Gender, Politics, Social Issues and Intercultural Studies
The third exhibition – PERFORMANCE III – Gender, Politics, Social Issues and Intercultural Studies – combines positions from Europe, the U.S.A., and Asia offering a multifaceted insight into the artistic explorations of social and political themes. In their photographs and videos, the artists concern themselves, as the protagonists in front of the camera, with the history and the social and cultural specifics of the societies they live and work in. The exhibited videos and photographs illustrate how art can renegotiate the “visible, sayable, thinkable” (Jacques Rancière).
Katrina Daschner’s photo collages from an early series of works LOCATION: bathroom, now being exhibited for the very first time, show the artist herself masked in hybrid spaces. Veils, wigs, and beards as well as fetishized masks, identified by the artist as “pimps”, are used in a transgressive analysis of binary gender constructions, These “pimps” that take possession of body parts emphasize specific longings instead of hiding them as if behind a mask.
The artist group G.R.A.M. (Günther Holler-Schuster and Martin Behr) creates imagery for events of entirely varying origins, and for which images do not yet exist: In the photograph series unsichtbar (or invisible), the acts of resistance from various social groups against the Nazi regime in Styria are visualized. The video Musikalische Komödie für’s Fernsehen (Farbfernsehen) (or Musical Comedy for T.V., Color T.V.) shows the implementation of the score for a performance by Rudolf Schwarzkogler that had never yet been performed.
Nilbar Güres’ photographs from the series Unbekannte Sportarten im Öffentlichen Raum (or Unkown Forms of Sport in Public Space) documents the artist’s performance in a conservative religious district in Istanbul, Fatih, which is known citywide for its bridal stores. Güres wears a bridal gown on top of a boxer outfit, along with a kind of strangling version of the traditional red band, a symbol of virginity. The artist requests people passing by to remove single items of clothing that the artist is wearing. The photos offer a glimpse of an entire spectrum of human reactions to the performance, a performance that undermines gender norms.
Lena Lapschina’s video Innere Werte (or Inner Values) plays ironically with the stereotypes of the East and the West and stimulates a reflection about myths, disillusion and empathy. The video tells a story about a migrant woman from the former Soviet Union, whose long-held dream of acquiring “western” brand name tennis shoes is fulfilled. However, in the end, not only do the soles of the shoes begin to fall apart, the illusion that everything would be better in the West also crumbles.
In Tatsumi Orimoto’s performance Punishment, bread serves as a symbol for failed communication, but also – with a Christian connotation – for the body. The performance makes reference to the crucifixion of Christian missionaries in Nagasaki in 1597. The missionaries were initially seen as a connection to Europe, but were ultimately deemed as destabilizing to the system. The performers in Punishment, as carriers of bread, represent the bearers of a message that was understood to be a threat by rulers, which was hence punished.
Katarina Ševic’s video Social Motion shows a mass choreography initiated by the artist in a sculpture park in Berlin. The fascination with the “mass ornament” (Siegfried Kracauer) here disposes of any and all party political or ideological connotations. Without rehearsal and in a one-time event, 120 participants walked through the park following the commands given to them (for example, stand still, or walk slowly). The performance thereby raises questions about the individual’s maneuverability and capacity to act among the masses.
Milica Tomic´’s most recent project, One day, instead of a night, machine-gun fire will burst through the night, if light cannot come otherwise is based on an exploration of the history of anti-fascist resistance fighters in Yugoslavia, framed by a context questioning how the understanding of war and resistance has changed with the current “war on terror”. In an act of remembrance, Tomic revisited the places in Belgrade where fighters of the People Liberation Movement successfully carried out actions during World War II.
Martha Wilson’s video performances Premiere and Deformation took place in the early 1970’s, before the artist founded Franklin Furnace, a legendary avant-garde archive in New Year. In Premiere, Wilson reads aloud a script about the relations between identity, performance and everyday life. Deformation combines a reflection about self-perception with the relentless dismantling of the ideals of beauty: At first, Wilson presents herself in front of the camera all made up and as “beautiful” as possible, only to eventually accomplish the opposite, also through the use of make-up and various camera angles.
