- ExhibitionIN and OUT. Basak Senova curates the Institute of Art Education’s Performance at the Angewandte Festival 2019Jun 25, 2019 - Sep 28, 2019 all-dayUniversity of Applied Arts ViennaOskar-Kokoschka-Platz 2 (street), Vordere Zollamtsstraße 7 (building), 1010 ViennaAbout the event...
The exhibition In and Out, curated by Basak Senova, is part of the Angewandte Festival 2019 and shows works as well as (lecture) performances and interventions of students from the departments Art and Communication Practices; Design, Architecture and Environment for Art Education; Textiles – Free, Applied and Experimental Artistc Design at the Institute of Art Sciences and Art Education.
1a: … a stitch made with a suture
b: the act or process of sewing with sutures
2a: a uniting of parts
b: the seam or seamlike line along which two things or parts are sewed or united
3a: the line of union in an immovable articulation…also: such an articulation
sutured; suturing\ ˈsü-chə-riŋ , ˈsüch-riŋ \
to unite, close, or secure with sutures …(1)
Approaching and gathering artistic research, positions, and methodologies from a perspective that questions and experiments their relationship with the public —through the urgency of social, political and cultural issues— requires a combining and composing element. IN and OUT brings a variety of artistic responses that range from small scale interventions to performance series; from on-going projects to small scale interventions; from lecture performances to site-specific installations; from video screenings to riffs of experimental weaving techniques; from sound works to interactive objects by 20 students and a temporary collective from classes of KKP, DEX, DAE, and TEX. By being spread all over the buildings and the Oskar Kokoschka Square, they are all sutured together through content, form, methodology, and approach-based links that suggest various paths of reception and ways to suture them through IN and OUT’s scenography. In this respect, the curatorial approach of IN and OUT takes into account of “suture” (2) as the combining and composing element for exposing the relations between the works and its spectator according to the presentation modes of the works and their diverse methodologies of producing content. At the same time, this experience of viewing produces another form of content with the presentation of the supplementary material that belongs to their research phase.
When Kaja Silverman elaborated on the notion of “suture” in Hitchcock films, he underlined the relationship between the speaking subject [the art work] and the viewing subject [the public] as mediated by the camera [the exhibition and/or how it is being presented] (3). In this line of thinking, by also taking the notion of “lapses” into consideration, IN and OUT enables similar tidal dialogues and situations between the works and the public; the works and the venues; the exhibition and the festival; and among the works. The exhibition structure constantly sutures and then disconnects the works and their content in the exhibition in and out. Some repetitive design components such as nametags, stickers, and booklets also support the construction of suturing.
IN and OUT has been shaped by internalizing the main reflections of the festival theme as “openings”, yet the exhibition also exposes some crosscutting themes and research strains processed by the participants: Nha NGO (KKP/TEX) and Johanna Folkmann (KKP/TEX) are both working on “memory re-construction” by using different research methods and media; Julia Stern (DAE/TEX) approaches “identity politics” through weaving techniques and cross-cultural exchanges in geo-political context; Markus Edelmann (KKP) questions the role of the artist in our highly politicized world through his performances; in her audio-visual compositions and social interventions; Junia Lahner (KKP) explores the relationships of the materials fur, leather and skin in aesthetic as well as material-oriented respect: to each other, inside space, to the beholder, within their connotations; Nina Kugler‘s (TEX/KKP) video essay of a dialogical intervention at the interface of language, politics and commemorative culture records emotional reactions at Sibirian Gulag sites; Sophia Widmann’s (KKP/DEX) artistic research is based on the experiences on perception; Milena Rosa Heussler (KKP/DEX) focuses on digital technology, cybernetics, social constructs, science fiction and the links in-between by producing a gender sensitive cyber wearable; Tina Krapfenbauer (KKP) works on data visualization; Helene Eisl (KKP/TEX/DAE) is working with a recognition software by questioning the assumptions of its algorithms for value systems; Lissie Rettenwander (KKP, DAE, TEX), who founded the Weltweit Erstes Stimmgabel Ensemble (The World’s First Tuning Fork Ensemble), conducts performances by using different frequencies; Monika Freyer-Luftensteiner (KKP/DEX) underlines the significance of our social coexistence in an increasingly digitized world; Sarah Pleier (DEX/KKP) conducts body-centered research on personal and private spaces; Stefan Fleischer (KKP/DEX) unfolds the processes of artistic research with performative actions; Ursula Pokorny (KKP/TEX) and Helene Heiss (KKP/TEX/DAE) experiment on image production by also speculating on seeing what is being seen; Moritz Columbus Dürauer (DEX) works on a site-specific installation and a series of photography which based on the shifting circumstances and challenges of migration; Rebecca Sternberg (KKP/DAE) contemplates on issues of intimacy in social relationships; Cornelia Kolmann (TEX/DAE) deals with the antagonism of the society and the individual and the space in between this antagonism; Mona Radziabari (KKP/DE) criticizes the overconsumption routine of the art world with exhibitions, activities, and art-fairs; Julia Rohn (KKP) questions the act of purchasing of “ethnographic merchandises” in museums as a continuation of colonialist attitudes; and Peter Moosgaard (KKP/DEX) is probing into “late capitalist ethnography” through his “hyper-real” objects and lecture performances.
STUDIO303® is a temporarily formed collective for the occasion of the festival. The collective is curating an exhibition within the exhibition by transforming a studio into an activity zone and exhibition space. Curated by Alexandra Rodriguez-Breña (KKP/DEX) and Eva Lucia Herrmann (KKP), the exhibition aims at detecting and discussing the mechanisms of consumer culture. The collective includes Maximilian Fink (KKP/DEX), Pauline Hosse-Hartmann (KKP), Agnes Mayböck (KKP/DEX), Sebastian Koller (KKP), Judith Raupp (KKP/DEX), and Sophia Widmann (KKP/DEX).
(1) Extracted from Merriam Webster Online Dictionary: https://www.merriam webster.com/dictionary/suture
(2) The Lacanian notion of “suture” was initially introduced by Jacques-Alain Miller in the field of psychoanalysis and later readdressed in cinematic discourse by many theoreticians such as Jean-Pierre Oudart, Kaja Siverman, Stephen Heath, Raymond Bellour, Daniel Dayan, and Slavoj Žižek.
(3) Silverman, Kaja. “Suture: The cinematic model” in du Gay P, Evans J, Redman P (eds) Identity: A Reader. London: Sage, 2000, 76.
The framework programme of the Angewandte Festival includes (lecture) performances and interventions by:
Sarah Pleier: Kreislauf, VZ7/OKP, 25.06.2019, 5-5.30 pm
Stefan Fleischer: Puzzle, VZ7/SR20, 25.06.2019, 4-4.30 pm
Markus Edelmann: Terror ist mein Lebensstil, VZ7/SR20, 26.06.2019, 4-4.30 pm
Lissie Rettenwander: WELTWEIT ERSTES STIMMGABEL ENSEMBLE, OKP, 27.06.2019, 4:30-5 pm
Julia Rohn: Ethnographic Shopping, OKP, 27.06.2019, 2-2:30 pm
Peter Schlager: SD Memory Carpets or global Fauxklore, OKP, 28.06.2019, 4:30-5 pm
Detailed information on the Festival-Website.
