CERTIFICATE OF ORIGINALITY I hereby declare that this submission is my own work and to the best of my knowledge it contains no materials previously published or written by another person, nor material which to a substantial extent has been accepted for the award of any other degree or diploma at UNSW or any other educational institution, except where due acknowledgement is made in the thesis. Any contribution made to the research by others, with whom I ha\e worked at UNSW or elsewhere, is explicitly acknowledged in the thesis.

I also declare that the intellectual content of this thesis is the product of my own work, except to the extent that assistance from others in the project's design and conception or in style, presentation and linguistic expression is acknowledged.

Signed MFA PROJECT

DOUBLEDEATH-THE VERY PRESENCE OF THE ABSENT

SANDRA SCHEFFKNECHT UNSW, SYDNEY 2007 UNSW 2 O MAR Ü008 UBEMìI SPECIAL THANKS TO:

THE SPONSORS Alphabank, Berneck Casinos Austria, Bregenz Marktgenneinde Lustenau Rechtsanwälte Dr Hannes Grabher & Dr Gerhard Müller, Lustenau THE RHINO DRAWINGS Dipl.-Ing. Arch. Piet Muxel THE PRODUCTION COMPANY inflate, London GREAT FRIENDS AND SUPPORT DURING THE PHOTOSHOOTS Natalie Boog, Sandra Landolt, Eva Müller Francisco de Paula, Günther Hoidyssek THE BEST PARENTS Rudi und Marianne Scheffknecht MY SUPERVISOR Debra Philips TABLE OF CONTENTS

9 ABSTRACT

11 INTRODUCTION

13 THE PHOTOGRAPHIC OBJECT

THE PHOTOGRAPHIC DEATH

THE NOTION OF DOUBLEDEATH

16 REALITY AN D TH E HYPERREAL

23 DESCRIPTION PRACTICE BODY OF WORK

28 ILLUSTRATIONS PRACTICE BODY OF WORK

45 ARTISTS COMPARED

51 CONCLUSION

53 ILLUSTRATIONS ARTISTS COMPARED

57 BIBLIOGRAPHY

60 LIST OF ILLUSTRATIONS

62 EXHIBITIONS AND PUBLICATIONS Fig.1 Pavel Filonov, Goeiro, 1930

„After all, man changes more slowly than the world he changes himself. Man has nothing to do but contemplate the image of a world diffused as if in a kaleidoscope into thousands of micro-images and micro-worlds." (Fig. 1) This Master of Fine Arts Research Documentation, submitted in partial fulfil- ment of the award of Master of Fine Arts, gives an overview about the main ideas that are most significant for my practical work. Rather than working towards a deep theoretical approach, this thesis addresses important theoretical issues as part of the developmental process of the studio research within the Master of Fine Arts degree.

Firstly, the notion of doubledeath is introduced. The exploration of the idea of the photograph as a material object follows, in its relation to death and the trans- formation to what is here called doubledeath. Next, photography's impact on society is explored, especially its influence on our perception of reality. In addition, relevant theoretical ideas which inform the work are acknowledged. A description of the practical body of work and the contemporary context within which the work has been produced follows. MAIN IDEA

Reality today is informed by the presence of the absent. The main idea of doubledeath explores the presence of the absent as a metaphor related to contemporary life. TITLE

DOUBLEDEATH - THE VERY PRESENCE OF THE ABSENT KONSTRUIERTE GEGENWART (= CONSTRUCTED REALITY) ABSTRACT

The notion of doubledeath, as an idea to generate work, can be seen as both an ironic reflection on the medium of photography and a critical attempt to comment on contemporary culture. In short, the inherent charact- eristics of the photographic medium and its function within society are combined.

Photography embodies both death and the beginning of something autonomous and new in the very moment of the picture-taking process.

A photograph is a mere simulation of what was once there, in front of the lens, transformed onto photographic paper. It then opens up a whole range of new possibilities to the viewer.

The photograph's almost life-like appearance informs the photographic myth, that is the idea that a photograph provides evidence of absolute truth.

This characteristic together with the possibility of manipulating and altering a photograph has been continuously exploited by mass media to influence, make and guide our perceptions towards reality. These characteristics of image-making have left the borders between fiction and fact blurred. Living in a worid of over-mediation it is hard to escape and find one's way around in this melting pot of the various realities suggested. Reality today is informed by the present trace of an absent original. When this is recorded photo- graphically, it could be described as a doubledeath.

Both this research documentation and the studio work are social com- ments on contemporary life and artmaking. Where photographs record scenes from life informed by visual simulation (the presence of the absent) the notion of doubledeath becomes most obvious. Moreover, they reflect contemp- orary culture, addressing and investigating concerns fueled by today's omni- ABSTRACT

present commodity and life-style culture, and provoking thoughts about illu- sion and the crises of the real. In the 21 st century we interact with, acknowledge, accept or even prefer the surface over the essence of things, and real ex- perience becomes more diluted. INTRODUCTION

The MASTER OF FINE ARTS research documentation and studio work

is a continuation and further exploration of the notion of doubledeath that was first introduced as an idea in my MASTER OF ARTS project in 2004.

The concept of doubledeath builds upon the classic texts of Roland Barthes'

Camera Lucida in which he compares a photograph - the „that has been" - with flat death, and addresses the notion of presence and absence in photo-

graphyJ In the previous body of work doubledeath is approached in a quite

simplistic and literal way: as an irreversible moment in which to catch an

interpretation of reality. It is also seen as

an attempt to freeze, to reproduce, to end

and to similarly turn into a different pre- sent. By re-photographing a photograph, the death, as Barthes claims, happens twice. This is where the notion of double- death occurs. (Fig. A) Doubledeath - Sydneygirl, 200^

However, the original intent of the MASTER OF FINE ARTS project was to give doubledeath a new visual definition as both a metaphor and an ironic statement for the world we live in. We live in a world that is in constant flux, where the rapid mode of technological developments makes certain historical forms of appearance fade. Similarly, the experience of reality represented in many different ways through media has caused the real to disappear and changed its very meaning. „Reality today appears either distorted or hyper- real (hyperreal, a real without origin or reality, as Baudrillard defines it) far re- moved or constructed." Peter Weibel goes further and speaks of our world as

R. Barthes, Camera Lucida, Hill and Wang, New York, 1981. a non-place, a place of absence and alienation. He describes a Utopia in

which industrial and post-industrial society's experience of reality has been

transfomried by new interfaces like machines and media, implicating photography

as a major component which participates in and supports this development, ^

How this world in its ever-changing, modernizing mode - a world of

accelerated environment, distractive fantasy and permanent instability - is in-

volved in my art making process, will be further explained in the following

chapters.

2 F. Pötzer, S. Iglhaut, H. v. Amelunxen, A. Cassel, N. G. Schneider, K. Cottingham, Photography after Photography, G+B Arts, Munich, 1996 12 THE PHOTOGRAPHIC OBJECT THE PHOTOGRAPHIC DEATH and THE NOTION OF DOUBLEDEATH

The whole idea of doubledeath evolved from a fascination with the media-specific characteristics of photography. By media-specific characteristics

I mean a photograph's unique approach to temporality, its mimetic capacity and its relation to society. To be more specific, the focus is on the photograph as a two-dimensional object with its ability to abstract and to catch an ir- reversible moment in time. This is combined with its close-to-life-like appear- ance and its impact on society. After a photograph has been taken, all that is left is only a simulation of what was before. Simulation here is defined as a form of visual representation of something. This special moment in time in- corporates both death and a new beginning.

For Barthes the photograph - as a material object - is the present trace of an absent original. What „has once been there", in front of the lens has lost its third dimension, has entered into „flat death".^ Furthermore, Barthes describes this point of inactuality as a strange stasis, the stasis of an arrest.

He goes further by claiming the photograph as a precursor that informs us about our actual death in some unknown future. "^(Rg. 2)

„He is dead and he is going to die..." ®

Rg. 2 Alexander Gardner, Portrait of Lewis Payne, 1865

3 R. Barthes, Camera Lucida, Hill and Way, New York, 1981, p. 92. " R. Barthes, Camera Lucida, Hill and Way, New York, 1981, p. 95. 13 ® R. Barthes, Camera Lucida, Hill and Way, New York, 1981, p. 95. THE PHOTOGRAPHIC OBJECT THE PHOTOGRAPHIC DEATH and THE NOTION OF DOUBLEDEATH

While Barthes is driven by an ontological desire to learn what photo- graphy is in itself, Walter Benjamin explores the meaning of the photographic death related to history. As Eduardo Cadava describes it for Benjamin: „history happens when something becomes present in passing away, when some- thing lives in its death. Living means leaving traces".® Apart from Barthes and

Benjamin there are countless others concerned with the notion of death re- lated to photography. André Bazin and Susan Sontag, both media-related theorists, wrote extensively on photographic philosophy. They determined the notions of death-mask and claimed photography a stencil of reality.

Pierre Mac Orlan for example, mentions in the 1930 edition of Atget photo- graphe de Paris, „the power of photography that consists in creating sudden death".

The artist Orlan's excitement about the „death-quality" of photography relates to the very beginnings, when, with the invention of photography, a long-held wish came true: to hold on to an irreversible moment in time which will be preserved forever, and with it the illusion of „staying alive" after being long dead. A quite literal translation and visual interpretation of these thoughts dates back to

Victorian times when death portraits literally took this idea of, what I call doubledeath to the extreme.

These post-mortem portraits, common subjects in photography through the late 19th and early

20th century, show reconstructed scenes from lives

of which the subjects were cruelly deprived.^ (Rg. 3) Rg a unidentified photographer, woman holding^,

®E. Cadava, Words of Light, Princeton University Press, New Jersey, 1997, p.128. ^S. Johnson, M. Rice, C. Williams, A History of Photography, Taschen, Cologne, 2005, p.66. THE PHOTOGRAPHIC OBJECT THE PHOTOGRAPHIC DEATH and THE NOTION OF DOUBLEDEATH

But like any other photograph the post-mortem photographs were merely illusions. While trying to preserve life, the photographic image produces death. On one hand, this imprint, like a death-mask, denies real sensual experience; on the other hand it is the departing point for something new - it is „Sashin" or „Transforming the Real" as the Japanese word for photography translates.® It is both the death of the three-dimensional form that existed within a certain time frame and the creation of a two-dimensional form with new autonomous identity. It is asserted that it is more than a stencil of reality, as Susan Sontag claims. It is a trace, a second reality to the previously existing one. This idea leads on to discuss photography's relation to reality and the idea of hyperreal.

