OSTERFESTIVAL TIROL 2013 | Johanne Saunier, Ine Claes
OSTERFESTIVAL TIROL 2013 | Johanne Saunier, Ine Claes Musée en Chantier (excerpt) | Performance in Galerie im Taxispalais, Innsbruck, Austria. March 2013 | ©2013 Osterfestival Tirol, osterfestival.at
Thomas Feuerstein PSYCHOPROSA (SCHLEUSE, 2008) // Frankfurter Kunstverein
Die Arbeit SCHLEUSE von Thomas Feuerstein war Bestandteil der Austellung Thomas Feuerstein: PSYCHOPROSA im Frankfurter Kunstverein (Ausstellungsdauer: 29 Mai bis 30. August 2015).
Die Ausstellung PSYCHOPROSA des Künstlers Thomas Feuerstein (*1968 in Innsbruck, AT) bewegte sich im Bereich zwischen Kunst und Naturwissenschaft. Sie bestand aus einer einzigen, miteinander verbundenen Installation, die der Herstellung des Moleküls PSILAMIN und der Produktion von Schleim dient. Schläuche transportierten grüne und farblose Substanzen durch die Räume des Kunstvereins. Sie verbanden Laborgefäße, Apparaturen und Kühlsysteme, die über die Dauer der Ausstellung hinweg als real funktionierende Objekte einer Versuchsanordnung dienten, zu einem narrativen Strang. Der Ausstellungsraum wurde zum lebendigen Labor, in dem der Künstler das von ihm neu synthetisierte und als molekulare Skulptur deklarierte PSILAMIN aus Algen und Pilzen gewann. Thomas Feuerstein verschränkte in seiner Ausstellung das Wissen aus Kunst, Philosophie, Literatur sowie aus Biotechnologie, Ökonomie und Politik zu einem künstlerischen Narrativ, welches Fragen nach existentiellen Grundparametern und dem Ursprung von Leben eröffnet. PSYCHOPROSA war die erste große institutionelle Einzelausstellung des österreichischen Künstlers in Deutschland.
Die Ausstellung war eine Kooperation mit der Galerie im Taxispalais, Innsbruck und dem Kunstverein Heilbronn und mit freundlicher Unterstützung von der Hessischen Kulturstiftung, dem Hessischen Ministerium für Wissenschaft und Kunst, dem Bundeskanzleramt Österreich in Wien, dem Land Tirol, dem Österreichischen Kulturforum Berlin, der Merck KGaA, von ORF Kunstradio, Rehau AG + Co und der allbuyone GmbH.
Thomas Feuerstein’s exhibition PSYCHOPROSA hovered somewhere between art and science. It consisted of a single, interconnected installation that served as the incubator for the element PSILAMIN and for the production of slime. Tubes transported green and colorless substances through the spaces of the Frankfurter Kunstverein. They incorporated laboratory vessels, apparatuses, and cooling systems into a narrative strand, while retaining their functional purpose in an experimental set-up throughout the duration of the exhibition. The exhibition space became a live laboratory, in which the artist himself has synthesized a new molecule, PSILAMIN, from algae and fungi and declared it to be a molecular sculpture. In his exhibition, Thomas Feuerstein (*1968 in Innsbruck, lives in Vienna) weaved knowledge taken from art, philosophy and literature, as well as biotechnology, economics, and politics into an artistic narrative, which disclosed questions about basic existential parameters and the origin of life. PSYCHOPROSA was the first major institutional solo exhibition in Germany of the Austrian artist.
The exhibition was a collaboration with the Galerie im Taxispalais, Innsbruck, and the Kunstverein Heilbronn, and was made possible through kind support from Hessische Kulturstiftung, the Hessen State Ministry of Higher Education, Research and the Arts, the Federal Chancellery of Austria in Vienna, the Province of the Tyrol, the Austrian Cultural Forum in Berlin, Merck KGaA, ORF Kunstradio, Rehau AG + Co and allbuyone GmbH.
Hotel Central Video : Hotel Review and Videos : Innsbruck, Austria
Hotel Central Video : Hotel Review and Videos : Innsbruck, Austria
Property Location With a stay at Hotel Central, you'll be centrally located in Innsbruck, steps from Annasaule and Tyrolean Provincial Museum. This 4-star hotel is within close proximity of Alpenverein-Museum and Galerie im Taxispalais.Rooms Make yourself at home in one of the 84 guestrooms featuring minibars and flat-screen televisions. Cable television is provided for your entertainment.
