2003 Cadavre Exquis

Curated by Kurt Stadtler, 2003

 

The surrealistic method o visualising the unconscious by the combination of different parts, is the title of a videoscreening conveyed by an industrial body that anachronistically transports virtual bodies, which are perceived by real bodies, thus constituting a spatial body that only arises by dint of this coincidence.
A videotruck, positioned at various public places, liberates the videos from the shelter of the museum and the picture-frame stage of the monitor, transporting and mobilising the images as an accelerated billboard in the city space, with the effect that what is zapped is the audience, not the channels. The 19th-century flaneur has long morphed into a casual passer-by – the images almost come to rest. Beyond the movie narrative, loops, restrained sound and cuts contrast the beat of couch potato action. The perfectly natural, undogmatic handling of various media is significant. Corporeality as an interface to personal worldly wisdom is partly a humorous, pleasurable means of expression and partly stems from borderline existential experiences, without ever lapsing into bathos or arbitrariness. Sometimes audaciously, but always resolutely, the artistic works of a young generation under the name of video run counter to the control aspirations of commercial and propagandistic users of these media.
Private versus public? – Clearly perceptible at any rate!

Public Space

It is about nothing less than at least temporarily reconquering public space with fine arts. Form the second half of the 19th century on, commercial advertising surfaces have gradually supplanted all other forms of the fine arts, shifting them into the apparently private sphere. Genuinely democratic qualities of agora, however, still cannot be replaced by other places or media: for the homeless, asylum seekers and people in poverty, a visit to a museum or surfing the Internet is scarcely a possibility, to mention just a couple of examples. On the other hand, as a habitat in the literal sense, public space is still accessible for everyone. This is why the moving pictures of the videos should also continue to move in town spatially, thereby leaving behind both the now obsolete remains of static feudalistic and clerical world models and ubiquitous advertisements. Likewise the topos of travelling artists calls unequivocally for a mobile art term.

Participating Artists:
Adriana Czernin
Tracey Emin
Manuel Gorkiewicz
G.R.A.M.
Edgar Honetschläger
Anna Jermolaewa
Zilla Leutenegger
Pipilotti Rist
Klaus Schuster
M.S. Umesh
Flora Watzal
Gernot Wieland

Documentation:
Catalogue