® T. Kellein, Time Exposed, Thames and Hudson Ltd, London, 1995, p.9. REALITY and THE HYPERREAL

Once separated from its original in time and space, the photograph as an object with a new autonomous identity (with its three-dimensional appearance and materiality) exists in time, space and thus in social and cultural ex- perience. It is an object of desire, even of addiction when it serves to accu- mulate and to conserve material and subjective aspects throughout one's life.

Susan Sontag calls the actual act of photographing an act of power and social rite.^

Photographs are highly deceptive because of their life-like appear- ance. They embody the aspect of illusion by being separated from the original and distant in time and space. Also they are subject to manipulation (due to the photographer's choice in the picture-taking as well as later on in the editing process). In Surface, Contemporary Photographic Practice, Michael Mack adds that „questioning photography's relation to reality and perception is a leitmotif which runs throughout the medium's history. The suggestion that the photograph is evidence of absolute truth and constitutes a reflection of real- ity is a self-contradictory and ironic illusion." Nevertheless, people are attracted to the illusionistic characteristics and to the idea of having their per- ception of reality altered. Not long after its very beginnings, photography became inseparably linked to the media industry, which has used and abused photography's myth (to reflect an absolute truth). After the invention of digi- talisation, the standards and the possibilities of manipulation have been altered even more.

In our age reality and fiction, once strictly separated, have become more and more unrecognisable and melded together. Media and especially

9 S. Sontag, On Photography, Penguin Group, London, 1979. M. Mack, S. Browning, S. Peridns, Surface - Contemporary Photographic Practice, Booth-Cliblx)m, London, 1996. g REALITY and THE HYPERREAL

photographs are agents of growing insecurity and discontent, as their passive, aggressive omnipresent and ever increasing picture flood, as Sontag claims, transforms contemporary perception of experience of life and reality. She claims further: „Reality has always been interpreted through the reports given by images but being educated by photographs is not like being educated by older, more artisanal images. For one thing, there are a great many more images around, claiming our attention...teaching us a new visual code and altering our notion of what is worth looking at..." ^^ By this means we become conditioned to believing what the media offers as worth seeing and believing.

We are preconditioned in every little step we take, we see what we have already seen - what we were told to see. This second reality, created by media and especially photography, is informed by a melting pot of various realities sug- gesting only simulations of realities. However, it almost enjoys a greater success and is competing with the empirical reality (empirical reality relies on practical experience and observation, rather than theories). This becomes obvious in regard to the tourist or the beauty and celebrity industries, which constantly set parameters of ideals for us to strive for. Having arrived at this stage, one is left uncertain and almost unable to distinguish the real from the fake. Unsure of what to strive for, one becomes discontent if one cannot reach the ideals sug- gested. In the end our visual perception, like photographic images, is only a model of a worid which is not directly accessible to us, a model dependent on the interface and guided by interest.

Far removed from its original, a photograph only simulates bringing things closer - rather it keeps the viewer at distance. The photograph as a

" S. Sontag, On Photography, Penguin Group, Lx>ndon, 1979, p.3. REALITY and THE HYPERREAL

present trace of an absent original, an illusion within itself, only triggers the desire for the original. Walter Benjamin in The Art in the Age of Mechanical

Reproduction suggests: „The need to bring things spatially and humanly

'nearer' is almost an obsession today, as is the tendency to negate the unique or ephemeral quality of a given event by reproducing it photographically.

There is an ever-growing compulsion to reproduce the object photographically,

in close-up..The photographic copy, independent of time and space

gives us the impression that the world is easier to access than it actually is.

The dominant photographic language of the tourist industry, as an example

amongst many (fashion, beauty industry etc...), has definitely affected how

tourists experience their travel and above all, how they construct their own

photographs. They tend to reinforce the constructed and commodified expe-

rience of travel. The travellers, because they have already consumed an array

of exotic photographs of the place before arrival, are urged to search for these

very images in order to feel that their trip is complete. They literally repeat

what has already been presented. Observing tourists, they seem to be

collectively finding and extending their store of worthwhile places to see. Led

by the desire to meet the original destinations suggested (by photos in bro-

chures, on posters) they wander around with a snap-shot view, their expe-

rience framed and limited by the camera. Unaware of what they could possibly

miss, they merely scan through this pre-mediated new world. As they are

hunting for the same photos as those presented in promotion materials, real

experience becomes abandoned and does not even seem to be necessary

anymore. Their experience is reduced to the material objects of the snap-

12 w Benjamin, Art in the Age of mechanical Reproduction, 1936. REALITY and THE HYPERREAL

shots taken and the souvenirs provided. Rather than proofing experience, they proof a denial of experience. In short, real experience is replaced by only a plain surface. In the tourist industry's promises and enticements, the exotic quality of the unknown seems to have shifted close to what seems familiar to us and is still unattainable. „It has been redefined as an alluring surface that owes its lustre to everything, but to no substance that supports it

- a perfectly empty promise..

With their project Being a Guest, Swiss artists Monica Studer and

Christoph van den Bergen introduce a digital holiday world to internet users.

They metaphorically play on the travel experience as a mass cultural pheno-

mena, ironically highlighting the pros and cons of both real and digital travel

experience. The traveller as guest is seduced by the tourist industry into con-

suming the exotic of the undiscovered. He or she travels a world that seems

so disturbingly familiar and yet so unknown. Susan Sontag further explains:

„photographs are imprisoning reality, understood as recalcitrant, inaccess-

ible, of making it stand still...But...to possess the world in the form of images

is precisely to re-experience the unreality and remoteness of the real".^"*

Photographs consume reality. Our mass media saturates all experience

and calls up our desires. In a world where there is nothing more than that

which we experience superficially, Steve Edwards suggests, photography is a

system of representation which mediates our relation to reality, and which has

fundamentally influenced our perception of reality. In our present era, mass

media saturates all experience; we live in, and through, this network of signs

that penetrates us with an ideal picture-worid named reality, making up the

"A. Bauer, Being a Guest, Die Deutsche Bibliothek, Merian Verlag, 2003, p.6. S. Sontag, On Photography, Penguin Group, London, 1979, p. 164. 19 REALITY and THE HYPERREAL

rules of what to believe in J® „What appears is good: what is good appears "

Instead of evaluating the world of media according to empirical reality, the op- posite happens^® In the 20th century a major activity of society was to produce and consume images that trigger our desire and greatly impact on how we want our reality to be. The situation then became more intensified than ever- exaggerating illusion, creating an addiction that makes us believe more in il- lusions than in the real. Real or fake? The borders are blurred, it is hard to distinguish. Nowadays it is out of the question that reality is an an Absolute.

As mentioned earlier on, the Real has gradually been transformed to become a melting pot of suggested alternative realities. Reality has turned to Hyper- reality in advertising, movies and all other genres that adhere to the laws of fiction. Reality slips beyond the Real and becomes Hyperreal. „It is the gene- ration by models of a real without origin or reality" - discussing the term

Hyperreal further, French philosopher, Jean Baudrillard suggests that there is no reality but that of the reality effect, that of the simulacrum, that of which an original has never existed.^^ As an example he states the development of illu- sionary Disneyland. Futhermore, he comments on Lee Friedlander's photo- graph of Mount Rushmore in 1969, where

Andy Grundberg adds: „It could almost be used as an illustration for Jean Baudrillard's apocalyptic statement, 'For the heavenly fire no longer strikes depraved cities, it is rather the lens which cuts through ordinary reality like a laser, putting it to death'. The ng Friedlander - Mount Rushmore, 1969

15 L Wells, The photographic Reader, S. Edwards, Routledge, New York, 2003, p. 180. M. Köhler, Constructed Realities, Edition Stemmie AG, Zurich, 1995, p.23. Baudrillard, Simulacra and simulation, The University of Michigan Press, USA, 1981, p.1. REALITY and THE HYPERREAL

photograph suggests that our image of reality is made up of images. It makes

explicit the dominion of mediation."^® (Fig. 4) When introducing the terms

simulacrum and reality effect, Baudrillard suggests that we live in a world

ruled by copies of non-existent originals that emerged at the same time as

photography, when it first became possible to create pictorial illusion.

Furthermore his concept of the simulacrum „surpasses representation and

reproduction, and instead produces a synthetic hyperreality, a 'real without

origin or reality'."^^

It is widely mentioned, that the postmodern terminology is difficult to define.

However, Andy Grundberg argues that one key aspect of the postmodern era, in

its art and theory, is a reflection of the conditions of our time.^® Postmodernism,

in opposition to Modernism, presents a simultaneous process of masking

and unmasking. The cross-disciplinary approach combining various media

reflects the „everything goes" attempt of post-industrialisation. It leaves

the photograph that neither lies nor is true, concerned with the haziness

of the real, and in its misleading and deceptive manner finally constitutes the

melting pot of suggested realities. As Andy Grundberg explains further. Post-

modern Art accepts the world as an endless hall of mirrors, as a place where

all we are is images, as in Cindy Sherman's world, and where all we know

are images, as in Richard Prince's universe.^^ Prince's activity is one version of

Postmodernist practice. His way to make art is to rephotograph photo-

graphs found in magazines, especially in ads for the mass consumer

market. Prince, as well as the Pop-artists earlier on addresses and un-

masks media-related photography and its impact on society. His Untitled

Wells, A. Grundberg, Vie photographic Reader, Routledge, New York, 2003, p. 176. J. Baudrillard, Simulacra and simulation, The University of Michigan Press, USA, 1981. PI 20 L Wells, A. Grundberg, The photographic Reader, Routledge, New York, 2003, p. 177. 21 L Wells, A. Gaindberg, The photographic Reader, Routledge, New York, 2003, p. 178. REALITY and THE HYPERREAL

(Cowboy) series consists of works done from the 80s past the Millenium and is just one example that presents us with a picture world that looks all toVamiliar. (Fig. 5) There is no place to believe in authenticity of experience, in the sanctity of the individual artist's vision, in genius or originality. What Post- modernist Art finally tells us is that things have been used up, that we are at Figs pn^ce-untmed(cowboy),^99^/92 the end of the line, that we are all prisoners of what we see.