The students were guided and supported by their lecturers at the Institute of Art Sciences and Art Education: Barbara Graf, Daniel Aschwanden, Barbara Putz-Plecko, Christoph Kaltenbrunner, Katharina Heinrich, Konrad Strutz, Manuel Wandl, Martin Krenn, Nikolaus Gansterer, Ricarda Denzer, Tanja Widmann, and Veronika Hauer.InterviewTHE GEOMETRY OF TRESPASSING WITHIN THE ORGANIC Chico MacMurtrie in conversation with Basak SenovaJun 19, 2019 - Sep 30, 2019 0:00About the event...
For over a decade, Chico MacMurtrie has been researching and developing methodologies to create lightweight, soft robotic sculptures that can perform in the reflection of disempowering boundaries and physical borders. The genesis of the border-crossing idea intertwines with MacMurtrie’s childhood, growing up in towns along the U.S.-Mexico border. For him, the building process, which opens up conversations between the communities and designates a knowledge sharing activity, is the core of the project that results with a performative gesture of two robots connecting to each other over the fence by absorbing light and the dreams that surrounds them.
In 2018, MacMurtrie was the artist resident at the University of Applied Arts Vienna as well as visiting professor at the department of Art and Communication Practices. This year, he will be giving a presentation of the outcome of the robotics workshop with the students during the Angewandte Festival. Furthermore, on 21st June, he will be launching the Euro Border Crosser at Museum Quartier Wien. It is a timely artistic intervention which seeks constructive and fresh perspectives for facilitating the intersection points of technology, art, and individual political standpoints.
Basak Senova: The notion of temporality is embedded in the performative and choreographed activities of the robots, as well as the fact that these borders are always built up as temporary solutions, but always end up becoming permanent markers of human rights suppression in every sense. Could you expand on this?
Chico MacMurtrie: It’s a temporary gesture to oppose all of this separation of countries and people. I have three pieces of the wall that was put up during the first President Bush’s era. They were really sloppy and temporary and made from all the surplus landing mats from the Vietnam war with the idea of “We have to stop this surge of immigrants!”. The next generation fence was from the Obama era; and although the Obama administration wasn’t really involved these anti-immigration views, they implemented very harsh policies on the border with the immigrants. I think the people living in these communities never expected to have a permanent wall, but it continues to be more permanent and even more intimidating.
The robots in contrast to this harsh metallic world are really getting the ephemeral in and address the temporal. They are in danger crossing that wall because if something happened in the movement, it could shred them.
BS: Yes, the fragile look with the lightweight inflatable material contrasts with the scale and the act of trespassing a border protected by advanced and militarized surveillance technology. In this context, could you talk about the material and the mechanism of the robots?
CM: It is a high tensile fabric originally used for sails on hi-tech boats, hot air balloons, dirigible-flying ships, and high pressure inflatables among other things. It is extremely strong but vulnerable to puncture. When people see the inflatable, often they think it is made of aluminum because of the color and because it becomes so rigid and yet it can absorb light.
It is almost like a magical material because light is drawn to it and it lights up. In the sunset, in the desert when the sun goes down its grey colour literally turns to orange. I use servo controlled pneumatics to control the inflatable tubes, this gives me very precise repeatable movements. I like the way it gives this illusion of not being a machine because its movements are quite organic. When the tubes are fully inflated it has the ability to pivot and move like a mechanism.
BS: With this ability to perform fluidly, they arch into a bridge over the fence. In reference to many architectural and cultural connotations along with the symbolic gesture of illustrating an open gate, I would like to ask you about the “arch” form.
CM: It is a powerful form that has been repeated over and over in my works, such as Inflatable Architectural Growth (2010) or Organic Arches (Time Traveler) (2014). It is a notion of an organic form growing into architecture. It is a fascinating reference, in a sense; it indicates how nature creates this monolith form that have inspired architecture for centuries in different cultures.
BS: Despite the fact that it is an impossible option —and therefore reminds me of many challenges associated with the border— I am captivated with this idea of seeing them as permanent installations.
CM: I have been thinking about freezing them as real structures and doing some experiments at my family ranch in Arizona at the border that I use as my studio. While making them permanent is possible, It will have to be a different era to have them permanently arching over the fence.
BS: Speaking of challenges, how do you plan to install them at the other side? Do you ask permission from the border patrol units for the performances? And how do you envision the project to be realized?
CM: For this specific project and these issues, I am working with Kerry Doyle, the director of the Stanlee and Gerald Rubin Center for the Visual Arts in El Paso. She has extensive experience with immigrant communities and projects on border. My vision was to have three robots in Mexico and three in America and they travel with their teams and cross borders. At the moment, I already have four in progress, so I wish to create two more in Mexico, accordingly I am building a team willing to go to border crossings along the 2000 mile border. The robot and the tools for it are being built with the team in each country and the outcome depends on what kind of material and techniques that the community uses there.
My cousin is a lawyer with an immigrant background, I asked him some questions about the legal issues and technicalities. For instance if the robot is not touching the fence or the ground at the other side, is it still illegal? So, we are introducing an element that is not understood by law. We are sliding into this neutral zone where there is no definition of this action. If nobody physically climbs the fence, then it is not really trespassing. I have been thinking about these issues almost for 10 years now.
I am half Irish and half Mexican and I was born in New Mexico, I have relatives in Mexico and whenever I go there I meet with the group of people and try to figure out the politics and their opinion about it. It is mostly the jurisdiction of the border patrol; the politicians can only introduce their decisions. The border patrol has the sole authority to stop any kind of action. When I was at the San Diego – Tijuana border, I had a conversation with a border patrol agent at and he told me that as soon as it is in the art context, I should be able to get permission.
BS: The entire idea is based on a subtle narration that six robots are connecting over the fence and performing. The process of implementing the work will call out and articulate other narratives hovering around the robots. Could you elaborate on these possible future narrations that would be part of the entire project?
CM: When you are closer to the borders, there are many stories happening at the fence. In the 30s and 40s when my uncles from Mexico came over, there were no fences of that nature; people would go back and forth. When I was a child the fence was just a chain link fence. The Mexican kids could come to the American side to the border schools by passing through a hole for better opportunities and education. Now, because of the border wall the narrative involves technology, as they can’t commutate physically.
BS: What fascinates me about this project are these witty dichotomies that the project processes, such as soft and organic robots poetically resisting the militarized technology, or the act of producing technology bringing the communities together to share knowledge and experiences regarding their current conditions. So, my last question is how do you see the participatory aspect of the project?
CM: I see the technology as a kind of constructive element. It is complex and intriguing. I produce soft machines and it does not make sense in military terms to use a soft machine rather than a hard machine or does it?
I will also conduct workshops for students from both sides and my goal is to empower them by showing how to use technology through art. In Mexico there is this incredible tradition “Día de los Muertos” (the Day of the Dead) where they conceptually bring dead relatives to life to celebrate the day together with them. They build costumes and instruments working up to the event. My workshops would follow the same logic. I am interested in taking the border crossers into the community and involving them in the process to bring power to the action. Using technology is also a way of opening up a conversation with the students and with the community. As a result, it does not only open up this possibility for two communities to communicate, but also it gives them the opportunity to be able to create their own tools and realize their own dreams.
