PEDRO WIRZ

2010

2013
NEW FRIENDS
Solo exhibition at Gabinete do
Desenho de So Paulo
Brazil, November 2013

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IMAGINED SCULPTURES (from the series HOW TO LOSE CONTROL), 2013
glazed ceramic, hight: ca. 25 cm (each)
Audience during the hypnosis/meditation session in Dortmund, D Audience drawing sketches for the imagined sculptures, after hypnosis/me-
ditation session in Basel, CH
Example of a scketch of an
imagined sculpture
I presented a lecture/performance in
several venues around Europe and in
Brazil, where I introduced myself and
my way of producing and thinking
about art.
After each lecture, I led the audience
through a hypnosis/meditation sessi-
on, during which I asked them, based
on what they had heard, to imagine
me working on a new sculpture.
After waking the audience from their
dream-state, I asked them to sketch
this imagined sculpture.
For the exhibition NEW FRIENDS (Part
of the Centro Cultural So Paulo exhi-
bitions program), I produced a series
of small ceramic sculptures of all the
sketches done by those audiences, as
well as a series of sculptures inspired
by these sketches.
TRILOBITES, 2013
stones, plastic fried eggs, 10 x 50 x 60 cm
BAGRE, 2013
PVC pipes, steel wire, 110 x 40 x 90 cm
MAURO, 2013
cow dung, wood glue, cow teeth, 60 x 40 x 40 cm
ORELHAS, 2013
glazed ceramic, nylon line, iron wire, boulders, ca. 3 x 10 x 20 cm
IMAGINED SCULPTURE (Paul Evk), 2013
from the series HOW TO LOSE CONTROL
glazed ceramic, ca. 40 x 17 x 5 cm
Clockwise from right:
IMAGINED SCULPTURE (Paul Evk), glazed ceramic, 40 x 17 x 5 cm
TONI, leather gloves, dry grass, 20 x 50 x 65 cm; MMOO, monstera Delicio-
sa fruits, epoxy resin; JONATAS, branch of guava, black rubber, intravenous
rubber tubing, plastic, ca. 25 x 10 x 1 cm. All 2013.
TROPICAL
Solo exhibition at
Dortmunder Kunstverein
Germany, June 2013

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STILL POST (Portraits): (from left to right all the 9 curators portraits: Stephanie Regenbrecht, Vaneszsa Seeberg, Julia Blehm, Simone Rudolph,
Stefanie Humbert, Sabrina Meiner, Friederike Poe, Michaela Stoffels and Brigitte Dietze.), 2013, watercolor ink on paper, 14,8 x 21 cm

STILL POST (Sculptures), 2013
acrylic paint on clay, ca. 25 x 25 x 25 cm
STILL POST (Sculptures), 2013
acrylic paint on clay, variable dimensions
STILL POST (Paintings), 2013, acrylic paint on canvas, variable dimensions
STUDY FOR CURATED SCULPTURE, 2013
hemp rope, plants, variable dimensions
After having my art practice descri-
bed by the nine female curators of
the show (all students of Kunstkritik
und Kuratorisches Wissen an der
Ruhr-Universitt Bochum) when they
invited me to present my work at the
Dortmunder Kunstverein, I decided to
construct the whole exhibition based
on this aspect of communication.
In response to the invitation, I asked
all 9 curators of the show to describe
themselves, as well as their favorite
sculptures and favorite paintings.
With those descriptions in hand, Ive
translated them from German to Por-
tuguese and found Brazilian artisans
to produce the works for the show ba-
sed only on the descriptions provided
by the curators.
STILL POST (Paintings), 2013
acrylic paint on canvas, variable dimensions
STILL POST (Paintings), 2013, acrylic paint on canvas, 40 x 30 cm
GRINGO
Solo exhibition at
Mendes Wood DM Gallery
Brazil, August 2013

