Author Archives: VBKÖ
post apocalyptic drawing club
open workshop for drawing lovers at
Vereinigung bildender Künstlerinnen Österreichs (VBKÖ)
(denglisch version below)
workshop at the VBKOE:
jeweils 14.00 bis 20.00
Dienstag, 04.06., 19.00
Wir haben 8 bis 12 Plätze für Interessierte
Vereinigung bildender Künstlerinnen Österreichs (VBKÖ)
Maysedergasse 2/4. Stock (Lift) 1010 Wien
Wir: haben Papier, Stifte, Drinks und theoretischen Input zum Ende der Welt
Du: bringst was immer du selbst für Zeichnung bevorzugst mit
ev. schon so etwas wie ein Portfolio mit eigenen Zeichnungen um sie zu präsentieren
It’s free, you are welcome!
time table :
2.00 p.m till 8.00 p.m.
Vereinigung bildender Künstlerinnen Österreichs (VBKÖ)
Maysedergasse 2/4. Stock (Lift) 1010 Wien
We offer: paper, pencils, drinks and some theoretical input about the(failed) Weltuntergang
You: bring everything you want to draw with/on
bring drawings/own work if you want to have artist talks about your stuff too
You and me and everyone we now
Ango the Meek Dead (Milano/Berlin)
Spencer Chalk-Levy (NYC/Berlin)
Why we like the end? So this is the end? Probably not. We survived 2012, Weltuntergang, Eurogeddon, Apocalypse etc. … and again(pseudo) religious apocalyptic visions were wrong, like they always are, when they try to determinate our lives, bodies and minds. So we have to figure out what to do with ourselves by our own and encourage everyone to leave their old lives, join us with a pencil and to celebrate the flamboyant feeling to draw without an end;
Together we will observe images of the Weltuntergang itself, the post apocalyptic body and societies imagination of the end.
Not to forget our old buddy Hieronymus Bosch, who seems really drawn to the theme of Weltuntergang in his creations and especially luxuria our favorite sin, we all can’t wait to commit.
We will try to figure out how an end of the leading hierarchies can push different positions upwards society or how non hegemonic identities become more mainstream without loosing their subversive powers.
It is a love song for all the not-so-virginal effeminates, the not-so-well-hung paradise exhibitionists, the rough leather ladies from the garden of delight, the double draggers, and power bottoms from the end of time, held together with our pencil strokes.
In the end we, the post apocalyptic drawing clubbers, will draw and practice witchcraft, destroy capitalism and stupid gender identities.
We will evoke strange symbols and signs and create an iconoclastic picture tsunami to blow all shit out of our heads. That is what we call a shitstorm after the end of the world.
Anna Artaker & Meike S. Gleim
READ WHAT WAS NEVER WRITTEN
May 3, 2013, 7pm
May 4 –18, 2013
Thursday, Friday, Saturday 4–7pm
Guided tour through the exhibition by the artists and Roland Fischer-Briand, co-editor of Streulicht, on Saturday, May 18, 2013 at 7pm.
The exhibition READ WHAT WAS NEVER WRITTEN is the first presentation of the artistic research project ATLAS OF ARCADIA. With the ATLAS OF ARCADIA Anna Artaker and Meike S. Gleim undertake a double translation of Walter Benjamin’s “Arcades Project” that he left unfinished. On the one hand the issues of Benjamin’s urban and social history of the 19th century are transferred to our own past, meaning the epoch after the fall of the Berlin wall. On the other hand Benjamin’s collection of excerpts – which make up the Arcades Project together with his comments – are “translated” into an image atlas. Benjamin’s method not to “(…) say anything. Merely show” (GS V1, S. 574), is accepted at face value when Artaker and Gleim collect images instead of Texts; the method of “literary montage” applied in the Arcades Project is converted into a varied montage of found photographs.
The exhibition READ WHAT WAS NEVER WRITTEN attempts a first lecture of our world, strictly speaking of something that can only be contemplated. Walter Benjamin interprets the world around us as an ensemble of mimetic processes, where reading the world means mimicking it.
Benjamin cites the palm tree as an archetype for the feather duster, the Nike of Samothrace as a model for the hair dryer, industrial buildings in the style of temple architecture or furniture that quote a fortress. New materials are connected with historical forms or derived from natural ones. Hence the recurrence or afterlife of the Old in the New – a motif that plays a major role in Benjamin’s work. The return of the old in the new can release both liberating and conservative forces; it holds the potential to break with the supposed continuity of history – as when the French Revolution used the insignia of the Roman Empire to legitimize itself, to name just one example – but it is also a myth-producing element, which sells the New as a mere continuation of the Old.
Work series of image pairs that show similar forms (mostly of architectural origin) that stand for antagonistic subjects such as the design for a spherical construction (1784) of the French revolution architect Claude-Nicolas Ledoux – committed to the utopian spirit of revolution – with the photograph of a radar monitoring system in New Zealand, which is part of the espionage network Echelon. The latter appears here as the bitter side of fulfilled utopias. Each image is presented as a puzzle and puzzle pieces between related images are exchanged to literally link the images and highlight an aspect in the other picture (more information on: http://anthropologicalmaterialism.hypotheses.org/1742).
