A Dinner-Party

A Dinner-Party

Reenactment „The Dinner Party“ von Judy Chicago
50 Teppiche
200 Namen
unendliche viele Dreiecke

realisiert im Rahmen des Jahresprogramms der VBKÖ zum Thema Freundinnenschaft.

Öffnungszeiten:
von Mittwoch den 15.10- Donnerstag den 13.11. 2014

Mittwoch 15 -19.30 Uhr
Donnerstag von 15 -19.30 Uhr
Samstag von 15 -19.30 Uhr

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A TOAST TO OUR HISTORIES
A TOAST TO OUR FELLOW SISTERS & HEROINES
A TOAST TO OUR FUTURE

“What we have to do now, then, Sir,
is to lay your request before the daughters of educated men and to ask them to help you to prevent war,
not by advising their brothers how they shall protect culture and intellectual liberty,
but simply by reading and writing their own tongue in such a way as to protect those rather abstract goddesses themselves.”
Virginia Woolf, Three Guineas

so here we are, hosting a dinner-party, toasting to our friends, heroines, lovers and supporters.
a come-together in the spirit of judy chicago,
a strengthening ritual on magic carpets,
encouraging a big loud messy dinner conversation,
about the past, the now and the future,
embodying a living critical glossary of feminisms.
because yes, there is not one feminism, but many.

but lets begin with THE DINNER PARTY.
the art installation by judy chicago, depicting place settings for 39 mythical and historical famous women around a triangular table.
a further 999 women are honored by their names on the floor tiles.
produced from 1974 to 1979 as a collaboration with the help of many hands and brains, first exhibited in 1979.
to, as judy said: “end the ongoing cycle of omission in which women were written out of the historical record”.
thank you judy.
as for us:
we don’t have a table
we don’t have a tablecloth
we will sit on the ground
eat and chat
commemorate and chant
on magical carpets
out of the darkness

COMMEMORATION
so, whom and what are we commemorating?
our histories, the unruly knowledges of our ancestors and foresisters, their struggles and achievements, to build collective consciousness, to remember that we do not struggle independently.
with an experimental chanting exercise we are going to evoke the free thinking spirits of emma goldman and gerda lerner, kathy acker and virginia woolf, kathleen hannah, kurt cobain and beyonce.
and of course baba yaga, who gave magic carpets to fools and was described on wikipedia as “a many-faceted figure, capable of inspiring researchers to see her as a cloud, moon, death, winter, snake, bird, pelican or earth goddess, totemic matriarchal ancestress, female initiator, phallic mother, or archetypal image”, so just about everything we want to be.

MAGIC CARPET
baba yaga gave one to ivan the fool and when we believe the author of “the secret history of flying carpets”, those magic carpets were historically mainly used by thieves and madmen.
which makes them somehow the oriental male equivalent to the flying brooms used by witches.
we give you magic carpets to float through time and space, to the fractal dimension of a collective history of sunken sisterhoods.

PRAYER RUG
the form and design of our magic carpets were inspired by the traditional prayer rug.
it has a strong symbolic meaning and is taken care of in a holy manner.
the prayer mat is traditionally woven with a rectangular design, made asymmetrical by the niche at the head end.
the decorations are not only important but also have a deep sense of value in the design of the prayer rug.
within the rectangle, where one usually finds images of islamic symbols and architecture ours have a sierpinski triangle with four names.
four names,
four lives,
four seasons,
four zones,
for chapters,
four stones.

TRIANGLE
the triangle is a basic geometric shape, a polygon with three edges and three vertices.
our triangle is a slightly modified sierpinski triangle.
a fractal and attractive fixed set with the overall shape of a triangle, subdivided recursively into smaller triangles.
it is a mathematically generated pattern that can be reproducible at any magnification or reduction.
it is named after the polish mathematician wacław sierpiński, but appeared as a decorative pattern many centuries prior to the work of sierpiński.
our triangle is not equilateral but an isosceles triangle which means that two sides are equal in length.
the equal sides are called legs and the third side is called the base.
so what we have here is a endlessly reproducible base with legs.
a triangle that is good to walk and good to talk.
having a triangular conversation contains thesis, antithesis and synthesis.