Press text: Astrid Peterle
kunstaustausch Dortmund Wien
Das Projekt space shuttle ist ein durch das Künstlerhaus Dortmund
initiiertes mehrteiliges Ausstellungsprojekt. Es beruht auf dem Gedanken des
räumlichen und gedanklichen Austauschs mit Künstlerinitiativen aus
Wien, die dem Künstlerhaus Dortmund inhaltlich und konzeptuell verbunden
sind. Ausschlaggebend für die Auswahl der Projektpartner war die Haltung
im Umgang mit den eigenen Ressourcen und Räumlichkeiten, sowie Programmatik
und Engagement in Bezug auf die kuratorische Tätigkeit (Projekte und Ausstellungen),
in der die eigene künstlerische Arbeit meist ausgeklammert wird.
Basierend auf diesem Gedanken fiel die Entscheidung für eine Kooperation mit drei Gruppen: dem Kollektiv der Fotogalerie Wien, dem Team der Medienwerkstatt Wien und der masc foundation/39 dada mit der weiteren Idee, einen Blick „hinter die Kulissen“ zu werfen und somit den Fokus auf die Werke der KünstlerkuratorInnen selbst zu richten.
Die KünstlerInnen dieser Institutionen wurden in der ersten Runde des Projektes space shuttle 1.0, das im Juni 2008 stattgefunden hat, in das Künstlerhaus Dortmund eingeladen, um hier ohne thematisches oder formales Korsett selbst gewählte Arbeiten aus ihrem eigenen künstlerischen Repertoire zu präsentieren.
Für alle war diese Ausstellung eine spannende Erfahrung, sowohl im Bezug auf den Diskurs zwischen den unterschiedlichen künstlerischen Arbeiten als auch in der Auseinandersetzung mit dem Künstlerhaus Dortmund und seinen KünstlerInnen, verbunden mit einem regen Informations- und Erfahrungsaustausch.
Im Oktober/November 2009 findet nun die zweite Runde space shuttle 2.0 statt,
die Ausstellung der Mitglieder des Künstlerhauses Dortmund in den Wiener
Institutionen Fotogalerie Wien, Medienwerkstatt Wien, masc foundation/39 dada
und komplettiert somit das Projekt.
Auch das Wiener Ausstellungskonzept bleibt dem Prinzip treu, keinerlei inhaltliche Vorgaben zu machen, um so eine Sicht auf die Vielfalt der künstlerischen Produktion aus Dortmund zu ermöglichen.
Ein geführter Ausstellungsrundgang am Dienstag, den 27 Oktober bietet das „räumliche Pendeln“ durch die drei Institutionen und bietet somit eine Gesamtsicht der Werke.
PROFIL KÜNSTLERHAUS DORTMUND
Das Künstlerhaus ist Spielstätte für Werke aller Kunstrichtungen - Malerei, Bildhauerei und Grafik ebenso wie Fotografie, Film, Video, Rauminstallationen und Neue Medien. Dieses Spektrum spiegelt sich sowohl in den Arbeitsfeldern der Mitglieder als auch in den Ausstellungen wider, die von den Mitgliedern als Gruppenausstellungen und ausschließlich für KünstlerInnen von außerhalb des Hauses organisiert werden. Der Schwerpunkt auf zeitgenössischer und experimenteller Kunst fördert insbesondere junge, nicht etablierte KünstlerInnen.
Neben ortsansässigen Museen, Kunstvereinen und Galerien mit ihren traditionellen Einzelpräsentationen oder primär wirtschaftlichen Interessen, belebt das Künstlerhaus die Kunstszene Dortmunds mit einem in dieser Form einzigartigen Ort. Das Künstlerhaus schafft einen Freiraum für die Kunst, bietet KünstlerInnen aus dem In- und Ausland ein gutes Arbeitsklima und baut durch direkte Vermittlung Schwellenängste bei Besuchern ab.
