elisabeth penker
DESCRIPTION
Elisabeth Penker "Selected works"TRANSCRIPT
AtelierElisabeth PenkerKoumlstlergasse 37A-1060 ViennaT 0043 (0) 68110365210elisabethpenkergmailcom
_________________________________________ Charim Events Schleifmuumlhlgasse 1a A-1040 Wien httpwwwcharimgalerieat charimcharimgalerieat
Elisabeth Penker 1974 Reiszligeck A lives in Vienna EDUCATION 2005 - 2006 Post-academic Studies Jan Van Eyck Academy Maastricht NL 1993 -1998 MA Sculpture Academy of Fine Arts Vienna (Bruno Gironcoli) 1998 National Academy of Fine Arts New Media Department Oslo NO SOLO EXHIBITIONS 2014 Charim Events (with Ferdinand Penker) Vienna 2013 Central Station (with Dada Da Academy) Maribor SL 2010 Galerie Naumlchst St Stephan Rosemarie Schwarzwaumllder (log-in) Vienna 2010 Roma Contemporary (curated by Ilari Valbonesi) (Solo Performance) Rome IT Archive amp Storage Saprophyt Vienna 2009 Into the city Asian Village Wiener Festwochen (Solo Performance) Vienna 2008 MAK CAT Tower (curated by Andreas Kristof) Museum fuumlr angewandte Kunst Vienna 2006 Kuumlnstlerhaus Stuttgart (curated by Elke von der Moore) with FOGO LAB DE Kuumlnstlerhaus Passagengalerie (curated by Ursula Probst) Vienna 2005 HTTP Gallery (curated by Tobi Maier) London 2003 Galerie 5020 Salzburg A LISTE 03 (with Galerie Michael Hall) Basel CH 2002 Kibla New Media Center Maribor SL 2001 Galerie Kunstbuero Vienna 2000 Gallery GUN Oslo Kuumlnstlerhaus Klagenfurt (cat) Hard CORE Temporary Services Chicago 1997 Gallery Trabant Vienna Institut fuumlr Gegenwartskunst (curated by Ute Meta Bauer) Vienna SELECTED GROUP EXHIBITIONS 2014 Cantiere Continuo Dordolla curated by Moreno Miorelli (IT) organized by UNIKUM University of Klagenfurt A Art Athina GR Artaerea Dada Da Academy Tbilisis GE 2013 The Program Gallery 400 UIC Chicago (curated by Michael Hall) US ReMap4 Athens Kunstraum am Schauplatz Vienna Interior Praterstrasse 12 Vienna Art Athina DaDa Da Acadmey Athens 2011 Greek State Museum Manihesto (curated by Eirini PapakonstantinouThessaloniki) GR Galerie Baumlckerstrasse (curated by Adam Budak) Vienna 2010 Center for Contemporary Art ldquoSites + Subjectsrdquo (curated by Jakob Racek) Plovdiv BG DaDa Da Academy Archive on view Corridor Gallery Plovdiv BG originalfunktional formal Bawag Foundation (curated by Stefan Bidner) Vienna Pro Choice in Schattendorf Kunstverein Schattendorf (curated by Pro Choice) AT Spazi Aperti - The Vagabond cant Draw The Romanian Academy Rome (IT) 2009 Dada Da Academy Kunstraum am Schauplatz Vienna FREI (Performance) Secession Vienna MIETE STROM GAS oder BRASILIAN WAX Museumsquartier Vienna 2007 Social SculptureCultural Design Galerie Michael Hall Vienna
Documenta 12 Collaboration with Ricardo Basbaum (FOGO LAB) Kassel D ldquofield worksrdquo Remont Gallery Belgrade YU Kunsthaus Muumlrzzuschlag A bdquoMapping Eu-Regionldquo (FOGO LAB) Culture Center Eupen BE Kunstverein Weiden Weiden (curated by Florian Schmidt) D ldquoThe Migrating Museumrdquo Jan Van Eyck Academy Maastricht NL
2006 ldquoprotectionsldquo Kunsthaus Graz (curated by Adam Budak Christine Peters) NADA (Galerie Kosak Hall) Miami Kunst im Parlament Vienna (curated by Peter Pakesch) Wien Artissima (Galerie Kosak Hall) Turin IT bdquoRunawayldquo Galeria Priestor for Contemporary Arts Bratislava SK
_________________________________________ Charim Events Schleifmuumlhlgasse 1a A-1040 Wien httpwwwcharimgalerieat charimcharimgalerieat
2005 ldquoWo ist Elise Richter wo isthelliprdquo University of Vienna ldquoTransformerldquo Fluc (curated by ProbstSeidelWagner) Vienna ldquoClouding Europerdquo Gandy Gallery Bratislava
ldquoUtopie und Freiheitrdquo Kunsthalle Exnergasse Vienna ldquoThe Red Threadrdquo Howard House Gallery Seattle WA USA
ldquoThe Red Threadrdquo Educational Alliance New York ldquoBrutal Ornamentalrdquo Galerie Kosak Hall Vienna 2004 ldquoSwap Meetrdquo Desert Test Site Joshua Tree CA (curated by General Store amp Heather Hubbs) US ldquoSound Studiordquo Galeria Priestor for Contemporary Arts Bratislava SK ldquoBorn to be a Starrdquo Kuumlnstlerhaus Vienna (curated by Ursula Probst) cat 2003 ldquoSound Systemldquo Salzbuger Kunstverein (curated by Hildegund Amanshauser
Edek Bartz) Salzburg A ldquohigh hillsldquo Kunst im oumlffentlichen Raum (curated by Cornelia Offergeld) Krems A
2002 ldquoWaiting for the Ice Agerdquo Georg Kargl Vienna ldquohear the artldquo Kunsthalle Exnergasse Vienna ldquoThe Experimentrdquo with FOGO LAB Secession Vienna 2001 bdquoDu bist die Weltldquo with FOGO LAB Kuumlnstlerhaus Vienna
ldquoFirst Story-Women Buildingrdquo Galerie do Palacio Cristal with FOGO Lab (curated by Ute Meta Bauer) Porto PT ldquo(untitled) 654321ldquo Kunsthallen Brandts Klaedefabrik (curated by Jacob Fabricius) DK Performance Festival Odensee (curated by Jacob Fabricius DK ldquoviennese loungerdquo with the Theremin Foundation Moscow
ldquoSollbruchstellenldquo Kunst im oumlffentlichen RaumUNIKUM University of Klagenfurt AT 2000 ldquonew austrian spotlightrdquo University Marmara Istanbul (cat) Gallery Rhizom Aarhus DK
ldquoviennese loungerdquo in collaboration with Camera Austria G9 Projectspace Oslo 1999 Kuvataideaktemian Galleria Helsinki Kuumlnstlerhaus Passagengalerie Vienna ldquoViennese loungerdquo Dock 11 Berlin 1998 ldquocome togetherrdquo Portfolio Kunst AG Vienna 1997 ldquo10 Jahre Trabantldquo Trabant Vienna ldquo2 plateauxrdquo Mezzanin Vienna 1996 Private work Semeprdepot Vienna Private work Cairo Agypt 1993 ldquoFree Academy Moscowrdquo curated by Alexander Petlura Moscow RU ART IN PUBLIC SPACE 2014 Cantiere Continuo Dordolla Moreno Miorelli (IT) organized by UNIKUM University of Klagenfurt A 2013 Central Station Maribor SL 2005 ldquoWo ist Elise Richter wo isthelliprdquo University of Vienna 2004 ldquohigh hillsldquo Kunst im oumlffentlichen Raum (curated by Cornelia Offergeld) Krems A 2001 ldquoSollbruchstellenldquo Kunst im oumlffentlichen RaumUNIKUM University of Klagenfurt A PUBLICATIONS SELECTED CATALOGUES ldquoits about timerdquo Jan van Eyck Akademie JVE Maastrich NL 2008 p156-176 Protections Verlag der Buchhandlung W Koumlnig Cologne 2006 (Hrsg Peter Pakesch Adam Budak Veronica Kaup-Hasler C Peters) Kunsthaus Graz A ldquoits about timerdquo Jan van Eyck Akademie JVE Maastrich NL 2008 p156-176 ldquoWaiting for the ice agerdquo Kargl Fine ArtsBox Verlag der Buchhandlung Walther Koumlnig Cologne 2006 Ursula Probst ldquoBorn to be a Starrdquo Kuumlnstlerhaus Schlebrueggeeditor Vienna Diana Baldon ldquoTransformerrdquo Fluc (curated by ProbstSeidelWagner) Vienna 2005 Gandy Gallery ldquoClouding Europerdquo Gandy Gallery Bratislava 2005 Ursula Probst bdquoUtopie und Freiheitldquo Kunsthalle Exnergasse Vienna 2005 Hildegund Amanshauser bdquoSound Systemldquo Magazin 8 Salzburger Kunstverein 2003 p57-63 Cornelia Offergeld ldquoPublic Artrdquo Springer ViennaNew York 2003 p 93 Sollbruchstellen Kunst im oumlffentlichen Raum Unikum University of Klagenfurt 2002 Ute Meta Bauer ldquocase 2-First Storyrdquo FOGO-LAB 2002 p1-10 Jacob Fabricius amp Tommy Lund ldquountitled 654321rdquo Kunsthalle Brandts 2001 p57-61 BKA Kunst ldquoNew Austrian Spotlightrdquo University Marmara IstanbulVienna 2001 Ulli Sturm bdquocoming outldquo Kuumlnstlerhaus Klagenfurt 2000 PUBLISHED TEXTS SELECTED BIBLIOGRAPHY Elisabeth Penker ldquoNon-Linear Structures in Film and Musichelliprdquo(fem) Additivesrdquo Lautsprecher Verlag Stuttgart (Co-Editor with FOGO Lab)
_________________________________________ Charim Events Schleifmuumlhlgasse 1a A-1040 Wien httpwwwcharimgalerieat charimcharimgalerieat
Elisabeth Penker ldquoContact Situations Language and Rhythm Transformationrdquo Sound Art supplement Resonance Mag-azine London 2005 p 22-29 ( editors Tobi Maier amp Anna Colin) Elisabeth Penker ldquoThe tactility of sound is the inverse of sculpturerdquo Ursula Probst (editor) Skug Magazine Vienna 2004 SELECTED BIBLIOGRAPHY Cathryn Drake Local Warming Art Athina 28th of May 2013 Tamara Dinka Interview Elisabeth Penker b-turn 17th of June 2012 Roland Schoumlny Auf den Spuren gesellschaftlicher Ordnungssysteme artmagazine Jan 2010 Ursula Maria Probst A Vibrant Scene scene 2 p 57 April 2009 Georg Leisten Stuttgarter Nachrichten FOGO Lab Kuumlnstlerhaus Stuttgart p 35 Feb 2006 Michael Hall bdquoBrutal Ornamentalldquo STAR Magazine (projects with Elisabeth Penker Katja Strunz Ian Rosen Minoru Shimizurdquo April 2006 Vienna Ursula Probst bdquoIndikatoren kultureller Spielraumlumeldquo artmagazine Vienna 20 Dec 2005 Dagmar Buchta bdquoWo ist Elise Richter wo ist ldquo die Standard 17 November 2005 Diana Baldon ldquocritics picks Elisabeth Penkerrdquo Artforum June 2005 Elise Richmann ldquoThe Red Threadrdquo Seattle Weekly March 2005 Michaela Hafner bdquoAnonyme Wissenschafterin im Arkadenhofldquo Die Universitaumlt Online am 23 Nov 2005 Dieter Buchhart Born to be star Kunstforum September 2004 Johanna Hofleitner ldquoReview Born to be a Starrdquo artmagazinecc 072004 Christian Houmlller bdquoSound Systemldquo Springerin issue 303 p 85-86 Antje Mayer bdquoAn oder Ausldquo Kunstzeitung Nr 85 Sept 2003 p27 Johanna Hofleitner ldquoKunstraumrdquo Die Presse (Wien) 27 November 2003 Almuth Spiegler ldquoMutig und total relaxedrdquo Die Presse (Vienna) 24 July 2003 Ursula Probst ldquohear the artrdquo artmagazinecc 062002 Katy Depwell amp Ute Meta Bauer nparadoxa ldquoRethinking Revolutionrdquo Vol 10 2002 p 73 Jacob Fabricius amp Tommy Lund ldquountitled 654321rdquo Kunsthalle Brands 2001 p57-61 Michael Hall ldquoElisabeth Penkerrdquo Camera Austria issue 76 2001 p66-67 Nicole Scheyerer Review ldquoCT3rdquo Falter 2601 Vienna p70 Franc Wakounig ldquoKo (ce) se na Koroskem zemlja treserdquo Vestnik 3152001 ldquoSollbruchstellenrdquo Standard 3052001 Viennese lounge ldquoOumlsterreich 2000 contributionsrdquo Camera Austria issue 70 2000 p162 Sulie Tankut ldquoCagdas sanat ve Avusturyardquo Nilliyet Istanbul November 8 2000 Sabine Oppolzer ldquoPoesie eines blassen Dandysldquo Die Presse Vienna 1998 RESIDENCIES GRANTS amp PRIZES 2014 SEA Residency Kreta GR 2010 Rome Residency BMUKK Austrian Ministry for Education Art and Culture 2009 Theodor Koumlrner Preis fuumlr wissenschaftliches Arbeiten Vienna 2005 Austrian Academy of Science Doc-Stipendium Vienna 2000 Oumlsterreichisches Staatsstipendium BKA (Vienna) 2000 ldquoSix Practicesrdquo (London Residency Grant) Sound Designer- Post Production for Feature Film University for Applied Arts Vienna amp De Lane Lea Studio London 1999 kurzes wissenschaftliches Arbeiten im Ausland Leonardo Maestro Matic Sound Designer- Post Production for Feature Films Chicago 1998 Chicago Residency BKA (Vienna) Erasmus NATIONAL Academy of Fine Arts Oslo SELECTED RADIO CONTRIBUTIONS 2012 SOUNDART IN A SCUPTURAL CONTEXT Resonance fm1043 London 2010 CONCERTO PER DUE CAVALLI RAM ARTE MOBILE ROM 2005 Language and Rhythm Transformation Twen Fm 1041 Night Academy edited by Joulia Strauss Berlin DE 2005 Radio Orange Sound Sculptures by Elisabeth Penker edited by Rainer Wagnus Vienna 2004 Resonance fm1043 live from the Frieze Art Fair (curated by Tobi Maier) London 2004 EX TEMPORE 43 +PLUS Channel 5 Channel 5 wwwradioartsk Bratislava Weblinks Audio-Video Excerpts and documentation httpwwwyoutubecomusersoundart24 httpwwwelisabethpenkertumblrcom
_________________________________________ Charim Events Schleifmuumlhlgasse 1a A-1040 Wien httpwwwcharimgalerieat charimcharimgalerieat
ELISABETH PENKER FERDINAND PENKER curated by Michael Scott Hall Eroumlffnung Opening 24042014 19 Uhr 7 pm Charim Events Schleifmuumlhlgasse 1 a A ndash 1040 Wien Dauer Duration 2504 ndash 10052014 Oumlffnungszeiten Opening Hours Mi-Fr 11-18 Uhr Sa 11-16 Uhr Though they share the same last name Elisabeth Penker amp Ferdinand Penker represent two different generations and work in completely different mediums and share an interest in seriality complex systems and repetition Most importantly each artist obscures their own medium of choice Ferdinand Penkers tempera on canvas paintings (in the exhibition) utilize linear compositions and appear from a distance printed or collaged until closer inspection reveals a more handmade quality He is presented here by his leaners which are architecture-specific paintings in that they can be arranged in response to given architectural context by either leaning against the wall or another painting or wedged between the ceiling and floor Each new architectural context creates a slightly different compositional oppourtunity Since his earliest installations in the 70 - 80s Ferdinand Penker has long had a strong interest in the relation between the architectural space of where and how the painting hangs and the flatness of the micro-thin space inside his paintings Penker lived and worked in San Francisco in the 1970-80s perhaps picked-up some tendencies which are more common in Northern California (than to Austria) concerning ideas of space and light Simultaneously the Sculptor Elisabeth Penker will present an ongoing series of portraits (photo-collages) entitled Split Representation utilizing the formal structure discussed by Claude Levi-Strauss in his essay Split Representation in the Art of Asia and the America in which he compares different cultures and different periods in history from Shang (China) Haida (Native Americans) Caduveo (Brazil) and Maori (New Zealand) who all use similar stylistic elements to represent (for example) the face (or portrait) which is not seen from the front but as two profiles merged together to form one Elisabeth Penker appropriates the portraits of philosophers anthropologist cultural scholars amp artists and re-represents them in a Split style developing a new hybrid-form of representation which merges both Western and Non-Western concepts of representation Along with the photo-collages Elisabeth Penker will also present a sound piece entitled Comparative Morphemesrdquo The composition is based on the grammatical classifications of languages deconstructed into minimal phonetic units and then reconstructed into new (word) forms Elisabeth PENKER (1974 Reiszligeck) Upcoming Book Project Onamatopee Eindhoven NL Solo Exhibitions Roma Contemporary (curated by Ilari Valbonesi) Rome Galerie naumlchst St Stephan (Log-in) Vienna MAK CAT Tower (cura-ted by Andreas Krištof) Vienna Kuumlnstlerhaus Stuttgart with FoGo Lab (curated by Elke aus dem Moore) HTTP Gallery (curated by Tobi Maier) London Liste 03 Basel Temporary Services Chicago Institut fuumlr Gegenwartskunst (curated by Ute Meta Bauer) Vienna Selected Group Exhibitions include The Program University of Illinois Chicago Protections Kunsthaus Graz (curated by Adam Budak amp Christine Peters) Kunsthalle Brandts (curated by Jacob Fabricius) DK Sound System Salzburger Kunstverein (curated by Hildegund AmanshauserEdek Bartz) Salzburg Howard House Gallery Seattle ldquoFirst Story-Women Buildingrdquo Galerie do Palacio Cristal with FOGO Lab (curated by Ute Meta Bauer) Porto PT Ferdinand PENKER (1950 Klagenfurt) He has had residencies in Japan Poland and Ireland Recent Book Projects include his monograph (2010) and A Murder of Crows (2003) from Ritter Verlag (Klagenfurt) Selected Solo Exhibitions MMK Klagenfurt (2010) Galerie Ritter Klagenfurt (2011 2009 2004) Sclatter St London (2010 2000) Galerie Schuumltte bdquoChamber Musicldquo (with Trevor Sutton) Essen DE Austrian Cultural Forum London Museum Joanneum Graz (2003 1994 1990) Machiya Bunka Center bdquo45 Views of a Square Tokyo Umjetnicka Galerija Bosne i Hercegovine Sarajevo BH KALA Institute Berkeley CA Kaumlrntner Landesgalerie Klagenfurt Forum Stadtpark Graz Van Doren Gallery San Francisco CA Secession Wien
ELISABETH PENKERcurated by Michael Scott Hall
Eroumlffnung Opening 24042014 19 Uhr 7 pmCharim Events Schleifmuumlhlgasse 1 a A ndash 1040 Wien
Dauer Duration 2504 ndash 10052014Oumlffnungszeiten Opening Hours Mi-Fr 11-18 Uhr Sa 11-16 Uhr
The Sculptor Elisabeth Penker presents an ongoing series of photo-collages entitled Split Representation utilizing the formal structure discussed by Claude Levi-Strauss in his seminal essay Split Representation in the Art of Asia and the America in which he compares different cultures and different periods in history from Shang (China) Haida Gwaii (Native Americans) Caduveo (Brazil) and Maori (New Zealand) who all use similar stylistic elements to represent (for example) the face (or portrait) which is not seen from the front but as two profiles merged together to form a frontal view
Northwest coast (Haida Gwaii) Tsimshian (Chinese)
Maori Face Tattoo Caduveo Woman with painted face (drawing by G Boggiani 1892)
Elisabeth Penker appropriates the portraits of philosophers anthropologist cultural scholars amp artists and re-represents them in a Split style developing a new hybrid-form of representation which merges both Western and Non-Western concepts of perspective and representation Penker paints onto the photo-collages and marks areas with geometrical referencing the face tattoos of Maori and the face paintings of the Caduveo IndiansPenkeracutes selection of portraits is based on cultural scholaracutes who are relevant in the field of cultural translation gender studies and multiple perspectives such as the first cubist collage from Pablo
rPicasso which were originally shown as first part of her First Nations Pavilion in Kunsthaus Graz Since two profiles are merged to form a single frontal view there are two perspectives in the picture much like Cubism- showing multiple perspectives in one picture Similar to the how Cubist represented three-dimensional volumes on a two-dimensional surface- when native inhabitants were asked to draw a face tattoo on paper they drew it as if they were drawing directly on the face which distorts the perspective when applied to paper Split representation in Haida Maori and Caduveo culture were built symmetrically in relation to two axes the main vertical axis is centered between the eyes following the median plane of the face the horizontal axis divide the face at eye level The eyesare used as starting points for two inverted spirals one of which covers the right cheek and the other the left side of the foreheadhellip It is not easy to analyze the design because of its apparent asymmetry- which nonetheless masks a real though complex symmetry Levi-Strauss
Along with the photo-collages Elisabeth Penker also presents a sound piece entitled Comparative Morphemesrdquo The composition is based on the grammatical classifications of languages beginning in the 19th century linguists attempted to group the worlds languages into four morphological categoriesbased on how words are formed analytic agglutinating synthetic and polysynthetic Penker choose one language of each group Chinese Turkish Burmese and a polysynthetic language She deconstructed recordings of these languages into minimal phonetic units and then reconstructed it into new (word) forms
Elisabeth PENKER (1974 Reiszligeck) Upcoming Book Project Onamatopee Eindhoven NL Solo Exhibitions Roma Contemporary (curated by Ilari Valbonesi) Rome Galerie naumlchst St Stephan (Log-in) Vienna MAK CAT Tower (curated by Andreas Krištof) Vienna Kuumlnstlerhaus Stuttgart with FoGo Lab (curated by Elke aus dem Moore) HTTP Gallery (curated by Tobi Maier) London Liste 03 Basel Temporary Services Chicago Institut fuumlr Gegenwartskunst (curated by Ute Meta Bauer) Vienna
Selected Group Exhibitions include The Program University of Illinois Chicago Protections Kunsthaus Graz (curated by Adam Budak amp Christine Peters) Kunsthalle Brandts (curated by Jacob Fabricius) DK Sound System Salzburger Kunstverein (curated by Hildegund AmanshauserEdek Bartz) Salzburg Howard House Gallery Seattle ldquoFirst Story-Women Buildingrdquo Galerie do Palacio Cristal with FOGO Lab (curated by Ute Meta Bauer) Porto PT
Selected works from the series Split Representation
Titles
Elisabeth Penker
ldquoSplit Representation Walter Benjamin Bluerdquo 60 x 40 cm framed (Paint on Photo-Colllage) 2013 edition of 5 (ea unique)
ldquoSplit Representation Rosa Luxemburg Yellowrdquo 60 x 40 cm framed (Paint on Photo-Colllage) 2014 edition of 5 (ea unique)
ldquoSplit Representation Rosa Luxemburg Caduveo Womanrdquo 60 x 40 cm framed (Paint on Photo-Colllage) 2014 edition of 5 (ea unique)
ldquoSplit Representation Simone de Beauvior Brownrdquo 60 x 40 cm framed (Paint on Photo-Colllage) 2014 edition of 5 (ea unique)
ldquoSplit Representation Trinh T Minh-ha Bluerdquo 60 x 40 cm framed (Paint on Photo-Colllage) 2013 edition of 5 (ea unique)
ldquoSplit Representation Angela Davis Greenrdquo 60 x 40 cm framed (Paint on Photo-Colllage) 2014 edition of 5 (ea unique)
ldquoSplit
Representation Self-Portraitrdquo 60 x 40 cm framed (Photo-Colllage) 2014 edition of 25
ldquoSplit Representation Frantz Fanon Copperrdquo 60 x 40 cm framed (Paint on Photo-Colllage) 2014 edition of 5 (ea unique)
ldquoSplit Representation Pablo Picasso 1rdquo 60 x 40 cm framed (Photo-Colllage) 2012 edition of 5
ldquoSplit Representation Pablo Picasso 2rdquo 60 x 40 cm framed (Photo-Colllage) 2012 edition of 5
ldquoSplit Representation Pablo Picasso 3rdquo 60 x 40 cm framed (Photo-Colllage) 2012 edition of 5
ldquoSplit Representation Ferdinand de Saussure 1rdquo 60 x 40 cm framed (Paint on Photo-Colllage) 2013 edition of 5 (ea unique)
ldquoSplit Representation Ferdinand de Saussure 2rdquo 60 x 40 cm framed (Photo-Colllage) 2013 edition of 5
ldquoSplit Representation Ferdinand de Saussure 3rdquo 60 x 40 cm framed (Paint on Photo-Colllage) 2013 edition of 5 (ea unique)
installation views Charim Events at Schleifmuumlhlgasse 1A Vienna April - May 2014
Elisabeth PenkerFerdinand Penker at Galerie Charim curated by Michael Scott Hall
Elisabeth PenkerFerdinand Penker at Galerie Charim curated by Michael Scott Hall
Elisabeth PenkerFerdinand Penker Galerie Charim curated by Michael Scott Hall
Elisabeth PenkerFerdinand Penker Galerie Charim curated by Michael Scott Hall
Elisabeth PenkerFerdinand Penker Galerie Charim curated by Michael Scott Hall
Elisabeth Penkerinstallation View Gallery 400 Chicago (left bdquoSplit Representation Ferdinand de Saussure (Green)ldquo right bdquoSplit Representation Walter Benjamin (Blue)ldquo 2013
Elisabeth Penkerinstallation View Gallery 400 Chicago left bdquoSplit Reprersentation Walter Benjamin (Blue)ldquo right bdquoSplit Represntation Frantz Fanon (Copper)ldquo 2013
Elisabeth Penkerinstallation View ReMap4 at Camp (Athens) 2013 Ferdinand de Saussure (Blue)
ELISABETH PENKER ldquoVienna calling comparative contemporary artrdquo LOG-IN amp VORRAUM GALERIE NAumlCHST ST STEPHAN ROSEMARIE SCHWARZWAumlLDER Elisabeth Penkers Skulpturen und Audiofilme sind seit 1998 im Bereich von Comparative Art und Sound Art verankert und untersuchen anhand von Sprachmorphologie die Verbindungen zur musikalischen und visuellen Grammatik In Elisabeth Penkers Ausstellung bdquoVienna calling comparative contemporary artrdquo ist der Titel in
Zusammenhang mit der Sprachmorphologie von Wiener Museen lesbar Penkers gezeigte Skulpturen vergleichen visuellelinguistische und musikalische Grammatiken (z B Moderne Kunst und First Nations Art) und verwenden die Ergebnisse als Ausgangsstruktur fuumlr die jeweilige Komposition Ihre Collagen Fotografien Diagramme und Zeichnungen sind erweiterte Fragestellungen ihrer Skulpturen Elisabeth Penker hat in Tonstudios in London und Chicago gearbeitet und seit 2000 eine Serie von Musikinstrumenten entwickelt die die Aufnahme-Methode von Jack Foley verwenden Exzerpte ihrer Multi-
Channel-Kompositionen wurden von Resonance 1044 fm (London) gesendet Weiters ist ein Text von Elisabeth Penker uumlber Sound Art im Resonance Magazine Supplement Juni 2006 erschienen Ein Video und eine Focus -Group wurde gemeinsam mit FOGO Lab bei der Documenta 12 gezeigt und war Teil des Documenta-12-Beitrages von Ricardo Basbaum
Ausstellungen siehe wwwschwarzwaelderat -gt LOGIN ELISABETH PENKER
Comparative Art is an academic discipline in the context of art histories The sculptures audio-films (sound
pieces) and the photographs (expanded sculpture) represent different 3rd 4th -dimensional by documenting
different cultural and spatial notions of perspective through usage of collaged andor spliced structural
compositionalformal structures Structural overlaps between visual artlanguagemusic are considered
Poetics of Dead Space 2 2009-2010
2 Kanaumlle einer 8-Kanal-Composition mono
Metallstativ Speaker Yamaha MSP3 CD-Player
H 133 cm
Ed 13
The non-linear 8-channel composition ldquoPoetics of Dead Space 2rdquo introduces polysynthetic language morphology
combined by the melody which is composed from pre-existing recordings of extinct languages and Penker‟s self-
made instrument ldquoUntitled Instrument sonic structurerdquo (see PDF and related essay written by E Penker at
Resonance fm Magazine upon request at Galerie naumlchst St Stephan)
The channel which is upstairs installed uses an existing wall as an acoustic filter and introduced sub-
consciousness polysynthetic language morphology into the gallery space The title refers to the book poetic of
space within unused architectural situations of exhibition spaces bdquo A Blind Spot (dead angle - Toter Winkel) has a
different meaning in terms of acoustics and cannot be compared with the visual context where blind spot is used
primarily in conversations
In musicsound production in film the visual blind spot is used very often by hearing a bike roller plane without
seeing it In everyday life we are used and depending by acoustic blind spots for our orientation of the situation
and space we are in at the moment Architectural acoustic issues play an important role during the time of the
composition ldquoPoetic of Dead Space 2rdquo is a context specific composition and deals with polysynthetic language
morphology recordings of the untitled instrument Sonic structure and acoustic exhibition architecture besides
issues which are depending of the unused architecture and their acoustics
First Nations Pavillon
Polysynthetische Doppelperspektive Claude Levi-Strauss 2006
Fotocollage C-Print gerahmter Spiegel
6-teilig
3 x 405 x 305 cm
2 x 245 x 305 cm
1 x 605 x 485 cm
Ed23 + 2 AP
A framed mirror from ldquoFirst Nations Pavilionrdquo is placed in the corner of the log-in space to place the viewer physically in the space cutting the reflection of the gaze as well mirrors a profile view of the installed
photographs The photo-series relates to polysynthetic language morphology (of the Inuit First Nations Maori and Caduveo Indians) and translates within the photographic image their structural common visual grammar Because they would create a frontal view which was made out of 2 (split) profile views thereby creating a 4-dimensional perspective that anticipatedparallels Cubism who later presented multiple perspectives within one image which intended to represent movement through time and space Specific references are in the related pdf upon request
at Galerie naumlchst St Stephan
Log [Baumstamm] 2010
Archivierung der Raumfarbe
Split Representation
Claude Levi-Strauss 2009
C-Print
5-teilig je 245 x 305 cm
Ed15 + 2 AP
The camera positions of a right angle mirror bdquoSplit Representationrdquo were chosen by E Penker in the way that the
flash is not in the image the photos are made utilizing a right angle mirror which both fragments and reflects the
image creating multiple or a split perspective EP
Bench-Shelf 2003
Acryl auf Pappelsperrholz
46 x 151 x 42 cm
The bench which is the earliest work in the exhibition mirrors the bottom and the top seating elements thereby
giving the object an asymmetrical appearance The bench-shelf was originally designed for a video archive was
later used by museum staff (in Porto) as gallery furniture
composition (or view) Numerous contemporary artists eg Donald Judd have related the ShakersAmish radical functionalism to their sculptural practice
Poetics of Dead Space 2 2009-2010
2 Kanaumlle einer 8-Kanal-Composition mono
Metallstativ Speaker Yamaha MSP3 CD-Player
H 133 cm
Ed 13
The non-linear 8-channel composition ldquoPoetics of Dead Space 2rdquo introduces polysynthetic language morphology
combined by the melody which is composed from pre-existing recordings of extinct languages and Penker‟s self-
made instrument ldquoUntitled Instrument sonic structurerdquo (see PDF and re lated essay written by E Penker at
Resonance fm Magazine upon request at Galerie naumlchst St Stephan)
The channel which is upstairs installed uses an existing wall as an acoustic filter and introduced sub-
consciousness polysynthetic language morphology into the gallery space The title refers to the book poetic of
space within unused architectural situations of exhibition spaces bdquo A Blind Spot (dead angle - Toter Winkel) has a
different meaning in terms of acoustics and cannot be compared with the visual context where blind spot is used
primarily in conversations
In musicsound production in film the visual blind spot is used very often by hearing a bike roller plane without
seeing it In everyday life we are used and depending by acoustic blind spots for our orientation of the situation
and space we are in at the moment Architectural acoustic issues play an important role during the time of the
composition ldquoPoetic of Dead Space 2rdquo is a context specific composition and deals with polysynthetic language
morphology recordings of the untitled instrument Sonic structure and acoustic exhibition architecture besides
issues which are depending of the unused architecture and their acoustics
Galerie naumlchst St Stephan
Aneta Grzeszykowska Elisabeth Penker
220110 bis 060310 Auf den Spuren gesellschaftlicher
Ordnungssysteme
Die beiden Ausstellungen von Aneta Grzeszykowska in den Galerieraumlumen
und Elisabeth Penker im Projektraum bdquoLOGINldquo sprechen unterschiedliche
Sprachen Momente der Beruumlhrung ergeben sich lediglich durch die
Auseinandersetzung der beiden Kuumlnstlerinnen mit Systembildungen und
gesellschaftlich bedingten Agglomerationen von Bedeutungen Waumlhrend der
Blick der in Warschau lebenden Kuumlnstlerin Aneta Grzeszykowska
psychologisch und kulturell bestimmt ist laumlsst sich das Verfahren der in
Wien und Rom lebenden Elisabeth Penker als ethnografisch und linguistisch
fundiert umschreiben Im Nebeneinander der beiden Positionen bilden sich
schaumlrfende Kontraste
Aneta Grzeszykowskas Interesse gilt dem Privaten in verschiedenen
visuellen Uumlbersetzungen Etwa kartografierte sie mit dem Warschauer
Kuumlnstler Jan Smaga in einer Fotoserie Wohnungen aus der Vogelperspektive
um eine intime Geschichte der Stadt uumlber die Anordnung von Raumlumen
Moumlbeln und Gebrauchsgegenstaumlnden zu erstellen Nun begibt sie sich mit
dem Film bdquoBirthdayldquo auf die Ebene fruumlhkindlicher Begegnungen mit dem
Unheimlichen Gedreht wurde er in der Art privater Dokumentationen zur
Feier des eigenen Nachwuchses anlaumlsslich eines Kindergeburtstags Durch
kommentierende Eingriffe wie die Animation sonst unbeweglicher
Gegenstaumlnde uumlbt die Kuumlnstlerin Kritik an den Konventionen und betont so
das Monstroumlse solcher Ereignisse In der Doppelboumldigkeit von inszenierter
Kindheit und Abgruumlndigem ist auch eine Reihe monochromer dunkler
Figurinen aus Stoff angesiedelt Dass diese bekleidet sind wie
Grzeszykowska in ihrer Kindheit verweist auf Versuche Dramatisches uumlber
die aumlsthetische Formalisierung zu bearbeiten Eine Fotografie mit dem durch
die Hand Grzeszykowskas unabsichtlich verletztem Auge ihres kleinen
Bruders und eine maumlrchenhaft anmutende Reliefskulptur mit einem Maumldchen
auf einem Hund aus stacheligen Distelbluumlten erzaumlhlen davon
Tiefenbohrungen zum Kern semantischer Ordnungen unternimmt dagegen
Elisabeth Penker im Kontext der Ausstellungsserie LOGIN in einem
ehemaligen Geschaumlftslokal und im Foyer der Galerie selbst Bekannt ist die
Kuumlnstlerin und Musikerin Elisabeth Penker etwa durch ihre Intervention im
Arkadenhof der Universitaumlt Wien mit einer Buumlste der oumlsterreichischen
Romanistin und ersten Universitaumltsprofessorin Elise Richter Diese leite das
phonetische Institut bis zu ihrer Deportation ins Ghetto Theresienstadt durch
die Nationalsozialisten und war in der patriarchalischen Ordnung der
steinernen Koumlpfe der Universitaumlt ndash ebenso wie die Leistungen von Frauen
generell ndash bis dahin kein Thema gewesen In der Ausstellung bdquoProtectionsldquo
im Kunsthaus Graz thematisierte Penker mit ihrem bdquoFirst Nation Pavillonldquo die Hegemonie des durch den
Kolonialismus gepraumlgten Blicks auf auszligereuropaumlische Gesellschaften
Stets sind ihre Annaumlherungen auf die Generierung von Bedeutungen im Sinne von Grammatiken
ausgerichtet Dementsprechend leitmotivisch fungiert ein Portraumlt des kuumlrzlich verstorbenen Ethnologen
Claude Leacutevi-Strauss in der Rauminstallation mit integrierter Soundkomposition Die gespiegelte und
mehrfach aufgefaumlcherte Fotografie von Leacutevi-Strauss in bdquopolysynthetischer Doppelperspektiverdquo laumlsst sich
als Verschneidung von Sprachlichem Klanglichen und Visuellen lesen
Eine Archaumlologie im Feld der Linguistik wie auf Materialebene fuumlhrt die Signifikanten auf engstem Raum
zusammen Triviale Vierkanthoumllzer beispielsweise wurden in genau jenen Farben lackiert die Penker als
uumlbereinander gelagerte Sedimente unter der Dispersion der Waumlnde freilegte Die laumlnglichen Houmllzer
beziehen sich auf den englischen Ausdruck bdquologldquo fuumlr Stamm und somit auch auf die Ausstellungsreihe der
Galerie Bemerkenswert dass ein Wort das bloszlig aus einem Morphem besteht einen Gegenstand
repraumlsentiert So baut sich uumlber eine Reihe weiterer Objekte wie etwa den bdquoHanging Chairsldquo aus dem
Fundus der Galerie ein elementares Netzwerk von Bezuumlgen auf Mit ihren Werken und abstrakten Sound-
Kompositionen dringt Elisabeth Penker kritisch forschend in die Makrobereiche von Grammatiken vor um
Potentiale semantischer Anbindungen in Nachbarsystemen freizulegen Roland Schoumlny
Elisabeth Penker Einzelausstellung MAK CAT TOWER Kurtaiert von Andreas Kristof
ldquoPassive Orchestrardquo 2008 8-Channel-Toninstallation Die Interpretation von Soundart sieht Penker in der Uumlberschneidung von Sprache-visueller Kunst und Musik und ist zumeist mit einer visuellen raumlumlichen Komponente verbunden Der Betrachter und Zuhoumlrer befindet sich in
einer Konzert-Situation statt Instrumenten sieht er nur Lautsprecher die auf unterschiedlichen Houmlhen auf einer grauen Wand positioniert sind Passiv Orchestra beruht in der Struktur auf die grammatische Einteilungen von Sprachen die in phonetische Minimaleinheiten dekonstruiert sind und wird uumlber eine Mehrkanal Matrix gespielt Elisabeth Penker referiert in dieser eigens fuumlr den Flakturm konzipierten Arbeit auf dadaistische Methoden der Sprachdekodierung die auch als ein klares Anti-Kriegs-Statement zu verstehen waren
1
Kunsthaus Graz
Protections
Kuratoren Adam Budak und Christine Peters
Elisabeth Penker
First Nation Pavilion
Der First Nation Pavilion von Elisabeth Penker unternimmt den Versuch einen Bereich fuumlr ein koloniales
Bewusstsein der europaumlischen Vergangenheit zu schaffen und einen utopischen Raum fuumlr neue Vorstellungen
von einer Mannigfaltigkeit an kulturellen Formen in der zeitgenoumlssischen Kunst Die Komposition de-
grammatical ein Bestandteil des First Nation Pavilion beruht in ihrer Struktur auf den grammatischen
Einteilungen der Sprachen die in phonetische Minimaleinheiten dekonstruiert sind und wird uumlber eine
nichtlineare 5-Kanal-Matrix gespielt
Penker untersucht moumlgliche Uumlberschneidungen zwischen der Sprache der Musik und der Bildstruktur wobei ihr
Hauptaugenmerk polysynthetischen Sprachen (First Nations und Pazifische Inseln) gilt sowie dem Vergleich
zwischen der Kunst von First Nations und der Modernen Kunst Erst in juumlngerer Zeit in der Aumlra des
Postkolonialismus hat der Diskurs der kulturellen Uumlbersetzung Fragen aufgeworfen mit denen man sich schon
in den phonetischen Experimenten des Dadaismus in den 1910er und 1920er Jahren beschaumlftigt hatte sowie
spaumlter in der Konzeptkunst der 1960er und 70er Jahre
Elisabeth Penker
First Nation Pavilion
The First Nation Pavilion by Elisabeth Penker attempts to set-up an area for colonial consciousness of the
European past and a utopic space for re-imagining a plurality of cultural forms in contemporary art The
composition entitled de-grammatical contained within the First Nation Pavilion is structurally-based on the
grammatical classifications of languages deconstructed into minimal phonetic units played within a non-linear
5-channel matrix
Penker is questioning the possible overlaps between music-language and visual structure within the primary
focus on polysynthetic languages (First Nation and Pacific Islands) and First Nation Art compared to Modern Art
More recently in the age of post-colonialism the discourse of cultural translation is arising questions that have
also been experimented by the Dadaists phonetic experiments in the 1910-20s and later in Concept Art of the
1960s-70s Text Adam Budak
Michael Elmgreen amp Ingar Dragset (the work of two other invited artists) offered Penker a typical prefabricated
house as her exhibition space within the Kunsthaus
id31403916 pdfMachine by Broadgun Software - a great PDF writer - a great PDF creator - httpwwwpdfmachinecom httpwwwbroadguncom
2
Elisabeth Penker Fisrt Nations Pavilion 2006
Change of floor plan of the prefabricated house by Michael Elmgreen amp Ingar Dragset
Entrance door Fisrt Nations Pavilion
3
Part 1 Colonial Conciseness in visual art
Room 1 and 3 Modernism=Imperialism after Henry Flynt Demolish serious culture
Woman as a the last Colony Rosa Luxenburg Veronika Bennholdt-
Thomsen Claudia von Werlhof und Maria Mies
4
Vinyl letters C-Print
5
6
Polysynthetische Doppelperspektive 1 Claude Levi- Strauss
Photocolloage C-Print
7
Polysynthetische Doppelperspektive 2 Claude Levi-Strauss
Photocolloage C-Print
9
Polysynthetische Doppelperspektive 4 Claude Levi Strauss
Photocolloage C-Print
2 prints Installed in corner
Installation view Polysynthetische Doppelperspektive 1-4 Claude Levi- Strauss
The visual grammar and its double perspective (split representation) of Haida Gwai and Tlinglet Art (First Nation
Art) is re-collaged with a photograph of Pablo Picasso comparing Cubism (early Modernism) with First Nation Art
and questioning its similarities of double perspectives
10
Room 4 and 5
Room 4
11
Luicide List The museum as an imperial graveyard
C-Print
Colonial after effects of Luicide
Gips Metallkette Hose Schuh
12
No7
Mirror Split Representation Mirror framed and installed in the corner
Part 2 Room 6 and 8 Comparative Contemporary Art
4-channel sound installation
De-grammatical Listen to mp3 audio excerpts
13
Front
2 CT (shelfbenches) Acryl auf Pappelsperrholz
Back Pull Over Yukme Shirley Hall outside
14
Pull Over Yukme Shirley Hall inside
Fabric wall silk print by (Tlinglet Artist) Yukme Shirley Hall
Wo ist Elise Richter wo ist
id99149429 pdfMachine by Broadgun Software - a great PDF writer - a great PDF creator - httpwwwpdfmachinecom httpwwwbroadguncom
Im Arkadenhof der Universitaumlt Wien stehen 154 Buumlsten von bedeutenden Wissenschaftlern der
Universitaumlt Wien (1700-2005) Bedauerlicherweise findet sich unter ihnen keine einzige Frau Eine temporaumlre Buumlste einer anonymen Wissenschaftlerin soll die systematische Ausblendung von Frauen
aus der Universitaumltsgeschichte thematisieren Die offene Web- Plattform (wwweliserichterat) ermoumlglicht allen Benutzern aktiv an der Umschreibung der Universitaumltsgeschichte und an re-imaging Prozessen der Repraumlsentation dieser Buumlsten teilzunehmen Weiters wird die Verbindung von raceclassgender und einer akademischen Kariere in diesem Zusammenhang hinterfragt We can never really change any form of social organisation without challenging all that organisations forms of
language (Debord)
Within the patriarchal structures of the Arkadenhof at the University of Vienna stand 154 busts of important scientists (1700-2005) Unfortunately none of these busts are women Through the placement of a temporary bust of an anonymous female scientist it declares the absence of them within the history of the university As well the anonymous bust embodies the presence of important scientists who have not yet been given equal representation The open web-platform (wwweliserichterat) allows every user to participate in this discourse to re-write the history of the university and to re-image the representation of these busts through a wiki system
Skizze Buumlste einer anonymen Wissenschaftlerin
Mein Interesse besteht nicht darin zu recherchieren welche Buumlsten von Wissenschaftlerinnen im Arkadenhof fehlen sondern das Fehlen der Wissenschaftlerinnen im Zeitraum von 1700 bis 2005 aufzuzeigen und Strukturen fuumlr eine oumlffentliche Kommunikationsplattform zu schaffen In der Genderforschung besteht Konsens daruumlber dass Gender kein Merkmal von Individuen sondern das einer
Institution ist (Connell) zudem ein struktureller Bestandteil einer Gesellschaft ist und dass Gendernormen alle Organisationen durchdringen (Acker)
Grundriss Arkadenhof der Universitaumlt Wien Literatur Acker J (1990) Hierarchies Jobs Bodies A theory of gendered organizations In Gender and Society
Connell R (1998) Gender and Power Society the Person and Sexual Politics Stanford University Press Stanford CA Maisel T (1990) Die Denkmaumller im Arkadenhof der Universitaumlt Wien Biographische Skizzen Wien Quellen Denkmalsakten Archiv der Universitaumlt Wien
Veranstalter Open Mind Projekt Utopie Freiheit httpwwwopenmindat vereinopenmindat Projektautorin Elisabeth Penker elpenkergmxat Bronzeguss Walter Rom Wachsmodel Buumlste Elisabeth Penker Steinsockel Ausfuumlhrung Fa Zehmann Mario Jungbauer Mediendesign Gernot Tscherteu httpwwwrealitylabatwphome gtrealitylabat Techn Umsetzung Christian Langreiter Webpage wwweliserichterat
Elisabeth Penker- Franzengasse 13- 1050 Wien ++43 (0)699 197 193 53 elpenkergmxat
Elisabeth Penker Untitled instruments 1-3 2000-2012
Galerie Georg Kargl Wien Galerie Priestor Bratislava Kuumlnstlerhaus Wien Kibla New
Media Center Maribor HTTP Galerie London Secession Wien Mak Wien Roma
Contemporary Wien
Elisabeth Penker Untiled Instrument Galerie Georg Kargl Wien
Curated by Michael Hall
Elisabeth Penker Untitled instrument 2001 New Media Center Maribor
Elisabeth Penker Untitled instrument 2001 New Media Center Maribor
Elisabeth Penker Untitled instrument Kuumlnstlerhaus Wien curated by Ursula Maria Probst
Live Performance mit Celia Mare
Detail Die BILD_HAU_ER_IN Kuumlnstlerhaus Wien
Live Performance Flower Structure Wiener Festwochen
Elisabeth Penker (Untiled instrument) Van Angh (Cello) Tri Minh Electronics
Elisabeth Penker Live Performance Poetics of space Secession Wien
MAK Nail Structure GRizo Sweet Susie Elisabeth Penker
Elisabeth Penker HTTP Gallery London 2005 curated by Tobi Maier
Elisabeth Penker HTTP Gallery London Live Performance
Elisabeth Penker Untitled Instrument Sonic Structure Kunsthaus Graz curated by Adam Budak amp
Christine Peters
Videolinks
httpwwwyoutubecomusersoundart24
Interview with Video Festwochen
httpbturncom8753interview-elisabeth-penker
Kunsthaus Graz
Protections
Kuratoren Adam Budak und Christine Peters
Elisabeth Penker Poetics of Dead Space
For PROTECTIONS Elisabeth Penker developed a key-sound Poetics of Dead Space which is to a large extent a homage
to Gaston Bachelards seminal book Poetics of Space where the connections between the poetry and the spatial emotions
are analysed Penkers key-sound will guide the viewer through the exhibition mapping the overall identity of the show in
some way controlling the viewers (audio-narrative) route in the maze of art objects events situations but also spatial
voids and unused corners
Fuumlr PROTECTIONS entwickelte Elisabeth Penker einen leitmotivischen Key Sound Poetics of Dead Space der weitgehend
eine Hommage an Gaston Bachelards wegweisendes Buch Poetics of Space darstellt in dem die Verbindungen zwischen
Lyrik und raumlumlichen Emotionen analysiert werden Penkers Key Sound wird das Publikum durch die Ausstellung geleiten
die Identitaumlt der Schau in ihrer Gesamtheit erfassen und in gewisser Weise die (audio-narrative) Route des Publikums im
Labyrinth der Kunstgegenstaumlnde Ereignisse und Situationen aber auch raumlumlicher Leerstellen und ungenutzter Winkel
kontrollieren
A non linear composition 7 mono active speakers are placed through out the Kunsthaus Graz Speaker placement
1 outdoor (entrance) 2 (travelator) 3 (corner with column) 4 (corner with door) 5 (corner) 6 (travelator) 7 (corner with
window)
Poetics of Dead Space Let it grow again 28 51 sec mono
Source material for composition rain sound of dried beans dropping down wood sticks breathing hardly existing
id78338975 pdfMachine by Broadgun Software - a great PDF writer - a great PDF creator - httpwwwpdfmachinecom httpwwwbroadguncom
recording of extinct languages
Poetics of Dead Space Let it grow again 28 51 sec mono
Source material for composition rain sound of dried beans dropping down wood sticks existing recording of extinct
languages
Poetics of Dead Space travelator 1 1min 04 sec mono loop
Source material for composition staff falling down man falling down stairs rattern recording untitled instrument
Background existing recording of extinct languages
Poetics of Dead Space 496 1min 409 sec mono loop
Source material for composition recording untitled instrument Background existing recording of extinct languages
Poetics of Dead Space 129525 1min 4888 sec mono loop
Source material for composition recording untitled instrument Background existing recording of extinct languages
Poetics of Dead Space 129525 1min 4888 sec mono loop
Source material for composition keyboard recording untitled instrument Background existing recording of extinct
languages
Poetics of Dead Space travelator 2 1min 5209 sec mono loop
Source material for composition recording untitled instrument violin Background existing recording of extinct
languages
Poetics of Dead Space2152518125220 1min 3200 sec mono loop
Source material for composition recording untitled instrument Background existing recording of library of extinct
languages
Poetics of Dead Space travelator 1 1min 04 sec mono loop
viewing down from upstairs Source material for composition staff falling down man falling down stairs rattern
recording untitled instrument Background existing recording of extinct languages
Poetics of Dead Space Let it grow again 028 51 sec mono
Source material for composition rain sound of coins wood sticks existing recording of extinct languages
Elisabeth Penker is a Viennese artist and musician working with sound in a sculptural context In her (subjective) tour
Penker approaches the entire anti-exhibition PROTECTIONS from an angle of its position and significance in the context
of Sound Art as located on the crossway between visual arts language and music Starting from her own house turned
into First Nation Pavillion which amongst others aims at connecting the recent discourse on cultural translation with
early avant-garde phonetic experiments Penker maps the sonic structure of Kunsthaus Graz and its (live) architecture
which for PROTECTIONS hosts an array of interdisciplinary projects with a strong audio-quality from Herwig Weisers
Death Before Disco (a micro-architecture of hyper-technological and electronic pop) through a newly created choir of
security guards for Tim Etchells Wall of Sound down to a cacophonic layers of anonimous noise generated by the
space itself and the presence of audience
Die Wiener Kuumlnstlerin und Musikerin Elisabeth Penker arbeitet mit Klang im Zusammenhang mit Bildhauerei In ihrer
(subjektiven) Fuumlhrung naumlhert sie sich der Anti-Ausstellung PROTECTIONS aus einem Blickwinkel der die Position und
Bedeutung der Klangkunst an der Kreuzung zwischen bildender Kunst Sprache und Musik verortet Von ihrem eigenen
Haus ausgehend das sich in den First Nation Pavilion verwandelt hat der u a den aktuellen Diskurs uumlber kulturelle
Uumlbersetzung mit fruumlhen phonetischen Experimenten der Avantgarde verbinden soll entwirft Penker die klangliche
Struktur des Gutshauses und seiner (Live-)Architektur die fuumlr PROTECTIONS eine Reihe von interdisziplinaumlren Projekten
mit einer starken Affinitaumlt zum Klang beherbergt von Herwig Weisers Death Before Disco (eine Mikroarchitektur aus
hyper-technoidem und elektronischem Pop) uumlber einen neu formierten Chor bestehend aus Security Guards fuumlr Tim
Etchells Wall of Sound bis zu einer Kakophonie aus anonymen Geraumluschen die vom Raum selbst und der Anwesenheit
des Publikums erzeugt werden
052813
Local Warming ATHENS
052813
AFTER A YEARLONG HIATUS the eighteenth Art-Athina hit the ground running on the evening of Thursday May 16 and the former Olympic
ldquoTae Kwon Dordquo Pavilion was packed with enthusiastic party people The fair had a more national flavor than ever this year under its new
director Alexis Caniaris the son of recently deceased artist Vlassis Caniaris whose iconic modern work has recently found great success on the
international market Of the very few foreign galleries exhibiting most were Greek-owned The Breeder gallery was dealing with the perceived
drop in the market by selling fantastic multiples by artists like Stelios Faitakis Jannis Varelas and Andreas Angelidakis at crisis-appropriate
prices ldquoNobody wants to come here now but I have already met three interested billionaire collectors today And if Greeks like you they
introduce you to their billionaire friendsrdquo raved Cologne dealer Mirko Mayer a seven-time exhibitor ldquoThat is what nobody knows There are
at least one-hundred billionaires collecting hererdquo Most international collectors were delayed several hours due to a union strike a de r igueur
mode of arrival in contemporary Greece
It was impossible to miss the exuberant activities of the DaDa Da restaurant a Greek-Austrian collaboration where artist Albert Mayr was
waving a skillet and raving nonsense while Lucas Willmann tenderized pink fillets for Wiener schnitzel ldquoThis is Viennese Actionism lightrdquo
quipped critic Sotirios Bahtsetzis Artist Natasha Papadopoulos added ldquoBut here there are hungry Greeks waitingrdquo On a table with a rotating
Sacher tort by Heacutelegravene van Duijne a sign carried the overwhelming spirit FUCK ART LETrsquoS EAT SOUVLAKI An insistent electronic beat and
pulsating light emanated from the next booth the American College of Greecersquos ldquoAthensUrgentrdquo while hooded performer Manos Tsatiris
stood against the wall with his hands tied perhaps a metaphor for the current Athenian exigency ldquoThis is not the kind of art fair scene we are
used tordquo said the Economou Collectionrsquos Annie-Claire Geisinger watching the madness
Left Artists Elisabeth Penker Michela Pelusio Petros Touloudis Panos Papadopoulos and Nino Stelzl Right Collector Anne-Marie Ros
Down on the floor the dealers seemed pleased particularly given dismal expectations having already sold a great deal at the preview Young
Rotterdam-based gallery Joey Ramone had sold sculptures by Fotini Gouseti to English and Belgian collectors dealer Erik Mulier had also sold
some work to Belgians Marc Van den Hende said he had bought a triptych by Eirene Efstathiou and was considering a Vlassis Caniaris piece
from the 1970s ldquoI saw some surprisesmdashyoung Greek artists I did not knowmdashand great new galleries like Elika and CANrdquo Dutch collector
Anne-Marie Ros said By the end of the day Dimitra and Sofia Vamiali reported that they had not seen one Greek collector although another
reported a Dakis Joannou sighting mdash Cathryn Drake
SEARCH
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SEATTLE
WEEKLY
in the News
Columnist
Geov Parrish
is a regular
guest on
Mind Over
Matters on
KEXP-FM
(903)
Saturdays at
830 am and
provides news
commentary
on KBCS-FM
(913) Fridays
at 430 pm
Catch writers
Steve
Wiecking Tim
Appelo and
ARTS
March 30 - April 5 2005
Picking Up the Thread
Howard House ties together the best new conceptual art from Vienna
by Elise Richman
Franz Wests Mercury
(Howard House Contemporary Art)
Theres a German expression to lose the red thread which means losing
ones train of thought In its current show Howard House has found that
thread Julie Ryan a curator artist and writer organized The Red
Thread Glimpses of International Art in Vienna a two-part exhibition
featuring artists working and living at least part time in Austrias capital
Part one of the show is at Howard House the second half is currently on
display at the Educational Alliance Gallery in New York
Vienna has become a magnet for artists from all over the world including
the 15 individuals and artist teams that are part of The Red Thread
Excellent artist residency programs a low cost of living and living art
legends like Franz West are just a few of the reasons
An artistic collaboration with West took Ryan from New York to Vienna
She knows Billy Howard who runs Howard House from the University of
Washingtons School of Art And so the figurative string was strung
connecting the East and West coasts with artists from across the Atlantic
This is a complex exhibit whose emotional tenor ranges from cool
detachment to an almost urgent earnestness Unlike the formal richly
historical city that connects them artists in The Red Thread favor informal
approaches to art making use disposable materials and comment on
contemporary cultural themes
West has two formidable sculptures at Howard House The front room of the
gallery features Mercury (pictured) an ungainly behemoth composed of a
patchwork of fused metal Like many of Wests sculptures Mercury is
meant as an interactive structure that viewers can climb and sit on Bulbous
Gavin
Borchert
discussing
theater film
and music
regularly on
classical
KING-FM
(981)
Mark Fiore
Cartoons
Every
Thursday
nodules extend from its horizontal base and the seams of the dark maroon
metal look like scars rendering it at once vaguely obscene and absurdly
playful
Sisyphus the other West sculpture on display is a bulky conglomeration of
bits and wads of paper propped in the back room on a makeshift plinth (base
block) Though its as solid as the boulder its title references its surface is
like oozing skin partly coated with poured murky paint partly cloaked in
small clumps of newspaper detritus
The strenuous act of making each of these sculptures is eminently apparent
and central to the content of Wests work West considers creation a
symbolic act As you might expect he likens the artistic process to the plight
of Sisyphus the mythological figure who eternally rolled a boulder up a hill
only to have it come crashing back down For West art involves a
Sisyphean search for what he calls the absolute through the seemingly
senseless accumulation of materials However unlike Sisyphus futile quest
Wests process can lead to epiphany making sense of the senseless
Similarly Viennese artist Elisabeth Penkers art serves a facilitative
function easing the act of translation Penker uses Haida iconography in her
multimedia work because it provides potent visual symbols that
communicate single words and whole sentences simultaneously Her prints
at Howard House feature fragments of icons floating in the papers white
space They are spare visually arresting characters that employ an
iconographic language as encoded symbols of communication
Also featured in The Red Thread is Donald Baechler an internationally
known American painter who spends extended periods of time in Vienna
Baechler equalizes his imagery by painting it all in the same style For him
the source of an image doesnt matter whether its a drawing by Picasso or
graffiti on a bathroom wall What matters is the newfound context his
paintings provide
Victory by Default is part of Baechlers Skull series In this piece a painted
skull gapes from the dirty yet sensuous confines of a large canvas Terry
cloth and wrinkled rags provide literal texture and reference the world
outside the paintings boundaries Splatterings of color around the skull like
the self-conscious marks of Jasper Johns seem to express the language of
paintingmdashhue and gestural strokesmdashin a factual rather than illusional
manner
Another American painter Lisa Ruyter lives half-time in Vienna where she
runs an influential gallery She works from photographs projected onto
large-scale canvases tracing the contours of the projected imagery with
consistent black outlines In a way that seems arbitrary she paints the shapes
formed by her contour lines in flat designer colors Man of Means based on
a photo of fashion photographers looks like a scrambled color-by-numbers
painting I cant do justice to the unusually rich assortment of conceptual art
in The Red Thread Youll just have to see it for yourself Thomas
Baumans thrashing triangular foil blanket Walter Seidls slide show of
staged snapshots Markus Schinwalds photograph of a contortionist and the
other thoughtful works connected by The Red Thread
The Red Thread Glimpses of International Art in Vienna runs through
April 30 at Howard House 604 Second Ave 206- 256-6399 1030 amndash5
pm TuesndashSat Free
KUNSTFORUM
Parallelwelten fuumlr Parlamentarier Ausstellung
Von Brigitte Borchhardt-Birbaumer
Ende Oktober endet die Zusammenarbeit von Nationalratspraumlsident Andreas Khol und Peter Pakesch Direktor des Kunsthauses Graz am Joanneum Seit 2003
hatte Pakesch als Kurator mehrere Ausstellungen in den Sitzungssaumllen des Parlaments in Zusammenarbeit mit Galerien initiiert und namhafte Positionen
ausgewaumlhlt Kriterium fuumlr Praumlsentationen war die Praumlsenz durch eine Schau in einer der bekannten Kunstinstitutionen des Landes Nach Eva Schlegel Adriana
Czernin Maria Lassnig oder Esther Stocker sind dies nun bis April 2007 Josef Dabernig Daniel Hafner Ulrike Lienbacher Alois Mosbacher und Elisabeth
Penker
Das Parlament kann dabei durch die Margaretha-Lupac Stiftung immer eine Arbeit fuumlr die wachsende Sammlung des Hauses ankaufen Zuletzt war das ein
groszliges Oumll-Acryl-Gemaumllde der Georg-Eisler-Preistraumlgerin Maja Vukoje zuvor Johanna Kandl deren Temperabild derzeit an das Lentos in Linz geliehen wird
Einige Werke haumlngen schon als kuumlnstlerische Wegweiser in den Gaumlngen des Hauses und sind auch Blickfang fuumlr die 120000 Besucher die pro Jahr das
Parlament besuchen In die Architektur von Theophil Hansen mit ihrer zeitlosen Qualitaumlt fuumlgt sich die Gegenwartskunst kongenial
Hoffnung fuumlr spaumlter
Die derzeitige Zusammenstellung macht Hoffnung auf eine Fortsetzung unter der naumlchsten Praumlsidentschaft Fotografie Computerkunst Malerei Zeichnung
und Skulptur weisen auf die Vielfalt der Werkstoffe in der Gegenwartskunst Elisabeth Penker parallel im Kunsthaus Graz zu sehen baut schwarzweiszlige
Objekte aus bemaltem Holz die in ihrer seriellen und geometrischen Anordnung auf Bezuumlge zum Performativen und auf die Musik hinweisen
Noch juumlnger ist Daniel Hafner mit seinen am Computer komponierten digitalen Drucken Morphosentransformationen von 2006 Linienraster und
Raumkonstruktionen in subtiler Farbigkeit verbinden Tendenzen der fruumlhen Op-Art mit dem Cyber-Lab
Um konstruierte Realitaumlten geht es auch in den groszligformatigen Oumllbildern von Alois Mosbacher dem bekannten Vertreter der Neuen Wilden der
Achtzigerjahre in Oumlsterreich Wanderer in Wald und Wiese erzaumlhlen die Geschichten alternativer Welten die sich mancher in der Gesellschaft als Parallele
konstruiert
Zwei Fotofriese von Josef Dabernig bilden jeweils ein Panorama von oumlffentlichen Plaumltzen auf denen es zum einen um Fuszligball geht Zum anderen ist der
Rundblick in das Oval einer scheinbaren Arena auch eine Art Sehschule fuumlr die Betrachter Ein sozialer Befund ist die dritte Bedeutungsebene
Ulrike Lienbacher die heuer mit einer groszligen Schau im Innsbrucker Taxispalais ihre Karriere fortsetzt ist mit ihren feinlinigen Tuschezeichnungen den kleinen
oft unsichtbaren Zwaumlngen in unserer Gesellschaft auf der Spur Im Lokal II des Parlaments stellt sie zwar nicht ihre Objekte und Fotos aber einige
groszligformatige Blaumltter mit Frisurenvariationen neben teils fragmentierten Frauenkoumlrpern im Umgang mit Schmutz und Hygiene aber auch Fitnesskult aus
Disziplinierung und Kontrolle betreffen in der Oumlffentlichkeit besonders den weiblichen Koumlrper Sauberkeitsmechanismen weisen auch auf Vorstellungen von
wertvoll und minderwertig hin Ihre Transformationen enthalten wie die Themen der anderen subtile Kritik und sind daher vom Kurator uumlberlegt positioniert
Zeitgenoumlssische Kunst
im Parlament
Bis April 2007
Kurator Peter Pakesch
Konfrontationen
Dienstag 10 Oktober 2006
ltlt 2003 | 2004 Jan Feb Mar Apr May Jun Jul Aug Sep Oct Nov Dec 2004 | 2005 gtgt
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31
Sunday 17 October 2004
TIME
TITLE
NAME
700 Indymedia ESF breakfast show Indymedia London
Highlights news and views from the European Social Forum and the
autonomous spaces and initiatives taking place this week
website
800 Resonance Radio Art Riot Breakfast International
Radio Art
A five part special of the Harmon E Phraisyar show commissioned for
Kunstradio in Austria starts off the morning broadcast of international radio
art
website
1100 Resonance Live from the Frieze Art Fair Anna Colin amp
Tobi Maier
1100 Chris Weaver Resonance 1044FM live electronics set with James Dunn and
Robin Warren
1130 Michael Hall gallery Vienna presents audio works by artist Elisabeth Penker
1200 Maria Fusco presents latest the Bookworks commissions
1300 The Psychology of Collecting live broadcast of the frieze art fair panel
discussion
Is collecting an irrational act guided by compulsion and desire What are the use of
objects What are the motivations behind making collecting curating and
criticizing art A discussion of the psychology of collecting and the politics of taste
Hilary Rubenstein (Psychologist)
Eric Troncy (Art Critic and Director Le Consortium Dijon)
Haim Steinbach (Artist)
Chair Alice Rawsthorn (Director Design Museum)
1500 Portable live set and presentation of sudelectronic records London
1600 Where is Adventure What is Culture live broadcast of the frieze art fair
website
panel discussion
A discussion of the relationship of art to entertainment touching on the comedic
being popular and failing miserably
Trisha Donnelly (Artist)
Christian Jankowski (Artist)
David Robbins (Writer amp Artist)
Nancy Spector (Curator of Contemporary Art Solomon R Guggenheim Museum)
Chair Matthew Higgs (Curator CCA Wattis Institute for Contemporary Arts)
1800 Melissa Bent from Rivington Arms gallery New York in conversation with
artist Dan Colan and Tobi Maier Anna Colin
1830 VOX pop recordings from the fair with Sharon Gal
1900 Resonance Radio Art Riot Sarah
Washington
The Resonance Radio Art Riot brings together some of the foremost radio artists
and thinkers from around the world The studio lab situation will feature round
table discussions live performances and streamed events
Tonight Radio Text
Events Live broadcast from Sonic Arts Network Resonance benefit featuring