THE BLACK TRIANGLE
the black triangle was a badge used in nazi concentration camps to mark prisoners as “asocial” or “arbeitsscheu” (work-shy).
it was later adopted as a lesbian and feminist symbol of pride and solidarity, on the assumption that the nazis included lesbians in the “asocial” category.
more recently it has been adopted by UK disabled people’s organisations responding to increasing press allegations that disabled benefit recipients are workshy.
also triangles, black or not, are sturdy;
while a rectangle can collapse into a parallelogram from pressure to one of its points,
triangles have a natural strength which supports structures against lateral pressures.
a triangle will not change shape unless its sides are bent or extended or broken or if its joints break;
in essence,
each of the three sides supports the other two.
thats how we like it.

SISTERS IN CRIME
SISTERS IN TIME
SISTERS IN RHYME
come together
right now
to renew your strength
to take a bow
sit down
sit in
sit on
the triangles of sisterhood.
sit with,
the spirits of our heroines,
fierce foresisters,
forgotten female generations,
and their kick ass creations.
feel the old vibrations,
build new relations,
enjoy the sensations,
celebrate your foundations.

and AFTER THE DINNER
is before the EXHIBITION
so what will remain?
a landscape of magic carpets,
wavescapes of women,
first wave women,
second wave women,
third wave women,
thousandth wave people,
who are riding together,
the waves of the stormy seas of feminism.

THE WAVES
THE FIRST WAVE:
the first wave of feminism between the late 19th century and the early 20th centuries emerged with the changing scope of global politics and rising urban industrialism.
the main goals of this wave were to create more opportunities for women in the public sphere and to gain suffrage.

THE SECOND WAVE:
the second wave of feminism took place from the 1960s through the mid 1990s, igniting with anti-war movements and the civil rights movements brought on by the growing number of minority groups.
the main focus of this movement was to gain just sexuality and reproductive rights, in addition to trying to pass the equal rights amendment to the constitution, which guarantees social equality regardless of sex.

THE THIRD WAVE:
the third wave of feminism focuses on post-modern thinking.
topics like universal womanhood, body image, gender, sexuality and heteronormativity are applied to the whole of women’s roles, not only in today’s society, but also the historical actions that evolved into women’s status today.
this status is persistently challenged by this third wave of feminism to help empower women.

THE THOUSANDTH WAVE:
is what we will make of it.
because the fight is not over yet.
or to put it with dr. gerda lerner:

”For 4,000 years, men have defined culture by looking at the activities of other men.
The minute we started questioning it, the first question was,
‘Well, when are you going to stop separating yourself out and mainstream?’
Give us another 4,000 years,” she said, ”and we’ll talk about mainstreaming.”
http://www.temple.edu/tempress/authors/1635_qa3.html

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Gestaltung: Esther Straganz
Mitarbeit: Anne Steinhagen, Claudia Hanslmeier, Chloe Seon

Video: Anne Steinhagen
Keramiken: Veronika Dirnhofer
Text: Elke Auer

VBKÖ 2014

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Marie Lang Block: Workshop, USE UR FUCKING VOICE, BOEM*

