٠ (un)natural disasters, by Darina Peeva ٠

© Darina Peeva, from the series (un)natural disasters, 2012 © Darina Peeva, from the series (un)natural disasters, 2012 “…This mix of real and unreal gives the viewer the opportunity to perceive the different images unemotionally, distantly and with no sense of guilt. The viewer is just an observer, without the right to change anything, but also with responsibility for what happens. I combine images of animals with objects (firearms and bombs) and place them in situations different than their normal habitats (interiors and public buildings). That way these symbols of innocence and helplessness (dear and kind) quickly change into carriers … Continue reading ٠ (un)natural disasters, by Darina Peeva ٠

┐ Alexander Brener & Barbara Schurz └

On the night of October 15th, as I was leaving the demonstration, a guy shouted at me. As I looked back he asked me if I spoke english, I nodded, he grabbed a paper bag and gave me a book. He turned, walked away and cut the corner just in time for me to thank him. I opened the book and this was it!!! Thank you Alexander! “In the beginning of 1999 we published a little book called What to do? 54 Technologies of Resistance Against Power Relations in Late-Capitalism (in Vienna, and before that in Moscow.) This book is … Continue reading ┐ Alexander Brener & Barbara Schurz └

┐ Rita Nowak └

© Rita Nowak, Zenita Komad, 2004 © Rita Nowak, Venus in Furs, 2005 Starting with an intense engagement with the self-portrait as a genre, two years ago Rita Nowak began reenacting famous masterworks with artist friends. In choosing the works to model, Nowak works associatively in that some works—due to certain gestures and moods—trigger memories of people well-known to her or stand in an “almost magical proximity” to them. A central interest here is what the artist calls the “memory effect”: “from history a voice that tells me something about people from my past.” Her portraits intend neither the perfect, … Continue reading ┐ Rita Nowak └

┐ Oliver Ressler └

© Oliver Ressler, from the series We have a situation here, 2011 © Oliver Ressler, from the series We have a situation here, 2011 “We have a situation here” is a standard line in disaster films when an actor faces a challenging situation. The three photographs show people lying on top of each other and recognizably dressed as managers, police and soldiers. The piles of managers, police officers and soldiers give the impression that these central players in the exercise of power are no longer necessary. Their game is over. Managers of large corporations have for decades used their influence … Continue reading ┐ Oliver Ressler └

┐ Klaus Pichler └

© Klaus Pichler, Untitled, from the series Skeletons in the closet, 2008-2011 © Klaus Pichler, Untitled, from the series Skeletons in the closet, 2008-2011 “It all started when I happened to catch a glimpse through a basement window of the museum of natural history one night: an office with a desk, a computer, shelves and a stuffed antelope. This experience left me wondering: what does a museum look like behind the scenes? How are exhibits stored when they are not on display? I was intrigued by these questions when I started to work on this project after being granted permission … Continue reading ┐ Klaus Pichler └

┐ Birgit Jürgenssen └

© Birgit Jürgenssen, Hausfrauen – Küchenschürze, 1975 © Birgit Jürgenssen, Hhne Titel, 1979 © Birgit Jürgenssen, Gladiatorin, 1980 “Other artists of the feminist avant-garde, such as Hannah Wilke, Eleanor Antin and the abovementioned Martha Rosler went even further and were even more radical in their critique on the domestication of women within marriage. With the help of performance, video, installation or photography they protested against a housewife’s fate as a cleaning lady, cook and “prostitute” – as a cheap labour and at any times disposal for the husband. Taking into account that these gender conceptions were widespread cultural and normative … Continue reading ┐ Birgit Jürgenssen └