Private bathrooms have complimentary toiletries and hair dryers. Conveniences include safes and desks, and housekeeping is provided daily.Rec, Spa, Premium Amenities After a day on the slopes, enjoy recreational amenities including a health club and a sauna.
Additional features include ski storage and tour/ticket assistance. You'll be on the slopes in no time with the complimentary ski shuttle.Dining Enjoy a satisfying meal at a restaurant serving guests of Hotel Central.Business, Other Amenities Featured amenities include high-speed (wired) Internet access (surcharge), a business center, and express check-in.
Self parking (subject to charges) is available onsite.
Check-in from 15:00 , check-out prior to 11:00
Bathtub, Shower, TV, Safe box, Mini bar, Bathrobes, Hairdryer.
Parking, 24 hours Front Desk Service, Restaurant/cafe, Bar, Business centre, Gym, Spa, Pets allowed, Laundry service.
Hotel adress: Gilmstraße 5, Innsbruck, Austria
Twitter:
Blogspot:
Facebook:
Flickr:
Google Plus:
Youtube:
Reserve:
Michael Schmidt/Lebensmittel Taxispalais-Innsbruck 2012.mov
Galerie nächst St. Stephan: A Talk with Sonia Leimer and Rosemarie Schwarzwälder OMU
SONIA LEIMER Above the crocodiles
November 4, 2015 – January 9, 2016
In her installations, Sonia Leimer explores our perceptual foundations, which are formed on the basis of individual, historical, and media-related patterns of experience. As products of concrete historical contexts, rooms and objects undergo a transformation in which history and societal changes become palpable.
The exhibition title Above the crocodiles refers to a video that Sonia Leimer compiled using archive material from a Russian TV channel. We see the searching of the camera of two Russian astronauts filming different territories on earth from the ISS space station and talking about what they see. Sonia Leimer added a female astronaut to the audio track who contributes her own observations, thoughts, and questions to the conversation; hence, the interplay between political reality and personal desire emerges as the main theme. The video is showing in a room in which several I-beams have been transformed into seats with upholstery, the fabric of which was produced by a company from the former Soviet Union. Sonia Leimer’s installation thus not only brings political change to the fore, it also highlights the increase in global interconnectedness.
The idea of stability in a political and architectural sense is also visible in another room-encompassing installation. Here, an entire wall is suspended using a water counterweight, the upward lift of the wall illustrating the gallery room’s revolt against gravity. The underlying, sensitive system of dependencies creates a temporarily stable situation that could topple at any moment.
Also from a stable system but now removed are the pieces of asphalt – fragments of the city – which Sonia Leimer has spread out over the floor of another room, forcing visitors to step over the individual pieces. In the gallery space within this centuries-old Viennese building, they challenge us for a moment, pointing out the temporality of all human attempts to create something lasting.
The printed window films for cars establish a link between the pieces of road and our distanced view from above – something that is also addressed in the video. The screen print shows a photograph taken by the space probe Voyager in 1990. From a distance of about 6 billion kilometers, earth appears only as a pale blue dot.
Accompanying the exhibition, the Galerie nächst St. Stephan Rosemarie Schwarzwälder, Vienna is publishing the booklet Sonia Leimer and Alice Könitz, WOW!, featuring a conversation between Sonia Leimer and Alice Könitz as well as texts by Joanna Fiduccia and Andrew Berardini.
SONIA LEIMER, born in 1977 in Meran, Italy, lives and works in Vienna. Studied at the Akademie der bildenden Künste, Vienna. Selected exhibitions: 2015: Galerie nächst St. Stephan, Rosemarie Schwarzwälder, Vienna (solo); Ludwig Forum, Aachen, Germany; 2014: Galerie Barbara Gross, Munich (solo); Wow!, LAMOA Museum of Art Los Angeles (solo); Austrian Cultural Forum London; 2013: 5th Moscow Biennial; Vienna Museum; ABC Berlin (solo); 2012: Artothek, Cologne (solo); Museion, Bozen (solo); MAK Center for Art and Architecture, Los Angeles (solo); 2011: Kunstverein Basis, Frankfurt/Main (solo); 2010: BAWAG Contemporary, Vienna (solo); Salzburger Kunstverein, Salzburg (solo); Galerie im Taxispalais, Innsbruck; Triennale Linz; 2008: Manifesta 7, Rovereto
Galerie nächst St. Stephan: A Talk with Luisa Kasalicky and Jakob Neulinger
LUISA KASALICKY Invitrospektive 27 June – 9 August 2014
Luisa Kasalicky’s painterly approach toward the exploration of space in all its dimensions (second, third, and fourth) has recently taken the form of moving images. The artist has expanded the distances and dependencies between viewer, picture, and pictorial medium in her sculptural arrangements in stages. Many of her décor-like, background elements, informed by fragmentation, seem to display the need to break out of two-dimensional flatness into three-dimensional space. Kasalicky then coerces these fragments into collage-like cooperatives formed along a common pictorial interest.