Henri Chopin studio performances from Julia Lee Barclay and Aude Tournay plus
Special Features None present live concrete radiophonics - Planning For
Emergencies
Guests include Clive Graham Chris Weaver Richard Thomas Toby Clarkson
John Lovett Robin Warren and James Dunn
Topics The word as art Sound poetry text performances
At Midnight Tom Wallace present exclusive excerpts from radio art pioneer
Gregory Whitehead
website
000 Resonance Radio Art Riot Nights International
Radio Art
The Resonance Radio Art riot continues throughout the night with the finest of
international radio art Resonance FM programme makers and our international
guests have put together many special hours of classic and obscure radio
works
website
- EPenkerDocumentationpdf
-
- 2bAusstellungenPublicaSpaceEPenkerpdf
-
- 2cUntitled_InstrumentsKunsthausGrazEPenker
- 2bpoeticsKunsthaus GrazEPenker
-
- 4PresseEPenkerpdf
-
- 4Review_Seattle Weekly
-
_________________________________________ Charim Events Schleifmuumlhlgasse 1a A-1040 Wien httpwwwcharimgalerieat charimcharimgalerieat
Elisabeth Penker 1974 Reiszligeck A lives in Vienna EDUCATION 2005 - 2006 Post-academic Studies Jan Van Eyck Academy Maastricht NL 1993 -1998 MA Sculpture Academy of Fine Arts Vienna (Bruno Gironcoli) 1998 National Academy of Fine Arts New Media Department Oslo NO SOLO EXHIBITIONS 2014 Charim Events (with Ferdinand Penker) Vienna 2013 Central Station (with Dada Da Academy) Maribor SL 2010 Galerie Naumlchst St Stephan Rosemarie Schwarzwaumllder (log-in) Vienna 2010 Roma Contemporary (curated by Ilari Valbonesi) (Solo Performance) Rome IT Archive amp Storage Saprophyt Vienna 2009 Into the city Asian Village Wiener Festwochen (Solo Performance) Vienna 2008 MAK CAT Tower (curated by Andreas Kristof) Museum fuumlr angewandte Kunst Vienna 2006 Kuumlnstlerhaus Stuttgart (curated by Elke von der Moore) with FOGO LAB DE Kuumlnstlerhaus Passagengalerie (curated by Ursula Probst) Vienna 2005 HTTP Gallery (curated by Tobi Maier) London 2003 Galerie 5020 Salzburg A LISTE 03 (with Galerie Michael Hall) Basel CH 2002 Kibla New Media Center Maribor SL 2001 Galerie Kunstbuero Vienna 2000 Gallery GUN Oslo Kuumlnstlerhaus Klagenfurt (cat) Hard CORE Temporary Services Chicago 1997 Gallery Trabant Vienna Institut fuumlr Gegenwartskunst (curated by Ute Meta Bauer) Vienna SELECTED GROUP EXHIBITIONS 2014 Cantiere Continuo Dordolla curated by Moreno Miorelli (IT) organized by UNIKUM University of Klagenfurt A Art Athina GR Artaerea Dada Da Academy Tbilisis GE 2013 The Program Gallery 400 UIC Chicago (curated by Michael Hall) US ReMap4 Athens Kunstraum am Schauplatz Vienna Interior Praterstrasse 12 Vienna Art Athina DaDa Da Acadmey Athens 2011 Greek State Museum Manihesto (curated by Eirini PapakonstantinouThessaloniki) GR Galerie Baumlckerstrasse (curated by Adam Budak) Vienna 2010 Center for Contemporary Art ldquoSites + Subjectsrdquo (curated by Jakob Racek) Plovdiv BG DaDa Da Academy Archive on view Corridor Gallery Plovdiv BG originalfunktional formal Bawag Foundation (curated by Stefan Bidner) Vienna Pro Choice in Schattendorf Kunstverein Schattendorf (curated by Pro Choice) AT Spazi Aperti - The Vagabond cant Draw The Romanian Academy Rome (IT) 2009 Dada Da Academy Kunstraum am Schauplatz Vienna FREI (Performance) Secession Vienna MIETE STROM GAS oder BRASILIAN WAX Museumsquartier Vienna 2007 Social SculptureCultural Design Galerie Michael Hall Vienna
Documenta 12 Collaboration with Ricardo Basbaum (FOGO LAB) Kassel D ldquofield worksrdquo Remont Gallery Belgrade YU Kunsthaus Muumlrzzuschlag A bdquoMapping Eu-Regionldquo (FOGO LAB) Culture Center Eupen BE Kunstverein Weiden Weiden (curated by Florian Schmidt) D ldquoThe Migrating Museumrdquo Jan Van Eyck Academy Maastricht NL
2006 ldquoprotectionsldquo Kunsthaus Graz (curated by Adam Budak Christine Peters) NADA (Galerie Kosak Hall) Miami Kunst im Parlament Vienna (curated by Peter Pakesch) Wien Artissima (Galerie Kosak Hall) Turin IT bdquoRunawayldquo Galeria Priestor for Contemporary Arts Bratislava SK
_________________________________________ Charim Events Schleifmuumlhlgasse 1a A-1040 Wien httpwwwcharimgalerieat charimcharimgalerieat
2005 ldquoWo ist Elise Richter wo isthelliprdquo University of Vienna ldquoTransformerldquo Fluc (curated by ProbstSeidelWagner) Vienna ldquoClouding Europerdquo Gandy Gallery Bratislava
ldquoUtopie und Freiheitrdquo Kunsthalle Exnergasse Vienna ldquoThe Red Threadrdquo Howard House Gallery Seattle WA USA
ldquoThe Red Threadrdquo Educational Alliance New York ldquoBrutal Ornamentalrdquo Galerie Kosak Hall Vienna 2004 ldquoSwap Meetrdquo Desert Test Site Joshua Tree CA (curated by General Store amp Heather Hubbs) US ldquoSound Studiordquo Galeria Priestor for Contemporary Arts Bratislava SK ldquoBorn to be a Starrdquo Kuumlnstlerhaus Vienna (curated by Ursula Probst) cat 2003 ldquoSound Systemldquo Salzbuger Kunstverein (curated by Hildegund Amanshauser
Edek Bartz) Salzburg A ldquohigh hillsldquo Kunst im oumlffentlichen Raum (curated by Cornelia Offergeld) Krems A
2002 ldquoWaiting for the Ice Agerdquo Georg Kargl Vienna ldquohear the artldquo Kunsthalle Exnergasse Vienna ldquoThe Experimentrdquo with FOGO LAB Secession Vienna 2001 bdquoDu bist die Weltldquo with FOGO LAB Kuumlnstlerhaus Vienna
ldquoFirst Story-Women Buildingrdquo Galerie do Palacio Cristal with FOGO Lab (curated by Ute Meta Bauer) Porto PT ldquo(untitled) 654321ldquo Kunsthallen Brandts Klaedefabrik (curated by Jacob Fabricius) DK Performance Festival Odensee (curated by Jacob Fabricius DK ldquoviennese loungerdquo with the Theremin Foundation Moscow
ldquoSollbruchstellenldquo Kunst im oumlffentlichen RaumUNIKUM University of Klagenfurt AT 2000 ldquonew austrian spotlightrdquo University Marmara Istanbul (cat) Gallery Rhizom Aarhus DK
ldquoviennese loungerdquo in collaboration with Camera Austria G9 Projectspace Oslo 1999 Kuvataideaktemian Galleria Helsinki Kuumlnstlerhaus Passagengalerie Vienna ldquoViennese loungerdquo Dock 11 Berlin 1998 ldquocome togetherrdquo Portfolio Kunst AG Vienna 1997 ldquo10 Jahre Trabantldquo Trabant Vienna ldquo2 plateauxrdquo Mezzanin Vienna 1996 Private work Semeprdepot Vienna Private work Cairo Agypt 1993 ldquoFree Academy Moscowrdquo curated by Alexander Petlura Moscow RU ART IN PUBLIC SPACE 2014 Cantiere Continuo Dordolla Moreno Miorelli (IT) organized by UNIKUM University of Klagenfurt A 2013 Central Station Maribor SL 2005 ldquoWo ist Elise Richter wo isthelliprdquo University of Vienna 2004 ldquohigh hillsldquo Kunst im oumlffentlichen Raum (curated by Cornelia Offergeld) Krems A 2001 ldquoSollbruchstellenldquo Kunst im oumlffentlichen RaumUNIKUM University of Klagenfurt A PUBLICATIONS SELECTED CATALOGUES ldquoits about timerdquo Jan van Eyck Akademie JVE Maastrich NL 2008 p156-176 Protections Verlag der Buchhandlung W Koumlnig Cologne 2006 (Hrsg Peter Pakesch Adam Budak Veronica Kaup-Hasler C Peters) Kunsthaus Graz A ldquoits about timerdquo Jan van Eyck Akademie JVE Maastrich NL 2008 p156-176 ldquoWaiting for the ice agerdquo Kargl Fine ArtsBox Verlag der Buchhandlung Walther Koumlnig Cologne 2006 Ursula Probst ldquoBorn to be a Starrdquo Kuumlnstlerhaus Schlebrueggeeditor Vienna Diana Baldon ldquoTransformerrdquo Fluc (curated by ProbstSeidelWagner) Vienna 2005 Gandy Gallery ldquoClouding Europerdquo Gandy Gallery Bratislava 2005 Ursula Probst bdquoUtopie und Freiheitldquo Kunsthalle Exnergasse Vienna 2005 Hildegund Amanshauser bdquoSound Systemldquo Magazin 8 Salzburger Kunstverein 2003 p57-63 Cornelia Offergeld ldquoPublic Artrdquo Springer ViennaNew York 2003 p 93 Sollbruchstellen Kunst im oumlffentlichen Raum Unikum University of Klagenfurt 2002 Ute Meta Bauer ldquocase 2-First Storyrdquo FOGO-LAB 2002 p1-10 Jacob Fabricius amp Tommy Lund ldquountitled 654321rdquo Kunsthalle Brandts 2001 p57-61 BKA Kunst ldquoNew Austrian Spotlightrdquo University Marmara IstanbulVienna 2001 Ulli Sturm bdquocoming outldquo Kuumlnstlerhaus Klagenfurt 2000 PUBLISHED TEXTS SELECTED BIBLIOGRAPHY Elisabeth Penker ldquoNon-Linear Structures in Film and Musichelliprdquo(fem) Additivesrdquo Lautsprecher Verlag Stuttgart (Co-Editor with FOGO Lab)
_________________________________________ Charim Events Schleifmuumlhlgasse 1a A-1040 Wien httpwwwcharimgalerieat charimcharimgalerieat
Elisabeth Penker ldquoContact Situations Language and Rhythm Transformationrdquo Sound Art supplement Resonance Mag-azine London 2005 p 22-29 ( editors Tobi Maier amp Anna Colin) Elisabeth Penker ldquoThe tactility of sound is the inverse of sculpturerdquo Ursula Probst (editor) Skug Magazine Vienna 2004 SELECTED BIBLIOGRAPHY Cathryn Drake Local Warming Art Athina 28th of May 2013 Tamara Dinka Interview Elisabeth Penker b-turn 17th of June 2012 Roland Schoumlny Auf den Spuren gesellschaftlicher Ordnungssysteme artmagazine Jan 2010 Ursula Maria Probst A Vibrant Scene scene 2 p 57 April 2009 Georg Leisten Stuttgarter Nachrichten FOGO Lab Kuumlnstlerhaus Stuttgart p 35 Feb 2006 Michael Hall bdquoBrutal Ornamentalldquo STAR Magazine (projects with Elisabeth Penker Katja Strunz Ian Rosen Minoru Shimizurdquo April 2006 Vienna Ursula Probst bdquoIndikatoren kultureller Spielraumlumeldquo artmagazine Vienna 20 Dec 2005 Dagmar Buchta bdquoWo ist Elise Richter wo ist ldquo die Standard 17 November 2005 Diana Baldon ldquocritics picks Elisabeth Penkerrdquo Artforum June 2005 Elise Richmann ldquoThe Red Threadrdquo Seattle Weekly March 2005 Michaela Hafner bdquoAnonyme Wissenschafterin im Arkadenhofldquo Die Universitaumlt Online am 23 Nov 2005 Dieter Buchhart Born to be star Kunstforum September 2004 Johanna Hofleitner ldquoReview Born to be a Starrdquo artmagazinecc 072004 Christian Houmlller bdquoSound Systemldquo Springerin issue 303 p 85-86 Antje Mayer bdquoAn oder Ausldquo Kunstzeitung Nr 85 Sept 2003 p27 Johanna Hofleitner ldquoKunstraumrdquo Die Presse (Wien) 27 November 2003 Almuth Spiegler ldquoMutig und total relaxedrdquo Die Presse (Vienna) 24 July 2003 Ursula Probst ldquohear the artrdquo artmagazinecc 062002 Katy Depwell amp Ute Meta Bauer nparadoxa ldquoRethinking Revolutionrdquo Vol 10 2002 p 73 Jacob Fabricius amp Tommy Lund ldquountitled 654321rdquo Kunsthalle Brands 2001 p57-61 Michael Hall ldquoElisabeth Penkerrdquo Camera Austria issue 76 2001 p66-67 Nicole Scheyerer Review ldquoCT3rdquo Falter 2601 Vienna p70 Franc Wakounig ldquoKo (ce) se na Koroskem zemlja treserdquo Vestnik 3152001 ldquoSollbruchstellenrdquo Standard 3052001 Viennese lounge ldquoOumlsterreich 2000 contributionsrdquo Camera Austria issue 70 2000 p162 Sulie Tankut ldquoCagdas sanat ve Avusturyardquo Nilliyet Istanbul November 8 2000 Sabine Oppolzer ldquoPoesie eines blassen Dandysldquo Die Presse Vienna 1998 RESIDENCIES GRANTS amp PRIZES 2014 SEA Residency Kreta GR 2010 Rome Residency BMUKK Austrian Ministry for Education Art and Culture 2009 Theodor Koumlrner Preis fuumlr wissenschaftliches Arbeiten Vienna 2005 Austrian Academy of Science Doc-Stipendium Vienna 2000 Oumlsterreichisches Staatsstipendium BKA (Vienna) 2000 ldquoSix Practicesrdquo (London Residency Grant) Sound Designer- Post Production for Feature Film University for Applied Arts Vienna amp De Lane Lea Studio London 1999 kurzes wissenschaftliches Arbeiten im Ausland Leonardo Maestro Matic Sound Designer- Post Production for Feature Films Chicago 1998 Chicago Residency BKA (Vienna) Erasmus NATIONAL Academy of Fine Arts Oslo SELECTED RADIO CONTRIBUTIONS 2012 SOUNDART IN A SCUPTURAL CONTEXT Resonance fm1043 London 2010 CONCERTO PER DUE CAVALLI RAM ARTE MOBILE ROM 2005 Language and Rhythm Transformation Twen Fm 1041 Night Academy edited by Joulia Strauss Berlin DE 2005 Radio Orange Sound Sculptures by Elisabeth Penker edited by Rainer Wagnus Vienna 2004 Resonance fm1043 live from the Frieze Art Fair (curated by Tobi Maier) London 2004 EX TEMPORE 43 +PLUS Channel 5 Channel 5 wwwradioartsk Bratislava Weblinks Audio-Video Excerpts and documentation httpwwwyoutubecomusersoundart24 httpwwwelisabethpenkertumblrcom
_________________________________________ Charim Events Schleifmuumlhlgasse 1a A-1040 Wien httpwwwcharimgalerieat charimcharimgalerieat
ELISABETH PENKER FERDINAND PENKER curated by Michael Scott Hall Eroumlffnung Opening 24042014 19 Uhr 7 pm Charim Events Schleifmuumlhlgasse 1 a A ndash 1040 Wien Dauer Duration 2504 ndash 10052014 Oumlffnungszeiten Opening Hours Mi-Fr 11-18 Uhr Sa 11-16 Uhr Though they share the same last name Elisabeth Penker amp Ferdinand Penker represent two different generations and work in completely different mediums and share an interest in seriality complex systems and repetition Most importantly each artist obscures their own medium of choice Ferdinand Penkers tempera on canvas paintings (in the exhibition) utilize linear compositions and appear from a distance printed or collaged until closer inspection reveals a more handmade quality He is presented here by his leaners which are architecture-specific paintings in that they can be arranged in response to given architectural context by either leaning against the wall or another painting or wedged between the ceiling and floor Each new architectural context creates a slightly different compositional oppourtunity Since his earliest installations in the 70 - 80s Ferdinand Penker has long had a strong interest in the relation between the architectural space of where and how the painting hangs and the flatness of the micro-thin space inside his paintings Penker lived and worked in San Francisco in the 1970-80s perhaps picked-up some tendencies which are more common in Northern California (than to Austria) concerning ideas of space and light Simultaneously the Sculptor Elisabeth Penker will present an ongoing series of portraits (photo-collages) entitled Split Representation utilizing the formal structure discussed by Claude Levi-Strauss in his essay Split Representation in the Art of Asia and the America in which he compares different cultures and different periods in history from Shang (China) Haida (Native Americans) Caduveo (Brazil) and Maori (New Zealand) who all use similar stylistic elements to represent (for example) the face (or portrait) which is not seen from the front but as two profiles merged together to form one Elisabeth Penker appropriates the portraits of philosophers anthropologist cultural scholars amp artists and re-represents them in a Split style developing a new hybrid-form of representation which merges both Western and Non-Western concepts of representation Along with the photo-collages Elisabeth Penker will also present a sound piece entitled Comparative Morphemesrdquo The composition is based on the grammatical classifications of languages deconstructed into minimal phonetic units and then reconstructed into new (word) forms Elisabeth PENKER (1974 Reiszligeck) Upcoming Book Project Onamatopee Eindhoven NL Solo Exhibitions Roma Contemporary (curated by Ilari Valbonesi) Rome Galerie naumlchst St Stephan (Log-in) Vienna MAK CAT Tower (cura-ted by Andreas Krištof) Vienna Kuumlnstlerhaus Stuttgart with FoGo Lab (curated by Elke aus dem Moore) HTTP Gallery (curated by Tobi Maier) London Liste 03 Basel Temporary Services Chicago Institut fuumlr Gegenwartskunst (curated by Ute Meta Bauer) Vienna Selected Group Exhibitions include The Program University of Illinois Chicago Protections Kunsthaus Graz (curated by Adam Budak amp Christine Peters) Kunsthalle Brandts (curated by Jacob Fabricius) DK Sound System Salzburger Kunstverein (curated by Hildegund AmanshauserEdek Bartz) Salzburg Howard House Gallery Seattle ldquoFirst Story-Women Buildingrdquo Galerie do Palacio Cristal with FOGO Lab (curated by Ute Meta Bauer) Porto PT Ferdinand PENKER (1950 Klagenfurt) He has had residencies in Japan Poland and Ireland Recent Book Projects include his monograph (2010) and A Murder of Crows (2003) from Ritter Verlag (Klagenfurt) Selected Solo Exhibitions MMK Klagenfurt (2010) Galerie Ritter Klagenfurt (2011 2009 2004) Sclatter St London (2010 2000) Galerie Schuumltte bdquoChamber Musicldquo (with Trevor Sutton) Essen DE Austrian Cultural Forum London Museum Joanneum Graz (2003 1994 1990) Machiya Bunka Center bdquo45 Views of a Square Tokyo Umjetnicka Galerija Bosne i Hercegovine Sarajevo BH KALA Institute Berkeley CA Kaumlrntner Landesgalerie Klagenfurt Forum Stadtpark Graz Van Doren Gallery San Francisco CA Secession Wien
ELISABETH PENKERcurated by Michael Scott Hall
Eroumlffnung Opening 24042014 19 Uhr 7 pmCharim Events Schleifmuumlhlgasse 1 a A ndash 1040 Wien
Dauer Duration 2504 ndash 10052014Oumlffnungszeiten Opening Hours Mi-Fr 11-18 Uhr Sa 11-16 Uhr
The Sculptor Elisabeth Penker presents an ongoing series of photo-collages entitled Split Representation utilizing the formal structure discussed by Claude Levi-Strauss in his seminal essay Split Representation in the Art of Asia and the America in which he compares different cultures and different periods in history from Shang (China) Haida Gwaii (Native Americans) Caduveo (Brazil) and Maori (New Zealand) who all use similar stylistic elements to represent (for example) the face (or portrait) which is not seen from the front but as two profiles merged together to form a frontal view
Northwest coast (Haida Gwaii) Tsimshian (Chinese)
Maori Face Tattoo Caduveo Woman with painted face (drawing by G Boggiani 1892)
Elisabeth Penker appropriates the portraits of philosophers anthropologist cultural scholars amp artists and re-represents them in a Split style developing a new hybrid-form of representation which merges both Western and Non-Western concepts of perspective and representation Penker paints onto the photo-collages and marks areas with geometrical referencing the face tattoos of Maori and the face paintings of the Caduveo IndiansPenkeracutes selection of portraits is based on cultural scholaracutes who are relevant in the field of cultural translation gender studies and multiple perspectives such as the first cubist collage from Pablo
rPicasso which were originally shown as first part of her First Nations Pavilion in Kunsthaus Graz Since two profiles are merged to form a single frontal view there are two perspectives in the picture much like Cubism- showing multiple perspectives in one picture Similar to the how Cubist represented three-dimensional volumes on a two-dimensional surface- when native inhabitants were asked to draw a face tattoo on paper they drew it as if they were drawing directly on the face which distorts the perspective when applied to paper Split representation in Haida Maori and Caduveo culture were built symmetrically in relation to two axes the main vertical axis is centered between the eyes following the median plane of the face the horizontal axis divide the face at eye level The eyesare used as starting points for two inverted spirals one of which covers the right cheek and the other the left side of the foreheadhellip It is not easy to analyze the design because of its apparent asymmetry- which nonetheless masks a real though complex symmetry Levi-Strauss
Along with the photo-collages Elisabeth Penker also presents a sound piece entitled Comparative Morphemesrdquo The composition is based on the grammatical classifications of languages beginning in the 19th century linguists attempted to group the worlds languages into four morphological categoriesbased on how words are formed analytic agglutinating synthetic and polysynthetic Penker choose one language of each group Chinese Turkish Burmese and a polysynthetic language She deconstructed recordings of these languages into minimal phonetic units and then reconstructed it into new (word) forms
Elisabeth PENKER (1974 Reiszligeck) Upcoming Book Project Onamatopee Eindhoven NL Solo Exhibitions Roma Contemporary (curated by Ilari Valbonesi) Rome Galerie naumlchst St Stephan (Log-in) Vienna MAK CAT Tower (curated by Andreas Krištof) Vienna Kuumlnstlerhaus Stuttgart with FoGo Lab (curated by Elke aus dem Moore) HTTP Gallery (curated by Tobi Maier) London Liste 03 Basel Temporary Services Chicago Institut fuumlr Gegenwartskunst (curated by Ute Meta Bauer) Vienna
Selected Group Exhibitions include The Program University of Illinois Chicago Protections Kunsthaus Graz (curated by Adam Budak amp Christine Peters) Kunsthalle Brandts (curated by Jacob Fabricius) DK Sound System Salzburger Kunstverein (curated by Hildegund AmanshauserEdek Bartz) Salzburg Howard House Gallery Seattle ldquoFirst Story-Women Buildingrdquo Galerie do Palacio Cristal with FOGO Lab (curated by Ute Meta Bauer) Porto PT
Selected works from the series Split Representation
Titles
Elisabeth Penker
ldquoSplit Representation Walter Benjamin Bluerdquo 60 x 40 cm framed (Paint on Photo-Colllage) 2013 edition of 5 (ea unique)
ldquoSplit Representation Rosa Luxemburg Yellowrdquo 60 x 40 cm framed (Paint on Photo-Colllage) 2014 edition of 5 (ea unique)
ldquoSplit Representation Rosa Luxemburg Caduveo Womanrdquo 60 x 40 cm framed (Paint on Photo-Colllage) 2014 edition of 5 (ea unique)
ldquoSplit Representation Simone de Beauvior Brownrdquo 60 x 40 cm framed (Paint on Photo-Colllage) 2014 edition of 5 (ea unique)
ldquoSplit Representation Trinh T Minh-ha Bluerdquo 60 x 40 cm framed (Paint on Photo-Colllage) 2013 edition of 5 (ea unique)
ldquoSplit Representation Angela Davis Greenrdquo 60 x 40 cm framed (Paint on Photo-Colllage) 2014 edition of 5 (ea unique)
ldquoSplit
Representation Self-Portraitrdquo 60 x 40 cm framed (Photo-Colllage) 2014 edition of 25
ldquoSplit Representation Frantz Fanon Copperrdquo 60 x 40 cm framed (Paint on Photo-Colllage) 2014 edition of 5 (ea unique)
ldquoSplit Representation Pablo Picasso 1rdquo 60 x 40 cm framed (Photo-Colllage) 2012 edition of 5
ldquoSplit Representation Pablo Picasso 2rdquo 60 x 40 cm framed (Photo-Colllage) 2012 edition of 5
ldquoSplit Representation Pablo Picasso 3rdquo 60 x 40 cm framed (Photo-Colllage) 2012 edition of 5
ldquoSplit Representation Ferdinand de Saussure 1rdquo 60 x 40 cm framed (Paint on Photo-Colllage) 2013 edition of 5 (ea unique)
ldquoSplit Representation Ferdinand de Saussure 2rdquo 60 x 40 cm framed (Photo-Colllage) 2013 edition of 5
ldquoSplit Representation Ferdinand de Saussure 3rdquo 60 x 40 cm framed (Paint on Photo-Colllage) 2013 edition of 5 (ea unique)
installation views Charim Events at Schleifmuumlhlgasse 1A Vienna April - May 2014
Elisabeth PenkerFerdinand Penker at Galerie Charim curated by Michael Scott Hall
Elisabeth PenkerFerdinand Penker at Galerie Charim curated by Michael Scott Hall
Elisabeth PenkerFerdinand Penker Galerie Charim curated by Michael Scott Hall
Elisabeth PenkerFerdinand Penker Galerie Charim curated by Michael Scott Hall
Elisabeth PenkerFerdinand Penker Galerie Charim curated by Michael Scott Hall
Elisabeth Penkerinstallation View Gallery 400 Chicago (left bdquoSplit Representation Ferdinand de Saussure (Green)ldquo right bdquoSplit Representation Walter Benjamin (Blue)ldquo 2013
Elisabeth Penkerinstallation View Gallery 400 Chicago left bdquoSplit Reprersentation Walter Benjamin (Blue)ldquo right bdquoSplit Represntation Frantz Fanon (Copper)ldquo 2013
Elisabeth Penkerinstallation View ReMap4 at Camp (Athens) 2013 Ferdinand de Saussure (Blue)
ELISABETH PENKER ldquoVienna calling comparative contemporary artrdquo LOG-IN amp VORRAUM GALERIE NAumlCHST ST STEPHAN ROSEMARIE SCHWARZWAumlLDER Elisabeth Penkers Skulpturen und Audiofilme sind seit 1998 im Bereich von Comparative Art und Sound Art verankert und untersuchen anhand von Sprachmorphologie die Verbindungen zur musikalischen und visuellen Grammatik In Elisabeth Penkers Ausstellung bdquoVienna calling comparative contemporary artrdquo ist der Titel in
Zusammenhang mit der Sprachmorphologie von Wiener Museen lesbar Penkers gezeigte Skulpturen vergleichen visuellelinguistische und musikalische Grammatiken (z B Moderne Kunst und First Nations Art) und verwenden die Ergebnisse als Ausgangsstruktur fuumlr die jeweilige Komposition Ihre Collagen Fotografien Diagramme und Zeichnungen sind erweiterte Fragestellungen ihrer Skulpturen Elisabeth Penker hat in Tonstudios in London und Chicago gearbeitet und seit 2000 eine Serie von Musikinstrumenten entwickelt die die Aufnahme-Methode von Jack Foley verwenden Exzerpte ihrer Multi-
Channel-Kompositionen wurden von Resonance 1044 fm (London) gesendet Weiters ist ein Text von Elisabeth Penker uumlber Sound Art im Resonance Magazine Supplement Juni 2006 erschienen Ein Video und eine Focus -Group wurde gemeinsam mit FOGO Lab bei der Documenta 12 gezeigt und war Teil des Documenta-12-Beitrages von Ricardo Basbaum
Ausstellungen siehe wwwschwarzwaelderat -gt LOGIN ELISABETH PENKER
Comparative Art is an academic discipline in the context of art histories The sculptures audio-films (sound
pieces) and the photographs (expanded sculpture) represent different 3rd 4th -dimensional by documenting
different cultural and spatial notions of perspective through usage of collaged andor spliced structural
compositionalformal structures Structural overlaps between visual artlanguagemusic are considered
Poetics of Dead Space 2 2009-2010
2 Kanaumlle einer 8-Kanal-Composition mono
Metallstativ Speaker Yamaha MSP3 CD-Player
H 133 cm
Ed 13
The non-linear 8-channel composition ldquoPoetics of Dead Space 2rdquo introduces polysynthetic language morphology
combined by the melody which is composed from pre-existing recordings of extinct languages and Penker‟s self-
made instrument ldquoUntitled Instrument sonic structurerdquo (see PDF and related essay written by E Penker at
Resonance fm Magazine upon request at Galerie naumlchst St Stephan)
The channel which is upstairs installed uses an existing wall as an acoustic filter and introduced sub-
consciousness polysynthetic language morphology into the gallery space The title refers to the book poetic of
space within unused architectural situations of exhibition spaces bdquo A Blind Spot (dead angle - Toter Winkel) has a
different meaning in terms of acoustics and cannot be compared with the visual context where blind spot is used
primarily in conversations
In musicsound production in film the visual blind spot is used very often by hearing a bike roller plane without
seeing it In everyday life we are used and depending by acoustic blind spots for our orientation of the situation
and space we are in at the moment Architectural acoustic issues play an important role during the time of the
composition ldquoPoetic of Dead Space 2rdquo is a context specific composition and deals with polysynthetic language
morphology recordings of the untitled instrument Sonic structure and acoustic exhibition architecture besides
issues which are depending of the unused architecture and their acoustics
First Nations Pavillon
Polysynthetische Doppelperspektive Claude Levi-Strauss 2006
Fotocollage C-Print gerahmter Spiegel
6-teilig
3 x 405 x 305 cm
2 x 245 x 305 cm
1 x 605 x 485 cm
Ed23 + 2 AP
A framed mirror from ldquoFirst Nations Pavilionrdquo is placed in the corner of the log-in space to place the viewer physically in the space cutting the reflection of the gaze as well mirrors a profile view of the installed
photographs The photo-series relates to polysynthetic language morphology (of the Inuit First Nations Maori and Caduveo Indians) and translates within the photographic image their structural common visual grammar Because they would create a frontal view which was made out of 2 (split) profile views thereby creating a 4-dimensional perspective that anticipatedparallels Cubism who later presented multiple perspectives within one image which intended to represent movement through time and space Specific references are in the related pdf upon request
at Galerie naumlchst St Stephan
Log [Baumstamm] 2010
Archivierung der Raumfarbe
Split Representation
Claude Levi-Strauss 2009
C-Print
5-teilig je 245 x 305 cm
Ed15 + 2 AP
The camera positions of a right angle mirror bdquoSplit Representationrdquo were chosen by E Penker in the way that the
flash is not in the image the photos are made utilizing a right angle mirror which both fragments and reflects the
image creating multiple or a split perspective EP
Bench-Shelf 2003
Acryl auf Pappelsperrholz
46 x 151 x 42 cm
The bench which is the earliest work in the exhibition mirrors the bottom and the top seating elements thereby
giving the object an asymmetrical appearance The bench-shelf was originally designed for a video archive was
later used by museum staff (in Porto) as gallery furniture
composition (or view) Numerous contemporary artists eg Donald Judd have related the ShakersAmish radical functionalism to their sculptural practice
Poetics of Dead Space 2 2009-2010
2 Kanaumlle einer 8-Kanal-Composition mono
Metallstativ Speaker Yamaha MSP3 CD-Player
H 133 cm
Ed 13
The non-linear 8-channel composition ldquoPoetics of Dead Space 2rdquo introduces polysynthetic language morphology
combined by the melody which is composed from pre-existing recordings of extinct languages and Penker‟s self-
made instrument ldquoUntitled Instrument sonic structurerdquo (see PDF and re lated essay written by E Penker at
Resonance fm Magazine upon request at Galerie naumlchst St Stephan)
The channel which is upstairs installed uses an existing wall as an acoustic filter and introduced sub-
consciousness polysynthetic language morphology into the gallery space The title refers to the book poetic of
space within unused architectural situations of exhibition spaces bdquo A Blind Spot (dead angle - Toter Winkel) has a
different meaning in terms of acoustics and cannot be compared with the visual context where blind spot is used
primarily in conversations
In musicsound production in film the visual blind spot is used very often by hearing a bike roller plane without
seeing it In everyday life we are used and depending by acoustic blind spots for our orientation of the situation
and space we are in at the moment Architectural acoustic issues play an important role during the time of the
composition ldquoPoetic of Dead Space 2rdquo is a context specific composition and deals with polysynthetic language
morphology recordings of the untitled instrument Sonic structure and acoustic exhibition architecture besides
issues which are depending of the unused architecture and their acoustics
Galerie naumlchst St Stephan
Aneta Grzeszykowska Elisabeth Penker
220110 bis 060310 Auf den Spuren gesellschaftlicher
Ordnungssysteme
Die beiden Ausstellungen von Aneta Grzeszykowska in den Galerieraumlumen
und Elisabeth Penker im Projektraum bdquoLOGINldquo sprechen unterschiedliche
Sprachen Momente der Beruumlhrung ergeben sich lediglich durch die
Auseinandersetzung der beiden Kuumlnstlerinnen mit Systembildungen und
gesellschaftlich bedingten Agglomerationen von Bedeutungen Waumlhrend der
Blick der in Warschau lebenden Kuumlnstlerin Aneta Grzeszykowska
psychologisch und kulturell bestimmt ist laumlsst sich das Verfahren der in
Wien und Rom lebenden Elisabeth Penker als ethnografisch und linguistisch
fundiert umschreiben Im Nebeneinander der beiden Positionen bilden sich
schaumlrfende Kontraste
Aneta Grzeszykowskas Interesse gilt dem Privaten in verschiedenen
visuellen Uumlbersetzungen Etwa kartografierte sie mit dem Warschauer
Kuumlnstler Jan Smaga in einer Fotoserie Wohnungen aus der Vogelperspektive
um eine intime Geschichte der Stadt uumlber die Anordnung von Raumlumen
Moumlbeln und Gebrauchsgegenstaumlnden zu erstellen Nun begibt sie sich mit
dem Film bdquoBirthdayldquo auf die Ebene fruumlhkindlicher Begegnungen mit dem
Unheimlichen Gedreht wurde er in der Art privater Dokumentationen zur
Feier des eigenen Nachwuchses anlaumlsslich eines Kindergeburtstags Durch
kommentierende Eingriffe wie die Animation sonst unbeweglicher
Gegenstaumlnde uumlbt die Kuumlnstlerin Kritik an den Konventionen und betont so
das Monstroumlse solcher Ereignisse In der Doppelboumldigkeit von inszenierter
Kindheit und Abgruumlndigem ist auch eine Reihe monochromer dunkler
Figurinen aus Stoff angesiedelt Dass diese bekleidet sind wie
Grzeszykowska in ihrer Kindheit verweist auf Versuche Dramatisches uumlber
die aumlsthetische Formalisierung zu bearbeiten Eine Fotografie mit dem durch
die Hand Grzeszykowskas unabsichtlich verletztem Auge ihres kleinen
Bruders und eine maumlrchenhaft anmutende Reliefskulptur mit einem Maumldchen
auf einem Hund aus stacheligen Distelbluumlten erzaumlhlen davon
Tiefenbohrungen zum Kern semantischer Ordnungen unternimmt dagegen
Elisabeth Penker im Kontext der Ausstellungsserie LOGIN in einem
ehemaligen Geschaumlftslokal und im Foyer der Galerie selbst Bekannt ist die
Kuumlnstlerin und Musikerin Elisabeth Penker etwa durch ihre Intervention im
Arkadenhof der Universitaumlt Wien mit einer Buumlste der oumlsterreichischen
Romanistin und ersten Universitaumltsprofessorin Elise Richter Diese leite das
phonetische Institut bis zu ihrer Deportation ins Ghetto Theresienstadt durch
die Nationalsozialisten und war in der patriarchalischen Ordnung der
steinernen Koumlpfe der Universitaumlt ndash ebenso wie die Leistungen von Frauen
generell ndash bis dahin kein Thema gewesen In der Ausstellung bdquoProtectionsldquo
im Kunsthaus Graz thematisierte Penker mit ihrem bdquoFirst Nation Pavillonldquo die Hegemonie des durch den
Kolonialismus gepraumlgten Blicks auf auszligereuropaumlische Gesellschaften
Stets sind ihre Annaumlherungen auf die Generierung von Bedeutungen im Sinne von Grammatiken
ausgerichtet Dementsprechend leitmotivisch fungiert ein Portraumlt des kuumlrzlich verstorbenen Ethnologen
Claude Leacutevi-Strauss in der Rauminstallation mit integrierter Soundkomposition Die gespiegelte und
mehrfach aufgefaumlcherte Fotografie von Leacutevi-Strauss in bdquopolysynthetischer Doppelperspektiverdquo laumlsst sich
als Verschneidung von Sprachlichem Klanglichen und Visuellen lesen
Eine Archaumlologie im Feld der Linguistik wie auf Materialebene fuumlhrt die Signifikanten auf engstem Raum
zusammen Triviale Vierkanthoumllzer beispielsweise wurden in genau jenen Farben lackiert die Penker als
uumlbereinander gelagerte Sedimente unter der Dispersion der Waumlnde freilegte Die laumlnglichen Houmllzer
beziehen sich auf den englischen Ausdruck bdquologldquo fuumlr Stamm und somit auch auf die Ausstellungsreihe der
Galerie Bemerkenswert dass ein Wort das bloszlig aus einem Morphem besteht einen Gegenstand
repraumlsentiert So baut sich uumlber eine Reihe weiterer Objekte wie etwa den bdquoHanging Chairsldquo aus dem
Fundus der Galerie ein elementares Netzwerk von Bezuumlgen auf Mit ihren Werken und abstrakten Sound-
Kompositionen dringt Elisabeth Penker kritisch forschend in die Makrobereiche von Grammatiken vor um
Potentiale semantischer Anbindungen in Nachbarsystemen freizulegen Roland Schoumlny
Elisabeth Penker Einzelausstellung MAK CAT TOWER Kurtaiert von Andreas Kristof
ldquoPassive Orchestrardquo 2008 8-Channel-Toninstallation Die Interpretation von Soundart sieht Penker in der Uumlberschneidung von Sprache-visueller Kunst und Musik und ist zumeist mit einer visuellen raumlumlichen Komponente verbunden Der Betrachter und Zuhoumlrer befindet sich in
einer Konzert-Situation statt Instrumenten sieht er nur Lautsprecher die auf unterschiedlichen Houmlhen auf einer grauen Wand positioniert sind Passiv Orchestra beruht in der Struktur auf die grammatische Einteilungen von Sprachen die in phonetische Minimaleinheiten dekonstruiert sind und wird uumlber eine Mehrkanal Matrix gespielt Elisabeth Penker referiert in dieser eigens fuumlr den Flakturm konzipierten Arbeit auf dadaistische Methoden der Sprachdekodierung die auch als ein klares Anti-Kriegs-Statement zu verstehen waren
1
Kunsthaus Graz
Protections
Kuratoren Adam Budak und Christine Peters
Elisabeth Penker
First Nation Pavilion
Der First Nation Pavilion von Elisabeth Penker unternimmt den Versuch einen Bereich fuumlr ein koloniales
Bewusstsein der europaumlischen Vergangenheit zu schaffen und einen utopischen Raum fuumlr neue Vorstellungen
von einer Mannigfaltigkeit an kulturellen Formen in der zeitgenoumlssischen Kunst Die Komposition de-
grammatical ein Bestandteil des First Nation Pavilion beruht in ihrer Struktur auf den grammatischen
Einteilungen der Sprachen die in phonetische Minimaleinheiten dekonstruiert sind und wird uumlber eine
nichtlineare 5-Kanal-Matrix gespielt
Penker untersucht moumlgliche Uumlberschneidungen zwischen der Sprache der Musik und der Bildstruktur wobei ihr
Hauptaugenmerk polysynthetischen Sprachen (First Nations und Pazifische Inseln) gilt sowie dem Vergleich
zwischen der Kunst von First Nations und der Modernen Kunst Erst in juumlngerer Zeit in der Aumlra des
Postkolonialismus hat der Diskurs der kulturellen Uumlbersetzung Fragen aufgeworfen mit denen man sich schon
in den phonetischen Experimenten des Dadaismus in den 1910er und 1920er Jahren beschaumlftigt hatte sowie
spaumlter in der Konzeptkunst der 1960er und 70er Jahre
Elisabeth Penker
First Nation Pavilion
The First Nation Pavilion by Elisabeth Penker attempts to set-up an area for colonial consciousness of the
European past and a utopic space for re-imagining a plurality of cultural forms in contemporary art The
composition entitled de-grammatical contained within the First Nation Pavilion is structurally-based on the
grammatical classifications of languages deconstructed into minimal phonetic units played within a non-linear
5-channel matrix
Penker is questioning the possible overlaps between music-language and visual structure within the primary
focus on polysynthetic languages (First Nation and Pacific Islands) and First Nation Art compared to Modern Art
More recently in the age of post-colonialism the discourse of cultural translation is arising questions that have
also been experimented by the Dadaists phonetic experiments in the 1910-20s and later in Concept Art of the
1960s-70s Text Adam Budak
Michael Elmgreen amp Ingar Dragset (the work of two other invited artists) offered Penker a typical prefabricated
house as her exhibition space within the Kunsthaus
id31403916 pdfMachine by Broadgun Software - a great PDF writer - a great PDF creator - httpwwwpdfmachinecom httpwwwbroadguncom
2
Elisabeth Penker Fisrt Nations Pavilion 2006
Change of floor plan of the prefabricated house by Michael Elmgreen amp Ingar Dragset
Entrance door Fisrt Nations Pavilion
3
Part 1 Colonial Conciseness in visual art
Room 1 and 3 Modernism=Imperialism after Henry Flynt Demolish serious culture
Woman as a the last Colony Rosa Luxenburg Veronika Bennholdt-
Thomsen Claudia von Werlhof und Maria Mies
4
Vinyl letters C-Print
5
6
Polysynthetische Doppelperspektive 1 Claude Levi- Strauss
Photocolloage C-Print
7
Polysynthetische Doppelperspektive 2 Claude Levi-Strauss
Photocolloage C-Print
9
Polysynthetische Doppelperspektive 4 Claude Levi Strauss
Photocolloage C-Print
2 prints Installed in corner
Installation view Polysynthetische Doppelperspektive 1-4 Claude Levi- Strauss
The visual grammar and its double perspective (split representation) of Haida Gwai and Tlinglet Art (First Nation
Art) is re-collaged with a photograph of Pablo Picasso comparing Cubism (early Modernism) with First Nation Art
and questioning its similarities of double perspectives
10
Room 4 and 5
Room 4
11
Luicide List The museum as an imperial graveyard
C-Print
Colonial after effects of Luicide
Gips Metallkette Hose Schuh
12
No7
Mirror Split Representation Mirror framed and installed in the corner
Part 2 Room 6 and 8 Comparative Contemporary Art
4-channel sound installation
De-grammatical Listen to mp3 audio excerpts
13
Front
2 CT (shelfbenches) Acryl auf Pappelsperrholz
Back Pull Over Yukme Shirley Hall outside
14
Pull Over Yukme Shirley Hall inside
Fabric wall silk print by (Tlinglet Artist) Yukme Shirley Hall
Wo ist Elise Richter wo ist
id99149429 pdfMachine by Broadgun Software - a great PDF writer - a great PDF creator - httpwwwpdfmachinecom httpwwwbroadguncom
Im Arkadenhof der Universitaumlt Wien stehen 154 Buumlsten von bedeutenden Wissenschaftlern der
Universitaumlt Wien (1700-2005) Bedauerlicherweise findet sich unter ihnen keine einzige Frau Eine temporaumlre Buumlste einer anonymen Wissenschaftlerin soll die systematische Ausblendung von Frauen
aus der Universitaumltsgeschichte thematisieren Die offene Web- Plattform (wwweliserichterat) ermoumlglicht allen Benutzern aktiv an der Umschreibung der Universitaumltsgeschichte und an re-imaging Prozessen der Repraumlsentation dieser Buumlsten teilzunehmen Weiters wird die Verbindung von raceclassgender und einer akademischen Kariere in diesem Zusammenhang hinterfragt We can never really change any form of social organisation without challenging all that organisations forms of
language (Debord)
Within the patriarchal structures of the Arkadenhof at the University of Vienna stand 154 busts of important scientists (1700-2005) Unfortunately none of these busts are women Through the placement of a temporary bust of an anonymous female scientist it declares the absence of them within the history of the university As well the anonymous bust embodies the presence of important scientists who have not yet been given equal representation The open web-platform (wwweliserichterat) allows every user to participate in this discourse to re-write the history of the university and to re-image the representation of these busts through a wiki system
Skizze Buumlste einer anonymen Wissenschaftlerin
Mein Interesse besteht nicht darin zu recherchieren welche Buumlsten von Wissenschaftlerinnen im Arkadenhof fehlen sondern das Fehlen der Wissenschaftlerinnen im Zeitraum von 1700 bis 2005 aufzuzeigen und Strukturen fuumlr eine oumlffentliche Kommunikationsplattform zu schaffen In der Genderforschung besteht Konsens daruumlber dass Gender kein Merkmal von Individuen sondern das einer
Institution ist (Connell) zudem ein struktureller Bestandteil einer Gesellschaft ist und dass Gendernormen alle Organisationen durchdringen (Acker)
Grundriss Arkadenhof der Universitaumlt Wien Literatur Acker J (1990) Hierarchies Jobs Bodies A theory of gendered organizations In Gender and Society
Connell R (1998) Gender and Power Society the Person and Sexual Politics Stanford University Press Stanford CA Maisel T (1990) Die Denkmaumller im Arkadenhof der Universitaumlt Wien Biographische Skizzen Wien Quellen Denkmalsakten Archiv der Universitaumlt Wien
Veranstalter Open Mind Projekt Utopie Freiheit httpwwwopenmindat vereinopenmindat Projektautorin Elisabeth Penker elpenkergmxat Bronzeguss Walter Rom Wachsmodel Buumlste Elisabeth Penker Steinsockel Ausfuumlhrung Fa Zehmann Mario Jungbauer Mediendesign Gernot Tscherteu httpwwwrealitylabatwphome gtrealitylabat Techn Umsetzung Christian Langreiter Webpage wwweliserichterat
Elisabeth Penker- Franzengasse 13- 1050 Wien ++43 (0)699 197 193 53 elpenkergmxat
Elisabeth Penker Untitled instruments 1-3 2000-2012
Galerie Georg Kargl Wien Galerie Priestor Bratislava Kuumlnstlerhaus Wien Kibla New
Media Center Maribor HTTP Galerie London Secession Wien Mak Wien Roma
Contemporary Wien
Elisabeth Penker Untiled Instrument Galerie Georg Kargl Wien
Curated by Michael Hall
Elisabeth Penker Untitled instrument 2001 New Media Center Maribor
Elisabeth Penker Untitled instrument 2001 New Media Center Maribor
Elisabeth Penker Untitled instrument Kuumlnstlerhaus Wien curated by Ursula Maria Probst
Live Performance mit Celia Mare
Detail Die BILD_HAU_ER_IN Kuumlnstlerhaus Wien
Live Performance Flower Structure Wiener Festwochen
Elisabeth Penker (Untiled instrument) Van Angh (Cello) Tri Minh Electronics
Elisabeth Penker Live Performance Poetics of space Secession Wien
MAK Nail Structure GRizo Sweet Susie Elisabeth Penker
Elisabeth Penker HTTP Gallery London 2005 curated by Tobi Maier
Elisabeth Penker HTTP Gallery London Live Performance
Elisabeth Penker Untitled Instrument Sonic Structure Kunsthaus Graz curated by Adam Budak amp
Christine Peters
Videolinks
httpwwwyoutubecomusersoundart24
Interview with Video Festwochen
httpbturncom8753interview-elisabeth-penker
Kunsthaus Graz
Protections
Kuratoren Adam Budak und Christine Peters
Elisabeth Penker Poetics of Dead Space
For PROTECTIONS Elisabeth Penker developed a key-sound Poetics of Dead Space which is to a large extent a homage
to Gaston Bachelards seminal book Poetics of Space where the connections between the poetry and the spatial emotions
are analysed Penkers key-sound will guide the viewer through the exhibition mapping the overall identity of the show in
some way controlling the viewers (audio-narrative) route in the maze of art objects events situations but also spatial
voids and unused corners
Fuumlr PROTECTIONS entwickelte Elisabeth Penker einen leitmotivischen Key Sound Poetics of Dead Space der weitgehend
eine Hommage an Gaston Bachelards wegweisendes Buch Poetics of Space darstellt in dem die Verbindungen zwischen
Lyrik und raumlumlichen Emotionen analysiert werden Penkers Key Sound wird das Publikum durch die Ausstellung geleiten
die Identitaumlt der Schau in ihrer Gesamtheit erfassen und in gewisser Weise die (audio-narrative) Route des Publikums im
Labyrinth der Kunstgegenstaumlnde Ereignisse und Situationen aber auch raumlumlicher Leerstellen und ungenutzter Winkel
kontrollieren
A non linear composition 7 mono active speakers are placed through out the Kunsthaus Graz Speaker placement
1 outdoor (entrance) 2 (travelator) 3 (corner with column) 4 (corner with door) 5 (corner) 6 (travelator) 7 (corner with
window)
Poetics of Dead Space Let it grow again 28 51 sec mono
Source material for composition rain sound of dried beans dropping down wood sticks breathing hardly existing
id78338975 pdfMachine by Broadgun Software - a great PDF writer - a great PDF creator - httpwwwpdfmachinecom httpwwwbroadguncom
recording of extinct languages
Poetics of Dead Space Let it grow again 28 51 sec mono
Source material for composition rain sound of dried beans dropping down wood sticks existing recording of extinct
languages
Poetics of Dead Space travelator 1 1min 04 sec mono loop
Source material for composition staff falling down man falling down stairs rattern recording untitled instrument
Background existing recording of extinct languages
Poetics of Dead Space 496 1min 409 sec mono loop
Source material for composition recording untitled instrument Background existing recording of extinct languages
Poetics of Dead Space 129525 1min 4888 sec mono loop
Source material for composition recording untitled instrument Background existing recording of extinct languages
Poetics of Dead Space 129525 1min 4888 sec mono loop
Source material for composition keyboard recording untitled instrument Background existing recording of extinct
languages
Poetics of Dead Space travelator 2 1min 5209 sec mono loop
Source material for composition recording untitled instrument violin Background existing recording of extinct
languages
Poetics of Dead Space2152518125220 1min 3200 sec mono loop
Source material for composition recording untitled instrument Background existing recording of library of extinct
languages
Poetics of Dead Space travelator 1 1min 04 sec mono loop
viewing down from upstairs Source material for composition staff falling down man falling down stairs rattern
recording untitled instrument Background existing recording of extinct languages
Poetics of Dead Space Let it grow again 028 51 sec mono
Source material for composition rain sound of coins wood sticks existing recording of extinct languages
Elisabeth Penker is a Viennese artist and musician working with sound in a sculptural context In her (subjective) tour
Penker approaches the entire anti-exhibition PROTECTIONS from an angle of its position and significance in the context
of Sound Art as located on the crossway between visual arts language and music Starting from her own house turned
into First Nation Pavillion which amongst others aims at connecting the recent discourse on cultural translation with
early avant-garde phonetic experiments Penker maps the sonic structure of Kunsthaus Graz and its (live) architecture
which for PROTECTIONS hosts an array of interdisciplinary projects with a strong audio-quality from Herwig Weisers
Death Before Disco (a micro-architecture of hyper-technological and electronic pop) through a newly created choir of
security guards for Tim Etchells Wall of Sound down to a cacophonic layers of anonimous noise generated by the
space itself and the presence of audience
Die Wiener Kuumlnstlerin und Musikerin Elisabeth Penker arbeitet mit Klang im Zusammenhang mit Bildhauerei In ihrer
(subjektiven) Fuumlhrung naumlhert sie sich der Anti-Ausstellung PROTECTIONS aus einem Blickwinkel der die Position und
Bedeutung der Klangkunst an der Kreuzung zwischen bildender Kunst Sprache und Musik verortet Von ihrem eigenen
Haus ausgehend das sich in den First Nation Pavilion verwandelt hat der u a den aktuellen Diskurs uumlber kulturelle
Uumlbersetzung mit fruumlhen phonetischen Experimenten der Avantgarde verbinden soll entwirft Penker die klangliche
Struktur des Gutshauses und seiner (Live-)Architektur die fuumlr PROTECTIONS eine Reihe von interdisziplinaumlren Projekten
mit einer starken Affinitaumlt zum Klang beherbergt von Herwig Weisers Death Before Disco (eine Mikroarchitektur aus
hyper-technoidem und elektronischem Pop) uumlber einen neu formierten Chor bestehend aus Security Guards fuumlr Tim
Etchells Wall of Sound bis zu einer Kakophonie aus anonymen Geraumluschen die vom Raum selbst und der Anwesenheit
des Publikums erzeugt werden
052813
Local Warming ATHENS
052813
AFTER A YEARLONG HIATUS the eighteenth Art-Athina hit the ground running on the evening of Thursday May 16 and the former Olympic
ldquoTae Kwon Dordquo Pavilion was packed with enthusiastic party people The fair had a more national flavor than ever this year under its new
director Alexis Caniaris the son of recently deceased artist Vlassis Caniaris whose iconic modern work has recently found great success on the
international market Of the very few foreign galleries exhibiting most were Greek-owned The Breeder gallery was dealing with the perceived
drop in the market by selling fantastic multiples by artists like Stelios Faitakis Jannis Varelas and Andreas Angelidakis at crisis-appropriate
prices ldquoNobody wants to come here now but I have already met three interested billionaire collectors today And if Greeks like you they
introduce you to their billionaire friendsrdquo raved Cologne dealer Mirko Mayer a seven-time exhibitor ldquoThat is what nobody knows There are
at least one-hundred billionaires collecting hererdquo Most international collectors were delayed several hours due to a union strike a de r igueur
mode of arrival in contemporary Greece
It was impossible to miss the exuberant activities of the DaDa Da restaurant a Greek-Austrian collaboration where artist Albert Mayr was
waving a skillet and raving nonsense while Lucas Willmann tenderized pink fillets for Wiener schnitzel ldquoThis is Viennese Actionism lightrdquo
quipped critic Sotirios Bahtsetzis Artist Natasha Papadopoulos added ldquoBut here there are hungry Greeks waitingrdquo On a table with a rotating
Sacher tort by Heacutelegravene van Duijne a sign carried the overwhelming spirit FUCK ART LETrsquoS EAT SOUVLAKI An insistent electronic beat and
pulsating light emanated from the next booth the American College of Greecersquos ldquoAthensUrgentrdquo while hooded performer Manos Tsatiris
stood against the wall with his hands tied perhaps a metaphor for the current Athenian exigency ldquoThis is not the kind of art fair scene we are
used tordquo said the Economou Collectionrsquos Annie-Claire Geisinger watching the madness
Left Artists Elisabeth Penker Michela Pelusio Petros Touloudis Panos Papadopoulos and Nino Stelzl Right Collector Anne-Marie Ros
Down on the floor the dealers seemed pleased particularly given dismal expectations having already sold a great deal at the preview Young
Rotterdam-based gallery Joey Ramone had sold sculptures by Fotini Gouseti to English and Belgian collectors dealer Erik Mulier had also sold
some work to Belgians Marc Van den Hende said he had bought a triptych by Eirene Efstathiou and was considering a Vlassis Caniaris piece
from the 1970s ldquoI saw some surprisesmdashyoung Greek artists I did not knowmdashand great new galleries like Elika and CANrdquo Dutch collector
Anne-Marie Ros said By the end of the day Dimitra and Sofia Vamiali reported that they had not seen one Greek collector although another
reported a Dakis Joannou sighting mdash Cathryn Drake
SEARCH
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SEATTLE
WEEKLY
in the News
Columnist
Geov Parrish
is a regular
guest on
Mind Over
Matters on
KEXP-FM
(903)
Saturdays at
830 am and
provides news
commentary
on KBCS-FM
(913) Fridays
at 430 pm
Catch writers
Steve
Wiecking Tim
Appelo and
ARTS
March 30 - April 5 2005
Picking Up the Thread
Howard House ties together the best new conceptual art from Vienna
by Elise Richman
Franz Wests Mercury
(Howard House Contemporary Art)
Theres a German expression to lose the red thread which means losing
ones train of thought In its current show Howard House has found that
thread Julie Ryan a curator artist and writer organized The Red
Thread Glimpses of International Art in Vienna a two-part exhibition
featuring artists working and living at least part time in Austrias capital
Part one of the show is at Howard House the second half is currently on
display at the Educational Alliance Gallery in New York
Vienna has become a magnet for artists from all over the world including
the 15 individuals and artist teams that are part of The Red Thread
Excellent artist residency programs a low cost of living and living art
legends like Franz West are just a few of the reasons
An artistic collaboration with West took Ryan from New York to Vienna
She knows Billy Howard who runs Howard House from the University of
Washingtons School of Art And so the figurative string was strung
connecting the East and West coasts with artists from across the Atlantic
This is a complex exhibit whose emotional tenor ranges from cool
detachment to an almost urgent earnestness Unlike the formal richly
historical city that connects them artists in The Red Thread favor informal
approaches to art making use disposable materials and comment on
contemporary cultural themes
West has two formidable sculptures at Howard House The front room of the
gallery features Mercury (pictured) an ungainly behemoth composed of a
patchwork of fused metal Like many of Wests sculptures Mercury is
meant as an interactive structure that viewers can climb and sit on Bulbous
Gavin
Borchert
discussing
theater film
and music
regularly on
classical
KING-FM
(981)
Mark Fiore
Cartoons
Every
Thursday
nodules extend from its horizontal base and the seams of the dark maroon
metal look like scars rendering it at once vaguely obscene and absurdly
playful
Sisyphus the other West sculpture on display is a bulky conglomeration of
bits and wads of paper propped in the back room on a makeshift plinth (base
block) Though its as solid as the boulder its title references its surface is
like oozing skin partly coated with poured murky paint partly cloaked in
small clumps of newspaper detritus
The strenuous act of making each of these sculptures is eminently apparent
and central to the content of Wests work West considers creation a
symbolic act As you might expect he likens the artistic process to the plight
of Sisyphus the mythological figure who eternally rolled a boulder up a hill
only to have it come crashing back down For West art involves a
Sisyphean search for what he calls the absolute through the seemingly
senseless accumulation of materials However unlike Sisyphus futile quest
Wests process can lead to epiphany making sense of the senseless
Similarly Viennese artist Elisabeth Penkers art serves a facilitative
function easing the act of translation Penker uses Haida iconography in her
multimedia work because it provides potent visual symbols that
communicate single words and whole sentences simultaneously Her prints
at Howard House feature fragments of icons floating in the papers white
space They are spare visually arresting characters that employ an
iconographic language as encoded symbols of communication
Also featured in The Red Thread is Donald Baechler an internationally
known American painter who spends extended periods of time in Vienna
Baechler equalizes his imagery by painting it all in the same style For him
the source of an image doesnt matter whether its a drawing by Picasso or
graffiti on a bathroom wall What matters is the newfound context his
paintings provide
Victory by Default is part of Baechlers Skull series In this piece a painted
skull gapes from the dirty yet sensuous confines of a large canvas Terry
cloth and wrinkled rags provide literal texture and reference the world
outside the paintings boundaries Splatterings of color around the skull like
the self-conscious marks of Jasper Johns seem to express the language of
paintingmdashhue and gestural strokesmdashin a factual rather than illusional
manner
Another American painter Lisa Ruyter lives half-time in Vienna where she
runs an influential gallery She works from photographs projected onto
large-scale canvases tracing the contours of the projected imagery with
consistent black outlines In a way that seems arbitrary she paints the shapes
formed by her contour lines in flat designer colors Man of Means based on
a photo of fashion photographers looks like a scrambled color-by-numbers
painting I cant do justice to the unusually rich assortment of conceptual art
in The Red Thread Youll just have to see it for yourself Thomas
Baumans thrashing triangular foil blanket Walter Seidls slide show of
staged snapshots Markus Schinwalds photograph of a contortionist and the
other thoughtful works connected by The Red Thread
The Red Thread Glimpses of International Art in Vienna runs through
April 30 at Howard House 604 Second Ave 206- 256-6399 1030 amndash5
pm TuesndashSat Free
KUNSTFORUM
Parallelwelten fuumlr Parlamentarier Ausstellung
Von Brigitte Borchhardt-Birbaumer
Ende Oktober endet die Zusammenarbeit von Nationalratspraumlsident Andreas Khol und Peter Pakesch Direktor des Kunsthauses Graz am Joanneum Seit 2003
hatte Pakesch als Kurator mehrere Ausstellungen in den Sitzungssaumllen des Parlaments in Zusammenarbeit mit Galerien initiiert und namhafte Positionen
ausgewaumlhlt Kriterium fuumlr Praumlsentationen war die Praumlsenz durch eine Schau in einer der bekannten Kunstinstitutionen des Landes Nach Eva Schlegel Adriana
Czernin Maria Lassnig oder Esther Stocker sind dies nun bis April 2007 Josef Dabernig Daniel Hafner Ulrike Lienbacher Alois Mosbacher und Elisabeth
Penker
Das Parlament kann dabei durch die Margaretha-Lupac Stiftung immer eine Arbeit fuumlr die wachsende Sammlung des Hauses ankaufen Zuletzt war das ein
groszliges Oumll-Acryl-Gemaumllde der Georg-Eisler-Preistraumlgerin Maja Vukoje zuvor Johanna Kandl deren Temperabild derzeit an das Lentos in Linz geliehen wird
Einige Werke haumlngen schon als kuumlnstlerische Wegweiser in den Gaumlngen des Hauses und sind auch Blickfang fuumlr die 120000 Besucher die pro Jahr das
Parlament besuchen In die Architektur von Theophil Hansen mit ihrer zeitlosen Qualitaumlt fuumlgt sich die Gegenwartskunst kongenial
Hoffnung fuumlr spaumlter
Die derzeitige Zusammenstellung macht Hoffnung auf eine Fortsetzung unter der naumlchsten Praumlsidentschaft Fotografie Computerkunst Malerei Zeichnung
und Skulptur weisen auf die Vielfalt der Werkstoffe in der Gegenwartskunst Elisabeth Penker parallel im Kunsthaus Graz zu sehen baut schwarzweiszlige
Objekte aus bemaltem Holz die in ihrer seriellen und geometrischen Anordnung auf Bezuumlge zum Performativen und auf die Musik hinweisen
Noch juumlnger ist Daniel Hafner mit seinen am Computer komponierten digitalen Drucken Morphosentransformationen von 2006 Linienraster und
Raumkonstruktionen in subtiler Farbigkeit verbinden Tendenzen der fruumlhen Op-Art mit dem Cyber-Lab
Um konstruierte Realitaumlten geht es auch in den groszligformatigen Oumllbildern von Alois Mosbacher dem bekannten Vertreter der Neuen Wilden der
Achtzigerjahre in Oumlsterreich Wanderer in Wald und Wiese erzaumlhlen die Geschichten alternativer Welten die sich mancher in der Gesellschaft als Parallele
konstruiert
Zwei Fotofriese von Josef Dabernig bilden jeweils ein Panorama von oumlffentlichen Plaumltzen auf denen es zum einen um Fuszligball geht Zum anderen ist der
Rundblick in das Oval einer scheinbaren Arena auch eine Art Sehschule fuumlr die Betrachter Ein sozialer Befund ist die dritte Bedeutungsebene
Ulrike Lienbacher die heuer mit einer groszligen Schau im Innsbrucker Taxispalais ihre Karriere fortsetzt ist mit ihren feinlinigen Tuschezeichnungen den kleinen
oft unsichtbaren Zwaumlngen in unserer Gesellschaft auf der Spur Im Lokal II des Parlaments stellt sie zwar nicht ihre Objekte und Fotos aber einige
groszligformatige Blaumltter mit Frisurenvariationen neben teils fragmentierten Frauenkoumlrpern im Umgang mit Schmutz und Hygiene aber auch Fitnesskult aus
Disziplinierung und Kontrolle betreffen in der Oumlffentlichkeit besonders den weiblichen Koumlrper Sauberkeitsmechanismen weisen auch auf Vorstellungen von
wertvoll und minderwertig hin Ihre Transformationen enthalten wie die Themen der anderen subtile Kritik und sind daher vom Kurator uumlberlegt positioniert
Zeitgenoumlssische Kunst
im Parlament
Bis April 2007
Kurator Peter Pakesch
Konfrontationen
Dienstag 10 Oktober 2006
ltlt 2003 | 2004 Jan Feb Mar Apr May Jun Jul Aug Sep Oct Nov Dec 2004 | 2005 gtgt
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31
Sunday 17 October 2004
TIME
TITLE
NAME
700 Indymedia ESF breakfast show Indymedia London
Highlights news and views from the European Social Forum and the
autonomous spaces and initiatives taking place this week
website
800 Resonance Radio Art Riot Breakfast International
Radio Art
A five part special of the Harmon E Phraisyar show commissioned for
Kunstradio in Austria starts off the morning broadcast of international radio
art
website
1100 Resonance Live from the Frieze Art Fair Anna Colin amp
Tobi Maier
1100 Chris Weaver Resonance 1044FM live electronics set with James Dunn and
Robin Warren
1130 Michael Hall gallery Vienna presents audio works by artist Elisabeth Penker
1200 Maria Fusco presents latest the Bookworks commissions
1300 The Psychology of Collecting live broadcast of the frieze art fair panel
discussion
Is collecting an irrational act guided by compulsion and desire What are the use of
objects What are the motivations behind making collecting curating and
criticizing art A discussion of the psychology of collecting and the politics of taste
Hilary Rubenstein (Psychologist)
Eric Troncy (Art Critic and Director Le Consortium Dijon)
Haim Steinbach (Artist)
Chair Alice Rawsthorn (Director Design Museum)
1500 Portable live set and presentation of sudelectronic records London
1600 Where is Adventure What is Culture live broadcast of the frieze art fair
website
panel discussion
A discussion of the relationship of art to entertainment touching on the comedic
being popular and failing miserably