Photograph: Amorphic Robot WorksPast events
- Sculpture PerformanceEuro Border Crosser at MQ Wien (21th of June, 16 h) and Angewandte Festival 2019 (27th of June, 17:30)Jun 27, 2019 17:30Oskar-Kokoschka-Platz (Street)Oskar-Kokoschka-Platz 2, ViennaAbout the event...Film ScreeningCrossSections Screening ProgrammeJun 13, 2019 17:00-20:00University of Applied Arts Vienna / AuditoriumVordere Zollamtsstraße 7, 1030 ViennaAbout the event...
CrossSections is designed as an interdisciplinary platform for explorations into artistic research, dialogue, and production. The project employs an open format to reflect upon “process” with the intent to articulate critical reactions to the political, economic, and social disturbances facing us today. Over the course of three years (2017–2019), with the participation of 19 artists, diverse scholars and cultural workers, various meetings, workshops, exhibitions, performances, talks and book launches are being held in three cities: Vienna, Helsinki, and Stockholm.
Developed and curated by Basak Senova, CrossSections aims at discussing and sharing diverse realities, conditions, and strategies in different geographies. By placing the artistic production at the center of its research and plot, it is being shaped by the cumulative interdisciplinary input and data through meetings, residencies, performative presentations, and publications in the course of three year.
The partners of the project are Kunsthalle Exnergasse – WUK (Werkstätten und Kulturhaus) in Vienna; iaspis – the Swedish Arts Grants Committee’s International Programme for Visual and Applied Artists, Konstfack University College of Arts, Crafts and Design, and NFK – The Nordic Art Association in Stockholm; Nya Småland in different locations in Sweden; HIAP – Helsinki International Artist Programme and Academy of Fine Arts – University of the Arts Helsinki in Helsinki; Center for Contemporary Arts, Estonia in Tallinn; and Press to Exit Project Space in Skopje. CrossSections is primarily supported by its partners. The project and associated book are generously supported by the Saastamoinen Foundation.
UNTERTAGÜBERBAU – PART 2
Nikolaus Gansterers video work combines elements of animated film, cartoon films, live drawings, performance, and studio work. The hypnotic flow of images, like a maelstrom generates a dynamic temporo-spatial structure formed by poetical efficacies that dissolves the boundaries between the inner and outside world, between night and day, and unveils deeper layers of perception. Untertagüberbau # 2 (which is part of a 3 channel video work) is both model and ruin, a non-place and utopia – a drifting ground full of references and connotations.
THE OWLS, THE QUEEN AND THE MAQUETTISTE
Benji Boyagian and Behzad Khosravi Noori
The project juxtaposes three clock towers in their territoriality’s, built between the late 19th and early 20th century in Tehran and Jerusalem, as subjects of comparative analysis. By means of collage and storytelling, the work narrates and fictionalizes the story of the three clock towers in relation to colonial history, architecture and middle eastern geopolitics. Factual and fictional historiography mesh into an absurd tale about the repetition of the patterns of history.
Ramesch Daha designed 100 m long and 7.5 m high prison wall to seize this dark chapter of the detention center. She transferred excerpts from the prisoners’ registry entries dated from 1944 and 1945 as oversized blueprints on the wall.
In the 1940’s, it was common practice in Austria to cancel the names of those detained, after serving their sentences. The artist copied these pages with all the original colour of the blueprints. Daha magnified and painted them on the wall by applying a special technique.
Through site-specific, visual inquiries Marcus Neustetter probes real world dynamics
such as forced migration and lost identities with intuitive, process driven artistic tools.
In this performative installation he draws and then scrambles a map to reconfigure
contested territories. Accompanied by the static sound of an FM radio, a visual map
of personal notes and a ladder, he attempts to reassemble his drawing and make
sense of his own perspective.
“Racists Half-price!” was a performance which required an exceptional engagement of the spectator in the public space. The performance took place at Granite Square in Riihimäki on 1st of July in 2017.
Otto Karvonen and his assistant were selling strawberries in the market place of a small town in Finland. They offered a special campaign deal by selling half-price strawberries only to the customers that considered themselves as racists. Therefore, in order to buy half-priced strawberries, one had to declare her/himself publicly as a “racist”. It was an offer quite hard to resist…
THE CITY IS WAITING 2018
How can we – from a contemporary perspective – recall and update the largely forgotten social reforming history of the VHS Ottakring? And in accordance with the interdisciplinary working method of Gertrud Kraus, how can we understand dance as a specific poetic space in which art forms, times and images can be recombined and new relations and cross-references created?
The starting point is a performance of the dance piece The City is Waiting by dancer and choreographer Gertrud Kraus on the – still existing – theater stage of the adult education center Ottakring in Vienna in 1933. Socio-politically interested and increasingly under pressure because of her Jewish background, Kraus developed as one of the few exponents of expressive dance choreographies that showed political commitment. Her choreography The City is Waiting, based on a fairy tale by Maxim Gorki, is re ecting both the fears and fascination of a boy – she herself dances – in the big city. The Volksheim Ottakring (today Volkshochschule Ottakring) was founded in 1901 and – using the slogan: The Knowledge for All – was of great cultural and political importance, especially in the interwar years.
Adult education centers were an important hub of education and knowledge transfer and played a unique role in the popularization of avant-garde art and culture beyond the bourgeois salons.Adult education centers were an important hub of education and knowledge transfer and played a unique role in the popularization of avant-garde art and culture beyond the bourgeois salons.
Schwebendes (Hovering) was realized as part of a series called Another Place’s Presence / Place of Another Presence and takes as its point of departure a series of photographs of the interior of the ruinous Istanbul Opera House at the time of the Gezi Park movement in 2013. The modernist cultural building—which has stood empty for years and is threatened with demolition—has become a symbol of the failed utopia of a secular society.
While thousands of demonstrators protest at the Taksim square, in front of the opera house against the repressive policies of their government, individual people are inside engaged in dialogues, activists are preparing political banners to be attached to the glass façades, or are photographing the masses of people through the windows.
This former stage functions as a spatial and historical interstice and the photographs of the scenes in the opera house are filmed and “staged” by young students of a multimedia school. Through their model-like character, the (image) materials utilized suggest a rehearsal, in which alternates between performance and demonstration.
The dialogue between the young people during the recordings form the actual speech act of this work, as a possible collective meaning-making in which the separation of private/subjective and political/societal is suspended.
RELOCATING THE MEDITERRANEAN
Operation Sunken Sea
Heba Y. Amin
Invested in the power of technology to generate a new future for humankind, Operation Sunken Sea initiates a large-scale infrastructural intervention unparalleled in scale: a new era of human progress will be initiated through the draining and rerouting of the Mediterranean Sea to converge Africa and Europe into one supercontinent. The operation promises to bring an end to terrorism and the migration crisis, provide employment and energy alternatives and confront the rise of fascism, all of which pose profound existential threats to our future. The project instills a fervent movement towards technocracy which take a proactive stance towards the reparation of Africa and the Middle East by relocating the Mediterranean Sea within the African continent.