Use Ur Fucking Voice
- eine geleitete Phrasendrescherei
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Soundpainting Workshop im BOEM*
in Kooperation mit der VBKÖ
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Mit Instruktionen von GUSTAV* werden wir im Workshop versuchen,
mit der von Walter Thompson entwickelten Zeichensprache des
Soundpaintings Textstücke chorisch zu formen.
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Vielleicht entsteht ein Raum durch die Verbindung von Objekten.
Und unsere Stimmen, die wir nicht gebrauchten schmettern dennoch
Wörter an die Wand.
Ensemble contra diction. Toxische Subjekte schwirren durch die Zeit:
Veteranen**, Amazonen, Feministen**, Arbeiter_innen, Revolutionäre**,
Angestellte**, Geschwister, Chauvinist_innen, Schüler_innen…
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Als Materialvorlage dienen Versatzstücke aus Klaus Theweleits
Pocahontas-Komplex und Männerfantasien gemixt mit
Gefundenem über Freund_innenschaft.
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Klaus Theweleit:
…Und es gibt keine Veränderungen im Körper, wenn er nicht in
Verbindung tritt zu anderen – dann gibt es ihn nämlich gar nicht.
Das Subjekt gibt es nicht, außer in Zusammenschaltungen mit
anderen Körpern und Medien. Bei Freud erscheint das im Begriff
der Objektbeziehungen und in Konstruktionen wie der Körperimago.
Mary Douglas fügte hinzu, dass in den meisten Kulturen Landesgrenzen
als Körpergrenzen erlebt werden, Angriffe auf das Land also als
Angriffe auf den eigenen Körper. Anschauungsmaterial gibt es dazu
momentan reichlich.
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3. MAI 2014
Beginn 19 Uhr
BOEM | Marie Lang Gallery
Koppstraße 26/1-5
1160 Wien, Austria

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** Die Sternchen im Text kennzeichnen, dass es sich um Identitäten
handelt, die unklare Ränder haben, nicht natürlich und nicht mit sich
selbst identisch sind.

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Toni Schmale, Wally Salner: Cc

Eröffnung : Mittwoch 7. Mai 2014 um 19h

Ausstellung bis 21. Juni 2014

Öffnungszeiten : Fr und Sa von 15 – 18 Uhr
und nach Vereinbarung

Cc

Toni Schmale, Wally Salner

W: Cc , liebe alle steht für die adressierte abwesenheit der anwesenheit, weil es kann auch aufdringlich sein durch abwesenheit, das in w+t und t+w eingeschriebene dritte. dieses dritte, das andere markiert die form, ein innen u. aussen der freundschaft als arbeits u. liebesbeziehung.

T: schild ist kurz vor drinnen. macht grenze. auf_zu. was ist privat.

W: daraus folgt, die beobachtung der beobachtung dieser form, in zweiter ordnung. das geht in etwa so – coco chanel, cooperative cunnilingus, competion, courtesy copy. mach mich bloss nicht nach. ich, du, es grenzt, teilt u. du sollst nicht essen da wo du scheisst. mögliche dispositive von freundschaft, arbeits- u. liebesbeziehung sind hier als subtext inhärent.

T: zuhause abstrakt. grösser machen. härter machen. kontext verschieben. was kann man teilen. ein begehren für was. den moment. das versprechen. sich einrichten. zusammen arbeiten knallt. links oder rechts liegen. lieber immer gleich.

W: die raumteilung ist eine schnittmenge von lieben, arbeiten und leben. durch den flur geht es. die bettwurst, ein verbindender riss, nicht die klassische rolle.

T: bettwurst ist grenze und brücke. sie füllt den spalt mit weich. sie macht deutlich mindestens zwei. trennt und will verbinden. fetisch. dysfunktion

W: also fertige superprovisorien.

T: alles glatt machen

______________________________________________________________________________________________

TONI SCHMALE

geboren 1980 in Hamburg, lebt in Wien
1986–2002 Fußball spielen
1995–2001 HSV Regionalliga / Bundesliga
2001 Brauweiler Puhlheim Köln Bundesliga
1994–2002 U-16, U-18, U-20, Frauennationalmanschaft
2003–2011 Boxen
2003–2009 Studium an der Hochschule für Grafik und Buchkunst Leipzig
Fachbereich Medienkunst (Klasse Helmut Mark)
2009 ERASMUS-Stipendium, Akademie der Bildenden Künste Wien
2011 Birgit-Jürgenssen-Preis
2009 -2013 Studium an der Akademie der Bildenden Künste Wien
Klasse für Perfomative Kunst(Carola Dertnig)
Klasse für Performative Bildhauerei(Monica Bonvicini)