Transfer and Translation
Opening speech: Astrid Peterle
FOTOGALERIE WIEN’s theme of focus for the year is dedicated to PERFORMANCE IN IMAGE AND IN MEDIA TRANSFER.
The title of this exhibition series refers to the complex relationship between performance and image: The ephemeral quality of performance in its form as a sequence of actions intersects with the fixation of performance through representational media, such as photography and video. In contrast to traditional perspectives that define performance as the simultaneous presence of both artist and viewer in one space and time, the three exhibitions present primarily performances that were produced for the camera or performative installations. As a result, the opportunity for alternative receptions of performance is made possible.
The second exhibition – PERFORMANCE II: Transfer and Translation – focuses on the possibilities and forms for the transfer of performance to various artistic media. The play of live elements and the conditions of their recording, documentation, and reproduction through photography and video influences these translations of performance. With the alteration of the courses of action through technical means and the manipulation of image material, conventional perspectives are avoided: The seven artists in this exhibition develop new forms of performance using interactive sound and image installations, the staging of objects, technical video experiments, and RNA laboratory images.
The exhibition spans a time frame of over three decades: from an early video installation of the 1970s right up to contemporary performances that employ the newest technology for the reproduction and transformation of originating material using digital image production and laboratory techniques.
Clarina Bezzola’s photo series Wearable Sculptures and Lamentation show the artist in clothing sculptures that turn things inside out. Thereby, in contrast to serving as a protective shell, the sculptures do not conceal the enclosed human beings; rather they expose and materialize the world within. While the wearable sculptures reference the vulnerability of the individual, the video Judgement Day thematizes the urge to constantly proclaim one’s own opinion. The artist strolls through New York City, with a gigantic index finger in the place of her own hands, loudly expressing her own opinion concerning everything she encounters. Eventually, declaring these judgmental remarks leads to exhaustion and the isolation of the individual among the anonymous masses of the big city.
Katharina Gruzei’s video installation Dialoge I-IV focuses on the faces of two women sitting across from one another, who communicate exclusively through gestures and facial expressions. What initially appears to be a still image turns out, after closer observation, to be a slow motion recording of a non-verbal conflict. The aggressively connoted, interpersonal pattern of action becomes unfamiliar due to the time lapse; the boundaries between photography and video become blurred. The sound accompanying the videos adds a further eerie level of perception.
The installation Zwillinge was first presented by Richard Kriesche at the documenta 6 in 1977. A spatial, visual, and time-related irritation of the audience draws attention to the reproduction and manipulation of “reality” through media, for example through television coverage. With two identical spaces, identical twins reading Walter Benjamin’s “The Work of Art in the Age of Mechanical Reproduction”, and the real-time video of the twins reading each projected into the other room, the concurrent reality, the past reality, and the medialized reality become interwoven. The accompanying video Malerei deckt zu, Kunst deckt auf is dedicated to exploring the constellation of views of both the moderator and the viewer, visibility and non-visibility and thereby the peculiarity of the medium of television.
Until now, the invasion of one’s own body – as an action intended to counter social regulation of bodies – has been central to Roberta Lima’s performances. With her new project RNA Chips and Butterflies, a further exploration of the rules of bio-politics, the artist explores the inside of her body: With the help of molecular biologists and modern laboratory technology, cells from her blood were mutated and images of the resulting chaos were captured in the form of RNA Chips. Photographs and videos offer an insight into the process of the mutation, where the laboratory is conquered as a new performative space.
Jan Machacek, with the help of cameras and video technology, looks into perspectives of his own body in his live video performances. At the same time, the audience becomes witness to the confrontation and communication between the “real” performer and the transformed version of his own counterpart on the video projection surface. While the live performance is shaped by the constant translation between the real image and video image, the installation me and video vis-à-vis transfers the live performance, in the form of photographs and videos as objects and documents, to the exhibition space. A vacuum cleaner with a built-in camera and a monitor allow visitors unusual perspectives of their own bodies.
