12 SONGS 2015

12 Songs thematisiert das Verhältnis von Kunst und Pop. Tauschgeschäfte, Grenzziehungen, Überscheidungen. Wo stehen wir, ist Kunst (auch) Unterhaltung? Wo ordnet sich das künstlerische Produkt ein, zwischen Werbegrafik und Musikvideo? Wenn Matthias Bade glänzende SUVs als Bildsujet wählt, malt er durch Werbeästhetik etablierte Statussymbole. Inszenierte Mainstream Männlichkeit trifft auf Vorstadtmutti, das Einsatzgebiet der SUVs ist divers, aber immer transportieren sie Geld. Auf selbst zusammenstellbaren Podesten oder als Projektionsfläche für Videomaterial; Franz Wassermann verhilft den Betrachter_innen seiner Installationen zu den von Warhol prognostizierten 15 minutes of fame. Cristina Bogdan und Diego Marcon erklären den Ausstellungsraum zum Radiostudio. Das Produkt ist ein, in der Galerie entwickeltes, Hörspiel - die Website der Schleifmühlgasse 12-14 wird zur Distributionsfläche.

Die kollaborative Natur des Popsongs steht dem Bild des Künstlergenies, des allmächtigen Schöpfers / der allmächtigen Schöpferin diametral entgegen. Und auch der Popsong selbst steht im Spannungsfeld zwischen standardisiertem Aufbau, dem Dasein als kommerziellem Produkt und der Forderung nach Authentizität und Nähe. Die Stimme der Sängerin, des Sängers ganz nah am Ohr, persönliche Stimmungen und Situationen (nach)zeichnend, ist Popmusik gleichzeitig das Ergebnis aus partikulärer Arbeitsteilung und unzähligen Arbeits- schritten. So ist 12 Songs auch Nachdenken über Individualität im Zusammenhang mit Zusammenarbeit und über die künstlerische Position, von der beides gefordert ist.

12 Songs addresses the relation between Art and Pop. Interferences, demarcations, exchanges. Where do we stand? Is art entertainment? Where does the artistic project consider itself, among advertising graphic and music clip? Choosing shiny SUVs as pictorial subjects Matthias Bade paints status symbols - established through advertising‘s aesthetics. Mainstream virility encounters suburban housewives. In fact the do- main of the SUVs is various, but again and again expresses power. In his installations Franz Wassermann questions the relation between the individual and the collective. In his project at Museumsquartier, , combinable cubes provided space for (self-)repre- sentation. In his new project „I feel love“ visitors turn into projection surfaces for video material. Warhol‘s prognosticated 15 minutes of fame are provided. Cristina Bogdan and Diego Marcon define the exhibition space as a radio studio. The in situ produced artifact turns out to be a radio play, additionally the gallery‘s website appears as platform of distribution.

The collaborative nature of pop songs is diametrically opposed to the autonomous artistic genius, to the almightily creator. The pop song itself is located between its being a commercial product and the consumer‘s need for authenticity and emotional closeness. The singer‘s voice is close to your ear, it traces personal feelings and situations. Yet pop music is the result of uncountable cooperations and working-steps.

12 Songs in this sense is a reflection about about the artistic position.

Text Astrid Sodomka 2015 SMart Utilities Matthias Bade

The way from planning an art project to finally installing it in the gallery is a long and often misleading one. Talks between artist and curator lead from one to the other, meandering from here to there, morphing into the Baroque, finally producing an accumulation of ideas, concepts, feelings. Then there is the moment in which parallel universes open up and borders can hardly be maintained: The entanglement of the subject, the development of politics and current events, the private life of the artist. Some images need to be painted, not because curators and gallerists have come to expect it, but because they have to emerge to visibility or flow out of the brush nearly by their own. Matthias Bade and I started with our fascination with the SUV, influenced by texts on fetishism by Simon Pühler. We looked at this meta car as a fetish of the 21st century, which evokes a certain equality of the user. Basically, the term „smart“ is focused on electronic skills in German-speaking areas. The challenge for us today is to be smart, to be ready - always and everywhere. To live up to these demands, we need utensils that improve our lives efficiently. The more we indulge in these helpers, the more we give of ourselves. The so-called smart utilities are smart data loggers that will affect our lives in future times. Insurance peeking out of our habits, supermarkets spy out our buying behavior, cameras in public spaces watch out and shoot our movements and our computers give us shopping tips relating to the content of our last mail. Optimized new world with optimized people - and all that we find so scary smart.

Matthias Bade extended this distinction and tried to look behind it : What is smart in our brave new world?

* Smart flavor enhancer Fats, as a flavor carrier, absolute smart tools that optimize our food.

* Smart Tools The smartest tool for preparing food still is the kitchen knife, turned into a fetish object in all possible and almost prohibitive variations. Well known variants displayed in many food magazines to stylish settings before Tuscan idyll.

*Smart housing projects A smart building project, as in Hanover‘s city center: a huge monster made of concrete, built at the confluence of two rivers, so that many thousands of townspeople can live at the water site and near its meadows, in a quasi-rural setting. That was the smart idea behind the plan. It worked out differently: The area slowly turns into a slum, the much too large-scale ramps, corridors and stair- wells are at risk of becoming an empty inanimate moloch made of stones, towering menacingly over one of the most popular attractions for the Hanoverian.

* Smart drugs No wonder that this world of power and acceleration must compensate its pressure somewhere, so there is the sedative drug and the optimization drug. Ketamine, to come down and relax, ecstasy for more efficiency in the acceleration company or speed (in Holland Pepp), which suggests jazzing up or high-tuning .

Whether its an internal need for adapting to an ever-changing future, or it‘s a demand brought to us from somewhere outside: People have to be smart. Advertising excessively rises the pressure we might feel by placing smart products in adventurous settings, indicating we might not be able to live without them. Or even if we could live without them: how ordinary boring we would be. Dismissing the consequences we give in to the allurement, not realising how foolish we behave while muttering our mantra SMART. Who is missing the variations of images of SUVs now, the oh-so-smart, pollutive, too heavy and gas-guzzling cars, be lenient and have a second look at the exhibited images: An artist has to do what an artist has to do. Art must be born if it pushes to the surface. The absence of SMART Utilities tells us more: It questions our needs and accounts for the artist‘s need to react to developments in humanity, politics and society.