Trisha Donnelly (Artist)
Christian Jankowski (Artist)
David Robbins (Writer amp Artist)
Nancy Spector (Curator of Contemporary Art Solomon R Guggenheim Museum)
Chair Matthew Higgs (Curator CCA Wattis Institute for Contemporary Arts)
1800 Melissa Bent from Rivington Arms gallery New York in conversation with
artist Dan Colan and Tobi Maier Anna Colin
1830 VOX pop recordings from the fair with Sharon Gal
1900 Resonance Radio Art Riot Sarah
Washington
The Resonance Radio Art Riot brings together some of the foremost radio artists
and thinkers from around the world The studio lab situation will feature round
table discussions live performances and streamed events
Tonight Radio Text
Events Live broadcast from Sonic Arts Network Resonance benefit featuring
Henri Chopin studio performances from Julia Lee Barclay and Aude Tournay plus
Special Features None present live concrete radiophonics - Planning For
Emergencies
Guests include Clive Graham Chris Weaver Richard Thomas Toby Clarkson
John Lovett Robin Warren and James Dunn
Topics The word as art Sound poetry text performances
At Midnight Tom Wallace present exclusive excerpts from radio art pioneer
Gregory Whitehead
website
000 Resonance Radio Art Riot Nights International
Radio Art
The Resonance Radio Art riot continues throughout the night with the finest of
international radio art Resonance FM programme makers and our international
guests have put together many special hours of classic and obscure radio
works
website
- EPenkerDocumentationpdf
-
- 2bAusstellungenPublicaSpaceEPenkerpdf
-
- 2cUntitled_InstrumentsKunsthausGrazEPenker
- 2bpoeticsKunsthaus GrazEPenker
-
- 4PresseEPenkerpdf
-
- 4Review_Seattle Weekly
-
_________________________________________ Charim Events Schleifmuumlhlgasse 1a A-1040 Wien httpwwwcharimgalerieat charimcharimgalerieat
2005 ldquoWo ist Elise Richter wo isthelliprdquo University of Vienna ldquoTransformerldquo Fluc (curated by ProbstSeidelWagner) Vienna ldquoClouding Europerdquo Gandy Gallery Bratislava
ldquoUtopie und Freiheitrdquo Kunsthalle Exnergasse Vienna ldquoThe Red Threadrdquo Howard House Gallery Seattle WA USA
ldquoThe Red Threadrdquo Educational Alliance New York ldquoBrutal Ornamentalrdquo Galerie Kosak Hall Vienna 2004 ldquoSwap Meetrdquo Desert Test Site Joshua Tree CA (curated by General Store amp Heather Hubbs) US ldquoSound Studiordquo Galeria Priestor for Contemporary Arts Bratislava SK ldquoBorn to be a Starrdquo Kuumlnstlerhaus Vienna (curated by Ursula Probst) cat 2003 ldquoSound Systemldquo Salzbuger Kunstverein (curated by Hildegund Amanshauser
Edek Bartz) Salzburg A ldquohigh hillsldquo Kunst im oumlffentlichen Raum (curated by Cornelia Offergeld) Krems A
2002 ldquoWaiting for the Ice Agerdquo Georg Kargl Vienna ldquohear the artldquo Kunsthalle Exnergasse Vienna ldquoThe Experimentrdquo with FOGO LAB Secession Vienna 2001 bdquoDu bist die Weltldquo with FOGO LAB Kuumlnstlerhaus Vienna
ldquoFirst Story-Women Buildingrdquo Galerie do Palacio Cristal with FOGO Lab (curated by Ute Meta Bauer) Porto PT ldquo(untitled) 654321ldquo Kunsthallen Brandts Klaedefabrik (curated by Jacob Fabricius) DK Performance Festival Odensee (curated by Jacob Fabricius DK ldquoviennese loungerdquo with the Theremin Foundation Moscow
ldquoSollbruchstellenldquo Kunst im oumlffentlichen RaumUNIKUM University of Klagenfurt AT 2000 ldquonew austrian spotlightrdquo University Marmara Istanbul (cat) Gallery Rhizom Aarhus DK
ldquoviennese loungerdquo in collaboration with Camera Austria G9 Projectspace Oslo 1999 Kuvataideaktemian Galleria Helsinki Kuumlnstlerhaus Passagengalerie Vienna ldquoViennese loungerdquo Dock 11 Berlin 1998 ldquocome togetherrdquo Portfolio Kunst AG Vienna 1997 ldquo10 Jahre Trabantldquo Trabant Vienna ldquo2 plateauxrdquo Mezzanin Vienna 1996 Private work Semeprdepot Vienna Private work Cairo Agypt 1993 ldquoFree Academy Moscowrdquo curated by Alexander Petlura Moscow RU ART IN PUBLIC SPACE 2014 Cantiere Continuo Dordolla Moreno Miorelli (IT) organized by UNIKUM University of Klagenfurt A 2013 Central Station Maribor SL 2005 ldquoWo ist Elise Richter wo isthelliprdquo University of Vienna 2004 ldquohigh hillsldquo Kunst im oumlffentlichen Raum (curated by Cornelia Offergeld) Krems A 2001 ldquoSollbruchstellenldquo Kunst im oumlffentlichen RaumUNIKUM University of Klagenfurt A PUBLICATIONS SELECTED CATALOGUES ldquoits about timerdquo Jan van Eyck Akademie JVE Maastrich NL 2008 p156-176 Protections Verlag der Buchhandlung W Koumlnig Cologne 2006 (Hrsg Peter Pakesch Adam Budak Veronica Kaup-Hasler C Peters) Kunsthaus Graz A ldquoits about timerdquo Jan van Eyck Akademie JVE Maastrich NL 2008 p156-176 ldquoWaiting for the ice agerdquo Kargl Fine ArtsBox Verlag der Buchhandlung Walther Koumlnig Cologne 2006 Ursula Probst ldquoBorn to be a Starrdquo Kuumlnstlerhaus Schlebrueggeeditor Vienna Diana Baldon ldquoTransformerrdquo Fluc (curated by ProbstSeidelWagner) Vienna 2005 Gandy Gallery ldquoClouding Europerdquo Gandy Gallery Bratislava 2005 Ursula Probst bdquoUtopie und Freiheitldquo Kunsthalle Exnergasse Vienna 2005 Hildegund Amanshauser bdquoSound Systemldquo Magazin 8 Salzburger Kunstverein 2003 p57-63 Cornelia Offergeld ldquoPublic Artrdquo Springer ViennaNew York 2003 p 93 Sollbruchstellen Kunst im oumlffentlichen Raum Unikum University of Klagenfurt 2002 Ute Meta Bauer ldquocase 2-First Storyrdquo FOGO-LAB 2002 p1-10 Jacob Fabricius amp Tommy Lund ldquountitled 654321rdquo Kunsthalle Brandts 2001 p57-61 BKA Kunst ldquoNew Austrian Spotlightrdquo University Marmara IstanbulVienna 2001 Ulli Sturm bdquocoming outldquo Kuumlnstlerhaus Klagenfurt 2000 PUBLISHED TEXTS SELECTED BIBLIOGRAPHY Elisabeth Penker ldquoNon-Linear Structures in Film and Musichelliprdquo(fem) Additivesrdquo Lautsprecher Verlag Stuttgart (Co-Editor with FOGO Lab)
_________________________________________ Charim Events Schleifmuumlhlgasse 1a A-1040 Wien httpwwwcharimgalerieat charimcharimgalerieat
Elisabeth Penker ldquoContact Situations Language and Rhythm Transformationrdquo Sound Art supplement Resonance Mag-azine London 2005 p 22-29 ( editors Tobi Maier amp Anna Colin) Elisabeth Penker ldquoThe tactility of sound is the inverse of sculpturerdquo Ursula Probst (editor) Skug Magazine Vienna 2004 SELECTED BIBLIOGRAPHY Cathryn Drake Local Warming Art Athina 28th of May 2013 Tamara Dinka Interview Elisabeth Penker b-turn 17th of June 2012 Roland Schoumlny Auf den Spuren gesellschaftlicher Ordnungssysteme artmagazine Jan 2010 Ursula Maria Probst A Vibrant Scene scene 2 p 57 April 2009 Georg Leisten Stuttgarter Nachrichten FOGO Lab Kuumlnstlerhaus Stuttgart p 35 Feb 2006 Michael Hall bdquoBrutal Ornamentalldquo STAR Magazine (projects with Elisabeth Penker Katja Strunz Ian Rosen Minoru Shimizurdquo April 2006 Vienna Ursula Probst bdquoIndikatoren kultureller Spielraumlumeldquo artmagazine Vienna 20 Dec 2005 Dagmar Buchta bdquoWo ist Elise Richter wo ist ldquo die Standard 17 November 2005 Diana Baldon ldquocritics picks Elisabeth Penkerrdquo Artforum June 2005 Elise Richmann ldquoThe Red Threadrdquo Seattle Weekly March 2005 Michaela Hafner bdquoAnonyme Wissenschafterin im Arkadenhofldquo Die Universitaumlt Online am 23 Nov 2005 Dieter Buchhart Born to be star Kunstforum September 2004 Johanna Hofleitner ldquoReview Born to be a Starrdquo artmagazinecc 072004 Christian Houmlller bdquoSound Systemldquo Springerin issue 303 p 85-86 Antje Mayer bdquoAn oder Ausldquo Kunstzeitung Nr 85 Sept 2003 p27 Johanna Hofleitner ldquoKunstraumrdquo Die Presse (Wien) 27 November 2003 Almuth Spiegler ldquoMutig und total relaxedrdquo Die Presse (Vienna) 24 July 2003 Ursula Probst ldquohear the artrdquo artmagazinecc 062002 Katy Depwell amp Ute Meta Bauer nparadoxa ldquoRethinking Revolutionrdquo Vol 10 2002 p 73 Jacob Fabricius amp Tommy Lund ldquountitled 654321rdquo Kunsthalle Brands 2001 p57-61 Michael Hall ldquoElisabeth Penkerrdquo Camera Austria issue 76 2001 p66-67 Nicole Scheyerer Review ldquoCT3rdquo Falter 2601 Vienna p70 Franc Wakounig ldquoKo (ce) se na Koroskem zemlja treserdquo Vestnik 3152001 ldquoSollbruchstellenrdquo Standard 3052001 Viennese lounge ldquoOumlsterreich 2000 contributionsrdquo Camera Austria issue 70 2000 p162 Sulie Tankut ldquoCagdas sanat ve Avusturyardquo Nilliyet Istanbul November 8 2000 Sabine Oppolzer ldquoPoesie eines blassen Dandysldquo Die Presse Vienna 1998 RESIDENCIES GRANTS amp PRIZES 2014 SEA Residency Kreta GR 2010 Rome Residency BMUKK Austrian Ministry for Education Art and Culture 2009 Theodor Koumlrner Preis fuumlr wissenschaftliches Arbeiten Vienna 2005 Austrian Academy of Science Doc-Stipendium Vienna 2000 Oumlsterreichisches Staatsstipendium BKA (Vienna) 2000 ldquoSix Practicesrdquo (London Residency Grant) Sound Designer- Post Production for Feature Film University for Applied Arts Vienna amp De Lane Lea Studio London 1999 kurzes wissenschaftliches Arbeiten im Ausland Leonardo Maestro Matic Sound Designer- Post Production for Feature Films Chicago 1998 Chicago Residency BKA (Vienna) Erasmus NATIONAL Academy of Fine Arts Oslo SELECTED RADIO CONTRIBUTIONS 2012 SOUNDART IN A SCUPTURAL CONTEXT Resonance fm1043 London 2010 CONCERTO PER DUE CAVALLI RAM ARTE MOBILE ROM 2005 Language and Rhythm Transformation Twen Fm 1041 Night Academy edited by Joulia Strauss Berlin DE 2005 Radio Orange Sound Sculptures by Elisabeth Penker edited by Rainer Wagnus Vienna 2004 Resonance fm1043 live from the Frieze Art Fair (curated by Tobi Maier) London 2004 EX TEMPORE 43 +PLUS Channel 5 Channel 5 wwwradioartsk Bratislava Weblinks Audio-Video Excerpts and documentation httpwwwyoutubecomusersoundart24 httpwwwelisabethpenkertumblrcom
_________________________________________ Charim Events Schleifmuumlhlgasse 1a A-1040 Wien httpwwwcharimgalerieat charimcharimgalerieat
ELISABETH PENKER FERDINAND PENKER curated by Michael Scott Hall Eroumlffnung Opening 24042014 19 Uhr 7 pm Charim Events Schleifmuumlhlgasse 1 a A ndash 1040 Wien Dauer Duration 2504 ndash 10052014 Oumlffnungszeiten Opening Hours Mi-Fr 11-18 Uhr Sa 11-16 Uhr Though they share the same last name Elisabeth Penker amp Ferdinand Penker represent two different generations and work in completely different mediums and share an interest in seriality complex systems and repetition Most importantly each artist obscures their own medium of choice Ferdinand Penkers tempera on canvas paintings (in the exhibition) utilize linear compositions and appear from a distance printed or collaged until closer inspection reveals a more handmade quality He is presented here by his leaners which are architecture-specific paintings in that they can be arranged in response to given architectural context by either leaning against the wall or another painting or wedged between the ceiling and floor Each new architectural context creates a slightly different compositional oppourtunity Since his earliest installations in the 70 - 80s Ferdinand Penker has long had a strong interest in the relation between the architectural space of where and how the painting hangs and the flatness of the micro-thin space inside his paintings Penker lived and worked in San Francisco in the 1970-80s perhaps picked-up some tendencies which are more common in Northern California (than to Austria) concerning ideas of space and light Simultaneously the Sculptor Elisabeth Penker will present an ongoing series of portraits (photo-collages) entitled Split Representation utilizing the formal structure discussed by Claude Levi-Strauss in his essay Split Representation in the Art of Asia and the America in which he compares different cultures and different periods in history from Shang (China) Haida (Native Americans) Caduveo (Brazil) and Maori (New Zealand) who all use similar stylistic elements to represent (for example) the face (or portrait) which is not seen from the front but as two profiles merged together to form one Elisabeth Penker appropriates the portraits of philosophers anthropologist cultural scholars amp artists and re-represents them in a Split style developing a new hybrid-form of representation which merges both Western and Non-Western concepts of representation Along with the photo-collages Elisabeth Penker will also present a sound piece entitled Comparative Morphemesrdquo The composition is based on the grammatical classifications of languages deconstructed into minimal phonetic units and then reconstructed into new (word) forms Elisabeth PENKER (1974 Reiszligeck) Upcoming Book Project Onamatopee Eindhoven NL Solo Exhibitions Roma Contemporary (curated by Ilari Valbonesi) Rome Galerie naumlchst St Stephan (Log-in) Vienna MAK CAT Tower (cura-ted by Andreas Krištof) Vienna Kuumlnstlerhaus Stuttgart with FoGo Lab (curated by Elke aus dem Moore) HTTP Gallery (curated by Tobi Maier) London Liste 03 Basel Temporary Services Chicago Institut fuumlr Gegenwartskunst (curated by Ute Meta Bauer) Vienna Selected Group Exhibitions include The Program University of Illinois Chicago Protections Kunsthaus Graz (curated by Adam Budak amp Christine Peters) Kunsthalle Brandts (curated by Jacob Fabricius) DK Sound System Salzburger Kunstverein (curated by Hildegund AmanshauserEdek Bartz) Salzburg Howard House Gallery Seattle ldquoFirst Story-Women Buildingrdquo Galerie do Palacio Cristal with FOGO Lab (curated by Ute Meta Bauer) Porto PT Ferdinand PENKER (1950 Klagenfurt) He has had residencies in Japan Poland and Ireland Recent Book Projects include his monograph (2010) and A Murder of Crows (2003) from Ritter Verlag (Klagenfurt) Selected Solo Exhibitions MMK Klagenfurt (2010) Galerie Ritter Klagenfurt (2011 2009 2004) Sclatter St London (2010 2000) Galerie Schuumltte bdquoChamber Musicldquo (with Trevor Sutton) Essen DE Austrian Cultural Forum London Museum Joanneum Graz (2003 1994 1990) Machiya Bunka Center bdquo45 Views of a Square Tokyo Umjetnicka Galerija Bosne i Hercegovine Sarajevo BH KALA Institute Berkeley CA Kaumlrntner Landesgalerie Klagenfurt Forum Stadtpark Graz Van Doren Gallery San Francisco CA Secession Wien
ELISABETH PENKERcurated by Michael Scott Hall
Eroumlffnung Opening 24042014 19 Uhr 7 pmCharim Events Schleifmuumlhlgasse 1 a A ndash 1040 Wien
Dauer Duration 2504 ndash 10052014Oumlffnungszeiten Opening Hours Mi-Fr 11-18 Uhr Sa 11-16 Uhr
The Sculptor Elisabeth Penker presents an ongoing series of photo-collages entitled Split Representation utilizing the formal structure discussed by Claude Levi-Strauss in his seminal essay Split Representation in the Art of Asia and the America in which he compares different cultures and different periods in history from Shang (China) Haida Gwaii (Native Americans) Caduveo (Brazil) and Maori (New Zealand) who all use similar stylistic elements to represent (for example) the face (or portrait) which is not seen from the front but as two profiles merged together to form a frontal view
Northwest coast (Haida Gwaii) Tsimshian (Chinese)
Maori Face Tattoo Caduveo Woman with painted face (drawing by G Boggiani 1892)
Elisabeth Penker appropriates the portraits of philosophers anthropologist cultural scholars amp artists and re-represents them in a Split style developing a new hybrid-form of representation which merges both Western and Non-Western concepts of perspective and representation Penker paints onto the photo-collages and marks areas with geometrical referencing the face tattoos of Maori and the face paintings of the Caduveo IndiansPenkeracutes selection of portraits is based on cultural scholaracutes who are relevant in the field of cultural translation gender studies and multiple perspectives such as the first cubist collage from Pablo
rPicasso which were originally shown as first part of her First Nations Pavilion in Kunsthaus Graz Since two profiles are merged to form a single frontal view there are two perspectives in the picture much like Cubism- showing multiple perspectives in one picture Similar to the how Cubist represented three-dimensional volumes on a two-dimensional surface- when native inhabitants were asked to draw a face tattoo on paper they drew it as if they were drawing directly on the face which distorts the perspective when applied to paper Split representation in Haida Maori and Caduveo culture were built symmetrically in relation to two axes the main vertical axis is centered between the eyes following the median plane of the face the horizontal axis divide the face at eye level The eyesare used as starting points for two inverted spirals one of which covers the right cheek and the other the left side of the foreheadhellip It is not easy to analyze the design because of its apparent asymmetry- which nonetheless masks a real though complex symmetry Levi-Strauss
Along with the photo-collages Elisabeth Penker also presents a sound piece entitled Comparative Morphemesrdquo The composition is based on the grammatical classifications of languages beginning in the 19th century linguists attempted to group the worlds languages into four morphological categoriesbased on how words are formed analytic agglutinating synthetic and polysynthetic Penker choose one language of each group Chinese Turkish Burmese and a polysynthetic language She deconstructed recordings of these languages into minimal phonetic units and then reconstructed it into new (word) forms
Elisabeth PENKER (1974 Reiszligeck) Upcoming Book Project Onamatopee Eindhoven NL Solo Exhibitions Roma Contemporary (curated by Ilari Valbonesi) Rome Galerie naumlchst St Stephan (Log-in) Vienna MAK CAT Tower (curated by Andreas Krištof) Vienna Kuumlnstlerhaus Stuttgart with FoGo Lab (curated by Elke aus dem Moore) HTTP Gallery (curated by Tobi Maier) London Liste 03 Basel Temporary Services Chicago Institut fuumlr Gegenwartskunst (curated by Ute Meta Bauer) Vienna
Selected Group Exhibitions include The Program University of Illinois Chicago Protections Kunsthaus Graz (curated by Adam Budak amp Christine Peters) Kunsthalle Brandts (curated by Jacob Fabricius) DK Sound System Salzburger Kunstverein (curated by Hildegund AmanshauserEdek Bartz) Salzburg Howard House Gallery Seattle ldquoFirst Story-Women Buildingrdquo Galerie do Palacio Cristal with FOGO Lab (curated by Ute Meta Bauer) Porto PT
Selected works from the series Split Representation
Titles
Elisabeth Penker
ldquoSplit Representation Walter Benjamin Bluerdquo 60 x 40 cm framed (Paint on Photo-Colllage) 2013 edition of 5 (ea unique)
ldquoSplit Representation Rosa Luxemburg Yellowrdquo 60 x 40 cm framed (Paint on Photo-Colllage) 2014 edition of 5 (ea unique)
ldquoSplit Representation Rosa Luxemburg Caduveo Womanrdquo 60 x 40 cm framed (Paint on Photo-Colllage) 2014 edition of 5 (ea unique)
ldquoSplit Representation Simone de Beauvior Brownrdquo 60 x 40 cm framed (Paint on Photo-Colllage) 2014 edition of 5 (ea unique)
ldquoSplit Representation Trinh T Minh-ha Bluerdquo 60 x 40 cm framed (Paint on Photo-Colllage) 2013 edition of 5 (ea unique)
ldquoSplit Representation Angela Davis Greenrdquo 60 x 40 cm framed (Paint on Photo-Colllage) 2014 edition of 5 (ea unique)
ldquoSplit
Representation Self-Portraitrdquo 60 x 40 cm framed (Photo-Colllage) 2014 edition of 25
ldquoSplit Representation Frantz Fanon Copperrdquo 60 x 40 cm framed (Paint on Photo-Colllage) 2014 edition of 5 (ea unique)
ldquoSplit Representation Pablo Picasso 1rdquo 60 x 40 cm framed (Photo-Colllage) 2012 edition of 5
ldquoSplit Representation Pablo Picasso 2rdquo 60 x 40 cm framed (Photo-Colllage) 2012 edition of 5
ldquoSplit Representation Pablo Picasso 3rdquo 60 x 40 cm framed (Photo-Colllage) 2012 edition of 5
ldquoSplit Representation Ferdinand de Saussure 1rdquo 60 x 40 cm framed (Paint on Photo-Colllage) 2013 edition of 5 (ea unique)
ldquoSplit Representation Ferdinand de Saussure 2rdquo 60 x 40 cm framed (Photo-Colllage) 2013 edition of 5
ldquoSplit Representation Ferdinand de Saussure 3rdquo 60 x 40 cm framed (Paint on Photo-Colllage) 2013 edition of 5 (ea unique)
installation views Charim Events at Schleifmuumlhlgasse 1A Vienna April - May 2014
Elisabeth PenkerFerdinand Penker at Galerie Charim curated by Michael Scott Hall
Elisabeth PenkerFerdinand Penker at Galerie Charim curated by Michael Scott Hall
Elisabeth PenkerFerdinand Penker Galerie Charim curated by Michael Scott Hall
Elisabeth PenkerFerdinand Penker Galerie Charim curated by Michael Scott Hall
Elisabeth PenkerFerdinand Penker Galerie Charim curated by Michael Scott Hall
Elisabeth Penkerinstallation View Gallery 400 Chicago (left bdquoSplit Representation Ferdinand de Saussure (Green)ldquo right bdquoSplit Representation Walter Benjamin (Blue)ldquo 2013
Elisabeth Penkerinstallation View Gallery 400 Chicago left bdquoSplit Reprersentation Walter Benjamin (Blue)ldquo right bdquoSplit Represntation Frantz Fanon (Copper)ldquo 2013
Elisabeth Penkerinstallation View ReMap4 at Camp (Athens) 2013 Ferdinand de Saussure (Blue)
ELISABETH PENKER ldquoVienna calling comparative contemporary artrdquo LOG-IN amp VORRAUM GALERIE NAumlCHST ST STEPHAN ROSEMARIE SCHWARZWAumlLDER Elisabeth Penkers Skulpturen und Audiofilme sind seit 1998 im Bereich von Comparative Art und Sound Art verankert und untersuchen anhand von Sprachmorphologie die Verbindungen zur musikalischen und visuellen Grammatik In Elisabeth Penkers Ausstellung bdquoVienna calling comparative contemporary artrdquo ist der Titel in
Zusammenhang mit der Sprachmorphologie von Wiener Museen lesbar Penkers gezeigte Skulpturen vergleichen visuellelinguistische und musikalische Grammatiken (z B Moderne Kunst und First Nations Art) und verwenden die Ergebnisse als Ausgangsstruktur fuumlr die jeweilige Komposition Ihre Collagen Fotografien Diagramme und Zeichnungen sind erweiterte Fragestellungen ihrer Skulpturen Elisabeth Penker hat in Tonstudios in London und Chicago gearbeitet und seit 2000 eine Serie von Musikinstrumenten entwickelt die die Aufnahme-Methode von Jack Foley verwenden Exzerpte ihrer Multi-
Channel-Kompositionen wurden von Resonance 1044 fm (London) gesendet Weiters ist ein Text von Elisabeth Penker uumlber Sound Art im Resonance Magazine Supplement Juni 2006 erschienen Ein Video und eine Focus -Group wurde gemeinsam mit FOGO Lab bei der Documenta 12 gezeigt und war Teil des Documenta-12-Beitrages von Ricardo Basbaum
Ausstellungen siehe wwwschwarzwaelderat -gt LOGIN ELISABETH PENKER
Comparative Art is an academic discipline in the context of art histories The sculptures audio-films (sound
pieces) and the photographs (expanded sculpture) represent different 3rd 4th -dimensional by documenting
different cultural and spatial notions of perspective through usage of collaged andor spliced structural
compositionalformal structures Structural overlaps between visual artlanguagemusic are considered
Poetics of Dead Space 2 2009-2010
2 Kanaumlle einer 8-Kanal-Composition mono
Metallstativ Speaker Yamaha MSP3 CD-Player
H 133 cm
Ed 13
The non-linear 8-channel composition ldquoPoetics of Dead Space 2rdquo introduces polysynthetic language morphology
combined by the melody which is composed from pre-existing recordings of extinct languages and Penker‟s self-
made instrument ldquoUntitled Instrument sonic structurerdquo (see PDF and related essay written by E Penker at
Resonance fm Magazine upon request at Galerie naumlchst St Stephan)
The channel which is upstairs installed uses an existing wall as an acoustic filter and introduced sub-
consciousness polysynthetic language morphology into the gallery space The title refers to the book poetic of
space within unused architectural situations of exhibition spaces bdquo A Blind Spot (dead angle - Toter Winkel) has a
different meaning in terms of acoustics and cannot be compared with the visual context where blind spot is used
primarily in conversations
In musicsound production in film the visual blind spot is used very often by hearing a bike roller plane without
seeing it In everyday life we are used and depending by acoustic blind spots for our orientation of the situation
and space we are in at the moment Architectural acoustic issues play an important role during the time of the
composition ldquoPoetic of Dead Space 2rdquo is a context specific composition and deals with polysynthetic language
morphology recordings of the untitled instrument Sonic structure and acoustic exhibition architecture besides
issues which are depending of the unused architecture and their acoustics
First Nations Pavillon
Polysynthetische Doppelperspektive Claude Levi-Strauss 2006
Fotocollage C-Print gerahmter Spiegel
6-teilig
3 x 405 x 305 cm
2 x 245 x 305 cm
1 x 605 x 485 cm
Ed23 + 2 AP
A framed mirror from ldquoFirst Nations Pavilionrdquo is placed in the corner of the log-in space to place the viewer physically in the space cutting the reflection of the gaze as well mirrors a profile view of the installed
photographs The photo-series relates to polysynthetic language morphology (of the Inuit First Nations Maori and Caduveo Indians) and translates within the photographic image their structural common visual grammar Because they would create a frontal view which was made out of 2 (split) profile views thereby creating a 4-dimensional perspective that anticipatedparallels Cubism who later presented multiple perspectives within one image which intended to represent movement through time and space Specific references are in the related pdf upon request
at Galerie naumlchst St Stephan
Log [Baumstamm] 2010
Archivierung der Raumfarbe
Split Representation
Claude Levi-Strauss 2009
C-Print
5-teilig je 245 x 305 cm
Ed15 + 2 AP
The camera positions of a right angle mirror bdquoSplit Representationrdquo were chosen by E Penker in the way that the
flash is not in the image the photos are made utilizing a right angle mirror which both fragments and reflects the
image creating multiple or a split perspective EP
Bench-Shelf 2003
Acryl auf Pappelsperrholz
46 x 151 x 42 cm
The bench which is the earliest work in the exhibition mirrors the bottom and the top seating elements thereby
giving the object an asymmetrical appearance The bench-shelf was originally designed for a video archive was
later used by museum staff (in Porto) as gallery furniture
composition (or view) Numerous contemporary artists eg Donald Judd have related the ShakersAmish radical functionalism to their sculptural practice
Poetics of Dead Space 2 2009-2010
2 Kanaumlle einer 8-Kanal-Composition mono
Metallstativ Speaker Yamaha MSP3 CD-Player
H 133 cm
Ed 13
The non-linear 8-channel composition ldquoPoetics of Dead Space 2rdquo introduces polysynthetic language morphology
combined by the melody which is composed from pre-existing recordings of extinct languages and Penker‟s self-
made instrument ldquoUntitled Instrument sonic structurerdquo (see PDF and re lated essay written by E Penker at
Resonance fm Magazine upon request at Galerie naumlchst St Stephan)
The channel which is upstairs installed uses an existing wall as an acoustic filter and introduced sub-
consciousness polysynthetic language morphology into the gallery space The title refers to the book poetic of
space within unused architectural situations of exhibition spaces bdquo A Blind Spot (dead angle - Toter Winkel) has a
different meaning in terms of acoustics and cannot be compared with the visual context where blind spot is used
primarily in conversations
In musicsound production in film the visual blind spot is used very often by hearing a bike roller plane without
seeing it In everyday life we are used and depending by acoustic blind spots for our orientation of the situation
and space we are in at the moment Architectural acoustic issues play an important role during the time of the
composition ldquoPoetic of Dead Space 2rdquo is a context specific composition and deals with polysynthetic language
morphology recordings of the untitled instrument Sonic structure and acoustic exhibition architecture besides
issues which are depending of the unused architecture and their acoustics
Galerie naumlchst St Stephan
Aneta Grzeszykowska Elisabeth Penker
220110 bis 060310 Auf den Spuren gesellschaftlicher
Ordnungssysteme
Die beiden Ausstellungen von Aneta Grzeszykowska in den Galerieraumlumen
und Elisabeth Penker im Projektraum bdquoLOGINldquo sprechen unterschiedliche
Sprachen Momente der Beruumlhrung ergeben sich lediglich durch die
Auseinandersetzung der beiden Kuumlnstlerinnen mit Systembildungen und
gesellschaftlich bedingten Agglomerationen von Bedeutungen Waumlhrend der
Blick der in Warschau lebenden Kuumlnstlerin Aneta Grzeszykowska
psychologisch und kulturell bestimmt ist laumlsst sich das Verfahren der in
Wien und Rom lebenden Elisabeth Penker als ethnografisch und linguistisch
fundiert umschreiben Im Nebeneinander der beiden Positionen bilden sich
schaumlrfende Kontraste
Aneta Grzeszykowskas Interesse gilt dem Privaten in verschiedenen
visuellen Uumlbersetzungen Etwa kartografierte sie mit dem Warschauer
Kuumlnstler Jan Smaga in einer Fotoserie Wohnungen aus der Vogelperspektive
um eine intime Geschichte der Stadt uumlber die Anordnung von Raumlumen
Moumlbeln und Gebrauchsgegenstaumlnden zu erstellen Nun begibt sie sich mit
dem Film bdquoBirthdayldquo auf die Ebene fruumlhkindlicher Begegnungen mit dem
Unheimlichen Gedreht wurde er in der Art privater Dokumentationen zur
Feier des eigenen Nachwuchses anlaumlsslich eines Kindergeburtstags Durch
kommentierende Eingriffe wie die Animation sonst unbeweglicher
Gegenstaumlnde uumlbt die Kuumlnstlerin Kritik an den Konventionen und betont so
das Monstroumlse solcher Ereignisse In der Doppelboumldigkeit von inszenierter
Kindheit und Abgruumlndigem ist auch eine Reihe monochromer dunkler
Figurinen aus Stoff angesiedelt Dass diese bekleidet sind wie
Grzeszykowska in ihrer Kindheit verweist auf Versuche Dramatisches uumlber
die aumlsthetische Formalisierung zu bearbeiten Eine Fotografie mit dem durch
die Hand Grzeszykowskas unabsichtlich verletztem Auge ihres kleinen
Bruders und eine maumlrchenhaft anmutende Reliefskulptur mit einem Maumldchen
auf einem Hund aus stacheligen Distelbluumlten erzaumlhlen davon
Tiefenbohrungen zum Kern semantischer Ordnungen unternimmt dagegen
Elisabeth Penker im Kontext der Ausstellungsserie LOGIN in einem
ehemaligen Geschaumlftslokal und im Foyer der Galerie selbst Bekannt ist die
Kuumlnstlerin und Musikerin Elisabeth Penker etwa durch ihre Intervention im
Arkadenhof der Universitaumlt Wien mit einer Buumlste der oumlsterreichischen
Romanistin und ersten Universitaumltsprofessorin Elise Richter Diese leite das
phonetische Institut bis zu ihrer Deportation ins Ghetto Theresienstadt durch
die Nationalsozialisten und war in der patriarchalischen Ordnung der
steinernen Koumlpfe der Universitaumlt ndash ebenso wie die Leistungen von Frauen
generell ndash bis dahin kein Thema gewesen In der Ausstellung bdquoProtectionsldquo
im Kunsthaus Graz thematisierte Penker mit ihrem bdquoFirst Nation Pavillonldquo die Hegemonie des durch den
Kolonialismus gepraumlgten Blicks auf auszligereuropaumlische Gesellschaften
Stets sind ihre Annaumlherungen auf die Generierung von Bedeutungen im Sinne von Grammatiken
ausgerichtet Dementsprechend leitmotivisch fungiert ein Portraumlt des kuumlrzlich verstorbenen Ethnologen
Claude Leacutevi-Strauss in der Rauminstallation mit integrierter Soundkomposition Die gespiegelte und
mehrfach aufgefaumlcherte Fotografie von Leacutevi-Strauss in bdquopolysynthetischer Doppelperspektiverdquo laumlsst sich
als Verschneidung von Sprachlichem Klanglichen und Visuellen lesen
Eine Archaumlologie im Feld der Linguistik wie auf Materialebene fuumlhrt die Signifikanten auf engstem Raum
zusammen Triviale Vierkanthoumllzer beispielsweise wurden in genau jenen Farben lackiert die Penker als
uumlbereinander gelagerte Sedimente unter der Dispersion der Waumlnde freilegte Die laumlnglichen Houmllzer
beziehen sich auf den englischen Ausdruck bdquologldquo fuumlr Stamm und somit auch auf die Ausstellungsreihe der
Galerie Bemerkenswert dass ein Wort das bloszlig aus einem Morphem besteht einen Gegenstand
repraumlsentiert So baut sich uumlber eine Reihe weiterer Objekte wie etwa den bdquoHanging Chairsldquo aus dem
Fundus der Galerie ein elementares Netzwerk von Bezuumlgen auf Mit ihren Werken und abstrakten Sound-
Kompositionen dringt Elisabeth Penker kritisch forschend in die Makrobereiche von Grammatiken vor um
Potentiale semantischer Anbindungen in Nachbarsystemen freizulegen Roland Schoumlny
Elisabeth Penker Einzelausstellung MAK CAT TOWER Kurtaiert von Andreas Kristof
ldquoPassive Orchestrardquo 2008 8-Channel-Toninstallation Die Interpretation von Soundart sieht Penker in der Uumlberschneidung von Sprache-visueller Kunst und Musik und ist zumeist mit einer visuellen raumlumlichen Komponente verbunden Der Betrachter und Zuhoumlrer befindet sich in
einer Konzert-Situation statt Instrumenten sieht er nur Lautsprecher die auf unterschiedlichen Houmlhen auf einer grauen Wand positioniert sind Passiv Orchestra beruht in der Struktur auf die grammatische Einteilungen von Sprachen die in phonetische Minimaleinheiten dekonstruiert sind und wird uumlber eine Mehrkanal Matrix gespielt Elisabeth Penker referiert in dieser eigens fuumlr den Flakturm konzipierten Arbeit auf dadaistische Methoden der Sprachdekodierung die auch als ein klares Anti-Kriegs-Statement zu verstehen waren
1
Kunsthaus Graz
Protections
Kuratoren Adam Budak und Christine Peters
Elisabeth Penker
First Nation Pavilion
Der First Nation Pavilion von Elisabeth Penker unternimmt den Versuch einen Bereich fuumlr ein koloniales
Bewusstsein der europaumlischen Vergangenheit zu schaffen und einen utopischen Raum fuumlr neue Vorstellungen
von einer Mannigfaltigkeit an kulturellen Formen in der zeitgenoumlssischen Kunst Die Komposition de-
grammatical ein Bestandteil des First Nation Pavilion beruht in ihrer Struktur auf den grammatischen
Einteilungen der Sprachen die in phonetische Minimaleinheiten dekonstruiert sind und wird uumlber eine
nichtlineare 5-Kanal-Matrix gespielt
Penker untersucht moumlgliche Uumlberschneidungen zwischen der Sprache der Musik und der Bildstruktur wobei ihr
Hauptaugenmerk polysynthetischen Sprachen (First Nations und Pazifische Inseln) gilt sowie dem Vergleich
zwischen der Kunst von First Nations und der Modernen Kunst Erst in juumlngerer Zeit in der Aumlra des
Postkolonialismus hat der Diskurs der kulturellen Uumlbersetzung Fragen aufgeworfen mit denen man sich schon
in den phonetischen Experimenten des Dadaismus in den 1910er und 1920er Jahren beschaumlftigt hatte sowie
spaumlter in der Konzeptkunst der 1960er und 70er Jahre
Elisabeth Penker
First Nation Pavilion
The First Nation Pavilion by Elisabeth Penker attempts to set-up an area for colonial consciousness of the
European past and a utopic space for re-imagining a plurality of cultural forms in contemporary art The
composition entitled de-grammatical contained within the First Nation Pavilion is structurally-based on the
grammatical classifications of languages deconstructed into minimal phonetic units played within a non-linear
5-channel matrix
Penker is questioning the possible overlaps between music-language and visual structure within the primary
focus on polysynthetic languages (First Nation and Pacific Islands) and First Nation Art compared to Modern Art
More recently in the age of post-colonialism the discourse of cultural translation is arising questions that have
also been experimented by the Dadaists phonetic experiments in the 1910-20s and later in Concept Art of the
1960s-70s Text Adam Budak
Michael Elmgreen amp Ingar Dragset (the work of two other invited artists) offered Penker a typical prefabricated
house as her exhibition space within the Kunsthaus
id31403916 pdfMachine by Broadgun Software - a great PDF writer - a great PDF creator - httpwwwpdfmachinecom httpwwwbroadguncom
2
Elisabeth Penker Fisrt Nations Pavilion 2006
Change of floor plan of the prefabricated house by Michael Elmgreen amp Ingar Dragset
Entrance door Fisrt Nations Pavilion
3
Part 1 Colonial Conciseness in visual art
Room 1 and 3 Modernism=Imperialism after Henry Flynt Demolish serious culture
Woman as a the last Colony Rosa Luxenburg Veronika Bennholdt-
Thomsen Claudia von Werlhof und Maria Mies
4
Vinyl letters C-Print
5
6
Polysynthetische Doppelperspektive 1 Claude Levi- Strauss
Photocolloage C-Print
7
Polysynthetische Doppelperspektive 2 Claude Levi-Strauss
Photocolloage C-Print
9
Polysynthetische Doppelperspektive 4 Claude Levi Strauss
Photocolloage C-Print
2 prints Installed in corner
Installation view Polysynthetische Doppelperspektive 1-4 Claude Levi- Strauss
The visual grammar and its double perspective (split representation) of Haida Gwai and Tlinglet Art (First Nation
Art) is re-collaged with a photograph of Pablo Picasso comparing Cubism (early Modernism) with First Nation Art
and questioning its similarities of double perspectives
10
Room 4 and 5
Room 4
11
Luicide List The museum as an imperial graveyard
C-Print
Colonial after effects of Luicide
Gips Metallkette Hose Schuh
12
No7
Mirror Split Representation Mirror framed and installed in the corner
Part 2 Room 6 and 8 Comparative Contemporary Art
4-channel sound installation
De-grammatical Listen to mp3 audio excerpts
13
Front
2 CT (shelfbenches) Acryl auf Pappelsperrholz
Back Pull Over Yukme Shirley Hall outside
14
Pull Over Yukme Shirley Hall inside
Fabric wall silk print by (Tlinglet Artist) Yukme Shirley Hall
Wo ist Elise Richter wo ist
id99149429 pdfMachine by Broadgun Software - a great PDF writer - a great PDF creator - httpwwwpdfmachinecom httpwwwbroadguncom
Im Arkadenhof der Universitaumlt Wien stehen 154 Buumlsten von bedeutenden Wissenschaftlern der
Universitaumlt Wien (1700-2005) Bedauerlicherweise findet sich unter ihnen keine einzige Frau Eine temporaumlre Buumlste einer anonymen Wissenschaftlerin soll die systematische Ausblendung von Frauen
aus der Universitaumltsgeschichte thematisieren Die offene Web- Plattform (wwweliserichterat) ermoumlglicht allen Benutzern aktiv an der Umschreibung der Universitaumltsgeschichte und an re-imaging Prozessen der Repraumlsentation dieser Buumlsten teilzunehmen Weiters wird die Verbindung von raceclassgender und einer akademischen Kariere in diesem Zusammenhang hinterfragt We can never really change any form of social organisation without challenging all that organisations forms of
language (Debord)
Within the patriarchal structures of the Arkadenhof at the University of Vienna stand 154 busts of important scientists (1700-2005) Unfortunately none of these busts are women Through the placement of a temporary bust of an anonymous female scientist it declares the absence of them within the history of the university As well the anonymous bust embodies the presence of important scientists who have not yet been given equal representation The open web-platform (wwweliserichterat) allows every user to participate in this discourse to re-write the history of the university and to re-image the representation of these busts through a wiki system
Skizze Buumlste einer anonymen Wissenschaftlerin
Mein Interesse besteht nicht darin zu recherchieren welche Buumlsten von Wissenschaftlerinnen im Arkadenhof fehlen sondern das Fehlen der Wissenschaftlerinnen im Zeitraum von 1700 bis 2005 aufzuzeigen und Strukturen fuumlr eine oumlffentliche Kommunikationsplattform zu schaffen In der Genderforschung besteht Konsens daruumlber dass Gender kein Merkmal von Individuen sondern das einer
Institution ist (Connell) zudem ein struktureller Bestandteil einer Gesellschaft ist und dass Gendernormen alle Organisationen durchdringen (Acker)
Grundriss Arkadenhof der Universitaumlt Wien Literatur Acker J (1990) Hierarchies Jobs Bodies A theory of gendered organizations In Gender and Society
Connell R (1998) Gender and Power Society the Person and Sexual Politics Stanford University Press Stanford CA Maisel T (1990) Die Denkmaumller im Arkadenhof der Universitaumlt Wien Biographische Skizzen Wien Quellen Denkmalsakten Archiv der Universitaumlt Wien
Veranstalter Open Mind Projekt Utopie Freiheit httpwwwopenmindat vereinopenmindat Projektautorin Elisabeth Penker elpenkergmxat Bronzeguss Walter Rom Wachsmodel Buumlste Elisabeth Penker Steinsockel Ausfuumlhrung Fa Zehmann Mario Jungbauer Mediendesign Gernot Tscherteu httpwwwrealitylabatwphome gtrealitylabat Techn Umsetzung Christian Langreiter Webpage wwweliserichterat
Elisabeth Penker- Franzengasse 13- 1050 Wien ++43 (0)699 197 193 53 elpenkergmxat
Elisabeth Penker Untitled instruments 1-3 2000-2012
Galerie Georg Kargl Wien Galerie Priestor Bratislava Kuumlnstlerhaus Wien Kibla New
Media Center Maribor HTTP Galerie London Secession Wien Mak Wien Roma
Contemporary Wien
Elisabeth Penker Untiled Instrument Galerie Georg Kargl Wien
Curated by Michael Hall
Elisabeth Penker Untitled instrument 2001 New Media Center Maribor
Elisabeth Penker Untitled instrument 2001 New Media Center Maribor
Elisabeth Penker Untitled instrument Kuumlnstlerhaus Wien curated by Ursula Maria Probst
Live Performance mit Celia Mare
Detail Die BILD_HAU_ER_IN Kuumlnstlerhaus Wien
Live Performance Flower Structure Wiener Festwochen
Elisabeth Penker (Untiled instrument) Van Angh (Cello) Tri Minh Electronics
Elisabeth Penker Live Performance Poetics of space Secession Wien
MAK Nail Structure GRizo Sweet Susie Elisabeth Penker
Elisabeth Penker HTTP Gallery London 2005 curated by Tobi Maier
Elisabeth Penker HTTP Gallery London Live Performance
Elisabeth Penker Untitled Instrument Sonic Structure Kunsthaus Graz curated by Adam Budak amp
Christine Peters
Videolinks
httpwwwyoutubecomusersoundart24
Interview with Video Festwochen
httpbturncom8753interview-elisabeth-penker
Kunsthaus Graz
Protections
Kuratoren Adam Budak und Christine Peters
Elisabeth Penker Poetics of Dead Space
For PROTECTIONS Elisabeth Penker developed a key-sound Poetics of Dead Space which is to a large extent a homage
to Gaston Bachelards seminal book Poetics of Space where the connections between the poetry and the spatial emotions
are analysed Penkers key-sound will guide the viewer through the exhibition mapping the overall identity of the show in
some way controlling the viewers (audio-narrative) route in the maze of art objects events situations but also spatial
voids and unused corners
Fuumlr PROTECTIONS entwickelte Elisabeth Penker einen leitmotivischen Key Sound Poetics of Dead Space der weitgehend
eine Hommage an Gaston Bachelards wegweisendes Buch Poetics of Space darstellt in dem die Verbindungen zwischen
Lyrik und raumlumlichen Emotionen analysiert werden Penkers Key Sound wird das Publikum durch die Ausstellung geleiten
die Identitaumlt der Schau in ihrer Gesamtheit erfassen und in gewisser Weise die (audio-narrative) Route des Publikums im
Labyrinth der Kunstgegenstaumlnde Ereignisse und Situationen aber auch raumlumlicher Leerstellen und ungenutzter Winkel
kontrollieren
A non linear composition 7 mono active speakers are placed through out the Kunsthaus Graz Speaker placement
1 outdoor (entrance) 2 (travelator) 3 (corner with column) 4 (corner with door) 5 (corner) 6 (travelator) 7 (corner with
window)
Poetics of Dead Space Let it grow again 28 51 sec mono
Source material for composition rain sound of dried beans dropping down wood sticks breathing hardly existing
id78338975 pdfMachine by Broadgun Software - a great PDF writer - a great PDF creator - httpwwwpdfmachinecom httpwwwbroadguncom
recording of extinct languages
Poetics of Dead Space Let it grow again 28 51 sec mono
Source material for composition rain sound of dried beans dropping down wood sticks existing recording of extinct
languages
Poetics of Dead Space travelator 1 1min 04 sec mono loop
Source material for composition staff falling down man falling down stairs rattern recording untitled instrument
Background existing recording of extinct languages
Poetics of Dead Space 496 1min 409 sec mono loop
Source material for composition recording untitled instrument Background existing recording of extinct languages
Poetics of Dead Space 129525 1min 4888 sec mono loop
Source material for composition recording untitled instrument Background existing recording of extinct languages
Poetics of Dead Space 129525 1min 4888 sec mono loop
Source material for composition keyboard recording untitled instrument Background existing recording of extinct
languages
Poetics of Dead Space travelator 2 1min 5209 sec mono loop
Source material for composition recording untitled instrument violin Background existing recording of extinct
languages
Poetics of Dead Space2152518125220 1min 3200 sec mono loop
Source material for composition recording untitled instrument Background existing recording of library of extinct
languages
Poetics of Dead Space travelator 1 1min 04 sec mono loop
viewing down from upstairs Source material for composition staff falling down man falling down stairs rattern
recording untitled instrument Background existing recording of extinct languages
Poetics of Dead Space Let it grow again 028 51 sec mono
Source material for composition rain sound of coins wood sticks existing recording of extinct languages
Elisabeth Penker is a Viennese artist and musician working with sound in a sculptural context In her (subjective) tour
Penker approaches the entire anti-exhibition PROTECTIONS from an angle of its position and significance in the context
of Sound Art as located on the crossway between visual arts language and music Starting from her own house turned
into First Nation Pavillion which amongst others aims at connecting the recent discourse on cultural translation with
early avant-garde phonetic experiments Penker maps the sonic structure of Kunsthaus Graz and its (live) architecture
which for PROTECTIONS hosts an array of interdisciplinary projects with a strong audio-quality from Herwig Weisers
Death Before Disco (a micro-architecture of hyper-technological and electronic pop) through a newly created choir of
security guards for Tim Etchells Wall of Sound down to a cacophonic layers of anonimous noise generated by the
space itself and the presence of audience
Die Wiener Kuumlnstlerin und Musikerin Elisabeth Penker arbeitet mit Klang im Zusammenhang mit Bildhauerei In ihrer
(subjektiven) Fuumlhrung naumlhert sie sich der Anti-Ausstellung PROTECTIONS aus einem Blickwinkel der die Position und
Bedeutung der Klangkunst an der Kreuzung zwischen bildender Kunst Sprache und Musik verortet Von ihrem eigenen
Haus ausgehend das sich in den First Nation Pavilion verwandelt hat der u a den aktuellen Diskurs uumlber kulturelle
Uumlbersetzung mit fruumlhen phonetischen Experimenten der Avantgarde verbinden soll entwirft Penker die klangliche
Struktur des Gutshauses und seiner (Live-)Architektur die fuumlr PROTECTIONS eine Reihe von interdisziplinaumlren Projekten
mit einer starken Affinitaumlt zum Klang beherbergt von Herwig Weisers Death Before Disco (eine Mikroarchitektur aus
hyper-technoidem und elektronischem Pop) uumlber einen neu formierten Chor bestehend aus Security Guards fuumlr Tim
Etchells Wall of Sound bis zu einer Kakophonie aus anonymen Geraumluschen die vom Raum selbst und der Anwesenheit
des Publikums erzeugt werden
052813
Local Warming ATHENS
052813
AFTER A YEARLONG HIATUS the eighteenth Art-Athina hit the ground running on the evening of Thursday May 16 and the former Olympic
ldquoTae Kwon Dordquo Pavilion was packed with enthusiastic party people The fair had a more national flavor than ever this year under its new
director Alexis Caniaris the son of recently deceased artist Vlassis Caniaris whose iconic modern work has recently found great success on the
international market Of the very few foreign galleries exhibiting most were Greek-owned The Breeder gallery was dealing with the perceived
drop in the market by selling fantastic multiples by artists like Stelios Faitakis Jannis Varelas and Andreas Angelidakis at crisis-appropriate
prices ldquoNobody wants to come here now but I have already met three interested billionaire collectors today And if Greeks like you they
introduce you to their billionaire friendsrdquo raved Cologne dealer Mirko Mayer a seven-time exhibitor ldquoThat is what nobody knows There are
at least one-hundred billionaires collecting hererdquo Most international collectors were delayed several hours due to a union strike a de r igueur
mode of arrival in contemporary Greece
It was impossible to miss the exuberant activities of the DaDa Da restaurant a Greek-Austrian collaboration where artist Albert Mayr was
waving a skillet and raving nonsense while Lucas Willmann tenderized pink fillets for Wiener schnitzel ldquoThis is Viennese Actionism lightrdquo
quipped critic Sotirios Bahtsetzis Artist Natasha Papadopoulos added ldquoBut here there are hungry Greeks waitingrdquo On a table with a rotating
Sacher tort by Heacutelegravene van Duijne a sign carried the overwhelming spirit FUCK ART LETrsquoS EAT SOUVLAKI An insistent electronic beat and
pulsating light emanated from the next booth the American College of Greecersquos ldquoAthensUrgentrdquo while hooded performer Manos Tsatiris
stood against the wall with his hands tied perhaps a metaphor for the current Athenian exigency ldquoThis is not the kind of art fair scene we are
used tordquo said the Economou Collectionrsquos Annie-Claire Geisinger watching the madness
Left Artists Elisabeth Penker Michela Pelusio Petros Touloudis Panos Papadopoulos and Nino Stelzl Right Collector Anne-Marie Ros
Down on the floor the dealers seemed pleased particularly given dismal expectations having already sold a great deal at the preview Young
Rotterdam-based gallery Joey Ramone had sold sculptures by Fotini Gouseti to English and Belgian collectors dealer Erik Mulier had also sold
some work to Belgians Marc Van den Hende said he had bought a triptych by Eirene Efstathiou and was considering a Vlassis Caniaris piece
from the 1970s ldquoI saw some surprisesmdashyoung Greek artists I did not knowmdashand great new galleries like Elika and CANrdquo Dutch collector
Anne-Marie Ros said By the end of the day Dimitra and Sofia Vamiali reported that they had not seen one Greek collector although another
reported a Dakis Joannou sighting mdash Cathryn Drake
SEARCH
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SEATTLE
WEEKLY
in the News
Columnist
Geov Parrish
is a regular
guest on
Mind Over
Matters on
KEXP-FM
(903)
Saturdays at
830 am and
provides news
commentary
on KBCS-FM
(913) Fridays
at 430 pm
Catch writers
Steve
Wiecking Tim
Appelo and
ARTS
March 30 - April 5 2005
Picking Up the Thread
Howard House ties together the best new conceptual art from Vienna
by Elise Richman
Franz Wests Mercury
(Howard House Contemporary Art)
Theres a German expression to lose the red thread which means losing
ones train of thought In its current show Howard House has found that
thread Julie Ryan a curator artist and writer organized The Red
Thread Glimpses of International Art in Vienna a two-part exhibition
featuring artists working and living at least part time in Austrias capital
Part one of the show is at Howard House the second half is currently on
display at the Educational Alliance Gallery in New York
Vienna has become a magnet for artists from all over the world including
the 15 individuals and artist teams that are part of The Red Thread
Excellent artist residency programs a low cost of living and living art
legends like Franz West are just a few of the reasons
An artistic collaboration with West took Ryan from New York to Vienna
She knows Billy Howard who runs Howard House from the University of
Washingtons School of Art And so the figurative string was strung
connecting the East and West coasts with artists from across the Atlantic
This is a complex exhibit whose emotional tenor ranges from cool
detachment to an almost urgent earnestness Unlike the formal richly
historical city that connects them artists in The Red Thread favor informal
approaches to art making use disposable materials and comment on
contemporary cultural themes
West has two formidable sculptures at Howard House The front room of the
gallery features Mercury (pictured) an ungainly behemoth composed of a
patchwork of fused metal Like many of Wests sculptures Mercury is
meant as an interactive structure that viewers can climb and sit on Bulbous
Gavin
Borchert
discussing
theater film
and music
regularly on
classical
KING-FM
(981)
Mark Fiore
Cartoons
Every
Thursday
nodules extend from its horizontal base and the seams of the dark maroon
metal look like scars rendering it at once vaguely obscene and absurdly
playful
Sisyphus the other West sculpture on display is a bulky conglomeration of
bits and wads of paper propped in the back room on a makeshift plinth (base
block) Though its as solid as the boulder its title references its surface is
like oozing skin partly coated with poured murky paint partly cloaked in
small clumps of newspaper detritus
The strenuous act of making each of these sculptures is eminently apparent
and central to the content of Wests work West considers creation a
symbolic act As you might expect he likens the artistic process to the plight
of Sisyphus the mythological figure who eternally rolled a boulder up a hill
only to have it come crashing back down For West art involves a
Sisyphean search for what he calls the absolute through the seemingly
senseless accumulation of materials However unlike Sisyphus futile quest
Wests process can lead to epiphany making sense of the senseless
Similarly Viennese artist Elisabeth Penkers art serves a facilitative
function easing the act of translation Penker uses Haida iconography in her
multimedia work because it provides potent visual symbols that
communicate single words and whole sentences simultaneously Her prints
at Howard House feature fragments of icons floating in the papers white
space They are spare visually arresting characters that employ an
iconographic language as encoded symbols of communication
Also featured in The Red Thread is Donald Baechler an internationally
known American painter who spends extended periods of time in Vienna
Baechler equalizes his imagery by painting it all in the same style For him
the source of an image doesnt matter whether its a drawing by Picasso or
graffiti on a bathroom wall What matters is the newfound context his
paintings provide
Victory by Default is part of Baechlers Skull series In this piece a painted
skull gapes from the dirty yet sensuous confines of a large canvas Terry
cloth and wrinkled rags provide literal texture and reference the world
outside the paintings boundaries Splatterings of color around the skull like
the self-conscious marks of Jasper Johns seem to express the language of
paintingmdashhue and gestural strokesmdashin a factual rather than illusional
manner
Another American painter Lisa Ruyter lives half-time in Vienna where she
runs an influential gallery She works from photographs projected onto
large-scale canvases tracing the contours of the projected imagery with
consistent black outlines In a way that seems arbitrary she paints the shapes
formed by her contour lines in flat designer colors Man of Means based on
a photo of fashion photographers looks like a scrambled color-by-numbers
painting I cant do justice to the unusually rich assortment of conceptual art
in The Red Thread Youll just have to see it for yourself Thomas
Baumans thrashing triangular foil blanket Walter Seidls slide show of
staged snapshots Markus Schinwalds photograph of a contortionist and the
other thoughtful works connected by The Red Thread
The Red Thread Glimpses of International Art in Vienna runs through
April 30 at Howard House 604 Second Ave 206- 256-6399 1030 amndash5
pm TuesndashSat Free
KUNSTFORUM
Parallelwelten fuumlr Parlamentarier Ausstellung
Von Brigitte Borchhardt-Birbaumer
Ende Oktober endet die Zusammenarbeit von Nationalratspraumlsident Andreas Khol und Peter Pakesch Direktor des Kunsthauses Graz am Joanneum Seit 2003
hatte Pakesch als Kurator mehrere Ausstellungen in den Sitzungssaumllen des Parlaments in Zusammenarbeit mit Galerien initiiert und namhafte Positionen
ausgewaumlhlt Kriterium fuumlr Praumlsentationen war die Praumlsenz durch eine Schau in einer der bekannten Kunstinstitutionen des Landes Nach Eva Schlegel Adriana
Czernin Maria Lassnig oder Esther Stocker sind dies nun bis April 2007 Josef Dabernig Daniel Hafner Ulrike Lienbacher Alois Mosbacher und Elisabeth
Penker
Das Parlament kann dabei durch die Margaretha-Lupac Stiftung immer eine Arbeit fuumlr die wachsende Sammlung des Hauses ankaufen Zuletzt war das ein
groszliges Oumll-Acryl-Gemaumllde der Georg-Eisler-Preistraumlgerin Maja Vukoje zuvor Johanna Kandl deren Temperabild derzeit an das Lentos in Linz geliehen wird
Einige Werke haumlngen schon als kuumlnstlerische Wegweiser in den Gaumlngen des Hauses und sind auch Blickfang fuumlr die 120000 Besucher die pro Jahr das
Parlament besuchen In die Architektur von Theophil Hansen mit ihrer zeitlosen Qualitaumlt fuumlgt sich die Gegenwartskunst kongenial
Hoffnung fuumlr spaumlter
Die derzeitige Zusammenstellung macht Hoffnung auf eine Fortsetzung unter der naumlchsten Praumlsidentschaft Fotografie Computerkunst Malerei Zeichnung
und Skulptur weisen auf die Vielfalt der Werkstoffe in der Gegenwartskunst Elisabeth Penker parallel im Kunsthaus Graz zu sehen baut schwarzweiszlige
Objekte aus bemaltem Holz die in ihrer seriellen und geometrischen Anordnung auf Bezuumlge zum Performativen und auf die Musik hinweisen
Noch juumlnger ist Daniel Hafner mit seinen am Computer komponierten digitalen Drucken Morphosentransformationen von 2006 Linienraster und
Raumkonstruktionen in subtiler Farbigkeit verbinden Tendenzen der fruumlhen Op-Art mit dem Cyber-Lab
Um konstruierte Realitaumlten geht es auch in den groszligformatigen Oumllbildern von Alois Mosbacher dem bekannten Vertreter der Neuen Wilden der
Achtzigerjahre in Oumlsterreich Wanderer in Wald und Wiese erzaumlhlen die Geschichten alternativer Welten die sich mancher in der Gesellschaft als Parallele
konstruiert
Zwei Fotofriese von Josef Dabernig bilden jeweils ein Panorama von oumlffentlichen Plaumltzen auf denen es zum einen um Fuszligball geht Zum anderen ist der
Rundblick in das Oval einer scheinbaren Arena auch eine Art Sehschule fuumlr die Betrachter Ein sozialer Befund ist die dritte Bedeutungsebene
Ulrike Lienbacher die heuer mit einer groszligen Schau im Innsbrucker Taxispalais ihre Karriere fortsetzt ist mit ihren feinlinigen Tuschezeichnungen den kleinen
oft unsichtbaren Zwaumlngen in unserer Gesellschaft auf der Spur Im Lokal II des Parlaments stellt sie zwar nicht ihre Objekte und Fotos aber einige
groszligformatige Blaumltter mit Frisurenvariationen neben teils fragmentierten Frauenkoumlrpern im Umgang mit Schmutz und Hygiene aber auch Fitnesskult aus
Disziplinierung und Kontrolle betreffen in der Oumlffentlichkeit besonders den weiblichen Koumlrper Sauberkeitsmechanismen weisen auch auf Vorstellungen von
wertvoll und minderwertig hin Ihre Transformationen enthalten wie die Themen der anderen subtile Kritik und sind daher vom Kurator uumlberlegt positioniert
Zeitgenoumlssische Kunst
im Parlament
Bis April 2007
Kurator Peter Pakesch
Konfrontationen
Dienstag 10 Oktober 2006
ltlt 2003 | 2004 Jan Feb Mar Apr May Jun Jul Aug Sep Oct Nov Dec 2004 | 2005 gtgt
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31
Sunday 17 October 2004
TIME
TITLE
NAME
700 Indymedia ESF breakfast show Indymedia London
Highlights news and views from the European Social Forum and the
autonomous spaces and initiatives taking place this week
website
800 Resonance Radio Art Riot Breakfast International
Radio Art
A five part special of the Harmon E Phraisyar show commissioned for
Kunstradio in Austria starts off the morning broadcast of international radio
art
website
1100 Resonance Live from the Frieze Art Fair Anna Colin amp
Tobi Maier
1100 Chris Weaver Resonance 1044FM live electronics set with James Dunn and
Robin Warren
1130 Michael Hall gallery Vienna presents audio works by artist Elisabeth Penker
1200 Maria Fusco presents latest the Bookworks commissions
1300 The Psychology of Collecting live broadcast of the frieze art fair panel
discussion
Is collecting an irrational act guided by compulsion and desire What are the use of
objects What are the motivations behind making collecting curating and
criticizing art A discussion of the psychology of collecting and the politics of taste
Hilary Rubenstein (Psychologist)
Eric Troncy (Art Critic and Director Le Consortium Dijon)
Haim Steinbach (Artist)
Chair Alice Rawsthorn (Director Design Museum)
1500 Portable live set and presentation of sudelectronic records London
1600 Where is Adventure What is Culture live broadcast of the frieze art fair
website
panel discussion
A discussion of the relationship of art to entertainment touching on the comedic
being popular and failing miserably
Trisha Donnelly (Artist)
Christian Jankowski (Artist)
David Robbins (Writer amp Artist)
Nancy Spector (Curator of Contemporary Art Solomon R Guggenheim Museum)
Chair Matthew Higgs (Curator CCA Wattis Institute for Contemporary Arts)
1800 Melissa Bent from Rivington Arms gallery New York in conversation with
artist Dan Colan and Tobi Maier Anna Colin
1830 VOX pop recordings from the fair with Sharon Gal
1900 Resonance Radio Art Riot Sarah
Washington
The Resonance Radio Art Riot brings together some of the foremost radio artists
and thinkers from around the world The studio lab situation will feature round
table discussions live performances and streamed events
Tonight Radio Text
Events Live broadcast from Sonic Arts Network Resonance benefit featuring
Henri Chopin studio performances from Julia Lee Barclay and Aude Tournay plus
Special Features None present live concrete radiophonics - Planning For
Emergencies
Guests include Clive Graham Chris Weaver Richard Thomas Toby Clarkson
John Lovett Robin Warren and James Dunn
Topics The word as art Sound poetry text performances
At Midnight Tom Wallace present exclusive excerpts from radio art pioneer
Gregory Whitehead
website
000 Resonance Radio Art Riot Nights International
Radio Art
The Resonance Radio Art riot continues throughout the night with the finest of
international radio art Resonance FM programme makers and our international
guests have put together many special hours of classic and obscure radio
works
website
- EPenkerDocumentationpdf
-
- 2bAusstellungenPublicaSpaceEPenkerpdf
-
- 2cUntitled_InstrumentsKunsthausGrazEPenker
- 2bpoeticsKunsthaus GrazEPenker
-
- 4PresseEPenkerpdf
-
- 4Review_Seattle Weekly
-