Referencing and expanding upon early twentieth century techno-utopian visions, Operation Sunken Sea is an ongoing research project and intervention by Heba Y. Amin that investigates significant transformations in territorial constructs and their impact on new geopolitical alliances and global politics. By shifting the paradigm in a time of neo-fascist necropolitics, the project responds to the contemporary moment of political uncertainty in Europe, the unrest and collapse of nationstates in the Middle East and the neo-liberal failure of globalization in Africa. The operation — mimicking languages of fascist regimes — instigates a new vision for Africa and the Middle East by pinpointing what could be attained by and for those most affected by the wars waged for oil, resources and power in the last century.
A living forest. 2018-2099
Sonic Independence is an artwork where a living forest is planted at the border of Finland and Russia with the intention of teaching the growing plants how to play music.
I want to discover a way to enable all the plants in a forest to participate in social construction and political decision making. We humans easily condition animals and plants to answer some questions about their likes and dislikes, but we have so far never seriously asked them how they think we should organize society together? How they feel that they should participate in the construction of society and civilization and the creation of a legal and moral framework with us humans.
In the process of teaching plants how to play music I am constructing several different musical instruments that work on this line that reveals the transfer of decision making power between myself, a human, and the forest.
DIAGRAM OF TRANSFER NO. 1
The film presents a series of images and occasional sounds; there are sets of images, correspondences, movements that resemble each other. The words Nostalgia, Violence and History, or (corresponding) Memory, Hope and Technology are intersected and interrupted by their own dreams, or mutations and deformations, the images of the destruction of books and other memory devices, and the twin practice of piecing together again the fragments, in search of a redeeming knowledge, a kind of soul, that would be a past turned inside out, a sun that never set.
The film originally was made as a comment, a kind of stop button, on an earlier work, “When the Sun Sets It’s All Red, Then It Disappears” (from 2008), which, in its turn, took Jean-Luc Godard’s “La Chinoise” (from 1967) as its starting point to examine the dreams and hopes and misfortunes related to the 1968 student revolt and its representation and present significance for the “left”. Regarding the role of the images and the way they are regarded or presented as constituting a whole — between the system of discipline and that, advancing, of control — one can detect a link to Gilles Deleuze’s “Postscript on the Societies of Control” in the film.
Transitional Magnetism verses about the sense of touch and the need of getting a grip with the hands. Exploring the ways of making visible the necessary skills to be acquired to engrave an image on a copper plate, the pieces interrogate the obscure nature of the trace left by the hands and tools looking back to the work of master printers such as Jean Cousin, Abraham Bosse and José Ribera. Inspired by the statement of Charles Bell which says that “the brain receives more trustworthy information from the touch of the hand than from images in the eye”, the artist questions whether touch furnishes the brain a different kind of sensate information than the eye, hence the urge of using them. The project is displayed in the format of installation combining prints and different elements that relate to the basis of the etching technique.
TIMES OF DILEMMA
“Times of Dilemma” makes use of the tradition of Għana for creating contemporary Għana dialogues addressing current conflicts. In July 2017 transparadiso organized two workshop sessions, for which we launched an open call for participation. They invited authors, Għana-singers (Għannejja), activists and experts from diverse backgrounds to discuss the contradictory interests between economical prosperity and regaining communal values and how to rediscover qualities, (hidden) potentials and poetics for living together.
For the performances by the Għannejja transparadiso conceived two large megaphone-sculptures, offering a dialogical sound transfer of 320 meters between St. Michael’s Counterguard, next to St. Roche Chapel and the only public land on the mostly privatized Manoel Island, which will be transformed into an exclusive new urban development for the rich. The dialogue from the two locations now addresses a plague of today, namely uncontrolled urban development in Malta.
“Times of Dilemma” was part of “The Island is What the Sea Surrounds” curated by Maren Richter in the frame of Valletta 2018 – European Capital of Culture.
Every time we experience loss of something associated with our collective history, whether a document, a building or a person, we feel that we’ve lost our footing both in the present and the future. It is a disconcerting, disorienting and ultimately, debilitating experience.
‘FORMER CITY’ formed the basis of ‘UNDICIPLINED: CONSTRUCTION OF AN ARCHIVE’ (2017-), a research project focusing on the potential future of the physically destroyed archive of the former Institute for Town Planning and Architecture in Skopje (ITPA) in April 2017.
It captures the actuality of archive’s absence framed by its own fragmentation, discontinuity, contingency and multiplicity of possible associations.
Spare Face is guided by research into such topics as modernist architecture, science fiction and cryogenics. The video is a montage composed largely of stock footage and juxtaposes existing free and bought architectural models with imagined and built virtual environments. The animation looks at the material structure of digital video and the technological possibilities of new media.
Spare Face considers the shift in notions of mortality as technology advances. Organ processing leads to the commodification of flesh away from the united body. Through cryogenics death becomes a process not a terminal event, ‘an extension of consciousness’. It is this boundary, on the knife-edge of death and the keen-edge of technology that the artist uses to blur the line between medical innovation and speculative fiction.
Mirror Mirror is a timelapse video piece created in the basement of the Natural History Museum in Vienna in mid-2016. Over a period of 5 days a photograph was taken every minute capturing Dermestes maculatus (carrion beetle) frenetically feasting on the flesh of a gasping Tyto alba (barn owl). Manipulation of this footage has resulted in video piece together with a sound component, created collaboratively by meditating on the sounds of humans mourning by South African composers and vocalists Nhlanhla Mahlangu and Xolisile Bongwana.
Mirror Mirror explores relationships between body and mind, the body of the owl and its relationship to flesh eaters, a process of flesh-devouring flesh. Lace’s observations of nature continue to feed into her fascination with processes and mysteries of life, death, destruction, and seduction. This installation conjures up the lunacy of hunger and entrapment – even desire and highlights the dank underbelly of gestation simultaneous to decomposition. Antithesis is always a certainty – as daunting as the human condition. And these transient and transitional carriers of life culminate in altars for the dead. Lace is centrally concerned with the theme of transition, giving form to mired and illuminated thresholds. Neither complex nor simple, she attempts to strip her thoughts of ‘flesh’ thereby intensifying the material and the void.
Image: Basak Senova
Poster Design: Peter PutzTalkClimbing through the TideMay 24, 2019 17:00-19:00University of Applied Arts Vienna / Flux 2Vordere Zollamtsstraße 7, 1030 ViennaAbout the event...
In conjunction to Basak Senova’s curatorial activities during her residency at Angewandte, there will be a talk on her latest curated exhibition: “Climbing through the Tide” at B7 L9 in Tunis and the Kamel Lazaar Foundation. Lina Lazaar, the Vice President of the Kamel Lazaar Foundation and Petra Swais, the Programme and Exhibitions Manager of B7L9, will also participate in the talk.
B7L9 is an experimental art space imagined and developed by the Kamel Lazaar Foundation (KLF) in Bhar Lazreg, a rural land whose landscape has morphed organically amidst the political vacuum in the revolution aftermath. B7L9 is conceived as a laboratory for KLF to connect, interact and expand upon its activities to date and trigger a regional dialogue with contemporary global developments in visual culture.
