Knowing that you can create a complex work with only two fundamental elements is the most fascinating thing I can imagine. Working digitally is a kind of philosophy for me.
It means creating with the binary language of 0 and 1. Two complementary values that may be interpreted in multiple ways like “on and off”, “yes and no”, but also as “yin and yang”, “to be or not to be”, Isis and Osiris and so on.

Beat Kuert


Born in Zurich, Beat Kuert lives and works in Arzo.
In 1966 he makes his first experimental films and starts to work as a director for Turnus Film Zurich in 1968. In 1971, after a stay in Latin America, he makes his first documentary. The next year he begins cooperating with the Swiss Television on cultural programs.
In 1996 he starts making television documentaries on famous architects, including Jean Nouvel, Mario Botta, Herzog & de Meuron.
Acknowledged as one of the most audacious explorers of his generation in Switzerland, in 2005 he creates the group “dust&scratches” which is concerned with video art, performances and music. His experimental works include: “Die Zeit ist böse” (1981), “Pi-errotische Beziehungen” (1982), “Il grande inquisitore” (1991) and “Am Ende der Zeit” (1998); are considered to be his most important works of fiction: “Schilten” (1979), “Martha Dubronski” (1984/85), “Deshima” (1986) and “L’assassina” (1990) starring Margaret Mazzantini, Massimo Popolizio and Elena Sofia Ricci.

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