_________________________________________ Charim Events Schleifmuumlhlgasse 1a A-1040 Wien httpwwwcharimgalerieat charimcharimgalerieat
Elisabeth Penker ldquoContact Situations Language and Rhythm Transformationrdquo Sound Art supplement Resonance Mag-azine London 2005 p 22-29 ( editors Tobi Maier amp Anna Colin) Elisabeth Penker ldquoThe tactility of sound is the inverse of sculpturerdquo Ursula Probst (editor) Skug Magazine Vienna 2004 SELECTED BIBLIOGRAPHY Cathryn Drake Local Warming Art Athina 28th of May 2013 Tamara Dinka Interview Elisabeth Penker b-turn 17th of June 2012 Roland Schoumlny Auf den Spuren gesellschaftlicher Ordnungssysteme artmagazine Jan 2010 Ursula Maria Probst A Vibrant Scene scene 2 p 57 April 2009 Georg Leisten Stuttgarter Nachrichten FOGO Lab Kuumlnstlerhaus Stuttgart p 35 Feb 2006 Michael Hall bdquoBrutal Ornamentalldquo STAR Magazine (projects with Elisabeth Penker Katja Strunz Ian Rosen Minoru Shimizurdquo April 2006 Vienna Ursula Probst bdquoIndikatoren kultureller Spielraumlumeldquo artmagazine Vienna 20 Dec 2005 Dagmar Buchta bdquoWo ist Elise Richter wo ist ldquo die Standard 17 November 2005 Diana Baldon ldquocritics picks Elisabeth Penkerrdquo Artforum June 2005 Elise Richmann ldquoThe Red Threadrdquo Seattle Weekly March 2005 Michaela Hafner bdquoAnonyme Wissenschafterin im Arkadenhofldquo Die Universitaumlt Online am 23 Nov 2005 Dieter Buchhart Born to be star Kunstforum September 2004 Johanna Hofleitner ldquoReview Born to be a Starrdquo artmagazinecc 072004 Christian Houmlller bdquoSound Systemldquo Springerin issue 303 p 85-86 Antje Mayer bdquoAn oder Ausldquo Kunstzeitung Nr 85 Sept 2003 p27 Johanna Hofleitner ldquoKunstraumrdquo Die Presse (Wien) 27 November 2003 Almuth Spiegler ldquoMutig und total relaxedrdquo Die Presse (Vienna) 24 July 2003 Ursula Probst ldquohear the artrdquo artmagazinecc 062002 Katy Depwell amp Ute Meta Bauer nparadoxa ldquoRethinking Revolutionrdquo Vol 10 2002 p 73 Jacob Fabricius amp Tommy Lund ldquountitled 654321rdquo Kunsthalle Brands 2001 p57-61 Michael Hall ldquoElisabeth Penkerrdquo Camera Austria issue 76 2001 p66-67 Nicole Scheyerer Review ldquoCT3rdquo Falter 2601 Vienna p70 Franc Wakounig ldquoKo (ce) se na Koroskem zemlja treserdquo Vestnik 3152001 ldquoSollbruchstellenrdquo Standard 3052001 Viennese lounge ldquoOumlsterreich 2000 contributionsrdquo Camera Austria issue 70 2000 p162 Sulie Tankut ldquoCagdas sanat ve Avusturyardquo Nilliyet Istanbul November 8 2000 Sabine Oppolzer ldquoPoesie eines blassen Dandysldquo Die Presse Vienna 1998 RESIDENCIES GRANTS amp PRIZES 2014 SEA Residency Kreta GR 2010 Rome Residency BMUKK Austrian Ministry for Education Art and Culture 2009 Theodor Koumlrner Preis fuumlr wissenschaftliches Arbeiten Vienna 2005 Austrian Academy of Science Doc-Stipendium Vienna 2000 Oumlsterreichisches Staatsstipendium BKA (Vienna) 2000 ldquoSix Practicesrdquo (London Residency Grant) Sound Designer- Post Production for Feature Film University for Applied Arts Vienna amp De Lane Lea Studio London 1999 kurzes wissenschaftliches Arbeiten im Ausland Leonardo Maestro Matic Sound Designer- Post Production for Feature Films Chicago 1998 Chicago Residency BKA (Vienna) Erasmus NATIONAL Academy of Fine Arts Oslo SELECTED RADIO CONTRIBUTIONS 2012 SOUNDART IN A SCUPTURAL CONTEXT Resonance fm1043 London 2010 CONCERTO PER DUE CAVALLI RAM ARTE MOBILE ROM 2005 Language and Rhythm Transformation Twen Fm 1041 Night Academy edited by Joulia Strauss Berlin DE 2005 Radio Orange Sound Sculptures by Elisabeth Penker edited by Rainer Wagnus Vienna 2004 Resonance fm1043 live from the Frieze Art Fair (curated by Tobi Maier) London 2004 EX TEMPORE 43 +PLUS Channel 5 Channel 5 wwwradioartsk Bratislava Weblinks Audio-Video Excerpts and documentation httpwwwyoutubecomusersoundart24 httpwwwelisabethpenkertumblrcom
_________________________________________ Charim Events Schleifmuumlhlgasse 1a A-1040 Wien httpwwwcharimgalerieat charimcharimgalerieat
ELISABETH PENKER FERDINAND PENKER curated by Michael Scott Hall Eroumlffnung Opening 24042014 19 Uhr 7 pm Charim Events Schleifmuumlhlgasse 1 a A ndash 1040 Wien Dauer Duration 2504 ndash 10052014 Oumlffnungszeiten Opening Hours Mi-Fr 11-18 Uhr Sa 11-16 Uhr Though they share the same last name Elisabeth Penker amp Ferdinand Penker represent two different generations and work in completely different mediums and share an interest in seriality complex systems and repetition Most importantly each artist obscures their own medium of choice Ferdinand Penkers tempera on canvas paintings (in the exhibition) utilize linear compositions and appear from a distance printed or collaged until closer inspection reveals a more handmade quality He is presented here by his leaners which are architecture-specific paintings in that they can be arranged in response to given architectural context by either leaning against the wall or another painting or wedged between the ceiling and floor Each new architectural context creates a slightly different compositional oppourtunity Since his earliest installations in the 70 - 80s Ferdinand Penker has long had a strong interest in the relation between the architectural space of where and how the painting hangs and the flatness of the micro-thin space inside his paintings Penker lived and worked in San Francisco in the 1970-80s perhaps picked-up some tendencies which are more common in Northern California (than to Austria) concerning ideas of space and light Simultaneously the Sculptor Elisabeth Penker will present an ongoing series of portraits (photo-collages) entitled Split Representation utilizing the formal structure discussed by Claude Levi-Strauss in his essay Split Representation in the Art of Asia and the America in which he compares different cultures and different periods in history from Shang (China) Haida (Native Americans) Caduveo (Brazil) and Maori (New Zealand) who all use similar stylistic elements to represent (for example) the face (or portrait) which is not seen from the front but as two profiles merged together to form one Elisabeth Penker appropriates the portraits of philosophers anthropologist cultural scholars amp artists and re-represents them in a Split style developing a new hybrid-form of representation which merges both Western and Non-Western concepts of representation Along with the photo-collages Elisabeth Penker will also present a sound piece entitled Comparative Morphemesrdquo The composition is based on the grammatical classifications of languages deconstructed into minimal phonetic units and then reconstructed into new (word) forms Elisabeth PENKER (1974 Reiszligeck) Upcoming Book Project Onamatopee Eindhoven NL Solo Exhibitions Roma Contemporary (curated by Ilari Valbonesi) Rome Galerie naumlchst St Stephan (Log-in) Vienna MAK CAT Tower (cura-ted by Andreas Krištof) Vienna Kuumlnstlerhaus Stuttgart with FoGo Lab (curated by Elke aus dem Moore) HTTP Gallery (curated by Tobi Maier) London Liste 03 Basel Temporary Services Chicago Institut fuumlr Gegenwartskunst (curated by Ute Meta Bauer) Vienna Selected Group Exhibitions include The Program University of Illinois Chicago Protections Kunsthaus Graz (curated by Adam Budak amp Christine Peters) Kunsthalle Brandts (curated by Jacob Fabricius) DK Sound System Salzburger Kunstverein (curated by Hildegund AmanshauserEdek Bartz) Salzburg Howard House Gallery Seattle ldquoFirst Story-Women Buildingrdquo Galerie do Palacio Cristal with FOGO Lab (curated by Ute Meta Bauer) Porto PT Ferdinand PENKER (1950 Klagenfurt) He has had residencies in Japan Poland and Ireland Recent Book Projects include his monograph (2010) and A Murder of Crows (2003) from Ritter Verlag (Klagenfurt) Selected Solo Exhibitions MMK Klagenfurt (2010) Galerie Ritter Klagenfurt (2011 2009 2004) Sclatter St London (2010 2000) Galerie Schuumltte bdquoChamber Musicldquo (with Trevor Sutton) Essen DE Austrian Cultural Forum London Museum Joanneum Graz (2003 1994 1990) Machiya Bunka Center bdquo45 Views of a Square Tokyo Umjetnicka Galerija Bosne i Hercegovine Sarajevo BH KALA Institute Berkeley CA Kaumlrntner Landesgalerie Klagenfurt Forum Stadtpark Graz Van Doren Gallery San Francisco CA Secession Wien
ELISABETH PENKERcurated by Michael Scott Hall
Eroumlffnung Opening 24042014 19 Uhr 7 pmCharim Events Schleifmuumlhlgasse 1 a A ndash 1040 Wien
Dauer Duration 2504 ndash 10052014Oumlffnungszeiten Opening Hours Mi-Fr 11-18 Uhr Sa 11-16 Uhr
The Sculptor Elisabeth Penker presents an ongoing series of photo-collages entitled Split Representation utilizing the formal structure discussed by Claude Levi-Strauss in his seminal essay Split Representation in the Art of Asia and the America in which he compares different cultures and different periods in history from Shang (China) Haida Gwaii (Native Americans) Caduveo (Brazil) and Maori (New Zealand) who all use similar stylistic elements to represent (for example) the face (or portrait) which is not seen from the front but as two profiles merged together to form a frontal view
Northwest coast (Haida Gwaii) Tsimshian (Chinese)
Maori Face Tattoo Caduveo Woman with painted face (drawing by G Boggiani 1892)
Elisabeth Penker appropriates the portraits of philosophers anthropologist cultural scholars amp artists and re-represents them in a Split style developing a new hybrid-form of representation which merges both Western and Non-Western concepts of perspective and representation Penker paints onto the photo-collages and marks areas with geometrical referencing the face tattoos of Maori and the face paintings of the Caduveo IndiansPenkeracutes selection of portraits is based on cultural scholaracutes who are relevant in the field of cultural translation gender studies and multiple perspectives such as the first cubist collage from Pablo
rPicasso which were originally shown as first part of her First Nations Pavilion in Kunsthaus Graz Since two profiles are merged to form a single frontal view there are two perspectives in the picture much like Cubism- showing multiple perspectives in one picture Similar to the how Cubist represented three-dimensional volumes on a two-dimensional surface- when native inhabitants were asked to draw a face tattoo on paper they drew it as if they were drawing directly on the face which distorts the perspective when applied to paper Split representation in Haida Maori and Caduveo culture were built symmetrically in relation to two axes the main vertical axis is centered between the eyes following the median plane of the face the horizontal axis divide the face at eye level The eyesare used as starting points for two inverted spirals one of which covers the right cheek and the other the left side of the foreheadhellip It is not easy to analyze the design because of its apparent asymmetry- which nonetheless masks a real though complex symmetry Levi-Strauss
Along with the photo-collages Elisabeth Penker also presents a sound piece entitled Comparative Morphemesrdquo The composition is based on the grammatical classifications of languages beginning in the 19th century linguists attempted to group the worlds languages into four morphological categoriesbased on how words are formed analytic agglutinating synthetic and polysynthetic Penker choose one language of each group Chinese Turkish Burmese and a polysynthetic language She deconstructed recordings of these languages into minimal phonetic units and then reconstructed it into new (word) forms
Elisabeth PENKER (1974 Reiszligeck) Upcoming Book Project Onamatopee Eindhoven NL Solo Exhibitions Roma Contemporary (curated by Ilari Valbonesi) Rome Galerie naumlchst St Stephan (Log-in) Vienna MAK CAT Tower (curated by Andreas Krištof) Vienna Kuumlnstlerhaus Stuttgart with FoGo Lab (curated by Elke aus dem Moore) HTTP Gallery (curated by Tobi Maier) London Liste 03 Basel Temporary Services Chicago Institut fuumlr Gegenwartskunst (curated by Ute Meta Bauer) Vienna
Selected Group Exhibitions include The Program University of Illinois Chicago Protections Kunsthaus Graz (curated by Adam Budak amp Christine Peters) Kunsthalle Brandts (curated by Jacob Fabricius) DK Sound System Salzburger Kunstverein (curated by Hildegund AmanshauserEdek Bartz) Salzburg Howard House Gallery Seattle ldquoFirst Story-Women Buildingrdquo Galerie do Palacio Cristal with FOGO Lab (curated by Ute Meta Bauer) Porto PT
Selected works from the series Split Representation
Titles
Elisabeth Penker
ldquoSplit Representation Walter Benjamin Bluerdquo 60 x 40 cm framed (Paint on Photo-Colllage) 2013 edition of 5 (ea unique)
ldquoSplit Representation Rosa Luxemburg Yellowrdquo 60 x 40 cm framed (Paint on Photo-Colllage) 2014 edition of 5 (ea unique)
ldquoSplit Representation Rosa Luxemburg Caduveo Womanrdquo 60 x 40 cm framed (Paint on Photo-Colllage) 2014 edition of 5 (ea unique)
ldquoSplit Representation Simone de Beauvior Brownrdquo 60 x 40 cm framed (Paint on Photo-Colllage) 2014 edition of 5 (ea unique)
ldquoSplit Representation Trinh T Minh-ha Bluerdquo 60 x 40 cm framed (Paint on Photo-Colllage) 2013 edition of 5 (ea unique)
ldquoSplit Representation Angela Davis Greenrdquo 60 x 40 cm framed (Paint on Photo-Colllage) 2014 edition of 5 (ea unique)
ldquoSplit
Representation Self-Portraitrdquo 60 x 40 cm framed (Photo-Colllage) 2014 edition of 25
ldquoSplit Representation Frantz Fanon Copperrdquo 60 x 40 cm framed (Paint on Photo-Colllage) 2014 edition of 5 (ea unique)
ldquoSplit Representation Pablo Picasso 1rdquo 60 x 40 cm framed (Photo-Colllage) 2012 edition of 5
ldquoSplit Representation Pablo Picasso 2rdquo 60 x 40 cm framed (Photo-Colllage) 2012 edition of 5
ldquoSplit Representation Pablo Picasso 3rdquo 60 x 40 cm framed (Photo-Colllage) 2012 edition of 5
ldquoSplit Representation Ferdinand de Saussure 1rdquo 60 x 40 cm framed (Paint on Photo-Colllage) 2013 edition of 5 (ea unique)
ldquoSplit Representation Ferdinand de Saussure 2rdquo 60 x 40 cm framed (Photo-Colllage) 2013 edition of 5
ldquoSplit Representation Ferdinand de Saussure 3rdquo 60 x 40 cm framed (Paint on Photo-Colllage) 2013 edition of 5 (ea unique)
installation views Charim Events at Schleifmuumlhlgasse 1A Vienna April - May 2014
Elisabeth PenkerFerdinand Penker at Galerie Charim curated by Michael Scott Hall
Elisabeth PenkerFerdinand Penker at Galerie Charim curated by Michael Scott Hall
Elisabeth PenkerFerdinand Penker Galerie Charim curated by Michael Scott Hall
Elisabeth PenkerFerdinand Penker Galerie Charim curated by Michael Scott Hall
Elisabeth PenkerFerdinand Penker Galerie Charim curated by Michael Scott Hall
Elisabeth Penkerinstallation View Gallery 400 Chicago (left bdquoSplit Representation Ferdinand de Saussure (Green)ldquo right bdquoSplit Representation Walter Benjamin (Blue)ldquo 2013
Elisabeth Penkerinstallation View Gallery 400 Chicago left bdquoSplit Reprersentation Walter Benjamin (Blue)ldquo right bdquoSplit Represntation Frantz Fanon (Copper)ldquo 2013
Elisabeth Penkerinstallation View ReMap4 at Camp (Athens) 2013 Ferdinand de Saussure (Blue)
ELISABETH PENKER ldquoVienna calling comparative contemporary artrdquo LOG-IN amp VORRAUM GALERIE NAumlCHST ST STEPHAN ROSEMARIE SCHWARZWAumlLDER Elisabeth Penkers Skulpturen und Audiofilme sind seit 1998 im Bereich von Comparative Art und Sound Art verankert und untersuchen anhand von Sprachmorphologie die Verbindungen zur musikalischen und visuellen Grammatik In Elisabeth Penkers Ausstellung bdquoVienna calling comparative contemporary artrdquo ist der Titel in
Zusammenhang mit der Sprachmorphologie von Wiener Museen lesbar Penkers gezeigte Skulpturen vergleichen visuellelinguistische und musikalische Grammatiken (z B Moderne Kunst und First Nations Art) und verwenden die Ergebnisse als Ausgangsstruktur fuumlr die jeweilige Komposition Ihre Collagen Fotografien Diagramme und Zeichnungen sind erweiterte Fragestellungen ihrer Skulpturen Elisabeth Penker hat in Tonstudios in London und Chicago gearbeitet und seit 2000 eine Serie von Musikinstrumenten entwickelt die die Aufnahme-Methode von Jack Foley verwenden Exzerpte ihrer Multi-
Channel-Kompositionen wurden von Resonance 1044 fm (London) gesendet Weiters ist ein Text von Elisabeth Penker uumlber Sound Art im Resonance Magazine Supplement Juni 2006 erschienen Ein Video und eine Focus -Group wurde gemeinsam mit FOGO Lab bei der Documenta 12 gezeigt und war Teil des Documenta-12-Beitrages von Ricardo Basbaum
Ausstellungen siehe wwwschwarzwaelderat -gt LOGIN ELISABETH PENKER
Comparative Art is an academic discipline in the context of art histories The sculptures audio-films (sound
pieces) and the photographs (expanded sculpture) represent different 3rd 4th -dimensional by documenting
different cultural and spatial notions of perspective through usage of collaged andor spliced structural
compositionalformal structures Structural overlaps between visual artlanguagemusic are considered
Poetics of Dead Space 2 2009-2010
2 Kanaumlle einer 8-Kanal-Composition mono
Metallstativ Speaker Yamaha MSP3 CD-Player
H 133 cm
Ed 13
The non-linear 8-channel composition ldquoPoetics of Dead Space 2rdquo introduces polysynthetic language morphology
combined by the melody which is composed from pre-existing recordings of extinct languages and Penker‟s self-
made instrument ldquoUntitled Instrument sonic structurerdquo (see PDF and related essay written by E Penker at
Resonance fm Magazine upon request at Galerie naumlchst St Stephan)
The channel which is upstairs installed uses an existing wall as an acoustic filter and introduced sub-
consciousness polysynthetic language morphology into the gallery space The title refers to the book poetic of
space within unused architectural situations of exhibition spaces bdquo A Blind Spot (dead angle - Toter Winkel) has a
different meaning in terms of acoustics and cannot be compared with the visual context where blind spot is used
primarily in conversations
In musicsound production in film the visual blind spot is used very often by hearing a bike roller plane without
seeing it In everyday life we are used and depending by acoustic blind spots for our orientation of the situation
and space we are in at the moment Architectural acoustic issues play an important role during the time of the
composition ldquoPoetic of Dead Space 2rdquo is a context specific composition and deals with polysynthetic language
morphology recordings of the untitled instrument Sonic structure and acoustic exhibition architecture besides
issues which are depending of the unused architecture and their acoustics
First Nations Pavillon
Polysynthetische Doppelperspektive Claude Levi-Strauss 2006
Fotocollage C-Print gerahmter Spiegel
6-teilig
3 x 405 x 305 cm
2 x 245 x 305 cm
1 x 605 x 485 cm
Ed23 + 2 AP
A framed mirror from ldquoFirst Nations Pavilionrdquo is placed in the corner of the log-in space to place the viewer physically in the space cutting the reflection of the gaze as well mirrors a profile view of the installed
photographs The photo-series relates to polysynthetic language morphology (of the Inuit First Nations Maori and Caduveo Indians) and translates within the photographic image their structural common visual grammar Because they would create a frontal view which was made out of 2 (split) profile views thereby creating a 4-dimensional perspective that anticipatedparallels Cubism who later presented multiple perspectives within one image which intended to represent movement through time and space Specific references are in the related pdf upon request
at Galerie naumlchst St Stephan
Log [Baumstamm] 2010
Archivierung der Raumfarbe
Split Representation
Claude Levi-Strauss 2009
C-Print
5-teilig je 245 x 305 cm
Ed15 + 2 AP
The camera positions of a right angle mirror bdquoSplit Representationrdquo were chosen by E Penker in the way that the
flash is not in the image the photos are made utilizing a right angle mirror which both fragments and reflects the
image creating multiple or a split perspective EP
Bench-Shelf 2003
Acryl auf Pappelsperrholz
46 x 151 x 42 cm
The bench which is the earliest work in the exhibition mirrors the bottom and the top seating elements thereby
giving the object an asymmetrical appearance The bench-shelf was originally designed for a video archive was
later used by museum staff (in Porto) as gallery furniture
composition (or view) Numerous contemporary artists eg Donald Judd have related the ShakersAmish radical functionalism to their sculptural practice
Poetics of Dead Space 2 2009-2010
2 Kanaumlle einer 8-Kanal-Composition mono
Metallstativ Speaker Yamaha MSP3 CD-Player
H 133 cm
Ed 13
The non-linear 8-channel composition ldquoPoetics of Dead Space 2rdquo introduces polysynthetic language morphology
combined by the melody which is composed from pre-existing recordings of extinct languages and Penker‟s self-
made instrument ldquoUntitled Instrument sonic structurerdquo (see PDF and re lated essay written by E Penker at
Resonance fm Magazine upon request at Galerie naumlchst St Stephan)
The channel which is upstairs installed uses an existing wall as an acoustic filter and introduced sub-
consciousness polysynthetic language morphology into the gallery space The title refers to the book poetic of
space within unused architectural situations of exhibition spaces bdquo A Blind Spot (dead angle - Toter Winkel) has a
different meaning in terms of acoustics and cannot be compared with the visual context where blind spot is used
primarily in conversations
In musicsound production in film the visual blind spot is used very often by hearing a bike roller plane without
seeing it In everyday life we are used and depending by acoustic blind spots for our orientation of the situation
and space we are in at the moment Architectural acoustic issues play an important role during the time of the
composition ldquoPoetic of Dead Space 2rdquo is a context specific composition and deals with polysynthetic language
morphology recordings of the untitled instrument Sonic structure and acoustic exhibition architecture besides
issues which are depending of the unused architecture and their acoustics
Galerie naumlchst St Stephan
Aneta Grzeszykowska Elisabeth Penker
220110 bis 060310 Auf den Spuren gesellschaftlicher
Ordnungssysteme
Die beiden Ausstellungen von Aneta Grzeszykowska in den Galerieraumlumen
und Elisabeth Penker im Projektraum bdquoLOGINldquo sprechen unterschiedliche
Sprachen Momente der Beruumlhrung ergeben sich lediglich durch die
Auseinandersetzung der beiden Kuumlnstlerinnen mit Systembildungen und
gesellschaftlich bedingten Agglomerationen von Bedeutungen Waumlhrend der
Blick der in Warschau lebenden Kuumlnstlerin Aneta Grzeszykowska
psychologisch und kulturell bestimmt ist laumlsst sich das Verfahren der in
Wien und Rom lebenden Elisabeth Penker als ethnografisch und linguistisch
fundiert umschreiben Im Nebeneinander der beiden Positionen bilden sich
schaumlrfende Kontraste
Aneta Grzeszykowskas Interesse gilt dem Privaten in verschiedenen
visuellen Uumlbersetzungen Etwa kartografierte sie mit dem Warschauer
Kuumlnstler Jan Smaga in einer Fotoserie Wohnungen aus der Vogelperspektive
um eine intime Geschichte der Stadt uumlber die Anordnung von Raumlumen
Moumlbeln und Gebrauchsgegenstaumlnden zu erstellen Nun begibt sie sich mit
dem Film bdquoBirthdayldquo auf die Ebene fruumlhkindlicher Begegnungen mit dem
Unheimlichen Gedreht wurde er in der Art privater Dokumentationen zur
Feier des eigenen Nachwuchses anlaumlsslich eines Kindergeburtstags Durch
kommentierende Eingriffe wie die Animation sonst unbeweglicher
Gegenstaumlnde uumlbt die Kuumlnstlerin Kritik an den Konventionen und betont so
das Monstroumlse solcher Ereignisse In der Doppelboumldigkeit von inszenierter
Kindheit und Abgruumlndigem ist auch eine Reihe monochromer dunkler
Figurinen aus Stoff angesiedelt Dass diese bekleidet sind wie
Grzeszykowska in ihrer Kindheit verweist auf Versuche Dramatisches uumlber
die aumlsthetische Formalisierung zu bearbeiten Eine Fotografie mit dem durch
die Hand Grzeszykowskas unabsichtlich verletztem Auge ihres kleinen
Bruders und eine maumlrchenhaft anmutende Reliefskulptur mit einem Maumldchen
auf einem Hund aus stacheligen Distelbluumlten erzaumlhlen davon
Tiefenbohrungen zum Kern semantischer Ordnungen unternimmt dagegen
Elisabeth Penker im Kontext der Ausstellungsserie LOGIN in einem
ehemaligen Geschaumlftslokal und im Foyer der Galerie selbst Bekannt ist die
Kuumlnstlerin und Musikerin Elisabeth Penker etwa durch ihre Intervention im
Arkadenhof der Universitaumlt Wien mit einer Buumlste der oumlsterreichischen
Romanistin und ersten Universitaumltsprofessorin Elise Richter Diese leite das
phonetische Institut bis zu ihrer Deportation ins Ghetto Theresienstadt durch
die Nationalsozialisten und war in der patriarchalischen Ordnung der
steinernen Koumlpfe der Universitaumlt ndash ebenso wie die Leistungen von Frauen
generell ndash bis dahin kein Thema gewesen In der Ausstellung bdquoProtectionsldquo
im Kunsthaus Graz thematisierte Penker mit ihrem bdquoFirst Nation Pavillonldquo die Hegemonie des durch den
Kolonialismus gepraumlgten Blicks auf auszligereuropaumlische Gesellschaften
Stets sind ihre Annaumlherungen auf die Generierung von Bedeutungen im Sinne von Grammatiken
ausgerichtet Dementsprechend leitmotivisch fungiert ein Portraumlt des kuumlrzlich verstorbenen Ethnologen
Claude Leacutevi-Strauss in der Rauminstallation mit integrierter Soundkomposition Die gespiegelte und
mehrfach aufgefaumlcherte Fotografie von Leacutevi-Strauss in bdquopolysynthetischer Doppelperspektiverdquo laumlsst sich
als Verschneidung von Sprachlichem Klanglichen und Visuellen lesen
Eine Archaumlologie im Feld der Linguistik wie auf Materialebene fuumlhrt die Signifikanten auf engstem Raum
zusammen Triviale Vierkanthoumllzer beispielsweise wurden in genau jenen Farben lackiert die Penker als
uumlbereinander gelagerte Sedimente unter der Dispersion der Waumlnde freilegte Die laumlnglichen Houmllzer
beziehen sich auf den englischen Ausdruck bdquologldquo fuumlr Stamm und somit auch auf die Ausstellungsreihe der
Galerie Bemerkenswert dass ein Wort das bloszlig aus einem Morphem besteht einen Gegenstand
repraumlsentiert So baut sich uumlber eine Reihe weiterer Objekte wie etwa den bdquoHanging Chairsldquo aus dem
Fundus der Galerie ein elementares Netzwerk von Bezuumlgen auf Mit ihren Werken und abstrakten Sound-
Kompositionen dringt Elisabeth Penker kritisch forschend in die Makrobereiche von Grammatiken vor um
Potentiale semantischer Anbindungen in Nachbarsystemen freizulegen Roland Schoumlny
Elisabeth Penker Einzelausstellung MAK CAT TOWER Kurtaiert von Andreas Kristof
ldquoPassive Orchestrardquo 2008 8-Channel-Toninstallation Die Interpretation von Soundart sieht Penker in der Uumlberschneidung von Sprache-visueller Kunst und Musik und ist zumeist mit einer visuellen raumlumlichen Komponente verbunden Der Betrachter und Zuhoumlrer befindet sich in
einer Konzert-Situation statt Instrumenten sieht er nur Lautsprecher die auf unterschiedlichen Houmlhen auf einer grauen Wand positioniert sind Passiv Orchestra beruht in der Struktur auf die grammatische Einteilungen von Sprachen die in phonetische Minimaleinheiten dekonstruiert sind und wird uumlber eine Mehrkanal Matrix gespielt Elisabeth Penker referiert in dieser eigens fuumlr den Flakturm konzipierten Arbeit auf dadaistische Methoden der Sprachdekodierung die auch als ein klares Anti-Kriegs-Statement zu verstehen waren
1
Kunsthaus Graz
Protections
Kuratoren Adam Budak und Christine Peters
Elisabeth Penker
First Nation Pavilion
Der First Nation Pavilion von Elisabeth Penker unternimmt den Versuch einen Bereich fuumlr ein koloniales
Bewusstsein der europaumlischen Vergangenheit zu schaffen und einen utopischen Raum fuumlr neue Vorstellungen
von einer Mannigfaltigkeit an kulturellen Formen in der zeitgenoumlssischen Kunst Die Komposition de-
grammatical ein Bestandteil des First Nation Pavilion beruht in ihrer Struktur auf den grammatischen
Einteilungen der Sprachen die in phonetische Minimaleinheiten dekonstruiert sind und wird uumlber eine
nichtlineare 5-Kanal-Matrix gespielt
Penker untersucht moumlgliche Uumlberschneidungen zwischen der Sprache der Musik und der Bildstruktur wobei ihr
Hauptaugenmerk polysynthetischen Sprachen (First Nations und Pazifische Inseln) gilt sowie dem Vergleich
zwischen der Kunst von First Nations und der Modernen Kunst Erst in juumlngerer Zeit in der Aumlra des
Postkolonialismus hat der Diskurs der kulturellen Uumlbersetzung Fragen aufgeworfen mit denen man sich schon
in den phonetischen Experimenten des Dadaismus in den 1910er und 1920er Jahren beschaumlftigt hatte sowie
spaumlter in der Konzeptkunst der 1960er und 70er Jahre
Elisabeth Penker
First Nation Pavilion
The First Nation Pavilion by Elisabeth Penker attempts to set-up an area for colonial consciousness of the
European past and a utopic space for re-imagining a plurality of cultural forms in contemporary art The
composition entitled de-grammatical contained within the First Nation Pavilion is structurally-based on the
grammatical classifications of languages deconstructed into minimal phonetic units played within a non-linear
5-channel matrix
Penker is questioning the possible overlaps between music-language and visual structure within the primary
focus on polysynthetic languages (First Nation and Pacific Islands) and First Nation Art compared to Modern Art
More recently in the age of post-colonialism the discourse of cultural translation is arising questions that have
also been experimented by the Dadaists phonetic experiments in the 1910-20s and later in Concept Art of the
1960s-70s Text Adam Budak
Michael Elmgreen amp Ingar Dragset (the work of two other invited artists) offered Penker a typical prefabricated
house as her exhibition space within the Kunsthaus
id31403916 pdfMachine by Broadgun Software - a great PDF writer - a great PDF creator - httpwwwpdfmachinecom httpwwwbroadguncom
2
Elisabeth Penker Fisrt Nations Pavilion 2006
Change of floor plan of the prefabricated house by Michael Elmgreen amp Ingar Dragset
Entrance door Fisrt Nations Pavilion
3
Part 1 Colonial Conciseness in visual art
Room 1 and 3 Modernism=Imperialism after Henry Flynt Demolish serious culture
Woman as a the last Colony Rosa Luxenburg Veronika Bennholdt-
Thomsen Claudia von Werlhof und Maria Mies
4
Vinyl letters C-Print
5
6
Polysynthetische Doppelperspektive 1 Claude Levi- Strauss
Photocolloage C-Print
7
Polysynthetische Doppelperspektive 2 Claude Levi-Strauss
Photocolloage C-Print
9
Polysynthetische Doppelperspektive 4 Claude Levi Strauss
Photocolloage C-Print
2 prints Installed in corner
Installation view Polysynthetische Doppelperspektive 1-4 Claude Levi- Strauss
The visual grammar and its double perspective (split representation) of Haida Gwai and Tlinglet Art (First Nation
Art) is re-collaged with a photograph of Pablo Picasso comparing Cubism (early Modernism) with First Nation Art
and questioning its similarities of double perspectives
10
Room 4 and 5
Room 4
11
Luicide List The museum as an imperial graveyard
C-Print
Colonial after effects of Luicide
Gips Metallkette Hose Schuh
12
No7
Mirror Split Representation Mirror framed and installed in the corner
Part 2 Room 6 and 8 Comparative Contemporary Art
4-channel sound installation
De-grammatical Listen to mp3 audio excerpts
13
Front
2 CT (shelfbenches) Acryl auf Pappelsperrholz
Back Pull Over Yukme Shirley Hall outside
14
Pull Over Yukme Shirley Hall inside
Fabric wall silk print by (Tlinglet Artist) Yukme Shirley Hall
Wo ist Elise Richter wo ist
id99149429 pdfMachine by Broadgun Software - a great PDF writer - a great PDF creator - httpwwwpdfmachinecom httpwwwbroadguncom
Im Arkadenhof der Universitaumlt Wien stehen 154 Buumlsten von bedeutenden Wissenschaftlern der
Universitaumlt Wien (1700-2005) Bedauerlicherweise findet sich unter ihnen keine einzige Frau Eine temporaumlre Buumlste einer anonymen Wissenschaftlerin soll die systematische Ausblendung von Frauen
aus der Universitaumltsgeschichte thematisieren Die offene Web- Plattform (wwweliserichterat) ermoumlglicht allen Benutzern aktiv an der Umschreibung der Universitaumltsgeschichte und an re-imaging Prozessen der Repraumlsentation dieser Buumlsten teilzunehmen Weiters wird die Verbindung von raceclassgender und einer akademischen Kariere in diesem Zusammenhang hinterfragt We can never really change any form of social organisation without challenging all that organisations forms of
language (Debord)
Within the patriarchal structures of the Arkadenhof at the University of Vienna stand 154 busts of important scientists (1700-2005) Unfortunately none of these busts are women Through the placement of a temporary bust of an anonymous female scientist it declares the absence of them within the history of the university As well the anonymous bust embodies the presence of important scientists who have not yet been given equal representation The open web-platform (wwweliserichterat) allows every user to participate in this discourse to re-write the history of the university and to re-image the representation of these busts through a wiki system
Skizze Buumlste einer anonymen Wissenschaftlerin
Mein Interesse besteht nicht darin zu recherchieren welche Buumlsten von Wissenschaftlerinnen im Arkadenhof fehlen sondern das Fehlen der Wissenschaftlerinnen im Zeitraum von 1700 bis 2005 aufzuzeigen und Strukturen fuumlr eine oumlffentliche Kommunikationsplattform zu schaffen In der Genderforschung besteht Konsens daruumlber dass Gender kein Merkmal von Individuen sondern das einer
Institution ist (Connell) zudem ein struktureller Bestandteil einer Gesellschaft ist und dass Gendernormen alle Organisationen durchdringen (Acker)
Grundriss Arkadenhof der Universitaumlt Wien Literatur Acker J (1990) Hierarchies Jobs Bodies A theory of gendered organizations In Gender and Society
Connell R (1998) Gender and Power Society the Person and Sexual Politics Stanford University Press Stanford CA Maisel T (1990) Die Denkmaumller im Arkadenhof der Universitaumlt Wien Biographische Skizzen Wien Quellen Denkmalsakten Archiv der Universitaumlt Wien
Veranstalter Open Mind Projekt Utopie Freiheit httpwwwopenmindat vereinopenmindat Projektautorin Elisabeth Penker elpenkergmxat Bronzeguss Walter Rom Wachsmodel Buumlste Elisabeth Penker Steinsockel Ausfuumlhrung Fa Zehmann Mario Jungbauer Mediendesign Gernot Tscherteu httpwwwrealitylabatwphome gtrealitylabat Techn Umsetzung Christian Langreiter Webpage wwweliserichterat
Elisabeth Penker- Franzengasse 13- 1050 Wien ++43 (0)699 197 193 53 elpenkergmxat
Elisabeth Penker Untitled instruments 1-3 2000-2012
Galerie Georg Kargl Wien Galerie Priestor Bratislava Kuumlnstlerhaus Wien Kibla New
Media Center Maribor HTTP Galerie London Secession Wien Mak Wien Roma
Contemporary Wien
Elisabeth Penker Untiled Instrument Galerie Georg Kargl Wien
Curated by Michael Hall
Elisabeth Penker Untitled instrument 2001 New Media Center Maribor
Elisabeth Penker Untitled instrument 2001 New Media Center Maribor
Elisabeth Penker Untitled instrument Kuumlnstlerhaus Wien curated by Ursula Maria Probst
Live Performance mit Celia Mare
Detail Die BILD_HAU_ER_IN Kuumlnstlerhaus Wien
Live Performance Flower Structure Wiener Festwochen
Elisabeth Penker (Untiled instrument) Van Angh (Cello) Tri Minh Electronics
Elisabeth Penker Live Performance Poetics of space Secession Wien
MAK Nail Structure GRizo Sweet Susie Elisabeth Penker
Elisabeth Penker HTTP Gallery London 2005 curated by Tobi Maier
Elisabeth Penker HTTP Gallery London Live Performance
Elisabeth Penker Untitled Instrument Sonic Structure Kunsthaus Graz curated by Adam Budak amp
Christine Peters
Videolinks
httpwwwyoutubecomusersoundart24
Interview with Video Festwochen
httpbturncom8753interview-elisabeth-penker
Kunsthaus Graz
Protections
Kuratoren Adam Budak und Christine Peters
Elisabeth Penker Poetics of Dead Space
For PROTECTIONS Elisabeth Penker developed a key-sound Poetics of Dead Space which is to a large extent a homage
to Gaston Bachelards seminal book Poetics of Space where the connections between the poetry and the spatial emotions
are analysed Penkers key-sound will guide the viewer through the exhibition mapping the overall identity of the show in
some way controlling the viewers (audio-narrative) route in the maze of art objects events situations but also spatial
voids and unused corners
Fuumlr PROTECTIONS entwickelte Elisabeth Penker einen leitmotivischen Key Sound Poetics of Dead Space der weitgehend
eine Hommage an Gaston Bachelards wegweisendes Buch Poetics of Space darstellt in dem die Verbindungen zwischen
Lyrik und raumlumlichen Emotionen analysiert werden Penkers Key Sound wird das Publikum durch die Ausstellung geleiten
die Identitaumlt der Schau in ihrer Gesamtheit erfassen und in gewisser Weise die (audio-narrative) Route des Publikums im
Labyrinth der Kunstgegenstaumlnde Ereignisse und Situationen aber auch raumlumlicher Leerstellen und ungenutzter Winkel
kontrollieren
A non linear composition 7 mono active speakers are placed through out the Kunsthaus Graz Speaker placement
1 outdoor (entrance) 2 (travelator) 3 (corner with column) 4 (corner with door) 5 (corner) 6 (travelator) 7 (corner with
window)
Poetics of Dead Space Let it grow again 28 51 sec mono
Source material for composition rain sound of dried beans dropping down wood sticks breathing hardly existing
id78338975 pdfMachine by Broadgun Software - a great PDF writer - a great PDF creator - httpwwwpdfmachinecom httpwwwbroadguncom
recording of extinct languages
Poetics of Dead Space Let it grow again 28 51 sec mono
Source material for composition rain sound of dried beans dropping down wood sticks existing recording of extinct
languages
Poetics of Dead Space travelator 1 1min 04 sec mono loop
Source material for composition staff falling down man falling down stairs rattern recording untitled instrument
Background existing recording of extinct languages
Poetics of Dead Space 496 1min 409 sec mono loop
Source material for composition recording untitled instrument Background existing recording of extinct languages
Poetics of Dead Space 129525 1min 4888 sec mono loop
Source material for composition recording untitled instrument Background existing recording of extinct languages
Poetics of Dead Space 129525 1min 4888 sec mono loop
Source material for composition keyboard recording untitled instrument Background existing recording of extinct
languages
Poetics of Dead Space travelator 2 1min 5209 sec mono loop
Source material for composition recording untitled instrument violin Background existing recording of extinct
languages
Poetics of Dead Space2152518125220 1min 3200 sec mono loop
Source material for composition recording untitled instrument Background existing recording of library of extinct
languages
Poetics of Dead Space travelator 1 1min 04 sec mono loop
viewing down from upstairs Source material for composition staff falling down man falling down stairs rattern
recording untitled instrument Background existing recording of extinct languages
Poetics of Dead Space Let it grow again 028 51 sec mono
Source material for composition rain sound of coins wood sticks existing recording of extinct languages
Elisabeth Penker is a Viennese artist and musician working with sound in a sculptural context In her (subjective) tour
Penker approaches the entire anti-exhibition PROTECTIONS from an angle of its position and significance in the context
of Sound Art as located on the crossway between visual arts language and music Starting from her own house turned
into First Nation Pavillion which amongst others aims at connecting the recent discourse on cultural translation with
early avant-garde phonetic experiments Penker maps the sonic structure of Kunsthaus Graz and its (live) architecture
which for PROTECTIONS hosts an array of interdisciplinary projects with a strong audio-quality from Herwig Weisers
Death Before Disco (a micro-architecture of hyper-technological and electronic pop) through a newly created choir of
security guards for Tim Etchells Wall of Sound down to a cacophonic layers of anonimous noise generated by the
space itself and the presence of audience
Die Wiener Kuumlnstlerin und Musikerin Elisabeth Penker arbeitet mit Klang im Zusammenhang mit Bildhauerei In ihrer
(subjektiven) Fuumlhrung naumlhert sie sich der Anti-Ausstellung PROTECTIONS aus einem Blickwinkel der die Position und
Bedeutung der Klangkunst an der Kreuzung zwischen bildender Kunst Sprache und Musik verortet Von ihrem eigenen
Haus ausgehend das sich in den First Nation Pavilion verwandelt hat der u a den aktuellen Diskurs uumlber kulturelle
Uumlbersetzung mit fruumlhen phonetischen Experimenten der Avantgarde verbinden soll entwirft Penker die klangliche
Struktur des Gutshauses und seiner (Live-)Architektur die fuumlr PROTECTIONS eine Reihe von interdisziplinaumlren Projekten
mit einer starken Affinitaumlt zum Klang beherbergt von Herwig Weisers Death Before Disco (eine Mikroarchitektur aus
hyper-technoidem und elektronischem Pop) uumlber einen neu formierten Chor bestehend aus Security Guards fuumlr Tim
Etchells Wall of Sound bis zu einer Kakophonie aus anonymen Geraumluschen die vom Raum selbst und der Anwesenheit
des Publikums erzeugt werden
052813
Local Warming ATHENS
052813
AFTER A YEARLONG HIATUS the eighteenth Art-Athina hit the ground running on the evening of Thursday May 16 and the former Olympic
ldquoTae Kwon Dordquo Pavilion was packed with enthusiastic party people The fair had a more national flavor than ever this year under its new
director Alexis Caniaris the son of recently deceased artist Vlassis Caniaris whose iconic modern work has recently found great success on the
international market Of the very few foreign galleries exhibiting most were Greek-owned The Breeder gallery was dealing with the perceived
drop in the market by selling fantastic multiples by artists like Stelios Faitakis Jannis Varelas and Andreas Angelidakis at crisis-appropriate
prices ldquoNobody wants to come here now but I have already met three interested billionaire collectors today And if Greeks like you they
introduce you to their billionaire friendsrdquo raved Cologne dealer Mirko Mayer a seven-time exhibitor ldquoThat is what nobody knows There are
at least one-hundred billionaires collecting hererdquo Most international collectors were delayed several hours due to a union strike a de r igueur
mode of arrival in contemporary Greece
It was impossible to miss the exuberant activities of the DaDa Da restaurant a Greek-Austrian collaboration where artist Albert Mayr was
waving a skillet and raving nonsense while Lucas Willmann tenderized pink fillets for Wiener schnitzel ldquoThis is Viennese Actionism lightrdquo
quipped critic Sotirios Bahtsetzis Artist Natasha Papadopoulos added ldquoBut here there are hungry Greeks waitingrdquo On a table with a rotating
Sacher tort by Heacutelegravene van Duijne a sign carried the overwhelming spirit FUCK ART LETrsquoS EAT SOUVLAKI An insistent electronic beat and
pulsating light emanated from the next booth the American College of Greecersquos ldquoAthensUrgentrdquo while hooded performer Manos Tsatiris
stood against the wall with his hands tied perhaps a metaphor for the current Athenian exigency ldquoThis is not the kind of art fair scene we are
used tordquo said the Economou Collectionrsquos Annie-Claire Geisinger watching the madness
Left Artists Elisabeth Penker Michela Pelusio Petros Touloudis Panos Papadopoulos and Nino Stelzl Right Collector Anne-Marie Ros
Down on the floor the dealers seemed pleased particularly given dismal expectations having already sold a great deal at the preview Young
Rotterdam-based gallery Joey Ramone had sold sculptures by Fotini Gouseti to English and Belgian collectors dealer Erik Mulier had also sold
some work to Belgians Marc Van den Hende said he had bought a triptych by Eirene Efstathiou and was considering a Vlassis Caniaris piece
from the 1970s ldquoI saw some surprisesmdashyoung Greek artists I did not knowmdashand great new galleries like Elika and CANrdquo Dutch collector
Anne-Marie Ros said By the end of the day Dimitra and Sofia Vamiali reported that they had not seen one Greek collector although another
reported a Dakis Joannou sighting mdash Cathryn Drake
SEARCH
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SEATTLE
WEEKLY
in the News
Columnist
Geov Parrish
is a regular
guest on
Mind Over
Matters on
KEXP-FM
(903)
Saturdays at
830 am and
provides news
commentary
on KBCS-FM
(913) Fridays
at 430 pm
Catch writers
Steve
Wiecking Tim
Appelo and
ARTS
March 30 - April 5 2005
Picking Up the Thread
Howard House ties together the best new conceptual art from Vienna
by Elise Richman
Franz Wests Mercury
(Howard House Contemporary Art)
Theres a German expression to lose the red thread which means losing
ones train of thought In its current show Howard House has found that
thread Julie Ryan a curator artist and writer organized The Red
Thread Glimpses of International Art in Vienna a two-part exhibition
featuring artists working and living at least part time in Austrias capital
Part one of the show is at Howard House the second half is currently on
display at the Educational Alliance Gallery in New York
Vienna has become a magnet for artists from all over the world including
the 15 individuals and artist teams that are part of The Red Thread
Excellent artist residency programs a low cost of living and living art
legends like Franz West are just a few of the reasons
An artistic collaboration with West took Ryan from New York to Vienna
She knows Billy Howard who runs Howard House from the University of
Washingtons School of Art And so the figurative string was strung
connecting the East and West coasts with artists from across the Atlantic
This is a complex exhibit whose emotional tenor ranges from cool
detachment to an almost urgent earnestness Unlike the formal richly
historical city that connects them artists in The Red Thread favor informal
approaches to art making use disposable materials and comment on
contemporary cultural themes
West has two formidable sculptures at Howard House The front room of the
gallery features Mercury (pictured) an ungainly behemoth composed of a
patchwork of fused metal Like many of Wests sculptures Mercury is
meant as an interactive structure that viewers can climb and sit on Bulbous
Gavin
Borchert
discussing
theater film
and music
regularly on
classical
KING-FM
(981)
Mark Fiore
Cartoons
Every
Thursday
nodules extend from its horizontal base and the seams of the dark maroon
metal look like scars rendering it at once vaguely obscene and absurdly
playful
Sisyphus the other West sculpture on display is a bulky conglomeration of
bits and wads of paper propped in the back room on a makeshift plinth (base
block) Though its as solid as the boulder its title references its surface is
like oozing skin partly coated with poured murky paint partly cloaked in
small clumps of newspaper detritus
The strenuous act of making each of these sculptures is eminently apparent
and central to the content of Wests work West considers creation a
symbolic act As you might expect he likens the artistic process to the plight
of Sisyphus the mythological figure who eternally rolled a boulder up a hill
only to have it come crashing back down For West art involves a
Sisyphean search for what he calls the absolute through the seemingly
senseless accumulation of materials However unlike Sisyphus futile quest
Wests process can lead to epiphany making sense of the senseless
Similarly Viennese artist Elisabeth Penkers art serves a facilitative
function easing the act of translation Penker uses Haida iconography in her
multimedia work because it provides potent visual symbols that
communicate single words and whole sentences simultaneously Her prints
at Howard House feature fragments of icons floating in the papers white
space They are spare visually arresting characters that employ an
iconographic language as encoded symbols of communication
Also featured in The Red Thread is Donald Baechler an internationally
known American painter who spends extended periods of time in Vienna
Baechler equalizes his imagery by painting it all in the same style For him
the source of an image doesnt matter whether its a drawing by Picasso or
graffiti on a bathroom wall What matters is the newfound context his
paintings provide
Victory by Default is part of Baechlers Skull series In this piece a painted
skull gapes from the dirty yet sensuous confines of a large canvas Terry
cloth and wrinkled rags provide literal texture and reference the world
outside the paintings boundaries Splatterings of color around the skull like
the self-conscious marks of Jasper Johns seem to express the language of
paintingmdashhue and gestural strokesmdashin a factual rather than illusional
manner
Another American painter Lisa Ruyter lives half-time in Vienna where she
runs an influential gallery She works from photographs projected onto
large-scale canvases tracing the contours of the projected imagery with
consistent black outlines In a way that seems arbitrary she paints the shapes
formed by her contour lines in flat designer colors Man of Means based on
a photo of fashion photographers looks like a scrambled color-by-numbers
painting I cant do justice to the unusually rich assortment of conceptual art
in The Red Thread Youll just have to see it for yourself Thomas
Baumans thrashing triangular foil blanket Walter Seidls slide show of
staged snapshots Markus Schinwalds photograph of a contortionist and the
other thoughtful works connected by The Red Thread
The Red Thread Glimpses of International Art in Vienna runs through
April 30 at Howard House 604 Second Ave 206- 256-6399 1030 amndash5
pm TuesndashSat Free
KUNSTFORUM
Parallelwelten fuumlr Parlamentarier Ausstellung
Von Brigitte Borchhardt-Birbaumer
Ende Oktober endet die Zusammenarbeit von Nationalratspraumlsident Andreas Khol und Peter Pakesch Direktor des Kunsthauses Graz am Joanneum Seit 2003
hatte Pakesch als Kurator mehrere Ausstellungen in den Sitzungssaumllen des Parlaments in Zusammenarbeit mit Galerien initiiert und namhafte Positionen
ausgewaumlhlt Kriterium fuumlr Praumlsentationen war die Praumlsenz durch eine Schau in einer der bekannten Kunstinstitutionen des Landes Nach Eva Schlegel Adriana
Czernin Maria Lassnig oder Esther Stocker sind dies nun bis April 2007 Josef Dabernig Daniel Hafner Ulrike Lienbacher Alois Mosbacher und Elisabeth
Penker
Das Parlament kann dabei durch die Margaretha-Lupac Stiftung immer eine Arbeit fuumlr die wachsende Sammlung des Hauses ankaufen Zuletzt war das ein
groszliges Oumll-Acryl-Gemaumllde der Georg-Eisler-Preistraumlgerin Maja Vukoje zuvor Johanna Kandl deren Temperabild derzeit an das Lentos in Linz geliehen wird
Einige Werke haumlngen schon als kuumlnstlerische Wegweiser in den Gaumlngen des Hauses und sind auch Blickfang fuumlr die 120000 Besucher die pro Jahr das
Parlament besuchen In die Architektur von Theophil Hansen mit ihrer zeitlosen Qualitaumlt fuumlgt sich die Gegenwartskunst kongenial
Hoffnung fuumlr spaumlter
Die derzeitige Zusammenstellung macht Hoffnung auf eine Fortsetzung unter der naumlchsten Praumlsidentschaft Fotografie Computerkunst Malerei Zeichnung
und Skulptur weisen auf die Vielfalt der Werkstoffe in der Gegenwartskunst Elisabeth Penker parallel im Kunsthaus Graz zu sehen baut schwarzweiszlige
Objekte aus bemaltem Holz die in ihrer seriellen und geometrischen Anordnung auf Bezuumlge zum Performativen und auf die Musik hinweisen
Noch juumlnger ist Daniel Hafner mit seinen am Computer komponierten digitalen Drucken Morphosentransformationen von 2006 Linienraster und
Raumkonstruktionen in subtiler Farbigkeit verbinden Tendenzen der fruumlhen Op-Art mit dem Cyber-Lab
Um konstruierte Realitaumlten geht es auch in den groszligformatigen Oumllbildern von Alois Mosbacher dem bekannten Vertreter der Neuen Wilden der
Achtzigerjahre in Oumlsterreich Wanderer in Wald und Wiese erzaumlhlen die Geschichten alternativer Welten die sich mancher in der Gesellschaft als Parallele
konstruiert
Zwei Fotofriese von Josef Dabernig bilden jeweils ein Panorama von oumlffentlichen Plaumltzen auf denen es zum einen um Fuszligball geht Zum anderen ist der
Rundblick in das Oval einer scheinbaren Arena auch eine Art Sehschule fuumlr die Betrachter Ein sozialer Befund ist die dritte Bedeutungsebene
Ulrike Lienbacher die heuer mit einer groszligen Schau im Innsbrucker Taxispalais ihre Karriere fortsetzt ist mit ihren feinlinigen Tuschezeichnungen den kleinen
oft unsichtbaren Zwaumlngen in unserer Gesellschaft auf der Spur Im Lokal II des Parlaments stellt sie zwar nicht ihre Objekte und Fotos aber einige
groszligformatige Blaumltter mit Frisurenvariationen neben teils fragmentierten Frauenkoumlrpern im Umgang mit Schmutz und Hygiene aber auch Fitnesskult aus
Disziplinierung und Kontrolle betreffen in der Oumlffentlichkeit besonders den weiblichen Koumlrper Sauberkeitsmechanismen weisen auch auf Vorstellungen von
wertvoll und minderwertig hin Ihre Transformationen enthalten wie die Themen der anderen subtile Kritik und sind daher vom Kurator uumlberlegt positioniert
Zeitgenoumlssische Kunst
im Parlament
Bis April 2007
Kurator Peter Pakesch
Konfrontationen
Dienstag 10 Oktober 2006
ltlt 2003 | 2004 Jan Feb Mar Apr May Jun Jul Aug Sep Oct Nov Dec 2004 | 2005 gtgt
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31
Sunday 17 October 2004
TIME
TITLE
NAME
700 Indymedia ESF breakfast show Indymedia London
Highlights news and views from the European Social Forum and the
autonomous spaces and initiatives taking place this week
website
800 Resonance Radio Art Riot Breakfast International
Radio Art
A five part special of the Harmon E Phraisyar show commissioned for
Kunstradio in Austria starts off the morning broadcast of international radio
art
website
1100 Resonance Live from the Frieze Art Fair Anna Colin amp
Tobi Maier
1100 Chris Weaver Resonance 1044FM live electronics set with James Dunn and
Robin Warren
1130 Michael Hall gallery Vienna presents audio works by artist Elisabeth Penker
1200 Maria Fusco presents latest the Bookworks commissions
1300 The Psychology of Collecting live broadcast of the frieze art fair panel
discussion
Is collecting an irrational act guided by compulsion and desire What are the use of
objects What are the motivations behind making collecting curating and
criticizing art A discussion of the psychology of collecting and the politics of taste
Hilary Rubenstein (Psychologist)
Eric Troncy (Art Critic and Director Le Consortium Dijon)
Haim Steinbach (Artist)
Chair Alice Rawsthorn (Director Design Museum)
1500 Portable live set and presentation of sudelectronic records London
1600 Where is Adventure What is Culture live broadcast of the frieze art fair
website
panel discussion
A discussion of the relationship of art to entertainment touching on the comedic
being popular and failing miserably
Trisha Donnelly (Artist)
Christian Jankowski (Artist)
David Robbins (Writer amp Artist)
Nancy Spector (Curator of Contemporary Art Solomon R Guggenheim Museum)
Chair Matthew Higgs (Curator CCA Wattis Institute for Contemporary Arts)
1800 Melissa Bent from Rivington Arms gallery New York in conversation with
artist Dan Colan and Tobi Maier Anna Colin
1830 VOX pop recordings from the fair with Sharon Gal
1900 Resonance Radio Art Riot Sarah
Washington
The Resonance Radio Art Riot brings together some of the foremost radio artists
and thinkers from around the world The studio lab situation will feature round
table discussions live performances and streamed events
Tonight Radio Text
Events Live broadcast from Sonic Arts Network Resonance benefit featuring
Henri Chopin studio performances from Julia Lee Barclay and Aude Tournay plus
Special Features None present live concrete radiophonics - Planning For
Emergencies
Guests include Clive Graham Chris Weaver Richard Thomas Toby Clarkson
John Lovett Robin Warren and James Dunn
Topics The word as art Sound poetry text performances
At Midnight Tom Wallace present exclusive excerpts from radio art pioneer
Gregory Whitehead
website
000 Resonance Radio Art Riot Nights International
Radio Art
The Resonance Radio Art riot continues throughout the night with the finest of
international radio art Resonance FM programme makers and our international
guests have put together many special hours of classic and obscure radio
works
website
- EPenkerDocumentationpdf
-
- 2bAusstellungenPublicaSpaceEPenkerpdf
-
- 2cUntitled_InstrumentsKunsthausGrazEPenker
- 2bpoeticsKunsthaus GrazEPenker
-
- 4PresseEPenkerpdf
-
- 4Review_Seattle Weekly
-
_________________________________________ Charim Events Schleifmuumlhlgasse 1a A-1040 Wien httpwwwcharimgalerieat charimcharimgalerieat
ELISABETH PENKER FERDINAND PENKER curated by Michael Scott Hall Eroumlffnung Opening 24042014 19 Uhr 7 pm Charim Events Schleifmuumlhlgasse 1 a A ndash 1040 Wien Dauer Duration 2504 ndash 10052014 Oumlffnungszeiten Opening Hours Mi-Fr 11-18 Uhr Sa 11-16 Uhr Though they share the same last name Elisabeth Penker amp Ferdinand Penker represent two different generations and work in completely different mediums and share an interest in seriality complex systems and repetition Most importantly each artist obscures their own medium of choice Ferdinand Penkers tempera on canvas paintings (in the exhibition) utilize linear compositions and appear from a distance printed or collaged until closer inspection reveals a more handmade quality He is presented here by his leaners which are architecture-specific paintings in that they can be arranged in response to given architectural context by either leaning against the wall or another painting or wedged between the ceiling and floor Each new architectural context creates a slightly different compositional oppourtunity Since his earliest installations in the 70 - 80s Ferdinand Penker has long had a strong interest in the relation between the architectural space of where and how the painting hangs and the flatness of the micro-thin space inside his paintings Penker lived and worked in San Francisco in the 1970-80s perhaps picked-up some tendencies which are more common in Northern California (than to Austria) concerning ideas of space and light Simultaneously the Sculptor Elisabeth Penker will present an ongoing series of portraits (photo-collages) entitled Split Representation utilizing the formal structure discussed by Claude Levi-Strauss in his essay Split Representation in the Art of Asia and the America in which he compares different cultures and different periods in history from Shang (China) Haida (Native Americans) Caduveo (Brazil) and Maori (New Zealand) who all use similar stylistic elements to represent (for example) the face (or portrait) which is not seen from the front but as two profiles merged together to form one Elisabeth Penker appropriates the portraits of philosophers anthropologist cultural scholars amp artists and re-represents them in a Split style developing a new hybrid-form of representation which merges both Western and Non-Western concepts of representation Along with the photo-collages Elisabeth Penker will also present a sound piece entitled Comparative Morphemesrdquo The composition is based on the grammatical classifications of languages deconstructed into minimal phonetic units and then reconstructed into new (word) forms Elisabeth PENKER (1974 Reiszligeck) Upcoming Book Project Onamatopee Eindhoven NL Solo Exhibitions Roma Contemporary (curated by Ilari Valbonesi) Rome Galerie naumlchst St Stephan (Log-in) Vienna MAK CAT Tower (cura-ted by Andreas Krištof) Vienna Kuumlnstlerhaus Stuttgart with FoGo Lab (curated by Elke aus dem Moore) HTTP Gallery (curated by Tobi Maier) London Liste 03 Basel Temporary Services Chicago Institut fuumlr Gegenwartskunst (curated by Ute Meta Bauer) Vienna Selected Group Exhibitions include The Program University of Illinois Chicago Protections Kunsthaus Graz (curated by Adam Budak amp Christine Peters) Kunsthalle Brandts (curated by Jacob Fabricius) DK Sound System Salzburger Kunstverein (curated by Hildegund AmanshauserEdek Bartz) Salzburg Howard House Gallery Seattle ldquoFirst Story-Women Buildingrdquo Galerie do Palacio Cristal with FOGO Lab (curated by Ute Meta Bauer) Porto PT Ferdinand PENKER (1950 Klagenfurt) He has had residencies in Japan Poland and Ireland Recent Book Projects include his monograph (2010) and A Murder of Crows (2003) from Ritter Verlag (Klagenfurt) Selected Solo Exhibitions MMK Klagenfurt (2010) Galerie Ritter Klagenfurt (2011 2009 2004) Sclatter St London (2010 2000) Galerie Schuumltte bdquoChamber Musicldquo (with Trevor Sutton) Essen DE Austrian Cultural Forum London Museum Joanneum Graz (2003 1994 1990) Machiya Bunka Center bdquo45 Views of a Square Tokyo Umjetnicka Galerija Bosne i Hercegovine Sarajevo BH KALA Institute Berkeley CA Kaumlrntner Landesgalerie Klagenfurt Forum Stadtpark Graz Van Doren Gallery San Francisco CA Secession Wien
ELISABETH PENKERcurated by Michael Scott Hall
Eroumlffnung Opening 24042014 19 Uhr 7 pmCharim Events Schleifmuumlhlgasse 1 a A ndash 1040 Wien
Dauer Duration 2504 ndash 10052014Oumlffnungszeiten Opening Hours Mi-Fr 11-18 Uhr Sa 11-16 Uhr
The Sculptor Elisabeth Penker presents an ongoing series of photo-collages entitled Split Representation utilizing the formal structure discussed by Claude Levi-Strauss in his seminal essay Split Representation in the Art of Asia and the America in which he compares different cultures and different periods in history from Shang (China) Haida Gwaii (Native Americans) Caduveo (Brazil) and Maori (New Zealand) who all use similar stylistic elements to represent (for example) the face (or portrait) which is not seen from the front but as two profiles merged together to form a frontal view
Northwest coast (Haida Gwaii) Tsimshian (Chinese)
Maori Face Tattoo Caduveo Woman with painted face (drawing by G Boggiani 1892)
Elisabeth Penker appropriates the portraits of philosophers anthropologist cultural scholars amp artists and re-represents them in a Split style developing a new hybrid-form of representation which merges both Western and Non-Western concepts of perspective and representation Penker paints onto the photo-collages and marks areas with geometrical referencing the face tattoos of Maori and the face paintings of the Caduveo IndiansPenkeracutes selection of portraits is based on cultural scholaracutes who are relevant in the field of cultural translation gender studies and multiple perspectives such as the first cubist collage from Pablo
rPicasso which were originally shown as first part of her First Nations Pavilion in Kunsthaus Graz Since two profiles are merged to form a single frontal view there are two perspectives in the picture much like Cubism- showing multiple perspectives in one picture Similar to the how Cubist represented three-dimensional volumes on a two-dimensional surface- when native inhabitants were asked to draw a face tattoo on paper they drew it as if they were drawing directly on the face which distorts the perspective when applied to paper Split representation in Haida Maori and Caduveo culture were built symmetrically in relation to two axes the main vertical axis is centered between the eyes following the median plane of the face the horizontal axis divide the face at eye level The eyesare used as starting points for two inverted spirals one of which covers the right cheek and the other the left side of the foreheadhellip It is not easy to analyze the design because of its apparent asymmetry- which nonetheless masks a real though complex symmetry Levi-Strauss