Text & curated by Denise Parizek 2015

I FEEL LOVE Franz Wassermann

Die Hölle ist das System - Der Teufel hat hier nichts mehr zu sagen

Sound-Videoinstallation Einzelausstellung / Soloexhibition - Sound & Video Installation

THE HELL IS THE SYSTEM - THE DEVIL IS NOT IN CHARGE ANYMORE.

I paint the gallery and its display windows black - I transform the white cube into a black box. Those who aim to pass the bouncer, those who aim to find out what happens inside my black box have to put on a white working overall. Inside the black box, the song I FEEL LOVE by Donna Summer emerges in a variety of cover versions. Without asking for their consent, I screen images of all my friends of my Facebook account onto the bodies of the visitors. I myself remain visible but not accessible on the balcony above the gallery. Downstairs, my assistants serve drinks and take photos of / film the visitors on whose bodies the Facebook images appear. The visitors themselves are allowed to take pictures and videos too; they may post them on Facebook and YouTube or use them in any other way possible. After the performance, I scrape off the black color from the display window to re-transform the Black Box into an exhibition space. The Black Box becomes a gallery again and remains visible only as a quotation of the performance. With the photo and film material collected during the performance, I will create new art works in the form of prints and videos which will be on display during the exhibition. The images and videos will also be uploaded on my Facebook and YouTube account. I FEEL LOVE – the visitors become my workers, become the material of my artistic production.

Text Franz Wassermann 2015

IF LOVIN’ YOU IS WRONG Diego Marcon & Cristina Bogdan

Technical support by Claudiu Vlad Ursache & Daniel Witurna

The project was born after a Skype conversation between Diego and Cristina, in which Diego started recounting the story of his life, whilst surreptitiously introducing fantastic elements: he had been a revolutionary in the 90s, had been renegaded by his family and today was only welcome to his grandmother’s castle by the lake, outside of . A story of riots and love, of struggle and deceit, perhaps meant for less cynical times. Cristina tagged along, half-believing but in any case willing to believe, willing to be caught by the scream of the smashes, the whisperings of the encounters, the sighing of the kisses. The progressive unveiling of the fictitious character of Diego’s story wasn’t therefore painful, but resembled instead a waking up from a fabulous dream.

This experience – developed through storytelling and listening – resolves into a minimal intervention conceived for the windows of Schleifmühlgasse 12-14. The space of the gallery - inaccessible for the entire duration of the intervention - works as a dark background, on which the feeble voices of two lovers arise, showing themselves on the surface of the glass windows. This surface functions as a lamina, as a border that is the only point of contact between the authors and an audience, possible just as a kind of eavesdropping. Everything happens on a surface where the only signs are the two voices graphically rendered. If lovin’ you is wrong is meant to be a small act - a discreet whisper.

Text & curated by Cristina Bogdan 2015

Curated by Bogomir Doringer Bogomir Doringer 2015

A Change is Gonna Come, 2015

The artistic interest from Marco Pezzotta lays in examining different systems in which our identity is being either formed or changed. We stand in those systems as individuals or as part of a group. For describing and shaping these relations Marco Pezzotta uses objects that function as tools for a narrative. They appear from another space and time, floating between digital and physical. The artist creates a fragmented narrative in which we, audience with own references and input, are a necessary factor for the comprehension of the work. Our task is to discover the systems that we observe and in which we are placed: sometimes the aim is to re-organize them, in order to recognize them. Marco Pezzotta, is an Italian born artist currently based in Berlin. He graduated at the Academy of fine Arts in Milan and at the KHB Berlin Weißensee. He has been artist in residence in South Korea and at the Museums Quartier in 2013. The same year he also participated as part of the well-received exhibition FACELESS. He is back in Vienna to open his solo exhibition coming directly from Pakistan, where he has been hosted by Vasl, the only Pakistani non-profit organization for contemporary art. At Schleifmühlgasse 12-14, 6 art-works are gathering us in a narrative process that “celebrates togetherness” as Marco Pezzotta proclaims in his recently published statement. He is engaging us, with this exhibition, in his new methodology of storytelling. A large format drawing titled Regenerate features a system composed by 4 artworks. From a well-chosen position one could grasp a feeling of a fragmented New Years Eve scene. In the back you could imagine the distorted song “A Change is Gonna Come” playing; or hear a sound of tinkling glasses. There is a table holding two stem-glasses, both labeled in gold with the number 2000. We might be waiting or being entering the much-hyped year of new beginnings, prosperity and development: the year 2000. Next to it lie two tongues sculpted in an engaging kiss. This kiss suggests human presence and a relationship that the artist understands as a self-defining process. The iconic SKY channel logo is split in two parts resembling a video games “access keys”. Not by coincidence those objects are displayed on a drawing showing an older man and a younger boy in conversation. This drawn surface is documenting another historical moment where the elder transforms an experience or knowledge into the future for the benefit of the younger generation. On the main wall behind the table hangs a stereotypically exotic image of an African sunset. Because of the color combination (when viewed upside down) it resembles the German flag. The image evokes the presence of Western power involved in shaping global identity. The urge for exporting and consuming exoticism has created problematic archetypes, which always resurface in critical time. A surreal scenery is created by sensitive, smaller format objects, calling upon sympathetic matters. 1. Regenerate is a drawing portraying two silicon statues from the Natural History Museum of Vienna. This multiple level of narration; from the creator who imagined and designed those statues in order to let the viewer develop his/her own empathy and narrative experience, was the main trigger to produce this drawing. The drawing complies with academic aesthetic and contemporary imagery such as manga cartoons, western comics, Internet graphic... With this drawing the artist adds a layer to the tale. It works as a self-generating system, exactly as men are trying to under- stand themselves by producing stories (or history). The represented scene is a tale in which a generational hand-over is happening: an elder person is transmitting his own experience to the next generation. 2. 4000 is a double objet-trouvé. A pair of golden engraved stem glasses with the number 2000 once used to welcome in the warmly awaited Millennium: the year of change and better days or the nowadays future. From a distance measured through time these objects have an archaeological value, ever since the reverberation of their midnight toast sound had disappeared. Fifteen years later they are now signs of deluded hope and a speculation on the human need for hope or direction. They may intend a chance to re-measure time through a sum that would bring the temporal value to 4000. 3. Handoff. Just as saying “from hand to hand” or “from generation to generation”. Kissing is another way of communication that uses tongue as a tool to experience the other person; to taste and to define him/her. 4. Non-terrestrial Access Keys. The artist recently spent a residency period in Karachi, Pakistan. Much to his surprise, the image created by Western media was quite different to the experienced reality. Soon he realized that notorious TV and News Companies such as CNN or BBC are quite infamous there, due to the way they portray the sub-continent. On his request, two bronze plates were produced at the local market using sand casting technique. As access keys in a video game they are a puzzle element when put together in the correct way show the logo of Sky channel. They are keys to the non-terrestrial TV; keys to the sky. One could see them as an archaeological object that is a document from the fabrication of history. 5. Safari shows a printed digital image of an African sunset; or at least of the stereotypical image normally associated with Africa and Safaris. Those images always have the same structure, with black shapes contrasting a red/yellow gradient sky. This upside-own image, viewed from a distance, reveals the structure of a German flag. 6. Content Aware Fill. Adobe Photoshop software features an option that examines the contents of your image trying to figure out the best way to remove or repair unwanted area. This project started with a tattoo on the artist’s leg showing the Disney’s Lion King character Scar (but without his mane). The Lion King gave a shared image of Africa, exoticism, and otherness to the artist’s generation, by including a post-colonial iconography. The tattoo is exhibited through two laser engraved images on black acrylic glass on which the artist is seated on a bike in an eroticized manner. Those images have been taken in collaboration with the collective DW2♥♥8 (http://2008daughters.tumblr.com). As the function ‘Content Aware Fill’ offers, the innocence of a childhood memory has been displaced once the adult conceive the veiled post-colonial identity implemented by the cartoon.

