In her practice, Orlandi generates stock characters that embody and perform scripts emerging from a pattern of connections between elements of science, culture, history and folklore. The avanspettacolo, is also one of the generative elements for her clown/orange character “Augustine”. Other semiotic nodes that determine this character’s manifestation are the Italian folktale of “The love of three Oranges”, early scoliosis remedies and body casting techniques, the design of juicing and peeling tools, and female clown characters in cinema and television history. Constructed upon such a basis, Augustine emerges out of a contemporary condition with a goal camouflaged behind a comedic attempt: to make the machine of time and progress run idle. In a parallel way, Wohlhauser explores the possibilities of pausing everyday rules and rituals. He achieves this by recombining mundane and familiar objects, like the marble Charles Baudelaire, "To Arsène Houssaye", in “Le Spleen de Paris”, 1869 tables of the neighboring Wiedikon train station he reproduced at half size, or mass-produced yearly calendars. Similarly, a lone person can be sporadically found in the gallery’s office absent-mindedly shaking his leg, sitting on a chair borrowed from the Schauspielhaus Zurich theater. In this way, Wohlhauser is staging metaleptic moments in which performative rearrangements linger for a short period, during which time and space briefly change. Eventually, the exhibition is said to last precisely 3 years, appropriating the duration of the love potion Tristan and Yseult famously drunk while sailing back to Cornwall, bounding them “eternally” together. As reads a paper taped on the marble table: “in our society unity appears as accidental and separation as normal”. Both Orlandi’s and Wohlhauser’s work is preceded by an interest in overlapping and coexisting narratives. As a result, their artistic practice is multilayered and should be approached bit-by-bit, layer-by-layer; just like peeling an orange.

In her practice, Orlandi generates stock characters that embody and perform scripts emerging from a pattern of connections between elements of science, culture, history and folklore. The avanspettacolo, is also one of the generative elements for her clown/orange character “Augustine”. Other semiotic nodes that determine this character’s manifestation are the Italian folktale of “The love of three Oranges”, early scoliosis remedies and body casting techniques, the design of juicing and peeling tools, and female clown characters in cinema and television history. Constructed upon such a basis, Augustine emerges out of a contemporary condition with a goal camouflaged behind a comedic attempt: to make the machine of time and progress run idle. In a parallel way, Wohlhauser explores the possibilities of pausing everyday rules and rituals. He achieves this by recombining mundane and familiar objects, like the marble Charles Baudelaire, "To Arsène Houssaye", in “Le Spleen de Paris”, 1869 tables of the neighboring Wiedikon train station he reproduced at half size, or mass-produced yearly calendars. Similarly, a lone person can be sporadically found in the gallery’s office absent-mindedly shaking his leg, sitting on a chair borrowed from the Schauspielhaus Zurich theater. In this way, Wohlhauser is staging metaleptic moments in which performative rearrangements linger for a short period, during which time and space briefly change. Eventually, the exhibition is said to last precisely 3 years, appropriating the duration of the love potion Tristan and Yseult famously drunk while sailing back to Cornwall, bounding them “eternally” together. As reads a paper taped on the marble table: “in our society unity appears as accidental and separation as normal”. Both Orlandi’s and Wohlhauser’s work is preceded by an interest in overlapping and coexisting narratives. As a result, their artistic practice is multilayered and should be approached bit-by-bit, layer-by-layer; just like peeling an orange.