Along with the photo-collages Elisabeth Penker also presents a sound piece entitled Comparative Morphemesrdquo The composition is based on the grammatical classifications of languages beginning in the 19th century linguists attempted to group the worlds languages into four morphological categoriesbased on how words are formed analytic agglutinating synthetic and polysynthetic Penker choose one language of each group Chinese Turkish Burmese and a polysynthetic language She deconstructed recordings of these languages into minimal phonetic units and then reconstructed it into new (word) forms
Elisabeth PENKER (1974 Reiszligeck) Upcoming Book Project Onamatopee Eindhoven NL Solo Exhibitions Roma Contemporary (curated by Ilari Valbonesi) Rome Galerie naumlchst St Stephan (Log-in) Vienna MAK CAT Tower (curated by Andreas Krištof) Vienna Kuumlnstlerhaus Stuttgart with FoGo Lab (curated by Elke aus dem Moore) HTTP Gallery (curated by Tobi Maier) London Liste 03 Basel Temporary Services Chicago Institut fuumlr Gegenwartskunst (curated by Ute Meta Bauer) Vienna
Selected Group Exhibitions include The Program University of Illinois Chicago Protections Kunsthaus Graz (curated by Adam Budak amp Christine Peters) Kunsthalle Brandts (curated by Jacob Fabricius) DK Sound System Salzburger Kunstverein (curated by Hildegund AmanshauserEdek Bartz) Salzburg Howard House Gallery Seattle ldquoFirst Story-Women Buildingrdquo Galerie do Palacio Cristal with FOGO Lab (curated by Ute Meta Bauer) Porto PT
Selected works from the series Split Representation
Titles
Elisabeth Penker
ldquoSplit Representation Walter Benjamin Bluerdquo 60 x 40 cm framed (Paint on Photo-Colllage) 2013 edition of 5 (ea unique)
ldquoSplit Representation Rosa Luxemburg Yellowrdquo 60 x 40 cm framed (Paint on Photo-Colllage) 2014 edition of 5 (ea unique)
ldquoSplit Representation Rosa Luxemburg Caduveo Womanrdquo 60 x 40 cm framed (Paint on Photo-Colllage) 2014 edition of 5 (ea unique)
ldquoSplit Representation Simone de Beauvior Brownrdquo 60 x 40 cm framed (Paint on Photo-Colllage) 2014 edition of 5 (ea unique)
ldquoSplit Representation Trinh T Minh-ha Bluerdquo 60 x 40 cm framed (Paint on Photo-Colllage) 2013 edition of 5 (ea unique)
ldquoSplit Representation Angela Davis Greenrdquo 60 x 40 cm framed (Paint on Photo-Colllage) 2014 edition of 5 (ea unique)
ldquoSplit
Representation Self-Portraitrdquo 60 x 40 cm framed (Photo-Colllage) 2014 edition of 25
ldquoSplit Representation Frantz Fanon Copperrdquo 60 x 40 cm framed (Paint on Photo-Colllage) 2014 edition of 5 (ea unique)
ldquoSplit Representation Pablo Picasso 1rdquo 60 x 40 cm framed (Photo-Colllage) 2012 edition of 5
ldquoSplit Representation Pablo Picasso 2rdquo 60 x 40 cm framed (Photo-Colllage) 2012 edition of 5
ldquoSplit Representation Pablo Picasso 3rdquo 60 x 40 cm framed (Photo-Colllage) 2012 edition of 5
ldquoSplit Representation Ferdinand de Saussure 1rdquo 60 x 40 cm framed (Paint on Photo-Colllage) 2013 edition of 5 (ea unique)
ldquoSplit Representation Ferdinand de Saussure 2rdquo 60 x 40 cm framed (Photo-Colllage) 2013 edition of 5
ldquoSplit Representation Ferdinand de Saussure 3rdquo 60 x 40 cm framed (Paint on Photo-Colllage) 2013 edition of 5 (ea unique)
installation views Charim Events at Schleifmuumlhlgasse 1A Vienna April - May 2014
Elisabeth PenkerFerdinand Penker at Galerie Charim curated by Michael Scott Hall
Elisabeth PenkerFerdinand Penker at Galerie Charim curated by Michael Scott Hall
Elisabeth PenkerFerdinand Penker Galerie Charim curated by Michael Scott Hall
Elisabeth PenkerFerdinand Penker Galerie Charim curated by Michael Scott Hall
Elisabeth PenkerFerdinand Penker Galerie Charim curated by Michael Scott Hall
Elisabeth Penkerinstallation View Gallery 400 Chicago (left bdquoSplit Representation Ferdinand de Saussure (Green)ldquo right bdquoSplit Representation Walter Benjamin (Blue)ldquo 2013
Elisabeth Penkerinstallation View Gallery 400 Chicago left bdquoSplit Reprersentation Walter Benjamin (Blue)ldquo right bdquoSplit Represntation Frantz Fanon (Copper)ldquo 2013
Elisabeth Penkerinstallation View ReMap4 at Camp (Athens) 2013 Ferdinand de Saussure (Blue)
ELISABETH PENKER ldquoVienna calling comparative contemporary artrdquo LOG-IN amp VORRAUM GALERIE NAumlCHST ST STEPHAN ROSEMARIE SCHWARZWAumlLDER Elisabeth Penkers Skulpturen und Audiofilme sind seit 1998 im Bereich von Comparative Art und Sound Art verankert und untersuchen anhand von Sprachmorphologie die Verbindungen zur musikalischen und visuellen Grammatik In Elisabeth Penkers Ausstellung bdquoVienna calling comparative contemporary artrdquo ist der Titel in
Zusammenhang mit der Sprachmorphologie von Wiener Museen lesbar Penkers gezeigte Skulpturen vergleichen visuellelinguistische und musikalische Grammatiken (z B Moderne Kunst und First Nations Art) und verwenden die Ergebnisse als Ausgangsstruktur fuumlr die jeweilige Komposition Ihre Collagen Fotografien Diagramme und Zeichnungen sind erweiterte Fragestellungen ihrer Skulpturen Elisabeth Penker hat in Tonstudios in London und Chicago gearbeitet und seit 2000 eine Serie von Musikinstrumenten entwickelt die die Aufnahme-Methode von Jack Foley verwenden Exzerpte ihrer Multi-
Channel-Kompositionen wurden von Resonance 1044 fm (London) gesendet Weiters ist ein Text von Elisabeth Penker uumlber Sound Art im Resonance Magazine Supplement Juni 2006 erschienen Ein Video und eine Focus -Group wurde gemeinsam mit FOGO Lab bei der Documenta 12 gezeigt und war Teil des Documenta-12-Beitrages von Ricardo Basbaum
Ausstellungen siehe wwwschwarzwaelderat -gt LOGIN ELISABETH PENKER
Comparative Art is an academic discipline in the context of art histories The sculptures audio-films (sound
pieces) and the photographs (expanded sculpture) represent different 3rd 4th -dimensional by documenting
different cultural and spatial notions of perspective through usage of collaged andor spliced structural
compositionalformal structures Structural overlaps between visual artlanguagemusic are considered
Poetics of Dead Space 2 2009-2010
2 Kanaumlle einer 8-Kanal-Composition mono
Metallstativ Speaker Yamaha MSP3 CD-Player
H 133 cm
Ed 13
The non-linear 8-channel composition ldquoPoetics of Dead Space 2rdquo introduces polysynthetic language morphology
combined by the melody which is composed from pre-existing recordings of extinct languages and Penker‟s self-
made instrument ldquoUntitled Instrument sonic structurerdquo (see PDF and related essay written by E Penker at
Resonance fm Magazine upon request at Galerie naumlchst St Stephan)
The channel which is upstairs installed uses an existing wall as an acoustic filter and introduced sub-
consciousness polysynthetic language morphology into the gallery space The title refers to the book poetic of
space within unused architectural situations of exhibition spaces bdquo A Blind Spot (dead angle - Toter Winkel) has a
different meaning in terms of acoustics and cannot be compared with the visual context where blind spot is used
primarily in conversations
In musicsound production in film the visual blind spot is used very often by hearing a bike roller plane without
seeing it In everyday life we are used and depending by acoustic blind spots for our orientation of the situation
and space we are in at the moment Architectural acoustic issues play an important role during the time of the
composition ldquoPoetic of Dead Space 2rdquo is a context specific composition and deals with polysynthetic language
morphology recordings of the untitled instrument Sonic structure and acoustic exhibition architecture besides
issues which are depending of the unused architecture and their acoustics
First Nations Pavillon
Polysynthetische Doppelperspektive Claude Levi-Strauss 2006
Fotocollage C-Print gerahmter Spiegel
6-teilig
3 x 405 x 305 cm
2 x 245 x 305 cm
1 x 605 x 485 cm
Ed23 + 2 AP
A framed mirror from ldquoFirst Nations Pavilionrdquo is placed in the corner of the log-in space to place the viewer physically in the space cutting the reflection of the gaze as well mirrors a profile view of the installed
photographs The photo-series relates to polysynthetic language morphology (of the Inuit First Nations Maori and Caduveo Indians) and translates within the photographic image their structural common visual grammar Because they would create a frontal view which was made out of 2 (split) profile views thereby creating a 4-dimensional perspective that anticipatedparallels Cubism who later presented multiple perspectives within one image which intended to represent movement through time and space Specific references are in the related pdf upon request
at Galerie naumlchst St Stephan
Log [Baumstamm] 2010
Archivierung der Raumfarbe
Split Representation
Claude Levi-Strauss 2009
C-Print
5-teilig je 245 x 305 cm
Ed15 + 2 AP
The camera positions of a right angle mirror bdquoSplit Representationrdquo were chosen by E Penker in the way that the
flash is not in the image the photos are made utilizing a right angle mirror which both fragments and reflects the
image creating multiple or a split perspective EP
Bench-Shelf 2003
Acryl auf Pappelsperrholz
46 x 151 x 42 cm
The bench which is the earliest work in the exhibition mirrors the bottom and the top seating elements thereby
giving the object an asymmetrical appearance The bench-shelf was originally designed for a video archive was
later used by museum staff (in Porto) as gallery furniture
composition (or view) Numerous contemporary artists eg Donald Judd have related the ShakersAmish radical functionalism to their sculptural practice
Poetics of Dead Space 2 2009-2010
2 Kanaumlle einer 8-Kanal-Composition mono
Metallstativ Speaker Yamaha MSP3 CD-Player
H 133 cm
Ed 13
The non-linear 8-channel composition ldquoPoetics of Dead Space 2rdquo introduces polysynthetic language morphology
combined by the melody which is composed from pre-existing recordings of extinct languages and Penker‟s self-
made instrument ldquoUntitled Instrument sonic structurerdquo (see PDF and re lated essay written by E Penker at
Resonance fm Magazine upon request at Galerie naumlchst St Stephan)
The channel which is upstairs installed uses an existing wall as an acoustic filter and introduced sub-
consciousness polysynthetic language morphology into the gallery space The title refers to the book poetic of
space within unused architectural situations of exhibition spaces bdquo A Blind Spot (dead angle - Toter Winkel) has a
different meaning in terms of acoustics and cannot be compared with the visual context where blind spot is used
primarily in conversations
In musicsound production in film the visual blind spot is used very often by hearing a bike roller plane without
seeing it In everyday life we are used and depending by acoustic blind spots for our orientation of the situation
and space we are in at the moment Architectural acoustic issues play an important role during the time of the
composition ldquoPoetic of Dead Space 2rdquo is a context specific composition and deals with polysynthetic language
morphology recordings of the untitled instrument Sonic structure and acoustic exhibition architecture besides
issues which are depending of the unused architecture and their acoustics
Galerie naumlchst St Stephan
Aneta Grzeszykowska Elisabeth Penker
220110 bis 060310 Auf den Spuren gesellschaftlicher
Ordnungssysteme
Die beiden Ausstellungen von Aneta Grzeszykowska in den Galerieraumlumen
und Elisabeth Penker im Projektraum bdquoLOGINldquo sprechen unterschiedliche
Sprachen Momente der Beruumlhrung ergeben sich lediglich durch die
Auseinandersetzung der beiden Kuumlnstlerinnen mit Systembildungen und
gesellschaftlich bedingten Agglomerationen von Bedeutungen Waumlhrend der
Blick der in Warschau lebenden Kuumlnstlerin Aneta Grzeszykowska
psychologisch und kulturell bestimmt ist laumlsst sich das Verfahren der in
Wien und Rom lebenden Elisabeth Penker als ethnografisch und linguistisch
fundiert umschreiben Im Nebeneinander der beiden Positionen bilden sich
schaumlrfende Kontraste
Aneta Grzeszykowskas Interesse gilt dem Privaten in verschiedenen
visuellen Uumlbersetzungen Etwa kartografierte sie mit dem Warschauer
Kuumlnstler Jan Smaga in einer Fotoserie Wohnungen aus der Vogelperspektive
um eine intime Geschichte der Stadt uumlber die Anordnung von Raumlumen
Moumlbeln und Gebrauchsgegenstaumlnden zu erstellen Nun begibt sie sich mit
dem Film bdquoBirthdayldquo auf die Ebene fruumlhkindlicher Begegnungen mit dem
Unheimlichen Gedreht wurde er in der Art privater Dokumentationen zur
Feier des eigenen Nachwuchses anlaumlsslich eines Kindergeburtstags Durch
kommentierende Eingriffe wie die Animation sonst unbeweglicher
Gegenstaumlnde uumlbt die Kuumlnstlerin Kritik an den Konventionen und betont so
das Monstroumlse solcher Ereignisse In der Doppelboumldigkeit von inszenierter
Kindheit und Abgruumlndigem ist auch eine Reihe monochromer dunkler
Figurinen aus Stoff angesiedelt Dass diese bekleidet sind wie
Grzeszykowska in ihrer Kindheit verweist auf Versuche Dramatisches uumlber
die aumlsthetische Formalisierung zu bearbeiten Eine Fotografie mit dem durch
die Hand Grzeszykowskas unabsichtlich verletztem Auge ihres kleinen
Bruders und eine maumlrchenhaft anmutende Reliefskulptur mit einem Maumldchen
auf einem Hund aus stacheligen Distelbluumlten erzaumlhlen davon
Tiefenbohrungen zum Kern semantischer Ordnungen unternimmt dagegen
Elisabeth Penker im Kontext der Ausstellungsserie LOGIN in einem
ehemaligen Geschaumlftslokal und im Foyer der Galerie selbst Bekannt ist die
Kuumlnstlerin und Musikerin Elisabeth Penker etwa durch ihre Intervention im
Arkadenhof der Universitaumlt Wien mit einer Buumlste der oumlsterreichischen
Romanistin und ersten Universitaumltsprofessorin Elise Richter Diese leite das
phonetische Institut bis zu ihrer Deportation ins Ghetto Theresienstadt durch
die Nationalsozialisten und war in der patriarchalischen Ordnung der
steinernen Koumlpfe der Universitaumlt ndash ebenso wie die Leistungen von Frauen
generell ndash bis dahin kein Thema gewesen In der Ausstellung bdquoProtectionsldquo
im Kunsthaus Graz thematisierte Penker mit ihrem bdquoFirst Nation Pavillonldquo die Hegemonie des durch den
Kolonialismus gepraumlgten Blicks auf auszligereuropaumlische Gesellschaften
Stets sind ihre Annaumlherungen auf die Generierung von Bedeutungen im Sinne von Grammatiken
ausgerichtet Dementsprechend leitmotivisch fungiert ein Portraumlt des kuumlrzlich verstorbenen Ethnologen
Claude Leacutevi-Strauss in der Rauminstallation mit integrierter Soundkomposition Die gespiegelte und
mehrfach aufgefaumlcherte Fotografie von Leacutevi-Strauss in bdquopolysynthetischer Doppelperspektiverdquo laumlsst sich
als Verschneidung von Sprachlichem Klanglichen und Visuellen lesen
Eine Archaumlologie im Feld der Linguistik wie auf Materialebene fuumlhrt die Signifikanten auf engstem Raum
zusammen Triviale Vierkanthoumllzer beispielsweise wurden in genau jenen Farben lackiert die Penker als
uumlbereinander gelagerte Sedimente unter der Dispersion der Waumlnde freilegte Die laumlnglichen Houmllzer
beziehen sich auf den englischen Ausdruck bdquologldquo fuumlr Stamm und somit auch auf die Ausstellungsreihe der
Galerie Bemerkenswert dass ein Wort das bloszlig aus einem Morphem besteht einen Gegenstand
repraumlsentiert So baut sich uumlber eine Reihe weiterer Objekte wie etwa den bdquoHanging Chairsldquo aus dem
Fundus der Galerie ein elementares Netzwerk von Bezuumlgen auf Mit ihren Werken und abstrakten Sound-
Kompositionen dringt Elisabeth Penker kritisch forschend in die Makrobereiche von Grammatiken vor um
Potentiale semantischer Anbindungen in Nachbarsystemen freizulegen Roland Schoumlny
Elisabeth Penker Einzelausstellung MAK CAT TOWER Kurtaiert von Andreas Kristof
ldquoPassive Orchestrardquo 2008 8-Channel-Toninstallation Die Interpretation von Soundart sieht Penker in der Uumlberschneidung von Sprache-visueller Kunst und Musik und ist zumeist mit einer visuellen raumlumlichen Komponente verbunden Der Betrachter und Zuhoumlrer befindet sich in
einer Konzert-Situation statt Instrumenten sieht er nur Lautsprecher die auf unterschiedlichen Houmlhen auf einer grauen Wand positioniert sind Passiv Orchestra beruht in der Struktur auf die grammatische Einteilungen von Sprachen die in phonetische Minimaleinheiten dekonstruiert sind und wird uumlber eine Mehrkanal Matrix gespielt Elisabeth Penker referiert in dieser eigens fuumlr den Flakturm konzipierten Arbeit auf dadaistische Methoden der Sprachdekodierung die auch als ein klares Anti-Kriegs-Statement zu verstehen waren
1
Kunsthaus Graz
Protections
Kuratoren Adam Budak und Christine Peters
Elisabeth Penker
First Nation Pavilion
Der First Nation Pavilion von Elisabeth Penker unternimmt den Versuch einen Bereich fuumlr ein koloniales
Bewusstsein der europaumlischen Vergangenheit zu schaffen und einen utopischen Raum fuumlr neue Vorstellungen
von einer Mannigfaltigkeit an kulturellen Formen in der zeitgenoumlssischen Kunst Die Komposition de-
grammatical ein Bestandteil des First Nation Pavilion beruht in ihrer Struktur auf den grammatischen
Einteilungen der Sprachen die in phonetische Minimaleinheiten dekonstruiert sind und wird uumlber eine
nichtlineare 5-Kanal-Matrix gespielt
Penker untersucht moumlgliche Uumlberschneidungen zwischen der Sprache der Musik und der Bildstruktur wobei ihr
Hauptaugenmerk polysynthetischen Sprachen (First Nations und Pazifische Inseln) gilt sowie dem Vergleich
zwischen der Kunst von First Nations und der Modernen Kunst Erst in juumlngerer Zeit in der Aumlra des
Postkolonialismus hat der Diskurs der kulturellen Uumlbersetzung Fragen aufgeworfen mit denen man sich schon
in den phonetischen Experimenten des Dadaismus in den 1910er und 1920er Jahren beschaumlftigt hatte sowie
spaumlter in der Konzeptkunst der 1960er und 70er Jahre
Elisabeth Penker
First Nation Pavilion
The First Nation Pavilion by Elisabeth Penker attempts to set-up an area for colonial consciousness of the
European past and a utopic space for re-imagining a plurality of cultural forms in contemporary art The
composition entitled de-grammatical contained within the First Nation Pavilion is structurally-based on the
grammatical classifications of languages deconstructed into minimal phonetic units played within a non-linear
5-channel matrix
Penker is questioning the possible overlaps between music-language and visual structure within the primary
focus on polysynthetic languages (First Nation and Pacific Islands) and First Nation Art compared to Modern Art
More recently in the age of post-colonialism the discourse of cultural translation is arising questions that have
also been experimented by the Dadaists phonetic experiments in the 1910-20s and later in Concept Art of the
1960s-70s Text Adam Budak
Michael Elmgreen amp Ingar Dragset (the work of two other invited artists) offered Penker a typical prefabricated
house as her exhibition space within the Kunsthaus
id31403916 pdfMachine by Broadgun Software - a great PDF writer - a great PDF creator - httpwwwpdfmachinecom httpwwwbroadguncom
2
Elisabeth Penker Fisrt Nations Pavilion 2006
Change of floor plan of the prefabricated house by Michael Elmgreen amp Ingar Dragset
Entrance door Fisrt Nations Pavilion
3
Part 1 Colonial Conciseness in visual art
Room 1 and 3 Modernism=Imperialism after Henry Flynt Demolish serious culture
Woman as a the last Colony Rosa Luxenburg Veronika Bennholdt-
Thomsen Claudia von Werlhof und Maria Mies
4
Vinyl letters C-Print
5
6
Polysynthetische Doppelperspektive 1 Claude Levi- Strauss
Photocolloage C-Print
7
Polysynthetische Doppelperspektive 2 Claude Levi-Strauss
Photocolloage C-Print
9
Polysynthetische Doppelperspektive 4 Claude Levi Strauss
Photocolloage C-Print
2 prints Installed in corner
Installation view Polysynthetische Doppelperspektive 1-4 Claude Levi- Strauss
The visual grammar and its double perspective (split representation) of Haida Gwai and Tlinglet Art (First Nation
Art) is re-collaged with a photograph of Pablo Picasso comparing Cubism (early Modernism) with First Nation Art
and questioning its similarities of double perspectives
10
Room 4 and 5
Room 4
11
Luicide List The museum as an imperial graveyard
C-Print
Colonial after effects of Luicide
Gips Metallkette Hose Schuh
12
No7
Mirror Split Representation Mirror framed and installed in the corner
Part 2 Room 6 and 8 Comparative Contemporary Art
4-channel sound installation
De-grammatical Listen to mp3 audio excerpts
13
Front
2 CT (shelfbenches) Acryl auf Pappelsperrholz
Back Pull Over Yukme Shirley Hall outside
14
Pull Over Yukme Shirley Hall inside
Fabric wall silk print by (Tlinglet Artist) Yukme Shirley Hall
Wo ist Elise Richter wo ist
id99149429 pdfMachine by Broadgun Software - a great PDF writer - a great PDF creator - httpwwwpdfmachinecom httpwwwbroadguncom
Im Arkadenhof der Universitaumlt Wien stehen 154 Buumlsten von bedeutenden Wissenschaftlern der
Universitaumlt Wien (1700-2005) Bedauerlicherweise findet sich unter ihnen keine einzige Frau Eine temporaumlre Buumlste einer anonymen Wissenschaftlerin soll die systematische Ausblendung von Frauen
aus der Universitaumltsgeschichte thematisieren Die offene Web- Plattform (wwweliserichterat) ermoumlglicht allen Benutzern aktiv an der Umschreibung der Universitaumltsgeschichte und an re-imaging Prozessen der Repraumlsentation dieser Buumlsten teilzunehmen Weiters wird die Verbindung von raceclassgender und einer akademischen Kariere in diesem Zusammenhang hinterfragt We can never really change any form of social organisation without challenging all that organisations forms of
language (Debord)
Within the patriarchal structures of the Arkadenhof at the University of Vienna stand 154 busts of important scientists (1700-2005) Unfortunately none of these busts are women Through the placement of a temporary bust of an anonymous female scientist it declares the absence of them within the history of the university As well the anonymous bust embodies the presence of important scientists who have not yet been given equal representation The open web-platform (wwweliserichterat) allows every user to participate in this discourse to re-write the history of the university and to re-image the representation of these busts through a wiki system
Skizze Buumlste einer anonymen Wissenschaftlerin
Mein Interesse besteht nicht darin zu recherchieren welche Buumlsten von Wissenschaftlerinnen im Arkadenhof fehlen sondern das Fehlen der Wissenschaftlerinnen im Zeitraum von 1700 bis 2005 aufzuzeigen und Strukturen fuumlr eine oumlffentliche Kommunikationsplattform zu schaffen In der Genderforschung besteht Konsens daruumlber dass Gender kein Merkmal von Individuen sondern das einer
Institution ist (Connell) zudem ein struktureller Bestandteil einer Gesellschaft ist und dass Gendernormen alle Organisationen durchdringen (Acker)
Grundriss Arkadenhof der Universitaumlt Wien Literatur Acker J (1990) Hierarchies Jobs Bodies A theory of gendered organizations In Gender and Society
Connell R (1998) Gender and Power Society the Person and Sexual Politics Stanford University Press Stanford CA Maisel T (1990) Die Denkmaumller im Arkadenhof der Universitaumlt Wien Biographische Skizzen Wien Quellen Denkmalsakten Archiv der Universitaumlt Wien
Veranstalter Open Mind Projekt Utopie Freiheit httpwwwopenmindat vereinopenmindat Projektautorin Elisabeth Penker elpenkergmxat Bronzeguss Walter Rom Wachsmodel Buumlste Elisabeth Penker Steinsockel Ausfuumlhrung Fa Zehmann Mario Jungbauer Mediendesign Gernot Tscherteu httpwwwrealitylabatwphome gtrealitylabat Techn Umsetzung Christian Langreiter Webpage wwweliserichterat
Elisabeth Penker- Franzengasse 13- 1050 Wien ++43 (0)699 197 193 53 elpenkergmxat
Elisabeth Penker Untitled instruments 1-3 2000-2012
Galerie Georg Kargl Wien Galerie Priestor Bratislava Kuumlnstlerhaus Wien Kibla New
Media Center Maribor HTTP Galerie London Secession Wien Mak Wien Roma
Contemporary Wien
Elisabeth Penker Untiled Instrument Galerie Georg Kargl Wien
Curated by Michael Hall
Elisabeth Penker Untitled instrument 2001 New Media Center Maribor
Elisabeth Penker Untitled instrument 2001 New Media Center Maribor
Elisabeth Penker Untitled instrument Kuumlnstlerhaus Wien curated by Ursula Maria Probst
Live Performance mit Celia Mare
Detail Die BILD_HAU_ER_IN Kuumlnstlerhaus Wien
Live Performance Flower Structure Wiener Festwochen
Elisabeth Penker (Untiled instrument) Van Angh (Cello) Tri Minh Electronics
Elisabeth Penker Live Performance Poetics of space Secession Wien
MAK Nail Structure GRizo Sweet Susie Elisabeth Penker
Elisabeth Penker HTTP Gallery London 2005 curated by Tobi Maier
Elisabeth Penker HTTP Gallery London Live Performance
Elisabeth Penker Untitled Instrument Sonic Structure Kunsthaus Graz curated by Adam Budak amp
Christine Peters
Videolinks
httpwwwyoutubecomusersoundart24
Interview with Video Festwochen
httpbturncom8753interview-elisabeth-penker
Kunsthaus Graz
Protections
Kuratoren Adam Budak und Christine Peters
Elisabeth Penker Poetics of Dead Space
For PROTECTIONS Elisabeth Penker developed a key-sound Poetics of Dead Space which is to a large extent a homage
to Gaston Bachelards seminal book Poetics of Space where the connections between the poetry and the spatial emotions
are analysed Penkers key-sound will guide the viewer through the exhibition mapping the overall identity of the show in
some way controlling the viewers (audio-narrative) route in the maze of art objects events situations but also spatial
voids and unused corners
Fuumlr PROTECTIONS entwickelte Elisabeth Penker einen leitmotivischen Key Sound Poetics of Dead Space der weitgehend
eine Hommage an Gaston Bachelards wegweisendes Buch Poetics of Space darstellt in dem die Verbindungen zwischen
Lyrik und raumlumlichen Emotionen analysiert werden Penkers Key Sound wird das Publikum durch die Ausstellung geleiten
die Identitaumlt der Schau in ihrer Gesamtheit erfassen und in gewisser Weise die (audio-narrative) Route des Publikums im
Labyrinth der Kunstgegenstaumlnde Ereignisse und Situationen aber auch raumlumlicher Leerstellen und ungenutzter Winkel
kontrollieren
A non linear composition 7 mono active speakers are placed through out the Kunsthaus Graz Speaker placement
1 outdoor (entrance) 2 (travelator) 3 (corner with column) 4 (corner with door) 5 (corner) 6 (travelator) 7 (corner with
window)
Poetics of Dead Space Let it grow again 28 51 sec mono
Source material for composition rain sound of dried beans dropping down wood sticks breathing hardly existing
id78338975 pdfMachine by Broadgun Software - a great PDF writer - a great PDF creator - httpwwwpdfmachinecom httpwwwbroadguncom
recording of extinct languages
Poetics of Dead Space Let it grow again 28 51 sec mono
Source material for composition rain sound of dried beans dropping down wood sticks existing recording of extinct
languages
Poetics of Dead Space travelator 1 1min 04 sec mono loop
Source material for composition staff falling down man falling down stairs rattern recording untitled instrument
Background existing recording of extinct languages
Poetics of Dead Space 496 1min 409 sec mono loop
Source material for composition recording untitled instrument Background existing recording of extinct languages
Poetics of Dead Space 129525 1min 4888 sec mono loop
Source material for composition recording untitled instrument Background existing recording of extinct languages
Poetics of Dead Space 129525 1min 4888 sec mono loop
Source material for composition keyboard recording untitled instrument Background existing recording of extinct
languages
Poetics of Dead Space travelator 2 1min 5209 sec mono loop
Source material for composition recording untitled instrument violin Background existing recording of extinct
languages
Poetics of Dead Space2152518125220 1min 3200 sec mono loop
Source material for composition recording untitled instrument Background existing recording of library of extinct
languages
Poetics of Dead Space travelator 1 1min 04 sec mono loop
viewing down from upstairs Source material for composition staff falling down man falling down stairs rattern
recording untitled instrument Background existing recording of extinct languages
Poetics of Dead Space Let it grow again 028 51 sec mono
Source material for composition rain sound of coins wood sticks existing recording of extinct languages
Elisabeth Penker is a Viennese artist and musician working with sound in a sculptural context In her (subjective) tour
Penker approaches the entire anti-exhibition PROTECTIONS from an angle of its position and significance in the context
of Sound Art as located on the crossway between visual arts language and music Starting from her own house turned
into First Nation Pavillion which amongst others aims at connecting the recent discourse on cultural translation with
early avant-garde phonetic experiments Penker maps the sonic structure of Kunsthaus Graz and its (live) architecture
which for PROTECTIONS hosts an array of interdisciplinary projects with a strong audio-quality from Herwig Weisers
Death Before Disco (a micro-architecture of hyper-technological and electronic pop) through a newly created choir of
security guards for Tim Etchells Wall of Sound down to a cacophonic layers of anonimous noise generated by the
space itself and the presence of audience
Die Wiener Kuumlnstlerin und Musikerin Elisabeth Penker arbeitet mit Klang im Zusammenhang mit Bildhauerei In ihrer
(subjektiven) Fuumlhrung naumlhert sie sich der Anti-Ausstellung PROTECTIONS aus einem Blickwinkel der die Position und
Bedeutung der Klangkunst an der Kreuzung zwischen bildender Kunst Sprache und Musik verortet Von ihrem eigenen
Haus ausgehend das sich in den First Nation Pavilion verwandelt hat der u a den aktuellen Diskurs uumlber kulturelle
Uumlbersetzung mit fruumlhen phonetischen Experimenten der Avantgarde verbinden soll entwirft Penker die klangliche
Struktur des Gutshauses und seiner (Live-)Architektur die fuumlr PROTECTIONS eine Reihe von interdisziplinaumlren Projekten
mit einer starken Affinitaumlt zum Klang beherbergt von Herwig Weisers Death Before Disco (eine Mikroarchitektur aus
hyper-technoidem und elektronischem Pop) uumlber einen neu formierten Chor bestehend aus Security Guards fuumlr Tim
Etchells Wall of Sound bis zu einer Kakophonie aus anonymen Geraumluschen die vom Raum selbst und der Anwesenheit
des Publikums erzeugt werden
052813
Local Warming ATHENS
052813
AFTER A YEARLONG HIATUS the eighteenth Art-Athina hit the ground running on the evening of Thursday May 16 and the former Olympic
ldquoTae Kwon Dordquo Pavilion was packed with enthusiastic party people The fair had a more national flavor than ever this year under its new
director Alexis Caniaris the son of recently deceased artist Vlassis Caniaris whose iconic modern work has recently found great success on the
international market Of the very few foreign galleries exhibiting most were Greek-owned The Breeder gallery was dealing with the perceived
drop in the market by selling fantastic multiples by artists like Stelios Faitakis Jannis Varelas and Andreas Angelidakis at crisis-appropriate
prices ldquoNobody wants to come here now but I have already met three interested billionaire collectors today And if Greeks like you they
introduce you to their billionaire friendsrdquo raved Cologne dealer Mirko Mayer a seven-time exhibitor ldquoThat is what nobody knows There are
at least one-hundred billionaires collecting hererdquo Most international collectors were delayed several hours due to a union strike a de r igueur
mode of arrival in contemporary Greece
It was impossible to miss the exuberant activities of the DaDa Da restaurant a Greek-Austrian collaboration where artist Albert Mayr was
waving a skillet and raving nonsense while Lucas Willmann tenderized pink fillets for Wiener schnitzel ldquoThis is Viennese Actionism lightrdquo
quipped critic Sotirios Bahtsetzis Artist Natasha Papadopoulos added ldquoBut here there are hungry Greeks waitingrdquo On a table with a rotating
Sacher tort by Heacutelegravene van Duijne a sign carried the overwhelming spirit FUCK ART LETrsquoS EAT SOUVLAKI An insistent electronic beat and
pulsating light emanated from the next booth the American College of Greecersquos ldquoAthensUrgentrdquo while hooded performer Manos Tsatiris
stood against the wall with his hands tied perhaps a metaphor for the current Athenian exigency ldquoThis is not the kind of art fair scene we are
used tordquo said the Economou Collectionrsquos Annie-Claire Geisinger watching the madness
Left Artists Elisabeth Penker Michela Pelusio Petros Touloudis Panos Papadopoulos and Nino Stelzl Right Collector Anne-Marie Ros
Down on the floor the dealers seemed pleased particularly given dismal expectations having already sold a great deal at the preview Young
Rotterdam-based gallery Joey Ramone had sold sculptures by Fotini Gouseti to English and Belgian collectors dealer Erik Mulier had also sold
some work to Belgians Marc Van den Hende said he had bought a triptych by Eirene Efstathiou and was considering a Vlassis Caniaris piece
from the 1970s ldquoI saw some surprisesmdashyoung Greek artists I did not knowmdashand great new galleries like Elika and CANrdquo Dutch collector
Anne-Marie Ros said By the end of the day Dimitra and Sofia Vamiali reported that they had not seen one Greek collector although another
reported a Dakis Joannou sighting mdash Cathryn Drake
SEARCH
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SEATTLE
WEEKLY
in the News
Columnist
Geov Parrish
is a regular
guest on
Mind Over
Matters on
KEXP-FM
(903)
Saturdays at
830 am and
provides news
commentary
on KBCS-FM
(913) Fridays
at 430 pm
Catch writers
Steve
Wiecking Tim
Appelo and
ARTS
March 30 - April 5 2005
Picking Up the Thread
Howard House ties together the best new conceptual art from Vienna
by Elise Richman
Franz Wests Mercury
(Howard House Contemporary Art)
Theres a German expression to lose the red thread which means losing
ones train of thought In its current show Howard House has found that
thread Julie Ryan a curator artist and writer organized The Red
Thread Glimpses of International Art in Vienna a two-part exhibition
featuring artists working and living at least part time in Austrias capital
Part one of the show is at Howard House the second half is currently on
display at the Educational Alliance Gallery in New York
Vienna has become a magnet for artists from all over the world including
the 15 individuals and artist teams that are part of The Red Thread
Excellent artist residency programs a low cost of living and living art
legends like Franz West are just a few of the reasons
An artistic collaboration with West took Ryan from New York to Vienna
She knows Billy Howard who runs Howard House from the University of
Washingtons School of Art And so the figurative string was strung
connecting the East and West coasts with artists from across the Atlantic
This is a complex exhibit whose emotional tenor ranges from cool
detachment to an almost urgent earnestness Unlike the formal richly
historical city that connects them artists in The Red Thread favor informal
approaches to art making use disposable materials and comment on
contemporary cultural themes
West has two formidable sculptures at Howard House The front room of the
gallery features Mercury (pictured) an ungainly behemoth composed of a
patchwork of fused metal Like many of Wests sculptures Mercury is
meant as an interactive structure that viewers can climb and sit on Bulbous
Gavin
Borchert
discussing
theater film
and music
regularly on
classical
KING-FM
(981)
Mark Fiore
Cartoons
Every
Thursday
nodules extend from its horizontal base and the seams of the dark maroon
metal look like scars rendering it at once vaguely obscene and absurdly
playful
Sisyphus the other West sculpture on display is a bulky conglomeration of
bits and wads of paper propped in the back room on a makeshift plinth (base
block) Though its as solid as the boulder its title references its surface is
like oozing skin partly coated with poured murky paint partly cloaked in
small clumps of newspaper detritus
The strenuous act of making each of these sculptures is eminently apparent
and central to the content of Wests work West considers creation a
symbolic act As you might expect he likens the artistic process to the plight
of Sisyphus the mythological figure who eternally rolled a boulder up a hill
only to have it come crashing back down For West art involves a
Sisyphean search for what he calls the absolute through the seemingly
senseless accumulation of materials However unlike Sisyphus futile quest
Wests process can lead to epiphany making sense of the senseless
Similarly Viennese artist Elisabeth Penkers art serves a facilitative
function easing the act of translation Penker uses Haida iconography in her
multimedia work because it provides potent visual symbols that
communicate single words and whole sentences simultaneously Her prints
at Howard House feature fragments of icons floating in the papers white
space They are spare visually arresting characters that employ an
iconographic language as encoded symbols of communication
Also featured in The Red Thread is Donald Baechler an internationally
known American painter who spends extended periods of time in Vienna
Baechler equalizes his imagery by painting it all in the same style For him
the source of an image doesnt matter whether its a drawing by Picasso or
graffiti on a bathroom wall What matters is the newfound context his
paintings provide
Victory by Default is part of Baechlers Skull series In this piece a painted
skull gapes from the dirty yet sensuous confines of a large canvas Terry
cloth and wrinkled rags provide literal texture and reference the world
outside the paintings boundaries Splatterings of color around the skull like
the self-conscious marks of Jasper Johns seem to express the language of
paintingmdashhue and gestural strokesmdashin a factual rather than illusional
manner
Another American painter Lisa Ruyter lives half-time in Vienna where she
runs an influential gallery She works from photographs projected onto
large-scale canvases tracing the contours of the projected imagery with
consistent black outlines In a way that seems arbitrary she paints the shapes
formed by her contour lines in flat designer colors Man of Means based on
a photo of fashion photographers looks like a scrambled color-by-numbers
painting I cant do justice to the unusually rich assortment of conceptual art
in The Red Thread Youll just have to see it for yourself Thomas
Baumans thrashing triangular foil blanket Walter Seidls slide show of
staged snapshots Markus Schinwalds photograph of a contortionist and the
other thoughtful works connected by The Red Thread
The Red Thread Glimpses of International Art in Vienna runs through
April 30 at Howard House 604 Second Ave 206- 256-6399 1030 amndash5
pm TuesndashSat Free
KUNSTFORUM
Parallelwelten fuumlr Parlamentarier Ausstellung
Von Brigitte Borchhardt-Birbaumer
Ende Oktober endet die Zusammenarbeit von Nationalratspraumlsident Andreas Khol und Peter Pakesch Direktor des Kunsthauses Graz am Joanneum Seit 2003
hatte Pakesch als Kurator mehrere Ausstellungen in den Sitzungssaumllen des Parlaments in Zusammenarbeit mit Galerien initiiert und namhafte Positionen
ausgewaumlhlt Kriterium fuumlr Praumlsentationen war die Praumlsenz durch eine Schau in einer der bekannten Kunstinstitutionen des Landes Nach Eva Schlegel Adriana
Czernin Maria Lassnig oder Esther Stocker sind dies nun bis April 2007 Josef Dabernig Daniel Hafner Ulrike Lienbacher Alois Mosbacher und Elisabeth
Penker
Das Parlament kann dabei durch die Margaretha-Lupac Stiftung immer eine Arbeit fuumlr die wachsende Sammlung des Hauses ankaufen Zuletzt war das ein
groszliges Oumll-Acryl-Gemaumllde der Georg-Eisler-Preistraumlgerin Maja Vukoje zuvor Johanna Kandl deren Temperabild derzeit an das Lentos in Linz geliehen wird
Einige Werke haumlngen schon als kuumlnstlerische Wegweiser in den Gaumlngen des Hauses und sind auch Blickfang fuumlr die 120000 Besucher die pro Jahr das
Parlament besuchen In die Architektur von Theophil Hansen mit ihrer zeitlosen Qualitaumlt fuumlgt sich die Gegenwartskunst kongenial
Hoffnung fuumlr spaumlter
Die derzeitige Zusammenstellung macht Hoffnung auf eine Fortsetzung unter der naumlchsten Praumlsidentschaft Fotografie Computerkunst Malerei Zeichnung
und Skulptur weisen auf die Vielfalt der Werkstoffe in der Gegenwartskunst Elisabeth Penker parallel im Kunsthaus Graz zu sehen baut schwarzweiszlige
Objekte aus bemaltem Holz die in ihrer seriellen und geometrischen Anordnung auf Bezuumlge zum Performativen und auf die Musik hinweisen
Noch juumlnger ist Daniel Hafner mit seinen am Computer komponierten digitalen Drucken Morphosentransformationen von 2006 Linienraster und
Raumkonstruktionen in subtiler Farbigkeit verbinden Tendenzen der fruumlhen Op-Art mit dem Cyber-Lab
Um konstruierte Realitaumlten geht es auch in den groszligformatigen Oumllbildern von Alois Mosbacher dem bekannten Vertreter der Neuen Wilden der
Achtzigerjahre in Oumlsterreich Wanderer in Wald und Wiese erzaumlhlen die Geschichten alternativer Welten die sich mancher in der Gesellschaft als Parallele
konstruiert
Zwei Fotofriese von Josef Dabernig bilden jeweils ein Panorama von oumlffentlichen Plaumltzen auf denen es zum einen um Fuszligball geht Zum anderen ist der
Rundblick in das Oval einer scheinbaren Arena auch eine Art Sehschule fuumlr die Betrachter Ein sozialer Befund ist die dritte Bedeutungsebene
Ulrike Lienbacher die heuer mit einer groszligen Schau im Innsbrucker Taxispalais ihre Karriere fortsetzt ist mit ihren feinlinigen Tuschezeichnungen den kleinen
oft unsichtbaren Zwaumlngen in unserer Gesellschaft auf der Spur Im Lokal II des Parlaments stellt sie zwar nicht ihre Objekte und Fotos aber einige
groszligformatige Blaumltter mit Frisurenvariationen neben teils fragmentierten Frauenkoumlrpern im Umgang mit Schmutz und Hygiene aber auch Fitnesskult aus
Disziplinierung und Kontrolle betreffen in der Oumlffentlichkeit besonders den weiblichen Koumlrper Sauberkeitsmechanismen weisen auch auf Vorstellungen von
wertvoll und minderwertig hin Ihre Transformationen enthalten wie die Themen der anderen subtile Kritik und sind daher vom Kurator uumlberlegt positioniert
Zeitgenoumlssische Kunst
im Parlament
Bis April 2007
Kurator Peter Pakesch
Konfrontationen
Dienstag 10 Oktober 2006
ltlt 2003 | 2004 Jan Feb Mar Apr May Jun Jul Aug Sep Oct Nov Dec 2004 | 2005 gtgt
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31
Sunday 17 October 2004
TIME
TITLE
NAME
700 Indymedia ESF breakfast show Indymedia London
Highlights news and views from the European Social Forum and the
autonomous spaces and initiatives taking place this week
website
800 Resonance Radio Art Riot Breakfast International
Radio Art
A five part special of the Harmon E Phraisyar show commissioned for
Kunstradio in Austria starts off the morning broadcast of international radio
art
website
1100 Resonance Live from the Frieze Art Fair Anna Colin amp
Tobi Maier
1100 Chris Weaver Resonance 1044FM live electronics set with James Dunn and
Robin Warren
1130 Michael Hall gallery Vienna presents audio works by artist Elisabeth Penker
1200 Maria Fusco presents latest the Bookworks commissions
1300 The Psychology of Collecting live broadcast of the frieze art fair panel
discussion
Is collecting an irrational act guided by compulsion and desire What are the use of
objects What are the motivations behind making collecting curating and
criticizing art A discussion of the psychology of collecting and the politics of taste
Hilary Rubenstein (Psychologist)
Eric Troncy (Art Critic and Director Le Consortium Dijon)
Haim Steinbach (Artist)
Chair Alice Rawsthorn (Director Design Museum)
1500 Portable live set and presentation of sudelectronic records London
1600 Where is Adventure What is Culture live broadcast of the frieze art fair
website
panel discussion
A discussion of the relationship of art to entertainment touching on the comedic
being popular and failing miserably
Trisha Donnelly (Artist)
Christian Jankowski (Artist)
David Robbins (Writer amp Artist)
Nancy Spector (Curator of Contemporary Art Solomon R Guggenheim Museum)
Chair Matthew Higgs (Curator CCA Wattis Institute for Contemporary Arts)
1800 Melissa Bent from Rivington Arms gallery New York in conversation with
artist Dan Colan and Tobi Maier Anna Colin
1830 VOX pop recordings from the fair with Sharon Gal
1900 Resonance Radio Art Riot Sarah
Washington
The Resonance Radio Art Riot brings together some of the foremost radio artists
and thinkers from around the world The studio lab situation will feature round
table discussions live performances and streamed events
Tonight Radio Text
Events Live broadcast from Sonic Arts Network Resonance benefit featuring
Henri Chopin studio performances from Julia Lee Barclay and Aude Tournay plus
Special Features None present live concrete radiophonics - Planning For
Emergencies
Guests include Clive Graham Chris Weaver Richard Thomas Toby Clarkson
John Lovett Robin Warren and James Dunn
Topics The word as art Sound poetry text performances
At Midnight Tom Wallace present exclusive excerpts from radio art pioneer
Gregory Whitehead
website
000 Resonance Radio Art Riot Nights International
Radio Art
The Resonance Radio Art riot continues throughout the night with the finest of
international radio art Resonance FM programme makers and our international
guests have put together many special hours of classic and obscure radio
works
website
- EPenkerDocumentationpdf
-
- 2bAusstellungenPublicaSpaceEPenkerpdf
-
- 2cUntitled_InstrumentsKunsthausGrazEPenker
- 2bpoeticsKunsthaus GrazEPenker
-
- 4PresseEPenkerpdf
-
- 4Review_Seattle Weekly
-
ELISABETH PENKERcurated by Michael Scott Hall
Eroumlffnung Opening 24042014 19 Uhr 7 pmCharim Events Schleifmuumlhlgasse 1 a A ndash 1040 Wien
Dauer Duration 2504 ndash 10052014Oumlffnungszeiten Opening Hours Mi-Fr 11-18 Uhr Sa 11-16 Uhr
The Sculptor Elisabeth Penker presents an ongoing series of photo-collages entitled Split Representation utilizing the formal structure discussed by Claude Levi-Strauss in his seminal essay Split Representation in the Art of Asia and the America in which he compares different cultures and different periods in history from Shang (China) Haida Gwaii (Native Americans) Caduveo (Brazil) and Maori (New Zealand) who all use similar stylistic elements to represent (for example) the face (or portrait) which is not seen from the front but as two profiles merged together to form a frontal view
Northwest coast (Haida Gwaii) Tsimshian (Chinese)
Maori Face Tattoo Caduveo Woman with painted face (drawing by G Boggiani 1892)
Elisabeth Penker appropriates the portraits of philosophers anthropologist cultural scholars amp artists and re-represents them in a Split style developing a new hybrid-form of representation which merges both Western and Non-Western concepts of perspective and representation Penker paints onto the photo-collages and marks areas with geometrical referencing the face tattoos of Maori and the face paintings of the Caduveo IndiansPenkeracutes selection of portraits is based on cultural scholaracutes who are relevant in the field of cultural translation gender studies and multiple perspectives such as the first cubist collage from Pablo
rPicasso which were originally shown as first part of her First Nations Pavilion in Kunsthaus Graz Since two profiles are merged to form a single frontal view there are two perspectives in the picture much like Cubism- showing multiple perspectives in one picture Similar to the how Cubist represented three-dimensional volumes on a two-dimensional surface- when native inhabitants were asked to draw a face tattoo on paper they drew it as if they were drawing directly on the face which distorts the perspective when applied to paper Split representation in Haida Maori and Caduveo culture were built symmetrically in relation to two axes the main vertical axis is centered between the eyes following the median plane of the face the horizontal axis divide the face at eye level The eyesare used as starting points for two inverted spirals one of which covers the right cheek and the other the left side of the foreheadhellip It is not easy to analyze the design because of its apparent asymmetry- which nonetheless masks a real though complex symmetry Levi-Strauss
Along with the photo-collages Elisabeth Penker also presents a sound piece entitled Comparative Morphemesrdquo The composition is based on the grammatical classifications of languages beginning in the 19th century linguists attempted to group the worlds languages into four morphological categoriesbased on how words are formed analytic agglutinating synthetic and polysynthetic Penker choose one language of each group Chinese Turkish Burmese and a polysynthetic language She deconstructed recordings of these languages into minimal phonetic units and then reconstructed it into new (word) forms
Elisabeth PENKER (1974 Reiszligeck) Upcoming Book Project Onamatopee Eindhoven NL Solo Exhibitions Roma Contemporary (curated by Ilari Valbonesi) Rome Galerie naumlchst St Stephan (Log-in) Vienna MAK CAT Tower (curated by Andreas Krištof) Vienna Kuumlnstlerhaus Stuttgart with FoGo Lab (curated by Elke aus dem Moore) HTTP Gallery (curated by Tobi Maier) London Liste 03 Basel Temporary Services Chicago Institut fuumlr Gegenwartskunst (curated by Ute Meta Bauer) Vienna
Selected Group Exhibitions include The Program University of Illinois Chicago Protections Kunsthaus Graz (curated by Adam Budak amp Christine Peters) Kunsthalle Brandts (curated by Jacob Fabricius) DK Sound System Salzburger Kunstverein (curated by Hildegund AmanshauserEdek Bartz) Salzburg Howard House Gallery Seattle ldquoFirst Story-Women Buildingrdquo Galerie do Palacio Cristal with FOGO Lab (curated by Ute Meta Bauer) Porto PT
Selected works from the series Split Representation
Titles
Elisabeth Penker
ldquoSplit Representation Walter Benjamin Bluerdquo 60 x 40 cm framed (Paint on Photo-Colllage) 2013 edition of 5 (ea unique)
ldquoSplit Representation Rosa Luxemburg Yellowrdquo 60 x 40 cm framed (Paint on Photo-Colllage) 2014 edition of 5 (ea unique)
ldquoSplit Representation Rosa Luxemburg Caduveo Womanrdquo 60 x 40 cm framed (Paint on Photo-Colllage) 2014 edition of 5 (ea unique)
ldquoSplit Representation Simone de Beauvior Brownrdquo 60 x 40 cm framed (Paint on Photo-Colllage) 2014 edition of 5 (ea unique)
ldquoSplit Representation Trinh T Minh-ha Bluerdquo 60 x 40 cm framed (Paint on Photo-Colllage) 2013 edition of 5 (ea unique)
ldquoSplit Representation Angela Davis Greenrdquo 60 x 40 cm framed (Paint on Photo-Colllage) 2014 edition of 5 (ea unique)
ldquoSplit
Representation Self-Portraitrdquo 60 x 40 cm framed (Photo-Colllage) 2014 edition of 25
ldquoSplit Representation Frantz Fanon Copperrdquo 60 x 40 cm framed (Paint on Photo-Colllage) 2014 edition of 5 (ea unique)
ldquoSplit Representation Pablo Picasso 1rdquo 60 x 40 cm framed (Photo-Colllage) 2012 edition of 5
ldquoSplit Representation Pablo Picasso 2rdquo 60 x 40 cm framed (Photo-Colllage) 2012 edition of 5
ldquoSplit Representation Pablo Picasso 3rdquo 60 x 40 cm framed (Photo-Colllage) 2012 edition of 5
ldquoSplit Representation Ferdinand de Saussure 1rdquo 60 x 40 cm framed (Paint on Photo-Colllage) 2013 edition of 5 (ea unique)
ldquoSplit Representation Ferdinand de Saussure 2rdquo 60 x 40 cm framed (Photo-Colllage) 2013 edition of 5
ldquoSplit Representation Ferdinand de Saussure 3rdquo 60 x 40 cm framed (Paint on Photo-Colllage) 2013 edition of 5 (ea unique)
installation views Charim Events at Schleifmuumlhlgasse 1A Vienna April - May 2014
Elisabeth PenkerFerdinand Penker at Galerie Charim curated by Michael Scott Hall
Elisabeth PenkerFerdinand Penker at Galerie Charim curated by Michael Scott Hall
Elisabeth PenkerFerdinand Penker Galerie Charim curated by Michael Scott Hall
Elisabeth PenkerFerdinand Penker Galerie Charim curated by Michael Scott Hall
Elisabeth PenkerFerdinand Penker Galerie Charim curated by Michael Scott Hall
Elisabeth Penkerinstallation View Gallery 400 Chicago (left bdquoSplit Representation Ferdinand de Saussure (Green)ldquo right bdquoSplit Representation Walter Benjamin (Blue)ldquo 2013
Elisabeth Penkerinstallation View Gallery 400 Chicago left bdquoSplit Reprersentation Walter Benjamin (Blue)ldquo right bdquoSplit Represntation Frantz Fanon (Copper)ldquo 2013
Elisabeth Penkerinstallation View ReMap4 at Camp (Athens) 2013 Ferdinand de Saussure (Blue)
ELISABETH PENKER ldquoVienna calling comparative contemporary artrdquo LOG-IN amp VORRAUM GALERIE NAumlCHST ST STEPHAN ROSEMARIE SCHWARZWAumlLDER Elisabeth Penkers Skulpturen und Audiofilme sind seit 1998 im Bereich von Comparative Art und Sound Art verankert und untersuchen anhand von Sprachmorphologie die Verbindungen zur musikalischen und visuellen Grammatik In Elisabeth Penkers Ausstellung bdquoVienna calling comparative contemporary artrdquo ist der Titel in
Zusammenhang mit der Sprachmorphologie von Wiener Museen lesbar Penkers gezeigte Skulpturen vergleichen visuellelinguistische und musikalische Grammatiken (z B Moderne Kunst und First Nations Art) und verwenden die Ergebnisse als Ausgangsstruktur fuumlr die jeweilige Komposition Ihre Collagen Fotografien Diagramme und Zeichnungen sind erweiterte Fragestellungen ihrer Skulpturen Elisabeth Penker hat in Tonstudios in London und Chicago gearbeitet und seit 2000 eine Serie von Musikinstrumenten entwickelt die die Aufnahme-Methode von Jack Foley verwenden Exzerpte ihrer Multi-
Channel-Kompositionen wurden von Resonance 1044 fm (London) gesendet Weiters ist ein Text von Elisabeth Penker uumlber Sound Art im Resonance Magazine Supplement Juni 2006 erschienen Ein Video und eine Focus -Group wurde gemeinsam mit FOGO Lab bei der Documenta 12 gezeigt und war Teil des Documenta-12-Beitrages von Ricardo Basbaum
Ausstellungen siehe wwwschwarzwaelderat -gt LOGIN ELISABETH PENKER
Comparative Art is an academic discipline in the context of art histories The sculptures audio-films (sound
pieces) and the photographs (expanded sculpture) represent different 3rd 4th -dimensional by documenting
different cultural and spatial notions of perspective through usage of collaged andor spliced structural
compositionalformal structures Structural overlaps between visual artlanguagemusic are considered
Poetics of Dead Space 2 2009-2010
2 Kanaumlle einer 8-Kanal-Composition mono
Metallstativ Speaker Yamaha MSP3 CD-Player
H 133 cm
Ed 13
The non-linear 8-channel composition ldquoPoetics of Dead Space 2rdquo introduces polysynthetic language morphology
combined by the melody which is composed from pre-existing recordings of extinct languages and Penker‟s self-
made instrument ldquoUntitled Instrument sonic structurerdquo (see PDF and related essay written by E Penker at
Resonance fm Magazine upon request at Galerie naumlchst St Stephan)
The channel which is upstairs installed uses an existing wall as an acoustic filter and introduced sub-
consciousness polysynthetic language morphology into the gallery space The title refers to the book poetic of
space within unused architectural situations of exhibition spaces bdquo A Blind Spot (dead angle - Toter Winkel) has a
different meaning in terms of acoustics and cannot be compared with the visual context where blind spot is used
primarily in conversations
In musicsound production in film the visual blind spot is used very often by hearing a bike roller plane without
seeing it In everyday life we are used and depending by acoustic blind spots for our orientation of the situation
and space we are in at the moment Architectural acoustic issues play an important role during the time of the
composition ldquoPoetic of Dead Space 2rdquo is a context specific composition and deals with polysynthetic language
morphology recordings of the untitled instrument Sonic structure and acoustic exhibition architecture besides
issues which are depending of the unused architecture and their acoustics
First Nations Pavillon
Polysynthetische Doppelperspektive Claude Levi-Strauss 2006
Fotocollage C-Print gerahmter Spiegel
6-teilig
3 x 405 x 305 cm
2 x 245 x 305 cm
1 x 605 x 485 cm
Ed23 + 2 AP
A framed mirror from ldquoFirst Nations Pavilionrdquo is placed in the corner of the log-in space to place the viewer physically in the space cutting the reflection of the gaze as well mirrors a profile view of the installed
photographs The photo-series relates to polysynthetic language morphology (of the Inuit First Nations Maori and Caduveo Indians) and translates within the photographic image their structural common visual grammar Because they would create a frontal view which was made out of 2 (split) profile views thereby creating a 4-dimensional perspective that anticipatedparallels Cubism who later presented multiple perspectives within one image which intended to represent movement through time and space Specific references are in the related pdf upon request
at Galerie naumlchst St Stephan
Log [Baumstamm] 2010
Archivierung der Raumfarbe
Split Representation
Claude Levi-Strauss 2009
C-Print
5-teilig je 245 x 305 cm
Ed15 + 2 AP
The camera positions of a right angle mirror bdquoSplit Representationrdquo were chosen by E Penker in the way that the
flash is not in the image the photos are made utilizing a right angle mirror which both fragments and reflects the
image creating multiple or a split perspective EP
Bench-Shelf 2003
Acryl auf Pappelsperrholz
46 x 151 x 42 cm
The bench which is the earliest work in the exhibition mirrors the bottom and the top seating elements thereby
giving the object an asymmetrical appearance The bench-shelf was originally designed for a video archive was
later used by museum staff (in Porto) as gallery furniture
composition (or view) Numerous contemporary artists eg Donald Judd have related the ShakersAmish radical functionalism to their sculptural practice
Poetics of Dead Space 2 2009-2010
2 Kanaumlle einer 8-Kanal-Composition mono
Metallstativ Speaker Yamaha MSP3 CD-Player
H 133 cm
Ed 13
The non-linear 8-channel composition ldquoPoetics of Dead Space 2rdquo introduces polysynthetic language morphology
combined by the melody which is composed from pre-existing recordings of extinct languages and Penker‟s self-
made instrument ldquoUntitled Instrument sonic structurerdquo (see PDF and re lated essay written by E Penker at
Resonance fm Magazine upon request at Galerie naumlchst St Stephan)
The channel which is upstairs installed uses an existing wall as an acoustic filter and introduced sub-
consciousness polysynthetic language morphology into the gallery space The title refers to the book poetic of
space within unused architectural situations of exhibition spaces bdquo A Blind Spot (dead angle - Toter Winkel) has a
different meaning in terms of acoustics and cannot be compared with the visual context where blind spot is used
primarily in conversations
In musicsound production in film the visual blind spot is used very often by hearing a bike roller plane without
seeing it In everyday life we are used and depending by acoustic blind spots for our orientation of the situation
and space we are in at the moment Architectural acoustic issues play an important role during the time of the
composition ldquoPoetic of Dead Space 2rdquo is a context specific composition and deals with polysynthetic language
morphology recordings of the untitled instrument Sonic structure and acoustic exhibition architecture besides
issues which are depending of the unused architecture and their acoustics
Galerie naumlchst St Stephan
Aneta Grzeszykowska Elisabeth Penker
220110 bis 060310 Auf den Spuren gesellschaftlicher
Ordnungssysteme
Die beiden Ausstellungen von Aneta Grzeszykowska in den Galerieraumlumen
und Elisabeth Penker im Projektraum bdquoLOGINldquo sprechen unterschiedliche
Sprachen Momente der Beruumlhrung ergeben sich lediglich durch die
Auseinandersetzung der beiden Kuumlnstlerinnen mit Systembildungen und
gesellschaftlich bedingten Agglomerationen von Bedeutungen Waumlhrend der
Blick der in Warschau lebenden Kuumlnstlerin Aneta Grzeszykowska
psychologisch und kulturell bestimmt ist laumlsst sich das Verfahren der in
Wien und Rom lebenden Elisabeth Penker als ethnografisch und linguistisch
fundiert umschreiben Im Nebeneinander der beiden Positionen bilden sich
schaumlrfende Kontraste
Aneta Grzeszykowskas Interesse gilt dem Privaten in verschiedenen
visuellen Uumlbersetzungen Etwa kartografierte sie mit dem Warschauer
Kuumlnstler Jan Smaga in einer Fotoserie Wohnungen aus der Vogelperspektive
um eine intime Geschichte der Stadt uumlber die Anordnung von Raumlumen
Moumlbeln und Gebrauchsgegenstaumlnden zu erstellen Nun begibt sie sich mit
dem Film bdquoBirthdayldquo auf die Ebene fruumlhkindlicher Begegnungen mit dem
Unheimlichen Gedreht wurde er in der Art privater Dokumentationen zur
Feier des eigenen Nachwuchses anlaumlsslich eines Kindergeburtstags Durch
kommentierende Eingriffe wie die Animation sonst unbeweglicher
Gegenstaumlnde uumlbt die Kuumlnstlerin Kritik an den Konventionen und betont so
das Monstroumlse solcher Ereignisse In der Doppelboumldigkeit von inszenierter
Kindheit und Abgruumlndigem ist auch eine Reihe monochromer dunkler
Figurinen aus Stoff angesiedelt Dass diese bekleidet sind wie
Grzeszykowska in ihrer Kindheit verweist auf Versuche Dramatisches uumlber
die aumlsthetische Formalisierung zu bearbeiten Eine Fotografie mit dem durch
die Hand Grzeszykowskas unabsichtlich verletztem Auge ihres kleinen
Bruders und eine maumlrchenhaft anmutende Reliefskulptur mit einem Maumldchen
auf einem Hund aus stacheligen Distelbluumlten erzaumlhlen davon
Tiefenbohrungen zum Kern semantischer Ordnungen unternimmt dagegen
Elisabeth Penker im Kontext der Ausstellungsserie LOGIN in einem
ehemaligen Geschaumlftslokal und im Foyer der Galerie selbst Bekannt ist die
Kuumlnstlerin und Musikerin Elisabeth Penker etwa durch ihre Intervention im
Arkadenhof der Universitaumlt Wien mit einer Buumlste der oumlsterreichischen
Romanistin und ersten Universitaumltsprofessorin Elise Richter Diese leite das
phonetische Institut bis zu ihrer Deportation ins Ghetto Theresienstadt durch
die Nationalsozialisten und war in der patriarchalischen Ordnung der
steinernen Koumlpfe der Universitaumlt ndash ebenso wie die Leistungen von Frauen
generell ndash bis dahin kein Thema gewesen In der Ausstellung bdquoProtectionsldquo
im Kunsthaus Graz thematisierte Penker mit ihrem bdquoFirst Nation Pavillonldquo die Hegemonie des durch den
Kolonialismus gepraumlgten Blicks auf auszligereuropaumlische Gesellschaften
Stets sind ihre Annaumlherungen auf die Generierung von Bedeutungen im Sinne von Grammatiken
ausgerichtet Dementsprechend leitmotivisch fungiert ein Portraumlt des kuumlrzlich verstorbenen Ethnologen
Claude Leacutevi-Strauss in der Rauminstallation mit integrierter Soundkomposition Die gespiegelte und
mehrfach aufgefaumlcherte Fotografie von Leacutevi-Strauss in bdquopolysynthetischer Doppelperspektiverdquo laumlsst sich
als Verschneidung von Sprachlichem Klanglichen und Visuellen lesen
Eine Archaumlologie im Feld der Linguistik wie auf Materialebene fuumlhrt die Signifikanten auf engstem Raum
