Author: dawpadmin

No.82 Baba Vasa’s Cellar

Sharif Baruwa, Leda Ekimova, Eva Engelbert, Karine Fauchard, Peter Fritzenwallner, Helmut Heiss, Konrad Kager, Lia Karl, Vikenti Komitski, Nestor Kovachev, Lazar Lyutakov, Thea Moeller, Alexander Puskin, Patricia Reis, Eva Seiler, Nora Rekade

Aug. 8 2015, Baba Vasa, Shabla, Bulgaria

work by Peter Fritzenwalder and Helmut Heiss

No.78 Tbilisi – public space

“The idea was to work with local artists, but since nobody wanted to, I don’t know, nobody answered so we were kind of alone. That‘s us polishing. The smell of urine in that thing down there is . . .”

“This is the original and then we cleaned this on the top and then the day after the guy painted it again.”

“If you own a ruin and then somebody comes and says, »I want to clean it up, you’ve got a ruin.« Then he‘s ruining your ruin.”

No.76 Ana Almeida

19. 06. 2012
,Trinomial’

Starting from Marcel Proust’s concept of involuntary memory (a conception of human memory in which cues encountered in everyday life evoke recollections of the past without conscious effort), a memory would work both as a selective process and by adding information to the original event.

In Trinomial memory is understood as an adulteration process. A second memory would be a memory of a memory of the original event and so on. In this process the addition of noise and information is continuous and older memories tend to deviate radically from the past reality, creating new versions of truth. The same narrator presents three simultaneous narratives, three different memories of the same event, all of them true. Trinomial is composed by three autonomous videos installed in the same space; sound synchronized in the sentence

“I remember perfectly that day”.

(A.A.)

 

No.74 Objekt, Bild / Irena Eden & Stijn Lernout

15. Mai 2012
tatort
Wenn wir Objekt denken, Raum oder Gebäude, Stadt oder Metropole, Landschaft oder Nation, so meinen wir keinen geschlossenen abgrenzbaren Raum. Kein Objekt, keine Menge in Abgrenzung zum umgebenden Raum. Vielmehr eine Verdichtung von Achsen, Ebenen, Perspektiven, Sichtweisen und Geschehnissen. Um dieser Gleichzeitigkeit und Gleichwertigkeit der sich ineinander verschachtelnden Ebenen und Koordinaten gerecht zu werden, begeben wir uns ebenso in Bewegung und verschieben unsere Perspektive indem wir performativ Ebenen verschieben. So wird ein Alltagsraum zur Fremde, Fremdes in Aneignung zu Bekanntem, so überlappen sich Zwischenräume und werden starre Strukturen dekonstruiert.