Curated by Basak Senova, the inaugural exhibition of B7L9, “Climbing through the Tide” is designed to initiate dialogues and encounters among the works by suggesting various paths of reception through its scenography. Works in the exhibition connect to each other through spontaneously formed content; form; methodology; and approach based links. By taking the condition-based and geographical inputs into account, the exhibition operates as the prompter of a new interrogations and the instigator of multiple perceptions leading to a more layered reading of our current situation and to different ways to cope with it.
Climbing through the Tide brings together 5O artists from 21 countries including Adel Abidin, Afif Saâdane, Aicha Snoussi, Ali Cabbar, Ali Cherri, Ali Tnani, Almagul Menlibayeva, Bahar Behbahani, Behzad Khosravi Noori, Benji Boyadgian, Bronwyn Lace, Egle Oddo, Etel Adnan, Farah Khelil, Fares Thabet, Fatih Aydogdu, Ghada Amer, Gulsun Karamustafa, Hatem El Mekki , Heba Amin, Hera Büyüktaşçıyan, Inci Eviner, Inma Hererra, Jawad Al Malhi, Joana Hadjithomas & Khalil Joreige, Jumana Manna, Kader Attia, Larissa Sansour, Lina Selander, Malek Gnaoui, Marcus Neustetter, Negar Tahsili, Nermin Er, Nicène Kossentini, Nilbar Gures, Ramesch Daha, Raqs Media Collective, Ricarda Denzer, Susan Hefuna, Wael Shawky, Walid Raad, Yasmine Ben Khelil, Younes Ben Slimane, Youssef Nabil, Yto Barrada, Ziad Antar, and Zineb Sedira. “Annotations” section of the exhibition presents Centre for Less Good Ideas, Apartment Project, Mahatat, Mophradat, Ashkal Alwan, L’Atelier de l’Observatoire, Egle Oddo and Centre de Biotechnologie, Technopole Borj Cédria, Fares Thabet, Muhammed, Future Lab, and the CrossSections Project.
While being anchored in the Mediterranean and global artistic landscape, B7L9 responds to KLF’s commitment to social impact in underprivileged areas through art and culture and aims to promote exchange of knowledge and visions by encouraging guest artists to interact with local communities through workshops, seminars, events and an extensive outreach programme.
Since its inception in 2005, the Kamel Lazaar Foundation for Art and Culture has initiated several cultural and artistic actions and projects whose local and regional effects put forward the vitality and diversity of the cultural scene in the MENA region. The foundation supports research, publication and exhibition initiatives and organizes scientific conferences and seminars as well as artistic creation residencies and workshops. KLF’s backbone is the largest contemporary and modern art collections in North Africa and the Arab world. In 2011 the Kamel Lazaar Foundation launched the online platform Ibraaz – the largest forum for critical exchange on visual culture in the Arab region, followed shortly by the first installment of Jaou – an annual event bringing together artists, thinkers and change-makers to exhibit works of art and fostering a dialogue about contemporary creative practices in the Arab region. In 2017 KLF was the commissioner of Tunisia’s Pavilion titled ‘The Absence of Path’ at the Venice Biennale after almost 6 decades of absence. KLF is looking forward to fostering its actual partnerships and building new ones in order to carry on its mission and rally structures, institutions and cultural actors around a common goal: to develop, promote and support art and culture in Tunisia and lay the foundation of a future where they play a central role in personal and social growth.
Lazaar is the Vice President of the Kamel Lazaar Foundation. Specialized in contemporary art, she has an MA degree in Statistics from London School of Economics, and an MA in Art History from Sotheby’s Institute of Art. Throughout her career in Sotheby’s, London, she supported the emergence of contemporary Arab art on the international scene. She is the co-editor-in-chief of the online magazine Ibraaz.
Petra Swais is a researcher and facilitator of art projects in the MENA region. Working at the Kamel Lazaar Foundation (KLF), she is Programme and Exhibitions Manager of B7L9. Prior to her position at the KLF, she completed an MA in Arts Management at Birkbeck, London and worked at Darat al Funun in Amman and MASS in Alexandria.
Photograph: Basak Senova
Poster Design: Peter PutzTalkCrossSectionsApr 11, 2019 17:00-19:00University of Applied Arts Vienna / Flux 2Vordere Zollamtsstraße 7, 1030 ViennaAbout the event...
The Angewandte hosts one of the PUBLIC Meetings of the CrossSections project in Vienna. The meeting will be a conversation between the curator of the project Basak Senova and some of the participating artists of the project including Ricarda Denzer, Barbara Holub, Isa Rosenberger as well as Andrea Löbel and Klaus Schafler (Kunsthalle Exnergasse, WUK).
CrossSections is designed as an interdisciplinary platform for explorations into artistic research, dialogue, and production. The project employs an open format to reflect upon “process” with the intent to articulate critical reactions to the political, economic, and social disturbances facing us today. Over the course of three years (2017–2019), with the participation of 19 artists, diverse scholars and cultural workers, various meetings, workshops, exhibitions, performances, talks and book launches are being held in three cities: Vienna, Helsinki, and Stockholm.
Developed and curated by Basak Senova, CrossSections aims at discussing and sharing diverse realities, conditions, and strategies in different geographies. By placing the artistic production at the center of its research and plot, it is being shaped by the cumulative interdisciplinary input and data through meetings, residencies, performative presentations, and publications in the course of three year. Its research process involves different focus groups, institutions and educational bodies engaging with re-positioning perspectives by giving priority to the production. CrossSections provides various types and lengths of research and production based residencies for project participants, which are affiliated with the partner institutions.
The partners of the project are Kunsthalle Exnergasse – WUK in Vienna; iaspis – the Swedish Arts Grants Committee’s International Programme for Visual and Applied Artists, Konstfack University College of Arts, Crafts and Design, and NFK – The Nordic Art Association in Stockholm; Nya Småland in different locations in Sweden; HIAP – Helsinki International Artist Programme and Academy of Fine Arts – University of the Arts Helsinki in Helsinki; Center for Contemporary Arts, Estonia in Tallinn; and Press to Exit Project Space in Skopje. CrossSections is primarily supported by its partners. The project and associated book are generously supported by the Saastamoinen Foundation.
Up to this point, the project has been a discursive act by accommodating the range of activities that support the on-going researches of artists with the aim to observe and record their methodologies. Furthermore, CrossSections goes one step further in to rendering these researches by discussing and exhibiting how these wide-range of methodologies are come to surface.
The project is not overarching any debates about the validity or reception of artistic research. By taking all possible approaches –with their similarities and divergences of the artists’ working processes, the artists of the CrossSections Project will talk about how the project communicated the potentials of the research along with the end product as the artwork. In this talk, the role of the audience in shaping the modes of presentations of the project will also be discussed.
Image: Basak Senova
Poster Design: Peter PutzBook LaunchPASSMar 22, 2019 18:00-20:00Angewandte Innovation LabFanz-Josef-Kai 3, 1010 ViennaAbout the event...
The Angewandte hosts the book launch of Pass, the inaugural issue of the International Biennial Association’s (IBA) journal with Basak Senova in Vienna.