zusammen Triviale Vierkanthoumllzer beispielsweise wurden in genau jenen Farben lackiert die Penker als
uumlbereinander gelagerte Sedimente unter der Dispersion der Waumlnde freilegte Die laumlnglichen Houmllzer
beziehen sich auf den englischen Ausdruck bdquologldquo fuumlr Stamm und somit auch auf die Ausstellungsreihe der
Galerie Bemerkenswert dass ein Wort das bloszlig aus einem Morphem besteht einen Gegenstand
repraumlsentiert So baut sich uumlber eine Reihe weiterer Objekte wie etwa den bdquoHanging Chairsldquo aus dem
Fundus der Galerie ein elementares Netzwerk von Bezuumlgen auf Mit ihren Werken und abstrakten Sound-
Kompositionen dringt Elisabeth Penker kritisch forschend in die Makrobereiche von Grammatiken vor um
Potentiale semantischer Anbindungen in Nachbarsystemen freizulegen Roland Schoumlny
Elisabeth Penker Einzelausstellung MAK CAT TOWER Kurtaiert von Andreas Kristof
ldquoPassive Orchestrardquo 2008 8-Channel-Toninstallation Die Interpretation von Soundart sieht Penker in der Uumlberschneidung von Sprache-visueller Kunst und Musik und ist zumeist mit einer visuellen raumlumlichen Komponente verbunden Der Betrachter und Zuhoumlrer befindet sich in
einer Konzert-Situation statt Instrumenten sieht er nur Lautsprecher die auf unterschiedlichen Houmlhen auf einer grauen Wand positioniert sind Passiv Orchestra beruht in der Struktur auf die grammatische Einteilungen von Sprachen die in phonetische Minimaleinheiten dekonstruiert sind und wird uumlber eine Mehrkanal Matrix gespielt Elisabeth Penker referiert in dieser eigens fuumlr den Flakturm konzipierten Arbeit auf dadaistische Methoden der Sprachdekodierung die auch als ein klares Anti-Kriegs-Statement zu verstehen waren
1
Kunsthaus Graz
Protections
Kuratoren Adam Budak und Christine Peters
Elisabeth Penker
First Nation Pavilion
Der First Nation Pavilion von Elisabeth Penker unternimmt den Versuch einen Bereich fuumlr ein koloniales
Bewusstsein der europaumlischen Vergangenheit zu schaffen und einen utopischen Raum fuumlr neue Vorstellungen
von einer Mannigfaltigkeit an kulturellen Formen in der zeitgenoumlssischen Kunst Die Komposition de-
grammatical ein Bestandteil des First Nation Pavilion beruht in ihrer Struktur auf den grammatischen
Einteilungen der Sprachen die in phonetische Minimaleinheiten dekonstruiert sind und wird uumlber eine
nichtlineare 5-Kanal-Matrix gespielt
Penker untersucht moumlgliche Uumlberschneidungen zwischen der Sprache der Musik und der Bildstruktur wobei ihr
Hauptaugenmerk polysynthetischen Sprachen (First Nations und Pazifische Inseln) gilt sowie dem Vergleich
zwischen der Kunst von First Nations und der Modernen Kunst Erst in juumlngerer Zeit in der Aumlra des
Postkolonialismus hat der Diskurs der kulturellen Uumlbersetzung Fragen aufgeworfen mit denen man sich schon
in den phonetischen Experimenten des Dadaismus in den 1910er und 1920er Jahren beschaumlftigt hatte sowie
spaumlter in der Konzeptkunst der 1960er und 70er Jahre
Elisabeth Penker
First Nation Pavilion
The First Nation Pavilion by Elisabeth Penker attempts to set-up an area for colonial consciousness of the
European past and a utopic space for re-imagining a plurality of cultural forms in contemporary art The
composition entitled de-grammatical contained within the First Nation Pavilion is structurally-based on the
grammatical classifications of languages deconstructed into minimal phonetic units played within a non-linear
5-channel matrix
Penker is questioning the possible overlaps between music-language and visual structure within the primary
focus on polysynthetic languages (First Nation and Pacific Islands) and First Nation Art compared to Modern Art
More recently in the age of post-colonialism the discourse of cultural translation is arising questions that have
also been experimented by the Dadaists phonetic experiments in the 1910-20s and later in Concept Art of the
1960s-70s Text Adam Budak
Michael Elmgreen amp Ingar Dragset (the work of two other invited artists) offered Penker a typical prefabricated
house as her exhibition space within the Kunsthaus
id31403916 pdfMachine by Broadgun Software - a great PDF writer - a great PDF creator - httpwwwpdfmachinecom httpwwwbroadguncom
2
Elisabeth Penker Fisrt Nations Pavilion 2006
Change of floor plan of the prefabricated house by Michael Elmgreen amp Ingar Dragset
Entrance door Fisrt Nations Pavilion
3
Part 1 Colonial Conciseness in visual art
Room 1 and 3 Modernism=Imperialism after Henry Flynt Demolish serious culture
Woman as a the last Colony Rosa Luxenburg Veronika Bennholdt-
Thomsen Claudia von Werlhof und Maria Mies
4
Vinyl letters C-Print
5
6
Polysynthetische Doppelperspektive 1 Claude Levi- Strauss
Photocolloage C-Print
7
Polysynthetische Doppelperspektive 2 Claude Levi-Strauss
Photocolloage C-Print
9
Polysynthetische Doppelperspektive 4 Claude Levi Strauss
Photocolloage C-Print
2 prints Installed in corner
Installation view Polysynthetische Doppelperspektive 1-4 Claude Levi- Strauss
The visual grammar and its double perspective (split representation) of Haida Gwai and Tlinglet Art (First Nation
Art) is re-collaged with a photograph of Pablo Picasso comparing Cubism (early Modernism) with First Nation Art
and questioning its similarities of double perspectives
10
Room 4 and 5
Room 4
11
Luicide List The museum as an imperial graveyard
C-Print
Colonial after effects of Luicide
Gips Metallkette Hose Schuh
12
No7
Mirror Split Representation Mirror framed and installed in the corner
Part 2 Room 6 and 8 Comparative Contemporary Art
4-channel sound installation
De-grammatical Listen to mp3 audio excerpts
13
Front
2 CT (shelfbenches) Acryl auf Pappelsperrholz
Back Pull Over Yukme Shirley Hall outside
14
Pull Over Yukme Shirley Hall inside
Fabric wall silk print by (Tlinglet Artist) Yukme Shirley Hall
Wo ist Elise Richter wo ist
id99149429 pdfMachine by Broadgun Software - a great PDF writer - a great PDF creator - httpwwwpdfmachinecom httpwwwbroadguncom
Im Arkadenhof der Universitaumlt Wien stehen 154 Buumlsten von bedeutenden Wissenschaftlern der
Universitaumlt Wien (1700-2005) Bedauerlicherweise findet sich unter ihnen keine einzige Frau Eine temporaumlre Buumlste einer anonymen Wissenschaftlerin soll die systematische Ausblendung von Frauen
aus der Universitaumltsgeschichte thematisieren Die offene Web- Plattform (wwweliserichterat) ermoumlglicht allen Benutzern aktiv an der Umschreibung der Universitaumltsgeschichte und an re-imaging Prozessen der Repraumlsentation dieser Buumlsten teilzunehmen Weiters wird die Verbindung von raceclassgender und einer akademischen Kariere in diesem Zusammenhang hinterfragt We can never really change any form of social organisation without challenging all that organisations forms of
language (Debord)
Within the patriarchal structures of the Arkadenhof at the University of Vienna stand 154 busts of important scientists (1700-2005) Unfortunately none of these busts are women Through the placement of a temporary bust of an anonymous female scientist it declares the absence of them within the history of the university As well the anonymous bust embodies the presence of important scientists who have not yet been given equal representation The open web-platform (wwweliserichterat) allows every user to participate in this discourse to re-write the history of the university and to re-image the representation of these busts through a wiki system
Skizze Buumlste einer anonymen Wissenschaftlerin
Mein Interesse besteht nicht darin zu recherchieren welche Buumlsten von Wissenschaftlerinnen im Arkadenhof fehlen sondern das Fehlen der Wissenschaftlerinnen im Zeitraum von 1700 bis 2005 aufzuzeigen und Strukturen fuumlr eine oumlffentliche Kommunikationsplattform zu schaffen In der Genderforschung besteht Konsens daruumlber dass Gender kein Merkmal von Individuen sondern das einer
Institution ist (Connell) zudem ein struktureller Bestandteil einer Gesellschaft ist und dass Gendernormen alle Organisationen durchdringen (Acker)
Grundriss Arkadenhof der Universitaumlt Wien Literatur Acker J (1990) Hierarchies Jobs Bodies A theory of gendered organizations In Gender and Society
Connell R (1998) Gender and Power Society the Person and Sexual Politics Stanford University Press Stanford CA Maisel T (1990) Die Denkmaumller im Arkadenhof der Universitaumlt Wien Biographische Skizzen Wien Quellen Denkmalsakten Archiv der Universitaumlt Wien
Veranstalter Open Mind Projekt Utopie Freiheit httpwwwopenmindat vereinopenmindat Projektautorin Elisabeth Penker elpenkergmxat Bronzeguss Walter Rom Wachsmodel Buumlste Elisabeth Penker Steinsockel Ausfuumlhrung Fa Zehmann Mario Jungbauer Mediendesign Gernot Tscherteu httpwwwrealitylabatwphome gtrealitylabat Techn Umsetzung Christian Langreiter Webpage wwweliserichterat
Elisabeth Penker- Franzengasse 13- 1050 Wien ++43 (0)699 197 193 53 elpenkergmxat
Elisabeth Penker Untitled instruments 1-3 2000-2012
Galerie Georg Kargl Wien Galerie Priestor Bratislava Kuumlnstlerhaus Wien Kibla New
Media Center Maribor HTTP Galerie London Secession Wien Mak Wien Roma
Contemporary Wien
Elisabeth Penker Untiled Instrument Galerie Georg Kargl Wien
Curated by Michael Hall
Elisabeth Penker Untitled instrument 2001 New Media Center Maribor
Elisabeth Penker Untitled instrument 2001 New Media Center Maribor
Elisabeth Penker Untitled instrument Kuumlnstlerhaus Wien curated by Ursula Maria Probst
Live Performance mit Celia Mare
Detail Die BILD_HAU_ER_IN Kuumlnstlerhaus Wien
Live Performance Flower Structure Wiener Festwochen
Elisabeth Penker (Untiled instrument) Van Angh (Cello) Tri Minh Electronics
Elisabeth Penker Live Performance Poetics of space Secession Wien
MAK Nail Structure GRizo Sweet Susie Elisabeth Penker
Elisabeth Penker HTTP Gallery London 2005 curated by Tobi Maier
Elisabeth Penker HTTP Gallery London Live Performance
Elisabeth Penker Untitled Instrument Sonic Structure Kunsthaus Graz curated by Adam Budak amp
Christine Peters
Videolinks
httpwwwyoutubecomusersoundart24
Interview with Video Festwochen
httpbturncom8753interview-elisabeth-penker
Kunsthaus Graz
Protections
Kuratoren Adam Budak und Christine Peters
Elisabeth Penker Poetics of Dead Space
For PROTECTIONS Elisabeth Penker developed a key-sound Poetics of Dead Space which is to a large extent a homage
to Gaston Bachelards seminal book Poetics of Space where the connections between the poetry and the spatial emotions
are analysed Penkers key-sound will guide the viewer through the exhibition mapping the overall identity of the show in
some way controlling the viewers (audio-narrative) route in the maze of art objects events situations but also spatial
voids and unused corners
Fuumlr PROTECTIONS entwickelte Elisabeth Penker einen leitmotivischen Key Sound Poetics of Dead Space der weitgehend
eine Hommage an Gaston Bachelards wegweisendes Buch Poetics of Space darstellt in dem die Verbindungen zwischen
Lyrik und raumlumlichen Emotionen analysiert werden Penkers Key Sound wird das Publikum durch die Ausstellung geleiten
die Identitaumlt der Schau in ihrer Gesamtheit erfassen und in gewisser Weise die (audio-narrative) Route des Publikums im
Labyrinth der Kunstgegenstaumlnde Ereignisse und Situationen aber auch raumlumlicher Leerstellen und ungenutzter Winkel
kontrollieren
A non linear composition 7 mono active speakers are placed through out the Kunsthaus Graz Speaker placement
1 outdoor (entrance) 2 (travelator) 3 (corner with column) 4 (corner with door) 5 (corner) 6 (travelator) 7 (corner with
window)
Poetics of Dead Space Let it grow again 28 51 sec mono
Source material for composition rain sound of dried beans dropping down wood sticks breathing hardly existing
id78338975 pdfMachine by Broadgun Software - a great PDF writer - a great PDF creator - httpwwwpdfmachinecom httpwwwbroadguncom
recording of extinct languages
Poetics of Dead Space Let it grow again 28 51 sec mono
Source material for composition rain sound of dried beans dropping down wood sticks existing recording of extinct
languages
Poetics of Dead Space travelator 1 1min 04 sec mono loop
Source material for composition staff falling down man falling down stairs rattern recording untitled instrument
Background existing recording of extinct languages
Poetics of Dead Space 496 1min 409 sec mono loop
Source material for composition recording untitled instrument Background existing recording of extinct languages
Poetics of Dead Space 129525 1min 4888 sec mono loop
Source material for composition recording untitled instrument Background existing recording of extinct languages
Poetics of Dead Space 129525 1min 4888 sec mono loop
Source material for composition keyboard recording untitled instrument Background existing recording of extinct
languages
Poetics of Dead Space travelator 2 1min 5209 sec mono loop
Source material for composition recording untitled instrument violin Background existing recording of extinct
languages
Poetics of Dead Space2152518125220 1min 3200 sec mono loop
Source material for composition recording untitled instrument Background existing recording of library of extinct
languages
Poetics of Dead Space travelator 1 1min 04 sec mono loop
viewing down from upstairs Source material for composition staff falling down man falling down stairs rattern
recording untitled instrument Background existing recording of extinct languages
Poetics of Dead Space Let it grow again 028 51 sec mono
Source material for composition rain sound of coins wood sticks existing recording of extinct languages
Elisabeth Penker is a Viennese artist and musician working with sound in a sculptural context In her (subjective) tour
Penker approaches the entire anti-exhibition PROTECTIONS from an angle of its position and significance in the context
of Sound Art as located on the crossway between visual arts language and music Starting from her own house turned
into First Nation Pavillion which amongst others aims at connecting the recent discourse on cultural translation with
early avant-garde phonetic experiments Penker maps the sonic structure of Kunsthaus Graz and its (live) architecture
which for PROTECTIONS hosts an array of interdisciplinary projects with a strong audio-quality from Herwig Weisers
Death Before Disco (a micro-architecture of hyper-technological and electronic pop) through a newly created choir of
security guards for Tim Etchells Wall of Sound down to a cacophonic layers of anonimous noise generated by the
space itself and the presence of audience
Die Wiener Kuumlnstlerin und Musikerin Elisabeth Penker arbeitet mit Klang im Zusammenhang mit Bildhauerei In ihrer
(subjektiven) Fuumlhrung naumlhert sie sich der Anti-Ausstellung PROTECTIONS aus einem Blickwinkel der die Position und
Bedeutung der Klangkunst an der Kreuzung zwischen bildender Kunst Sprache und Musik verortet Von ihrem eigenen
Haus ausgehend das sich in den First Nation Pavilion verwandelt hat der u a den aktuellen Diskurs uumlber kulturelle
Uumlbersetzung mit fruumlhen phonetischen Experimenten der Avantgarde verbinden soll entwirft Penker die klangliche
Struktur des Gutshauses und seiner (Live-)Architektur die fuumlr PROTECTIONS eine Reihe von interdisziplinaumlren Projekten
mit einer starken Affinitaumlt zum Klang beherbergt von Herwig Weisers Death Before Disco (eine Mikroarchitektur aus
hyper-technoidem und elektronischem Pop) uumlber einen neu formierten Chor bestehend aus Security Guards fuumlr Tim
Etchells Wall of Sound bis zu einer Kakophonie aus anonymen Geraumluschen die vom Raum selbst und der Anwesenheit
des Publikums erzeugt werden
052813
Local Warming ATHENS
052813
AFTER A YEARLONG HIATUS the eighteenth Art-Athina hit the ground running on the evening of Thursday May 16 and the former Olympic
ldquoTae Kwon Dordquo Pavilion was packed with enthusiastic party people The fair had a more national flavor than ever this year under its new
director Alexis Caniaris the son of recently deceased artist Vlassis Caniaris whose iconic modern work has recently found great success on the
international market Of the very few foreign galleries exhibiting most were Greek-owned The Breeder gallery was dealing with the perceived
drop in the market by selling fantastic multiples by artists like Stelios Faitakis Jannis Varelas and Andreas Angelidakis at crisis-appropriate
prices ldquoNobody wants to come here now but I have already met three interested billionaire collectors today And if Greeks like you they
introduce you to their billionaire friendsrdquo raved Cologne dealer Mirko Mayer a seven-time exhibitor ldquoThat is what nobody knows There are
at least one-hundred billionaires collecting hererdquo Most international collectors were delayed several hours due to a union strike a de r igueur
mode of arrival in contemporary Greece
It was impossible to miss the exuberant activities of the DaDa Da restaurant a Greek-Austrian collaboration where artist Albert Mayr was
waving a skillet and raving nonsense while Lucas Willmann tenderized pink fillets for Wiener schnitzel ldquoThis is Viennese Actionism lightrdquo
quipped critic Sotirios Bahtsetzis Artist Natasha Papadopoulos added ldquoBut here there are hungry Greeks waitingrdquo On a table with a rotating
Sacher tort by Heacutelegravene van Duijne a sign carried the overwhelming spirit FUCK ART LETrsquoS EAT SOUVLAKI An insistent electronic beat and
pulsating light emanated from the next booth the American College of Greecersquos ldquoAthensUrgentrdquo while hooded performer Manos Tsatiris
stood against the wall with his hands tied perhaps a metaphor for the current Athenian exigency ldquoThis is not the kind of art fair scene we are
used tordquo said the Economou Collectionrsquos Annie-Claire Geisinger watching the madness
Left Artists Elisabeth Penker Michela Pelusio Petros Touloudis Panos Papadopoulos and Nino Stelzl Right Collector Anne-Marie Ros
Down on the floor the dealers seemed pleased particularly given dismal expectations having already sold a great deal at the preview Young
Rotterdam-based gallery Joey Ramone had sold sculptures by Fotini Gouseti to English and Belgian collectors dealer Erik Mulier had also sold
some work to Belgians Marc Van den Hende said he had bought a triptych by Eirene Efstathiou and was considering a Vlassis Caniaris piece
from the 1970s ldquoI saw some surprisesmdashyoung Greek artists I did not knowmdashand great new galleries like Elika and CANrdquo Dutch collector
Anne-Marie Ros said By the end of the day Dimitra and Sofia Vamiali reported that they had not seen one Greek collector although another
reported a Dakis Joannou sighting mdash Cathryn Drake
SEARCH
ARTICLES
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Week
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SEATTLE
WEEKLY
in the News
Columnist
Geov Parrish
is a regular
guest on
Mind Over
Matters on
KEXP-FM
(903)
Saturdays at
830 am and
provides news
commentary
on KBCS-FM
(913) Fridays
at 430 pm
Catch writers
Steve
Wiecking Tim
Appelo and
ARTS
March 30 - April 5 2005
Picking Up the Thread
Howard House ties together the best new conceptual art from Vienna
by Elise Richman
Franz Wests Mercury
(Howard House Contemporary Art)
Theres a German expression to lose the red thread which means losing
ones train of thought In its current show Howard House has found that
thread Julie Ryan a curator artist and writer organized The Red
Thread Glimpses of International Art in Vienna a two-part exhibition
featuring artists working and living at least part time in Austrias capital
Part one of the show is at Howard House the second half is currently on
display at the Educational Alliance Gallery in New York
Vienna has become a magnet for artists from all over the world including
the 15 individuals and artist teams that are part of The Red Thread
Excellent artist residency programs a low cost of living and living art
legends like Franz West are just a few of the reasons
An artistic collaboration with West took Ryan from New York to Vienna
She knows Billy Howard who runs Howard House from the University of
Washingtons School of Art And so the figurative string was strung
connecting the East and West coasts with artists from across the Atlantic
This is a complex exhibit whose emotional tenor ranges from cool
detachment to an almost urgent earnestness Unlike the formal richly
historical city that connects them artists in The Red Thread favor informal
approaches to art making use disposable materials and comment on
contemporary cultural themes
West has two formidable sculptures at Howard House The front room of the
gallery features Mercury (pictured) an ungainly behemoth composed of a
patchwork of fused metal Like many of Wests sculptures Mercury is
meant as an interactive structure that viewers can climb and sit on Bulbous
Gavin
Borchert
discussing
theater film
and music
regularly on
classical
KING-FM
(981)
Mark Fiore
Cartoons
Every
Thursday
nodules extend from its horizontal base and the seams of the dark maroon
metal look like scars rendering it at once vaguely obscene and absurdly
playful
Sisyphus the other West sculpture on display is a bulky conglomeration of
bits and wads of paper propped in the back room on a makeshift plinth (base
block) Though its as solid as the boulder its title references its surface is
like oozing skin partly coated with poured murky paint partly cloaked in
small clumps of newspaper detritus
The strenuous act of making each of these sculptures is eminently apparent
and central to the content of Wests work West considers creation a
symbolic act As you might expect he likens the artistic process to the plight
of Sisyphus the mythological figure who eternally rolled a boulder up a hill
only to have it come crashing back down For West art involves a
Sisyphean search for what he calls the absolute through the seemingly
senseless accumulation of materials However unlike Sisyphus futile quest
Wests process can lead to epiphany making sense of the senseless
Similarly Viennese artist Elisabeth Penkers art serves a facilitative
function easing the act of translation Penker uses Haida iconography in her
multimedia work because it provides potent visual symbols that
communicate single words and whole sentences simultaneously Her prints
at Howard House feature fragments of icons floating in the papers white
space They are spare visually arresting characters that employ an
iconographic language as encoded symbols of communication
Also featured in The Red Thread is Donald Baechler an internationally
known American painter who spends extended periods of time in Vienna
Baechler equalizes his imagery by painting it all in the same style For him
the source of an image doesnt matter whether its a drawing by Picasso or
graffiti on a bathroom wall What matters is the newfound context his
paintings provide
Victory by Default is part of Baechlers Skull series In this piece a painted
skull gapes from the dirty yet sensuous confines of a large canvas Terry
cloth and wrinkled rags provide literal texture and reference the world
outside the paintings boundaries Splatterings of color around the skull like
the self-conscious marks of Jasper Johns seem to express the language of
paintingmdashhue and gestural strokesmdashin a factual rather than illusional
manner
Another American painter Lisa Ruyter lives half-time in Vienna where she
runs an influential gallery She works from photographs projected onto
large-scale canvases tracing the contours of the projected imagery with
consistent black outlines In a way that seems arbitrary she paints the shapes
formed by her contour lines in flat designer colors Man of Means based on
a photo of fashion photographers looks like a scrambled color-by-numbers
painting I cant do justice to the unusually rich assortment of conceptual art
in The Red Thread Youll just have to see it for yourself Thomas
Baumans thrashing triangular foil blanket Walter Seidls slide show of
staged snapshots Markus Schinwalds photograph of a contortionist and the
other thoughtful works connected by The Red Thread
The Red Thread Glimpses of International Art in Vienna runs through
April 30 at Howard House 604 Second Ave 206- 256-6399 1030 amndash5
pm TuesndashSat Free
KUNSTFORUM
Parallelwelten fuumlr Parlamentarier Ausstellung
Von Brigitte Borchhardt-Birbaumer
Ende Oktober endet die Zusammenarbeit von Nationalratspraumlsident Andreas Khol und Peter Pakesch Direktor des Kunsthauses Graz am Joanneum Seit 2003
hatte Pakesch als Kurator mehrere Ausstellungen in den Sitzungssaumllen des Parlaments in Zusammenarbeit mit Galerien initiiert und namhafte Positionen
ausgewaumlhlt Kriterium fuumlr Praumlsentationen war die Praumlsenz durch eine Schau in einer der bekannten Kunstinstitutionen des Landes Nach Eva Schlegel Adriana
Czernin Maria Lassnig oder Esther Stocker sind dies nun bis April 2007 Josef Dabernig Daniel Hafner Ulrike Lienbacher Alois Mosbacher und Elisabeth
Penker
Das Parlament kann dabei durch die Margaretha-Lupac Stiftung immer eine Arbeit fuumlr die wachsende Sammlung des Hauses ankaufen Zuletzt war das ein
groszliges Oumll-Acryl-Gemaumllde der Georg-Eisler-Preistraumlgerin Maja Vukoje zuvor Johanna Kandl deren Temperabild derzeit an das Lentos in Linz geliehen wird
Einige Werke haumlngen schon als kuumlnstlerische Wegweiser in den Gaumlngen des Hauses und sind auch Blickfang fuumlr die 120000 Besucher die pro Jahr das
Parlament besuchen In die Architektur von Theophil Hansen mit ihrer zeitlosen Qualitaumlt fuumlgt sich die Gegenwartskunst kongenial
Hoffnung fuumlr spaumlter
Die derzeitige Zusammenstellung macht Hoffnung auf eine Fortsetzung unter der naumlchsten Praumlsidentschaft Fotografie Computerkunst Malerei Zeichnung
und Skulptur weisen auf die Vielfalt der Werkstoffe in der Gegenwartskunst Elisabeth Penker parallel im Kunsthaus Graz zu sehen baut schwarzweiszlige
Objekte aus bemaltem Holz die in ihrer seriellen und geometrischen Anordnung auf Bezuumlge zum Performativen und auf die Musik hinweisen
Noch juumlnger ist Daniel Hafner mit seinen am Computer komponierten digitalen Drucken Morphosentransformationen von 2006 Linienraster und
Raumkonstruktionen in subtiler Farbigkeit verbinden Tendenzen der fruumlhen Op-Art mit dem Cyber-Lab
Um konstruierte Realitaumlten geht es auch in den groszligformatigen Oumllbildern von Alois Mosbacher dem bekannten Vertreter der Neuen Wilden der
Achtzigerjahre in Oumlsterreich Wanderer in Wald und Wiese erzaumlhlen die Geschichten alternativer Welten die sich mancher in der Gesellschaft als Parallele
konstruiert
Zwei Fotofriese von Josef Dabernig bilden jeweils ein Panorama von oumlffentlichen Plaumltzen auf denen es zum einen um Fuszligball geht Zum anderen ist der
Rundblick in das Oval einer scheinbaren Arena auch eine Art Sehschule fuumlr die Betrachter Ein sozialer Befund ist die dritte Bedeutungsebene
Ulrike Lienbacher die heuer mit einer groszligen Schau im Innsbrucker Taxispalais ihre Karriere fortsetzt ist mit ihren feinlinigen Tuschezeichnungen den kleinen
oft unsichtbaren Zwaumlngen in unserer Gesellschaft auf der Spur Im Lokal II des Parlaments stellt sie zwar nicht ihre Objekte und Fotos aber einige
groszligformatige Blaumltter mit Frisurenvariationen neben teils fragmentierten Frauenkoumlrpern im Umgang mit Schmutz und Hygiene aber auch Fitnesskult aus
Disziplinierung und Kontrolle betreffen in der Oumlffentlichkeit besonders den weiblichen Koumlrper Sauberkeitsmechanismen weisen auch auf Vorstellungen von
wertvoll und minderwertig hin Ihre Transformationen enthalten wie die Themen der anderen subtile Kritik und sind daher vom Kurator uumlberlegt positioniert
Zeitgenoumlssische Kunst
im Parlament
Bis April 2007
Kurator Peter Pakesch
Konfrontationen
Dienstag 10 Oktober 2006
ltlt 2003 | 2004 Jan Feb Mar Apr May Jun Jul Aug Sep Oct Nov Dec 2004 | 2005 gtgt
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31
Sunday 17 October 2004
TIME
TITLE
NAME
700 Indymedia ESF breakfast show Indymedia London
Highlights news and views from the European Social Forum and the
autonomous spaces and initiatives taking place this week
website
800 Resonance Radio Art Riot Breakfast International
Radio Art
A five part special of the Harmon E Phraisyar show commissioned for
Kunstradio in Austria starts off the morning broadcast of international radio
art
website
1100 Resonance Live from the Frieze Art Fair Anna Colin amp
Tobi Maier
1100 Chris Weaver Resonance 1044FM live electronics set with James Dunn and
Robin Warren
1130 Michael Hall gallery Vienna presents audio works by artist Elisabeth Penker
1200 Maria Fusco presents latest the Bookworks commissions
1300 The Psychology of Collecting live broadcast of the frieze art fair panel
discussion
Is collecting an irrational act guided by compulsion and desire What are the use of
objects What are the motivations behind making collecting curating and
criticizing art A discussion of the psychology of collecting and the politics of taste
Hilary Rubenstein (Psychologist)
Eric Troncy (Art Critic and Director Le Consortium Dijon)
Haim Steinbach (Artist)
Chair Alice Rawsthorn (Director Design Museum)
1500 Portable live set and presentation of sudelectronic records London
1600 Where is Adventure What is Culture live broadcast of the frieze art fair
website
panel discussion
A discussion of the relationship of art to entertainment touching on the comedic
being popular and failing miserably
Trisha Donnelly (Artist)
Christian Jankowski (Artist)
David Robbins (Writer amp Artist)
Nancy Spector (Curator of Contemporary Art Solomon R Guggenheim Museum)
Chair Matthew Higgs (Curator CCA Wattis Institute for Contemporary Arts)
1800 Melissa Bent from Rivington Arms gallery New York in conversation with
artist Dan Colan and Tobi Maier Anna Colin
1830 VOX pop recordings from the fair with Sharon Gal
1900 Resonance Radio Art Riot Sarah
Washington
The Resonance Radio Art Riot brings together some of the foremost radio artists
and thinkers from around the world The studio lab situation will feature round
table discussions live performances and streamed events
Tonight Radio Text
Events Live broadcast from Sonic Arts Network Resonance benefit featuring
Henri Chopin studio performances from Julia Lee Barclay and Aude Tournay plus
Special Features None present live concrete radiophonics - Planning For
Emergencies
Guests include Clive Graham Chris Weaver Richard Thomas Toby Clarkson
John Lovett Robin Warren and James Dunn
Topics The word as art Sound poetry text performances
At Midnight Tom Wallace present exclusive excerpts from radio art pioneer
Gregory Whitehead
website
000 Resonance Radio Art Riot Nights International
Radio Art
The Resonance Radio Art riot continues throughout the night with the finest of
international radio art Resonance FM programme makers and our international
guests have put together many special hours of classic and obscure radio
works
website
- EPenkerDocumentationpdf
-
- 2bAusstellungenPublicaSpaceEPenkerpdf
-
- 2cUntitled_InstrumentsKunsthausGrazEPenker
- 2bpoeticsKunsthaus GrazEPenker
-
- 4PresseEPenkerpdf
-
- 4Review_Seattle Weekly
-
rPicasso which were originally shown as first part of her First Nations Pavilion in Kunsthaus Graz Since two profiles are merged to form a single frontal view there are two perspectives in the picture much like Cubism- showing multiple perspectives in one picture Similar to the how Cubist represented three-dimensional volumes on a two-dimensional surface- when native inhabitants were asked to draw a face tattoo on paper they drew it as if they were drawing directly on the face which distorts the perspective when applied to paper Split representation in Haida Maori and Caduveo culture were built symmetrically in relation to two axes the main vertical axis is centered between the eyes following the median plane of the face the horizontal axis divide the face at eye level The eyesare used as starting points for two inverted spirals one of which covers the right cheek and the other the left side of the foreheadhellip It is not easy to analyze the design because of its apparent asymmetry- which nonetheless masks a real though complex symmetry Levi-Strauss
Along with the photo-collages Elisabeth Penker also presents a sound piece entitled Comparative Morphemesrdquo The composition is based on the grammatical classifications of languages beginning in the 19th century linguists attempted to group the worlds languages into four morphological categoriesbased on how words are formed analytic agglutinating synthetic and polysynthetic Penker choose one language of each group Chinese Turkish Burmese and a polysynthetic language She deconstructed recordings of these languages into minimal phonetic units and then reconstructed it into new (word) forms
Elisabeth PENKER (1974 Reiszligeck) Upcoming Book Project Onamatopee Eindhoven NL Solo Exhibitions Roma Contemporary (curated by Ilari Valbonesi) Rome Galerie naumlchst St Stephan (Log-in) Vienna MAK CAT Tower (curated by Andreas Krištof) Vienna Kuumlnstlerhaus Stuttgart with FoGo Lab (curated by Elke aus dem Moore) HTTP Gallery (curated by Tobi Maier) London Liste 03 Basel Temporary Services Chicago Institut fuumlr Gegenwartskunst (curated by Ute Meta Bauer) Vienna
Selected Group Exhibitions include The Program University of Illinois Chicago Protections Kunsthaus Graz (curated by Adam Budak amp Christine Peters) Kunsthalle Brandts (curated by Jacob Fabricius) DK Sound System Salzburger Kunstverein (curated by Hildegund AmanshauserEdek Bartz) Salzburg Howard House Gallery Seattle ldquoFirst Story-Women Buildingrdquo Galerie do Palacio Cristal with FOGO Lab (curated by Ute Meta Bauer) Porto PT
Selected works from the series Split Representation
Titles
Elisabeth Penker
ldquoSplit Representation Walter Benjamin Bluerdquo 60 x 40 cm framed (Paint on Photo-Colllage) 2013 edition of 5 (ea unique)
ldquoSplit Representation Rosa Luxemburg Yellowrdquo 60 x 40 cm framed (Paint on Photo-Colllage) 2014 edition of 5 (ea unique)
ldquoSplit Representation Rosa Luxemburg Caduveo Womanrdquo 60 x 40 cm framed (Paint on Photo-Colllage) 2014 edition of 5 (ea unique)
ldquoSplit Representation Simone de Beauvior Brownrdquo 60 x 40 cm framed (Paint on Photo-Colllage) 2014 edition of 5 (ea unique)
ldquoSplit Representation Trinh T Minh-ha Bluerdquo 60 x 40 cm framed (Paint on Photo-Colllage) 2013 edition of 5 (ea unique)
ldquoSplit Representation Angela Davis Greenrdquo 60 x 40 cm framed (Paint on Photo-Colllage) 2014 edition of 5 (ea unique)
ldquoSplit
Representation Self-Portraitrdquo 60 x 40 cm framed (Photo-Colllage) 2014 edition of 25
ldquoSplit Representation Frantz Fanon Copperrdquo 60 x 40 cm framed (Paint on Photo-Colllage) 2014 edition of 5 (ea unique)
ldquoSplit Representation Pablo Picasso 1rdquo 60 x 40 cm framed (Photo-Colllage) 2012 edition of 5
ldquoSplit Representation Pablo Picasso 2rdquo 60 x 40 cm framed (Photo-Colllage) 2012 edition of 5
ldquoSplit Representation Pablo Picasso 3rdquo 60 x 40 cm framed (Photo-Colllage) 2012 edition of 5
ldquoSplit Representation Ferdinand de Saussure 1rdquo 60 x 40 cm framed (Paint on Photo-Colllage) 2013 edition of 5 (ea unique)
ldquoSplit Representation Ferdinand de Saussure 2rdquo 60 x 40 cm framed (Photo-Colllage) 2013 edition of 5
ldquoSplit Representation Ferdinand de Saussure 3rdquo 60 x 40 cm framed (Paint on Photo-Colllage) 2013 edition of 5 (ea unique)
installation views Charim Events at Schleifmuumlhlgasse 1A Vienna April - May 2014
Elisabeth PenkerFerdinand Penker at Galerie Charim curated by Michael Scott Hall
Elisabeth PenkerFerdinand Penker at Galerie Charim curated by Michael Scott Hall
Elisabeth PenkerFerdinand Penker Galerie Charim curated by Michael Scott Hall
Elisabeth PenkerFerdinand Penker Galerie Charim curated by Michael Scott Hall
Elisabeth PenkerFerdinand Penker Galerie Charim curated by Michael Scott Hall
Elisabeth Penkerinstallation View Gallery 400 Chicago (left bdquoSplit Representation Ferdinand de Saussure (Green)ldquo right bdquoSplit Representation Walter Benjamin (Blue)ldquo 2013
Elisabeth Penkerinstallation View Gallery 400 Chicago left bdquoSplit Reprersentation Walter Benjamin (Blue)ldquo right bdquoSplit Represntation Frantz Fanon (Copper)ldquo 2013
Elisabeth Penkerinstallation View ReMap4 at Camp (Athens) 2013 Ferdinand de Saussure (Blue)
ELISABETH PENKER ldquoVienna calling comparative contemporary artrdquo LOG-IN amp VORRAUM GALERIE NAumlCHST ST STEPHAN ROSEMARIE SCHWARZWAumlLDER Elisabeth Penkers Skulpturen und Audiofilme sind seit 1998 im Bereich von Comparative Art und Sound Art verankert und untersuchen anhand von Sprachmorphologie die Verbindungen zur musikalischen und visuellen Grammatik In Elisabeth Penkers Ausstellung bdquoVienna calling comparative contemporary artrdquo ist der Titel in
Zusammenhang mit der Sprachmorphologie von Wiener Museen lesbar Penkers gezeigte Skulpturen vergleichen visuellelinguistische und musikalische Grammatiken (z B Moderne Kunst und First Nations Art) und verwenden die Ergebnisse als Ausgangsstruktur fuumlr die jeweilige Komposition Ihre Collagen Fotografien Diagramme und Zeichnungen sind erweiterte Fragestellungen ihrer Skulpturen Elisabeth Penker hat in Tonstudios in London und Chicago gearbeitet und seit 2000 eine Serie von Musikinstrumenten entwickelt die die Aufnahme-Methode von Jack Foley verwenden Exzerpte ihrer Multi-
Channel-Kompositionen wurden von Resonance 1044 fm (London) gesendet Weiters ist ein Text von Elisabeth Penker uumlber Sound Art im Resonance Magazine Supplement Juni 2006 erschienen Ein Video und eine Focus -Group wurde gemeinsam mit FOGO Lab bei der Documenta 12 gezeigt und war Teil des Documenta-12-Beitrages von Ricardo Basbaum
Ausstellungen siehe wwwschwarzwaelderat -gt LOGIN ELISABETH PENKER
Comparative Art is an academic discipline in the context of art histories The sculptures audio-films (sound
pieces) and the photographs (expanded sculpture) represent different 3rd 4th -dimensional by documenting
different cultural and spatial notions of perspective through usage of collaged andor spliced structural
compositionalformal structures Structural overlaps between visual artlanguagemusic are considered
Poetics of Dead Space 2 2009-2010
2 Kanaumlle einer 8-Kanal-Composition mono
Metallstativ Speaker Yamaha MSP3 CD-Player
H 133 cm
Ed 13
The non-linear 8-channel composition ldquoPoetics of Dead Space 2rdquo introduces polysynthetic language morphology
combined by the melody which is composed from pre-existing recordings of extinct languages and Penker‟s self-
made instrument ldquoUntitled Instrument sonic structurerdquo (see PDF and related essay written by E Penker at
Resonance fm Magazine upon request at Galerie naumlchst St Stephan)
The channel which is upstairs installed uses an existing wall as an acoustic filter and introduced sub-
consciousness polysynthetic language morphology into the gallery space The title refers to the book poetic of
space within unused architectural situations of exhibition spaces bdquo A Blind Spot (dead angle - Toter Winkel) has a
different meaning in terms of acoustics and cannot be compared with the visual context where blind spot is used
primarily in conversations
In musicsound production in film the visual blind spot is used very often by hearing a bike roller plane without
seeing it In everyday life we are used and depending by acoustic blind spots for our orientation of the situation
and space we are in at the moment Architectural acoustic issues play an important role during the time of the
composition ldquoPoetic of Dead Space 2rdquo is a context specific composition and deals with polysynthetic language
morphology recordings of the untitled instrument Sonic structure and acoustic exhibition architecture besides
issues which are depending of the unused architecture and their acoustics
First Nations Pavillon
Polysynthetische Doppelperspektive Claude Levi-Strauss 2006
Fotocollage C-Print gerahmter Spiegel
6-teilig
3 x 405 x 305 cm
2 x 245 x 305 cm
1 x 605 x 485 cm
Ed23 + 2 AP
A framed mirror from ldquoFirst Nations Pavilionrdquo is placed in the corner of the log-in space to place the viewer physically in the space cutting the reflection of the gaze as well mirrors a profile view of the installed
photographs The photo-series relates to polysynthetic language morphology (of the Inuit First Nations Maori and Caduveo Indians) and translates within the photographic image their structural common visual grammar Because they would create a frontal view which was made out of 2 (split) profile views thereby creating a 4-dimensional perspective that anticipatedparallels Cubism who later presented multiple perspectives within one image which intended to represent movement through time and space Specific references are in the related pdf upon request
at Galerie naumlchst St Stephan
Log [Baumstamm] 2010
Archivierung der Raumfarbe
Split Representation
Claude Levi-Strauss 2009
C-Print
5-teilig je 245 x 305 cm
Ed15 + 2 AP
The camera positions of a right angle mirror bdquoSplit Representationrdquo were chosen by E Penker in the way that the
flash is not in the image the photos are made utilizing a right angle mirror which both fragments and reflects the
image creating multiple or a split perspective EP
Bench-Shelf 2003
Acryl auf Pappelsperrholz
46 x 151 x 42 cm
The bench which is the earliest work in the exhibition mirrors the bottom and the top seating elements thereby
giving the object an asymmetrical appearance The bench-shelf was originally designed for a video archive was
later used by museum staff (in Porto) as gallery furniture
composition (or view) Numerous contemporary artists eg Donald Judd have related the ShakersAmish radical functionalism to their sculptural practice
Poetics of Dead Space 2 2009-2010
2 Kanaumlle einer 8-Kanal-Composition mono
Metallstativ Speaker Yamaha MSP3 CD-Player
H 133 cm
Ed 13
The non-linear 8-channel composition ldquoPoetics of Dead Space 2rdquo introduces polysynthetic language morphology
combined by the melody which is composed from pre-existing recordings of extinct languages and Penker‟s self-
made instrument ldquoUntitled Instrument sonic structurerdquo (see PDF and re lated essay written by E Penker at
Resonance fm Magazine upon request at Galerie naumlchst St Stephan)
The channel which is upstairs installed uses an existing wall as an acoustic filter and introduced sub-
consciousness polysynthetic language morphology into the gallery space The title refers to the book poetic of
space within unused architectural situations of exhibition spaces bdquo A Blind Spot (dead angle - Toter Winkel) has a
different meaning in terms of acoustics and cannot be compared with the visual context where blind spot is used
primarily in conversations
In musicsound production in film the visual blind spot is used very often by hearing a bike roller plane without
seeing it In everyday life we are used and depending by acoustic blind spots for our orientation of the situation
and space we are in at the moment Architectural acoustic issues play an important role during the time of the
composition ldquoPoetic of Dead Space 2rdquo is a context specific composition and deals with polysynthetic language
morphology recordings of the untitled instrument Sonic structure and acoustic exhibition architecture besides
issues which are depending of the unused architecture and their acoustics
Galerie naumlchst St Stephan
Aneta Grzeszykowska Elisabeth Penker
220110 bis 060310 Auf den Spuren gesellschaftlicher
Ordnungssysteme
Die beiden Ausstellungen von Aneta Grzeszykowska in den Galerieraumlumen
und Elisabeth Penker im Projektraum bdquoLOGINldquo sprechen unterschiedliche
Sprachen Momente der Beruumlhrung ergeben sich lediglich durch die
Auseinandersetzung der beiden Kuumlnstlerinnen mit Systembildungen und
gesellschaftlich bedingten Agglomerationen von Bedeutungen Waumlhrend der
Blick der in Warschau lebenden Kuumlnstlerin Aneta Grzeszykowska
psychologisch und kulturell bestimmt ist laumlsst sich das Verfahren der in
Wien und Rom lebenden Elisabeth Penker als ethnografisch und linguistisch
fundiert umschreiben Im Nebeneinander der beiden Positionen bilden sich
schaumlrfende Kontraste
Aneta Grzeszykowskas Interesse gilt dem Privaten in verschiedenen
visuellen Uumlbersetzungen Etwa kartografierte sie mit dem Warschauer
Kuumlnstler Jan Smaga in einer Fotoserie Wohnungen aus der Vogelperspektive
um eine intime Geschichte der Stadt uumlber die Anordnung von Raumlumen
Moumlbeln und Gebrauchsgegenstaumlnden zu erstellen Nun begibt sie sich mit
dem Film bdquoBirthdayldquo auf die Ebene fruumlhkindlicher Begegnungen mit dem
Unheimlichen Gedreht wurde er in der Art privater Dokumentationen zur
Feier des eigenen Nachwuchses anlaumlsslich eines Kindergeburtstags Durch
kommentierende Eingriffe wie die Animation sonst unbeweglicher
Gegenstaumlnde uumlbt die Kuumlnstlerin Kritik an den Konventionen und betont so
das Monstroumlse solcher Ereignisse In der Doppelboumldigkeit von inszenierter
Kindheit und Abgruumlndigem ist auch eine Reihe monochromer dunkler
Figurinen aus Stoff angesiedelt Dass diese bekleidet sind wie
Grzeszykowska in ihrer Kindheit verweist auf Versuche Dramatisches uumlber
die aumlsthetische Formalisierung zu bearbeiten Eine Fotografie mit dem durch
die Hand Grzeszykowskas unabsichtlich verletztem Auge ihres kleinen
Bruders und eine maumlrchenhaft anmutende Reliefskulptur mit einem Maumldchen
auf einem Hund aus stacheligen Distelbluumlten erzaumlhlen davon
Tiefenbohrungen zum Kern semantischer Ordnungen unternimmt dagegen
Elisabeth Penker im Kontext der Ausstellungsserie LOGIN in einem
ehemaligen Geschaumlftslokal und im Foyer der Galerie selbst Bekannt ist die
Kuumlnstlerin und Musikerin Elisabeth Penker etwa durch ihre Intervention im
Arkadenhof der Universitaumlt Wien mit einer Buumlste der oumlsterreichischen
Romanistin und ersten Universitaumltsprofessorin Elise Richter Diese leite das
phonetische Institut bis zu ihrer Deportation ins Ghetto Theresienstadt durch
die Nationalsozialisten und war in der patriarchalischen Ordnung der
steinernen Koumlpfe der Universitaumlt ndash ebenso wie die Leistungen von Frauen
generell ndash bis dahin kein Thema gewesen In der Ausstellung bdquoProtectionsldquo
im Kunsthaus Graz thematisierte Penker mit ihrem bdquoFirst Nation Pavillonldquo die Hegemonie des durch den
Kolonialismus gepraumlgten Blicks auf auszligereuropaumlische Gesellschaften
Stets sind ihre Annaumlherungen auf die Generierung von Bedeutungen im Sinne von Grammatiken
ausgerichtet Dementsprechend leitmotivisch fungiert ein Portraumlt des kuumlrzlich verstorbenen Ethnologen
Claude Leacutevi-Strauss in der Rauminstallation mit integrierter Soundkomposition Die gespiegelte und
mehrfach aufgefaumlcherte Fotografie von Leacutevi-Strauss in bdquopolysynthetischer Doppelperspektiverdquo laumlsst sich
als Verschneidung von Sprachlichem Klanglichen und Visuellen lesen
Eine Archaumlologie im Feld der Linguistik wie auf Materialebene fuumlhrt die Signifikanten auf engstem Raum
zusammen Triviale Vierkanthoumllzer beispielsweise wurden in genau jenen Farben lackiert die Penker als
uumlbereinander gelagerte Sedimente unter der Dispersion der Waumlnde freilegte Die laumlnglichen Houmllzer
beziehen sich auf den englischen Ausdruck bdquologldquo fuumlr Stamm und somit auch auf die Ausstellungsreihe der
Galerie Bemerkenswert dass ein Wort das bloszlig aus einem Morphem besteht einen Gegenstand
repraumlsentiert So baut sich uumlber eine Reihe weiterer Objekte wie etwa den bdquoHanging Chairsldquo aus dem
Fundus der Galerie ein elementares Netzwerk von Bezuumlgen auf Mit ihren Werken und abstrakten Sound-
Kompositionen dringt Elisabeth Penker kritisch forschend in die Makrobereiche von Grammatiken vor um
Potentiale semantischer Anbindungen in Nachbarsystemen freizulegen Roland Schoumlny
Elisabeth Penker Einzelausstellung MAK CAT TOWER Kurtaiert von Andreas Kristof
ldquoPassive Orchestrardquo 2008 8-Channel-Toninstallation Die Interpretation von Soundart sieht Penker in der Uumlberschneidung von Sprache-visueller Kunst und Musik und ist zumeist mit einer visuellen raumlumlichen Komponente verbunden Der Betrachter und Zuhoumlrer befindet sich in
einer Konzert-Situation statt Instrumenten sieht er nur Lautsprecher die auf unterschiedlichen Houmlhen auf einer grauen Wand positioniert sind Passiv Orchestra beruht in der Struktur auf die grammatische Einteilungen von Sprachen die in phonetische Minimaleinheiten dekonstruiert sind und wird uumlber eine Mehrkanal Matrix gespielt Elisabeth Penker referiert in dieser eigens fuumlr den Flakturm konzipierten Arbeit auf dadaistische Methoden der Sprachdekodierung die auch als ein klares Anti-Kriegs-Statement zu verstehen waren
1
Kunsthaus Graz
Protections
Kuratoren Adam Budak und Christine Peters
Elisabeth Penker
First Nation Pavilion
Der First Nation Pavilion von Elisabeth Penker unternimmt den Versuch einen Bereich fuumlr ein koloniales
Bewusstsein der europaumlischen Vergangenheit zu schaffen und einen utopischen Raum fuumlr neue Vorstellungen
von einer Mannigfaltigkeit an kulturellen Formen in der zeitgenoumlssischen Kunst Die Komposition de-
grammatical ein Bestandteil des First Nation Pavilion beruht in ihrer Struktur auf den grammatischen
Einteilungen der Sprachen die in phonetische Minimaleinheiten dekonstruiert sind und wird uumlber eine
nichtlineare 5-Kanal-Matrix gespielt
Penker untersucht moumlgliche Uumlberschneidungen zwischen der Sprache der Musik und der Bildstruktur wobei ihr
Hauptaugenmerk polysynthetischen Sprachen (First Nations und Pazifische Inseln) gilt sowie dem Vergleich
zwischen der Kunst von First Nations und der Modernen Kunst Erst in juumlngerer Zeit in der Aumlra des
Postkolonialismus hat der Diskurs der kulturellen Uumlbersetzung Fragen aufgeworfen mit denen man sich schon
in den phonetischen Experimenten des Dadaismus in den 1910er und 1920er Jahren beschaumlftigt hatte sowie
spaumlter in der Konzeptkunst der 1960er und 70er Jahre
Elisabeth Penker
First Nation Pavilion
The First Nation Pavilion by Elisabeth Penker attempts to set-up an area for colonial consciousness of the
European past and a utopic space for re-imagining a plurality of cultural forms in contemporary art The
composition entitled de-grammatical contained within the First Nation Pavilion is structurally-based on the
grammatical classifications of languages deconstructed into minimal phonetic units played within a non-linear
5-channel matrix
Penker is questioning the possible overlaps between music-language and visual structure within the primary
focus on polysynthetic languages (First Nation and Pacific Islands) and First Nation Art compared to Modern Art
More recently in the age of post-colonialism the discourse of cultural translation is arising questions that have
also been experimented by the Dadaists phonetic experiments in the 1910-20s and later in Concept Art of the
1960s-70s Text Adam Budak
Michael Elmgreen amp Ingar Dragset (the work of two other invited artists) offered Penker a typical prefabricated
house as her exhibition space within the Kunsthaus
id31403916 pdfMachine by Broadgun Software - a great PDF writer - a great PDF creator - httpwwwpdfmachinecom httpwwwbroadguncom
2
Elisabeth Penker Fisrt Nations Pavilion 2006
Change of floor plan of the prefabricated house by Michael Elmgreen amp Ingar Dragset
Entrance door Fisrt Nations Pavilion
3
Part 1 Colonial Conciseness in visual art
Room 1 and 3 Modernism=Imperialism after Henry Flynt Demolish serious culture
Woman as a the last Colony Rosa Luxenburg Veronika Bennholdt-
Thomsen Claudia von Werlhof und Maria Mies
4
Vinyl letters C-Print
5
6
Polysynthetische Doppelperspektive 1 Claude Levi- Strauss
Photocolloage C-Print
7
Polysynthetische Doppelperspektive 2 Claude Levi-Strauss
Photocolloage C-Print
9
Polysynthetische Doppelperspektive 4 Claude Levi Strauss
Photocolloage C-Print
2 prints Installed in corner
Installation view Polysynthetische Doppelperspektive 1-4 Claude Levi- Strauss
The visual grammar and its double perspective (split representation) of Haida Gwai and Tlinglet Art (First Nation
Art) is re-collaged with a photograph of Pablo Picasso comparing Cubism (early Modernism) with First Nation Art
and questioning its similarities of double perspectives
10
Room 4 and 5
Room 4
11
Luicide List The museum as an imperial graveyard
C-Print
Colonial after effects of Luicide
Gips Metallkette Hose Schuh
12
No7
Mirror Split Representation Mirror framed and installed in the corner
Part 2 Room 6 and 8 Comparative Contemporary Art
4-channel sound installation
De-grammatical Listen to mp3 audio excerpts
13
Front
2 CT (shelfbenches) Acryl auf Pappelsperrholz
Back Pull Over Yukme Shirley Hall outside
14
Pull Over Yukme Shirley Hall inside
Fabric wall silk print by (Tlinglet Artist) Yukme Shirley Hall
Wo ist Elise Richter wo ist
id99149429 pdfMachine by Broadgun Software - a great PDF writer - a great PDF creator - httpwwwpdfmachinecom httpwwwbroadguncom
Im Arkadenhof der Universitaumlt Wien stehen 154 Buumlsten von bedeutenden Wissenschaftlern der
Universitaumlt Wien (1700-2005) Bedauerlicherweise findet sich unter ihnen keine einzige Frau Eine temporaumlre Buumlste einer anonymen Wissenschaftlerin soll die systematische Ausblendung von Frauen
aus der Universitaumltsgeschichte thematisieren Die offene Web- Plattform (wwweliserichterat) ermoumlglicht allen Benutzern aktiv an der Umschreibung der Universitaumltsgeschichte und an re-imaging Prozessen der Repraumlsentation dieser Buumlsten teilzunehmen Weiters wird die Verbindung von raceclassgender und einer akademischen Kariere in diesem Zusammenhang hinterfragt We can never really change any form of social organisation without challenging all that organisations forms of
language (Debord)
Within the patriarchal structures of the Arkadenhof at the University of Vienna stand 154 busts of important scientists (1700-2005) Unfortunately none of these busts are women Through the placement of a temporary bust of an anonymous female scientist it declares the absence of them within the history of the university As well the anonymous bust embodies the presence of important scientists who have not yet been given equal representation The open web-platform (wwweliserichterat) allows every user to participate in this discourse to re-write the history of the university and to re-image the representation of these busts through a wiki system
Skizze Buumlste einer anonymen Wissenschaftlerin
Mein Interesse besteht nicht darin zu recherchieren welche Buumlsten von Wissenschaftlerinnen im Arkadenhof fehlen sondern das Fehlen der Wissenschaftlerinnen im Zeitraum von 1700 bis 2005 aufzuzeigen und Strukturen fuumlr eine oumlffentliche Kommunikationsplattform zu schaffen In der Genderforschung besteht Konsens daruumlber dass Gender kein Merkmal von Individuen sondern das einer
Institution ist (Connell) zudem ein struktureller Bestandteil einer Gesellschaft ist und dass Gendernormen alle Organisationen durchdringen (Acker)
Grundriss Arkadenhof der Universitaumlt Wien Literatur Acker J (1990) Hierarchies Jobs Bodies A theory of gendered organizations In Gender and Society
Connell R (1998) Gender and Power Society the Person and Sexual Politics Stanford University Press Stanford CA Maisel T (1990) Die Denkmaumller im Arkadenhof der Universitaumlt Wien Biographische Skizzen Wien Quellen Denkmalsakten Archiv der Universitaumlt Wien
Veranstalter Open Mind Projekt Utopie Freiheit httpwwwopenmindat vereinopenmindat Projektautorin Elisabeth Penker elpenkergmxat Bronzeguss Walter Rom Wachsmodel Buumlste Elisabeth Penker Steinsockel Ausfuumlhrung Fa Zehmann Mario Jungbauer Mediendesign Gernot Tscherteu httpwwwrealitylabatwphome gtrealitylabat Techn Umsetzung Christian Langreiter Webpage wwweliserichterat
Elisabeth Penker- Franzengasse 13- 1050 Wien ++43 (0)699 197 193 53 elpenkergmxat
Elisabeth Penker Untitled instruments 1-3 2000-2012
Galerie Georg Kargl Wien Galerie Priestor Bratislava Kuumlnstlerhaus Wien Kibla New
Media Center Maribor HTTP Galerie London Secession Wien Mak Wien Roma
Contemporary Wien
Elisabeth Penker Untiled Instrument Galerie Georg Kargl Wien
Curated by Michael Hall
Elisabeth Penker Untitled instrument 2001 New Media Center Maribor
Elisabeth Penker Untitled instrument 2001 New Media Center Maribor
Elisabeth Penker Untitled instrument Kuumlnstlerhaus Wien curated by Ursula Maria Probst
Live Performance mit Celia Mare
Detail Die BILD_HAU_ER_IN Kuumlnstlerhaus Wien
Live Performance Flower Structure Wiener Festwochen
Elisabeth Penker (Untiled instrument) Van Angh (Cello) Tri Minh Electronics
Elisabeth Penker Live Performance Poetics of space Secession Wien
MAK Nail Structure GRizo Sweet Susie Elisabeth Penker
Elisabeth Penker HTTP Gallery London 2005 curated by Tobi Maier
Elisabeth Penker HTTP Gallery London Live Performance
Elisabeth Penker Untitled Instrument Sonic Structure Kunsthaus Graz curated by Adam Budak amp
Christine Peters
Videolinks
httpwwwyoutubecomusersoundart24
Interview with Video Festwochen
httpbturncom8753interview-elisabeth-penker
Kunsthaus Graz
Protections
Kuratoren Adam Budak und Christine Peters
Elisabeth Penker Poetics of Dead Space
For PROTECTIONS Elisabeth Penker developed a key-sound Poetics of Dead Space which is to a large extent a homage
to Gaston Bachelards seminal book Poetics of Space where the connections between the poetry and the spatial emotions
are analysed Penkers key-sound will guide the viewer through the exhibition mapping the overall identity of the show in
some way controlling the viewers (audio-narrative) route in the maze of art objects events situations but also spatial
voids and unused corners
Fuumlr PROTECTIONS entwickelte Elisabeth Penker einen leitmotivischen Key Sound Poetics of Dead Space der weitgehend
eine Hommage an Gaston Bachelards wegweisendes Buch Poetics of Space darstellt in dem die Verbindungen zwischen
Lyrik und raumlumlichen Emotionen analysiert werden Penkers Key Sound wird das Publikum durch die Ausstellung geleiten
die Identitaumlt der Schau in ihrer Gesamtheit erfassen und in gewisser Weise die (audio-narrative) Route des Publikums im
Labyrinth der Kunstgegenstaumlnde Ereignisse und Situationen aber auch raumlumlicher Leerstellen und ungenutzter Winkel
kontrollieren
A non linear composition 7 mono active speakers are placed through out the Kunsthaus Graz Speaker placement
1 outdoor (entrance) 2 (travelator) 3 (corner with column) 4 (corner with door) 5 (corner) 6 (travelator) 7 (corner with
window)
Poetics of Dead Space Let it grow again 28 51 sec mono
Source material for composition rain sound of dried beans dropping down wood sticks breathing hardly existing
id78338975 pdfMachine by Broadgun Software - a great PDF writer - a great PDF creator - httpwwwpdfmachinecom httpwwwbroadguncom
recording of extinct languages
Poetics of Dead Space Let it grow again 28 51 sec mono
Source material for composition rain sound of dried beans dropping down wood sticks existing recording of extinct
languages
Poetics of Dead Space travelator 1 1min 04 sec mono loop
Source material for composition staff falling down man falling down stairs rattern recording untitled instrument
Background existing recording of extinct languages
Poetics of Dead Space 496 1min 409 sec mono loop
Source material for composition recording untitled instrument Background existing recording of extinct languages
Poetics of Dead Space 129525 1min 4888 sec mono loop
Source material for composition recording untitled instrument Background existing recording of extinct languages
Poetics of Dead Space 129525 1min 4888 sec mono loop
Source material for composition keyboard recording untitled instrument Background existing recording of extinct
languages
Poetics of Dead Space travelator 2 1min 5209 sec mono loop
Source material for composition recording untitled instrument violin Background existing recording of extinct
languages
Poetics of Dead Space2152518125220 1min 3200 sec mono loop
Source material for composition recording untitled instrument Background existing recording of library of extinct
languages
Poetics of Dead Space travelator 1 1min 04 sec mono loop
viewing down from upstairs Source material for composition staff falling down man falling down stairs rattern
recording untitled instrument Background existing recording of extinct languages
Poetics of Dead Space Let it grow again 028 51 sec mono
Source material for composition rain sound of coins wood sticks existing recording of extinct languages
Elisabeth Penker is a Viennese artist and musician working with sound in a sculptural context In her (subjective) tour
Penker approaches the entire anti-exhibition PROTECTIONS from an angle of its position and significance in the context
of Sound Art as located on the crossway between visual arts language and music Starting from her own house turned
into First Nation Pavillion which amongst others aims at connecting the recent discourse on cultural translation with
early avant-garde phonetic experiments Penker maps the sonic structure of Kunsthaus Graz and its (live) architecture
which for PROTECTIONS hosts an array of interdisciplinary projects with a strong audio-quality from Herwig Weisers
Death Before Disco (a micro-architecture of hyper-technological and electronic pop) through a newly created choir of
security guards for Tim Etchells Wall of Sound down to a cacophonic layers of anonimous noise generated by the
space itself and the presence of audience
Die Wiener Kuumlnstlerin und Musikerin Elisabeth Penker arbeitet mit Klang im Zusammenhang mit Bildhauerei In ihrer
(subjektiven) Fuumlhrung naumlhert sie sich der Anti-Ausstellung PROTECTIONS aus einem Blickwinkel der die Position und
Bedeutung der Klangkunst an der Kreuzung zwischen bildender Kunst Sprache und Musik verortet Von ihrem eigenen
Haus ausgehend das sich in den First Nation Pavilion verwandelt hat der u a den aktuellen Diskurs uumlber kulturelle
Uumlbersetzung mit fruumlhen phonetischen Experimenten der Avantgarde verbinden soll entwirft Penker die klangliche
Struktur des Gutshauses und seiner (Live-)Architektur die fuumlr PROTECTIONS eine Reihe von interdisziplinaumlren Projekten
mit einer starken Affinitaumlt zum Klang beherbergt von Herwig Weisers Death Before Disco (eine Mikroarchitektur aus
hyper-technoidem und elektronischem Pop) uumlber einen neu formierten Chor bestehend aus Security Guards fuumlr Tim
Etchells Wall of Sound bis zu einer Kakophonie aus anonymen Geraumluschen die vom Raum selbst und der Anwesenheit
des Publikums erzeugt werden
052813
Local Warming ATHENS
052813
AFTER A YEARLONG HIATUS the eighteenth Art-Athina hit the ground running on the evening of Thursday May 16 and the former Olympic
ldquoTae Kwon Dordquo Pavilion was packed with enthusiastic party people The fair had a more national flavor than ever this year under its new
director Alexis Caniaris the son of recently deceased artist Vlassis Caniaris whose iconic modern work has recently found great success on the
international market Of the very few foreign galleries exhibiting most were Greek-owned The Breeder gallery was dealing with the perceived