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KISSEN MONSTER, 2013, Felt, 53 x 53 x 27 cm
Example of the TFSMG, used to draw sculptures,
in collaboration with children, visitors of
Job Fair Zurich (Berufsmesse Zrich), 2011
All sculptures were originally drawn
using The Fantastic Sculpture Maker
Grid (TFSMG) sheet, by visitors of
the Job Fair Zurich.
Clockwise from this left:
DER BAUM, Wire and electrical
wires 41 x 25 x 7 cm; THE PLAY,
Radica wood veneer on wood, 62
x 56 x 3 cm; FANTASIESKULPTUR,
Ubatuba marbel, 39 x 39 x 2 cm;
DER MAN MIT DEM KOMISCHER
KOPF, Copper wire, 23 x 10,5
cm; SMILEY, Blue silicone, 24 x
22 cm; PROTO, Tostines crackers,
epoxy resin, 70 x 12,5 x 12,5 cm;
DIE SKULPTUR DIE KEINE NAME
TRGT, Iron, 191 x 179 x 67 cm.
All 2013.
BLUMENVASE, 2013, travertine marble, 151 x 105 x 2 cm
Installation view
on the wall: REITER, 2013, white and black marble, 50 x 38 x 2 cm
KITS
Two-man exhibition with Raphael Linsi
at Kunstraum Kreuzlingen
Switzerland, May 2012

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KITS by David Goodmann
KITS by Thomas Jeppe
KITS by Alexandre Canonico
KITS by Wojciech Kosma (bottom) and KITS by Brad Alexander (top)
I developed a sculpture KIT consisting
of an assortment of components.
These components were based on
materials which, after research th-
rough galleries in Berlin, I recognised
repeated again and again.
Several artists were then asked to de-
velop pieces related to their practices
but using only the materials offered in
the kits.
The sculptures produced with the KIT
were presented in a show and named
after each artist who developed them.
NOT THE NEW, NOT THE OLD,
BUT THE NECESSARY.
Solo show at
Knstlerhaus Stuttgart
Germany, September 2012

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Curated Sculpture #7 by Carson Chan
Curated Sculpture #7 by
Giovanni Carmine
(...)The exhibition Not the New, Not
the Old, But the Necessary. operates
at different levels of conceptual appro-
aches such as abstraction, participa-
tion and curation. Wirz continues his
series of Curated Sculptures for this
exhibition by inviting John Beeson,
Giovanni Carmine, Carson Chan and
Rebecca Lamarche-Vadel to curate
a selection of artworks out of a list of
243 artworks from the artists that Pe-
dro Wirz collaborated in the last
four years.
As the main conceptual ground for
the show, the traditional art form from
Japanese culture, Origami which is
based on folding paper is used not
only as an artistic technique but also
as an expression of abstraction in
Wirzs show. Reconsidering the impact
of Japanese culture in Brazil, and brin-
ging along his childhood experience
with Origami, Wirz aims to create a
social network of ideas, images, and
practices in the form of an exhibition
and an artist book.
Quoting from one of his life-time ins-
pirations, Sol LeWitt, Pedro Wirz crys-
tallizes the fundamental aspect of his
methodological strategy. Irrational
thoughts should be followed abso-
lutely and logically., and The con-
cept of a work of art may involve the
matter of the piece or the process in
which it is made.. Wirz investigates the
possibilities of exchanging roles and
positions in the art world, demanding
curiosity to experiment on the basis
of the main question: What happens
when we shift South to West, artist to
curator, and paper to sculpture or vice
versa?
Adnan Yildiz
PSEUDO BALANCE, 2012, wood, varnish, origamis made
out of art magazines and books pages, variable dimensions
ESTANTE, 2012, wood, origamis made out of magazine and books pages, variable dimensions - in collaboration with Origami Deutschland
BABSI
Kunstkredit Basel
Switzerland, October 2012

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A rough zig-zag pattern, painted on
the wall carelessly. Hanging on that
wall, fve black and white patterned
plastic fngernails, embedded in a
oversized white frame. The surfaces
of the fngernails are different parts
of the smae pattern (...). This arrange-
ment was a conceptual approach that
Pedro Wirz - in collaboration with fas-
hion designer Sara Vidas - developed:
Three representative artworks in the
history of modern art were selected
by the two artists and then presented
to a nail designer, who chose one of
them as the pattern for the nails. The
chosen artwork was a painting from
the series Black Paintings by Frank
BABSI, 2012, 5 framed plastic hand painted nails. 90 x 70 cm
Stella. At frst glance, the work seems
to inhabit the realm of fashion. Only
upon a closer inspection the tension
between art and fashion becomes ap-
parent (...).
Jury Report
Kunstkredit Basel
Done in collaboration with fashion
designer Sara Vidas, this work was a
won the Kunstkredit Basel prize.
UNI-DUNI-T-SALAME-MIN-GU
Group exhibition at
Kunstraum Riehen
Switzerland, January 2012

