1999 Lojen, Meinhart, Pock

Lojen, Meinhart, Pock
Exhibition at the Künstlerhaus, 1999

Participating Artists:
Erika Lojen
Aurelia Meinhart
Ingeborg Pock

Erika Lojen, Aurelia Meinhart, Ingeborg Pock present installations.
Lojen: „MIR PACE MIR PACE …“, installation on the floor, paper and text
Meinhart: „Bernsteinzimmer“, installation within the doors of the graphic room
Pock: installations in the apsis


Erika Lojen, Installation Künstlerhaus, Graz 1999

Around 500 white sheets of A1 paper cover the floor in the Künstlerhaus. Spread out over the ground in alternating fashion, they display the words MIR and PACE and are laid out in such a way that the observer is encouraged to take care of and accept them both at the same time. In the Slavic languages, mir means peace; pace, which is derived from Latin, means peace in Italian and Albanian (paqe).

The continually repeated words mir and pace appear as text. Grammatically, this text is incomplete. It does not contain any predicates, for example, for the correct formulation of instructions, advice or other statements regarding the topic of peace. Strictly speaking, peace is something abstract; it can be simulated, negotiated or destroyed. It can also be lived. But how can it be depicted? In this case, by means of the material: paper seems to be particularly suited for enabling people to grasp and feel sure about an abstract topic. The words mir and pace represent the image of a carpet as a text. The sensitivity of the topic matches the sensitivity of the material.

So, peace – a word on paper! The arrangement of the white printed sheets with their white backgrounds signalises an ideal state of affairs. Intact, pure, clear, unclouded – indeed, heavenly, as it were. The part played by the observers in their role as live protagonists is one of co-inclusion, of taking the sheets away from their passive reception and assigning them a role in which they help to create the installation.
Consequently, the arrangement cannot and will not survive the period of the exhibition undamaged, for each step is obliged to leave its mark – some barely noticeable, others chaotic and spectacular, some the result of thoughtlessness or indifference, others haphazard and even intentional. In any case, this image of peace will certainly have changed by the end of the exhibition in the Künstlerhaus.

Text by Jutta Steininger

Das Bernsteinzimmer – the „amber room“

Aurelia Meinhart, 1999
Metall grid (214×276,5), plates made of poured artificial resin (36×46,8)

With the so called „Bernsteinzimmer“ Aurelia Meinhart revoked myths and cult from amber as a fossil material (combustible „stone“, healing effect, component of frankincense…) on the one hand, as well as the famous „amber room“ as a forgotten piece of art work on the other hand. The „amber room“ was given to the Russian tsar Peter I. from Duke of Prussia Friedrich Wilhelm I. in 1716 as an exchange for 55 Russian guard soldiers

Text by Aurelia Meinhart


Inge Pock, Installation Künstlerhaus, Graz, 1999

the ones discovered
the ones gained
the ones experienced
the ones lost.

the garden – space of artificiality.
but also:
space for pure nature
space out in nature
space of nature.

collections and archives:
space for collections,
space of recollections,
collections and archives.

archives of nature,
archives of life ,
archives for keepsakes, almost impossible,
archives for the gardener / artist,
for the woman gardener / woman artist.

the garden
as an artificial creation,
as a formation constituted of different parts
joined as if put together just by chance

the garden of art- seemingly unspectacular in its effect-
like a net casually laid out
aiming at catching the essence of nature
right there out in nature .

a construction -
an attempt to live on
an attempt of preservation / protection.

ingeborg pock, summer 1999, stainz

Memento, Künstlerhaus, Graz 1999

On the wall five iron sheets, painted in the typical red of a rust protective
coating. On their surface the texture of dried earth , cracked like wounds with particles of recent etchings inserted : five pictures.
Two white bee hives made of paper mache and placed on 2 iron consoles are numbered with the characters of Roman numbers I and II or, as might be possible- I- the personal pronoun, or II- the personal pronoun repeated twice.
In front of this installation iron stands are placed. The smaller one carries an iron chair. The other one – with iron bench and chair – has circular holes cut into the surface. All kinds of wild vines wind up from below: knot weed , clematis , wild wine .The iron sandblasted garden set of chairs and a bench – objets trouves- are not placed as an autonomous sculpture onto the stands. They are representatives and the carriers of the idea , of the art work in general.

Nature and art, nature and reality , natural and artificial, nature and woman- the interrelation makes a wide range of interpretations possible- about annexation and subordination of nature, of concession and regulation, of protecting , collecting and discarding, of models of organization and their principles, of the impact of organization as such. The images presented in the “garden archives” point out and describe all these mutual effects arising by naming them.

The identification of woman and nature , the colonisation of her body and her mind , the idea of the “female nature” has turned the woman into the “black continent “Freud). From a female point of view this form of aesthetics is declared to be valid any longer. On the other hand the acts persecuted from this female point of view are not dominating at first sight but yet effective and convincing.
They form exciting encounters within a cultural construct.

The truism of hysteria of constant acceleration in our times can be juxtaposed by the truism of the strong demand to slow down. The ecological clock points towards high noon and utmost speed to change this fact would be help . It is never too late for a culture of slowing down . The hybrid dominance of images invading everyday life creates the deep desire for archaic aesthetics not aiming at radical change but taking advantage of reduced , subtle manipulatory gestures.

Text: Jutta Steininger