These are clearly radical ideas, but it takes no great imagination to see that photography as a nearly indiscriminate producer of images, is in large part responsible for them. Writing about the photograph today as the docu- ment between fact and fiction, Stefanie Grebe discusses the position of contemporary photography as neither a truth nor a reality, but as as an object that has an immense wealth of different perspectives on reality - a medium comparable to the internet. „Photographs are understood with reference not to a naive reception of the faithfully reproduced objects, but to the kind of staging of reality they contain." 22

22 S. Grebe, European Photography - The Document between Fact and Fiction, no. 78, volume 26,issue 2, winter 2005/07, p. 11. DESCRIPTION PRACTICE BODY OF WORK

The doubledeath series can be seen as an ironic reflection on the medium of photography. It is not just about creating or documenting different situations of doubledeath. As mentioned earlier on, I am interested in com- bining mediaspecific characteristics with social commentary. In short, it is an engagement with the realms of the public and the private - an investigation into contemporary urban culture. My photographs suggest that reality today is informed by the presence of the absent, which means that an origi- nal form has been replaced by a simulation. It is almost like a battle between the natural and the man-made, the unnatural. As a visual translation of what is mentioned above, all works have a common departure point. An original form has changed - transformed into a new autonomous one that confronts the viewer and suggests the dialogue between presence and absence, fiction and fact. The works react and provoke thoughts on illusion and the crises of the real and similarly introduce people's addiction to illusion and the im- aginative. The presence of the absent is combined with an investigation into contemporary culture. It addresses and questions concerns fueled by today's omnipresent commodity and life-style culture where we have come to accept or even enjoy the surface over the essence of things.

Recording simulations, found in scenes from life, on photographic paper makes doubledeath a metaphor for the over-mediated worid around us. The combination of photographs presented travels between different photographic genres, reflects but differs from the usual associations with the common landscape, portraiture, travel or architecture photographs. They are more of a mixture of staged and documentary photography. By observing, DESCRIPTION PRACTICE BODY OF WORK

documenting or constructing the presence of the absent their multi-layered existence appears as reflections, mirroring or doubling the condition of visual appearance. Strangely familiar but yet weird and uncanny, the doubledeath series are informed by slightly ambiguous matter.

Informed by notions of transformation and alterations, derived but re- moved from a past original form, they show elements of non-places. By non- places in this context I mean places that are informed by surface only - the real replaced by artifice. These places could be anywhere and nowhere, their original location hard to decipher. When Peter Weibel speaks of the world as a non-place, a place of absence and alienation, of Utopia - it is important to also consider Marc Auge's notion of non-place in his book: Non-places, Intro- duction to an Anthropology of Supermodernity. He introduces the concept of supermodernity as one of late-capitalist phenomena in which non-places, in- vade this world in an ever increasing manner. He mentions places that we perceive, but only in a partial and incoherent fashion. They are the curious places that are both everywhere and nowhere, but at the same time places we come across on a daily basis: supermarkets, airports, hotels, motor- ways, etc.23 Analysing Auge's notion of non-place, Patrick Wright notes that

„Auge maps the distinction between place, encrusted with historical monu- ments and creative of social life, and non-place, to which individuals are con- nected in a uniform manner and where no organic social life is possible".

Although the focus of my practical work is not a visual translation of

Marc Auge's notion of non-place, there are elements within his concept that I find interesting in relation to my work. It is the tension of the familiar-looking

23 M. Auge, Non-places - introduction to an anthropology of supermodernity, Verso, London, 1995. M. Auge, P. Wright, Non-places - introduction to an anthropology of supennodemity, Verso, London, 1995. 24 DESCRIPTION PRACTICE BODY OF WORK

but yet unknown place, informed by a strong uniform manner and universal appeal. It is the place that could exist anywhere and nowhere, that could even be entirely constructed, that combines fact with fiction and hence relates to the postmodern explication of reflecting the conditions of our time. Not only are these works meant to be a visual translation of events of our time, they are also challenging the viewer's interaction, confronting and posing questions such as: „How does this photograph impact on me? Where is this place suggested? Where am I, as the viewer, located in this whole artistic context?"

The exhibition shows an array of large-size, glossy prints. Each of them translates what I mentioned above in its own individual way. It is the lit backdrops, a range of popular tourist destinations from around the world, that attract passers-by to a quick tourist snap but don't reveal their actual location to the final viewer in the gallery. (RG. FI-3) These photographs, done during an artist in residency in Shanghai, almost look ridiculous as the snaps- hooters seem to behave as if they were posing in front of the actual tourist site. These are quite vital examples, documenting people's appreciation of surface only. Posing for a snapshot in front of a copy elevates the meaning of the copy to the level of the original, which is far away at its distant place.

These thoughts can be equally adopted to another photograph in my series: the portrait of a young family posing in Shanghai's Madame Tussaud's, inviting a celebrity into their family unit. (Rg. d) This quite literally shows the common admiration for the celebrity cult. Another example in the series, is the image of the deer, that ironically seems to flash back on its terminated life in nature DESCRIPTION PRACTICE BODY OF WORK

(while mounted for display in a natural science museum). This image generates thoughts on the relationship that exists between the natural world and its artificial depictions, the real and the copy. (ng. E) Another example is the two photographs that depict some sort of landscape. The images are of a mediated and cultivated nature, that makes the original location impossible to locate.

This place could be anywhere and nowhere - non-existing but entirely constructed. (Rg. BI/2)

These large-size photographs, in evoking relations between fiction and fact, presence and absence, relate to and address the overall theme. In the exhibition, the photographic work is supported by an installation that meta- phorically connects to photography. (Rg. i) Moreover, it is an ironic statement about photography. The inflatable, three-dimensional object - the negative space, traced around and abstracting the action that usually happens at a pic- nic area - emerged from thinking of a photograph as an abstract monument.

Although a photograph is only a present simulation of an absent original, it may take on a monumental character in people's belief systems. The inflatable object, although it is three-dimensional, reveals more elements in common with photography. As an enquiry into the surrounded environment it combines inside, outside, public and private space. In its inaccessibility, it thus prevents the viewer from real experiencing.

The decision to use inflatable material connects back to the first ex- tensive use of inflatable structures which emerged in architecture in the late sixites. It was seen as an anti-monumental, anti-established answer to the avant garde's desire for emancipation through technology. At this point John DESCRIPTION PRACTICE BODY OF WORK

Ockmann, author of Pneumotopian Visions refers to Baudrillard. He emerged as

Utopie's (a radical group of French architects and writers, founded in 1968) primary theoretician. In this context he compares architecture's infatuation with technology as a product of late capitalist society and continues to issue prophecies about an apocalyptic hyperreality in which all that is solid has melted into air.

To investigate in more detail, the plastic material used raises many more questions. It relates metaphorically to environmental threats, caused by technology and mass production. To pursue these ideas in greater depth would drift too far away from the original idea of this paper. In short: the sculpture can be seen as a statement visualising photographic characteristics on a three-dimensional level. It addresses issues related to technology and mass production. Plastic as a material bred by modern technology and mainly used for mass production contributes to world-wide pollution and exhausts a major natural resource: oil.

25 J. Ockmann, 'Metropolis Feature - Pneumotopian Visions', June 1998, Internet, httpy/www.metropolismag.com/html/ content_0698/ju98neu.htm 27 ILLUSTRATIONS DOUBLEDEATH SERIES PHOTOGRAPHIC BODY OF WORK

Fig. B1 China *1A, 2006 Fig. B2 China #1B, 2006 ILLUSTRATIONS DOUBLEDEATH SERIES PHOTOGRAPHIC BODY OF WORK

Fig.C Bill, 2007 Fig. D the Family, 2006 ILLUSTRATIONS DOUBLEDEATH SERIES PHOTOGRAPHIC BODY OF WORK

China #2A, 2006

Fig. E Doubledeath 2006 ILLUSTRATIONS DOUBLEDEATH SERIES PHOTOGRAPHIC BODY OF WORK

I. « 9

Fig.G Madonna, 2007 Fig. H Austria, 2006 ILLUSTRATIONS DOUBLEDEATH SERIES PHOTOGRAPHIC BODY OF WORK

Fig. F2 China U2B, 2006 Fig. F3 China #2C, 2006 DOUBLEDEATH SERIES SCULPTURAL BODY OF WORK THE INFLATABLE OBJECT - TAMARAMA BEACH, SYDNEY

Fig. I Inflatable Object - picnic shelter, 2006/07 DOUBLEDEATH SERIES THE INFLATABLE OBJECT AT THE SITE DOUBLEDEATH SERIES THE INFLATABLE OBJECT AT THE SITE DOUBLEDEATH SERIES THE MAKING OF THE INFLATABLE OBJECT PRODUCTION SITE IN LONDON DOUBLEDEATH SERIES THE MAKING OF THE INFLATABLE OBJECT DIGITAL MODELMAKiNG DOUBLEDEATH SERIES THE MAKING OF THE INFLATABLE OBJECT MODELMAKING DOUBLEDEATH SERIES THE MAKING OF THE INFLATABLE OBJECT DRAWINGS AND SCRIBBLES DOUBLEDEATH SERIES THE MAKING OF THE INFLATABLE OBJECT THE SITE

'a i DOUBLEDEATH SERIES THE MAKING OF THE INFLATABLE OBJECT DIFFERENT (INTER-)ACTIONS AT SITE

DOUBLEDEATH SERIES THE MAKING OF THE INFLATABLE OBJECT IN SEARCH FOR THE SITE TABLE OF CONTENTS ARTISTS COMPARED

Having explained the conceptual and practical approach of my body of work, a comparison to the work of a number of contemporary artists follows.