Text Marco Pezzotta & Bogomir Doringer 2015 Text correction Jamie Ward

TO SPACE TO PLACE

Amalie Atkins (, CA), Jason DeHaan (Alberta, CA), Melanie Ender (Vienna, AT), Agnes Hamvas (Vienna, AT), Divya Mehra (Manitoba, CA) Mindy Yan Miller (Saskatchewan, CA), Stephanie Patsula (British Columbia, CA), Eva Maria Schartmüller (Vienna, AT), Astrid Sodomka (Vienna, AT)

In a geographically unlikely partnership, initiated by Regina-based artist Zachari Logan, AKA artist-run and Schleifmühlgasse 12-14 have developed an exchange project connecting Austrian and Canadian artists working in a variety of mediums. Through an ongoing dialogue, curators Denise Parizek and Tarin Hughes have connected two exhibitions and adjunct programming around the land, water and geographic space. The slow moving rivers, the Wein/Danube in Vienna and the South Saskatchewan in , are the main geographical similarities shared between the cities. The idea of the slow but purposeful rivers finds resonance in the contemplative nature of the works included in the exchange.

The first exhibition, curated by Hughes, is comprised of artists who consider metaphorical and physical spaces within their individual practices; including natural, industrial, cultural, mythic, aes- thetic and theoretical space. Artists included from Canada are connected to the prairie region of Alberta, Saskatchewan and Manitoba, while the Austrian artists mainly based in Vienna. Collectively their works share an open-ended narrative while embedding meaning within deliberate selections of subject matter, medium and material.

Amalie Atkins’ Listening to the Past/Listening to the Future sets two women, twins, in an icy, prairie landscape grounded in the reality of familial knowledge while suggesting a magical mytholo- gy. Similarly, Stephanie Patsula’s photographs position the body within the land (in fields, mountain ranges and coastal regions) in performative acts, mirroring its surroundings. While Eva Maria Schartmüller inserts a cut body into a cut quarried landscape, layering aggressive human acts. Mindy Yan Miller lulls the viewer with texture and pattern showcasing cut cattle hides as tro- phy-cum-canvas; pairing the wild west with

Hinting at a historical industrial form while likening the stone to a sentient body, Melanie Ender suspends granite cobblestones, wrapped and knotted in an elaborate constellation; positioned in pairs the stones hang in a balance dependent on their shared weight. Jason de Haan’s Future Age continues the tendency towards discovery, combining a static gold ring with a growing tree; an unknowable, intangible space where time, nature and the will of the bough are ours to surrender. Agnes Hamvas’ prints expand on the artist’s exploration of repetition, touching on the laws of time and space through an ethereal, unending moonlight sky.

Divya Mehra takes up cultural, metaphorical space working through diasporic consciousness and social inequities with frankness and humour, exposing our collective commonalities. In her video Gold, Astrid Sodomka considers homogeneity and repetitious, hypnotic movement; through her frame the artist transforms the material and our aesthetic space.

Together the artists and works deliver a contemplative, paced narrative wandering through a multitude of potential readings.

AKA artist-run, Schleifmühlgasse 12-14 and the artists would like to thank the Canada Council for the Arts, Creative Saskatchewan, Bundeskanzleramt Osterreich, the Saskatchewan Arts Board, SaskCulture, SaskLotteries and Wien Kultur.

Text & curated by Tarin Hughes 2015 Kooperation with AKA Saskatoon / Saskatchuwan / Canada

About the artists

Amalie Atkins earned a BFA from the Alberta College of Art and Design in 2001 and has shown her work in exhibitions nationally and internationally, including: Oh, Canada, a landmark survey of Canadian art at the Massachusetts Museum of Contemporary Art (North Adams, Mass. 2012); Dreamland: Textiles and the Canadian Landscape at the Textile Museum of Canada (, 2012); and Mind the Gap! at the Dunlop Art Gallery (Regina, 2010). In 2012 Atkins was longlisted for the Sobey Art Award representing the Prairies and the North. In 2013, she participated in an artist residency at Open Space in Victoria, BC, where she worked on elements of the touring exhibition “we live on the edge of disaster and imagine we are in a musical” co-organized by the Southern Alberta Art Gallery and the MacKenzie Art Gallery. Amalie Atkins lives and works in Saskatoon.

Jason de Haan is a multidisciplinary Canadian artist. He received an MFA (Sculpture) from Bard College, Annandale-on-Hudson, NY in 2014. Recent solo exhibitions include the Art Gallery of Nova Scotia, Halifax (2014); Clint Roenisch Gallery, Toronto (2014); Kitchener-Waterloo Art Gallery (2014); Southern Alberta Art Gallery, Lethbridge (2012) and Museo de la Ciudad, Querétaro (2012). Group exhibitions include Scrap Metal, Toronto (2014); Bond House Projects, London (2013); Oakville Galleries (2012); Scotiabank Nuit Blanche, Toronto (2011); MOLAF, Bergen (2011); Art Gallery of Alberta (2010) and Galleri Kling & Bang, Reykjavik (2009). de Haan has participated in the Arctic Circle 2012 residency, “The Soiree Retreat” thematic residency, Banff Centre (2011) and is a founding member of the Corbin Union Residency in Corbin, BC, a ghost town in the East Kootenays, Canada. Upcoming exhibitions include MASS MoCA, North Adams in 2016. de Haan has received grants from the Canada Council for the Arts and in 2012 was shortlisted for the Sobey Art Award, representing the Prairies and the North. His work has been reviewed in The Globe and Mail, National Post, Toronto Star, Canadian Art Magazine, Art in America and Art Forum. He is represented in Canada by Clint Roenisch Gallery.

