Exercising polyperspective perception, sketching counter-places, co-areas, abutments and shapes into space – heterotopias, fanned out across the place on hand. The fearless space in a rough draft.
During a tamping/stomping and dance performance, the clay applied to a formwork is processed. The formwork encloses an empty space. The different types of movement reflect the patterns and structures of the circling. They become the text of the material being questioned – a soil language. This language can be used to erect a fictitious building. In the last act, the tamped and dried clay panels are stacked into the formwork, and the formwork is subsequently removed.
In this discourse, conducted by practioners from various self-organizing forms in Austria, (mental) spaces are opened up to make the complex layers of structure that handle such projects in reality accessible and also shareable: individual and common matters, self-determined living and residing, community-based economics, use of our resources and much more. Different responses to precarious living conditions such as house squatting will also be addressed.
the PLATEAU, merged by panels of shrinking and swelling rammed earth, was found (commons c.) … the two layers of clay, accurately put on top of each other in squares, make it the PROTOARCHITECTURE of a pedestal … unreinforced and unkilned, it is impossible to steady the material permanently – increasing desiccation entails cracks, processes of decay, slow dissolution into smallest grain sizes, DUST … yet, the capability of new plasticity when combined with water makes it the PROTOMATERIAL of repeatable attempts to form/forge/formulate …
On March 22, 2020, several international rock plates shifted. In Zagreb, an earthquake shook the city. That much is certain. Elsewhere in Graz, E. felt these tremors without being able to assign them – she lives on the fourth floor of a residential building in the east of the city. The time of perception is not always the time of truth … > Openings: Every Thursday May 28, June 04, June 11, June 18, 2020 , Hours: 6 p.m., 7 p.m., 8 p.m. > Would you kindly note the covid 19 regulations
Starting September 2020, an intense exchange of knowledge will proceed in several video meetings, discursively examining different aspects and angles of an autonomous lifestyle. Social, spacial-political and artistic considerations as well as matters relevant to society are implied. Alternate financing and organization models – already applied by „Mietshäuser Syndikat“ (Germany) and HabiTAT (Austria) for quite some time – will also be addressed. As will be models not based on property acquisition.
Collective beauty expresses itself in every nook and corner. Productions from the collective unconscious appear in manifold rituals of order and marking. Phrasings – embedded in functional, trivial context – and proceedings of layering, accumulation and condensation turn out to be pure poetry.
Roselies Haider and Mira Palmisano, who spent six weeks in Velika Kladuša in January and February 2019 to support people on the way, give account of their perceptions at Schengen’s edge.
Personal recordings of what is important, of everything that must not be forgotten, on that day or over a longer period of time. As a mnemonic, a storage or an evidence to be able to give proof or to assure oneself. While the occurrance is ending, the memory fading, the narration being dismissed as fictional, everything committed to paper in the notebook serves as verification. The perceived moment in fragments outlined, to not leave it to oblivion. The notebook as the situatedness of particular moments in changing hierarchical priorities as a list of references of today’s being.
The family has been living at the house in Loibltal/Brodi 1 for four years when Paul is born as Neža and Miha’s sixth child into a century that has just begun. For more than seven decades, the house on the road has remained his home where each of his paths through life has started. It is also the home he returns to, the place he shapes with his doings and fills with his life: through a time of disruption and uncertain realignments on all levels, up until today.
Our society is a plural gathering where many interests clash. Our co-operation in a democracy is subject to constant re-negotiation: This is about everybody, since every single one of us is a being of many possibilities. We believe that art, culture and the institutions promoting the same are open spaces-spaces that allow us to experience diversity and ambiguity. There has been a time when art was defamed as degenerate in Austria. Art and culture were put to ill uses of inhumane propaganda. People were debased, robbed of their means of existence, persecuted, exiled, murdered. As creators of art and culture in Austria we are well aware of the responsibility that arises from history. In the Republic of Austria, the European Convention for the Protection of Human Rights and Fundamental Freedoms enjoys constitutional status. Whoever attempts to abrogate the European Human Rights Convention and the rule of law is compromising the cornerstones of our democratic commonwealth.
Our place at Annenstrasse 52 is opened up into the backyard by a staircase. A bridge, creating permeability. From urban space into “idyllic backyard ambiance" with AC sound and dumpster ensembles. Here and there, roses, shrubs, too. Every opening extends the range of perception and of possibilities, also entails uncertainty. That’s normal and harbours the chance to engage – on an artistic as well as a social level.
The current situation in Nicaragua and the modus operandi the autocratic acting president Daniel Ortega and his clans display in dealing with the opposition, with students, journalists and activists calls for first-hand information for one thing and, for another, for the necessity to "pin" this information in the form of an "information sculpture", keep it evident and further feed it.