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SALAME, 2012, Pine wood, 2013, 130 x 60 x 30 cm
UNI (on the left), 2012, pine wood, 2013, 150 x 80 x 40 cm
DUNI (on the right), 2012, pine wood, 2013, 60 x 50 x 50 cm
For this work, done in collaboration
with my former teacher and artist
Jrg Stuble, I developed a group of
six plinths made of pine wood. The
plinths were then cut into, creating
grooves throughout the surfaces.
They were then delivered to Jrg
Stuble who, on my request, made a
new series of works that were some-
how limited or/and oriented around
these openings or grooves. Through
this given limitation, the two sculptu-
ral elements created a new whole.
HANDMADE
Final degree exhibition
FHNW Basel
Switzerland, September 2011

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In a joint effort with my parents, I de-
termined rules to create a set of clay
sculptures.
Each person was assigned a colour:
Pedro = Blue, Victoria = Red, and Ri-
cardo = Yellow, and given 15 minutes
to create a single work.
Each work was subsequenlty further
developed by the next person.
Victoria and Ricardo Wirz, working on the sculptures.
All sculptures from the series HANDMADE, 2011,
polymer clay sculptures, ca. 25 x 25 x 20 cm
SCULPTURE EXQUISE
Group exhitibion at
Kunsthalle Basel
Switzerland, June 2011

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From the series SCULPTURE EXQUISE, 2011 (installation view)
(...)Sculpture Exquise, Pedro Wirz new con-
tribution to How to Work (More for) Less,
is not located in the exhibition space, but
attached to the exterior wall of the ground
floor gallery of the Kunsthalle: the Kunst-
halles back wall, in the public passage way
between Elisabethenkirche and the Basel
city theatre. The eight wooden sculptures
mounted on the black painted wall are the
result of collaboration between the artist
and his artist friends and executed by the
sculptor Simon Ledergerber of the Kunstbe-
trieb AG in Mnchenstein. In the first step,
sketches of possible sculptures were made,
using the method Cadavre Exquis (exquisite
corpse) devised by the Surrealists. The prin-
ciple consists in creating a text or drawing
with a group of people in such a way that the
sheet of paper is folded after each sketch or
piece of text is made so that the next player
can see only the last bit, but does not know
what the entire drawing or text looks like.
The results are collectively created forms
and phrases connected in random order. Wirz
then had these drawings transferred into
three-dimensional sculptures in pine wood.
On the wall, the sculptures seem like totems
belonging to an unknown rite which in a
certain sense they are, if one thinks about
their origin in a group activity involving un-
conscious actions.
Sketches for the sculptures done in collab-
oration with: Adrian Bnzli, Jan Hostettler,
Karim Noureldin, Karolina Pyrcik, Philipp Re-
inau, Jelena Savic, Silvia Studerus and Tobias
Willa.
(from left to right) PHILIPP, KAROLINA and TOBIAS, 2011
pine wood, varnish. 200 x 25 x 20 cm (each)
TO GET TOGETHER
Group exhibition at
Kunstverein Duisburg
Germany, May 2011

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from the series TO GET TOGETHER (feat. Male Torso by Brancusi), 2011
chipboard, coloured lacquer, iron, plaster, colourless varnish,
100 x 60 x 30 cm
from the series TO GET TOGETHER
(feat. Cadeau by Man Ray), 2011
chipboard, coloured, lacquer, iron, plaster,
colourless varnish, 70 x 50 x 50 cm
Following my request, my younger
brother Paulo Wirz selected fve
sculptures which to him represent the
most challenging sculptures in
modern art.
We then remodeled each of these in
white plaster and showed them on
plinths I designed myself.
CURATED SCULPTURES
Different Venues