DOMINO (Interiors), 2013
The work consists of images of indoor and outdoor spaces that are lined up in a row and linked to one another by elements present in two successive images. An object seen on the right edge of a photograph (coat rack, chair, red draperies, etc.), is also to be found on the left side of the adjoining image. What is to be seen in this picture on the right, determines the connectivity to the next image. In this way, spaces are chained together and simultaneously their differences are brought to the fore (see also contribution to the magazine Streulicht n ° 2, Vienna 2013, released Mai 17, 2013).
Anna Artaker, studied Philosophy and Political Science at the Universities of Vienna and Paris 8 and Fine Arts at the Academy of Fine Arts, Vienna. Since 2000, numerous exhibitions and solo exhibitions in Austria and abroad (including: 2012: History Lessons, MUMOK, Vienna, 2010: Anna Artaker, Secession, Vienna). Lives in Vienna.
Meike S. Gleim, studied Sculpture at the Academy of Fine Arts Vienna and Philosophy (PhD) at the University of Vienna. Numerous research projects and publications (including: The government of democracy (monograph), Passagen Verlag, Vienna 2009; The Meaning of Europe (editor), Routledge, London, 2013) as well as numerous exhibitions. Lives in Paris.
Their common artistic research project ATLAS OF ARCADIA is based at the Institute for Art Theory and Cultural Studies at the Academy of Fine Arts, Vienna, and supported by the FWF (Austrian Science Fund) as part of the PEEK programme (Program for Arts-based research). See also: www.anthropologicalmaterialism.hypotheses.org
Call me Cunt. Captain Cunt.
I’m elsewhere or in the dead sea
my ship is nearly broken.
Captain, can’t you see?
But the Captain keeps on joking
cause the Captain -
yes it’s me!
24 April 2013 Opening at 6 pm
+++ Another day, another one. Performancematratze / starting at 7:30
25 & 26 April, 5 – 8 pm
27 & 28 April, 4 – 9 pm
+++ Captain Cunt will be there at all times +++
from: Bernadette Anzengruber
to: undisclosed recipient
subject: THE KEYS TO HER PLACE
as promised for so long, I will be in town – just for a couple of days and I am excited about catching up and hanging out with you!
Concerning accommodation I have to disappoint you: I won’t crash your cozy couches this time as I have – unexpectedly – been offered the most amazing place to stay: it’s the studio/flat of an acquaintance’s friend called Margaret (do you know her?), right in the city centre on the top floor of a beautiful old building (that’s what I was told) and I already got THE KEYS TO HER PLACE! So let’s seize the opportunity and have glamorous parties, special performance- and movie-nights or a dinner at “mine”. I will keep you updated about my plans (will let you know later on this week).
I am gonna arrive on Wednesday 10 April in the late afternoon and will have just enough time to prepare some drinks and snacks for a decent house warming, so do come over at around 7pm. The address is Maysedergasse 2, 1010 Vienna and the name on the door is “STUDIO M./VBKÖ”.
If you can’t make it for the house warming, please do drop in any other afternoon (3pm to 5pm) between 11 and 20 April, or come over either for one of the special nights I am gonna host or for my going away on 20 April!
see you soon,
Extraterrestrial bodies, Queer worlds and Trans-galactic networks
An evening of performances exploring contemporary debates on intersectionality and privilege, through migrant/post colonial and queer bodies and networks.
The VBKOE has transformed into an intergalactic port for displaced bodies. Hostile, Friendly, Celestial and Alien, meeting, dissecting and transforming, as visual and auditive languages, diverse and alter-worldly collide. A discourse in physical and virtual interfaces, stimulating new languages and supportive networks.
Bernadette Anzengruber (Austria)
Nina Frgic (Zagreb, Croatia)
Verena Duerr (Vienna, Austria)
KLITCLIQUE (Vienna, Austria)
Marissa Lôbo (Brazil)
Heidemarie Pyringer (Vienna, Austria)
Sophia Süßmilch (Munich/ Germany)
Salvatore Viviano (Palermo, Italy)
Concept and Organisation: Ashley Bailey
BABY, COME BACK!
The durational performance is one of many fragments of the ongoing project DORIS X MARGARET, engaging with the character of a balloon seller. It is referring to a spontaneous intervention by the artist at MASC Foundation in 2009 and an off-stage performance at Kunstraum Niederösterreich in 2011 and will be continued at Kunstraum Niederösterreich in May this year.
Bernadette Anzengruber, born in 1980, lives and works in Vienna, Austria.
She studied at the Academy of fine Arts Vienna, Vienna (AT), the University of Greenwich and Kingston University, London (GB) and works in the fields of performance, video, installation and text. Upcoming show: THE KEYS TO HER PLACE, VBKÖ, Vienna (AT)Awards: Birgit Jürgenssen Award; Organizers Award at the International Video Festival Bochum for just a meaning that you attribute to it. http://www.bernadetteanzengruber.com/
My ears have not yet drunk a hundred words
Of thy tongue’s uttering, yet I know the sound.