With Droom, Benjamin Tomasi has developed a site-specific sound and object installation specifically for this exhibition. As a result of the interplay between space, recipient, and technical devices, a performance is developed that creates sound situations where the existing, yet not conventionally perceived sounds, are recorded and transformed into generative musical patterns. Magnetic fields, copper wires, pipes running through the walls, and the computer also play an important role in the installation. The visitors are equally critical to the installation since they are able to participate in creating the poetic sound atmosphere with their presence within the space and by their adjustment of the volume controls.
The title of Zsolt Vásárhelyi’s video Yamakasi refers to the urban phenomenon, originating in the 1990’s, of maneuvering from point A to point B by overcoming all obstacles. Symbolic of the individual’s struggle in his or her urban environment, the artist moves slowly, apparently clambering arduously through the city. The video 35 minutes Rome facilitates, for the observer, a view through a camera that the artist held in his hands during a run along the river Tiber in Rome. The viewers are not only confronted with the shaky image, but especially with the contrast between poverty and tourism along the way and with the physical boundaries of the runner.
Opening speech: Ruth Horak
Soundinstallation: Roland Dahinden
Accompanying Program – Artist Talk Inge Dick: Thursday, 23. July, 7:00 pm
In the annual series Werkschau, the FOTOGALERIE WIEN shows retrospectives of Austrian artists who have contributed substantially to the development of artistic photography and new media in this country, highlighting outstanding and innovative achievements and offering a historical overview.
So far, a cross section has been shown of works by Jana Wisniewski, Manfred Willmann, VALIE EXPORT, Leo Kandl, Elfriede Mejchar, Heinz Cibulka, Renate Bertlmann, Josef Wais, Horakova+Maurer, Gottfried Bechtold, Friedl Kubelka, Branko Lenart and INTAKT – The Female Pioneers (Renate Bertlmann, Moucle Blackout, Linda Christanell, Lotte Hendrich-Hassmann, Karin Mack, Margot Pilz, Jana Wisniewski).
The Movement of Colors
Red. Tagrot, Boston red, zinnober. (Day red, Boston red, vermilion.) In numerous works, red has been Inge Dick’s motif. And red is also the predominant color in her Werkschau at the Fotogalerie Wien. Whereby, red is only an auxiliary term for the palette of red tones, rich in nuances, that Inge Dick has elicited with devices for the many-part Polaroid series since the early 1980s and most recently, for the 13 1⁄2 hour-long film zinnober. The author Bodo Hell wrote a “red list” for her on which at least 81 red tones have a name in the German language, without having yet included the Pantone numbers or RGB values.
However, at the same time, red is also just a model, an extra, simply a pretext, because what Inge Dick actually wants to demonstrate is the light and the fluctuation of its intensity – the changes of natural light with the time of the day, or the effects of the mechanical settings on artificial light. The light allows itself to be visualized in colors. (Besides red, Inge Dick uses primarily white, black, and blue.) The colors themselves retreat, they no longer have their own independent pigment and lose their original materiality, until gaining that of the representational medium. The difference between image (in the sense of a likeness or representation) and picture is thereby abolished: The colors are not just a representation as that they themselves are the picture.
With the decision to capture the spectrum of the intensities of natural light filmically, Inge Dick makes a step towards continuous movement – in zinnober the day is whole again. While in the photographic series individual colors are singled out independent of time or light values, the red now moves. In the Polaroid series, the individual photographs prompt comparison – the darkness of the red of an early morn, its paleness during the day and its similarity with the default template red towards the evening – whereas in the HD video zinnober, our poor color memory hardly allows such moments of comparison. We register the changes, but the preceding red hues have long since escaped our memory. In its place, an entire cycle of uninterrupted daylight is in front of us, and in real time.
In all these experiments with the causality of color, light and time – whether it be with the small SX Polaroid camera or with the middle or large format Polaroids since 1995, or in the paintings (produced in just as great a quantity as her photographs), or in her first film project – for Inge Dick it is always a matter of “programming” a series, it is about the process of implementation, about the structure, which she brings into the image in the form of a time code. Inge Dick understands what it means to initiate thresholds of perception and to lend form to its immateriality. And she understands how to infuse a renewed fascination into the strict aims of her concept.