Melanie Ender (Academy of Fine Arts Vienna and University of Applied Arts Vienna) lives and works in Vienna, Austria. Her practice is concerned with the perception and reconstruction of expe- rienced spatial structures. Recent solo exhibitions include “LUDO”, Galerie artunited, Wien (2014) and R.umlicher Rekonstruktivismus oder die Instabilit.t des Raumes, Offspace Spenglerei, Wien (2013). Selected group projects include “on behalf in the midst of the group”, Kunstraum SUPER, Wien (2014), “Skulpturinstitut”, an der Hülben 3, ehem. Galerie Grita Insam, Wien (2013), and “no more luggage”, Cistern Galleries, Tophane-I Amire Culture and Arts Center, Istanbul. Since 2011 she has collaborated as part of the curatorial team of Fotogalerie Wien. Agnes Hamvas lives and works as an artist, designer, and stage designer in Austria, Hungaria, Kroatia and Serbia. Her practice concentrates on performance, installation and photography taking up the philosophical theories of Heidegger and Baudelaire. Her subject matter focuses on repetition, touching on the laws of time and space. Recent and past exhibitions include “Zeitgeist”, Schleif- mühlgasse 12-14, Wien, „Colateral Orbit“, Allegranomad Gallery, Bucuresti, and “Cell”, Galeria Sestava, Slowenia. Her recent curatorial collaboration with Astrid Sodomka “INBETWEEN” was shown at Schleifmühlgasse 12-14, Wien.

Divya Mehra (MFA Columbia University, , U.S.A.) Mehra’s research-fuelled practice often explores marginalization, otherness and the construct of diversity. Through appropriating, editing and reassembling a variety of literary, comedic and musical sources, she creates an acerbic dialogue on the commandeering, consumption and construction of race and identity politics. Often fore- grounding the ongoing struggle with her personal diasporic identity and cultural expectations, she calls into question our unexamined beliefs. Mehra’s work has been included in a number of exhi- bitions and screenings across North America and overseas, most notably with Creative Time, MoMA PS1, MTV, and The Queens Museum of Art (New York), MASS MoCA (North Adams), Artspeak (Vancouver), Georgia Scherman Projects, and The Images Festival (Toronto), The Beijing 798 Biennale (Beijing), Bielefelder Kunstverein (Bielefeld), and Latitude 28 (Delhi). In 2014, Mehra was long listed for the Sobey Art Award, and received the Manitoba Arts Council Major Arts Grant, Canada Council for the Arts Project Grant and the Manitoba Arts Council New York residency at the Internati- onal Studio and Curatorial Program in Brooklyn, New York. Mehra is represented in Toronto by Georgia Scherman Projects and currently divides her time between Winnipeg, Delhi, and New York.

Mindy Yan Miller’s artistic practice is rooted in fibre traditions and frequently uses masses of potent materials such as used clothing, human hair, or Coke cans. Her installations address themes of labour, identity, loss and commodification. She has exhibited in Canada, Europe and United States and currently lives in Saskatoon, SK. She holds an MFA from the Nova Scotia College of Art & Design and since 1990 she has taught art as a sessional instructor at Concordia University in Montreal. Stephanie Patsula earned her BFA from Thompson Rivers University, Kamloops, BC. Her work is influenced by post-minimal approaches and process-based art making, Patsula works with found and constructed objects and explores the relationship to the space in which they are made and displayed. Group exhibitions include the Kamloops Art Gallery’s “Luminocity”, “Earthly” at Two Rivers Gallery (Prince George, BC), and “Being North” at SAGA (Salmon Arm, BC). Her recent solo exhibition “Vessel” was shown at the Kamloops Art Gallery. Originally from Edmonton, AB Patsula cur- rently lives and works in Kamloops, BC.

Astrid Sodomka (University of Applied Arts, Vienna and Wiener Kunstschule) lives and works in Vienna, Austria. Repetition and variation are both, strategies and subjects of her work. Repetition, structural and psychological, can be found everywhere in daily routines (generation to generation, family, breakfast, education, work, reproduction, communication, relationships). Her process begins with studying every day life and its language using détournement as artistic strategy. Recent exhibitions include “Part is fame [art as game]”, Schleifmühlgasse 12-14 and Platforma Spatiul, Bukarest, “All In”, Krinzinger Projekte, “Space Affaires“, Raumaffären, MUSA and “Meta Mart“, Künstlerhaus, Wien.

Eva Maria Schartmüller is a self-taught artist based in Schlögelgasse, Wiener Neustadt and Vienna, Austria. Her practice focuses on conceptual installation which includes video, sound and performance and takes up socio-political and sociocultural thematics. Recent exhibitions include “Plasticity”, Museumsquartier Combinat, Vienna. “WK1”, Studio Reger, Wiener Neustadt, and “Stein+Himmel”, Ausstellungskirche St. Peter/Sperr, Wiener Neustadt.

Kissing a Fool Oscar Cueto

“Kissing a fool” is an exercise of memory; my personal stories, obsessions, books, movies and texts revolve around one question – knowing that there will be no answer – Who am I?

Oscar Cueto ist ein Künstler aus Mexiko, der durch seine ironisch-politischen Zeichnungen und Malereien internationale Erfolge feiert.

Oscar Cueto teilt seine künstlerische Arbeit in verschiedene Serien ein, die seine Perspektiven auf soziale und gesellschaftspolitische Entwicklungen kommentieren. Er verwendet Graphit und Tusche als hauptsächliche Medien, collagiert und kombiniert Bild und Text, Zeitungsausschnitte tagespolitischer Aktualität mit historischen Fakten. Immer ist ein provokativer Ansatz in seinen Arbeiten, die den Blickwinkel des/der Betrachtenden verändern sollen, die Perspektive leicht verschieben.