An artistic research into the Nazi’s getaway route to Argentina leads to rambling, proliferating, spacing out. Diagrams, pictures, metaphors, all knotting together within the protagonist of the research. Narrations, fringing at the margins and resisting concluding representations. Junctions and conjunctions everywhere, disturbing the orientation yet allowing to move forward. What remains are fragments, their excess amassments and intricate alignments.
Ausstellung im Pavelhaus/Pavlova Hiša: Persönlichen Erinnerungen und dem Erzählten Raum geben, um verschüttete gemeinsame Vergangenheit sichtbar zu machen. Postkarten, Briefe und Fotografien aus der ersten Hälfte des 20. Jh. aus dem Kärntner Loibltal erzählen Geschichte aus persönlicher Perspektive.
Kick off lecture and opening of the exhibition “X-Y=1+silence | Molk“ kickoff lecture: Heidrun Zettelbauer, University Graz (inquired) “Educational system and non-profit association work in bilingual Lower Styria between 1880 and1938“ Text installation: Petra Kohlenprath “1893 –1973: 80 years of teaching in Loibltal, Carinthia“ Video installation: Nick Acorne
What is the art what are the humans? The exhibition shows a fragmentary retrospective and present works. Mirko Maric strolls through different worlds: real and virtual, analogue and digital, as well as banal. His works arise from the contact points and intersections of personhood and the world of art—nature, life, death. A disturbing „intoxication with questions“, „silent talks“ made visible in the public as well as the intimate space. Consequently, everything ends in an invisible fluxus edition. Subject to changes.
Die Personale stellt den Versuch dar, sich der Filmemacherin, Musikerin und Medienkünstlerin Billy Roisz in ihren mannigfaltigen Konnektivitäten zu nähern.
Exercising polyperspective perception, sketching counter-places, co-areas, abutments and shapes into space – heterotopias, fanned out across the place on hand. The fearless space in a rough draft.
In this discourse, conducted by practioners from various self-organizing forms in Austria, (mental) spaces are opened up to make the complex layers of structure that handle such projects in reality accessible and also shareable: individual and common matters, self-determined living and residing, community-based economics, use of our resources and much more. Different responses to precarious living conditions such as house squatting will also be addressed.
On March 22, 2020, several international rock plates shifted. In Zagreb, an earthquake shook the city. That much is certain. Elsewhere in Graz, E. felt these tremors without being able to assign them – she lives on the fourth floor of a residential building in the east of the city. The time of perception is not always the time of truth … > Openings: Every Thursday May 28, June 04, June 11, June 18, 2020 , Hours: 6 p.m., 7 p.m., 8 p.m. > Would you kindly note the covid 19 regulations
Collective beauty expresses itself in every nook and corner. Productions from the collective unconscious appear in manifold rituals of order and marking. Phrasings – embedded in functional, trivial context – and proceedings of layering, accumulation and condensation turn out to be pure poetry.
Personal recordings of what is important, of everything that must not be forgotten, on that day or over a longer period of time. As a mnemonic, a storage or an evidence to be able to give proof or to assure oneself. While the occurrance is ending, the memory fading, the narration being dismissed as fictional, everything committed to paper in the notebook serves as verification. The perceived moment in fragments outlined, to not leave it to oblivion. The notebook as the situatedness of particular moments in changing hierarchical priorities as a list of references of today’s being.
Our society is a plural gathering where many interests clash. Our co-operation in a democracy is subject to constant re-negotiation: This is about everybody, since every single one of us is a being of many possibilities. We believe that art, culture and the institutions promoting the same are open spaces-spaces that allow us to experience diversity and ambiguity. There has been a time when art was defamed as degenerate in Austria. Art and culture were put to ill uses of inhumane propaganda. People were debased, robbed of their means of existence, persecuted, exiled, murdered. As creators of art and culture in Austria we are well aware of the responsibility that arises from history. In the Republic of Austria, the European Convention for the Protection of Human Rights and Fundamental Freedoms enjoys constitutional status. Whoever attempts to abrogate the European Human Rights Convention and the rule of law is compromising the cornerstones of our democratic commonwealth.
The current situation in Nicaragua and the modus operandi the autocratic acting president Daniel Ortega and his clans display in dealing with the opposition, with students, journalists and activists calls for first-hand information for one thing and, for another, for the necessity to "pin" this information in the form of an "information sculpture", keep it evident and further feed it.