The artists chosen, who have inspired my way of thinking and producing art, work in a similar, yet slightly different, conceptual and/or formal way. All of them depart from a common starting point and show a strong focus on simulation. Their concerns revolve around constructed realities and play on our mediatised life and its impact on the human perception of reality.

The Danish artist, Olafur Eliasson, attempts to directly confront the viewer's perception within a mediated world structure. He scientifically recon- structs and documents mediated nature which attracts human interaction.

This becomes most obvious in The Mediated Motion, a combination of instal- lations and photographs which are reproductions of representations of nature.

More precisely, his life-like simulations of nature - installations displayed in huge exhibition areas - are meant to be reconstructions of mediated or cultivated nature with the viewer playing the role of the active participant. (Fig. 6)

In the photographs presented in the immediate outdoors surrounding the ex- hibition, Eliasson documents the easy accessibility of nature, and hence ad- dresses how rare it is to find untouched, unmediated nature and to develop a personal view. (ng. 7) Whereas my work aims to involve the viewer and to trig- ger an interaction towards the theme addressed in a subtle, more indirect way, Olafur Eliasson's straightforward approach aims for immediate, active interaction between his art works and the viewer. Most of his works are scientifi- cally developed scenarios that function as a stage on which the viewer is in- vited to perform in a highly emotional and individual way. In comparison to ARTISTS COMPARED

Eliasson's, my work seems more to observe, record, address and question the relation between mediated reality and the human perception. The plain surface displayed in my work keeps the viewer at a distance in order to pro- voke a feeling of remoteness and inaccessablity: that which is unique to photography itself.

Nature, mediated and performed, is what attracts the viewer in Australian artist Anne Zahalka's work. Her photographs show nature as a performance and the world mediated to a spectacle which is staged to be consumed. She confronts the viewer with the artificial surface of objects. This becomes most obvious in her Leisureland and Wild Life series. Whereas the Leisureland sub- jects range from organised beach culture to indoor rock climbing and theme park rides, presenting leisure as consumer spectacle of collective sub- urbia, her most recent Wild Life series ironically refers to dioramas from the

American Museum of Natural History, in New York. (Rg. s) Partly ready-made, partly manipulation, Zahalka's images of these dioramas address the ambivalent relationship that exists between the natural world and its artificial depictions: the real and the copy. While her Leisureland presents more as a social docu- mentary, Wild Life is a staged investigation into past and present. It takes the viewer to a place, where fiction and fact mingle and the borders become blurred by digital manipulation.

Wild Life is especially reminiscent of Hiroshi Sugimoto's Dioramas, done in 1994. Japanese Sugimoto, like Zahalka, also gravitates to sites where people gather for entertainment. In contrast to Zahalka, he takes the diorama as a ready-made, displayed in his photos with no further manipulation added. ARTISTS COMPARED

Throughout a whole range of his works, from the Theater series and Dioramas to his re-interpretations of Wax Museums, his work strongly builds upon the presence of the absent within our mediated surroundings, (ng. 9-11) More precisely, his work is strongly informed by concerns with issues of medial presentation which suggest a visual worid presenting itself as a photographic representation ready for distribution. Sugimoto's work, similar to the double- death series, celebrates the reality of simulation, which is the essence of photographic practice, as mentioned previously. As he concentrates and comments on found, pre-existing forms of representation such as paintings, photographs, films and sculptures, summarised in his final photographs, these works relate to my doubledeath series. His focus on temporality and the presence of the absent becomes most obvious in the Theater series, where long-time exposures record the interior of different movie theatres and the running film has become transformed to only a plain white field. The work evokes seeing, believing, remembering. Therein lies the first notion of doubledeath that gets re-interpreted by the final photograph again. Further- more, his photographs in Wax Museums, his almost surrealistic snapshots of stuffed animals in front of painted museum backdrops in Dioramas, the „'Theaters' and the 'Porfra/fs'...preserve quasihistoric documents of our own past, and of our ancestors and popular favourites, like unreal documents of our contemplative obsession. " Rather than just involving time as an active theatrical factor, Sugimoto is concerned with what culture performs on and for us. As mentioned earlier when comparing my work to Olafur Eliasson's, Sugimoto's works are highly staged but definitely relate to my work in the way

26 T. Kellein, Time Exposed, Thames and Hudson Ltd, London, 1995, p. 4. ARTISTS COMPARED

he uses photography to critique mediated surroundings.

The Swiss artists Fischli & Weiss are less concerned with the temp- orality within their art works. They investigate banal media life. Their work, deliberately constructed, plays with the instruments of humour and irony but is free of cynicism. Although often visually concentrating on the surface of things, the work confronts viewers with questions they are urged to form themselves, prompted by the structure of the artists' work. In their work entitled Visible World, they refer to the invisible as much as to the visible. This can also be understood as the notion of an absence and a presence. (Rg. 12/13) Driven by an interest in the surface, in the uppermost layer of reality, Fischli mentions in an interview: „During our first journey there was an intention to find pictures that already exist as such, that are broadly distributed and enjoy tremendous popularity".2Mn doing so, their Visible World exists of large table displays covered with photos of past travel to places of interest, as well as of the actual places of interest themselves. Their „visually very obvious"- kind of approach, as Robert Fleck puts it, seems too similar to images used in advertising, postcards and posters. It inspires, however, the viewer to in- vestigate deeper, to question his or her own behaviour related to these posed „every-day-life lessons".^^ „Through their exclusive use of straightforward language, Fischli and Weiss are able to address open questions, such as: can a photograph be a sculpture? can an artist make art using vernacular subject matter? in a complex way, and at the same time render them ac- cessible." There are obvious similarities between Fischli & Weiss' concerns and my own artistic practice. These similarities are conceptual - dealing with

27 R. Fleck, B. Sontgen, A. C. Danto, Peter Fischli David Weiss, Phaidon Press Limited, New York, 2005, p. 29. 28 R. Fleck, B. Sontgen, A. C. Danto, Peter Fischli David Weiss, Phaidon Press Limited, New York, 2005, p. 88. 4g 29 R. Fleck, B. Sontgen, A. C. Danto, Peter Fischli David Weiss, Phaidon Press Limited, New York, 2005, p. 74. ARTISTS COMPARED

mediation, fiction, fact and the contexts with society. Nevertheless, their visual

straightforward translation of thoughts differs from my more indirect but not

less confronting approach to the viewer. Fischli & Weiss' work is not only inter-

esting in its own specific way, it is also important in the context of central

discourses of art during the last twenty years; its unconventional manner chal-

lenges modernist versus postmodernist ideas of approaching art.

German Michael Reisch blends photographic and sculptural modes of

thinking related to issues of transformation and destruction caused by

modern technology. His photo series Landschaft seems too true-to-life and

too abstract for documentary has its point of departure in reality. Although a

closer examination reveals the melding of fiction and fact, some alterations

made after the picture-taking process become quite obvious. Despite these

manipulations, his visual language or the documentary approach suggests

repeated interventions in ideas about landscape and architecture. This work

is reminiscent of the new objectivity.The term, although its origin dates

back to the 20s, refers to the photographic approach, that was pursued by

German Bernd and Hilla Becher in the 60s. They followed a path to typological serialization of photographs with distinctive characteristics that inspired a number of contemporary artists. Reisch's series is a combination of docu- mentary and slightly staged (in his case digitally manipulated) photography.

He is interested in places which could be anywhere and nowhere, even entirely constructed. These places seem strangely liberated from the trap- pings of everyday life yet frozen at the same time. There are no signs of nar- rative progression: with all human traces removed, they seem alienated within

30 The new objectivity was an art movement which arose in Germany in the early 1920s as an outgrowth of, and in opposition to expressionism. ^g ARTISTS COMPARED

their own surroundings and subtly transformed into biomorphic structures.

These works evoke a strong statement about a world exploited, transformed and deserted through technology, (ng. i4-i8) CONCLUSION

This paper has reflected on photography as a medium of endless potential for exploring questions about ourselves in relation to the surrounding world. The moment of picture-taking - the moment of photographic death when a three-dimensional person, object or scene transforms into a two- dimensional form - is both a point of decline and the beginning of something new. This new object, the photograph, which is also a trace and the presence of the absent original, has the immense power of seducing us on a daily basis.

Photography can be both expressive and communicative. It is omni- present in our society and especially in our time of overmediation it can participate in the creation of a climate of uncertainty. It has become almost impossible to resist the photograph's penetration in an overmediated world.

The doubledeath series, as observations of contemporary, mediated spaces, plays with the notion of doubledeath as a means to describe both presence and absence, co-existing in the one space. The presence of the absent in today's culture, informed by technology and the media, suggests an exciting

„anything goes" approach. At the same time this indecisive approach produces a discomforting and disorienting melting pot of various realities suggested. The numerous possibilities available to us to construct our own realities, have made us insensitive towards our visible worid structure. Where simulation seems to replace the real, where surface tends to replace the essence, reality is mediated and replaced by illusion.

We live in a time of insecurity that is informed by so many opposites that it becomes more important than ever before to reflect on these develop- ments - the advantages and disadvantages - and to decide conscientiously CONCLUSION

how far to get involved. „After all, man changes more slowly than the world he changes himself. Man has nothing to do but contemplate the image of a world diffused as if in a kaleidoscope of thousands of micro-images and micro-worlds." ^^

To conclude, I want to flashback to some artists mentioned earlier in this paper who addressed and questioned the various meanings of photo- graphy in relation to media and mass consumer culture. Over the past fifty years - from the Pop-artists of the 60s to Richard Prince and Fischli & Weiss - artists have worked and continue to work with ideas concerning the condition of photography and its effects on culture and society. As long as photography and media remain this omnipresent and influence our ways of living, artists will continue to respond to these developments in many individual ways.