Text & curated by Oscar Sanchez 2015

The Photographer Robert Reszner

In Anlehnung an den Fotografen Eadweard Muybridge, der 1872, um die exakte Beinstellung eines galoppierenden Pferdes zu bestimmen, dieSerienfotografie begründete und damit den sichtbaren Beweis erbrachte, dass sich beim galoppierenden Pferd zeitweise alle vier Beine in der Luft befinden, findet sich bei den Salzobjekten eine ähnliche Anwendung wieder. Durch das Abfotografieren mittels 3-D­ Kamera wird ein Zustand der sich ständig verändernden Form in Daten gespeichert und durch einen Fräser inein anderes Material über- tragen. Diese, zu Skulpturen gewordenen Daten, sind somit dreidimensionale Momentaufnahmen eines sonst nicht sichtbaren Prozesses.

Der Arbeitsvorgang

Auf einem Wiesenstück, nahe einer Wildfütterung wird ein 30 kg schwerer Salzstein auf einer Metallstange aufgestellt. Durch das Salz hat der Stein die Funktion eines Lecksteins. Im Verlauf der Zeit wird die Form des Steines durch das Lecken des Wildes und der Witterungseinflüsse verändert. Dabei verkleinert sich der Stein hin bis zu seiner Auflösung. Die durch das Lecken des Wildes entstehenden Formveränderungen werden in verschiedenen Abständen mit einer 3-D Kamera abfotografiert und in Daten umgewandelt. Eine Fräße verwendet diese Daten und fräst aus einem Hartschaumblock die „Salzsteinskulptur“. Die entstandenen Skulpturen entsprechen dadurch genau der durch das Wild in den Salzstein geleckten Form und sind somit die eingefrorene Form eines sich verändernden Prozesses. Dieser Prozess wird laufend durch Fotos dokumentiert. In Anlehnung an den Fotografen Eadweard Muybridge, der 1872, um die exakte Beinstellung eines galoppierenden Pferdes zu bestimmen, die Serienfotografie begründete und damit den sichtbaren Beweis erbrachte, dass sich beim galoppierenden Pferd zeitweise alle vier Beine in der Luft befinden, findet sich bei den Salzobjekten eine ähnliche Anwendung wieder. Durch das Abfotografieren mittels 3-D Kamera wird ein Zustand der sich ständig verändernden Form in Daten gespeichert und durch einen Scanner in ein anderes Material übertragen. Diese, zu Skulpturen gewordenen Objekte, sind somit dreidimensionale Momentaufnahmen eines sonst nicht sichtbaren Prozesses.

Inhalt der Ausstellung

Eine Videoprojektion zeigt den sich drehenden Salzsteinblock in seiner ursprünglichen Form vor der Aufstellung bei der Wildfütterung. Drei Skulpturen, die den jeweiligen Formzustand des ge- scannten Salzsteins darstellen, werden auf Stahlstangen montiert und im Ausstellungsraum aufgestellt. Der Maßstab entspricht 1 : 2, daraus ergeben sich Objektgrößen zwischen 30 - 70 cm Höhe. Die Skulpturen bestehen aus gefrästem EPS Hartschaum. Eine Serie von Videostills der Wildkamera bildet das leckende Wild beim Salzstein ab. Bei den Videostills werden Nachtaufnahmen verwendet, die auf Backlightfolien gedruckt werden, und rück- wärts beleuchtet sind. Durch die chronologische Anordnung wird der sich verkleinernde Salzstein sichtbar.

Text Robert Reszner 2015

Formen Vorgang

Ein zusammengesetzter Begriff, der die Zusammenhänge aufschließt, versperrt die Sichtweise auf die Bereiche der Kunst, die sich in der Arbeitsweise als eine Möglichkeit der Veränderung darstellen: der Prozessualität, der Aufhebung formaler Wertfindung in dem schönen Material seiner bildhauerischen Herkunftsgebräuchlichkeit. Eine Form eröffnet bei näherem Hinsehen die Wahrnehmung ihrer Textur im Arbeitsvorgang, unterscheidet sich nicht mehr von der Materialität, und in dieser Materialität entsteht der grundlagenbildende Vorgang der Sprache des Kontextes, der als Vorgang, als Sprachbild, erst als Sprechendes, als sich ausformulierende Begriffstextur Eingang in den Raum erfährt, der als dynamischer Raum, als dynamisiertes Material, also als Textur der Materialität eine eigene Geschichte hat. Diese aufzufinden und zu einem weiteren Gedanken zu bringen, dem Vorgang entsprechend in eine morphologische Reihung gestellt von den Umständen der Auffindung, von deren Wahrnehmungsphänomen in dem Moment der Vorfindung, dem Weg dort hin und dem Vorgang, dem der Form vorauseilenden Wahrnehmungsprozess, dem eigentlichen Sehen, entsprechend - entsteht dabei der in einem Gegenstand verlöschende Moment, der einer Form vorausgeht. In einem Arbeitsgebiet wie dem der Bildhauerei werden in der Materialität die Geschichten der Erstehung der Formengrundlagen - der Materialien - von der klassischen Bildhauerei in ästhetisierender Weise benützt und umgangen. In dem der Eindruck des Materials als eine Sprachfindung, als eine Augenblickssache der Entstehung des Materiellen erscheint, beschreibt sich in diesem Augenblick der Wahrnehmung der Form, der Vorgang der Form, der ihr innewohnende, gedankliche Konnex zu dem, was ihr begegnen mag. Dieser Vorgang findet sich auch in den hier beschriebenen Arbeitsteilen Robert Reszners in vielfältiger Weise. Er ist in den Analysen der Materialität, die immer in Kontext mit der Zuwendung an eine Arbeit bei ihm neu entsteht, in diesen Arbeiten enthalten. Einer Form zu Folgen, ihre Entstehung zu verstehen, bedarf der Wahrnehmung der Abfolgen, die vor deren Entstehung, vor deren Formgebung, in der umgebungsparametrischen systematischen Erscheinungsweise dagelegen ist. Die Form, deren Geschichte, legt in diesem Augenblick ihr Wesen sichtbar in dem Gegenstand ab und in dessen Erscheinung wird der Weg, der in die Form mündet, als der Vorgang der Form, der Weg hin zu der Form, die uns in dem Moment bedingt, begründet scheint, noch unabhängig vor der Formung, entstehen.