Pass, which is an annual publication, aims to bear witness to the critical and experimental role of contemporary art biennials around the world. Pass presents diverse approaches and divergent perspectives on biennials as institutions, curatorial endeavours and public projects. It examines the biennial as an actively evolving form that mobilizes relationships between artists, sites and audience on varied scales and in different contexts. It explores the issues and challenges arising in the perennially shifting field of biennial-making. Pass also aims to serve as a tool for learning, debate and advocacy while shaping the public profile of biennials.
Launched in 2018 as a public program of the International Biennial Association, Pass was originally proposed and confirmed at the IBA’s 3rd General Assembly in Milan, Italy. This new program was conceptualized and produced by Editorial Board of IBA—Anne Barlow, Sylvie Fortin, Bige Orer and Basak Senova—with support from the membership of the association.
The development of this publication reflects the biennial field’s shared and acutely perceived need: a self-determined platform to consciously examine the biennial as an active, critical and evolving form, and a forum to define our own measures of accountability. Biennials often capture the imagination of social scientists and humanities scholars. Their cosmopolitan allure, local embeddedness and public engagement make biennials a darling subject of curatorial studies. As exhibition history takes its place in the art historical canon, biennials, which have long been privileged sites of experimentation, gain pride of place. We laud this attention while recognizing that a crucial voice is still missing: the critical assessment of biennial makers. This publication seeks to fill this gap and to become the vehicle for biennial makers to share their knowledge and experience, to present their challenges and to chart ways ahead.
Pass 1 (2018) contributors:
Adelina Cüberyan von Fürstenberg, Basak Senova, Bose Krishnamachari, Claire Tancons, Gabriel Pérez-Barreiro, Gerardo Mosquera, Iara Boubnova, Jens Hoffmann, Jochen Volz, Jonatan Habib Engqvist, Kitty Scott, Natasha Ginwala, Nav Haq, Nevenka Sivavec, Richard Ibghy & Marilou Lemmens, Sylvie Fortin, Xenia Kalpaktsoglou
Peter PutzArtist TalkChico MacMurtrie: Into the Soft MachineJan 10, 2019 14:00-15:30Digital Arts/University of Applied Arts ViennaHintere Zollamtsstraße 17, 1030 ViennaAbout the event...
This talk will trace the evolution of MacMurtrie’s kinetic sculptures and robotic “soft machines”, and recount his creative journey and process of constant reinvention, experimentation and refinement. Today MacMurtrie/Amorphic Robot Works are widely recognized for their innovative “Inflatable Architectural Bodies” series. Designed and built at increasingly large scales, these “inflatable bodies” or “soft machines”, inflate and deflate through an articulated series of movements exploring the underlying essence of organic and nonorganic bodies.
For the last 30 years, Chico MacMurtrie has created metaphors with machines exploring the intersection of robotic sculpture, new media installation and performance. MacMurtrie and Amorphic Robot Works (ARW), an interdisciplinary collective he founded in 1991, have received numerous awards for their experimental new media artworks, including five grants from the National Endowment for the Arts, the Andy Warhol Foundation Grant, the Rockefeller Foundation Fellowship, VIDA Life 11.0 and Prix Ars Electronica. Chico MacMurtrie was awarded the Guggenheim Fellowship in 2016.
MacMurtrie/ARW’s works have been presented in major museums and venues around the world including the National Art Museum of China (NAMOC), Beijing; Hayward Gallery, London; Museo de la Reina Sofia, Madrid; Cité des Sciences et de l’Industrie, Paris; Museo Universitario de Arte Contemporá neo (MUAC), Mexico City; Pioneer Works, Brooklyn, NY; Shanghai Biennale; Tri Postal, Lille, (retrospective exhibition); Muffatwerk, Munich; Ex-Dogana, Rome and ZHI Art Museum, Chengdu. Upcoming exhibitions include: Mundos Alternos, Art and Science Fiction in the Americas, Queens Museum, New York in 2019.
Please notice: After the talk, at 4pm, Chico MacMurtrie will present his robotic work „Border Crosser“ in action at the Atrium of the University of Applied Arts Vienna, Vordere Zollamtsstraße 7, 1030 Wien.LectureChico MacMurtrie & Robotic Sculpture Class: Site specific Research for Border Crosser ActionsDec 13, 2018 15:00University of Applied Arts Vienna, Seminar Room 21Vordere Zollamtsstraße 7, ViennaAbout the event...
As a resident artist and visiting professor at the Angewandte, MacMurtrie is currently conducting a robotic sculpture workshop bringing together a group of students from different departments. They are currently focused on building an inflatable “Border Crosser” while investigating several European borders as potential sites for Border Crossing performances.
The students will present their research and discuss with MacMurtrie the possibilities, challenges and site-specificity in relation to the Border Crossers project. The talk will conclude with an activation of the current “Border Crossers” prototype, which was built with his students from the Angewandte.SymposiumApplied Microperformativity : Live Arts for a Radical Socio-Economic TurnDec 12, 2018 - Dec 14, 2018 all-dayAngewandte Innovation LabFanz-Josef-Kai 3, 1010 ViennaAbout the event...
Victoria Vesna takes part at the Symposium which is curated by Lucie Strecker, Klaus Spiess and Jens Hauser.
Symposium / Interventions / Exhibition in German and English
Further Information, detailed programme and registration: applied-microperformativity.net
How does the agency of genes or cell fragments, proteins or enzymes, bacteria and fungi relate to macroscopic dynamics of power in contemporary biopolitics? How can performance art and discourse inform these processes? What are the artistic methods to engage critically with technologies that exploit life on a microscopic and molecular level to merge bio- and digital media for extensive valuation?
‘Applied Microperformativity: Live Arts for a Radical Socio-Economic Turn’ will showcase international approaches to challenging causal relations inherent in the capitalist economy by considering a specifically post-anthropocentric notion of performativity – a notion that includes the invaluable, the incalculable, the un-encodable and irredeemably opaque.
It invites the discovery of microperformativity not solely as a tool to describe the scales of space and time, where life is transformed to code and furthermore into a tradable commodity, but to encounter value as a critical experience, as a force rather than a norm.LectureLuise Kaunert: Inflatable Structures between Utopia and ProtestDec 7, 2018 10:00University of Applied Arts Vienna, Seminar Room 21Vordere Zollamtsstraße 7, ViennaAbout the event...
Luise Kaunert, Managing Director at Amorphic Robot Works will present a selection of “Inflatables” from the 1960s to today. Artists and innovators across the world have experimented with different inflatable media at the intersection of Architecture, Engineering, Science and Art, in order to create “mind expanding”, uplifting and sometimes disturbing experiences. Kaunert discusses how these installations might relate to Utopian concepts and how current practices are adapting them as form of protest.LectureChico MacMurtrie – In and Out of the Body and Into the MachineNov 30, 2018 10:00University of Applied Arts Vienna, Seminar Room 21Vordere Zollamtsstraße 7, ViennaAbout the event...
MacMurtrie, Founder and Artistic Director of Amorphic Robot Works is internationally recognized for his large-scale robotic sculptures and media installations. In this talk, the artist will trace the evolution of his kinetic sculptures and robotic “soft machines”, from early performances involving latex skins to his more recent “Inflatable Architectural Bodies” series. A pioneer in using high tensile Tedlar fabric as a medium, MacMurtrie will recount his creative journey and process of constant reinvention, experimentation and refinement.
