When will the Golden Revolution take off? “Beyond Utopia?” answers this question with a simple 3D object.
Operating on the cusp of the traditional and innovative, Simone Carneiro’s work transports us back, while everything we see is also completely contemporary. 3D objects, both physical and virtual, become elegant abstractions, with rhythmical patterns ending in their own attenuation. It is no coincidence that the work reminds us of algorithms, the new technological divinities invisibly dominating our lives, it is actually produced by them. Thus, in a multifaceted artistic process, across several steps and mediums (3D objects, prints and animations), chance and error, call them abstract powers, produce their own visual representation.
Exhibition: 100 Jahre in 100 Minuten
Sharks have evolved on Earth hundreds of millions of years ago. Fossil records suggest they have existed even before trees. The first signs of shark’s ancestors are a few scales dating to 450 million years ago and the earliest shark-like teeth archeologists have come across are 410 million years ago, from the Doliodus problematicus.
You can see an object in the forest, which tries to make contact with the viewers in spoken language. The object feels lost in an unknown environment. Can it be heaven, for instance? "Is this heaven?" it, therefore, asks again and again in a desperate voice to find answers to the hopeless situation.
However, there is no response, as the viewers are unable to establish contact with the object.
In the exhibition PITCH CONTROL (in German "pitch control") the artist negotiates the keynote / concert pitch "A". The new works are inspired by Gothic architecture of the Dominican Church in Krems and the relationship between the body and space. The center of the artistic installation is the work A - a Three Body Problem.
The physical work consists of three parts: An instrument in the form of a sculpture, a choir as a video work and the inscription itself as a picture.
Stopping natural decay with the help of an artificial plastic skin. Tscherner decontextualizes industrial packaging technology, on the one hand to make objects from their environment durable and on the other hand to accentuate the contrast between nature and artifacts. The things that are collected, vacuumed and photographed here may not have a long-term place in our changing ecosystem. These objects are also a reflection of our time and Tscherner tries to systematize and archive them. The process of collecting has a playful character which is reflected in the title
Exhibition: Opposition - Kontext trifft Gegensätze
A hopeful reminder of the necessity to reconnect with each other after the long periods of isolation we all experienced during the pandemic. It is a play on the stillness that enveloped our existence and a reaching towards that celebrates the fact that we are still alive.
Madi’s filmmaking practice centres the materiality of analog film, as well as the optical machinery used for the production and projection of images. She often experiments within this medium as she translates her work into the digital realm.
The work was inspired by Madi’s curiosity for marbles aswel as mushrooms. The (Other) Cat’s Eye Marble consists of a spherical marble form and a morel fungus encased in gold. These two shapes reference the dichotomy between the power struggles amongst humans, their cultural geographies, and their use of natural resources.
As these objects collide, the preciousness of a gem is formed. Do we forget ethical consumption when faced with aesthetic beauty?
On a bicycle and pedalling, the rigid figure is nevertheless in motion. She has a sheet over her head and the breeze shapes the white fabrics. This cover is a moment of turning inward. It is a moment of pausing and resting. It is a moment of pulling the blanket over one's head and hiding while perception and distraction undergo a transformation. Covering is also a change of form, visibility and awareness to see and feel what might not be possible without it.
Everyone has been in the house too long. Now that the quarantine restrictions are loosened, the kids want to have fun and party with a tough crowd. Their babysitter is stir-crazy too.
The distortions possible in 3D permit me to explore desire and human contradictions free of constraints. Like many monuments, it celebrates freedom.
The studio in the basement, a semi-basement located in Vienna's 16th district. My workplace, my workshop over a period of almost 25 years. The place is enriched with thoughts, associations, objects, traces of light, embodiments and memories. A room is a room is a room, per se limited as architecture. This is the case, however, the rigid spatial construct loosens and becomes a sculpture, a temporal continuum. The physically real experiences a translation into a virtually delimited, becomes a poem about itself as Point Cloud Artefact. The studio as a vehicle, as a moving space, it finds a new place in the form of an AR art space in the centre of Vienna. I myself am this space and its past can be entered and explored as a virtual present.
SystemKollektiv, z.H. Daniela Weiss
Jörgerstrasse 56-58 Stiege 3, Top 15
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