AUSSTELLUNGEN
AB = Ausstellungsbeteiligung
EA = Einzelausstellung
F / V = Film- / Videovorführung
PE = Performance
ZA = Zusammenarbeit

2013
AB ,,s/he`s the one”, Kunstraum Niederösterreich, Wien
AB ,,is my territory, Galerie König, Wien
AB ,,Praxis der Liebe”, Salzburger Kunstverein, Salzburg

2012
AB „Rosa Arbeit auf goldener Strasse“, xhibit, Wien
AB / ZA „Bikers Paradise“, mit Catharina Wronn, eingeladen von
Noele Ody, Ve.sch, Wien
AB „Performative Screenings #14 Feminine Endings II / Klappe“,
eingeladen von Wally Salner, school, Wien
EA „Fisting“, L`Ocean Licker, Wien
AB / ZA „Trans*_Homo. Von lesbischen Trans*schwulen und anderen
Normalitäten“, mit Persson Baumgartinger, Schwules
Museum,Berlin
F / V „Entzaubert“ Queer Film Festival, Schwarzer Kanal, Berlin
AB / ZA „Performative Screenings # 7 Feminine Endings / Test“, kuratiert
von Wally Salner, mit On Grammel, school, Wien
AB / ZA „Reality Manifestos, or Can Dialectics Break Bricks?“, Schmale,
Scheirl, Knebl Werke, Kunsthalle Exnergasse, Wien

M.A. WALLY SALNER

PERSONAL

Last name: Salner
First name: Wally
Date and place of birth: 4 March 1971 in Galtür, Austria

EDUCATION

1992-1996 Academy of Fine Arts in Vienna, painting and graphics, Master of Arts

ACADEMIC TEACHING EXPERIENCE

2009-2011 Professorship for fashion at the University of Art and Design Linz in cooperation with the fashion school Hetzendorf Vienna, Austria
Since 2004 Lecturer at the Academy of Fine Arts Vienna, class fashion & styles
2001 Guest professorship at the Academy of Fine Arts in Munich, Germany

AWARDS GRANTS ACQUISITION

2006 acquisition cultural department city of Vienna, MA7
2006 acquisition BKA/Artothek
2006 acquisition county of Tyrol
2003 “SELFWARE.politics of identity – award”, cultural capital Graz
2001/02 BKA Fellowship Paris
2001 award for visual art, county of Tyrol
2000 „unitF – award“, International press and sale
1999 BKA scholarship for visual arts

EXHIBITIONS PROJECTS COLLECTIONS

1998-2011 ____fabrics interseason (Wally Salner. Johannes Schweiger) www.fabrics.at

2013
“Another Austria”, Austrian Culture Forum, London, GB
2012
„eine von euch“, conception styling for the film by Tanja Widmann, Grazer Kunstverein, Graz, A
„total recall“, Hyères 2012, 27. festival international de mode et de photograhie, Villa Noailles, Hyères, F
“A wavy line is drawn across the middle of the original plans”, Kölnischer Kunstverein, Cologne, D
„reflecting fashion: kunst u. mode seit der moderne“, MUMOK Vienna, A
„feminine endings I: testrun“, performative screenings, school, Vienna, A
„feminine endings II: klappe“, performative screenings, school, Vienna, A
„embassy exhibition“, state of sabotage, Vienna, A

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“Close to you, I’m not”

Paul DeFlorian

“Close to you, I’m not”

Opening
14. 01. 2014
19.00 Uhr

Open from 14. 01. till  17. 01. 2014
14.00 bis 20.00 Uhr

You must be cut back like a tree that has run too wild, you are entirely too much, you don’t have room in your starving body, your lungs can’t breathe properly, you can’t get air into them no matter how much you breathe and suck cock as if there were oxygen in their balls. You must cut yourself back and rise again.
(You Are the Roots that Sleep Beneath My Feet and Hold the Earth in Place by Eli Levén)





Fotos: Julia Gaisbacher
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