Group exhibition, Vienna/Austria:
Iteration I, Space (In der Kubatur des Kabinetts)
In the last decade the Fluc in Vienna’s Praterstern has developed into “an architectural eye-catcher, as a fluctuating, multifunctional, polyphonic multimedia culture venue where art and the everyday, cultural practice and public space is renegotiated from day to day” (Armin Faymann). The staging of the rooms as well as the rooms themselves is shaped by the situative rearrangement and the changing users. The open-plan structure of the club is repeatedly redefined according to the requirements of its protagonists; existing surfaces are overwritten, elements are added and others removed—here architecture becomes a stage for architecture and an experimental field for spatial action.
The exhibition Iteration I, Space dedicates itself to the venue that is based on the idea of “fluctuated rooms” and which hosts the event as the beginning of the 2011 exhibition series Experienced at Least Twice. Starting from the idea of a loop of communicative, media and social connections, six artistic positions are shown that relate to the structural, temporal and social characteristics of the venue. Its componentsthe substances and materials, the function as social space as well as the position as a traffic junction in urban life—are put up for discussion with regard to its relevance as venue for spatial experimental arrangements. The exhibition’s focus is here less on the result of the artistic interventions than on the process that leads to the temporal limitation of its outward image.
As with Miriam Laussegger’s and Eva Beierheimer’s Feedback installation, the subject of repetition as a central method of contemporary cultural production serves as a starting point for the participating artists to use technological means endlessly to reproduce the space and incorporate visitors in the space-time loop. In the intervention configurations of knowledge [dimensional iteration], Michael Kargl measures the individual architectural elements of the room and relates them in such a way that the mutual cross-references and connections can repeatedly be recreated by the observers. In Anna Schreger’s fingern, the reference to the locality becomes evident when she leaves it to the visitor to decide on the perspective from which they observe the inside and the outside through her drawings on the windows of the container. In untitled, Bernd Oppl highlights the video image as an architectural intervention by declaring it itself to be the key protagonist of spatial structures. In untitled (flickering), on the other hand, Ruben Aubrecht presents the video display not only as one of the essential elements in music culture but also as a foil for media reflection.
The exhibition Iteration I, Space shows various forms of the deconstruction of a transient space, which are not presented as results but which—as a continuing process of reiteration—determine the room as the vehicle of actions carried out by its users.
untitled (flickering) (2008) | Video, 5:10 min (loop)
In his artistic work, Ruben Aubrecht continually questions the boundaries of the medium of video and the associated mode of presentation on screens. On a video display that is part of the Fluc club’s equipment, untitled (flickering) shows the black silhouette of a person who overpaints the flickering snowstorm on the screen with black point—and ultimately obliterates themselves in the process. Hardly is this process completed than the work begins again. The protagonist in Aubrecht’s video almost literally attempts to generate a black box, which as a black space in the room draws attention to its internal ways of functioning and media processes. The insistent attempt to repair the apparently technical defect of the missing video signal continually fails, however—the actual video image remains hidden from the observer.
Ruben Aubrecht (*1980, Bregenz) lives and works in Berlin.
Szenenwechsel [Change of Scene] (2011) | Wallpaper, C-print on paper, ca. 2 x 1600 cm; silver foil label
Female Obsession understands art as a practice that emerges from networks of connections and reflects back on them. The collective, which works in open and alternating formations, transforms artistic processes into options for action. With the design of the walls of the Fluc, the multifunctionality of the club room, which serves as a foil for artistic, musical and social interaction, is under discussion. In striking neon yellow and with the writing “Szenenwechsel” [Change of Scene], for a brief moment Female Obsession stops the flow of continuously changing sequences of action and scenes that characterises the Fluc as a public place. The term is a linguistic reflection of what characterises the space. At the same time, however, it calls on its observers to reflect on their own function in this cycle and to become active themselves. The thematised “change of scene” ultimately becomes a change of perspective.
Female Obsession was founded in 2002 in London and works as an open collective based in Vienna.
configurations of knowledge [dimensional iteration] (2011) | Adhesive tape, label, ca. 20 x 1450 cm
Conceived as a series, configurations of knowledge presents the observers with everyday knowledge by showing normative contexts and new meaning generated from them. Michael Kargl focuses on the relations between individual elements of knowledge; configurations of knowledge [dimensional iteration] is a floor installation consisting of a line that divides the interior of the club into two halves. With this boundary marking, the artist records the different sizes of the partly normed, partly improvised construction elements of the container ensemble and thus gives the observer the opportunity to relate the signs to one another from different perspectives. The architecture, which mixes methods of prefabricated construction and bricolage and is subject to permanent rearrangement, is put up for discussion element by element.
Michael Kargl (*1975, Hall in Tyrol) lives and works in Vienna.
Miriam Laussegger and Eva Beierheimer
Feedback (2011) | Camera, projector, screen, furniture, size variable
“When an event is part of chain of cause-and-effect that forms a circuit or loop, then the event is said to ‘feed back’ into itself.” (Wikipedia) – with the Feedback installation Miriam Laussegger and Eva Beierheimer perpetuate the transient cycle of giving and taking. The protagonists of their installation are a projector and a video camera, which simultaneously produce and project images in real time. The projection surfaces are the Fluc’s improvised furniture and its temporary “inhabitants”, who as image carriers of themselves infinitely rejuvenate and repeat themselves. Feedback puts the concept of the “fluctuated rooms” of the subcultural venue and its various social functions onto the proverbial stage and—ultimately—they become the recurring starting point of spatial action.
Miriam Laussegger (*1980, Vienna) lives and works in Vienna.
Eva Beierheimer (*1979, Graz) lives and works in Stockholm and Vienna.
untitled (2011) | Video, 5 min (loop)
In his video installations Bernd Oppl deals with the media images of the phenomenon of room. In untitled the artist initially transfers film scenes into a moveable miniature model in order to put a video camera into it and to replay the resulting image material in real time. The empty room is not just a backdrop but the main protagonist, which persists in a choreographed and endlessly continuing sequence of movement. The boundaries of the room—and thereby the room itself—appear to dissolve and irritate the observer’s perception, which can no longer locate the origin of the movement. The artist produces situations in which the moving image is understood and perceived as architectural art. The room becomes the action and ultimately the potential basis for narrations.
Bernd Oppl (*1980, Innsbruck) lives and works in Vienna.
fingern (2006/2011) | 4 drawings, C-print on adhesive foil, à ca. 143 x 180 cm
In fingern, Anna Schreger dissolves the boundary between internal and external space, public and private spaces, exhibition space and art in public space. The hand, one of humans’ main tools, is here the focus of her artistic interest. With strange bodily objects and a strict drawing form of expression, the artist approaches the possibilities of the haptic, the extension of visual perception and portrayal of surfaces, textures and material. With fingern, Schreger relates the temporal exhibition space of “fluctuated rooms” to the urban network junction of Vienna’s Praterstern by allowing the content of the drawings to communicate with the elements of both sides of both the internal and external space. The windowpanes—and ultimately the club itself—function as an interface for these contacts.
Anna Schreger (*1977, Vienna) lives and works in Vienna.