad’s boxes with oversized, soft fabric-crystals and slides to end in an immaterial kaleidoscopic re-iminaginations of my grandad’s crystals in the last room.

The Moss Opera is a project in collaboration with Opera Singer Nina Guo for which we were chosen for the Pro Argovia Experiment, a Swiss Funding platform for experimental art forms. We are aiming to learn from moss both visually and sonically to create a sung experience inside a mossy world.

The Moss Opera is a project in collaboration with Opera Singer Nina Guo for which we were chosen for the Pro Argovia Experiment, a Swiss Funding platform for experimental art forms. We are aiming to learn from moss both visually and sonically to create a sung experience inside a mossy world.

The Moss Opera is a project in collaboration with Opera Singer Nina Guo for which we were chosen for the Pro Argovia Experiment, a Swiss Funding platform for experimental art forms. We are aiming to learn from moss both visually and sonically to create a sung experience inside a mossy world.

The Moss Opera is a project in collaboration with Opera Singer Nina Guo for which we were chosen for the Pro Argovia Experiment, a Swiss Funding platform for experimental art forms. We are aiming to learn from moss both visually and sonically to create a sung experience inside a mossy world.

The Moss Opera is a project in collaboration with Opera Singer Nina Guo for which we were chosen for the Pro Argovia Experiment, a Swiss Funding platform for experimental art forms. We are aiming to learn from moss both visually and sonically to create a sung experience inside a mossy world.

The piece Notions are Oceans is a constellation of almost anatomically correct, hand-embroidered, human organs. The organs are connected by embroidered blood vessels, some of which run into each other and some of which end up in architectural structures of the space - all framed by a deep, rich blue colour. A rhythmic inhalation and exhalation sound that rises and subsides flows from loudspeakers in the space, embedding the embroideries in an ocean of inner life. Supported by Godi Hertig Foundation and Ruth und Edith Suter Foundation Material sponsor: Holzbiegerei Schweiz

The piece Notions are Oceans is a constellation of almost anatomically correct, hand-embroidered, human organs. The organs are connected by embroidered blood vessels, some of which run into each other and some of which end up in architectural structures of the space - all framed by a deep, rich blue colour. A rhythmic inhalation and exhalation sound that rises and subsides flows from loudspeakers in the space, embedding the embroideries in an ocean of inner life. Supported by Godi Hertig Foundation and Ruth und Edith Suter Foundation Material sponsor: Holzbiegerei Schweiz

The piece Notions are Oceans is a constellation of almost anatomically correct, hand-embroidered, human organs. The organs are connected by embroidered blood vessels, some of which run into each other and some of which end up in architectural structures of the space - all framed by a deep, rich blue colour. A rhythmic inhalation and exhalation sound that rises and subsides flows from loudspeakers in the space, embedding the embroideries in an ocean of inner life. Supported by Godi Hertig Foundation and Ruth und Edith Suter Foundation Material sponsor: Holzbiegerei Schweiz

The piece Notions are Oceans is a constellation of almost anatomically correct, hand-embroidered, human organs. The organs are connected by embroidered blood vessels, some of which run into each other and some of which end up in architectural structures of the space - all framed by a deep, rich blue colour. A rhythmic inhalation and exhalation sound that rises and subsides flows from loudspeakers in the space, embedding the embroideries in an ocean of inner life. Supported by Godi Hertig Foundation and Ruth und Edith Suter Foundation Material sponsor: Holzbiegerei Schweiz

work in progress documentation as part of Stroom's Positions programme. Photo by Myung Feyen

work in progress documentation as part of Stroom's Positions programme.

Choir performance of the song 'My Ears Are My Eyes'. Lyrics by Leonie Brandner, Music by Leonie Brandner in Collaboration with Nina Guo. Sung by Jubilate Musica under the direction of Nicolas Billaux as part of the exhibition Woven in Vegetal Fabrics at Casino Luxembourg. photo by Nola Visuals

Choir performance of the song 'My Ears Are My Eyes'. Lyrics by Leonie Brandner, Music by Leonie Brandner in Collaboration with Nina Guo. Sung by Jubilate Musica under the direction of Nicolas Billaux as part of the exhibition Woven in Vegetal Fabrics at Casino Luxembourg. photo by Nola Visuals

Choir performance of the song 'My Ears Are My Eyes'. Lyrics by Leonie Brandner, Music by Leonie Brandner in Collaboration with Nina Guo. Sung by Jubilate Musica under the direction of Nicolas Billaux as part of the exhibition Woven in Vegetal Fabrics at Casino Luxembourg. photo by Nola Visuals

exhibition Woven in Vegetal Fabrics at Casino Luxembourg. photo by Sven Becker

photo by Alex Spichale. Exhibition: Auswahl 21, Aargauer Kunsthaus, Aarau, 2021

‘My Ears Are My Eyes’ is an elaboration on how we shape our world through listening, sleeping and storytelling, told through the story of one flower blossoming at night – The Evening Primrose. Photo by Charlotte Brand

‘My Ears Are My Eyes’ is an elaboration on how we shape our world through listening, sleeping and storytelling, told through the story of one flower blossoming at night – The Evening Primrose.

This text portrays the triangular history of potted plants, museum displays and trauma diagnosis. It is a collection of stories across time in different places, gathered almost like a bouquet of flowers

This text portrays the triangular history of potted plants, museum displays and trauma diagnosis. It is a collection of stories across time in different places, gathered almost like a bouquet of flowers

The piece ‚Manual For Rocks’ deals humorously with ideas around functionality, belonging, empathy and what it means to live closely proximity with other people. The different objects piece together a hopeful, fragile and magical world, infiltrated by autobiographical and purely imaginary stories, a world that seems to be vibrating under the pressure of what we call reality.

The piece ‚Manual For Rocks’ deals humorously with ideas around functionality, belonging, empathy and what it means to live closely proximity with other people. The different objects piece together a hopeful, fragile and magical world, infiltrated by autobiographical and purely imaginary stories, a world that seems to be vibrating under the pressure of what we call reality.

The piece ‚Manual For Rocks’ deals humorously with ideas around functionality, belonging, empathy and what it means to live closely proximity with other people. The different objects piece together a hopeful, fragile and magical world, infiltrated by autobiographical and purely imaginary stories, a world that seems to be vibrating under the pressure of what we call reality.

The piece ‚Manual For Rocks’ deals humorously with ideas around functionality, belonging, empathy and what it means to live closely proximity with other people. The different objects piece together a hopeful, fragile and magical world, infiltrated by autobiographical and purely imaginary stories, a world that seems to be vibrating under the pressure of what we call reality.

‘Marbellous Living’ is an installation in form of a living room around all that could be marble: marble cake, plastic marble fabric, marble paper tiles, glass marbles, books with the word marble in their title, a marble radio show and a marble TV show. The performer wears the marble dress in the background during a series of events taking place in the space.

‘Marbellous Living’ is an installation in form of a living room around all that could be marble: marble cake, plastic marble fabric, marble paper tiles, glass marbles, books with the word marble in their title, a marble radio show and a marble TV show. The performer wears the marble dress in the background during a series of events taking place in the space.

‘Marbellous Living’ is an installation in form of a living room around all that could be marble: marble cake, plastic marble fabric, marble paper tiles, glass marbles, books with the word marble in their title, a marble radio show and a marble TV show. The performer wears the marble dress in the background during a series of events taking place in the space.