Space # 2
Miriam Bajtala, Marianne Lang, Nikolaus Eckhard, Sarah Pichlkostner, Christian Bazant Hegemark, Rastislav Podoba, Barbara Doser, Hofstetter Kurt
In the present project, Barbara Doser has transferred one of her visuals into three-dimensional space by using her body as a projection surface. She covers and uncovers this again and again using a translucent foil in order to “enveil” herself literally in her work. The original material for this was provided by a visual created by Doser based on a so-called video feedback. Here, the artist points a video camera at a screen which at the same time is showing what the video camera is filming. The resulting patterns and shapes are altered by the artist so that a special matrix is formed. By reducing the shapes to their contours, field-overlapping line structures are created within the matrix, which are only “related” to the original shapes.
“Die Kubische See” (The cubic lake), 2011
Hofstetter Kurt has occupied himself with circle designs depicting the irrational number phi and the golden section. He implements his findings in various art works. His circle designs also generate patterns, among other things. His method of “inductive rotation” which he developed in 2003 also derives from this. Despite regular reiterations, asymmetries in potentially infinite patterns are produced (tilings) which lead recipients to the limits of perception and which cannot be found anywhere else. (Cp. Barbara Doser in: Hofstetter Kurt – ZART una cantata moebius, ed. Kiesler Stiftung, Vienna 2010)
1. Fensterzeichnung (Window drawing), 2011
The drawing processes spatial elements that dock onto the available gallery architecture, pick up on the fragments used in the slide show (which also thematises the architecture of gallery spaces) and expand the room in a playful way. The drawing unites both linear and spatial layers and acquires a body through the colour white. Interesting points of view of the available interior and exterior space can be worked into the drawing using omitted areas and the translucent window pane.
2. Circuit, slide show (80 slides), 2011
Marianne Lang creates visualisations using slide and video projections in her work "Blank Box". Adapted to human relations of size in format and perspective, the recordings (which are like doors and shop windows) create the illusion of expanded space. Inspired from the point of view of form, the individual models and their images represent architectural quotations of actually existing spaces.
The artist thus initiates a philosophic-poetic (deliberate) confusion in which perceptual habits and definitions of reality are tested and questioned. Is the world (as we know it) replete with constructed illusions or is it already an illusory construct? This results in a convergence; a blurring. Design and illusion mutually level each other out, belie each other, become analogous.
3. “Diffusion”, 2011
Stalactite-similar, icicle-like formations hang from the vaulted cellar ceiling. They consist of aluminium foil and insulating wool – materials typically used in basements to protect the building from cold and damp. The formations have no practical use but, instead, trigger a deliberate confusion in the observer. The profile and language of form of the objects are reminiscent of purlins as seen in trusses in old South German farmhouses, where they protect the homesteads from supernatural forces and evil spirits.
Marianne Lang constantly works using stylistic quotations which she takes from her environment and transfers to other places in a changed context.
“der Geschmack (Nr.1)” (The taste (No.1)), 2010
In her work, Baitala asks the question of what happens to the identity of a portrayed person when s/he is reduced more or less to the background surrounding him/ her on a daily basis. The three-part work “Der Geschmack (Nr.1)” is the first element of a large-scale series of family portraits dealing with origin, identity and assimilation. Each couple is composed of members of the core family – mother, father, child (siblings).
According to Baitala, the series is a kind of field study which deals with family structures and social backgrounds. Here in the foreground are predominantly the “...interrelations between two areas: socio-economic conditions and life style, which is owed to rethinking Max Weber’s opposites of class and status...” (Quotation: Pierre Bourdieu, Die feinen Unterschiede, Kritik der gesellschaftlichen Urteilskraft, Page 11/12).
The video deals with automated processes in urban space. What you see is the image detail of a classical urban surveillance camera. An escalator travelling upwards and a basement apparently open in all directions. Little by little, more and more shapes appear in the picture. Seemingly remotely controlled but without any recognisable aim, they move zombie-like around the lower storey. They don’t make use of the escalator, however, but it only seems a matter of time before they will. In this post-modern scenario, Eckhard scrutinises in a critical way the automated processes of our civilisation which will continue even after our death, such as standing orders, independent switching on and off of lighting, clock radios or even the aforementioned escalator which appears to run endlessly. The name MA28 stands for the Municipality of Vienna’s Department 28 for road administration and construction which is also responsible for the surveillance of public spaces, among other things.
“räumlich” (spatial), 2011
Pichlkostner always starts with the thought of the “whole” in her work. The front side of the object which is turned facing the observer consists of white hand-made paper sheets which are arranged on grey felt at regular intervals in such a way that the felt can be easily made out in the form of light-grey rectangles on the overlapping places. On the other hand, this cannot be done on the places where the individual sheets of paper overlap. The projection area is framed by a steel structure which at the same time also serves as a reinforcement of the assertion of the summarised work and thus also of the assertion of an image structure in the usual sense. The artist pursues in her work the intention of allowing a debate to ensue regarding the image object. In this way, dialogues occur between the respective parts, brought about by the diversity of material and structure.
In general, the work “equilibrium” is the name given to the state of calm brought about by the interaction of two or more forces which neutralise each other.
In the work "Equilibrium", Bazant-Hegemark deals with a topic that particularly fascinates him, namely doubt about portraying something. For him, the question is: “How do I portray this doubt? I work in a specific figurative tradition, and I notice, even when I portray something with a love of detail, I don't come any closer to a feeling or to a truth. And I don’t have any strategy for this. But I’m conscious of the fact that this is a sensitive venture. I use formal means in my work; I depict a scene, for instance, from various angles, in superimpositions, in fragments, and so on. A recurring theme in my work is not the portrayal itself but rather the assertion of it. As a consequence, not only single parts but also the integrity of the whole are offered", says Bazant-Hegemark. (Cp. Matthias Osiecki in: http://oe1.orf.at/artikel/242971, 07.11.2011, 16:00h)
“Serie ROM” (Series ROM), 2011
The works of Podoba circumambulate the topic of space, whether this concerns the illustration of a landscape or the design of a fictional spatial situation. The paintings of Podoba always have something dreamy about them and make the borders between abstract and figurative painting disappear. His work is not dissimilar to that of a photographer, for instance, when he attempts to create an image by illustrating different viewpoints. Like developing a photograph in a darkroom, the contours appear very timid at first in Podoba’s work. With respect to this, the artist thinks that beginning to discern the final image is definitely the most exciting moment of all. Key to the work of Podoba is the maximum moment of simultaneity when one doesn’t know anything exactly but has a presentiment over the secret.
“Serie Rom” deals with the illustration of interiors – of a church and a chapel. Here, Podoba is specially interested in the relation between area and space under weak to diffuse illumination.
Edited by Lucas Cuturi