Stapel Stapel Stapeln Stapeln
Publication

“Stapel Stapel Stapeln Stapeln” is a collection of poems collectively written by the Young Valley Soil-collective during our stay at the Bibliothek Andreas Züst in Appenzellerland (CH). Over the course of six weeks, we wove the library’s books into our writing, ranging from reports of alien sightings to artists reflecting on their own practices, alongside impressions of the surrounding landscape, discoveries and encounters. This publication brings together 29 poems, full of cross-references to one another and to the library.

Mares and Night Hags
2-channel video installation

At night, the landscape begins to flicker. Bodies move through the terrain, their contours only becoming visible through the camera. Some lie down, withdrawing from the daily cycle of work and exhaustion. Who stays awake when others are long asleep?

The exhibition by Young Valley Soil presents an installative video work. It was filmed with a night-vision camera in the Swiss regions of Appenzell and Graubünden — among hills, fields, mountains, and forests. 

FRISE Künstler*innenhaus, 2025

Hard to Swallow
Collective lecture performance

It starts with a queasy feeling. I see something I don’t have; a place I’m not in; an appearance that isn’t mine. I want it, I need it, envy gnaws at my stomach. I suppress it, don’t let it in, cover it with politeness. It builds up, resentment builds and gnaws at me. How am I supposed to digest all of this?

In the work “Hard to Swallow,” the Young Valley Soil-Collective invited guests to a performative lunch where they dedicated themselves to the manifestations of envy. The work consists of an audio piece for the journey to the performance, three on-site lecture performances, and a four-course menu - each course addressing different stages of envy: bitterness, envy, resentment, and digestion.

M.1 Arthur Boskamp Stiftung Hohenlockstedt (Photos: Marie-Theres Böhmker)

Dazeland
two-channel video installation
09:01min, stereo

Link

Dazeland explores water as a means of treatment and control in the history and present of European psychiatric institutions. In the work, the element of water serves as a metaphor for discipline and power but it is also depicted as a space of resolution, transformation, and security – a state of incompleteness. The changing and fleeing water serves as an analogy for the ever-shifting nature of historical narrative: The experiences of silenced positions trespass the surface through the demonstration of stigmas and power structures.

Video stills 


Frappant Galerie

wings, steps, fire
08:01min (loop)
Link by request

Wings, Steps, Fire (2021) asks questions about historical objects found in fields and forests by so-called probers. These finds are not only considered evidence of "historical" narratives, but also trophies that circulate on online forums – a form of tangible currency for the time amateur archaeologists spend searching with metal detectors. The finds are photographed and uploaded to the forums to be commented on and admired, but also for purposes of sale and resale.

The work looks at historical narratives - and the objects and photographs that carry them - as currencies, as trophies of power and as objects of desire. The result is a cacophony of contradictory narrative logics, temporalities and sensations that range from reassuring to uncomfortable, raising questions about the process that presents found objects as carriers of historical authenticity and vessels of nostalgia and projection; much like the cinematic and photographic process itself.

- Seda Yildiz, curator

Installation view, Museum für Fotografie Berlin




Installation view, 8. Triennale der Photographie Hamburg