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Ongoing series in collaboration with
different artist and curators
Mixed media
Dimensions variable
This series of works explores my
interest in three-dimensional objects,
sculptures and installations in
dialogue with my views as a curator.
The curated sculptures are objects
that simultaneously serve as a
platform for curated exhibitions.
I invite various curators to organise
an exhibition on my objects. In other
words, I invite a curator to invite
artists of their choice to exhibit their
work on my sculpture. In this way my
sculpture becomes the host for a new
exhibition.
My main interest lies in investigating
the various roles between artists and
curators. Where do the boundaries
appear and subsequently disappear
between the different practitioners in
the fne arts, where do they dissolve
and where do they become
apparent?
The assumption that a work of art is
the result of cooperation between
many participants and thus can never
be autonomous is the point of depar-
ture in the practice of Basel-based
artist Pedro Wirz. Wirz, a consumma-
te, highly energetic puller of strings,
works as an artist and curator of the
collective the forever ending story,
showing a great talent for integrating
other people into his projects and
linking them to one another. For his
project Curated Sculptures (2010-)
he designs a variety of displays like
cubes, pedestals, shelf boards or han-
ging structures made of ropes, and
then invites a curator or artist to use
them to display things in this man-
ner sculptures containing collections
of plants, texts and works of other
artists have been realised(...)
Annette Amberg
Curated Sculpture #1
Michael Birchall: A Possibility for a Human Laboratory
2010 - Curated Sculpture #1
Korridor bei Parrotta Contemporary, Stuttgart
printed wallpaper on wood, contributions by
additional artists
170 x 130 x 80 cm
Curated by Michael Birchall.
With contributions by: Ben Jeans Houghton,
Raphael Linsi, Ant Macari and Florian Neufeldt.
2011 - Mitologias I Mythologies
Cit International des Arts, Paris
chipboard, wood laths, monitors, Getty Images JPGs,
contributions of invited artists
250 x 200 x 170 cm
Curated Sculpture #6
Fabian Schneich: NOVO
Curated by Fabian Schneich.
With contributions by: Theo Craveiro, Jonathas de And-
rade, Barbara Wagner, Marina Rheingantz, Tonico Lemos
Auad and Cristiano Lenhard.

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Curated Sculpture #5
Pedro Wirz:
...so jung kommen wir nicht mehr zusammen.
2011 - Wall Floor Piece
Galerie Von Bartha Garage, Basel
chipboard, wood laths, contributions by invited artists
250 x 200 x 90 cm
Curated by Pedro Wirz.
With contributions by: Jan Hostettler, Jan Kiefer,
Rahel Lenz, Viktor Korol and Othmar Farr.
Curated Sculpture #2
John Beeson: ... CONTINUE TO HAVE ITS INFLUENCE...
2010 - Kunsthalle Basel
rubber varnish on wood, paper, books, magazines
110 x 210 x 110 cm
Selection of texts, books and magazines curated by John Beeson.
Sculpture designed in collaboration
with the designer Luiz Albisser.
Curated Sculpture #3
OUTSIDERS
2011 - SALTS, Birsfelden
mixed media on chipboard,
contributions by invited artists
200 x 30 x 30 cm (each)
Curated by Annette Amberg
(with Leon Hsl), Raphael Linsi
and Emil Michael Klein.
With contributions by:
Emil Michael Klein, Kriz Olbricht,
Aaron Ritschard and Raphael Linsi.
CONNI
Annette Armberg in collaboration
with Leon Hsl presenting
Kriz Olbricht
untitled
Emil Michael Klein
presents himself.
ALERSHEIM
Raphael Linsi presents
himself and Aaron Ritschard.
Study for a Curated Sculpture
(Plants from art students of Birgit
Brenner class)
Art circuit 2010
Staatliche Akademie
der Bildenden Kunst Stuttgart
STUDIES FOR
CURATED SCULPTURES
2010
Mixed media
Variable dimensions
This series of works was intended to
function as sculptural sketches for
the series of Curated Sculptures.
I invited people to present plants that
they like - instead of works of art - on
top sculptures I created.
Study for a Curated Sculpture - Curators Choice
(Plants of Adam Szymczyk, Nikola Dietrich and Tobias Madison)
Ausstellungsraum Klingental
the forever ending story #12 Basel Research Lab
SUPERCALIFRAGILISTICEXPIALIDOCIOUS
Solo exhibition at
Deuxpiece
Switzerland, January 2011