drop in the market by selling fantastic multiples by artists like Stelios Faitakis Jannis Varelas and Andreas Angelidakis at crisis-appropriate
prices ldquoNobody wants to come here now but I have already met three interested billionaire collectors today And if Greeks like you they
introduce you to their billionaire friendsrdquo raved Cologne dealer Mirko Mayer a seven-time exhibitor ldquoThat is what nobody knows There are
at least one-hundred billionaires collecting hererdquo Most international collectors were delayed several hours due to a union strike a de r igueur
mode of arrival in contemporary Greece
It was impossible to miss the exuberant activities of the DaDa Da restaurant a Greek-Austrian collaboration where artist Albert Mayr was
waving a skillet and raving nonsense while Lucas Willmann tenderized pink fillets for Wiener schnitzel ldquoThis is Viennese Actionism lightrdquo
quipped critic Sotirios Bahtsetzis Artist Natasha Papadopoulos added ldquoBut here there are hungry Greeks waitingrdquo On a table with a rotating
Sacher tort by Heacutelegravene van Duijne a sign carried the overwhelming spirit FUCK ART LETrsquoS EAT SOUVLAKI An insistent electronic beat and
pulsating light emanated from the next booth the American College of Greecersquos ldquoAthensUrgentrdquo while hooded performer Manos Tsatiris
stood against the wall with his hands tied perhaps a metaphor for the current Athenian exigency ldquoThis is not the kind of art fair scene we are
used tordquo said the Economou Collectionrsquos Annie-Claire Geisinger watching the madness
Left Artists Elisabeth Penker Michela Pelusio Petros Touloudis Panos Papadopoulos and Nino Stelzl Right Collector Anne-Marie Ros
Down on the floor the dealers seemed pleased particularly given dismal expectations having already sold a great deal at the preview Young
Rotterdam-based gallery Joey Ramone had sold sculptures by Fotini Gouseti to English and Belgian collectors dealer Erik Mulier had also sold
some work to Belgians Marc Van den Hende said he had bought a triptych by Eirene Efstathiou and was considering a Vlassis Caniaris piece
from the 1970s ldquoI saw some surprisesmdashyoung Greek artists I did not knowmdashand great new galleries like Elika and CANrdquo Dutch collector
Anne-Marie Ros said By the end of the day Dimitra and Sofia Vamiali reported that they had not seen one Greek collector although another
reported a Dakis Joannou sighting mdash Cathryn Drake
SEARCH
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SEATTLE
WEEKLY
in the News
Columnist
Geov Parrish
is a regular
guest on
Mind Over
Matters on
KEXP-FM
(903)
Saturdays at
830 am and
provides news
commentary
on KBCS-FM
(913) Fridays
at 430 pm
Catch writers
Steve
Wiecking Tim
Appelo and
ARTS
March 30 - April 5 2005
Picking Up the Thread
Howard House ties together the best new conceptual art from Vienna
by Elise Richman
Franz Wests Mercury
(Howard House Contemporary Art)
Theres a German expression to lose the red thread which means losing
ones train of thought In its current show Howard House has found that
thread Julie Ryan a curator artist and writer organized The Red
Thread Glimpses of International Art in Vienna a two-part exhibition
featuring artists working and living at least part time in Austrias capital
Part one of the show is at Howard House the second half is currently on
display at the Educational Alliance Gallery in New York
Vienna has become a magnet for artists from all over the world including
the 15 individuals and artist teams that are part of The Red Thread
Excellent artist residency programs a low cost of living and living art
legends like Franz West are just a few of the reasons
An artistic collaboration with West took Ryan from New York to Vienna
She knows Billy Howard who runs Howard House from the University of
Washingtons School of Art And so the figurative string was strung
connecting the East and West coasts with artists from across the Atlantic
This is a complex exhibit whose emotional tenor ranges from cool
detachment to an almost urgent earnestness Unlike the formal richly
historical city that connects them artists in The Red Thread favor informal
approaches to art making use disposable materials and comment on
contemporary cultural themes
West has two formidable sculptures at Howard House The front room of the
gallery features Mercury (pictured) an ungainly behemoth composed of a
patchwork of fused metal Like many of Wests sculptures Mercury is
meant as an interactive structure that viewers can climb and sit on Bulbous
Gavin
Borchert
discussing
theater film
and music
regularly on
classical
KING-FM
(981)
Mark Fiore
Cartoons
Every
Thursday
nodules extend from its horizontal base and the seams of the dark maroon
metal look like scars rendering it at once vaguely obscene and absurdly
playful
Sisyphus the other West sculpture on display is a bulky conglomeration of
bits and wads of paper propped in the back room on a makeshift plinth (base
block) Though its as solid as the boulder its title references its surface is
like oozing skin partly coated with poured murky paint partly cloaked in
small clumps of newspaper detritus
The strenuous act of making each of these sculptures is eminently apparent
and central to the content of Wests work West considers creation a
symbolic act As you might expect he likens the artistic process to the plight
of Sisyphus the mythological figure who eternally rolled a boulder up a hill
only to have it come crashing back down For West art involves a
Sisyphean search for what he calls the absolute through the seemingly
senseless accumulation of materials However unlike Sisyphus futile quest
Wests process can lead to epiphany making sense of the senseless
Similarly Viennese artist Elisabeth Penkers art serves a facilitative
function easing the act of translation Penker uses Haida iconography in her
multimedia work because it provides potent visual symbols that
communicate single words and whole sentences simultaneously Her prints
at Howard House feature fragments of icons floating in the papers white
space They are spare visually arresting characters that employ an
iconographic language as encoded symbols of communication
Also featured in The Red Thread is Donald Baechler an internationally
known American painter who spends extended periods of time in Vienna
Baechler equalizes his imagery by painting it all in the same style For him
the source of an image doesnt matter whether its a drawing by Picasso or
graffiti on a bathroom wall What matters is the newfound context his
paintings provide
Victory by Default is part of Baechlers Skull series In this piece a painted
skull gapes from the dirty yet sensuous confines of a large canvas Terry
cloth and wrinkled rags provide literal texture and reference the world
outside the paintings boundaries Splatterings of color around the skull like
the self-conscious marks of Jasper Johns seem to express the language of
paintingmdashhue and gestural strokesmdashin a factual rather than illusional
manner
Another American painter Lisa Ruyter lives half-time in Vienna where she
runs an influential gallery She works from photographs projected onto
large-scale canvases tracing the contours of the projected imagery with
consistent black outlines In a way that seems arbitrary she paints the shapes
formed by her contour lines in flat designer colors Man of Means based on
a photo of fashion photographers looks like a scrambled color-by-numbers
painting I cant do justice to the unusually rich assortment of conceptual art
in The Red Thread Youll just have to see it for yourself Thomas
Baumans thrashing triangular foil blanket Walter Seidls slide show of
staged snapshots Markus Schinwalds photograph of a contortionist and the
other thoughtful works connected by The Red Thread
The Red Thread Glimpses of International Art in Vienna runs through
April 30 at Howard House 604 Second Ave 206- 256-6399 1030 amndash5
pm TuesndashSat Free
KUNSTFORUM
Parallelwelten fuumlr Parlamentarier Ausstellung
Von Brigitte Borchhardt-Birbaumer
Ende Oktober endet die Zusammenarbeit von Nationalratspraumlsident Andreas Khol und Peter Pakesch Direktor des Kunsthauses Graz am Joanneum Seit 2003
hatte Pakesch als Kurator mehrere Ausstellungen in den Sitzungssaumllen des Parlaments in Zusammenarbeit mit Galerien initiiert und namhafte Positionen
ausgewaumlhlt Kriterium fuumlr Praumlsentationen war die Praumlsenz durch eine Schau in einer der bekannten Kunstinstitutionen des Landes Nach Eva Schlegel Adriana
Czernin Maria Lassnig oder Esther Stocker sind dies nun bis April 2007 Josef Dabernig Daniel Hafner Ulrike Lienbacher Alois Mosbacher und Elisabeth
Penker
Das Parlament kann dabei durch die Margaretha-Lupac Stiftung immer eine Arbeit fuumlr die wachsende Sammlung des Hauses ankaufen Zuletzt war das ein
groszliges Oumll-Acryl-Gemaumllde der Georg-Eisler-Preistraumlgerin Maja Vukoje zuvor Johanna Kandl deren Temperabild derzeit an das Lentos in Linz geliehen wird
Einige Werke haumlngen schon als kuumlnstlerische Wegweiser in den Gaumlngen des Hauses und sind auch Blickfang fuumlr die 120000 Besucher die pro Jahr das
Parlament besuchen In die Architektur von Theophil Hansen mit ihrer zeitlosen Qualitaumlt fuumlgt sich die Gegenwartskunst kongenial
Hoffnung fuumlr spaumlter
Die derzeitige Zusammenstellung macht Hoffnung auf eine Fortsetzung unter der naumlchsten Praumlsidentschaft Fotografie Computerkunst Malerei Zeichnung
und Skulptur weisen auf die Vielfalt der Werkstoffe in der Gegenwartskunst Elisabeth Penker parallel im Kunsthaus Graz zu sehen baut schwarzweiszlige
Objekte aus bemaltem Holz die in ihrer seriellen und geometrischen Anordnung auf Bezuumlge zum Performativen und auf die Musik hinweisen
Noch juumlnger ist Daniel Hafner mit seinen am Computer komponierten digitalen Drucken Morphosentransformationen von 2006 Linienraster und
Raumkonstruktionen in subtiler Farbigkeit verbinden Tendenzen der fruumlhen Op-Art mit dem Cyber-Lab
Um konstruierte Realitaumlten geht es auch in den groszligformatigen Oumllbildern von Alois Mosbacher dem bekannten Vertreter der Neuen Wilden der
Achtzigerjahre in Oumlsterreich Wanderer in Wald und Wiese erzaumlhlen die Geschichten alternativer Welten die sich mancher in der Gesellschaft als Parallele
konstruiert
Zwei Fotofriese von Josef Dabernig bilden jeweils ein Panorama von oumlffentlichen Plaumltzen auf denen es zum einen um Fuszligball geht Zum anderen ist der
Rundblick in das Oval einer scheinbaren Arena auch eine Art Sehschule fuumlr die Betrachter Ein sozialer Befund ist die dritte Bedeutungsebene
Ulrike Lienbacher die heuer mit einer groszligen Schau im Innsbrucker Taxispalais ihre Karriere fortsetzt ist mit ihren feinlinigen Tuschezeichnungen den kleinen
oft unsichtbaren Zwaumlngen in unserer Gesellschaft auf der Spur Im Lokal II des Parlaments stellt sie zwar nicht ihre Objekte und Fotos aber einige
groszligformatige Blaumltter mit Frisurenvariationen neben teils fragmentierten Frauenkoumlrpern im Umgang mit Schmutz und Hygiene aber auch Fitnesskult aus
Disziplinierung und Kontrolle betreffen in der Oumlffentlichkeit besonders den weiblichen Koumlrper Sauberkeitsmechanismen weisen auch auf Vorstellungen von
wertvoll und minderwertig hin Ihre Transformationen enthalten wie die Themen der anderen subtile Kritik und sind daher vom Kurator uumlberlegt positioniert
Zeitgenoumlssische Kunst
im Parlament
Bis April 2007
Kurator Peter Pakesch
Konfrontationen
Dienstag 10 Oktober 2006
ltlt 2003 | 2004 Jan Feb Mar Apr May Jun Jul Aug Sep Oct Nov Dec 2004 | 2005 gtgt
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31
Sunday 17 October 2004
TIME
TITLE
NAME
700 Indymedia ESF breakfast show Indymedia London
Highlights news and views from the European Social Forum and the
autonomous spaces and initiatives taking place this week
website
800 Resonance Radio Art Riot Breakfast International
Radio Art
A five part special of the Harmon E Phraisyar show commissioned for
Kunstradio in Austria starts off the morning broadcast of international radio
art
website
1100 Resonance Live from the Frieze Art Fair Anna Colin amp
Tobi Maier
1100 Chris Weaver Resonance 1044FM live electronics set with James Dunn and
Robin Warren
1130 Michael Hall gallery Vienna presents audio works by artist Elisabeth Penker
1200 Maria Fusco presents latest the Bookworks commissions
1300 The Psychology of Collecting live broadcast of the frieze art fair panel
discussion
Is collecting an irrational act guided by compulsion and desire What are the use of
objects What are the motivations behind making collecting curating and
criticizing art A discussion of the psychology of collecting and the politics of taste
Hilary Rubenstein (Psychologist)
Eric Troncy (Art Critic and Director Le Consortium Dijon)
Haim Steinbach (Artist)
Chair Alice Rawsthorn (Director Design Museum)
1500 Portable live set and presentation of sudelectronic records London
1600 Where is Adventure What is Culture live broadcast of the frieze art fair
website
panel discussion
A discussion of the relationship of art to entertainment touching on the comedic
being popular and failing miserably
Trisha Donnelly (Artist)
Christian Jankowski (Artist)
David Robbins (Writer amp Artist)
Nancy Spector (Curator of Contemporary Art Solomon R Guggenheim Museum)
Chair Matthew Higgs (Curator CCA Wattis Institute for Contemporary Arts)
1800 Melissa Bent from Rivington Arms gallery New York in conversation with
artist Dan Colan and Tobi Maier Anna Colin
1830 VOX pop recordings from the fair with Sharon Gal
1900 Resonance Radio Art Riot Sarah
Washington
The Resonance Radio Art Riot brings together some of the foremost radio artists
and thinkers from around the world The studio lab situation will feature round
table discussions live performances and streamed events
Tonight Radio Text
Events Live broadcast from Sonic Arts Network Resonance benefit featuring
Henri Chopin studio performances from Julia Lee Barclay and Aude Tournay plus
Special Features None present live concrete radiophonics - Planning For
Emergencies
Guests include Clive Graham Chris Weaver Richard Thomas Toby Clarkson
John Lovett Robin Warren and James Dunn
Topics The word as art Sound poetry text performances
At Midnight Tom Wallace present exclusive excerpts from radio art pioneer
Gregory Whitehead
website
000 Resonance Radio Art Riot Nights International
Radio Art
The Resonance Radio Art riot continues throughout the night with the finest of
international radio art Resonance FM programme makers and our international
guests have put together many special hours of classic and obscure radio
works
website
- EPenkerDocumentationpdf
-
- 2bAusstellungenPublicaSpaceEPenkerpdf
-
- 2cUntitled_InstrumentsKunsthausGrazEPenker
- 2bpoeticsKunsthaus GrazEPenker
-
- 4PresseEPenkerpdf
-
- 4Review_Seattle Weekly
-
Selected works from the series Split Representation
Titles
Elisabeth Penker
ldquoSplit Representation Walter Benjamin Bluerdquo 60 x 40 cm framed (Paint on Photo-Colllage) 2013 edition of 5 (ea unique)
ldquoSplit Representation Rosa Luxemburg Yellowrdquo 60 x 40 cm framed (Paint on Photo-Colllage) 2014 edition of 5 (ea unique)
ldquoSplit Representation Rosa Luxemburg Caduveo Womanrdquo 60 x 40 cm framed (Paint on Photo-Colllage) 2014 edition of 5 (ea unique)
ldquoSplit Representation Simone de Beauvior Brownrdquo 60 x 40 cm framed (Paint on Photo-Colllage) 2014 edition of 5 (ea unique)
ldquoSplit Representation Trinh T Minh-ha Bluerdquo 60 x 40 cm framed (Paint on Photo-Colllage) 2013 edition of 5 (ea unique)
ldquoSplit Representation Angela Davis Greenrdquo 60 x 40 cm framed (Paint on Photo-Colllage) 2014 edition of 5 (ea unique)
ldquoSplit
Representation Self-Portraitrdquo 60 x 40 cm framed (Photo-Colllage) 2014 edition of 25
ldquoSplit Representation Frantz Fanon Copperrdquo 60 x 40 cm framed (Paint on Photo-Colllage) 2014 edition of 5 (ea unique)
ldquoSplit Representation Pablo Picasso 1rdquo 60 x 40 cm framed (Photo-Colllage) 2012 edition of 5
ldquoSplit Representation Pablo Picasso 2rdquo 60 x 40 cm framed (Photo-Colllage) 2012 edition of 5
ldquoSplit Representation Pablo Picasso 3rdquo 60 x 40 cm framed (Photo-Colllage) 2012 edition of 5
ldquoSplit Representation Ferdinand de Saussure 1rdquo 60 x 40 cm framed (Paint on Photo-Colllage) 2013 edition of 5 (ea unique)
ldquoSplit Representation Ferdinand de Saussure 2rdquo 60 x 40 cm framed (Photo-Colllage) 2013 edition of 5
ldquoSplit Representation Ferdinand de Saussure 3rdquo 60 x 40 cm framed (Paint on Photo-Colllage) 2013 edition of 5 (ea unique)
installation views Charim Events at Schleifmuumlhlgasse 1A Vienna April - May 2014
Elisabeth PenkerFerdinand Penker at Galerie Charim curated by Michael Scott Hall
Elisabeth PenkerFerdinand Penker at Galerie Charim curated by Michael Scott Hall
Elisabeth PenkerFerdinand Penker Galerie Charim curated by Michael Scott Hall
Elisabeth PenkerFerdinand Penker Galerie Charim curated by Michael Scott Hall
Elisabeth PenkerFerdinand Penker Galerie Charim curated by Michael Scott Hall
Elisabeth Penkerinstallation View Gallery 400 Chicago (left bdquoSplit Representation Ferdinand de Saussure (Green)ldquo right bdquoSplit Representation Walter Benjamin (Blue)ldquo 2013
Elisabeth Penkerinstallation View Gallery 400 Chicago left bdquoSplit Reprersentation Walter Benjamin (Blue)ldquo right bdquoSplit Represntation Frantz Fanon (Copper)ldquo 2013
Elisabeth Penkerinstallation View ReMap4 at Camp (Athens) 2013 Ferdinand de Saussure (Blue)
ELISABETH PENKER ldquoVienna calling comparative contemporary artrdquo LOG-IN amp VORRAUM GALERIE NAumlCHST ST STEPHAN ROSEMARIE SCHWARZWAumlLDER Elisabeth Penkers Skulpturen und Audiofilme sind seit 1998 im Bereich von Comparative Art und Sound Art verankert und untersuchen anhand von Sprachmorphologie die Verbindungen zur musikalischen und visuellen Grammatik In Elisabeth Penkers Ausstellung bdquoVienna calling comparative contemporary artrdquo ist der Titel in
Zusammenhang mit der Sprachmorphologie von Wiener Museen lesbar Penkers gezeigte Skulpturen vergleichen visuellelinguistische und musikalische Grammatiken (z B Moderne Kunst und First Nations Art) und verwenden die Ergebnisse als Ausgangsstruktur fuumlr die jeweilige Komposition Ihre Collagen Fotografien Diagramme und Zeichnungen sind erweiterte Fragestellungen ihrer Skulpturen Elisabeth Penker hat in Tonstudios in London und Chicago gearbeitet und seit 2000 eine Serie von Musikinstrumenten entwickelt die die Aufnahme-Methode von Jack Foley verwenden Exzerpte ihrer Multi-
Channel-Kompositionen wurden von Resonance 1044 fm (London) gesendet Weiters ist ein Text von Elisabeth Penker uumlber Sound Art im Resonance Magazine Supplement Juni 2006 erschienen Ein Video und eine Focus -Group wurde gemeinsam mit FOGO Lab bei der Documenta 12 gezeigt und war Teil des Documenta-12-Beitrages von Ricardo Basbaum
Ausstellungen siehe wwwschwarzwaelderat -gt LOGIN ELISABETH PENKER
Comparative Art is an academic discipline in the context of art histories The sculptures audio-films (sound
pieces) and the photographs (expanded sculpture) represent different 3rd 4th -dimensional by documenting
different cultural and spatial notions of perspective through usage of collaged andor spliced structural
compositionalformal structures Structural overlaps between visual artlanguagemusic are considered
Poetics of Dead Space 2 2009-2010
2 Kanaumlle einer 8-Kanal-Composition mono
Metallstativ Speaker Yamaha MSP3 CD-Player
H 133 cm
Ed 13
The non-linear 8-channel composition ldquoPoetics of Dead Space 2rdquo introduces polysynthetic language morphology
combined by the melody which is composed from pre-existing recordings of extinct languages and Penker‟s self-
made instrument ldquoUntitled Instrument sonic structurerdquo (see PDF and related essay written by E Penker at
Resonance fm Magazine upon request at Galerie naumlchst St Stephan)
The channel which is upstairs installed uses an existing wall as an acoustic filter and introduced sub-
consciousness polysynthetic language morphology into the gallery space The title refers to the book poetic of
space within unused architectural situations of exhibition spaces bdquo A Blind Spot (dead angle - Toter Winkel) has a
different meaning in terms of acoustics and cannot be compared with the visual context where blind spot is used
primarily in conversations
In musicsound production in film the visual blind spot is used very often by hearing a bike roller plane without
seeing it In everyday life we are used and depending by acoustic blind spots for our orientation of the situation
and space we are in at the moment Architectural acoustic issues play an important role during the time of the
composition ldquoPoetic of Dead Space 2rdquo is a context specific composition and deals with polysynthetic language
morphology recordings of the untitled instrument Sonic structure and acoustic exhibition architecture besides
issues which are depending of the unused architecture and their acoustics
First Nations Pavillon
Polysynthetische Doppelperspektive Claude Levi-Strauss 2006
Fotocollage C-Print gerahmter Spiegel
6-teilig
3 x 405 x 305 cm
2 x 245 x 305 cm
1 x 605 x 485 cm
Ed23 + 2 AP
A framed mirror from ldquoFirst Nations Pavilionrdquo is placed in the corner of the log-in space to place the viewer physically in the space cutting the reflection of the gaze as well mirrors a profile view of the installed
photographs The photo-series relates to polysynthetic language morphology (of the Inuit First Nations Maori and Caduveo Indians) and translates within the photographic image their structural common visual grammar Because they would create a frontal view which was made out of 2 (split) profile views thereby creating a 4-dimensional perspective that anticipatedparallels Cubism who later presented multiple perspectives within one image which intended to represent movement through time and space Specific references are in the related pdf upon request
at Galerie naumlchst St Stephan
Log [Baumstamm] 2010
Archivierung der Raumfarbe
Split Representation
Claude Levi-Strauss 2009
C-Print
5-teilig je 245 x 305 cm
Ed15 + 2 AP
The camera positions of a right angle mirror bdquoSplit Representationrdquo were chosen by E Penker in the way that the
flash is not in the image the photos are made utilizing a right angle mirror which both fragments and reflects the
image creating multiple or a split perspective EP
Bench-Shelf 2003
Acryl auf Pappelsperrholz
46 x 151 x 42 cm
The bench which is the earliest work in the exhibition mirrors the bottom and the top seating elements thereby
giving the object an asymmetrical appearance The bench-shelf was originally designed for a video archive was
later used by museum staff (in Porto) as gallery furniture
composition (or view) Numerous contemporary artists eg Donald Judd have related the ShakersAmish radical functionalism to their sculptural practice
Poetics of Dead Space 2 2009-2010
2 Kanaumlle einer 8-Kanal-Composition mono
Metallstativ Speaker Yamaha MSP3 CD-Player
H 133 cm
Ed 13
The non-linear 8-channel composition ldquoPoetics of Dead Space 2rdquo introduces polysynthetic language morphology
combined by the melody which is composed from pre-existing recordings of extinct languages and Penker‟s self-
made instrument ldquoUntitled Instrument sonic structurerdquo (see PDF and re lated essay written by E Penker at
Resonance fm Magazine upon request at Galerie naumlchst St Stephan)
The channel which is upstairs installed uses an existing wall as an acoustic filter and introduced sub-
consciousness polysynthetic language morphology into the gallery space The title refers to the book poetic of
space within unused architectural situations of exhibition spaces bdquo A Blind Spot (dead angle - Toter Winkel) has a
different meaning in terms of acoustics and cannot be compared with the visual context where blind spot is used
primarily in conversations
In musicsound production in film the visual blind spot is used very often by hearing a bike roller plane without
seeing it In everyday life we are used and depending by acoustic blind spots for our orientation of the situation
and space we are in at the moment Architectural acoustic issues play an important role during the time of the
composition ldquoPoetic of Dead Space 2rdquo is a context specific composition and deals with polysynthetic language
morphology recordings of the untitled instrument Sonic structure and acoustic exhibition architecture besides
issues which are depending of the unused architecture and their acoustics
Galerie naumlchst St Stephan
Aneta Grzeszykowska Elisabeth Penker
220110 bis 060310 Auf den Spuren gesellschaftlicher
Ordnungssysteme
Die beiden Ausstellungen von Aneta Grzeszykowska in den Galerieraumlumen
und Elisabeth Penker im Projektraum bdquoLOGINldquo sprechen unterschiedliche
Sprachen Momente der Beruumlhrung ergeben sich lediglich durch die
Auseinandersetzung der beiden Kuumlnstlerinnen mit Systembildungen und
gesellschaftlich bedingten Agglomerationen von Bedeutungen Waumlhrend der
Blick der in Warschau lebenden Kuumlnstlerin Aneta Grzeszykowska
psychologisch und kulturell bestimmt ist laumlsst sich das Verfahren der in
Wien und Rom lebenden Elisabeth Penker als ethnografisch und linguistisch
fundiert umschreiben Im Nebeneinander der beiden Positionen bilden sich
schaumlrfende Kontraste
Aneta Grzeszykowskas Interesse gilt dem Privaten in verschiedenen
visuellen Uumlbersetzungen Etwa kartografierte sie mit dem Warschauer
Kuumlnstler Jan Smaga in einer Fotoserie Wohnungen aus der Vogelperspektive
um eine intime Geschichte der Stadt uumlber die Anordnung von Raumlumen
Moumlbeln und Gebrauchsgegenstaumlnden zu erstellen Nun begibt sie sich mit
dem Film bdquoBirthdayldquo auf die Ebene fruumlhkindlicher Begegnungen mit dem
Unheimlichen Gedreht wurde er in der Art privater Dokumentationen zur
Feier des eigenen Nachwuchses anlaumlsslich eines Kindergeburtstags Durch
kommentierende Eingriffe wie die Animation sonst unbeweglicher
Gegenstaumlnde uumlbt die Kuumlnstlerin Kritik an den Konventionen und betont so
das Monstroumlse solcher Ereignisse In der Doppelboumldigkeit von inszenierter
Kindheit und Abgruumlndigem ist auch eine Reihe monochromer dunkler
Figurinen aus Stoff angesiedelt Dass diese bekleidet sind wie
Grzeszykowska in ihrer Kindheit verweist auf Versuche Dramatisches uumlber
die aumlsthetische Formalisierung zu bearbeiten Eine Fotografie mit dem durch
die Hand Grzeszykowskas unabsichtlich verletztem Auge ihres kleinen
Bruders und eine maumlrchenhaft anmutende Reliefskulptur mit einem Maumldchen
auf einem Hund aus stacheligen Distelbluumlten erzaumlhlen davon
Tiefenbohrungen zum Kern semantischer Ordnungen unternimmt dagegen
Elisabeth Penker im Kontext der Ausstellungsserie LOGIN in einem
ehemaligen Geschaumlftslokal und im Foyer der Galerie selbst Bekannt ist die
Kuumlnstlerin und Musikerin Elisabeth Penker etwa durch ihre Intervention im
Arkadenhof der Universitaumlt Wien mit einer Buumlste der oumlsterreichischen
Romanistin und ersten Universitaumltsprofessorin Elise Richter Diese leite das
phonetische Institut bis zu ihrer Deportation ins Ghetto Theresienstadt durch
die Nationalsozialisten und war in der patriarchalischen Ordnung der
steinernen Koumlpfe der Universitaumlt ndash ebenso wie die Leistungen von Frauen
generell ndash bis dahin kein Thema gewesen In der Ausstellung bdquoProtectionsldquo
im Kunsthaus Graz thematisierte Penker mit ihrem bdquoFirst Nation Pavillonldquo die Hegemonie des durch den
Kolonialismus gepraumlgten Blicks auf auszligereuropaumlische Gesellschaften
Stets sind ihre Annaumlherungen auf die Generierung von Bedeutungen im Sinne von Grammatiken
ausgerichtet Dementsprechend leitmotivisch fungiert ein Portraumlt des kuumlrzlich verstorbenen Ethnologen
Claude Leacutevi-Strauss in der Rauminstallation mit integrierter Soundkomposition Die gespiegelte und
mehrfach aufgefaumlcherte Fotografie von Leacutevi-Strauss in bdquopolysynthetischer Doppelperspektiverdquo laumlsst sich
als Verschneidung von Sprachlichem Klanglichen und Visuellen lesen
Eine Archaumlologie im Feld der Linguistik wie auf Materialebene fuumlhrt die Signifikanten auf engstem Raum
zusammen Triviale Vierkanthoumllzer beispielsweise wurden in genau jenen Farben lackiert die Penker als
uumlbereinander gelagerte Sedimente unter der Dispersion der Waumlnde freilegte Die laumlnglichen Houmllzer
beziehen sich auf den englischen Ausdruck bdquologldquo fuumlr Stamm und somit auch auf die Ausstellungsreihe der
Galerie Bemerkenswert dass ein Wort das bloszlig aus einem Morphem besteht einen Gegenstand
repraumlsentiert So baut sich uumlber eine Reihe weiterer Objekte wie etwa den bdquoHanging Chairsldquo aus dem
Fundus der Galerie ein elementares Netzwerk von Bezuumlgen auf Mit ihren Werken und abstrakten Sound-
Kompositionen dringt Elisabeth Penker kritisch forschend in die Makrobereiche von Grammatiken vor um
Potentiale semantischer Anbindungen in Nachbarsystemen freizulegen Roland Schoumlny
Elisabeth Penker Einzelausstellung MAK CAT TOWER Kurtaiert von Andreas Kristof
ldquoPassive Orchestrardquo 2008 8-Channel-Toninstallation Die Interpretation von Soundart sieht Penker in der Uumlberschneidung von Sprache-visueller Kunst und Musik und ist zumeist mit einer visuellen raumlumlichen Komponente verbunden Der Betrachter und Zuhoumlrer befindet sich in
einer Konzert-Situation statt Instrumenten sieht er nur Lautsprecher die auf unterschiedlichen Houmlhen auf einer grauen Wand positioniert sind Passiv Orchestra beruht in der Struktur auf die grammatische Einteilungen von Sprachen die in phonetische Minimaleinheiten dekonstruiert sind und wird uumlber eine Mehrkanal Matrix gespielt Elisabeth Penker referiert in dieser eigens fuumlr den Flakturm konzipierten Arbeit auf dadaistische Methoden der Sprachdekodierung die auch als ein klares Anti-Kriegs-Statement zu verstehen waren
1
Kunsthaus Graz
Protections
Kuratoren Adam Budak und Christine Peters
Elisabeth Penker
First Nation Pavilion
Der First Nation Pavilion von Elisabeth Penker unternimmt den Versuch einen Bereich fuumlr ein koloniales
Bewusstsein der europaumlischen Vergangenheit zu schaffen und einen utopischen Raum fuumlr neue Vorstellungen
von einer Mannigfaltigkeit an kulturellen Formen in der zeitgenoumlssischen Kunst Die Komposition de-
grammatical ein Bestandteil des First Nation Pavilion beruht in ihrer Struktur auf den grammatischen
Einteilungen der Sprachen die in phonetische Minimaleinheiten dekonstruiert sind und wird uumlber eine
nichtlineare 5-Kanal-Matrix gespielt
Penker untersucht moumlgliche Uumlberschneidungen zwischen der Sprache der Musik und der Bildstruktur wobei ihr
Hauptaugenmerk polysynthetischen Sprachen (First Nations und Pazifische Inseln) gilt sowie dem Vergleich
zwischen der Kunst von First Nations und der Modernen Kunst Erst in juumlngerer Zeit in der Aumlra des
Postkolonialismus hat der Diskurs der kulturellen Uumlbersetzung Fragen aufgeworfen mit denen man sich schon
in den phonetischen Experimenten des Dadaismus in den 1910er und 1920er Jahren beschaumlftigt hatte sowie
spaumlter in der Konzeptkunst der 1960er und 70er Jahre
Elisabeth Penker
First Nation Pavilion
The First Nation Pavilion by Elisabeth Penker attempts to set-up an area for colonial consciousness of the
European past and a utopic space for re-imagining a plurality of cultural forms in contemporary art The
composition entitled de-grammatical contained within the First Nation Pavilion is structurally-based on the
grammatical classifications of languages deconstructed into minimal phonetic units played within a non-linear
5-channel matrix
Penker is questioning the possible overlaps between music-language and visual structure within the primary
focus on polysynthetic languages (First Nation and Pacific Islands) and First Nation Art compared to Modern Art
More recently in the age of post-colonialism the discourse of cultural translation is arising questions that have
also been experimented by the Dadaists phonetic experiments in the 1910-20s and later in Concept Art of the
1960s-70s Text Adam Budak
Michael Elmgreen amp Ingar Dragset (the work of two other invited artists) offered Penker a typical prefabricated
house as her exhibition space within the Kunsthaus
id31403916 pdfMachine by Broadgun Software - a great PDF writer - a great PDF creator - httpwwwpdfmachinecom httpwwwbroadguncom
2
Elisabeth Penker Fisrt Nations Pavilion 2006
Change of floor plan of the prefabricated house by Michael Elmgreen amp Ingar Dragset
Entrance door Fisrt Nations Pavilion
3
Part 1 Colonial Conciseness in visual art
Room 1 and 3 Modernism=Imperialism after Henry Flynt Demolish serious culture
Woman as a the last Colony Rosa Luxenburg Veronika Bennholdt-
Thomsen Claudia von Werlhof und Maria Mies
4
Vinyl letters C-Print
5
6
Polysynthetische Doppelperspektive 1 Claude Levi- Strauss
Photocolloage C-Print
7
Polysynthetische Doppelperspektive 2 Claude Levi-Strauss
Photocolloage C-Print
9
Polysynthetische Doppelperspektive 4 Claude Levi Strauss
Photocolloage C-Print
2 prints Installed in corner
Installation view Polysynthetische Doppelperspektive 1-4 Claude Levi- Strauss
The visual grammar and its double perspective (split representation) of Haida Gwai and Tlinglet Art (First Nation
Art) is re-collaged with a photograph of Pablo Picasso comparing Cubism (early Modernism) with First Nation Art
and questioning its similarities of double perspectives
10
Room 4 and 5
Room 4
11
Luicide List The museum as an imperial graveyard
C-Print
Colonial after effects of Luicide
Gips Metallkette Hose Schuh
12
No7
Mirror Split Representation Mirror framed and installed in the corner
Part 2 Room 6 and 8 Comparative Contemporary Art
4-channel sound installation
De-grammatical Listen to mp3 audio excerpts
13
Front
2 CT (shelfbenches) Acryl auf Pappelsperrholz
Back Pull Over Yukme Shirley Hall outside
14
Pull Over Yukme Shirley Hall inside
Fabric wall silk print by (Tlinglet Artist) Yukme Shirley Hall
Wo ist Elise Richter wo ist
id99149429 pdfMachine by Broadgun Software - a great PDF writer - a great PDF creator - httpwwwpdfmachinecom httpwwwbroadguncom
Im Arkadenhof der Universitaumlt Wien stehen 154 Buumlsten von bedeutenden Wissenschaftlern der
Universitaumlt Wien (1700-2005) Bedauerlicherweise findet sich unter ihnen keine einzige Frau Eine temporaumlre Buumlste einer anonymen Wissenschaftlerin soll die systematische Ausblendung von Frauen
aus der Universitaumltsgeschichte thematisieren Die offene Web- Plattform (wwweliserichterat) ermoumlglicht allen Benutzern aktiv an der Umschreibung der Universitaumltsgeschichte und an re-imaging Prozessen der Repraumlsentation dieser Buumlsten teilzunehmen Weiters wird die Verbindung von raceclassgender und einer akademischen Kariere in diesem Zusammenhang hinterfragt We can never really change any form of social organisation without challenging all that organisations forms of
language (Debord)
Within the patriarchal structures of the Arkadenhof at the University of Vienna stand 154 busts of important scientists (1700-2005) Unfortunately none of these busts are women Through the placement of a temporary bust of an anonymous female scientist it declares the absence of them within the history of the university As well the anonymous bust embodies the presence of important scientists who have not yet been given equal representation The open web-platform (wwweliserichterat) allows every user to participate in this discourse to re-write the history of the university and to re-image the representation of these busts through a wiki system
Skizze Buumlste einer anonymen Wissenschaftlerin
Mein Interesse besteht nicht darin zu recherchieren welche Buumlsten von Wissenschaftlerinnen im Arkadenhof fehlen sondern das Fehlen der Wissenschaftlerinnen im Zeitraum von 1700 bis 2005 aufzuzeigen und Strukturen fuumlr eine oumlffentliche Kommunikationsplattform zu schaffen In der Genderforschung besteht Konsens daruumlber dass Gender kein Merkmal von Individuen sondern das einer
Institution ist (Connell) zudem ein struktureller Bestandteil einer Gesellschaft ist und dass Gendernormen alle Organisationen durchdringen (Acker)
Grundriss Arkadenhof der Universitaumlt Wien Literatur Acker J (1990) Hierarchies Jobs Bodies A theory of gendered organizations In Gender and Society
Connell R (1998) Gender and Power Society the Person and Sexual Politics Stanford University Press Stanford CA Maisel T (1990) Die Denkmaumller im Arkadenhof der Universitaumlt Wien Biographische Skizzen Wien Quellen Denkmalsakten Archiv der Universitaumlt Wien
Veranstalter Open Mind Projekt Utopie Freiheit httpwwwopenmindat vereinopenmindat Projektautorin Elisabeth Penker elpenkergmxat Bronzeguss Walter Rom Wachsmodel Buumlste Elisabeth Penker Steinsockel Ausfuumlhrung Fa Zehmann Mario Jungbauer Mediendesign Gernot Tscherteu httpwwwrealitylabatwphome gtrealitylabat Techn Umsetzung Christian Langreiter Webpage wwweliserichterat
Elisabeth Penker- Franzengasse 13- 1050 Wien ++43 (0)699 197 193 53 elpenkergmxat
Elisabeth Penker Untitled instruments 1-3 2000-2012
Galerie Georg Kargl Wien Galerie Priestor Bratislava Kuumlnstlerhaus Wien Kibla New
Media Center Maribor HTTP Galerie London Secession Wien Mak Wien Roma
Contemporary Wien
Elisabeth Penker Untiled Instrument Galerie Georg Kargl Wien
Curated by Michael Hall
Elisabeth Penker Untitled instrument 2001 New Media Center Maribor
Elisabeth Penker Untitled instrument 2001 New Media Center Maribor
Elisabeth Penker Untitled instrument Kuumlnstlerhaus Wien curated by Ursula Maria Probst
Live Performance mit Celia Mare
Detail Die BILD_HAU_ER_IN Kuumlnstlerhaus Wien
Live Performance Flower Structure Wiener Festwochen
Elisabeth Penker (Untiled instrument) Van Angh (Cello) Tri Minh Electronics
Elisabeth Penker Live Performance Poetics of space Secession Wien
MAK Nail Structure GRizo Sweet Susie Elisabeth Penker
Elisabeth Penker HTTP Gallery London 2005 curated by Tobi Maier
Elisabeth Penker HTTP Gallery London Live Performance
Elisabeth Penker Untitled Instrument Sonic Structure Kunsthaus Graz curated by Adam Budak amp
Christine Peters
Videolinks
httpwwwyoutubecomusersoundart24
Interview with Video Festwochen
httpbturncom8753interview-elisabeth-penker
Kunsthaus Graz
Protections
Kuratoren Adam Budak und Christine Peters
Elisabeth Penker Poetics of Dead Space
For PROTECTIONS Elisabeth Penker developed a key-sound Poetics of Dead Space which is to a large extent a homage
to Gaston Bachelards seminal book Poetics of Space where the connections between the poetry and the spatial emotions
are analysed Penkers key-sound will guide the viewer through the exhibition mapping the overall identity of the show in
some way controlling the viewers (audio-narrative) route in the maze of art objects events situations but also spatial
voids and unused corners
Fuumlr PROTECTIONS entwickelte Elisabeth Penker einen leitmotivischen Key Sound Poetics of Dead Space der weitgehend
eine Hommage an Gaston Bachelards wegweisendes Buch Poetics of Space darstellt in dem die Verbindungen zwischen
Lyrik und raumlumlichen Emotionen analysiert werden Penkers Key Sound wird das Publikum durch die Ausstellung geleiten
die Identitaumlt der Schau in ihrer Gesamtheit erfassen und in gewisser Weise die (audio-narrative) Route des Publikums im
Labyrinth der Kunstgegenstaumlnde Ereignisse und Situationen aber auch raumlumlicher Leerstellen und ungenutzter Winkel
kontrollieren
A non linear composition 7 mono active speakers are placed through out the Kunsthaus Graz Speaker placement
1 outdoor (entrance) 2 (travelator) 3 (corner with column) 4 (corner with door) 5 (corner) 6 (travelator) 7 (corner with
window)
Poetics of Dead Space Let it grow again 28 51 sec mono
Source material for composition rain sound of dried beans dropping down wood sticks breathing hardly existing
id78338975 pdfMachine by Broadgun Software - a great PDF writer - a great PDF creator - httpwwwpdfmachinecom httpwwwbroadguncom
recording of extinct languages
Poetics of Dead Space Let it grow again 28 51 sec mono
Source material for composition rain sound of dried beans dropping down wood sticks existing recording of extinct
languages
Poetics of Dead Space travelator 1 1min 04 sec mono loop
Source material for composition staff falling down man falling down stairs rattern recording untitled instrument
Background existing recording of extinct languages
Poetics of Dead Space 496 1min 409 sec mono loop
Source material for composition recording untitled instrument Background existing recording of extinct languages
Poetics of Dead Space 129525 1min 4888 sec mono loop
Source material for composition recording untitled instrument Background existing recording of extinct languages
Poetics of Dead Space 129525 1min 4888 sec mono loop
Source material for composition keyboard recording untitled instrument Background existing recording of extinct
languages
Poetics of Dead Space travelator 2 1min 5209 sec mono loop
Source material for composition recording untitled instrument violin Background existing recording of extinct
languages
Poetics of Dead Space2152518125220 1min 3200 sec mono loop
Source material for composition recording untitled instrument Background existing recording of library of extinct
languages
Poetics of Dead Space travelator 1 1min 04 sec mono loop
viewing down from upstairs Source material for composition staff falling down man falling down stairs rattern
recording untitled instrument Background existing recording of extinct languages
Poetics of Dead Space Let it grow again 028 51 sec mono
Source material for composition rain sound of coins wood sticks existing recording of extinct languages
Elisabeth Penker is a Viennese artist and musician working with sound in a sculptural context In her (subjective) tour
Penker approaches the entire anti-exhibition PROTECTIONS from an angle of its position and significance in the context
of Sound Art as located on the crossway between visual arts language and music Starting from her own house turned
into First Nation Pavillion which amongst others aims at connecting the recent discourse on cultural translation with
early avant-garde phonetic experiments Penker maps the sonic structure of Kunsthaus Graz and its (live) architecture
which for PROTECTIONS hosts an array of interdisciplinary projects with a strong audio-quality from Herwig Weisers
Death Before Disco (a micro-architecture of hyper-technological and electronic pop) through a newly created choir of
security guards for Tim Etchells Wall of Sound down to a cacophonic layers of anonimous noise generated by the
space itself and the presence of audience
Die Wiener Kuumlnstlerin und Musikerin Elisabeth Penker arbeitet mit Klang im Zusammenhang mit Bildhauerei In ihrer
(subjektiven) Fuumlhrung naumlhert sie sich der Anti-Ausstellung PROTECTIONS aus einem Blickwinkel der die Position und
Bedeutung der Klangkunst an der Kreuzung zwischen bildender Kunst Sprache und Musik verortet Von ihrem eigenen
Haus ausgehend das sich in den First Nation Pavilion verwandelt hat der u a den aktuellen Diskurs uumlber kulturelle
Uumlbersetzung mit fruumlhen phonetischen Experimenten der Avantgarde verbinden soll entwirft Penker die klangliche
Struktur des Gutshauses und seiner (Live-)Architektur die fuumlr PROTECTIONS eine Reihe von interdisziplinaumlren Projekten
mit einer starken Affinitaumlt zum Klang beherbergt von Herwig Weisers Death Before Disco (eine Mikroarchitektur aus
hyper-technoidem und elektronischem Pop) uumlber einen neu formierten Chor bestehend aus Security Guards fuumlr Tim
Etchells Wall of Sound bis zu einer Kakophonie aus anonymen Geraumluschen die vom Raum selbst und der Anwesenheit
des Publikums erzeugt werden
052813
Local Warming ATHENS
052813
AFTER A YEARLONG HIATUS the eighteenth Art-Athina hit the ground running on the evening of Thursday May 16 and the former Olympic
ldquoTae Kwon Dordquo Pavilion was packed with enthusiastic party people The fair had a more national flavor than ever this year under its new
director Alexis Caniaris the son of recently deceased artist Vlassis Caniaris whose iconic modern work has recently found great success on the
international market Of the very few foreign galleries exhibiting most were Greek-owned The Breeder gallery was dealing with the perceived
drop in the market by selling fantastic multiples by artists like Stelios Faitakis Jannis Varelas and Andreas Angelidakis at crisis-appropriate
prices ldquoNobody wants to come here now but I have already met three interested billionaire collectors today And if Greeks like you they
introduce you to their billionaire friendsrdquo raved Cologne dealer Mirko Mayer a seven-time exhibitor ldquoThat is what nobody knows There are
at least one-hundred billionaires collecting hererdquo Most international collectors were delayed several hours due to a union strike a de r igueur
mode of arrival in contemporary Greece
It was impossible to miss the exuberant activities of the DaDa Da restaurant a Greek-Austrian collaboration where artist Albert Mayr was
waving a skillet and raving nonsense while Lucas Willmann tenderized pink fillets for Wiener schnitzel ldquoThis is Viennese Actionism lightrdquo
quipped critic Sotirios Bahtsetzis Artist Natasha Papadopoulos added ldquoBut here there are hungry Greeks waitingrdquo On a table with a rotating
Sacher tort by Heacutelegravene van Duijne a sign carried the overwhelming spirit FUCK ART LETrsquoS EAT SOUVLAKI An insistent electronic beat and
pulsating light emanated from the next booth the American College of Greecersquos ldquoAthensUrgentrdquo while hooded performer Manos Tsatiris
stood against the wall with his hands tied perhaps a metaphor for the current Athenian exigency ldquoThis is not the kind of art fair scene we are
used tordquo said the Economou Collectionrsquos Annie-Claire Geisinger watching the madness
Left Artists Elisabeth Penker Michela Pelusio Petros Touloudis Panos Papadopoulos and Nino Stelzl Right Collector Anne-Marie Ros
Down on the floor the dealers seemed pleased particularly given dismal expectations having already sold a great deal at the preview Young
Rotterdam-based gallery Joey Ramone had sold sculptures by Fotini Gouseti to English and Belgian collectors dealer Erik Mulier had also sold
some work to Belgians Marc Van den Hende said he had bought a triptych by Eirene Efstathiou and was considering a Vlassis Caniaris piece
from the 1970s ldquoI saw some surprisesmdashyoung Greek artists I did not knowmdashand great new galleries like Elika and CANrdquo Dutch collector
Anne-Marie Ros said By the end of the day Dimitra and Sofia Vamiali reported that they had not seen one Greek collector although another
reported a Dakis Joannou sighting mdash Cathryn Drake
SEARCH
ARTICLES
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SEATTLE
WEEKLY
in the News
Columnist
Geov Parrish
is a regular
guest on
Mind Over
Matters on
KEXP-FM
(903)
Saturdays at
830 am and
provides news
commentary
on KBCS-FM
(913) Fridays
at 430 pm
Catch writers
Steve
Wiecking Tim
Appelo and
ARTS
March 30 - April 5 2005
Picking Up the Thread
Howard House ties together the best new conceptual art from Vienna
by Elise Richman
Franz Wests Mercury
(Howard House Contemporary Art)
Theres a German expression to lose the red thread which means losing
ones train of thought In its current show Howard House has found that
thread Julie Ryan a curator artist and writer organized The Red
Thread Glimpses of International Art in Vienna a two-part exhibition
featuring artists working and living at least part time in Austrias capital
Part one of the show is at Howard House the second half is currently on
display at the Educational Alliance Gallery in New York
Vienna has become a magnet for artists from all over the world including
the 15 individuals and artist teams that are part of The Red Thread
Excellent artist residency programs a low cost of living and living art
legends like Franz West are just a few of the reasons
An artistic collaboration with West took Ryan from New York to Vienna
She knows Billy Howard who runs Howard House from the University of
Washingtons School of Art And so the figurative string was strung
connecting the East and West coasts with artists from across the Atlantic
This is a complex exhibit whose emotional tenor ranges from cool
detachment to an almost urgent earnestness Unlike the formal richly
historical city that connects them artists in The Red Thread favor informal
approaches to art making use disposable materials and comment on
contemporary cultural themes
West has two formidable sculptures at Howard House The front room of the
gallery features Mercury (pictured) an ungainly behemoth composed of a
patchwork of fused metal Like many of Wests sculptures Mercury is
meant as an interactive structure that viewers can climb and sit on Bulbous
Gavin
Borchert
discussing
theater film
and music
regularly on
classical
KING-FM
(981)
Mark Fiore
Cartoons
Every
Thursday
nodules extend from its horizontal base and the seams of the dark maroon
metal look like scars rendering it at once vaguely obscene and absurdly
playful
Sisyphus the other West sculpture on display is a bulky conglomeration of
bits and wads of paper propped in the back room on a makeshift plinth (base
block) Though its as solid as the boulder its title references its surface is
like oozing skin partly coated with poured murky paint partly cloaked in
small clumps of newspaper detritus
The strenuous act of making each of these sculptures is eminently apparent
and central to the content of Wests work West considers creation a
symbolic act As you might expect he likens the artistic process to the plight
of Sisyphus the mythological figure who eternally rolled a boulder up a hill
only to have it come crashing back down For West art involves a
Sisyphean search for what he calls the absolute through the seemingly
senseless accumulation of materials However unlike Sisyphus futile quest
Wests process can lead to epiphany making sense of the senseless
Similarly Viennese artist Elisabeth Penkers art serves a facilitative
function easing the act of translation Penker uses Haida iconography in her
multimedia work because it provides potent visual symbols that
communicate single words and whole sentences simultaneously Her prints
at Howard House feature fragments of icons floating in the papers white
space They are spare visually arresting characters that employ an
iconographic language as encoded symbols of communication
Also featured in The Red Thread is Donald Baechler an internationally
known American painter who spends extended periods of time in Vienna
Baechler equalizes his imagery by painting it all in the same style For him
the source of an image doesnt matter whether its a drawing by Picasso or
graffiti on a bathroom wall What matters is the newfound context his
paintings provide
Victory by Default is part of Baechlers Skull series In this piece a painted
skull gapes from the dirty yet sensuous confines of a large canvas Terry
cloth and wrinkled rags provide literal texture and reference the world
outside the paintings boundaries Splatterings of color around the skull like
the self-conscious marks of Jasper Johns seem to express the language of
paintingmdashhue and gestural strokesmdashin a factual rather than illusional
manner
Another American painter Lisa Ruyter lives half-time in Vienna where she
runs an influential gallery She works from photographs projected onto
large-scale canvases tracing the contours of the projected imagery with
consistent black outlines In a way that seems arbitrary she paints the shapes
formed by her contour lines in flat designer colors Man of Means based on
a photo of fashion photographers looks like a scrambled color-by-numbers
painting I cant do justice to the unusually rich assortment of conceptual art
in The Red Thread Youll just have to see it for yourself Thomas
Baumans thrashing triangular foil blanket Walter Seidls slide show of
staged snapshots Markus Schinwalds photograph of a contortionist and the
other thoughtful works connected by The Red Thread
The Red Thread Glimpses of International Art in Vienna runs through
April 30 at Howard House 604 Second Ave 206- 256-6399 1030 amndash5
pm TuesndashSat Free
KUNSTFORUM
Parallelwelten fuumlr Parlamentarier Ausstellung
Von Brigitte Borchhardt-Birbaumer
Ende Oktober endet die Zusammenarbeit von Nationalratspraumlsident Andreas Khol und Peter Pakesch Direktor des Kunsthauses Graz am Joanneum Seit 2003
hatte Pakesch als Kurator mehrere Ausstellungen in den Sitzungssaumllen des Parlaments in Zusammenarbeit mit Galerien initiiert und namhafte Positionen
ausgewaumlhlt Kriterium fuumlr Praumlsentationen war die Praumlsenz durch eine Schau in einer der bekannten Kunstinstitutionen des Landes Nach Eva Schlegel Adriana
Czernin Maria Lassnig oder Esther Stocker sind dies nun bis April 2007 Josef Dabernig Daniel Hafner Ulrike Lienbacher Alois Mosbacher und Elisabeth
Penker
Das Parlament kann dabei durch die Margaretha-Lupac Stiftung immer eine Arbeit fuumlr die wachsende Sammlung des Hauses ankaufen Zuletzt war das ein
groszliges Oumll-Acryl-Gemaumllde der Georg-Eisler-Preistraumlgerin Maja Vukoje zuvor Johanna Kandl deren Temperabild derzeit an das Lentos in Linz geliehen wird
Einige Werke haumlngen schon als kuumlnstlerische Wegweiser in den Gaumlngen des Hauses und sind auch Blickfang fuumlr die 120000 Besucher die pro Jahr das
Parlament besuchen In die Architektur von Theophil Hansen mit ihrer zeitlosen Qualitaumlt fuumlgt sich die Gegenwartskunst kongenial
Hoffnung fuumlr spaumlter
Die derzeitige Zusammenstellung macht Hoffnung auf eine Fortsetzung unter der naumlchsten Praumlsidentschaft Fotografie Computerkunst Malerei Zeichnung
und Skulptur weisen auf die Vielfalt der Werkstoffe in der Gegenwartskunst Elisabeth Penker parallel im Kunsthaus Graz zu sehen baut schwarzweiszlige
Objekte aus bemaltem Holz die in ihrer seriellen und geometrischen Anordnung auf Bezuumlge zum Performativen und auf die Musik hinweisen
Noch juumlnger ist Daniel Hafner mit seinen am Computer komponierten digitalen Drucken Morphosentransformationen von 2006 Linienraster und
Raumkonstruktionen in subtiler Farbigkeit verbinden Tendenzen der fruumlhen Op-Art mit dem Cyber-Lab
Um konstruierte Realitaumlten geht es auch in den groszligformatigen Oumllbildern von Alois Mosbacher dem bekannten Vertreter der Neuen Wilden der
Achtzigerjahre in Oumlsterreich Wanderer in Wald und Wiese erzaumlhlen die Geschichten alternativer Welten die sich mancher in der Gesellschaft als Parallele
konstruiert
Zwei Fotofriese von Josef Dabernig bilden jeweils ein Panorama von oumlffentlichen Plaumltzen auf denen es zum einen um Fuszligball geht Zum anderen ist der
Rundblick in das Oval einer scheinbaren Arena auch eine Art Sehschule fuumlr die Betrachter Ein sozialer Befund ist die dritte Bedeutungsebene
Ulrike Lienbacher die heuer mit einer groszligen Schau im Innsbrucker Taxispalais ihre Karriere fortsetzt ist mit ihren feinlinigen Tuschezeichnungen den kleinen
oft unsichtbaren Zwaumlngen in unserer Gesellschaft auf der Spur Im Lokal II des Parlaments stellt sie zwar nicht ihre Objekte und Fotos aber einige
groszligformatige Blaumltter mit Frisurenvariationen neben teils fragmentierten Frauenkoumlrpern im Umgang mit Schmutz und Hygiene aber auch Fitnesskult aus
Disziplinierung und Kontrolle betreffen in der Oumlffentlichkeit besonders den weiblichen Koumlrper Sauberkeitsmechanismen weisen auch auf Vorstellungen von
wertvoll und minderwertig hin Ihre Transformationen enthalten wie die Themen der anderen subtile Kritik und sind daher vom Kurator uumlberlegt positioniert
Zeitgenoumlssische Kunst
im Parlament
Bis April 2007
Kurator Peter Pakesch
Konfrontationen
Dienstag 10 Oktober 2006
ltlt 2003 | 2004 Jan Feb Mar Apr May Jun Jul Aug Sep Oct Nov Dec 2004 | 2005 gtgt
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31
Sunday 17 October 2004
TIME
TITLE
NAME
700 Indymedia ESF breakfast show Indymedia London
Highlights news and views from the European Social Forum and the
autonomous spaces and initiatives taking place this week
website
800 Resonance Radio Art Riot Breakfast International
Radio Art
A five part special of the Harmon E Phraisyar show commissioned for
Kunstradio in Austria starts off the morning broadcast of international radio
art
website
1100 Resonance Live from the Frieze Art Fair Anna Colin amp
Tobi Maier
1100 Chris Weaver Resonance 1044FM live electronics set with James Dunn and
Robin Warren
1130 Michael Hall gallery Vienna presents audio works by artist Elisabeth Penker
1200 Maria Fusco presents latest the Bookworks commissions
1300 The Psychology of Collecting live broadcast of the frieze art fair panel
discussion
Is collecting an irrational act guided by compulsion and desire What are the use of
objects What are the motivations behind making collecting curating and
criticizing art A discussion of the psychology of collecting and the politics of taste
Hilary Rubenstein (Psychologist)
Eric Troncy (Art Critic and Director Le Consortium Dijon)
Haim Steinbach (Artist)
Chair Alice Rawsthorn (Director Design Museum)
1500 Portable live set and presentation of sudelectronic records London
1600 Where is Adventure What is Culture live broadcast of the frieze art fair
website
panel discussion
A discussion of the relationship of art to entertainment touching on the comedic
being popular and failing miserably
Trisha Donnelly (Artist)
Christian Jankowski (Artist)
David Robbins (Writer amp Artist)
Nancy Spector (Curator of Contemporary Art Solomon R Guggenheim Museum)
Chair Matthew Higgs (Curator CCA Wattis Institute for Contemporary Arts)
1800 Melissa Bent from Rivington Arms gallery New York in conversation with
artist Dan Colan and Tobi Maier Anna Colin
1830 VOX pop recordings from the fair with Sharon Gal
1900 Resonance Radio Art Riot Sarah
Washington
The Resonance Radio Art Riot brings together some of the foremost radio artists
and thinkers from around the world The studio lab situation will feature round
table discussions live performances and streamed events
Tonight Radio Text
Events Live broadcast from Sonic Arts Network Resonance benefit featuring
Henri Chopin studio performances from Julia Lee Barclay and Aude Tournay plus
Special Features None present live concrete radiophonics - Planning For
Emergencies
Guests include Clive Graham Chris Weaver Richard Thomas Toby Clarkson
John Lovett Robin Warren and James Dunn
Topics The word as art Sound poetry text performances
At Midnight Tom Wallace present exclusive excerpts from radio art pioneer
Gregory Whitehead
website
000 Resonance Radio Art Riot Nights International
Radio Art
The Resonance Radio Art riot continues throughout the night with the finest of
international radio art Resonance FM programme makers and our international
guests have put together many special hours of classic and obscure radio
works
website
- EPenkerDocumentationpdf
-
- 2bAusstellungenPublicaSpaceEPenkerpdf
-
- 2cUntitled_InstrumentsKunsthausGrazEPenker
- 2bpoeticsKunsthaus GrazEPenker
-
- 4PresseEPenkerpdf
-
- 4Review_Seattle Weekly
-
Elisabeth PenkerFerdinand Penker at Galerie Charim curated by Michael Scott Hall
Elisabeth PenkerFerdinand Penker at Galerie Charim curated by Michael Scott Hall
Elisabeth PenkerFerdinand Penker Galerie Charim curated by Michael Scott Hall
Elisabeth PenkerFerdinand Penker Galerie Charim curated by Michael Scott Hall
Elisabeth PenkerFerdinand Penker Galerie Charim curated by Michael Scott Hall
Elisabeth Penkerinstallation View Gallery 400 Chicago (left bdquoSplit Representation Ferdinand de Saussure (Green)ldquo right bdquoSplit Representation Walter Benjamin (Blue)ldquo 2013
Elisabeth Penkerinstallation View Gallery 400 Chicago left bdquoSplit Reprersentation Walter Benjamin (Blue)ldquo right bdquoSplit Represntation Frantz Fanon (Copper)ldquo 2013
Elisabeth Penkerinstallation View ReMap4 at Camp (Athens) 2013 Ferdinand de Saussure (Blue)
ELISABETH PENKER ldquoVienna calling comparative contemporary artrdquo LOG-IN amp VORRAUM GALERIE NAumlCHST ST STEPHAN ROSEMARIE SCHWARZWAumlLDER Elisabeth Penkers Skulpturen und Audiofilme sind seit 1998 im Bereich von Comparative Art und Sound Art verankert und untersuchen anhand von Sprachmorphologie die Verbindungen zur musikalischen und visuellen Grammatik In Elisabeth Penkers Ausstellung bdquoVienna calling comparative contemporary artrdquo ist der Titel in
Zusammenhang mit der Sprachmorphologie von Wiener Museen lesbar Penkers gezeigte Skulpturen vergleichen visuellelinguistische und musikalische Grammatiken (z B Moderne Kunst und First Nations Art) und verwenden die Ergebnisse als Ausgangsstruktur fuumlr die jeweilige Komposition Ihre Collagen Fotografien Diagramme und Zeichnungen sind erweiterte Fragestellungen ihrer Skulpturen Elisabeth Penker hat in Tonstudios in London und Chicago gearbeitet und seit 2000 eine Serie von Musikinstrumenten entwickelt die die Aufnahme-Methode von Jack Foley verwenden Exzerpte ihrer Multi-
Channel-Kompositionen wurden von Resonance 1044 fm (London) gesendet Weiters ist ein Text von Elisabeth Penker uumlber Sound Art im Resonance Magazine Supplement Juni 2006 erschienen Ein Video und eine Focus -Group wurde gemeinsam mit FOGO Lab bei der Documenta 12 gezeigt und war Teil des Documenta-12-Beitrages von Ricardo Basbaum
Ausstellungen siehe wwwschwarzwaelderat -gt LOGIN ELISABETH PENKER
Comparative Art is an academic discipline in the context of art histories The sculptures audio-films (sound
pieces) and the photographs (expanded sculpture) represent different 3rd 4th -dimensional by documenting
different cultural and spatial notions of perspective through usage of collaged andor spliced structural
compositionalformal structures Structural overlaps between visual artlanguagemusic are considered
Poetics of Dead Space 2 2009-2010
2 Kanaumlle einer 8-Kanal-Composition mono
Metallstativ Speaker Yamaha MSP3 CD-Player
H 133 cm
Ed 13
The non-linear 8-channel composition ldquoPoetics of Dead Space 2rdquo introduces polysynthetic language morphology
combined by the melody which is composed from pre-existing recordings of extinct languages and Penker‟s self-
made instrument ldquoUntitled Instrument sonic structurerdquo (see PDF and related essay written by E Penker at
Resonance fm Magazine upon request at Galerie naumlchst St Stephan)
The channel which is upstairs installed uses an existing wall as an acoustic filter and introduced sub-
consciousness polysynthetic language morphology into the gallery space The title refers to the book poetic of
space within unused architectural situations of exhibition spaces bdquo A Blind Spot (dead angle - Toter Winkel) has a
different meaning in terms of acoustics and cannot be compared with the visual context where blind spot is used
primarily in conversations
In musicsound production in film the visual blind spot is used very often by hearing a bike roller plane without
seeing it In everyday life we are used and depending by acoustic blind spots for our orientation of the situation
and space we are in at the moment Architectural acoustic issues play an important role during the time of the