Both beyond and within the limits of panel painting, Kasalicky’s works seem to want to focus and direct our gaze. Since the late Renaissance, such stark contrasts between light and dark and choreographed lighting effects have acted as productive tools for highlighting and singling out individual elements from the dark masses, declaring them protagonists. As a painter, the entrance of her work into the three-dimensional realm means, just as in her two-dimensional practice, facing difficult decisions concerning light and shadow.
Luisa Kasalicky employed this strategy in her recent exhibitions “Frontispiz: Juxtaposition” in the Burgkapelle art space of the Museum Moderner Kunst Kärnten in Klagenfurt and “Intro: desiderio” in the Lentos Kunstmuseum Linz. In these projects, revolving spotlights were programmed in a loop to reveal details of the room and the works installed there. This influenced, with dramatic tenacity, what could be seen and what remained in the dark. The lights fell briefly on microcosms of organized groups of objects, allowing viewers a fleeting encounter with Kasilicky’s sculptural miniatures. No sooner had these disappeared again in the darkness that the afterglow of many objects remained in the viewer’s mind, gathering intellectual potential.
Continuing in this reflective vein, Luisa Kasalicky has installed a set of memory images in Galerie nächst St. Stephan. “Intro” (2013), which was originally directly integrated into the museum wall with pigment and thread as a wall piece, has been reproduced in fabric, stitch by stitch. In a cinematic style, the theatrical appearance of the same twilight groups of objects unfolds into an enchanted, playful choreography in which a shadow can carry more weight than its material counterpart.
If we follow the train of thought behind “Invitrospektive,” we must let go of the need to recognize something in an instant. We should not try to give things names. Instead, we should let the images settle in our minds. It’s not about instantaneously realizing exactly how something was – it’s about conceiving what it could be for us in the future.
Jakob Neulinger
Invitrospektive is Luisa Kasalicky’s first solo exhibition in the gallery’s main rooms. She has previously shown works in the gallery’s Login (2010) and the Projektraum (2012). New works by Sonia Leimer and Christoph Weber will be shown simultaneously in the gallery’s fourth room.
Luisa Kasalicky was born in Prague in 1974. She studied painting and graphic arts at the Akademie der bildenden Künste (Academy of Fine Arts) in Vienna, where she currently lives. She won the Otto Mauer Preis in 2013.
Selected exhibitions: 2013 Intro: Desiderio, Lentos Kunstmuseum, Linz (solo); Frontispiz, Juxtaposition, Kunstraum Burg-kapelle, Museum Moderner Kunst Kärnten, Klagenfurt (solo); 2012 Immer bunter, Galerie im Taxispalais, Innsbruck; 2011 En suite, BAWAG Contemporary, Vienna (solo); 2010 Galerie der Stadt Schwaz, Schwaz (solo); Lebt und arbeitet in Wien III, Kunsthalle Wien, Vienna; 2009 Twilight Zone, Kunstraum Niederösterreich, Vienna; 2008 Delay Tacitcs of Second Rate Quality, Austrian Cultural Forum, London; 2006 Erzählungen -35/65+, Kunsthaus Graz
Hyzio Dyzio Zyzio - Performance Art Express - Barrett // Deimling // Trusewicz
a film by Matthias Pick
Hyzio Zyzio Dyzio
Performance Art Express in Perfex / Galeria Raczej
3 artist - 3 performances
Synday / 14.08 / 7 PM
Artists:
-- Michael Barrett's happenings engage cycles of physicality, gender, and identity that draw from his experience as a U.S. Marine, college athlete, and cancer survivor. For nearly, a decade and a half, his work has grown to include durational performances and complex installations, in which physically intense actions are composed in relation to specific architecture.