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STUDY FOR CURATED SCULPTURE
Plants from Noem Denzler
2011, synthetic Hemp ropes, plastic pots, plants
200 x 20 x 80 cm
STUDIES FOR SPONTANEOUS SCULPTURES (SSS)
201, wood table, glass, digital print on paper
197 x 52 x 80 cm
Spontaneous Sculptures #5:
dont stop the music, 2011, 2 IKEA mattresses,
4 tension belt, different fabrics, pillows, 235 x 350 cm
STUDIES FOR SPONTANEOUS SCULPTURES (SSS), 2011
digital print on paper, 21 x 29,7 cm
2010, laser print on paper,
210 x 90 cm
I installed a poster with the phrase
I see you all on my balcony so that
all of my neighbors could read it.
WHAT I SEE
My ex-apartment
in Basel
Switzerland, June 2010
After a while, it was clear to see that
the neighbors were disturbed by
the action, closing their curtains and
windows every time I came out on
the balcony.
Pedro Wirz
* 1981 in So Paulo - BR
Lives in Basel - CH and So Paulo - BR
Education
2007 - 2011 Bachelors degree at FHNW Basel - CH
Institute of Arts - Class of Jrg Stuble, Dr. Roman Kurzmeyer and Muda Mathis
2009 - 2010 Erasmus at the Staatliche Akademie der Bildenden Knste Stuttgart - D
Institute of Arts - Class of Birgit Brenner and Class of Christian Jankowski
2004 - 2006 Internship as assistant of photography - BR and CH
1999 - 2003 Bachelors degree at University of Taubat - BR
Institut of Communication - Public Relations
Solo exhibitions
2013 New Friends, CCSP, So Paulo - BR
Gringo, Mendes & Wood DM, SP - BR
Tropical, Dortmunder Kunstverein, Dortmund - D
2012 Not the New, Not the Old, But the Necessary., Knstlerhaus Stuttgart, Stuttgart - D
(Curated by Adnan Yildiz)
Hotel Palenque at Gasconade, Milan - IT (Swiss Institutes Bureau for Art Nerds)
Problems - Kunstraum Kreuzligen, Kreuzligen - CH (together with Raphael Linsi)
2011 Backwall Projeckt - Kunsthalle Basel, Basel - CH
Outsiders - SALTS, Basel - CH
supercalifragilisticexpialidocious - Deuxpiece, Basel - CH
2010 Curated Sculpture #1 - Korridor bei Parrotta Contemporary Galerie, Stuttgart - D
Group exhibitions
2015 Art Mtiers 2015 - Art en plein air, Mtiers - CH
2014 Tell Me What I See, When I Look Into Your Eyes, BolteLang, Zrich - CH
(Curated by Nicola Ruffo and Caroline Lommaert)
Mediating Landscape - Sala Murat, Bari - IT (Curated by FLIP projects)
2013 Leilo Piv - Piv, So Paulo - BR
Come, all ye faithful! - Florian Christopher, Zrich - CH (Curated by Carson Chan)
Give me Shelter - GGG Atelierhaus, Basel - CH (Curated by Annette Amberg)
Mitologias por procurao - MAM-SP, So Paulo - BR
(Curated by Kiki Mazzucchelli and M. do Carmo Pontes)
Wet-on-Wet, Gallery Florian Weingrll, Karlsruhe - D (Curated by Pedro Wirz)
Swiss Art Awards, Basel - CH
Club des Sous lEau - Palais de Tokyo, Paris - FR (Curated by Gallien Djean)
The Sunday Curators - SWG1 Gallery - Glasgow - UK (Curated by Its Our Playground)
THE BODY IS THE MEDIUM - Curatorial Lab - SP-ARTE, So Paulo - BR -
(Curated by Mariana Lorenzi de Azevedo)
2012 Les Urbaines Art Festival - Lausanne - CH (Curated by Elise Lammer)
LOT - Cul de Sac, London - GB (Curated by N/V_PROJECTS)
St. Moritz Art Festival - Galerie Cahn, St. Moritz - CH
Principos Flexor - Galeria Gramatura, So Paulo - BR (Curated by Kiki Mazzucchell)
Colasel, Van Horburg,Basel - CH (Curated by Roger Meier and Sandra Oehy)
COOPERATIONS - A Series of Collaborations, Admiral Project, Zrich - CH
Colasel - Drei Galerie, Kln, D (Curated by Roger Meier and Sandra Oehy)
Post Studio Tales - Artist in Residence, Berlin - D
(Curated by J. Beeson, U. Gerhardt and F. Heckel)
Platform 12 - Kunstwollen, Zurich - CH
If I had eight hours to chop down a tree, Id spend six sharpening my axe -
Kunstraum Riehen, Riehen - CH (Curated by Pedro Wirz, Reto Thring and Isabel Halene)
2011 Mitologias I Mythologies - Cit des Arts, Paris - F
(Curated by Kiki Mazzucchelli and M. do Carmo Pontes)
Cantonale Berne Jura - Kunsthalle Bern, Bern - CH (Curated by Fabrice Stroun)
Cantonale Berne Jura - Stadtgalerie Bern, Bern - CH (Curated by Anna Brkli)
Regionale 12 - Kunstraum L6, Freiburg - D (Curated by Leon Hsl and Nicolas Bischoff)
Hotel Hammer - Hammerstrasse, Basel - CH (Curated by Jan Kiefer and Mathias Hber)
How to Work (more for) Less - Kunsthalle Basel, Basel - CH (Curated by Adam Szymczyk)
Floor Wall Piece - Von Bartha Garage, Basel - CH
(Curated by Stefan von Bartha and Reto Thring)
Kiefer Hablitzel - Swiss Art Awards, Basel - CH
Prsentation der Ergebnisse - The Offce - Frankfurt am Main, D
7, Kunstverein Duisburg, Duisburg - D
2010 Regionale 11: Village Cry - Kunsthalle Basel, Basel - CH
Rundgang 2010 - Staatliche Akademie der Bildenden Knste, Stuttgart - D
Skulptur, mon amour - Akademie der Bildenden Knste, Stuttgart - D
(Curated by Manuel Scheiwiller)
Blokkade - Universal Cube, Leipzig - D
1. Salo dos Artistas Sem Galeria, So Paulo - BR
De Lagune van Amsterdam - Gross und Stark, Amsterdam - NL
(Curated by Manuel Scheiwiller)
2009 Regionale 10 - Kunstverein Freiburg, Freiburg - D
the forever ending story prsentiert # 3 - Forgotten Bar, Berlin - D
the forever ending story prsentiert # 2 - Bell Street Project, Wien - AU
Narcotica - Galerie im Regierungsviertel, Basel - CH
Anonyme Zeichner - Liste 14 - Kaskadenkondensator, Basel - CH
2008 Im a Groupie - Wirtshaus im Schalter, Basel - CH
The line is a lonely hunter - New Jerseyy, Basel - CH
Ja zur Liebe, nein zur Kunst - Wirzhaus, Basel - CH