Identity and Straging Strategies
FOTOGALERIE WIEN’s thematic focus this year addresses PERFORMANCE IN IMAGE AND IN MEDIA TRANSFER. The title of this exhibition series refers to the complex relationships between performance and image: the ephemeral quality of performance in its form as a sequence of actions as it relates to the capturing of performance in representational media such as photography and video. In contrast to traditional perspectives that define performance as the simultaneous presence of both artist and viewer in one space and time, the three exhibitions primarily present performances produced for the camera, or performative installations. As a result, the opportunity for alternative responses to performance is made possible.
In the first exhibition PERFORMANCE I – Identity and Staging Strategies, the artists themselves are the protagonists at the center of their own photographs and videos. The artists’ sequence of actions, with only a few exceptions, were performed solely for the camera without an audience and are made accessible and tangible to the viewers through photography and video. The view through the camera allows for perspectives that would otherwise be impossible during the live experience. The performative installation transmits or, more precisely, produces the performance using various media: through interventions within the exhibition space as well as through the use of video projections. In the form of an installation within the gallery space, the visitors are surrounded by the performative installation and find themselves in the middle of the performance.
In the performative installation from the artist collective from Berlin and London, Artists Anonymous, images and words dealing with themes of violence, excess, the victim, the perpetrator, private, public, psycho-strip via television, and the crime scene in the living room fuse into a performance. The artists attempt to break new ground in performance not only by intertwining video and installation, but also by other technical means: The negative image, an essential aspect of their performances, is only possible with video and photography.
The ten monitors used in Miriam Bajtala’s video installation, ich und andere leuchten, function as sources of illumination – the screens display various models of lamps and the artist herself, who turns into these lamps. These video sculptures convey transformations in which subject and object exchange roles or, more precisely, blend into each other: The human body becomes a swiveling object, while the lamps gain a personality.
Peter Dressler’s picture story Business Class depicts unconventional actions in a hotel room: The artist, respectably dressed and operating discretely, dismantles the furniture and the shower of the room, and then attempts to pack some of these furnishings, such as the bed linen, into a suitcase. In Dressler’s photo stories and artist’s books, the norms of legitimate action are challenged with a sense of irony.
Judith Huemer’s video installations offer various approaches to understanding how language limits and controls individual identity. In Judith, du bist ja keine 17 mehr, the artist linguistically appropriates the reprimand: “Judith, you are not 17 anymore”. She contrasts this statement with a corporal performance whose force, continuing to physical exhaustion, is reminiscent of a childish response to a rebuke, a “you asked for it” kind of response. Tourist_Terrorist_Artist, a work that originated as a reaction to the difficulty personally experienced while attempting to obtain a visa in the U.S. as an artist, illustrates how very fine the line is between stereotypes and attributes of identity.
Johanna Kirsch’s video No Track Walk 1.0 emerged from a five-day hiking experiment, in which the artist attempted to avoid all marked paths. The video not only shows the absurd and at times reckless possibilities involved in the creation of a new path, it also offers unusual perspectives of a seemingly familiar landscape.
In three of Michaela Moscouw’s videos, Candy, store storage storten and tülfüle, viewers observe the artist as she builds a washing machine out of cardboard, as she creates a kind of photogram with tulle and earth on the surface of an icy riverbank, and as she destroys a photogram while loudly proclaiming a monolog. Serial photography, a familiar method for Moscouw, functions effectively in the videos, exhibited for the first time. Time, as well as the protagonist, plays a major role in the videos: This becomes evident in the form of the artist’s perseverance, but also manifests itself in the viewers’ perseverance to observe.
Nina Rike Springer’s animations, such as Tanzgrafik and Springschnur Springer, show actions that appear absurdly unreal and familiar all at the same time. The depictions of the narrator’s individual states of mind, expressed in colorful animation-style sequences of movement, defy the everyday perceptual patterns by interweaving the comical and the serious, intertwining the familiar with the yet unseen.
