The exhibition unites 4 artistic positions, the one specifies an extended definition of space and prompting a new interpretation of locality. It's a play between the construction of new reality levels and the previous deconstruction of the content, visual meanings and points of orientation. The room splintered from its fixed parameters, the interior and exterior becomes peripheral, the familiar diffuses, and the boundaries lie in the eye of the beholder.
The exhibition (DE)CONSTRUCTIONS unites 4 artistic positions, the one specifies an extended definition of space and prompting a new interpretation of locality. It’s a play between the construction of new reality levels and the previous deconstruction of the content, visual meanings and points of orientation. The room splintered from its fixed parameters, the interior and exterior becomes peripheral, the familiar diffuses, and the boundaries lie in the eye of the beholder.
Wiebke Elzel’s and Jana Müller photographs show areas from media obtained places, which remind us of violence and destruction, however by its contextual detachment they cannot offer any rationalization. The global visual language from which dramatic events becomes the illusory picture - the disaster in the head. The goal is it to load the image by the reduction of indicators such as time, political or ecological factors or spatial contextualisation of these spaces, void of humanity, as an emotional catalyst of uneasiness and fear - like a Déjà Vu. The ambivalence of terror, beauty and aesthetics, which can lie in the graphic quality of destruction, becomes the central topic. “From the event, which gave cause to the artists for their fabrication, remains nothing but a culturally significant suggestion and its allegorical reinterpretation.“ (Christian Krause)
“Claudia Larchers video animation HOME, assembled from photos and film into an apparently infinite pan shot and underlain with an uncomfortably roaring sound track, brings the uncanny in the ordinary to light. “(Thomas Miessgang) The camera floats by the areas of her parents' house, showing interiors with recollection value and foreshortened by angles guessed from suites of rooms. The trace slips into one surreal threatening journey, which mutate between childhood fears and the anxiety of psychological tension. Larcher exactly touches each subtle point with precision, in which the trusted becomes the indefinable danger; there is no resistance against this fear that is ingrained in us.
“In the short film series Rauminvasionen (Room Invasions) by Klaus Pamminger the authors’ own apartment becomes overgrown by film stills. Each of the eight short films from this first series is dedicated to a classic genre film: “The Birds” and “Vertigo” by Alfred Hitchcock, Luis Buñuels’ “Belle de Jour”, David Lynchs’ “Blue Velvet”, Quentin Tarantinos’ “Pulp Fiction”, Ridley Scotts’ “Alien”, Michael Hanekes’ “La Pianiste” or Claude Faraldos’ “Themroc”.” (Maya McKechneay)
The private room becomes the filmsetting, fragments of the original films with appropriate sound fragments penetrates, in collage-like cutouts similar to media clips, into the head of the audience. An abstract picture element deconstructs the room’s material layout and become “Room-Inlays“. It is rearrangements of familiar environments, which allow Pammingers short films to become complex projection screens of perception.
Marja Piriläs series Speaking House shows photographs of the premises from an abandoned former psychiatry. She transforms the entire area into a Camera Obscura and catches the final picture with a large size camera. The places into which the outside world in backwards perspective is projected, penetrates and is newly placed on the walls carry the traces of their past within itself. Through this quasi-meditative work with light and sun movement a fragile appraisal is created, resulting in a sensitive approach to space, time, history and image. In this fusion of levels from the exterior and interior lies the poetic charm of her work. “It gives the time of the stone walls, the time of the light, and the time of the invisible existence of the outside space, even if we ourselves are the stage, on which the events take place.“ (Harri Laakso)
Image: Klaus Pamminger, Videostill aus: ri– m#07_LP, 2008 (feat. La Pianiste / Michael Haneke, 2001) DV – 16:9, Farbe, Ton, 3:40 min.
Opening: Monday, 6. April 2009, 7pm
Wahringer Str. 59 - Wien
TU-FR 2-7pm, SA 10am-2pm, closed on holidays