Selected solo and group exhibitions include the Lincoln Center for the Performing Arts - New York City, the San Francisco Arts Commission Gallery, Berkeley Art Center, Scope International - Basel, Switzerland, Psi 19 - Stanford University, Dopust 2016 – Vienna, SOMArts - San Francisco, Las Vegas Contemporary Arts Center.
-- BBB Johannes Deimling - b.1969 in Gemany, lives in Poland and Norway.
BBB Johannes Deimling’s performance art works have been internationally presented at several performance art events such as: Accion!MAD, Madrid, Spain; Interakcje, Piotrkow Trybunalski, Poland; FADO, Toronto, Canada; M:ST – performative arts festival, Calgary, Canada; Blauverschiebung, Leipzig, Germany; BONE, Bern, Switzerland; LAS BAS, Helsinki, Finland; LiveArt.dk, Copenhagen, Denmark; Venice International Performance Art Week, Venice Italy; PAB– Performance Art Bergen, Bergen, Norway and many others..
Besides his international presence at performance art festivals his works were presented at ARKEN – museum for contemporary art, Copenhagen, Denmark; Kunsthalle Düsseldorf, Düsseldorf, Germany; KIASMA – museum for contemporary art, Helsinki, Finland; ICA – international center of the arts, London, UK; Galerie im Taxispalais, Innsbruck, Austria; Arsenale, Venice, Italy; CCA – center for contemporary art, Tel Aviv, Israel; Cornerhouse Gallery, Manchester, UK; Neuer Berliner Kunstverein, Berlin, Germany; Schindlers Factory, Krakow, Poland and many others.
Since 1997 he was guest teacher at various academic institutions such as: F+F, school for art and design, Zurich Switzerland; Bezalel, school of the arts, Jerusalem, Israel; HGBK – school of design and art, Karlsruhe, Germany; ACAD – Alberta College of the arts, Calgary, Canada; Estonian art academy, Tallinn, Estonia; TEAK – Theatre Academy, Helsinki, Finland; Willem de Kooning Academy, Rotterdam, Netherlands; University of Nicosia, Nicosia, Cyprus; Athens school of the arts, Athens, Greece; Art Academy, Guangzhou, China; Universidad Politécnica, Valencia, Spain and many others.
Since 2011 he is associate professor for Performance Art at the NTA – Norwegian Theater Academy, Fredrikstad, Norway.
In 2008 he founded PAS | Performance Art Studies and art and education project for Performance Art of which he is the artistic director since then.
To present complex contents, situations and moments in a simple and elementary way is a signature of the art of BBB Johannes Deimling: the term ‘Performance Art Povera' describes his works. These are the intersections that inspire and provoke his approaches to the perception of aesthetics, concept and content of his work. The ‘acted images [agierteBilder]’ of the artist are initially created purely visual, but gradually access to all the senses to create a holistic view on the banalities of everyday life with all its changes.
-- Łukasz Trusewicz
b.1984. Graduated from University or Arts in Poznan, faculty of Sculpture and Performing Art in Poznan, Poland in 2010. The experience of sculpture, installation and performance art, just as interest in the impact of art on an urban zone, led him to projects and actions in the public space. In his artistic practice interested in such issues as public perception of art and historical memory potential inherent in different spaces. By using a simple means and gestures tries to raise the problems such as oblivion and exclusion, aggression and domination. He’s intrigued by the peripheral spaces, the places which meaning has been forgotten or changed by the devastating effects of time and man .He is also the originator and one of the curators of Raczej Gallery in Poznan dedicated to promotion of the performance art.
Selected festivals and exhibitions:
Iamesh Ephemeral Art Meeting, Księgarnia/Wystawa, Cracow, Poland: Supermarket Independent Art Fair, Stockholm ;
PERFORMANCE FESTIVAL MALAMUT, Ostrava, Czech Republic, ; PERFO! , Haihara Art Centre , Tampere Finland; Performance Art Links Stockholm , PALS Play Tag Part1, Stockholm Sweden ; Month of Performance Art Berlin,
PAO Festival, Oslo, Norwey;
Month of Performance Art Berlin, Not Only, MPA-B HUB, Germany; Body Plasticity Live Art Exhibition, Art Now Live Studio, Beijing, China