Bei den hier beschriebenen Arbeitsteilen Robert Reszners löst sich deren Ursprung immer wieder in deren Fixierung auf. Er kennt keine fixen Positionen dieser Vorgänge. Er sucht in unterschiedlichen Materialitätsfluxen die charakteristischen Strömungseigenschaften der die Form schleifenden Bedingungen aufzunehmen, gerät dann in deren Vorgang, deren Geschichte und Bedeutungsbefrachtung durch fehlgeleitete Erscheinungsweisen der Interpretation, die ja immer einer Bedeutungssuche entsprechend erfolgt, und verlässt dann möglichst rasch diesen Raum der Fixierung und der Befrachtung. Es ist eine beständige Wiederholung und Vergegenwärtigung einer Voraussetzungsweise, die sich dann in nächsten Arbeitsformen zu neuen Schichten der Materialitätsausformung und dabei der Maskierung dieser Vorgänge nutzen lassen kann.

Text Wolfgang Sohm 2015

SHOUT Michael Koch on a proposal by Denise Parizek dedicated to Adrian Piper Research Archive Foundation Berlin

Windowinstallation

I DO WHAT I SAY I AM GOING TO DO I ALWAYS MEAN WHAT I SAY

Everybody has believes as basis for minimal rules in their daily social life, but till now I never had the possibility to sign a contract with that kind of content. Adrian Piper Research Archive Foundation Berlin gave me the opportunity at the opening of the Biennale 2015, to sign two contracts with believes, I have been basing my life on without mentioning it. Signing that contract suddenly made me aware and more considerate of my deeds. It didn‘t change my life in an obvious way, still I am more attentive towards my behavior and operations and I am definitely more aware of my acting and saying. „SHOUT“ is a window installation visualized by Michael Koch, intended to interact with the by passers and attracting their interest via a mirror in the middle of the window front. Out of the corner of one´s eye the phrase appears and drom there is creeping into the subconsciousness of the viewer, where it stays, waiting for an emergence. The objective is not changing the world rather than generating alertness or as good as it gets changing the point of view.

Text & Idea Denise Parizek 2015

ONE STEP BEYOND NOIMA Group

Andrei Rosetti, Ciprian Bodea, Cosmin Fruntes, Sorin Scurtulescu

Exhibition - Performance - Talks - Meetings

Curating a 3 day show considering to all the NOIMA Group‘s facets and achievements, including the solo artists, is challenging, but thrilling. What I spotted first, was a transformation of styles, the trespassing of borders, the groups urge to fathom art theory in practical environment, the one step beyond. For there are several strings leading to NOIMA‘s universe, I suggested to connect them by diverse forms of presentation and communication. The main display is located in the exhibition space Schleifmühlgasse 12-14: a permanently lighted window. Inside we will esta- blish a narrative space, presenting the history of NOIMA group and their development. Text, sketches, drawings and documentation of former projects are positioned in the middle of the exhibition space. Emerging out from this midpoint different strings are leading to the individuals, the members of the group, Ciprian Bodea, Sorin Scurtulescu, Cosmin Fruntes and Andrei Rosetti.

Being an artist can lead to autistic character traits, living closed in between studio walls or tagged to a computer. After an artist has left the academy real life starts with lonesomeness, questions, self reflection and rare answers. Gathering to a group is a logical idea, but hidden fears, shyness or mistrust are some of the reasons, why co-operations often end before starting something big.

You will find an exception in NOIMA Group, based in Romania. All of the members studied in Timisoara at the Fine Arts Academy, where they settled as group. NOIMA was founded in 2003 by Sorin Scurtulescu, Andrei Rosetti, Ciprian Bodea, Dan Gherman, Sorin Neamtu and Sorin Oncu. NOIMA made its debut in 2004 at The Joys Literay Café, Arad. In the same year, the first exhibition under the NOIMA name/brand took place at Galeria 28 in Timisoara. At the moment, NOIMA has the following active members: Sorin Scurtulescu, Andrei Rosetti, Ciprian Bodea, Cosmin Fruntes.

Even if the NOIMA artists are traveling, exhibiting and working on projects together, all of them have at least two additional duties: working as an artist on own projects and working for money, for feeding the families. The reason, why they may complicate their lives by founding a group, was and actually is the consciousness of being stronger, louder, more significant and aware of following an objective and establishing on an international market when working together. Watching the NOIMA group, it seems this decision also leads to reflecting an issue, and encourages to try out various interpretations and visualizations of one topic. Painting is only one side of the used media, NOIMA is using video, photography, sculpture as well as performance.

Isms in fine arts, as well as manifests, mostly complicate group activities. Decisions hardly can be made in non-hierarchical groups. Still, they are rare but existing: successful groups in contem- porary art history (for example Gelitin). You will find many reasons against gathering and cooperating, but more convincing arguments speak for copying the practize of NOIMA and establishing a group with the only goal to make art, to have more power, to bundle the energy, be stronger as a group, and to have an exchange - which will prevent you from getting too autistic.

Text & curated by Denise Parizek 2015

Die rumänische Malergruppe NOIMA erobert Wien

COSMIN FRUNTES I choose the fragile installation E574 EXPERIMENT by Cosmin Fruntes, combined with the wall relief, BURNED FIELD, a mixed media installation and the collage FUSION. The objective is to show the artist‘s wide range of working in contemporary fine arts while still being based in painting. Fruntes‘ main interest in that variety is to stretch the second dimension out into the third.

CIPRIAN BODEA CONVEX CONCAV is a series by Ciprian Bodea, which deals with triggering the brain and reflecting on the usual way of seeing. Bodea experiments with structure, perspective and textural effects as well as with shadow and light. The same approach he uses when he is painting. I choose 360° Schleifmühlgasse for pointing out the relations between graphical projections and paintings.

SORIN SCURTULESCU The PLASTIC BAG SHOE PROJEKT demonstrates how so called private experiences lead to fine art projects. From an incident in daily life, walking through the rain without proper shoes, Sorin Scurtulescu developed a new artificial style of „Wellingtons“.To that I will oppose blurred ink drawings, NIGHT OUT and NIGHT IN compiled with a 360° painting of Schleifmühlgasse 12-14 EX LOCATION VIENNA. The three art works are different in media, but together perfectly represent the artist‘s approach.

ANDREI ROSETTI The Photographs by AndreI Rosetti are blurred and foggy, like a breeze of cold air. The title of the series, SWEATRAINDIRT evokes a social level behind the surface. The images can be read as re- minding of social housing ghettos as well as of lonely lovers left in the middle of nowhere. It depends on the spectator which story shows up. The paintings appear clearer, more structured. Their resemblance to architecture draft the desire to look behind the facade.