31 R Weibel, Sunoundings surrounded, ZKM Karlsruhe Germany, Massachusetts Institute of Technology, Cambridge, Massachusetts, 2005, p. 497. ILLUSTRATIONS ARTISTS COMPARED OLAFUR ELIASSON

Fig. 6 Olafur Eliasson, The mediated motion, 2001

Fig. 7 Olafur Eliasson, The mediated motion, 2001 ILLUSTRATIONS ARTISTS COMPARED ANNE ZAHALKA HIROSHI SUGIMOTO

Fig. 9 Hiroshi Sugimoto, Hollywood Dome, Hollywood, 1993

Fig. 8 Anne Zahalka, Wild Life, 2006

Fig. 10 Hiroshi Sugimoto, Earliest Human Relatives, 1994

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Fig. 11 Hiroshi Sugimoto, Liz Taylor, 1994 ILLUSTRATIONS ARTISTS COMPARED FISCHLI & WEISS

Fig. 12 Fischli&Weiss, Visible World, 1994-2001 ILLUSTRATIONS ARTISTS COMPARED M CHAEL REISGH

Fig. 14 Michael Reisch, Landschaft, 2002

Michael Reiser year 2000

Fig. 15 Michael Reisch, Landschaft, 2002 Fig. 16 Michael Reisch, Haus, 2000

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Fig. 17 Michael Reisch, Hochhaus, 2004 Fig. 18 Michael Reisch, Hochhaus, 2004 BIBLIOGRAPHY

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Fig. 1 Goe/ro - Pavel Filonov (1930), Weibel.R, 1999, Surrounded Surroundings. ZKM Karisruhe Gemiany, Massachusetts Institute of Technology, Cambridge, Massachusetts

Fig. 2 Portrait of Lewis Payne - Alexander Gardner (1865), Barthes R., 1981, Camera Lucida. Hill and Way, New York.

Fig. 3 Woman holding Baby - Unidentified photographer (1850s), Bannon A., 2005, A History of Potography. Taschen, Cologne.

Fig. 4 Mount Rushmore, South Dakota - Lee Friedlander (1969), Wells, L., 2003, The photographic Reader. Routledge, New Yori<.

Fig. 5 Untitled (Cowboy)- Richard Prince (1991/92), Brooks, R., Rian, J., Sante L., 2003, Richard Prince. Phaidon Press Limited, London.

Fig. 6/7 The mediated motion - Olafur Eliasson (2001), Vogt.G., 2001, The mediated motion Olafur Eliasson. Veriag der Buchhandlung, Walther König, Bregenz.

Fig. 8 Wild Life - Anne Zahalka (2006)

Fig. 9 Holiwood Dome - Hiroshi Sugimoto (1993), Kellein, T.,1995, Time Exposed. Thames and Hudson Ltd, London.

Fig. 10 Earliest Human Relatives - Hiroshi Sugimoto (1994), Kellein, T.,1995, Time Exposed. Thames and Hudson Ltd, London.

Fig. 11 Liz Tay/or- Hiroshi Sugimoto (1994), Kellein, T.,1995, Time Exposed. Thames and Hudson Ltd, London.

Fig. 12/13 Visible World- Fischli&Weiss (1994-2001), Fleck, R., Söntgen, B., Danto, A, C., 2005, Peter Fischli David Weiss. Phaidon Press Limited, New Yori<.

Fig. 14/15 /.anc/sc/7aff- Michael Reisch (2002), http://www.michaelreisch.com

Fig. 16 Haus - Michael Reisch (2000), http://www.michaelreisch.com

Fig. 17/18 Hochhaus - Michael Reisch (2004), http://www.michaelreisch.com LIST OF ILLUSTFWIONS PHOTOGRAPHIC AND SCULPTURAL BODY OF WORK

Fig. A doubledeath - Sydneygirl, 2004, c-Type Photograph, 120xi 00 cm

Fig. B1/2/3 China ^1A/B/C, 2OO6, c-Type Photograph, 90x90 cm

Fig. C Bill, 2007, C-Type Photograph, 80x80 cm

Fig. D theFamily, 2OO6, C-Type Photograph, 80x80 cm

Fig. E doubledeath #06, 2OO6, c-Type Photograph, 80x80 cm

Fig. F1/2/3 China #2AIBIC, 2OO6, C-Type Photograph, 80x60 cm

Fig. G Madonna, 2007, c-Type Photograph, 80x80 cm cm

Fig. H Austria, 2007, c-Type Photograph, 80x80 cm cm

Fig. I Picnicshelter, 2OO6/O7, inflatable Plastic Sculpture, 168x168x185 cm EXHIBITIONS AND PUBLICATIONS

EXHIBITIONS AND PUBLICATIONS DURING THE RESEARCH PERIOD : JULY 2005 - JUNE 2007 EXHIBITIONS AND PUBLICATIONS

Exhibition at Blankspace, Sydney, March 2006 EXHIBITIONS AND PUBLICATIONS

Exhibition at Blankspace, Sydney, March 2006

the'art life

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QQ Adobe Eduu Entry fonn AIPP Events Photo<|raphy Adobe Educa em Awards MCQ Interna Entry Form atpp.home final MCA I Museu nt. Join Us

' the art life " - , ^"To^o the officiaft^Ute pwS^

Ui^ia Sch«fl'o:ograp>', 90K90CWS. Courtciy of the art

Our second last port of call was to Blank.Spacc on Crown Street in Surry Hills, With the COFA student space Kudos Gallery looking like it'll dose down without financial assistance, Blank.Space is there to lease out its premises to all the students who need to have shows as part of their course assessment We were very lucky to discover that the show by Sandra Scheffknecht an MA student at COrA. was very good Blank.Space is so hit and miss, you have no idea what you arc going to see, and the shows are on for such a short period they are very easy to miss. Scheffknecht's exhibition, Doubhdeaths 2005-2006, was on for just six days and closed yesterday, which is a damn shame. Trading in an aesthetic not dissimilar to Mosca's show at EJC. Scheffknecht had recent works hung next to older material, large scale images using that we took to be twins but turned out to be artfully placed prints of the one model The idea was that the works questioned the reality of the photographic image, a well worn theme in much recent contemporary art Where Scheffknecht's older works were a little too obvious, her recent material, taken on a trip back home to Austria, show enormous promise. There's something eerily Blade Runner-esque about this stuffed deer with the tiny serial number on its hoof - but then, as we said we're suckers for pathos

65 EXHIBITIONS AND PUBLICATIONS

Articles, VN - Vorarlberger Nachrichten, Austria, 2006 Montag, 9. Jänner 2006 VORARLBERGER KUUrgR /D6

• Wertvolle Kunst gestohlen, vier wert- volle Ölgemälde aus dem 16. und 17. Jahr- hundert, darunter je ein Werk von Rubens und Rembrandt, sind Sonntag Früh aus dem Stadtmuseum in Novi Sad gestohlen worden. Zwei Bewaffnete haben die diensthabenden Wächter überwältigt und gefesselt.

• Wannsee-Ausstellung. Mit dem Mord an den euro- päischen Juden wird sich eine Dauerausstellung in der Berli- ner Bildungsstätte am Wann- see beschäftigen. Sie wird am 19. Jänner eröffnet. Bei der Wannsee-Kon- ferenz im Jänner 1942 wurde die Ermordung von Millionen Juden entschieden.