In her performative installation, Frame of reference – or – corner myself in a dead end street and i will turn and bite, Jennifer Wille addresses a break with the imposed norms of the art field. The blue that the artist uses to fill a corner in the gallery space – all the while retreating more and more into the corner – serves as a reference to that which has already been done, the great icons of art history. Initially, the protagonist appears to be literally forced into the corner of the artistic frame of reference, but in a final act of liberation, she leaves the corner and with it the limits of the frame.
Die Ausstellung (DE)KONSTRUKTIONEN vereint 4 künstlerische Positionen, die eine erweiterte Raumdefinition festlegen und eine Neuinterpretation von Ortzuschreibung veranlassen. Es ist das Spiel zwischen der Konstruktion neuer Realitätsebenen und der vorangegangene Dekonstruktion von inhaltlichen und visuellen Bedeutungen und Orientierungspunkten. Der Raum zersplittert in seiner festgelegten Vorgabe, das Innen und Außen wird peripher, Vertrautes diffus, die Grenzen liegen im Auge des Betrachters.
Wiebke Elzels und Jana Müllers Fotografien zeigen Räume die an medial vermittelte Orte der Gewalt und Zerstörung erinnern, jedoch durch ihre kontextuelle Loslösung keine Erklärung bieten. Die globale Bildsprache von dramatischen Ereignissen wird zur illusorischen Bildwerdung - zur Katastrophe im Kopf. Ziel ist es, durch Reduktion von Indikatoren wie Zeit, politischer oder ökologischer Faktoren und räumlicher Verortung die menschenleeren Räume als emotionale Auslöser von Beunruhigung und Ängsten - im Sinne eines Déjà Vu – aufzuladen. Die Ambivalenz von Schrecken und Schönheit und die Ästhetik, die in der Bildhaftigkeit von Zerstörung liegen kann, werden zum zentralen Thema. „Von dem Ereignis, welches den Künstlerinnen Anlass für ihre Inszenierungen gab, bleibt nichts als ein kulturell signifikantes Zeichen und dessen allegorische Reinterpretation.“ (Christin Krause)
„Claudia Larchers Videoanimation HEIM, aus Fotos und Laufbild zu einem scheinbar unendlichen Panoramaschwenk montiert und mit einer unbehaglich dröhnenden Tonspur unterlegt, fördert das Unheimliche im Alltäglichen zutage.“ (Thomas Miessgang) Die Kamera schwebt durch die Räume ihres Elternhauses, zeigt Interieurs mit Widererkennungswert und perspektivisch aus den Angeln geratende Zimmerfluchten. Die Bildspur entgleitet zu einer surreal bedrohlichen Reise, die zwischen Ängsten der Kindheit und Beklemmung psychischer Enge mutieren. Mit Präzision trifft Larcher genau jenen subtilen Punkt, an dem das Vertraute zur undefinierbaren Gefahr wird, gegen die es kein Erwehren gibt – diese Furcht ist in uns eingeschrieben.
„In seiner Kurzfilmserie Rauminvasionen lässt Klaus Pamminger die eigenen Wohnräume von Filmstills überwuchern. Jeder der bisher acht Kurzfilme ist einem Genreklassiker gewidmet: Alfred Hitchcocks The Birds und Vertigo, Luis Buñuels Belle de Jour, David Lynchs Blue Velvet, Quentin Tarantinos Pulp Fiction, Ridley Scotts Alien, Michael Hanekes Die Klavierspielerin oder Claude Faraldos Themroc.“ (Maya McKechneay) Der private Raum wird zum Filmsetting, Fragmente der Originalfilme mit dazugehörenden Soundsplittern dringen in collageartigen Ausschnitten wie mediale Erinnerungsbilder in den Kopf des Zusehers. Abstrakte Bildelemente dekonstruieren die reale Raumaufteilung und werden zu „Raumintarsien“. Es ist eine Neuschreibung gewohnter Umgebung, die Pammingers Kurzfilme zu zusammengesetzten Projektionsflächen der Wahrnehmung werden lassen.