More about the artists and the NOIMA Group you can find on http://www.noima.ro/ http://www.im7ten.com/die-win-win-situation/ http://www.revistaarta.ro/post/43/noima-conquering-vienna-or-the-win-win-situation

AIR / LUFT

Nika Autor * Anka Krasna * Katja Smerdu * Vanja Mervic * Bostjan Drinovec * Maria Prelog *

Air, placed in the atmosphere as a gas mixture composed of nitrogen and oxygen - indispensable for life, however is invisible. Air - often used in German phrases, in a negatively connoted way, interestingly, has a different meaning in the English language. „You take away my air to breathe“, „You‘re like air for me,“ translated from German reflects what has just been said, as well as „ There is something in the air“ or „you are breathtaking”, which expresses amazement. Air is essential and therefore is also used as synonym in important situations of life.

Six Slovenian artists interpret the specified topic in different variations: Anka Krasna is translating the notion of „air“ to an image, Katja Smerdu with covering spaces in-between, Nika Autor by wor- king politically, Marija Prelog with three-dimensionality, Vanja Mervic and Bostjan Drinovec approaching it scientifically and technically. Like micronauts diving into a Nanoverse, of which textures, colors, shapes are unknown. Make the invisible visible. Air can be made noticeable by limitations. The example of the American - Bulgarian artist Christo in the Gasometer Oberhausen features it well, where he affixed a giant balloon 50 meters wide, a big package of air. It is an attempt to lead perception to its limits. Olafur Eliasson is an example for the designated genre of blurred displays by Gunnar Schmidt. These „soft“ media are not only attributes of a „culture of spectacle „ that condemned the French theorist Guy Debord. In his meticulous phenomenology he draws the line of the phantasmagoria of the 18th century to contemporary light art.

The 3rd presentation of the exhibition AIR will take place at Schleifmühlgasse 12-14, an artist run space in Vienna. With this opening we start a sustainable cooperation between 12-14 and ZSDLU, the Slovenian Union of Fine Artists. The exchange and cooperation on an international, european level have become very important, for presenting the art works, finding a new audience and for positioning on the art market.

Text and curated by Denise Parizek 2015

CARGO CONTROL

Matilde Igual Capdevila, Benedict Endler, Adrijan Karavdic, Sebastian Kienzl Peter Moosgaard / Supercargo

Cargo Control is a research-based installation that consists of various wooden parts of a control room center, as we know them from utopian and futuristic Sci-Fi movies. These objects relate to both, the research regarding control rooms and their inherent technologies, as well as to a cult called Cargo Cult. During the academic year 2014/2015 the department Art & Science at the University of Applied Arts in Vienna was holding a research project on the future of control room centers. The participating students had their focus on topics such as control in human-computer interaction, history of control rooms in film and architecture, politics of interfaces and interface design - just to name a few. Beside this research and development, the group started reflecting and combine their outcome through a, lets say so, more artistic practice, which was brought into the project by Peter Moosgaard, (artist and inventor of the Austrian Cargo Cult movement). Based on this knowledge about the cult, as well as on the discussion and the supervision by Peter Moosgaard, the participating artists Matilde Igual Capdevile, Benedict Endler, Adrijan Karavdic and Sebastian Kienzl built their vision of a control room, based on the principles of Cargo.

Did you ever see a man with eight fingers on his hand Maria Grün

The body as a surreal machine

The series hyperrealistic body fragments constructs the human body like a surreal machine: A starting point for the exhibition series is “the stomach in the cooling box“: “Organ (2014)“ shows the stomach like an apparently independent part. Almost a machine, a cybernetic object, made of silicon. “Organ“ is moving. It is embedded in styrofoam, inside a cooling box. It comes to ones mind that processes of decay are being stopped. Maria Grün puts a focus on exactly this: the human body and the volatility of its substance, the hidden and horrifying - normally only visible when dysfunctions and irritations occur. For a moment body parts and processes of the body seem to start a life of their own. The objects and installations, as stated by Dr. Annegret Winter (in her work), “treat the phenomenon of the fragmented human body…, open to be connected with new molecules and parts“.

Text Maria Grün 2015

Possibly Maybe Emilia Jagica

Possibly Maybe is an exhibit focusing on act drawings, which where created by Emilia Jagica, a young artist from the former Yugoslavia; who has completed her studies in Berlin and is living and working in the selfsame city. Ágnes Hamvas, an artist, costume designer and curator has chosen a specific selection of works from Emilia’s array of contorted bodies, whereby one can not clearly distinguish their definite gender. Her figures like newly born birds break free from their eggshells. From a first glance the art works seem to be about a bodily portrayal, done with char- coal on paper or canvas. However, at a second glance one may note that her works are a social critique. Emilia poses questions from which we would all most gladly run away from. What are we doing to our selves and to our bodies?

We subject ourselves as well as our free body culture more and more to the demands of the advertising industry. Our bodies must constantly be improved and optimized. People wear all kinds of sensors at all times, within their own bodies, inorder to measure their blood pressure, blood sugar levels as well as the percentage of fat within the body. All of these procedures are done so to add to a data bank. This is known as „Self –Tracking“. The pharmaceutical industry produces the drugs as well as the symptoms of illneses/conditions. The food industry creates in collaboration with the pharmaceutical industry both the food intolerances along with the solution. As Georg Büchner stated in his play Danton‘s Death, that these people are already zombies, dolls, which are pulled by unknown forces on strings. In contrast to this Emilia Jagica’s nudes are in utmost opposition againgst the spirit of the present times. The artist depicts the sexes without taboo and in their real, yet raw existance. These emaciated bodies are reminiscent of the drawings of Schiele. If we look deeper, we realize that the tortured bodies are hidden under the smooth surface. Our endless efforts to adapt to the optimized presets in the end consume us from the inside. The tortured soul of man in a neo-liberal consumer society becomes very clear. Despite our communica- tion flood we have become speechless. It is no longer about knowledge, but about information or propaganda. In the words of Byung-Chul Han, we are at the mercy of the terror of amateurism, however, it is even worse that we allow it. The reflection on contextuality will not take place today, the social context of knowledge is no longer reflected. Researching has been downgraded to a service industry, statistics and publications must always be evaluated in conjunction with the clients. We have betrayed our intelligence, our capacity to reflect as well as our ability to make distinctions, or simply not stand for that which is wrongful or incorect. Let us free ourselves from this forced upon shell and encouter our skin like an old beloved dress so that we may set our souls free? It is time to face this matter and to rethink the present system. Restrictions have become too slick, too straight and standardized, both in trems of thoughts and in terms of feelings.