MacMurtrie is currently working on the “Border Crossers”, a series of inflatable robotic sculptures, which are designed to rise up several stories high and arch over the U.S.-Mexico border and other borders around the world.Project CooperationNoise AquariumSep 10, 2018 all-dayThe Patching ZonePostbus 29088, RotterdamAbout the event...
The ecological crisis is a human crisis. Oceans must not be considered as flat blue surfaces which serve as dropping holes where we can let vanish all our anthropogenic remains. There are vast amounts of organisms that live down there and some suffer pain from our waste and noise. Many are aware of mammals such as whales and dolphins and there have been discussions about the chemical and waste pollution. But – often ignored is the invisible and the inaudible environment to us that is deeply secluded. Therefore, in the Installation, the artists and scientis6ts created 3D enlarged plankton to be like whales. In addition, they amplify the noise as participants move closer to the animations to simulate how these organisms might experience and perceive this anthropogenic noise. This is a highly interdisciplinary artist led effort with biologists, chemists, nano-toxicologists and an animator all working together towards a common goal – to raise consciousness.
Noise Aquarium is a cooperation between Victoria Vesna, UCLA Art Sci Center; Alfred Vendl as well as Martina Fröschl, Science Visualization Lab Angewandte at the department Digital Art at the University of Applied Art with Ruth Schnell as Sponsor; Stephan Handschuh, VetCore-Facility for Research, University of Veterinary Medicine Vienna and Thomas Schwaha, Department of Integrative Zoology, University of Vienna.
Noise Aquarium has been presented as a featured project at the WEB3D Art Gallery ON / OFF: 100101010 in Brisbane, Australia for the 22nd International Conference of 3D Web Technology on July 5-7th July 2017, on July 6, 2017 at the symposium on Fluid Visualisation and Sound Matters at the Angewandte Innovation Lab (AIL), as well at ANYTHING’S POSSIBLE in Manhattan Beach November 4, 2017 at the Mira Costa High School.
Noise Aquarium was also part of the two day mini-symposium I love life: Celebrating Biodiversity through Art and Science, 13-14th April 2018. Currently, Noise Aquarium will be screend as part of a programme on MAN (Media Art Nexus) at Nanyang Technological University Singapur throughout the year 2018, referring to the Symposium 2017. Further stations in 2018: The PASEO 2018, 14th September 2018; Balance/Unbalance, New Value Systems. Sustainability and social impact as drivers for value creation, annual converence by The Patching Zone, Rotterdam, 20-21th September 2018.
Photo: Victoria Vesna
FestivalAngewandte Students at the 5th UP-ON International Live Art Festival ChengduOct 13, 2017 - Oct 23, 2017 all-dayLuxe Lakes A4 Art MuseumTianfu New Area, ChengduAbout the event...
From 13.-23. October 2017, four Angewandte students followed Zhou Bins invitation to participate in the 5th Up-On International Live Art Festival in Chengdu/China. Nicoleta Auersperg, Michael Pöllinger (both TransArts), Lala Nomada (Art & Science) and Tomasz Vollmann (Transmedia Art) showed their performances among 30 other artists from China and abroad. The performance artists, modern dancers, sound artists and image artists presented their works at the Art Museum of Sichuan University, School of Architecture and Design College of Southwest Jiaotong University, Luxe Lakes A4 Art Museum and JZFZ Art Space.
Lala Nomada’s performance with coal was based on research about the local social situation in Chengdu as well as on her thoughts about the Lushan Art Museum`s collection.
Nicoleta Auersperg is experimenting and reflecting on materials, processes and mechanism which constitute our everyday life. Of interest are materials with the potential to change their status and form when they come in contact with other materials. The artist transfers this potential in sculptural/performative forms. In Chengdu, she showed the performance „Reifen, Stäbe, Gips und Wasser“.
Performer Michael Pöllinger carried out a thought experiment: Supposed he woke up and realised he had the mission to be the first natural human being, using the power of his organism and the natural phenomenon art to show a new, different movement of transhumanity in a crazy performance.
Photo: Lala Nomada while performing in Chengdu.SymposiumFluid Visualisation and Sound Matters: Bridging Art, Science, and VisualisationJul 6, 2017 14:00-21:00Angewandte Innovation LabFanz-Josef-Kai 3, 1010 ViennaAbout the event...
On 6 July 2017, at the Angewandte Innovation Lab (AIL) the symposium on Fluid Visualisation and Sound Matters will bring together artists, scientists, and experts working in the field of scientific visualisation and visual effects to develop a cross-disciplinary understanding of how art and science contribute to raising awareness of the current massive ecological crisis of marine ecologies and identify a suitable epistemological framing for this global challenge. The symposium is organised by the department of Media Theory.
Victoria Vesna, Angewandte Resident Artist 2015, will hold a keynote speech about Minding the Macro-Micro BioMe.
Photo: University of Applied Arts ViennaExhibitionA 365 Day ProjectJan 9, 2017 - Jan 13, 2017 all-dayAIL – Angewandte Innovation LabFranz-Joselfs-Kai 3, 1010 ViennaAbout the event...
Artist resident Zhou Bin devised photographic parts of his work “A 365-Day Project” he elaborated during his time at the Angewandte. The project itself began on 7 August 2016, the first day of autumn according to the Chinese lunar calendar, and it is to last for 365 days. The title of the project is meant to convey that for the period of one year Zhou will create each day a performative artistic work. In undertaking this project, the artist is taking quite literally a statement he made to an audience on 28 April 2016 during a solo exhibition at the Chengdu Museum of Contemporary Art: “As my life enters its next phase, so does my art work.” Zhou has set out to blur the boundaries between life and creative work and to take his body to its limits in his performance work in order to allow his specific creative approach to unfold its full potential. He would like to be able to experience a higher sense of order when life and art throw him off balance.
Zhou Bin will perform in the AIL Lab during the opening hours. During the finissage on Friday, 13th of January, 18 pm, participants of Zhou Bin´s performance workshop will perform together with him.
Photo: Zhou BinExhibition Opening with PerformanceZhou Bin performs at Exhibition Opening “Roter Faden – Textile Force”Dec 16, 2016 19:00-22:00Galerie FreihausgasseFreihausgasse, 9500 VillachAbout the event...
The Exhibition “Roter Faden – Textileforce”, curated by Barbara Putz-Plecko (head of the Department Textiles – Free, Applied and Experimental Artistic Design), gives insights into manifold, multi-layered, surprising and also complex practices of artistic textile production.
In cooperation with the University of Applied Arts Vienna, the Galerie Freihausgasse in Villach shows how versatile young artists’ modes of production can be and from which different perspectives they behold, think and shape.
The textile functions as artistic medium, cultural skin creation and space building element in design and architecture, as experimental and intelligent medium as well as model for structuring formation, conjunction and networking. Like the moving body and operating within and on the body or object, the textile and the performative interlink object and space.
The opening is accompanied by an exclusive performance by artist Zhou Bin (Chengdu, China) as well as exclusive performances by Markus Edelmann and Lissie Rettenwander.