—William Shakespeare, Romeo and Juliet
In a performance about voices and knowledge Frgic explores the validity and marginalisation of spoken words in social space and the society built on (self)censure. The title is the expressive extension from the word Bitch, which is sometimes written in feminist writing discourse as La Bitch, spoken exactly as a Beach – a landform along the shoreline of an ocean, sea, lake, or river. Instead of La Bitch the title is La Plage meaning on the Beach.
Spoken Languages: German, Spanish, Polish, French, Croatian, Turkish, English
Authors: Simone Weil, Virginia Woolf, Audre Lorde, Chris Kraus, Donna Haraway, Germaine Greer, Annie Le Brun, Mary Shelley
Nina Frgic, born in 1980 in Zagreb, Croatia. Lives and works in Vienna, Austria.
A lecture performance showing three video performances, and a discussion.
Fuck your white supremacy celebrated sexuality.
Safer sex?Fuck Europe, here I am to stay, Super puta Praderstern.
Iron mask- White torture.
The three video performances are an intervention on colonial desire and violence, otherness, sexuality, racialised bodies, contra aesthetics, migrant-precarious bodies, migrant identity, sex work, society’s double morals, the regime of Western body politics and white supremacy.
Marissa Tarsse Guimaraes Lôbo Obczernitzki, born in Brazil, is an black activist and a member of the autonomous organization for women migrants, maiz, in Linz. She studies Post-Conceptual Art Practices at the Academy for Fine Arts in Vienna. http://www.maiz.at
Sophia Süßmilch is, as almost always and especially these days, gonna make some huge announcement. She will not stop until the end.
Süßmilch works in and within all media and genres. Within her work she is dealing with body constructions and politics, the art market and the claim of art to be universal. She has a soft spot for all that is absurd. So, everything, actually. Her work is always oscillating between ironic distance and aggressive nearness; humor is her most beloved weapon of choice, slapstick her favourite trick to escape from asking-questions-giving-answers, having opinions, making statements etc. pp.
DILLETTANTISM is always written in capital letters, anyway, all -isms, and she is going to shred everything that is easy and fun. The byproduct of doing that, THEY call art.
Sophia Süßmilch, born in Dachau, Germany in the last millennium and is gonna die in this one. She does’nt know where yet. Lives and works in Vienna, Austria. http://www.flachware.de/sophia-suessmilch/
MASENGHINI is a literary-performative alter ego project by Verena Dürr. She invents a golem like poet-and writer-personality with strange habits, who tries to interact with a world full of ambivalence, inconsistence and tilting moments. While trying to create identity, he/she – depending on his/her mood – develops poetry with decadent-romantic tendencies, minimalistic sound pieces and surrealistic patterns of action.
Verena Dürr, born in 1982 in Vienna. Lives and works in Vienna, Austria. www.soundcloud.com/masenghini
Around 2004 the rappers MC Zystitis und MC Kolpitis founded the KLITCLIQUE after having painted graffiti and consumed sexist rap music together. After having completed a couple of unpopular appearances at so-called FreeStyleRapBattles and hip hop parties where jurors and crowd consist of 97% males, thanks to the repeated shy invitations from the feminist/queer scene, the KLITCLIQUE can celebrate with friends. No longer only having enemies.
While working on their careers as emerging visual artists, the power structures, mechanisms and people of the art world are increasingly gaining importance as a bashing-target. Consequently they have sometimes been called “critical”.
KLITCLIQUE performances take place at non-periodic intervals around the Vienna Gürtel, in cellars, on the street, and on the art market.
Warning: Explicit Language
The KLITCLIQUE use props and language in their performances in response to an environment that still ignores women’s sexuality, wants to control it and generally finds it irritating. http://klitclique.wordpress.com
Office for the registration of applications for attestation on possible factors on discrimination.
According to Abraham Maslow´s hierarchy of needs we all have the same basic needs: physiological (nourishment), safety, a community (love/belonging), esteem (respect) and self-actualization. Gender, race, class, nationality, ethnicity, ability, sexual orientation, culture, health, age, property and geographic locality determine the level and your personal probability of discrimination. Who has never experienced the feeling of not belonging? In certain situations, when removed from our usual environment, we might feel like extraterrestrials. Or perhaps it seems like it is the others who act as extraterrestrials.
Heidemarie Pyringer, born in 1979 in Vienna. Lives and works in Vienna, Austria.
At the age of 18 Viviano decided to leave his home country. His love for soft cheese brought him to Paris, where he remained for a long time. In 2009, he moved to Vienna, where he made new friends. He makes fun out of fun. He prefers to play with pop ignorance rather than pop culture: “It’s more fascinating.” (interview, The New Contemporary)
Salvatore Viviano, born in 1980 in Palermo, Italy. Lives and works in Vienna, Austria. http://www.salvatoreviviano.com/
EM SCHWARZWALD Lecture (in English): When We Play – Glimpses at the Aesthetics, Ethics and Politics of Queer BDSM
Em Schwarzwald will give her lecture from the position of an independent sex researcher and somebody who has been performing and queering BDSM for more than 10 years.