Ausstellung im Pavelhaus/Pavlova Hiša: Persönlichen Erinnerungen und dem Erzählten Raum geben, um verschüttete gemeinsame Vergangenheit sichtbar zu machen. Postkarten, Briefe und Fotografien aus der ersten Hälfte des 20. Jh. aus dem Kärntner Loibltal erzählen Geschichte aus persönlicher Perspektive.
What is the art what are the humans? The exhibition shows a fragmentary retrospective and present works. Mirko Maric strolls through different worlds: real and virtual, analogue and digital, as well as banal. His works arise from the contact points and intersections of personhood and the world of art—nature, life, death. A disturbing „intoxication with questions“, „silent talks“ made visible in the public as well as the intimate space. Consequently, everything ends in an invisible fluxus edition. Subject to changes.
During a tamping/stomping and dance performance, the clay applied to a formwork is processed. The formwork encloses an empty space. The different types of movement reflect the patterns and structures of the circling. They become the text of the material being questioned – a soil language. This language can be used to erect a fictitious building. In the last act, the tamped and dried clay panels are stacked into the formwork, and the formwork is subsequently removed.
the PLATEAU, merged by panels of shrinking and swelling rammed earth, was found (commons c.) … the two layers of clay, accurately put on top of each other in squares, make it the PROTOARCHITECTURE of a pedestal … unreinforced and unkilned, it is impossible to steady the material permanently – increasing desiccation entails cracks, processes of decay, slow dissolution into smallest grain sizes, DUST … yet, the capability of new plasticity when combined with water makes it the PROTOMATERIAL of repeatable attempts to form/forge/formulate …
Starting September 2020, an intense exchange of knowledge will proceed in several video meetings, discursively examining different aspects and angles of an autonomous lifestyle. Social, spacial-political and artistic considerations as well as matters relevant to society are implied. Alternate financing and organization models – already applied by „Mietshäuser Syndikat“ (Germany) and HabiTAT (Austria) for quite some time – will also be addressed. As will be models not based on property acquisition.
Roselies Haider and Mira Palmisano, who spent six weeks in Velika Kladuša in January and February 2019 to support people on the way, give account of their perceptions at Schengen’s edge.
The family has been living at the house in Loibltal/Brodi 1 for four years when Paul is born as Neža and Miha’s sixth child into a century that has just begun. For more than seven decades, the house on the road has remained his home where each of his paths through life has started. It is also the home he returns to, the place he shapes with his doings and fills with his life: through a time of disruption and uncertain realignments on all levels, up until today.
Our place at Annenstrasse 52 is opened up into the backyard by a staircase. A bridge, creating permeability. From urban space into “idyllic backyard ambiance" with AC sound and dumpster ensembles. Here and there, roses, shrubs, too. Every opening extends the range of perception and of possibilities, also entails uncertainty. That’s normal and harbours the chance to engage – on an artistic as well as a social level.
An artistic research into the Nazi’s getaway route to Argentina leads to rambling, proliferating, spacing out. Diagrams, pictures, metaphors, all knotting together within the protagonist of the research. Narrations, fringing at the margins and resisting concluding representations. Junctions and conjunctions everywhere, disturbing the orientation yet allowing to move forward. What remains are fragments, their excess amassments and intricate alignments.
Kick off lecture and opening of the exhibition “X-Y=1+silence | Molk“ kickoff lecture: Heidrun Zettelbauer, University Graz (inquired) “Educational system and non-profit association work in bilingual Lower Styria between 1880 and1938“ Text installation: Petra Kohlenprath “1893 –1973: 80 years of teaching in Loibltal, Carinthia“ Video installation: Nick Acorne
Die Personale stellt den Versuch dar, sich der Filmemacherin, Musikerin und Medienkünstlerin Billy Roisz in ihren mannigfaltigen Konnektivitäten zu nähern.
“It’s my face man
I didn’t do nothing serious man
please
please
please I can’t breathe
please man
please somebody
please man
I can’t breathe
I can’t breathe
please
(inaudible)
man can’t breathe, my face
just get up
I can’t breathe
lease, a knee on my neck
I can’t breathe
shit
I will
I can’t move
mama
mama
I can’t
my knee
my neck
I’m through
I’m through
I’m claustrophobic
my stomach hurt
my neck hurts
everything hurts
some water or something
please
please
I can’t breathe officer
don’t kill me
they’re gonna kill me, man
come on man
I cannot breathe
I cannot breathe
they’re gonna kill me
they’re gonna kill me
I can’t breathe
I can’t breathe
please sir
please
please
please I can’t breathe”
These are the last words of George Floyd, a 46-year-old man who died as a US police officer pinned him down, kneeling on his neck for almost nine minutes. (source: avaaz.org)
https://secure.avaaz.org/campaign/en/george_floyd_loc/?cSOfOab