Neujahrsjazz aus allen Rohren Feldkirch (VN-thok) Als vor mehreren tausend Jahren irgendein Frühmensch Mü- ßiggang übend durch einen abgebrochenen Knochen blies und - oh Wunder! - ein Ton Die Arbeit „doubledeath 01" von Sandra Scheffknecht landete im Centre of Photography in Australien. (Foto: Scheffknecht) sich bildete, ward die Flöte erfunden. So, oder so ähnlich. Mit dem „Back to the Flutes"-Programm zum Neujahrsjazzfestival am Feldkircher Saumarkt zu Feldkirch wird demnach einem Und schon macht es „klick" der ältesten Instrumente Reverenz erwiesen, er Künstlerin Sandra Scheff- South Wales (Australien) be- wobei dieses sicher auch auf Grund des ihm • Die Lustenauerin innert", erklärt Scheffl^necht knecht packt nun die Theorie dacht. AmLünerseekraftwerk eigentümlichen (Schön-)Klangs nicht sofort ihr ambitioniertes Vorhaben. Sandra Scheffknecht am Schopf und verhilft ihr zu der Vorarlberger Iiiwerke ist mit Jazz assoziiert wird. Die Totenmaske, die sie startet ein großes kreativem Ausdruck. eine permanente Installation über die fröhlichen Ausflügler Auf unbespieltes Terrain gewagt Fotokunstprojekt. „Viele fragen mich, wem das Scheffknechts zu sehen, ihr legen wird, ist nichts anderes alles nützt. Aber das ist nicht Masterprojekt „doubledeath als die Leere zwischen den Das Quintett „Four or more Flutes" wagt VERONIKA. FI HIE. .der Kunstbp.!?:r.iff.. .dpn. ich .für Ol", wnrdi? in .Großfnri.uat am PicknickpGsellsr.haften. ..npr sicn mit einer reinen Jb'iotenDesetzung also [email protected] mich gefunden habe. Sobald Australien Centre of Photo- Freiraum, die Luft, die sich auf eher unbespieltes Terrain, rudert aber Kunst einen Gebrauchszweck graphy ausgestellt. zwischen Bänken und Tischen nicht zu weit hinaus, da viele Kompositio- Lustenau, Sydney (VN) Es hat, ist es Design, ist es De- erstreckt, wird in ein lebens- nen besonders des Initiators Charles Davis ist ein wunderschöner Tag am koration. Meine Arbeiten Freiraum als Plastik großes Modell aus durchsich- einen stark folkloristischen Hintergrund ha- Brorte Beach von Sydney. Die verstdlien sich eher als sozio- Mit „doubledeath 02", dem tigem Plastik umgewandelt", ben, man wähnt sich mitunter in Busch und Picknickhäuschen füllen sich kulturell und spielen mit dem neuen Streich Marke Scheff- so Scheffknecht weiter. Savanne. Dazu trägt auch die Rhythmik bei, langsam, und weil es doch ge- Begriffspaar der Präsenz und knecht, bleibt sie ihrem künst- Mit „doubledeath 02" will die den Stücken trotz der Verwendung von rade so schön ist, wird, klick, Abwesenheit", erklärt Scheff- lerischen Konzept, der Kom- die Lustenauerin auch wieder ungeraden Metren gerne mal was Trance- noch ein Foto fürs Familienal- knecht. bination von Fotografie und stärker in Vorarlberg präsent artiges verleiht. bum geschossen. Ein Moment Skulptur treu. „Ich versuche sein. „Im Sommer 2006 plane Die seltene Bassflöte, einem penibel polier- wird ewig. Und doch lächelt Permanent am Lünersee nun, der Fotografie ihre Drei- ich drei Ausstellungen. Mein ten Heizungsrohr nicht unähnlich, verstärkt zwischen all den gebleckten Sie hat zudem allen Grund dimensionalität zurückzuge- Wunsch wäre es, eine Art Pre- mit dunklen Ostinati diesen Eindruck noch. Zähnen auch der Tod mit. zur Freude, wurde sie doch ben", so Scheffknecht. Und so view zu veranstalten, bei der Mehrstimmige und perkussive Techniken Es war Roland Barthes, der 2005 für ihr aktuelles Projekt schließt sich der Kreis, und ich mich zurückmelde und bringen Farbe ins Spiel, können aber nicht in seiner Fototheorie „Die „doubledeath 02" mit dem man gelangt wieder zu den meine Arbeit vorstelle. Dann darüber hinwegtäuschen, dass die wenigen helle Kammer" diesen Ansatz- postgraduierten Stipendi- Picknick-Häuschen am Bron- wird ,doubledeath 02' in Syd- wirklich jazzlastigen Nummern trotz allem punkt aufwirft. Die Lustenau- um der Universität von New te Beach. ney zu sehen sein und schließ- doch etwas blutleer wirken. Schätze, dass es Ein Foto ist ein vergange- lich auch hier in Vorarlberg." darum auch keine Flöten-Bigband gibt. ner Moment, ein Foto ist somit Doch damit nicht genug, Nächstes Jazz-Konzert am Feldkircher Saumarkt: Helbock- zra PERSON M Dietrich-Vogel-Trio, 19. Jänner, 20.15 Uhr auch dem Tod verwandt. „Ich liegt es doch im Bereich des Künstlerin Sandra Scheffknecht richte den Blick in meiner Ar- absolut Möglichen, dass Geboren: 1975 in Lustenau beit auf die Grenzen zwischen Scheffknechts „doubledeath Ausbildung: Graphik-Design-AlQrrl£ii+ii+ rioo+Qvn A'Kcinil crQv>i+ä+ Anci1r'nr>V Trifi^nsifäf a r 1 osefilaüia3unkte_aetzeujij e . Samstag/Sonntag, 26./27. August 2006 VORARLBERGER NACHRICHTEN FEUILLETOII /P10 BIilCKPONKTC VM4MTE»VÌÈÌÌÌ^ Satóm

• Das Frauenorchester von Auschwitz. Die Oper „Das Frauenorchester von Ausch- witz" des deutschen Komponisten Stefan Heucke wird am 16. September in Mön- chengladbach uraufgeführt. Das Werl< basiert auf dem 1976 erschienenen Roman Fania Fenelons, die als Auschwitz-Überlebende ihre Erlebnisse beschrieben hatte.

• Ündgrens Elternhaus. In einem kleinen Haus im schwe- dischen Näs bei Vimmerby wurde Astrid Lindgren am 14. November 1907 geboren. Der Hof ist nun erstmals der Öf- fentlichkeit zugänglich. Die Führungen über- nahm die Nichte Lindgrens, Barbro AIvtegen.

• De Utrera verstorben. Die spanische Flamenco-Legende Fernanda de Utrera ist tot. Die Sängerin starb gestern nach langer Krankheit 83-jährig in ihrer Heimat Utrera in Südspanien. Sie galt als die beste Interpretin der Soleares, der Basis des Flamencos.

IHIISllIl^Ck©f F©8tWill€llÖll Sandra Scheffknecht ertappte Shanghai-Touristen auf einem Abstechernach Ägypten. (Foto: Scheffknecht) „Und da war ich auch einmal" • Kunst liegt für die dann haben wir auch unsere Foto sehen: „Aha, dort war ich London gewesen und als ich Arbeiten vorgestellt, die wir einmal." im Hotel angekommen bin, Vorarlbergerin Sandra bisher gemacht haben. sagte man mir, dass das Zim- Scheffknecht im Auge VN: Worin liegt diese Sinn- mer noch nicht fertig sei, weil der Fotolinse. VN: Und im Kontakt mit den losigkeit genau? Woody Allan in meinem Zim- Menschen und dem Land Scheffknecht: Ein Foto zeigt mer eine Szene für seinen neu- VERONIKA FEHLE sind dann Ihre neuen Foto- nur die Sehnsucht. Die Sehn- en Film gedreht hat. Und ich [email protected] arbeiten entstanden? sucht nach dem Abgebildeten, habe ihn gesehen. Dann habe Scheffknecht: Es gibt da nur die Sehnsucht nach dem Ori- ich mir gedacht, dass ich mir VN: Sie und der Vorarlber- ein kleines Sprachproblem. ginal. Und in meinem Projekt, ein Autogramm holen könn- Nicht nur die Kostüme Marice Lacroix begeis- ger Künstler Gerry Am- An der Universität hat fast das ich jetzt in China realisiert te. Ich habe es nicht gemacht, (Foto: La Monnaie/Jacobs) mann haben am „Artist niemand Englisch gespro- habe, arbeite ich eigentlich ge- aber schön wäre es gewesen. terten in Innsbruck. in Residence"-Projekt in chen. Wir haben uns also von gen die Natur der Fotografie. ^^^^ ^ii-nm, t^K.ii'Qt^iwiiuivtiiii-, rrt-t. cJiiisuDaiig-ctii\i-Tacii-i löfc- >Tcim*iiraii~rci3c,"gcm"micai'Z'a irW. rf i-i nre i^f-^or^i jvi-tß- Happy End mit Mozart kam das zustande? zen inspirieren lassen. den Sehenswürdigkeiten. Das grafische Effekt auch auf Ilmsbruck. Am Donnerstag hatte im Ti- iScheffknecht: Ich wurde vom ist bei mir nicht anders. Und die Fotografierten aus? roler Landestheater die Serenata „II Re pas- Bundeskanzleramt angerufen, VN: Sie haben in Ihren darum habe ich jetzt nur die Scheffknecht: Wenn man tore" Premiere, ein Werk des 19-jährigen ob ich nicht Lust dazu hätte, bisherigen Arbeiten mit Umgebung fotografiert und Menschen beim Posieren vor Mozart. Die musikalisch wie optisch bezau- an diesem Artist-in-Residence- den Begriffen Präsenz und die dann so stilisiert, dass es Sehenswürdigkeiten beobach- bernde Produktion begeisterte. Projekt in China teilzuneh- Nicht-Präsenz gearbeitet. künstlich wird. Man weiß, tet, erlebt man ganz Eigenar- Das französische Leading Team mit Vin- men. Ja, und Lust hatte ich. Setzt sich das auch in Ihren man ist an einem Ort, aber tiges. Die Menschen werden cent Boussard als Regisseur überzeugte. China war für mich immer ein neuen Arbeiten fort? man weiß nicht wo, die totale selbst zu einer Art Sehenswür- Boussard setzte das Geschehen auf der unbekanntes Land und dä war Scheffknecht: Ich möchte die Desorientierung. digkeit. Sie halten sogar die schmalen Vorderbühne so ökonomisch wie diese Konfrontation mit dem Fotografie noch abstrakter Luft an, damit das Foto auch originell in Szene, wobei ihn Alain Pois- Unbekannten reizvoU. darstellen. Und in China hat- VN: Sie legen also die Karten auf keinen Fall verwackelt. son als Lichtkünstler und Nobel-Couturier te ich jetzt das Gefühl, dass auf den Tisch und zeigen Christian Lacroix als Schöpfer der eleganten VN: Gab es irgendwelche ich dem allem immer näher die künstliche „ Gemacht- VN: Das Foto überschreitet Kostüme perfekt ergänzten. Bedingungen, die an diese und nähergekommen bin. heit" auf? also die Grenzen zur Wirk- Teilnahme geknüpft waren? Ich wollte so etwas machen Scheffknecht: In einer ande- lichkeit. Duftige Heiterkeit Scheffknecht: Im Grunde hat wie „Schauplätze und Neben- ren Serie habe ich Menschen Scheffknecht: Das Skurrilste Der preziösen Ästhetik im Optischen adä- man mir und Gerry Ammann, schauplätze". Ich, in meiner fotografiert, wo es für den finde ich, das ist beim Pearl- quat, ließ Alessandro de Marchi als Dirigent der auch an diesem Projekt Fototheorie, komme zu dem Betrachter unklar ist, ob das Tower in Shanghai passiert, am Cembalo das ganz vorzügliche Orches- teilnahm, nur gesagt, dass wir Schluss, dass ein Foto an sich Foto gestellt ist oder nicht. Die dass sich die Menschen teil- ter der Academia Montis Regalis duftig und in China an der Universität sinnlos ist. Ein Foto bringt ja Fotos haben eine gemeinsame weise einfach vor einem foto- federnd musizieren. Mit dem famosen Sän- Workshops halten sollten. Und nichts. Man kann nur auf dem Identität und das ist eben die- grafischen Hintergrund foto- gerquintett verstand er es, eine Atmosphäre ser „Nicht-Ort". Da steUt sich grafieren lassen. Man nimmt apollinischer Harmonie und Heiterkeit her- unweigerlich die Frage, ob ein also einen fotografischen zustellen. ZUM PERSON Foto sinnvoll ist. Und dann Print und fotografiert ihn. Da Die ukrainische Mezzosopranistin Zorya- kann man sich ja immer noch erreicht dann also das Foto na Kushpler sang und gestaltete den Hirten, Sandra Scheffknecht sagen, schön ist es aber doch. die gleiche Wertigkeit wie das der plötzlich König wird, aber von seiner Künstlerin Und das ist dann ein Wahn- Original. Liebe nicht lassen will, mit burschikoser Geboren: 1975 in Lustenau sinn, weil sich Kunst ja nicht Ausbildung: Graphik-Design-Akadennie in Inns- über Ästhetik definiert. VN: Treuherzigkeit. Die Sopranistinnen Kris- bruck, Intermedia in Dornbirn, Master of Art an der Wohin werden Sie Ihre tina Hansson und Raffaella Milanesi ent- Universität New South Wales, Master of Fine Art Kamera in näherer Zu- zückten als Verliebte mit Edelstimmen und Research am College of Fine Art in Sydney VN: Man ist also auf der kunft schicken? natürlichem Temperament. Zwei stilsichere Preise: Forschungspreis der Universität New South Jagd nach schönen Souve- Scheffknecht: Ich fliege jetzt Tenöre waren Sébastien Droy als Agenore Wales; Propeller Art and Design Award nirs der Realität, die man nach Berlin zu einer Ausstel- und Thomas Walker als Alexander der Gro- Ausstellungen: permanente Installation am Lüner- dann mit sich tragen kann. lung im „Salon du Monde". ße, dank dessen Großmut zuletzt zwei Paare seekraftwerk, mehrere Ausstellungen in Vorarlberg, Scheffknecht: Genau dassel- Dann gehe ich nach Sydney ihr „Happy End" feiern dürfen. Wien und Sydney und im Salon du Monde in Berlin be ist es ja mit den Autogram- und vielleicht wieder für ein 'kV. " „ll Re pastore" der Innsbrucker Festwochen ist noch heute, men. Ich bin vor Kurzem in paar Monate nach Shanghai. | 20 Uhr, im Tiroler Landestheater in Innsbruck zu sehen. Ringelspiel Michael Mittermayer hat für die sechs KUB-Billboards an Kerschbaumer wird 70 der Bregenzer Seestraße Wien. Marie-Therese Kerschbaumer fei- Farbreproduktionen be- ert am kommenden Donnerstag ihren 70. Ge- kannter Gemälde berühm- burtstag. Die Tiroler ter Künstler überarbeitet, Autorin ist eine der ge- unter anderem von Sandro wichtigsten Stimmen Botticelli, Albrecht Dürer der heimischen Litera- und Anthonis van Dyck. turlandschaft. Durch seine Gestaltung Ihr emphatisches gewinnen diese Ikonen AuftreteTipit-TTn-Opisn geget (ipn r deOpn- der europäischen Kunstge- EXHIBITIONS AND PUBLICATIONS

