Fidest – Agenzia giornalistica/press agency

Quotidiano di informazione – Anno 32 n° 220

Posts Tagged ‘perpetrator’

Performance 1 Identity and Straging Strategies

Posted by fidest press agency su martedì, 12 maggio 2009

performanceWien until 10/6/2009 Fotogalerie Wien Wahringer Str. 59  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 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. Peter Dressler’s picture story Business Class depicts unconventional actions in a hotel room: Judith Huemer’s video installations offer various approaches to understanding how language limits and controls individual 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. 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. Nina Rike Springer’s animations, such as Tanzgrafik and Springschnur Springer, show actions that appear absurdly unreal and familiar all at the same time. (Image performance)

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