Marja Piriläs Serie Speaking House zeigt Fotografien von Räumlichkeiten einer verlassenen ehemaligen Psychiatrie. Sie verwandelt den gesamten Raum in eine Camera Obscura und fängt das Endbild mit einer Großformatkamera ein. Die Orte, in die die Außenwelt in verkehrter Perspektive projiziert wird, eindringt und sich an den Wänden neu verortet, tragen die Spuren ihrer Vergangenheit in sich. Durch das gleichsam meditative Arbeiten mit Licht und Sonnenbewegung entsteht eine fragile Bestandsaufnahme, eine sensible Annäherung an Raum, Zeit, Geschichte und Bild. In dieser Zusammenführung der Ebenen von Außen und Innen liegt der poetische Zauber ihrer Arbeit. „Es gibt die Zeit der Steinwände, die Zeit des Lichts, und die Zeit unsichtbarer Existenz des Außenraumes, selbst wenn wir selbst die Bühne sind, auf der sich die Ereignisse abspielen.“ (Harri Laakso)
The Portrait as mirror image of our society, upon which each individual orients oneself - in which multi-layered exchanges and emotional progressions of complex dispensation mechanisms and adaptation systems flow.
7 artists investigate this social field in its unpredictability dealing with time-contextual and ethnographic classifications and their visual language.
Jerry Galle’s computer-generated visual memory portraits deal with the processing of pictures and their alteration through seeing, storing, recalling and new generation. Just like in the human neural system computers can with specially developed software as poetic machines re-sketch algorithms photographs and sound into abstract language. Therefore in Galle’s experimental video work Portrait each picture is unique.
Caroline Heider’s folding pictures fragment iconographic representation mechanisms of western advertisement or art. The fold breaks open the superficiality of common visual paradigm. It creates space for changed proportions and perceptions, for those societal images, which hide behind its perfect symmetrical aesthetic. Like Models, her protagonists stand in the white cube of the image space - nevertheless large parts of their identity are concealed.
Oleg Kasumovic,s produced and collaged self-portraits are a poetic and at the same time relentless unification and compression – a sort catharsis - from personal life story, artistic biography and personal outing.
The youth in Tito’s Yugoslavia, the longings and/or influences of Hollywood films, the work as stage designers - the photography as mirrors to the self-perception and self reflection in the beauty and transience, as well as sexual orientation and desire are punctuated.
In the video work Roulette Andrea Loux draws an archetypical picture of familiar and social constellations of a society bound by rigid norms. In an increasingly restricting panning of the camera, underlain with partly threatening sound, normality and convention separates into the unknown. Loux decodes interpersonal ambivalences, the suppressed in controlled environments, affections and subliminal aggressions, and the loneliness of the family ritual.
A central topic in Lucia Nimcová,s work are the substantial changes Central and Eastern European societies were subjected to, in the last years accompanied with the disappearance of traditions, with generational conflicts and the loss of quality of life. The photo series Instant Women shines on the everyday life of the women from the middle and lower class. In Nimcova’s more narrative, simpler, nevertheless more precise visual language the discrepancy between desires, dreams and plans of the portrayed and the reality of their surrounding become more obvious.
Laura Ribero’s produced photo series electro domestica takes place in the recording studio of a popular Colombian drama series. It portrays the subject of the desires and cliché-loaded dreams of South American poverty in the pre-produced and designed fairy tale of wealth and luck; she even slips into the role of the house girl and the associated longing of the possible social class change. By the visualization of the settings she unravels the Cinderella topic and deconstructs the illusion.
In Daniel Stier ‘s photo series In my Country migrants in their original garb meet one another in the urban ambience of globalized London. Using traditional clothing as cultural resistance against the loss of their own identity, against the disappearance of the comprehensible, understandable social structures and cultural inheritance. The people, who Steir portrays in their usual surrounding, become part of this modern London – are shaped and embedded with their own history.