Review, Kultur, Austria, September 2006 Zeitschrift für Kultur und Gesellschaft September 2006 Die «Künstlers» ziehen in die große weite Welt - die Auslandsaktivitäten des Landes im Bereich der Bildenden

Veronika Schubert, „Tele-Dialog", Videostill Silke Maier-Gamauf, Soundteppich Sandra Scheff knecht, Reh

„Salon du Monde" Punktuell war das Land im Bereich der bildenden und jährlich 20 bis 25 Stipendien für postgraduieren- Kunst schon in der Vergangenheit bemüht, Kontakte de Künstlerinnen anbietet. Im September und Oktober Ruth Schnell zu anderen Ländern zu knüpfen und heimischen können nun zwei Vorarlberger Kunstschaffende den Silke Maier-Gamauf Künstlern Auslandsaufenthalte zu ermöglichen. Aber Weg nach Bilbao antreten, während im Gegenzug Sandra Scheffknecht eben nur punktuell. Das viele Jahre bereitgestellte zwei Leute aus Spanien zu dieser Zeit in Vorarlberg Veronika Schubert Landesatelier in Pyrgi, das vor drei Jahren durch das weilen werden. Von Vorarlberger Seite aus werden Atelier in Paliano, in der Nähe von Rom, ersetzt wur- dies die Medienkünstlerin Alexandra Berlinger sowie Potsdamerplatz, Berlin de, zählt ebenso zu dieser Kategorie, wie das einma- der Ausstellungsarchitekt und Grafiker Wolfgang Fiel 15.9 - 6.10.2006 lige Austauschprogramm mit Kanada, im Zuge dessen sein. Kuratiert wird dieses Projekt hierzulande vom täglich 15 - 21 mehrere Vorarlberger Kunstschaffende nach Montreal KUB-Mitarbeiter Winfried Nussbaummüller. Will hei- Vernissage: 14.9., 18 Uhr entsendet wurden. Heuer nun scheinen sich, von Pali- ßen, Nussbaummüller sucht die spanischen Teil( ano einmal abgesehen, vielversprechende neue, län- mer aus, die ins Ländle kommen, und ein spanischer gerfristige Kontakte anzubahnen. So hatten etwa Ger- Kurator sucht die hiesigen Kandidaten aus. ry Amann und Sandra Scheffknecht bereits die Mög- Laut Nussbaummüller tut sich hier für die Vop'-l- lichkeit, von April bis Juni im Rahmen eines Aus- berger Künstlerinnen ein enormes Potenzial auf, dl. . tauschprogramms, das allerdings über den Bund läuft, die Bilbao Arte Foundation verfüge über ein hervorra- in Nanjing (China) zu leben und zu arbeiten. Wie der gendes High-Tech-Equipment, das man hierzulande zuständige Landesrat Hans-Peter Bischof im Gespräch nicht bieten könne. Zudem unterhalte diese Akademie mit Kultur meint, soll dieses Angebot nicht nur beste- auch einen eigenen Ausstellungsraum. Das Austausch- hen bleiben, sondern es sollen in Zusammenarbeit mit programm umfasst die Bereitstellung von Materialien dem Bundeskanzleramt zusätzliche Möglichkeiten in und Arbeitsmöglichkeiten, die Benutzung einer Woh- China ausgelotet werden. nung sowie ein Taschengeld zur Abdeckung des Le- bensunterhaltes. Im Austausch mit Bilbao Eine interessante Initiative bahnt sich offenbar Berlin - «Salon du monde» in der Verbindung zur „Bilbao Arte Foundation" (Spa- Ein weiteres Auslandsprojekt wurde in Berlin nien) an. Bei dieser Institution handelt es sich um eine aufgegleist. Über die Vermittlung von Margarethe kleine Akademie, die gute Connections zum ebenfalls Paulmichl, der Tochter des Ex-Intendanten des ORF- dort angesiedelten Guggenheimmuseum unterhält Landesstudios Vorarlberg, Leonhard Paulmichl, kön- 52 Ausstellung/Austauschprogramme Kultur Nr. 712006 SYL

Ruth Schnell, Arbeit zum Thema „Krieg" Kultur-Landesrat Dr. Hans-Peter Bischof nen Vorarlberger Künstler einen Pavillon di- von 2002, als eine Hand, einen Spielzeug- standen sind. Ihre Werkgruppe „Double- rekt am Potsdamerplatz für Ausstellungs- panzer festhaltend, via Videoprojektion die deaths" ist aus der Auseinandersetzung mit zwecke nutzen. Zwar wollte Paulmichl ur- KUB-Außenfassade entlang fuhr. Roland Barthes „Camera Lucida" entstanden. sprünglich, dass sich das KUB in diesem Pa- Darüber hinaus „bespielt" Schnell die Sie reflektiert darin „die Funktion der Foto- villon präsentiert - ähnlich der New-York- monumentale Medienwand, die sich neben grafie als Projektionsfläche überlagerter Aktion. Aber Nussbaummüller, der über die der U-Bahnstation am Potsdamer Platz be- Wirklichkeitsfolien und den Doppeltod von Kunstkommission auch in dieses Projekt als findet. Die gekrümmte, vieleckige Wand ver- Realität auf fotografischem Papier." (Nuss- Kurator reingerutscht ist, plädierte dafür, fügt über Hunderte von runden und schrä- baummüller) lese Plattform für Vorarlberger Künstle- gen Lampen, mit denen durch Aktivieren Silke Maier-Gamauf: Tonfrequenz- rinnen einzusetzen. Finanziell mitgetragen und Nichtaktivieren Bilder erzeugt werden Studien von Fledermäusen wird dieses Unterfangen vom Unternehmen können, wie mit den Pixeln eines Computer- Zumtobel Deutschland, bei dem Paulmichl bildschirmes. Schnell programmierte die Bei Silke Maier-Gamauf verschränken ar die Öffentlichkeitsarbeit verantwortlich Lichtquellen dergestalt, dass der Eindruck sich Bild und Ton häufig zu komplementären ist, sowie von der Hypo Vereinsbank. Unter entsteht, als ob ein überdimensionaler Kur- Reizkonglomeraten. Im «Salon du monde» dem Titel „Salon du monde" findet die erste sor sich suchend über die dunkle Wand be- zeigt die 1969 in Nenzing geborene Künstle- Ausstellung bereits von 15. September bis 6. wegte. Plötzlich bleibt der Kursor stehen und rin etwa Tonfrequenz-Studien von Fleder- Oktober statt. „Bespielt" wird der rund 200 simuliert einen Klick, worauf für einen mäusen. Die Frequenzen von Jagd- und Sozi- Quadratmeter Ausstellungsfläche umfas- kurzen Augenblick sämtliche Lampen ange- alrufen verschiedener Fledermausarten, die sende Raum von vier Frauen, nämlich der re- hen und die Wand in ein gleißendes Licht ge- von einem Vogelkundler aufgenommen und nommierten Szenikerin Ruth Schnell, sowie taucht wird. Im nächsten Moment ist die hörbar gemacht wurden, werden mit Öl- und den jungen, ebenfalls medial schaffenden Wand wieder dunkel und der Kursor begibt Eddingstiften visualisiert und die solcherart Künstlerinnen Silke Maier, Veronika Schu- sich erneut auf die Suche. entstandenen diagrammartigen Bilder mit bert und Sandra Scheffknecht. den Tonspuren der Fledermäuse überlappt. Veronika Schuberts «Tele-Dialog» In einer Gegenüberstellung werden „ab- Ruth Schnell: Arbeiten zum Thema Die 1981 in Bregenz geborene und strakte" Frequenzaufzeichnungen auch digi- «Krieg» jetzt in Wien lebende Veronika Schubert tal ausgeprintet und von Projektionen realer Ruth Schnell wird im Pavillon Arbei- wird in Berlin unter anderem ihren „ge- Fledermäuse überlagert. ten aus der Serie „All Targets Defined" zei- strickten Trickfilm" Tele-Dialog vorführen. Junge Künstler fördern en, die als Diptycha konzipiert sind. Die lin- Mit schwarzer und weißer Wolle strickte ken Tafeln dieser Zweiteiler veranschauli- Schubert mit einer Strickmaschine 800 klei- Mit dem Schwerpunkt „Auslandsakti- chen jeweils grob gerasterte Motive von ne Topflappen, fotografierte diese ab und vitäten" sollen laut Landesrat Bischof vor Kriegsbildern, die über die Medien verbrei- schweißte die Bilder zu einem 5:10 Minuten allem junge Künstlerinnen die Möchlichkeit it wurden. Die rechten Teile der Diptycha langen Trickfilm zusammen. Inhaltlich geht erhalten, „sich durch geförderte Aufenthalte enthalten einen LED-Stab mit Begriffen und es dabei um Beziehungskisten, wie man sie im Ausland künstlerisch weiter zu entwi- Fakten aus der Welt des Krieges und der von von TV-Soap-Operas her kennt, und wie sim- ckeln, neue Eindrücke zu sammeln und ihre Energieinteressen dominierten Weltpolitik. pel diese „gestrickt" sind. Schubert themati- Arbeiten an attraktiven Orten in Kunstme- Die Begriffe können allerdings nur in Form siert das Bedürfnis nach Fernsehen als Aus- tropolen zu präsentieren. Umgekehrt soll des sogenannten Nachzieheffektes wahrge- druck der Lebenseinstellung und des Ver- unser Land aber auch für künstlerische Ein- nommen werden, wenn sich also der Blick hältnisses zur Welt. Unterlegt wird der Film flüsse aus dem Ausland offen sein." am Stab vorbeibewegt. „Die Farbe des mo- mit Ton-Collagen aus Fernseh-Sätzen. Seinen Aussagen zufolge sollen so- dernen Krieges ist nicht blutig rot, sondern wohl das Projekt in China als auch diejeni- Sandra Scheffknecht «Double- gen in Berlin und Bilbao weitergeführt wer- kommt in grünlichem Ton der Bilder der deaths« Nachtsichtgeräte ins Haus", erläutert Schnell den. Für Bilbao stellt er zudem einen wei- die UV-Print-Arbeiten auf Aluminium, die Sandra Scheffknecht, 1975 in Luste- teren Stipendienplatz in Aussicht. Karlheinz mit grünem Epoxyharz beschichtet sind. nau geboren, wird im „Salon du monde" mit Pichler Schnell präsentiert im Innenraum zu- fotografischen Arbeiten aufwarten, die im dem eine „Indoor-Variante" der KUB-Arbeit Rahmen ihres Aufenthaltes in China ent- Ausstellung/Austauschprogramme 53 Kultur Nr. 712006