Addres of Welcome: Head of Galerie Freihausgasse Edith Eva Kapeller
Opening: Mayor Günther Albel
Introduction: Curator Barbara Putz-Plecko
Karin Altmann, Anja Ray Alturban, Manora Auersperg, Anna Lena Bankel, Anita Bauer, Jürgen Böheimer, Heidi Call, Claire Chatel, Julia Cristofolini, Agnes Czifra, Victoria Dirisamer, Christina Dörfler, Julia Dröpke, Susanne Frantal, Viktoria Gitzl, Barbara Graf, Nilbar Güreş, Teresa Holzer, Linnéa Jänen, Marie Kainz, Afra Kirchdorfer, Isabella Kohout, Klaudia Kozma, Junia Lahner, Martina Mahdavi, Larissa Mathis, Monika Haas, Katharina Heinrich, László Lukács, Walter Lunzer, Sophia Mairer, Aurélie Mazars, Monica Gross Meinhart, David Meran, Nicole Miltner, design:mikimartinek, Julia Neckel, Tina Ocsovay, Mona Quintus, Ramona Rieder, Edwina Sasse, Stefanie Salzburger, Amelie Schillhuber, Matthias Schoiswohl, Birgit Scholin, Anna Schwarz, Anastasia Soutormina, Sylvia Stegbauer, Kathrin Stumreich, Dana Sultana, Johanna Unger, Isis Várkonyi, Maria Walcher, Manuel Wandl, Nicole Weniger, Brigitte Zaussinger, Anita Zečić
Exhibition Duration: 17th of December 2016 – 30th of January 2017
Photo: Nicole WenigerExhibition Opening with PerformanceThe Turtle – Chongqing − Wien (Sm art C)Dec 12, 2016 18:00-22:00Exhibition Galery of the University of Applied Arts ViennaHeiligenkreuzer Hof, 1010 ViennaAbout the event...
The Exhibition The Turtle presents students’ works which are results of an educational journey of the departments Digital Art, Photography as well as Art and Communication Practices in summer 2016 to Chongquing, China. In order to gather collective cultural differences, an exchange with Chinese artists was crucial for the journey. Life in the megalopolis of Chonquing seemed equally strange and familiar to the students, except for a confrontation with turtles. The students were given the task to find an artistic approach to the alien environment on the one hand, and to the universal air of the city on the other.
As a representative of the Chinese viewpoint, resident Artist Zhou Bin will show his artistic approach in an environment which is as alien to him as Chongqing was to the students. The students’ Western European positions include installations, discoursive experiments and readings.
With Karina Fernández, Susanne Frantal, Sebastian Grande, Maria Magdalena Ianchis, Jonas Jahns, Mira KlugVictoria Mlakar, Olena Newkryta, David Osthoff, Philip Röttl.
Exhibition Duration: 13. – 16. Dezember 2016
Heiligenkreuzer Hof, Schönlaterngasse 5, 1010 Wien
howTalkZhou Bin talks with Daniel AschwandenNov 11, 2016 11:00-13:00University of Applied Arts Vienna / AktsaalOskar-Kokoschka-Platz 2, ViennaAbout the event...
Zhou Bin (resident artist) and Daniel Aschwanden (performance artist) discuss the current status of Performing Arts in China and Zhou Bin’s artistic practice.Interactive Art EventHox Zodiac DinnerOct 23, 2015 18:00-22:00AIL – Angewandte Innovatio LabFranz-Josefs-Kai 3, 1010 ViennaAbout the event...
Victoria Vesna, Resident Artist at the Angewandte 2015, realised her Hox Zodiac Project together with neuroscientist Siddharth Ramakrishnan for the first time in Incheon/Korea 2009, afterwards in Hong Kong/China (2012), Taipei/Taiwan (2013), Los Angeles/US (2014), New York (2015).
Hox genes define the body regions in all animals. They are responsible for the determination of the human arms, legs, noses etc. They are also responsible for all limb variations in the animal kingdom. Each species has an anterior-posterior axis as common strand which connects the body forms and enables a variety of morphological differences and newnesses.
Through improvement of genetic engineering, gene manipulation in mutated organisms became real already. Hox gene transformations which could lead to alterations in body compositions and to hybrid forms are conceivable at least.
Victoria Vesna wants to tempt her guests in order to create an experimental space together where we are coupled amoung each other and share our genes. Sie invites the audience to develop ideas, to devise new creatures and to cost hox zodiac related dishes.
In Vienna, Vesna refined the Hox Zodiac Project by involving two Graphic Design students for media improvement. She hopes that Vienna is the place for the dinner to celebrate east and west hybridisations which constantly unfold as well as the displacement of the human anthropocentric point of view.TalkArtist Talk with Victoria Vesna − Digitale KunstOct 15, 2015 14:00-15:30University of Applied Arts Vienna / Expositur Digital ArtsSterngasse 13, ViennaAbout the event...
Victoria Vesna (Artist, Professor at UCLA): BEING IN BETWEEN: Path of an art(scient)ist
In this retrospective talk, Victoria Vesna will outline a non-linear path in her life and work. She is a passionate advocate of art and science not being separated and is currently obsessed with octopuses, birds and consciousness in relation to our networked animal selves.
Vesna is an artist and professor at the UCLA Department of Design Media Arts and is Director of the UCLA Art | Sci Center. With her performative / interactive installations she investigates how technologies affect collective behavior and communication perceptions of identity shift in relation to scientific innovation (PhD, University of Wales, 2000).Her work involves long-term collaborations with composers, nano-scientists, neuroscientists, evolutionary biologists and she brings this experience to students. Victoria has exhibited her work in solo exhibitions 20+, 70+ group shows, has been published in 20+ papers and gave 100+ invited talks in the last decade.
Photo: University of Applied Arts Vienna/Digital ArtsTalkOct 15, 2015 14:00-15:30Interactive Art EventOct 23, 2015 18:00-22:00TalkNov 11, 2016 11:00-13:00Exhibition Opening with PerformanceDec 12, 2016 18:00-22:00Exhibition Opening with PerformanceDec 16, 2016 19:00-22:00ExhibitionJan 9, 2017 - Jan 13, 2017 all-daySymposiumJul 6, 2017 14:00-21:00FestivalOct 13, 2017 - Oct 23, 2017 all-dayProject CooperationSep 10, 2018 all-dayLectureNov 30, 2018 10:00LectureDec 7, 2018 10:00SymposiumDec 12, 2018 - Dec 14, 2018 all-dayLectureDec 13, 2018 15:00Artist TalkJan 10, 2019 14:00-15:30Book LaunchMar 22, 2019 18:00-20:00TalkApr 11, 2019 17:00-19:00TalkMay 24, 2019 17:00-19:00Film ScreeningJun 13, 2019 17:00-20:00InterviewJun 19, 2019 - Sep 30, 2019 0:00ExhibitionIN and OUT. Basak Senova curates the Institute of Art Education’s Performance at the Angewandte Festival 2019Jun 25, 2019 - Sep 28, 2019 all-daySculpture PerformanceEuro Border Crosser at MQ Wien (21th of June, 16 h) and Angewandte Festival 2019 (27th of June, 17:30)Jun 27, 2019 17:30