Curated by Agnes Hamvas & Text by Denise Parizek 2015 Translation Emilia Jagica 2015

NEBULA Ukiyo-e Project site specific sound installation

Nebula is a sound installation with the listener as center, in an intimate and personal speech of the artist. Starting from the concept expressed by Maria Montessori on the idea of the child as “spiritual embryo”, Nebula represents the possibilities and the potentials of each human being. The artist develops an open dialogue with the listener, vulnerable to doubts, uncertainties, in a true sharing.

“The senses help us to feel the space in every form and they let us to see the boundaries, to relish the borders, to touch the corners. The relation between sound and brain activates the area related to the memories, it‘s for this reason that the sound environment become a place of artistic intervention. The two artists of the ukiyo-e project, with this installation, try to change the perceptive loss in a pure and immersive action. Through the idea of an active partecipation, the artist “meets” the user, without his body. He questions him, he shares his secrets. The aim is a liquid fusion, everytime different and unique. “ Antonella Perazza, curator 2015

R.A.M Prize best Installation MAR Art Museum, Ravenna (IT)

Sonor Rugir / Resounding Roar Israel Martinez

Performative Lecture

No Illusion

Through a series of audiovisual installations “People behaving like true animals”, Israel Martínez has explored alternatives to articulated language as possible ways of communication: aural memory, gesticulated mimesis and the deprivation of liberty in diverse manners. For this third work „No illusion will take away the pain of knowing we are condemned”, Gerardo Montes de Oca, Mexican student and activist currently residing in Austria, was invited by Martínez to perform an improvisation in which, through sound, he would express his emotions for his country. The action took place in Mexikoplatz, Vienna where a monument stands acknowledging the Mexican government for its official pronouncement against the Nazi invasion of this city. With this work Martinez forces us to ask ourselves: when will these policies against the violation of human rights be excercised in our own country?

A Manifesto for Discomfortable Writing http://antenaantena.org/

ABROAD

Mise en scène | Paper Room

An In-Situ installation by Karima Klasen and Michael Koch

„Misé en Scéne „ was an In-Situ project October 2015 in Bucharest, initiated by 12-14 and ODD. The two artists, Karima Klasen and Michael Koch, were investigating collaborative practices and the artistic process. Checking out a new city with different rules can be quite an interesting challange, even if it is not easy to adapt yourself and your artwork to an uncommon surrounding. While reserching material, the artists discovered the amazing billboards, covered with multi layers of posters, looking like dead bodies hanging from the walls. The decision to work with posters and extending the material into the third dimension was obvious at that moment. To sample the posters, which is kind of an illegal action, was the next thrilling experience. In Bucharest Klasen and Koch removed used posters as basis material. As objets trouvés they resampled not only the material itself, they decoded and interpreted the permanent allurement to consume in a new way. So Klasen and Koch are not only referring to the neo colonialism in our times and the overwhelming flood of advertising, they are also delaminating the layers of the recent history of the city of Bucharest.

Both Karima Klasen and Michael Koch are artists between genres, they are painting, creating installations, sculptures and wall reliefs. Both are used in working with the medium paper, as a basis for drawings, but also as a medium for sculpture and architecture. They are interested to research and work in situ with the given line of infrastructure and architecture. Together they have realized the installation „Paper Room“ 2012 at Schleifmühlgasse 12-14. At that time they covered the whole space with different kind of papers and transformed it to an archaic cave. The dialog developed through the continuous collaboration of the two artists.

Background

The collaboration between Cristina Bogdan (ODD) and Denise Parizek (Schleifmühlgasse 12-14) has a long history. They have already realized more than 6 projects in Vienna and Bucharest. „Misé en Scéne“ was the second collateral project with ODD, the 4th in Bucharest (recycled nest, Allegra.Nomade). ODD and the artist run space Schleifmühlgasse 12-14 are based on different categories, one of them is the collateral section, which enables artists to go to partner institutions in other countries and to collaborate or have exchanges with local artists, curators and gallerists. Therefore artists and curators have to be in site, to meet future partners, to dive into other cultures, procedures and to draw creativity from diversity.

Text and curated by Denise Parizek 2015

FAIR

ART SAFARI BUCHAREST 2015

This year Noima Group is represented by Schleifmühlgasse 12-14, Viennese Gallery (http://12-14.org/), at Art Safari Bucharest 2015 – 13-17 May. Schleifmühlgasse 12-14, administered by foreign affairs & curator Denise Parizek and office & junior curator Dora Da Costa, will promote four Romanian painters of Group NOIMA at Art Safari Fair this year. Works by Sorin Scurtulescu, Andrei Rosetti, Ciprian Bodea and Cosmin Fruntes will be displayed on the picture rails of the stand D3.

I M P R E S S U M

7th Catalogue of Schleifmühlgasse 12-14

Layout / Editing Schleifmühlgasse 12-14 Dora Da Costa, Astrid Sodomka, Denise Parizek

Titel Maria Grün

Texte Cristina Bogdan, Dora Da Costa, Bogomir Doringer, Agnes Hamvas, Maria Grün, Israel Martinez, Peter Moosgaard, Marco Pezzotta, Denise Parizek, Antonella Perazza, Karl Salzmann, Astrid Sodomka, Wolfgang Sohm

Photocredits Marcus Zobl, Artists

Curator of 2015 / 12 SONGS Maria Grün, Astrid Sodomka, Denise Parizek

1040 Vienna Schleifmühlgasse 12-14 http://12-14.org [email protected]

2014

Copyrights by the artists and Schleifmühlgasse 12-14

Danke an / Thanks to MA7 Wienkultur, 1040 Bezirkskultur, bka, Italienisches Kulturinstitut, RKI, Saskatoon Board, AKA, Liquids, CRUPI, Barbarella, Oscar Sanchez, Daniel Witurna, Die Angewandte, Klasse Art & Science, NOIMA, ZDSLU, Adrian Piper Research Foundation Berlin, Gerardo Montes, ACF Bukarest, Freihausviertel

Alle Rechte sind der Schleifmühlgasse 12-14 / Artist Run Space Vienna vorbehalten. Kein Teil des Werkes darf in irgendeiner Form ohne schriftliche Genehmigung der Schleifmühlgasse 12-14 / Artist Run Space Vienna bzw. der Künstler_innen und Kurator_innen reproduziert oder unter Verwendung elektronischer Systeme verarbeitet oder vervielfältigt oder verbreitet werden.

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