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Eine der tragenden Rollen Im Theaterleben spielt das Geld «¡uch beim Theater KOSMOS. Denn Können ist nur die eine Seite der Theater K„n«t Jnd Gönnen d,e andere. Professionelle künstlerische Arbelt ^nn nurU^r " ätattfrnden, wo es entsprechende Freiräume aibt Freirarjm» fiVr ^ » • Rückhalt braucht. Wir betrachten es als v^ne^me Au ^re üb^r unser^ -eistungsbereich als Bankinstitut hinaus, Akzente zu sLen FUrKuns? nnH ^ür l^nd und Leute. Denn es geht im Leben um metu ate Geid kus diesen Gründen fördern wir das Theater KOSiVlOS ' .m . Raifieisen Meine Bank EXHIBITIONS AND PUBLICATIONS

Exhibitionspace - Potsdamer Platz, Berlin September 2006 EXHIBITIONS AND PUBLICATIONS In der Eröffnungsausstellung des SALON DU MONDE werden vier Vorarlberger Künstlerinnen präsentiert. Zu Gast ist damit im Pavillon das westlichste Bundesland Österreichs, in dem sich vor allem durch die unmittelbare Nachbarschaft zu Deutschland, zur Schweiz und zu Liechten- stein ein unverwechselbares Kulturprofil entwickelt hat. Die vier künstlerischen Statements zeugen von der Lebendigkeit der Kunstszene dieser Region.

Ausstellungskurator ist Winfried NussbaummüUer (Kunsthaus Bregenz)

Freitag, 29. September 2006 | 19 Uhr I Lesung Norbert Loacker Der Vorarlberger Autor liest aus seinem Werk „Vollkommenheitswahn" Musikalisch umrahmt wird die Lesung vom Trio Fool & Flissig

SILKE MAIER-GAMAUF SANDRA SCHEFFKNECHT EXHIBITIONS AND PUBLICATIONS

Einladung

Herzlich laden wir Sie und Ihre Freunde zur Eröffnung der Ausstellung SALON DU MONDE I VORARLBERG ein

Donnerstag, U. September 2006 I 18 Uhr SALON DU MONDE I Gabriele-Tergit-Promenade 7 (Potsdamer Platz], Berlin

Dr. Christian Prosi I Botschafter der Republik Österreicli, Berlin

Dr. Hans-Peter Bischof I Landesstatthalter und Landesrat für Kultur, Vorarlberg

Winfried NussbaummüUer I Kurator, Kunsthaus Bregenz

LdUi i- 0'-" 15. September bis 6. Oktober 2006 I Täglich von 15 bis 21 Uhr

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VERONIKA SCHUBERT Teil der Ausstellung des SALON DU MONDE ist die Medienfassade am Potsdamer Platz, die im ipm Rahmen einer Kulturinitiative der HVB Immobilien als Plattform der Kunst genutzt wird. Für eine ortsbezogene künstlerische Intervention an einem der weltweit größten interaktiven Medienfenster konnte die renommierte Vorarlberger Künstlerin Ruth Schnell gewonnen werden.

SPOTS LICHT- UND MEDIENFASSADE Medienfassade: Park Kolonnaden, Potsdamer Platz 1, Berlin

Die Ausstellung SALON DU MONDE | VORARLBERG ist eine initiative des Landes Vorarlberg Vorarlberg im Rahmen des Schwerpunkts kultureller Auslandsaktivitäten. Realisiert wird das Projekt in Kooperation mit dem Kunsthaus Bregenz.

SALON DU MONDE SALON Gabriele-Tergit-Promenade 7 DU MONDE In den Park Kolonnaden am Potsdamer Platz, Berlin SALON Ansprechpartnerin: Margret Paulmichl DU MONDE

Besonderer Dank gilt den Projektpartnern:

HVBimmobilieny Hi ZUMTOBEL Vinter Eternit www intersky biz EXHIBITIONS AND PUBLICATIONS

Exhibition at Gallery 1918, Shanghai October 2006

Huangxianer (Enchantress Huang) agitated in a uniform fashion, quacking and walking slowly away. Fearless One of our neighbors was a widow who lived with her adopted son. I from the alcohol, Yu Le and I followed them. The flock started to run. One don' t l

I peeked through the gaps between the legs in the crowd and saw the old again and went back inside to think of a solution. The goose meat smelled good in the pot. The students buried the goose feathers in the yard, while widow slowly sitting up. the flock watched them. The house grew very quiet. We were expecting Geese the worst. There is a place called Baiyanghe on the west side of Karamay, in a village called Kazakh. Yu Le and I took two students to live in the doctor' s home After a long while, a chanticleer crowed, heralding the daylight. A few dogs on the north side of the village. She was the only Han person in this village. barked. We drank at night and there was nothing to eat. I suggested we get a goose to eat. Yu Le agreed. He took a rolling pin and walked out the door One of the students suddenly said that the flock had left. Sure enough, it with me. When we arrived in the afternoon, we saw many white geese in was absolutely empty outside the fence, with a lot of geese footprints on the pool by the edge of the village. the ground. Soon the sunshine poured into the yard. The doctor asked the students to go and sweep away the footprints on the road. It was as if nothing had happened. I was confused. It was as if nothing had really The moonlight was beautiful that night. happened. I turned back and saw that the goose meat had stewed in the pot throughout the night. A flock of white geese slept on the open ground in the middle of the village. The flock glistened under the moonlight. Four or five large geese The meat was delicious but it was impossible to bite into it. craned their necks and looked around while standing amidst their flock. They looked at Yu Le and me. I was slightly taken aback. The flock became Sandra SCHEFFKNECHT(Austha) mM ' m^^^mm^mû)

C-Type Photograph, 60x80 cm Edition 15

This work addresses and questions the attempt of our mass-media industry to unify and claim parameters of universal beauty. More and more women literally loose their faces to adjust to these industry's standards, beliefs and lies. In this project I aim to exaggerate the notion of a lost of personality. I employ a clear mask, whose impression is taken from the face of an Italian model, as a metaphor for absolute beauty. The mask is applied, like a fake facade, upon the real face, uniting them in form and color. By photographing different women wearing this mask their individual beauty gets absorbed and distorted, becoming ugly rather than beautiful.

80 cm

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ORIGINALITY STATEMENT

'I hereby declare that this submission is my own work and to the best of my knowledge it contains no materials previously published or written by another person, or substantial proportions of material which have been accepted for the award of any other degree or diploma at UNSW or any other educational institution, except where due acknowledgement is ma- de in the thesis. Any contribution made to the research by others, with whom I have worked at UNSW or elsewhere, is explicitly acknowledged in the thesis. I also declare that the intellectual content of this thesis is the product of my own work, except to the extent that assistance from others in the project's design and conception or in style, presentation and lingui- stic expression is acknowledged.'

Signed

Date [email protected] www. sandrascheffknecht.at