Awards / Scholarships
2013 Artist in Residence - IAAB Exchange Program - Residency Unlimited, New York - US
2012 Werkbeitrag - Kunstkredit der Stadt Basel, Basel - CH
Peter-Hans-Hofschneider-Prize - Kunststiftung Baden-Wrttemberg, Stuttgart - D
2011 Artist in Residence - IAAB Exchange Program - Cit des Arts, Paris - F
GGG Atelierhaus - 2 years subsidized atelier by the GGG Basel Foundation
2010 1st prize for publication on contemporary art - Biennial Foundation, So Paulo - BR
1st prize for brazilian artist exhibiting abroad - Biennial Foundation, So Paulo - BR
Patronage for young swiss artists - Kunsthalle Basel, Basel - CH
Publications
2012 Not the New, Not the Old, But the Necessary., Artist book - Argobooks Berlin
2010 Lets Art - Pedro Wirz work report by Lucia Prusa, Edition Taube
Blokkade - exhibition catalogue, Edition Taube
Curatorial Projects
2014/2015 Postcodes - Casa do Povo, So Paulo, BR
2013 Wet-on-Wet - Gallery Weingrll, Karlsruhe, D
2012 the work found me - Gallery Samy Abraham, Paris - F
2011 If I had eight hours to chop down a tree, Id spend six sharpening my axe -
Kunstraum Riehen, Riehen - CH (together with Reto Thring and Isabel Halene)
since 2009 the forever ending story
(ongoing project) (in collaboration with Raphael Linsi,
Claudio Vogt with Tilmann Schlevogt)
www.theforeverendingstory.com
0ct.2009 - feb. 2010 Deuxpiece
(in collaboration with Nomi Denzler)
www.deuxpiece.com
2008 Wirtshaus im Schalter
(in collaboration with Raphael Linsi)
www.schalter.tk
2007 Wirzhaus
(in collaboration with Raphael Linsi und Luiz Albisser)
www.myspace.com/wirzhaus
+1 917 402 07 95
pedro.wirz@gmail.com
pedrowirz.com
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