composition ldquoPoetic of Dead Space 2rdquo is a context specific composition and deals with polysynthetic language
morphology recordings of the untitled instrument Sonic structure and acoustic exhibition architecture besides
issues which are depending of the unused architecture and their acoustics
First Nations Pavillon
Polysynthetische Doppelperspektive Claude Levi-Strauss 2006
Fotocollage C-Print gerahmter Spiegel
6-teilig
3 x 405 x 305 cm
2 x 245 x 305 cm
1 x 605 x 485 cm
Ed23 + 2 AP
A framed mirror from ldquoFirst Nations Pavilionrdquo is placed in the corner of the log-in space to place the viewer physically in the space cutting the reflection of the gaze as well mirrors a profile view of the installed
photographs The photo-series relates to polysynthetic language morphology (of the Inuit First Nations Maori and Caduveo Indians) and translates within the photographic image their structural common visual grammar Because they would create a frontal view which was made out of 2 (split) profile views thereby creating a 4-dimensional perspective that anticipatedparallels Cubism who later presented multiple perspectives within one image which intended to represent movement through time and space Specific references are in the related pdf upon request
at Galerie naumlchst St Stephan
Log [Baumstamm] 2010
Archivierung der Raumfarbe
Split Representation
Claude Levi-Strauss 2009
C-Print
5-teilig je 245 x 305 cm
Ed15 + 2 AP
The camera positions of a right angle mirror bdquoSplit Representationrdquo were chosen by E Penker in the way that the
flash is not in the image the photos are made utilizing a right angle mirror which both fragments and reflects the
image creating multiple or a split perspective EP
Bench-Shelf 2003
Acryl auf Pappelsperrholz
46 x 151 x 42 cm
The bench which is the earliest work in the exhibition mirrors the bottom and the top seating elements thereby
giving the object an asymmetrical appearance The bench-shelf was originally designed for a video archive was
later used by museum staff (in Porto) as gallery furniture
composition (or view) Numerous contemporary artists eg Donald Judd have related the ShakersAmish radical functionalism to their sculptural practice
Poetics of Dead Space 2 2009-2010
2 Kanaumlle einer 8-Kanal-Composition mono
Metallstativ Speaker Yamaha MSP3 CD-Player
H 133 cm
Ed 13
The non-linear 8-channel composition ldquoPoetics of Dead Space 2rdquo introduces polysynthetic language morphology
combined by the melody which is composed from pre-existing recordings of extinct languages and Penker‟s self-
made instrument ldquoUntitled Instrument sonic structurerdquo (see PDF and re lated essay written by E Penker at
Resonance fm Magazine upon request at Galerie naumlchst St Stephan)
The channel which is upstairs installed uses an existing wall as an acoustic filter and introduced sub-
consciousness polysynthetic language morphology into the gallery space The title refers to the book poetic of
space within unused architectural situations of exhibition spaces bdquo A Blind Spot (dead angle - Toter Winkel) has a
different meaning in terms of acoustics and cannot be compared with the visual context where blind spot is used
primarily in conversations
In musicsound production in film the visual blind spot is used very often by hearing a bike roller plane without
seeing it In everyday life we are used and depending by acoustic blind spots for our orientation of the situation
and space we are in at the moment Architectural acoustic issues play an important role during the time of the
composition ldquoPoetic of Dead Space 2rdquo is a context specific composition and deals with polysynthetic language
morphology recordings of the untitled instrument Sonic structure and acoustic exhibition architecture besides
issues which are depending of the unused architecture and their acoustics
Galerie naumlchst St Stephan
Aneta Grzeszykowska Elisabeth Penker
220110 bis 060310 Auf den Spuren gesellschaftlicher
Ordnungssysteme
Die beiden Ausstellungen von Aneta Grzeszykowska in den Galerieraumlumen
und Elisabeth Penker im Projektraum bdquoLOGINldquo sprechen unterschiedliche
Sprachen Momente der Beruumlhrung ergeben sich lediglich durch die
Auseinandersetzung der beiden Kuumlnstlerinnen mit Systembildungen und
gesellschaftlich bedingten Agglomerationen von Bedeutungen Waumlhrend der
Blick der in Warschau lebenden Kuumlnstlerin Aneta Grzeszykowska
psychologisch und kulturell bestimmt ist laumlsst sich das Verfahren der in
Wien und Rom lebenden Elisabeth Penker als ethnografisch und linguistisch
fundiert umschreiben Im Nebeneinander der beiden Positionen bilden sich
schaumlrfende Kontraste
Aneta Grzeszykowskas Interesse gilt dem Privaten in verschiedenen
visuellen Uumlbersetzungen Etwa kartografierte sie mit dem Warschauer
Kuumlnstler Jan Smaga in einer Fotoserie Wohnungen aus der Vogelperspektive
um eine intime Geschichte der Stadt uumlber die Anordnung von Raumlumen
Moumlbeln und Gebrauchsgegenstaumlnden zu erstellen Nun begibt sie sich mit
dem Film bdquoBirthdayldquo auf die Ebene fruumlhkindlicher Begegnungen mit dem
Unheimlichen Gedreht wurde er in der Art privater Dokumentationen zur
Feier des eigenen Nachwuchses anlaumlsslich eines Kindergeburtstags Durch
kommentierende Eingriffe wie die Animation sonst unbeweglicher
Gegenstaumlnde uumlbt die Kuumlnstlerin Kritik an den Konventionen und betont so
das Monstroumlse solcher Ereignisse In der Doppelboumldigkeit von inszenierter
Kindheit und Abgruumlndigem ist auch eine Reihe monochromer dunkler
Figurinen aus Stoff angesiedelt Dass diese bekleidet sind wie
Grzeszykowska in ihrer Kindheit verweist auf Versuche Dramatisches uumlber
die aumlsthetische Formalisierung zu bearbeiten Eine Fotografie mit dem durch
die Hand Grzeszykowskas unabsichtlich verletztem Auge ihres kleinen
Bruders und eine maumlrchenhaft anmutende Reliefskulptur mit einem Maumldchen
auf einem Hund aus stacheligen Distelbluumlten erzaumlhlen davon
Tiefenbohrungen zum Kern semantischer Ordnungen unternimmt dagegen
Elisabeth Penker im Kontext der Ausstellungsserie LOGIN in einem
ehemaligen Geschaumlftslokal und im Foyer der Galerie selbst Bekannt ist die
Kuumlnstlerin und Musikerin Elisabeth Penker etwa durch ihre Intervention im
Arkadenhof der Universitaumlt Wien mit einer Buumlste der oumlsterreichischen
Romanistin und ersten Universitaumltsprofessorin Elise Richter Diese leite das
phonetische Institut bis zu ihrer Deportation ins Ghetto Theresienstadt durch
die Nationalsozialisten und war in der patriarchalischen Ordnung der
steinernen Koumlpfe der Universitaumlt ndash ebenso wie die Leistungen von Frauen
generell ndash bis dahin kein Thema gewesen In der Ausstellung bdquoProtectionsldquo
im Kunsthaus Graz thematisierte Penker mit ihrem bdquoFirst Nation Pavillonldquo die Hegemonie des durch den
Kolonialismus gepraumlgten Blicks auf auszligereuropaumlische Gesellschaften
Stets sind ihre Annaumlherungen auf die Generierung von Bedeutungen im Sinne von Grammatiken
ausgerichtet Dementsprechend leitmotivisch fungiert ein Portraumlt des kuumlrzlich verstorbenen Ethnologen
Claude Leacutevi-Strauss in der Rauminstallation mit integrierter Soundkomposition Die gespiegelte und
mehrfach aufgefaumlcherte Fotografie von Leacutevi-Strauss in bdquopolysynthetischer Doppelperspektiverdquo laumlsst sich
als Verschneidung von Sprachlichem Klanglichen und Visuellen lesen
Eine Archaumlologie im Feld der Linguistik wie auf Materialebene fuumlhrt die Signifikanten auf engstem Raum
zusammen Triviale Vierkanthoumllzer beispielsweise wurden in genau jenen Farben lackiert die Penker als
uumlbereinander gelagerte Sedimente unter der Dispersion der Waumlnde freilegte Die laumlnglichen Houmllzer
beziehen sich auf den englischen Ausdruck bdquologldquo fuumlr Stamm und somit auch auf die Ausstellungsreihe der
Galerie Bemerkenswert dass ein Wort das bloszlig aus einem Morphem besteht einen Gegenstand
repraumlsentiert So baut sich uumlber eine Reihe weiterer Objekte wie etwa den bdquoHanging Chairsldquo aus dem
Fundus der Galerie ein elementares Netzwerk von Bezuumlgen auf Mit ihren Werken und abstrakten Sound-
Kompositionen dringt Elisabeth Penker kritisch forschend in die Makrobereiche von Grammatiken vor um
Potentiale semantischer Anbindungen in Nachbarsystemen freizulegen Roland Schoumlny
Elisabeth Penker Einzelausstellung MAK CAT TOWER Kurtaiert von Andreas Kristof
ldquoPassive Orchestrardquo 2008 8-Channel-Toninstallation Die Interpretation von Soundart sieht Penker in der Uumlberschneidung von Sprache-visueller Kunst und Musik und ist zumeist mit einer visuellen raumlumlichen Komponente verbunden Der Betrachter und Zuhoumlrer befindet sich in
einer Konzert-Situation statt Instrumenten sieht er nur Lautsprecher die auf unterschiedlichen Houmlhen auf einer grauen Wand positioniert sind Passiv Orchestra beruht in der Struktur auf die grammatische Einteilungen von Sprachen die in phonetische Minimaleinheiten dekonstruiert sind und wird uumlber eine Mehrkanal Matrix gespielt Elisabeth Penker referiert in dieser eigens fuumlr den Flakturm konzipierten Arbeit auf dadaistische Methoden der Sprachdekodierung die auch als ein klares Anti-Kriegs-Statement zu verstehen waren
1
Kunsthaus Graz
Protections
Kuratoren Adam Budak und Christine Peters
Elisabeth Penker
First Nation Pavilion
Der First Nation Pavilion von Elisabeth Penker unternimmt den Versuch einen Bereich fuumlr ein koloniales
Bewusstsein der europaumlischen Vergangenheit zu schaffen und einen utopischen Raum fuumlr neue Vorstellungen
von einer Mannigfaltigkeit an kulturellen Formen in der zeitgenoumlssischen Kunst Die Komposition de-
grammatical ein Bestandteil des First Nation Pavilion beruht in ihrer Struktur auf den grammatischen
Einteilungen der Sprachen die in phonetische Minimaleinheiten dekonstruiert sind und wird uumlber eine
nichtlineare 5-Kanal-Matrix gespielt
Penker untersucht moumlgliche Uumlberschneidungen zwischen der Sprache der Musik und der Bildstruktur wobei ihr
Hauptaugenmerk polysynthetischen Sprachen (First Nations und Pazifische Inseln) gilt sowie dem Vergleich
zwischen der Kunst von First Nations und der Modernen Kunst Erst in juumlngerer Zeit in der Aumlra des
Postkolonialismus hat der Diskurs der kulturellen Uumlbersetzung Fragen aufgeworfen mit denen man sich schon
in den phonetischen Experimenten des Dadaismus in den 1910er und 1920er Jahren beschaumlftigt hatte sowie
spaumlter in der Konzeptkunst der 1960er und 70er Jahre
Elisabeth Penker
First Nation Pavilion
The First Nation Pavilion by Elisabeth Penker attempts to set-up an area for colonial consciousness of the
European past and a utopic space for re-imagining a plurality of cultural forms in contemporary art The
composition entitled de-grammatical contained within the First Nation Pavilion is structurally-based on the
grammatical classifications of languages deconstructed into minimal phonetic units played within a non-linear
5-channel matrix
Penker is questioning the possible overlaps between music-language and visual structure within the primary
focus on polysynthetic languages (First Nation and Pacific Islands) and First Nation Art compared to Modern Art
More recently in the age of post-colonialism the discourse of cultural translation is arising questions that have
also been experimented by the Dadaists phonetic experiments in the 1910-20s and later in Concept Art of the
1960s-70s Text Adam Budak
Michael Elmgreen amp Ingar Dragset (the work of two other invited artists) offered Penker a typical prefabricated
house as her exhibition space within the Kunsthaus
id31403916 pdfMachine by Broadgun Software - a great PDF writer - a great PDF creator - httpwwwpdfmachinecom httpwwwbroadguncom
2
Elisabeth Penker Fisrt Nations Pavilion 2006
Change of floor plan of the prefabricated house by Michael Elmgreen amp Ingar Dragset
Entrance door Fisrt Nations Pavilion
3
Part 1 Colonial Conciseness in visual art
Room 1 and 3 Modernism=Imperialism after Henry Flynt Demolish serious culture
Woman as a the last Colony Rosa Luxenburg Veronika Bennholdt-
Thomsen Claudia von Werlhof und Maria Mies
4
Vinyl letters C-Print
5
6
Polysynthetische Doppelperspektive 1 Claude Levi- Strauss
Photocolloage C-Print
7
Polysynthetische Doppelperspektive 2 Claude Levi-Strauss
Photocolloage C-Print
9
Polysynthetische Doppelperspektive 4 Claude Levi Strauss
Photocolloage C-Print
2 prints Installed in corner
Installation view Polysynthetische Doppelperspektive 1-4 Claude Levi- Strauss
The visual grammar and its double perspective (split representation) of Haida Gwai and Tlinglet Art (First Nation
Art) is re-collaged with a photograph of Pablo Picasso comparing Cubism (early Modernism) with First Nation Art
and questioning its similarities of double perspectives
10
Room 4 and 5
Room 4
11
Luicide List The museum as an imperial graveyard
C-Print
Colonial after effects of Luicide
Gips Metallkette Hose Schuh
12
No7
Mirror Split Representation Mirror framed and installed in the corner
Part 2 Room 6 and 8 Comparative Contemporary Art
4-channel sound installation
De-grammatical Listen to mp3 audio excerpts
13
Front
2 CT (shelfbenches) Acryl auf Pappelsperrholz
Back Pull Over Yukme Shirley Hall outside
14
Pull Over Yukme Shirley Hall inside
Fabric wall silk print by (Tlinglet Artist) Yukme Shirley Hall
Wo ist Elise Richter wo ist
id99149429 pdfMachine by Broadgun Software - a great PDF writer - a great PDF creator - httpwwwpdfmachinecom httpwwwbroadguncom
Im Arkadenhof der Universitaumlt Wien stehen 154 Buumlsten von bedeutenden Wissenschaftlern der
Universitaumlt Wien (1700-2005) Bedauerlicherweise findet sich unter ihnen keine einzige Frau Eine temporaumlre Buumlste einer anonymen Wissenschaftlerin soll die systematische Ausblendung von Frauen
aus der Universitaumltsgeschichte thematisieren Die offene Web- Plattform (wwweliserichterat) ermoumlglicht allen Benutzern aktiv an der Umschreibung der Universitaumltsgeschichte und an re-imaging Prozessen der Repraumlsentation dieser Buumlsten teilzunehmen Weiters wird die Verbindung von raceclassgender und einer akademischen Kariere in diesem Zusammenhang hinterfragt We can never really change any form of social organisation without challenging all that organisations forms of
language (Debord)
Within the patriarchal structures of the Arkadenhof at the University of Vienna stand 154 busts of important scientists (1700-2005) Unfortunately none of these busts are women Through the placement of a temporary bust of an anonymous female scientist it declares the absence of them within the history of the university As well the anonymous bust embodies the presence of important scientists who have not yet been given equal representation The open web-platform (wwweliserichterat) allows every user to participate in this discourse to re-write the history of the university and to re-image the representation of these busts through a wiki system
Skizze Buumlste einer anonymen Wissenschaftlerin
Mein Interesse besteht nicht darin zu recherchieren welche Buumlsten von Wissenschaftlerinnen im Arkadenhof fehlen sondern das Fehlen der Wissenschaftlerinnen im Zeitraum von 1700 bis 2005 aufzuzeigen und Strukturen fuumlr eine oumlffentliche Kommunikationsplattform zu schaffen In der Genderforschung besteht Konsens daruumlber dass Gender kein Merkmal von Individuen sondern das einer
Institution ist (Connell) zudem ein struktureller Bestandteil einer Gesellschaft ist und dass Gendernormen alle Organisationen durchdringen (Acker)
Grundriss Arkadenhof der Universitaumlt Wien Literatur Acker J (1990) Hierarchies Jobs Bodies A theory of gendered organizations In Gender and Society
Connell R (1998) Gender and Power Society the Person and Sexual Politics Stanford University Press Stanford CA Maisel T (1990) Die Denkmaumller im Arkadenhof der Universitaumlt Wien Biographische Skizzen Wien Quellen Denkmalsakten Archiv der Universitaumlt Wien
Veranstalter Open Mind Projekt Utopie Freiheit httpwwwopenmindat vereinopenmindat Projektautorin Elisabeth Penker elpenkergmxat Bronzeguss Walter Rom Wachsmodel Buumlste Elisabeth Penker Steinsockel Ausfuumlhrung Fa Zehmann Mario Jungbauer Mediendesign Gernot Tscherteu httpwwwrealitylabatwphome gtrealitylabat Techn Umsetzung Christian Langreiter Webpage wwweliserichterat
Elisabeth Penker- Franzengasse 13- 1050 Wien ++43 (0)699 197 193 53 elpenkergmxat
Elisabeth Penker Untitled instruments 1-3 2000-2012
Galerie Georg Kargl Wien Galerie Priestor Bratislava Kuumlnstlerhaus Wien Kibla New
Media Center Maribor HTTP Galerie London Secession Wien Mak Wien Roma
Contemporary Wien
Elisabeth Penker Untiled Instrument Galerie Georg Kargl Wien
Curated by Michael Hall
Elisabeth Penker Untitled instrument 2001 New Media Center Maribor
Elisabeth Penker Untitled instrument 2001 New Media Center Maribor
Elisabeth Penker Untitled instrument Kuumlnstlerhaus Wien curated by Ursula Maria Probst
Live Performance mit Celia Mare
Detail Die BILD_HAU_ER_IN Kuumlnstlerhaus Wien
Live Performance Flower Structure Wiener Festwochen
Elisabeth Penker (Untiled instrument) Van Angh (Cello) Tri Minh Electronics
Elisabeth Penker Live Performance Poetics of space Secession Wien
MAK Nail Structure GRizo Sweet Susie Elisabeth Penker
Elisabeth Penker HTTP Gallery London 2005 curated by Tobi Maier
Elisabeth Penker HTTP Gallery London Live Performance
Elisabeth Penker Untitled Instrument Sonic Structure Kunsthaus Graz curated by Adam Budak amp
Christine Peters
Videolinks
httpwwwyoutubecomusersoundart24
Interview with Video Festwochen
httpbturncom8753interview-elisabeth-penker
Kunsthaus Graz
Protections
Kuratoren Adam Budak und Christine Peters
Elisabeth Penker Poetics of Dead Space
For PROTECTIONS Elisabeth Penker developed a key-sound Poetics of Dead Space which is to a large extent a homage
to Gaston Bachelards seminal book Poetics of Space where the connections between the poetry and the spatial emotions
are analysed Penkers key-sound will guide the viewer through the exhibition mapping the overall identity of the show in
some way controlling the viewers (audio-narrative) route in the maze of art objects events situations but also spatial
voids and unused corners
Fuumlr PROTECTIONS entwickelte Elisabeth Penker einen leitmotivischen Key Sound Poetics of Dead Space der weitgehend
eine Hommage an Gaston Bachelards wegweisendes Buch Poetics of Space darstellt in dem die Verbindungen zwischen
Lyrik und raumlumlichen Emotionen analysiert werden Penkers Key Sound wird das Publikum durch die Ausstellung geleiten
die Identitaumlt der Schau in ihrer Gesamtheit erfassen und in gewisser Weise die (audio-narrative) Route des Publikums im
Labyrinth der Kunstgegenstaumlnde Ereignisse und Situationen aber auch raumlumlicher Leerstellen und ungenutzter Winkel
kontrollieren
A non linear composition 7 mono active speakers are placed through out the Kunsthaus Graz Speaker placement
1 outdoor (entrance) 2 (travelator) 3 (corner with column) 4 (corner with door) 5 (corner) 6 (travelator) 7 (corner with
window)
Poetics of Dead Space Let it grow again 28 51 sec mono
Source material for composition rain sound of dried beans dropping down wood sticks breathing hardly existing
id78338975 pdfMachine by Broadgun Software - a great PDF writer - a great PDF creator - httpwwwpdfmachinecom httpwwwbroadguncom
recording of extinct languages
Poetics of Dead Space Let it grow again 28 51 sec mono
Source material for composition rain sound of dried beans dropping down wood sticks existing recording of extinct
languages
Poetics of Dead Space travelator 1 1min 04 sec mono loop
Source material for composition staff falling down man falling down stairs rattern recording untitled instrument
Background existing recording of extinct languages
Poetics of Dead Space 496 1min 409 sec mono loop
Source material for composition recording untitled instrument Background existing recording of extinct languages
Poetics of Dead Space 129525 1min 4888 sec mono loop
Source material for composition recording untitled instrument Background existing recording of extinct languages
Poetics of Dead Space 129525 1min 4888 sec mono loop
Source material for composition keyboard recording untitled instrument Background existing recording of extinct
languages
Poetics of Dead Space travelator 2 1min 5209 sec mono loop
Source material for composition recording untitled instrument violin Background existing recording of extinct
languages
Poetics of Dead Space2152518125220 1min 3200 sec mono loop
Source material for composition recording untitled instrument Background existing recording of library of extinct
languages
Poetics of Dead Space travelator 1 1min 04 sec mono loop
viewing down from upstairs Source material for composition staff falling down man falling down stairs rattern
recording untitled instrument Background existing recording of extinct languages
Poetics of Dead Space Let it grow again 028 51 sec mono
Source material for composition rain sound of coins wood sticks existing recording of extinct languages
Elisabeth Penker is a Viennese artist and musician working with sound in a sculptural context In her (subjective) tour
Penker approaches the entire anti-exhibition PROTECTIONS from an angle of its position and significance in the context
of Sound Art as located on the crossway between visual arts language and music Starting from her own house turned
into First Nation Pavillion which amongst others aims at connecting the recent discourse on cultural translation with
early avant-garde phonetic experiments Penker maps the sonic structure of Kunsthaus Graz and its (live) architecture
which for PROTECTIONS hosts an array of interdisciplinary projects with a strong audio-quality from Herwig Weisers
Death Before Disco (a micro-architecture of hyper-technological and electronic pop) through a newly created choir of
security guards for Tim Etchells Wall of Sound down to a cacophonic layers of anonimous noise generated by the
space itself and the presence of audience
Die Wiener Kuumlnstlerin und Musikerin Elisabeth Penker arbeitet mit Klang im Zusammenhang mit Bildhauerei In ihrer
(subjektiven) Fuumlhrung naumlhert sie sich der Anti-Ausstellung PROTECTIONS aus einem Blickwinkel der die Position und
Bedeutung der Klangkunst an der Kreuzung zwischen bildender Kunst Sprache und Musik verortet Von ihrem eigenen
Haus ausgehend das sich in den First Nation Pavilion verwandelt hat der u a den aktuellen Diskurs uumlber kulturelle
Uumlbersetzung mit fruumlhen phonetischen Experimenten der Avantgarde verbinden soll entwirft Penker die klangliche
Struktur des Gutshauses und seiner (Live-)Architektur die fuumlr PROTECTIONS eine Reihe von interdisziplinaumlren Projekten
mit einer starken Affinitaumlt zum Klang beherbergt von Herwig Weisers Death Before Disco (eine Mikroarchitektur aus
hyper-technoidem und elektronischem Pop) uumlber einen neu formierten Chor bestehend aus Security Guards fuumlr Tim
Etchells Wall of Sound bis zu einer Kakophonie aus anonymen Geraumluschen die vom Raum selbst und der Anwesenheit
des Publikums erzeugt werden
052813
Local Warming ATHENS
052813
AFTER A YEARLONG HIATUS the eighteenth Art-Athina hit the ground running on the evening of Thursday May 16 and the former Olympic
ldquoTae Kwon Dordquo Pavilion was packed with enthusiastic party people The fair had a more national flavor than ever this year under its new
director Alexis Caniaris the son of recently deceased artist Vlassis Caniaris whose iconic modern work has recently found great success on the
international market Of the very few foreign galleries exhibiting most were Greek-owned The Breeder gallery was dealing with the perceived
drop in the market by selling fantastic multiples by artists like Stelios Faitakis Jannis Varelas and Andreas Angelidakis at crisis-appropriate
prices ldquoNobody wants to come here now but I have already met three interested billionaire collectors today And if Greeks like you they
introduce you to their billionaire friendsrdquo raved Cologne dealer Mirko Mayer a seven-time exhibitor ldquoThat is what nobody knows There are
at least one-hundred billionaires collecting hererdquo Most international collectors were delayed several hours due to a union strike a de r igueur
mode of arrival in contemporary Greece
It was impossible to miss the exuberant activities of the DaDa Da restaurant a Greek-Austrian collaboration where artist Albert Mayr was
waving a skillet and raving nonsense while Lucas Willmann tenderized pink fillets for Wiener schnitzel ldquoThis is Viennese Actionism lightrdquo
quipped critic Sotirios Bahtsetzis Artist Natasha Papadopoulos added ldquoBut here there are hungry Greeks waitingrdquo On a table with a rotating
Sacher tort by Heacutelegravene van Duijne a sign carried the overwhelming spirit FUCK ART LETrsquoS EAT SOUVLAKI An insistent electronic beat and
pulsating light emanated from the next booth the American College of Greecersquos ldquoAthensUrgentrdquo while hooded performer Manos Tsatiris
stood against the wall with his hands tied perhaps a metaphor for the current Athenian exigency ldquoThis is not the kind of art fair scene we are
used tordquo said the Economou Collectionrsquos Annie-Claire Geisinger watching the madness
Left Artists Elisabeth Penker Michela Pelusio Petros Touloudis Panos Papadopoulos and Nino Stelzl Right Collector Anne-Marie Ros
Down on the floor the dealers seemed pleased particularly given dismal expectations having already sold a great deal at the preview Young
Rotterdam-based gallery Joey Ramone had sold sculptures by Fotini Gouseti to English and Belgian collectors dealer Erik Mulier had also sold
some work to Belgians Marc Van den Hende said he had bought a triptych by Eirene Efstathiou and was considering a Vlassis Caniaris piece
from the 1970s ldquoI saw some surprisesmdashyoung Greek artists I did not knowmdashand great new galleries like Elika and CANrdquo Dutch collector
Anne-Marie Ros said By the end of the day Dimitra and Sofia Vamiali reported that they had not seen one Greek collector although another
reported a Dakis Joannou sighting mdash Cathryn Drake
SEARCH
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SEATTLE
WEEKLY
in the News
Columnist
Geov Parrish
is a regular
guest on
Mind Over
Matters on
KEXP-FM
(903)
Saturdays at
830 am and
provides news
commentary
on KBCS-FM
(913) Fridays
at 430 pm
Catch writers
Steve
Wiecking Tim
Appelo and
ARTS
March 30 - April 5 2005
Picking Up the Thread
Howard House ties together the best new conceptual art from Vienna
by Elise Richman
Franz Wests Mercury
(Howard House Contemporary Art)
Theres a German expression to lose the red thread which means losing
ones train of thought In its current show Howard House has found that
thread Julie Ryan a curator artist and writer organized The Red
Thread Glimpses of International Art in Vienna a two-part exhibition
featuring artists working and living at least part time in Austrias capital
Part one of the show is at Howard House the second half is currently on
display at the Educational Alliance Gallery in New York
Vienna has become a magnet for artists from all over the world including
the 15 individuals and artist teams that are part of The Red Thread
Excellent artist residency programs a low cost of living and living art
legends like Franz West are just a few of the reasons
An artistic collaboration with West took Ryan from New York to Vienna
She knows Billy Howard who runs Howard House from the University of
Washingtons School of Art And so the figurative string was strung
connecting the East and West coasts with artists from across the Atlantic
This is a complex exhibit whose emotional tenor ranges from cool
detachment to an almost urgent earnestness Unlike the formal richly
historical city that connects them artists in The Red Thread favor informal
approaches to art making use disposable materials and comment on
contemporary cultural themes
West has two formidable sculptures at Howard House The front room of the
gallery features Mercury (pictured) an ungainly behemoth composed of a
patchwork of fused metal Like many of Wests sculptures Mercury is
meant as an interactive structure that viewers can climb and sit on Bulbous
Gavin
Borchert
discussing
theater film
and music
regularly on
classical
KING-FM
(981)
Mark Fiore
Cartoons
Every
Thursday
nodules extend from its horizontal base and the seams of the dark maroon
metal look like scars rendering it at once vaguely obscene and absurdly
playful
Sisyphus the other West sculpture on display is a bulky conglomeration of
bits and wads of paper propped in the back room on a makeshift plinth (base
block) Though its as solid as the boulder its title references its surface is
like oozing skin partly coated with poured murky paint partly cloaked in
small clumps of newspaper detritus
The strenuous act of making each of these sculptures is eminently apparent
and central to the content of Wests work West considers creation a
symbolic act As you might expect he likens the artistic process to the plight
of Sisyphus the mythological figure who eternally rolled a boulder up a hill
only to have it come crashing back down For West art involves a
Sisyphean search for what he calls the absolute through the seemingly
senseless accumulation of materials However unlike Sisyphus futile quest
Wests process can lead to epiphany making sense of the senseless
Similarly Viennese artist Elisabeth Penkers art serves a facilitative
function easing the act of translation Penker uses Haida iconography in her
multimedia work because it provides potent visual symbols that
communicate single words and whole sentences simultaneously Her prints
at Howard House feature fragments of icons floating in the papers white
space They are spare visually arresting characters that employ an
iconographic language as encoded symbols of communication
Also featured in The Red Thread is Donald Baechler an internationally
known American painter who spends extended periods of time in Vienna
Baechler equalizes his imagery by painting it all in the same style For him
the source of an image doesnt matter whether its a drawing by Picasso or
graffiti on a bathroom wall What matters is the newfound context his
paintings provide
Victory by Default is part of Baechlers Skull series In this piece a painted
skull gapes from the dirty yet sensuous confines of a large canvas Terry
cloth and wrinkled rags provide literal texture and reference the world
outside the paintings boundaries Splatterings of color around the skull like
the self-conscious marks of Jasper Johns seem to express the language of
paintingmdashhue and gestural strokesmdashin a factual rather than illusional
manner
Another American painter Lisa Ruyter lives half-time in Vienna where she
runs an influential gallery She works from photographs projected onto
large-scale canvases tracing the contours of the projected imagery with
consistent black outlines In a way that seems arbitrary she paints the shapes
formed by her contour lines in flat designer colors Man of Means based on
a photo of fashion photographers looks like a scrambled color-by-numbers
painting I cant do justice to the unusually rich assortment of conceptual art
in The Red Thread Youll just have to see it for yourself Thomas
Baumans thrashing triangular foil blanket Walter Seidls slide show of
staged snapshots Markus Schinwalds photograph of a contortionist and the
other thoughtful works connected by The Red Thread
The Red Thread Glimpses of International Art in Vienna runs through
April 30 at Howard House 604 Second Ave 206- 256-6399 1030 amndash5
pm TuesndashSat Free
KUNSTFORUM
Parallelwelten fuumlr Parlamentarier Ausstellung
Von Brigitte Borchhardt-Birbaumer
Ende Oktober endet die Zusammenarbeit von Nationalratspraumlsident Andreas Khol und Peter Pakesch Direktor des Kunsthauses Graz am Joanneum Seit 2003
hatte Pakesch als Kurator mehrere Ausstellungen in den Sitzungssaumllen des Parlaments in Zusammenarbeit mit Galerien initiiert und namhafte Positionen
ausgewaumlhlt Kriterium fuumlr Praumlsentationen war die Praumlsenz durch eine Schau in einer der bekannten Kunstinstitutionen des Landes Nach Eva Schlegel Adriana
Czernin Maria Lassnig oder Esther Stocker sind dies nun bis April 2007 Josef Dabernig Daniel Hafner Ulrike Lienbacher Alois Mosbacher und Elisabeth
Penker
Das Parlament kann dabei durch die Margaretha-Lupac Stiftung immer eine Arbeit fuumlr die wachsende Sammlung des Hauses ankaufen Zuletzt war das ein
groszliges Oumll-Acryl-Gemaumllde der Georg-Eisler-Preistraumlgerin Maja Vukoje zuvor Johanna Kandl deren Temperabild derzeit an das Lentos in Linz geliehen wird
Einige Werke haumlngen schon als kuumlnstlerische Wegweiser in den Gaumlngen des Hauses und sind auch Blickfang fuumlr die 120000 Besucher die pro Jahr das
Parlament besuchen In die Architektur von Theophil Hansen mit ihrer zeitlosen Qualitaumlt fuumlgt sich die Gegenwartskunst kongenial
Hoffnung fuumlr spaumlter
Die derzeitige Zusammenstellung macht Hoffnung auf eine Fortsetzung unter der naumlchsten Praumlsidentschaft Fotografie Computerkunst Malerei Zeichnung
und Skulptur weisen auf die Vielfalt der Werkstoffe in der Gegenwartskunst Elisabeth Penker parallel im Kunsthaus Graz zu sehen baut schwarzweiszlige
Objekte aus bemaltem Holz die in ihrer seriellen und geometrischen Anordnung auf Bezuumlge zum Performativen und auf die Musik hinweisen
Noch juumlnger ist Daniel Hafner mit seinen am Computer komponierten digitalen Drucken Morphosentransformationen von 2006 Linienraster und
Raumkonstruktionen in subtiler Farbigkeit verbinden Tendenzen der fruumlhen Op-Art mit dem Cyber-Lab
Um konstruierte Realitaumlten geht es auch in den groszligformatigen Oumllbildern von Alois Mosbacher dem bekannten Vertreter der Neuen Wilden der
Achtzigerjahre in Oumlsterreich Wanderer in Wald und Wiese erzaumlhlen die Geschichten alternativer Welten die sich mancher in der Gesellschaft als Parallele
konstruiert
Zwei Fotofriese von Josef Dabernig bilden jeweils ein Panorama von oumlffentlichen Plaumltzen auf denen es zum einen um Fuszligball geht Zum anderen ist der
Rundblick in das Oval einer scheinbaren Arena auch eine Art Sehschule fuumlr die Betrachter Ein sozialer Befund ist die dritte Bedeutungsebene
Ulrike Lienbacher die heuer mit einer groszligen Schau im Innsbrucker Taxispalais ihre Karriere fortsetzt ist mit ihren feinlinigen Tuschezeichnungen den kleinen
oft unsichtbaren Zwaumlngen in unserer Gesellschaft auf der Spur Im Lokal II des Parlaments stellt sie zwar nicht ihre Objekte und Fotos aber einige
groszligformatige Blaumltter mit Frisurenvariationen neben teils fragmentierten Frauenkoumlrpern im Umgang mit Schmutz und Hygiene aber auch Fitnesskult aus
Disziplinierung und Kontrolle betreffen in der Oumlffentlichkeit besonders den weiblichen Koumlrper Sauberkeitsmechanismen weisen auch auf Vorstellungen von
wertvoll und minderwertig hin Ihre Transformationen enthalten wie die Themen der anderen subtile Kritik und sind daher vom Kurator uumlberlegt positioniert
Zeitgenoumlssische Kunst
im Parlament
Bis April 2007
Kurator Peter Pakesch
Konfrontationen
Dienstag 10 Oktober 2006
ltlt 2003 | 2004 Jan Feb Mar Apr May Jun Jul Aug Sep Oct Nov Dec 2004 | 2005 gtgt
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31
Sunday 17 October 2004
TIME
TITLE
NAME
700 Indymedia ESF breakfast show Indymedia London
Highlights news and views from the European Social Forum and the
autonomous spaces and initiatives taking place this week
website
800 Resonance Radio Art Riot Breakfast International
Radio Art
A five part special of the Harmon E Phraisyar show commissioned for
Kunstradio in Austria starts off the morning broadcast of international radio
art
website
1100 Resonance Live from the Frieze Art Fair Anna Colin amp
Tobi Maier
1100 Chris Weaver Resonance 1044FM live electronics set with James Dunn and
Robin Warren
1130 Michael Hall gallery Vienna presents audio works by artist Elisabeth Penker
1200 Maria Fusco presents latest the Bookworks commissions
1300 The Psychology of Collecting live broadcast of the frieze art fair panel
discussion
Is collecting an irrational act guided by compulsion and desire What are the use of
objects What are the motivations behind making collecting curating and
criticizing art A discussion of the psychology of collecting and the politics of taste
Hilary Rubenstein (Psychologist)
Eric Troncy (Art Critic and Director Le Consortium Dijon)
Haim Steinbach (Artist)
Chair Alice Rawsthorn (Director Design Museum)
1500 Portable live set and presentation of sudelectronic records London
1600 Where is Adventure What is Culture live broadcast of the frieze art fair
website
panel discussion
A discussion of the relationship of art to entertainment touching on the comedic
being popular and failing miserably
Trisha Donnelly (Artist)
Christian Jankowski (Artist)
David Robbins (Writer amp Artist)
Nancy Spector (Curator of Contemporary Art Solomon R Guggenheim Museum)
Chair Matthew Higgs (Curator CCA Wattis Institute for Contemporary Arts)
1800 Melissa Bent from Rivington Arms gallery New York in conversation with
artist Dan Colan and Tobi Maier Anna Colin
1830 VOX pop recordings from the fair with Sharon Gal
1900 Resonance Radio Art Riot Sarah
Washington
The Resonance Radio Art Riot brings together some of the foremost radio artists
and thinkers from around the world The studio lab situation will feature round
table discussions live performances and streamed events
Tonight Radio Text
Events Live broadcast from Sonic Arts Network Resonance benefit featuring
Henri Chopin studio performances from Julia Lee Barclay and Aude Tournay plus
Special Features None present live concrete radiophonics - Planning For
Emergencies
Guests include Clive Graham Chris Weaver Richard Thomas Toby Clarkson
John Lovett Robin Warren and James Dunn
Topics The word as art Sound poetry text performances
At Midnight Tom Wallace present exclusive excerpts from radio art pioneer
Gregory Whitehead
website
000 Resonance Radio Art Riot Nights International
Radio Art
The Resonance Radio Art riot continues throughout the night with the finest of
international radio art Resonance FM programme makers and our international
guests have put together many special hours of classic and obscure radio
works
website
- EPenkerDocumentationpdf
-
- 2bAusstellungenPublicaSpaceEPenkerpdf
-
- 2cUntitled_InstrumentsKunsthausGrazEPenker
- 2bpoeticsKunsthaus GrazEPenker
-
- 4PresseEPenkerpdf
-
- 4Review_Seattle Weekly
-
Elisabeth PenkerFerdinand Penker at Galerie Charim curated by Michael Scott Hall
Elisabeth PenkerFerdinand Penker Galerie Charim curated by Michael Scott Hall
Elisabeth PenkerFerdinand Penker Galerie Charim curated by Michael Scott Hall
Elisabeth PenkerFerdinand Penker Galerie Charim curated by Michael Scott Hall
Elisabeth Penkerinstallation View Gallery 400 Chicago (left bdquoSplit Representation Ferdinand de Saussure (Green)ldquo right bdquoSplit Representation Walter Benjamin (Blue)ldquo 2013
Elisabeth Penkerinstallation View Gallery 400 Chicago left bdquoSplit Reprersentation Walter Benjamin (Blue)ldquo right bdquoSplit Represntation Frantz Fanon (Copper)ldquo 2013
Elisabeth Penkerinstallation View ReMap4 at Camp (Athens) 2013 Ferdinand de Saussure (Blue)
ELISABETH PENKER ldquoVienna calling comparative contemporary artrdquo LOG-IN amp VORRAUM GALERIE NAumlCHST ST STEPHAN ROSEMARIE SCHWARZWAumlLDER Elisabeth Penkers Skulpturen und Audiofilme sind seit 1998 im Bereich von Comparative Art und Sound Art verankert und untersuchen anhand von Sprachmorphologie die Verbindungen zur musikalischen und visuellen Grammatik In Elisabeth Penkers Ausstellung bdquoVienna calling comparative contemporary artrdquo ist der Titel in
Zusammenhang mit der Sprachmorphologie von Wiener Museen lesbar Penkers gezeigte Skulpturen vergleichen visuellelinguistische und musikalische Grammatiken (z B Moderne Kunst und First Nations Art) und verwenden die Ergebnisse als Ausgangsstruktur fuumlr die jeweilige Komposition Ihre Collagen Fotografien Diagramme und Zeichnungen sind erweiterte Fragestellungen ihrer Skulpturen Elisabeth Penker hat in Tonstudios in London und Chicago gearbeitet und seit 2000 eine Serie von Musikinstrumenten entwickelt die die Aufnahme-Methode von Jack Foley verwenden Exzerpte ihrer Multi-
Channel-Kompositionen wurden von Resonance 1044 fm (London) gesendet Weiters ist ein Text von Elisabeth Penker uumlber Sound Art im Resonance Magazine Supplement Juni 2006 erschienen Ein Video und eine Focus -Group wurde gemeinsam mit FOGO Lab bei der Documenta 12 gezeigt und war Teil des Documenta-12-Beitrages von Ricardo Basbaum
Ausstellungen siehe wwwschwarzwaelderat -gt LOGIN ELISABETH PENKER
Comparative Art is an academic discipline in the context of art histories The sculptures audio-films (sound
pieces) and the photographs (expanded sculpture) represent different 3rd 4th -dimensional by documenting
different cultural and spatial notions of perspective through usage of collaged andor spliced structural
compositionalformal structures Structural overlaps between visual artlanguagemusic are considered
Poetics of Dead Space 2 2009-2010
2 Kanaumlle einer 8-Kanal-Composition mono
Metallstativ Speaker Yamaha MSP3 CD-Player
H 133 cm
Ed 13
The non-linear 8-channel composition ldquoPoetics of Dead Space 2rdquo introduces polysynthetic language morphology
combined by the melody which is composed from pre-existing recordings of extinct languages and Penker‟s self-
made instrument ldquoUntitled Instrument sonic structurerdquo (see PDF and related essay written by E Penker at
Resonance fm Magazine upon request at Galerie naumlchst St Stephan)
The channel which is upstairs installed uses an existing wall as an acoustic filter and introduced sub-
consciousness polysynthetic language morphology into the gallery space The title refers to the book poetic of
space within unused architectural situations of exhibition spaces bdquo A Blind Spot (dead angle - Toter Winkel) has a
different meaning in terms of acoustics and cannot be compared with the visual context where blind spot is used
primarily in conversations
In musicsound production in film the visual blind spot is used very often by hearing a bike roller plane without
seeing it In everyday life we are used and depending by acoustic blind spots for our orientation of the situation
and space we are in at the moment Architectural acoustic issues play an important role during the time of the
composition ldquoPoetic of Dead Space 2rdquo is a context specific composition and deals with polysynthetic language
morphology recordings of the untitled instrument Sonic structure and acoustic exhibition architecture besides
issues which are depending of the unused architecture and their acoustics
First Nations Pavillon
Polysynthetische Doppelperspektive Claude Levi-Strauss 2006
Fotocollage C-Print gerahmter Spiegel
6-teilig
3 x 405 x 305 cm
2 x 245 x 305 cm
1 x 605 x 485 cm
Ed23 + 2 AP
A framed mirror from ldquoFirst Nations Pavilionrdquo is placed in the corner of the log-in space to place the viewer physically in the space cutting the reflection of the gaze as well mirrors a profile view of the installed
photographs The photo-series relates to polysynthetic language morphology (of the Inuit First Nations Maori and Caduveo Indians) and translates within the photographic image their structural common visual grammar Because they would create a frontal view which was made out of 2 (split) profile views thereby creating a 4-dimensional perspective that anticipatedparallels Cubism who later presented multiple perspectives within one image which intended to represent movement through time and space Specific references are in the related pdf upon request
at Galerie naumlchst St Stephan
Log [Baumstamm] 2010
Archivierung der Raumfarbe
Split Representation
Claude Levi-Strauss 2009
C-Print
5-teilig je 245 x 305 cm
Ed15 + 2 AP
The camera positions of a right angle mirror bdquoSplit Representationrdquo were chosen by E Penker in the way that the
flash is not in the image the photos are made utilizing a right angle mirror which both fragments and reflects the
image creating multiple or a split perspective EP
Bench-Shelf 2003
Acryl auf Pappelsperrholz
46 x 151 x 42 cm
The bench which is the earliest work in the exhibition mirrors the bottom and the top seating elements thereby
giving the object an asymmetrical appearance The bench-shelf was originally designed for a video archive was
later used by museum staff (in Porto) as gallery furniture
composition (or view) Numerous contemporary artists eg Donald Judd have related the ShakersAmish radical functionalism to their sculptural practice
Poetics of Dead Space 2 2009-2010
2 Kanaumlle einer 8-Kanal-Composition mono
Metallstativ Speaker Yamaha MSP3 CD-Player
H 133 cm
Ed 13
The non-linear 8-channel composition ldquoPoetics of Dead Space 2rdquo introduces polysynthetic language morphology
combined by the melody which is composed from pre-existing recordings of extinct languages and Penker‟s self-
made instrument ldquoUntitled Instrument sonic structurerdquo (see PDF and re lated essay written by E Penker at
Resonance fm Magazine upon request at Galerie naumlchst St Stephan)
The channel which is upstairs installed uses an existing wall as an acoustic filter and introduced sub-
consciousness polysynthetic language morphology into the gallery space The title refers to the book poetic of
space within unused architectural situations of exhibition spaces bdquo A Blind Spot (dead angle - Toter Winkel) has a
different meaning in terms of acoustics and cannot be compared with the visual context where blind spot is used
primarily in conversations
In musicsound production in film the visual blind spot is used very often by hearing a bike roller plane without
seeing it In everyday life we are used and depending by acoustic blind spots for our orientation of the situation
and space we are in at the moment Architectural acoustic issues play an important role during the time of the
composition ldquoPoetic of Dead Space 2rdquo is a context specific composition and deals with polysynthetic language
morphology recordings of the untitled instrument Sonic structure and acoustic exhibition architecture besides
issues which are depending of the unused architecture and their acoustics
Galerie naumlchst St Stephan
Aneta Grzeszykowska Elisabeth Penker
220110 bis 060310 Auf den Spuren gesellschaftlicher
Ordnungssysteme
Die beiden Ausstellungen von Aneta Grzeszykowska in den Galerieraumlumen
und Elisabeth Penker im Projektraum bdquoLOGINldquo sprechen unterschiedliche
Sprachen Momente der Beruumlhrung ergeben sich lediglich durch die
Auseinandersetzung der beiden Kuumlnstlerinnen mit Systembildungen und
gesellschaftlich bedingten Agglomerationen von Bedeutungen Waumlhrend der
Blick der in Warschau lebenden Kuumlnstlerin Aneta Grzeszykowska
psychologisch und kulturell bestimmt ist laumlsst sich das Verfahren der in
Wien und Rom lebenden Elisabeth Penker als ethnografisch und linguistisch
fundiert umschreiben Im Nebeneinander der beiden Positionen bilden sich
schaumlrfende Kontraste
Aneta Grzeszykowskas Interesse gilt dem Privaten in verschiedenen
visuellen Uumlbersetzungen Etwa kartografierte sie mit dem Warschauer
Kuumlnstler Jan Smaga in einer Fotoserie Wohnungen aus der Vogelperspektive
um eine intime Geschichte der Stadt uumlber die Anordnung von Raumlumen
Moumlbeln und Gebrauchsgegenstaumlnden zu erstellen Nun begibt sie sich mit
dem Film bdquoBirthdayldquo auf die Ebene fruumlhkindlicher Begegnungen mit dem
Unheimlichen Gedreht wurde er in der Art privater Dokumentationen zur
Feier des eigenen Nachwuchses anlaumlsslich eines Kindergeburtstags Durch
kommentierende Eingriffe wie die Animation sonst unbeweglicher
Gegenstaumlnde uumlbt die Kuumlnstlerin Kritik an den Konventionen und betont so
das Monstroumlse solcher Ereignisse In der Doppelboumldigkeit von inszenierter
Kindheit und Abgruumlndigem ist auch eine Reihe monochromer dunkler
Figurinen aus Stoff angesiedelt Dass diese bekleidet sind wie
Grzeszykowska in ihrer Kindheit verweist auf Versuche Dramatisches uumlber
die aumlsthetische Formalisierung zu bearbeiten Eine Fotografie mit dem durch
die Hand Grzeszykowskas unabsichtlich verletztem Auge ihres kleinen
Bruders und eine maumlrchenhaft anmutende Reliefskulptur mit einem Maumldchen
auf einem Hund aus stacheligen Distelbluumlten erzaumlhlen davon
Tiefenbohrungen zum Kern semantischer Ordnungen unternimmt dagegen
Elisabeth Penker im Kontext der Ausstellungsserie LOGIN in einem
ehemaligen Geschaumlftslokal und im Foyer der Galerie selbst Bekannt ist die
Kuumlnstlerin und Musikerin Elisabeth Penker etwa durch ihre Intervention im
Arkadenhof der Universitaumlt Wien mit einer Buumlste der oumlsterreichischen
Romanistin und ersten Universitaumltsprofessorin Elise Richter Diese leite das
phonetische Institut bis zu ihrer Deportation ins Ghetto Theresienstadt durch
die Nationalsozialisten und war in der patriarchalischen Ordnung der
steinernen Koumlpfe der Universitaumlt ndash ebenso wie die Leistungen von Frauen
generell ndash bis dahin kein Thema gewesen In der Ausstellung bdquoProtectionsldquo
im Kunsthaus Graz thematisierte Penker mit ihrem bdquoFirst Nation Pavillonldquo die Hegemonie des durch den
Kolonialismus gepraumlgten Blicks auf auszligereuropaumlische Gesellschaften
Stets sind ihre Annaumlherungen auf die Generierung von Bedeutungen im Sinne von Grammatiken
ausgerichtet Dementsprechend leitmotivisch fungiert ein Portraumlt des kuumlrzlich verstorbenen Ethnologen
Claude Leacutevi-Strauss in der Rauminstallation mit integrierter Soundkomposition Die gespiegelte und
mehrfach aufgefaumlcherte Fotografie von Leacutevi-Strauss in bdquopolysynthetischer Doppelperspektiverdquo laumlsst sich
als Verschneidung von Sprachlichem Klanglichen und Visuellen lesen
Eine Archaumlologie im Feld der Linguistik wie auf Materialebene fuumlhrt die Signifikanten auf engstem Raum
zusammen Triviale Vierkanthoumllzer beispielsweise wurden in genau jenen Farben lackiert die Penker als
uumlbereinander gelagerte Sedimente unter der Dispersion der Waumlnde freilegte Die laumlnglichen Houmllzer
beziehen sich auf den englischen Ausdruck bdquologldquo fuumlr Stamm und somit auch auf die Ausstellungsreihe der
Galerie Bemerkenswert dass ein Wort das bloszlig aus einem Morphem besteht einen Gegenstand
repraumlsentiert So baut sich uumlber eine Reihe weiterer Objekte wie etwa den bdquoHanging Chairsldquo aus dem
Fundus der Galerie ein elementares Netzwerk von Bezuumlgen auf Mit ihren Werken und abstrakten Sound-
Kompositionen dringt Elisabeth Penker kritisch forschend in die Makrobereiche von Grammatiken vor um
Potentiale semantischer Anbindungen in Nachbarsystemen freizulegen Roland Schoumlny
Elisabeth Penker Einzelausstellung MAK CAT TOWER Kurtaiert von Andreas Kristof
ldquoPassive Orchestrardquo 2008 8-Channel-Toninstallation Die Interpretation von Soundart sieht Penker in der Uumlberschneidung von Sprache-visueller Kunst und Musik und ist zumeist mit einer visuellen raumlumlichen Komponente verbunden Der Betrachter und Zuhoumlrer befindet sich in
einer Konzert-Situation statt Instrumenten sieht er nur Lautsprecher die auf unterschiedlichen Houmlhen auf einer grauen Wand positioniert sind Passiv Orchestra beruht in der Struktur auf die grammatische Einteilungen von Sprachen die in phonetische Minimaleinheiten dekonstruiert sind und wird uumlber eine Mehrkanal Matrix gespielt Elisabeth Penker referiert in dieser eigens fuumlr den Flakturm konzipierten Arbeit auf dadaistische Methoden der Sprachdekodierung die auch als ein klares Anti-Kriegs-Statement zu verstehen waren
1
Kunsthaus Graz
Protections
Kuratoren Adam Budak und Christine Peters
Elisabeth Penker
First Nation Pavilion
Der First Nation Pavilion von Elisabeth Penker unternimmt den Versuch einen Bereich fuumlr ein koloniales
Bewusstsein der europaumlischen Vergangenheit zu schaffen und einen utopischen Raum fuumlr neue Vorstellungen
von einer Mannigfaltigkeit an kulturellen Formen in der zeitgenoumlssischen Kunst Die Komposition de-
grammatical ein Bestandteil des First Nation Pavilion beruht in ihrer Struktur auf den grammatischen
Einteilungen der Sprachen die in phonetische Minimaleinheiten dekonstruiert sind und wird uumlber eine
nichtlineare 5-Kanal-Matrix gespielt
Penker untersucht moumlgliche Uumlberschneidungen zwischen der Sprache der Musik und der Bildstruktur wobei ihr
Hauptaugenmerk polysynthetischen Sprachen (First Nations und Pazifische Inseln) gilt sowie dem Vergleich
zwischen der Kunst von First Nations und der Modernen Kunst Erst in juumlngerer Zeit in der Aumlra des
Postkolonialismus hat der Diskurs der kulturellen Uumlbersetzung Fragen aufgeworfen mit denen man sich schon
in den phonetischen Experimenten des Dadaismus in den 1910er und 1920er Jahren beschaumlftigt hatte sowie
spaumlter in der Konzeptkunst der 1960er und 70er Jahre
Elisabeth Penker
First Nation Pavilion
The First Nation Pavilion by Elisabeth Penker attempts to set-up an area for colonial consciousness of the
European past and a utopic space for re-imagining a plurality of cultural forms in contemporary art The
composition entitled de-grammatical contained within the First Nation Pavilion is structurally-based on the
grammatical classifications of languages deconstructed into minimal phonetic units played within a non-linear
5-channel matrix
Penker is questioning the possible overlaps between music-language and visual structure within the primary
focus on polysynthetic languages (First Nation and Pacific Islands) and First Nation Art compared to Modern Art
More recently in the age of post-colonialism the discourse of cultural translation is arising questions that have
also been experimented by the Dadaists phonetic experiments in the 1910-20s and later in Concept Art of the
1960s-70s Text Adam Budak
Michael Elmgreen amp Ingar Dragset (the work of two other invited artists) offered Penker a typical prefabricated
house as her exhibition space within the Kunsthaus
id31403916 pdfMachine by Broadgun Software - a great PDF writer - a great PDF creator - httpwwwpdfmachinecom httpwwwbroadguncom
2
Elisabeth Penker Fisrt Nations Pavilion 2006
Change of floor plan of the prefabricated house by Michael Elmgreen amp Ingar Dragset
Entrance door Fisrt Nations Pavilion
3
Part 1 Colonial Conciseness in visual art
Room 1 and 3 Modernism=Imperialism after Henry Flynt Demolish serious culture
Woman as a the last Colony Rosa Luxenburg Veronika Bennholdt-
Thomsen Claudia von Werlhof und Maria Mies
4
Vinyl letters C-Print
5
6
Polysynthetische Doppelperspektive 1 Claude Levi- Strauss
Photocolloage C-Print
7
Polysynthetische Doppelperspektive 2 Claude Levi-Strauss
Photocolloage C-Print
9
Polysynthetische Doppelperspektive 4 Claude Levi Strauss
Photocolloage C-Print
2 prints Installed in corner
Installation view Polysynthetische Doppelperspektive 1-4 Claude Levi- Strauss
The visual grammar and its double perspective (split representation) of Haida Gwai and Tlinglet Art (First Nation
Art) is re-collaged with a photograph of Pablo Picasso comparing Cubism (early Modernism) with First Nation Art
and questioning its similarities of double perspectives
10
Room 4 and 5
Room 4
11
Luicide List The museum as an imperial graveyard
C-Print
Colonial after effects of Luicide
Gips Metallkette Hose Schuh
12
No7
Mirror Split Representation Mirror framed and installed in the corner
Part 2 Room 6 and 8 Comparative Contemporary Art
4-channel sound installation
De-grammatical Listen to mp3 audio excerpts
13
Front
2 CT (shelfbenches) Acryl auf Pappelsperrholz
Back Pull Over Yukme Shirley Hall outside
14
Pull Over Yukme Shirley Hall inside
Fabric wall silk print by (Tlinglet Artist) Yukme Shirley Hall
Wo ist Elise Richter wo ist
id99149429 pdfMachine by Broadgun Software - a great PDF writer - a great PDF creator - httpwwwpdfmachinecom httpwwwbroadguncom
Im Arkadenhof der Universitaumlt Wien stehen 154 Buumlsten von bedeutenden Wissenschaftlern der
Universitaumlt Wien (1700-2005) Bedauerlicherweise findet sich unter ihnen keine einzige Frau Eine temporaumlre Buumlste einer anonymen Wissenschaftlerin soll die systematische Ausblendung von Frauen
aus der Universitaumltsgeschichte thematisieren Die offene Web- Plattform (wwweliserichterat) ermoumlglicht allen Benutzern aktiv an der Umschreibung der Universitaumltsgeschichte und an re-imaging Prozessen der Repraumlsentation dieser Buumlsten teilzunehmen Weiters wird die Verbindung von raceclassgender und einer akademischen Kariere in diesem Zusammenhang hinterfragt We can never really change any form of social organisation without challenging all that organisations forms of
language (Debord)
Within the patriarchal structures of the Arkadenhof at the University of Vienna stand 154 busts of important scientists (1700-2005) Unfortunately none of these busts are women Through the placement of a temporary bust of an anonymous female scientist it declares the absence of them within the history of the university As well the anonymous bust embodies the presence of important scientists who have not yet been given equal representation The open web-platform (wwweliserichterat) allows every user to participate in this discourse to re-write the history of the university and to re-image the representation of these busts through a wiki system
Skizze Buumlste einer anonymen Wissenschaftlerin
Mein Interesse besteht nicht darin zu recherchieren welche Buumlsten von Wissenschaftlerinnen im Arkadenhof fehlen sondern das Fehlen der Wissenschaftlerinnen im Zeitraum von 1700 bis 2005 aufzuzeigen und Strukturen fuumlr eine oumlffentliche Kommunikationsplattform zu schaffen In der Genderforschung besteht Konsens daruumlber dass Gender kein Merkmal von Individuen sondern das einer
Institution ist (Connell) zudem ein struktureller Bestandteil einer Gesellschaft ist und dass Gendernormen alle Organisationen durchdringen (Acker)
Grundriss Arkadenhof der Universitaumlt Wien Literatur Acker J (1990) Hierarchies Jobs Bodies A theory of gendered organizations In Gender and Society
Connell R (1998) Gender and Power Society the Person and Sexual Politics Stanford University Press Stanford CA Maisel T (1990) Die Denkmaumller im Arkadenhof der Universitaumlt Wien Biographische Skizzen Wien Quellen Denkmalsakten Archiv der Universitaumlt Wien
Veranstalter Open Mind Projekt Utopie Freiheit httpwwwopenmindat vereinopenmindat Projektautorin Elisabeth Penker elpenkergmxat Bronzeguss Walter Rom Wachsmodel Buumlste Elisabeth Penker Steinsockel Ausfuumlhrung Fa Zehmann Mario Jungbauer Mediendesign Gernot Tscherteu httpwwwrealitylabatwphome gtrealitylabat Techn Umsetzung Christian Langreiter Webpage wwweliserichterat
Elisabeth Penker- Franzengasse 13- 1050 Wien ++43 (0)699 197 193 53 elpenkergmxat
Elisabeth Penker Untitled instruments 1-3 2000-2012
Galerie Georg Kargl Wien Galerie Priestor Bratislava Kuumlnstlerhaus Wien Kibla New
Media Center Maribor HTTP Galerie London Secession Wien Mak Wien Roma
Contemporary Wien
Elisabeth Penker Untiled Instrument Galerie Georg Kargl Wien
Curated by Michael Hall
Elisabeth Penker Untitled instrument 2001 New Media Center Maribor
Elisabeth Penker Untitled instrument 2001 New Media Center Maribor
Elisabeth Penker Untitled instrument Kuumlnstlerhaus Wien curated by Ursula Maria Probst
Live Performance mit Celia Mare
Detail Die BILD_HAU_ER_IN Kuumlnstlerhaus Wien
Live Performance Flower Structure Wiener Festwochen
Elisabeth Penker (Untiled instrument) Van Angh (Cello) Tri Minh Electronics
Elisabeth Penker Live Performance Poetics of space Secession Wien
MAK Nail Structure GRizo Sweet Susie Elisabeth Penker
Elisabeth Penker HTTP Gallery London 2005 curated by Tobi Maier
Elisabeth Penker HTTP Gallery London Live Performance
Elisabeth Penker Untitled Instrument Sonic Structure Kunsthaus Graz curated by Adam Budak amp
Christine Peters
Videolinks
httpwwwyoutubecomusersoundart24
Interview with Video Festwochen
httpbturncom8753interview-elisabeth-penker
Kunsthaus Graz
Protections
Kuratoren Adam Budak und Christine Peters
Elisabeth Penker Poetics of Dead Space
For PROTECTIONS Elisabeth Penker developed a key-sound Poetics of Dead Space which is to a large extent a homage
to Gaston Bachelards seminal book Poetics of Space where the connections between the poetry and the spatial emotions
are analysed Penkers key-sound will guide the viewer through the exhibition mapping the overall identity of the show in
some way controlling the viewers (audio-narrative) route in the maze of art objects events situations but also spatial
voids and unused corners
Fuumlr PROTECTIONS entwickelte Elisabeth Penker einen leitmotivischen Key Sound Poetics of Dead Space der weitgehend
eine Hommage an Gaston Bachelards wegweisendes Buch Poetics of Space darstellt in dem die Verbindungen zwischen
Lyrik und raumlumlichen Emotionen analysiert werden Penkers Key Sound wird das Publikum durch die Ausstellung geleiten
die Identitaumlt der Schau in ihrer Gesamtheit erfassen und in gewisser Weise die (audio-narrative) Route des Publikums im
Labyrinth der Kunstgegenstaumlnde Ereignisse und Situationen aber auch raumlumlicher Leerstellen und ungenutzter Winkel
kontrollieren
A non linear composition 7 mono active speakers are placed through out the Kunsthaus Graz Speaker placement
1 outdoor (entrance) 2 (travelator) 3 (corner with column) 4 (corner with door) 5 (corner) 6 (travelator) 7 (corner with
window)
Poetics of Dead Space Let it grow again 28 51 sec mono
Source material for composition rain sound of dried beans dropping down wood sticks breathing hardly existing
id78338975 pdfMachine by Broadgun Software - a great PDF writer - a great PDF creator - httpwwwpdfmachinecom httpwwwbroadguncom
recording of extinct languages
Poetics of Dead Space Let it grow again 28 51 sec mono
Source material for composition rain sound of dried beans dropping down wood sticks existing recording of extinct
languages
Poetics of Dead Space travelator 1 1min 04 sec mono loop
Source material for composition staff falling down man falling down stairs rattern recording untitled instrument
Background existing recording of extinct languages
Poetics of Dead Space 496 1min 409 sec mono loop
Source material for composition recording untitled instrument Background existing recording of extinct languages
Poetics of Dead Space 129525 1min 4888 sec mono loop
Source material for composition recording untitled instrument Background existing recording of extinct languages
Poetics of Dead Space 129525 1min 4888 sec mono loop
Source material for composition keyboard recording untitled instrument Background existing recording of extinct
languages
Poetics of Dead Space travelator 2 1min 5209 sec mono loop
Source material for composition recording untitled instrument violin Background existing recording of extinct
languages
Poetics of Dead Space2152518125220 1min 3200 sec mono loop
Source material for composition recording untitled instrument Background existing recording of library of extinct
languages
Poetics of Dead Space travelator 1 1min 04 sec mono loop
viewing down from upstairs Source material for composition staff falling down man falling down stairs rattern
recording untitled instrument Background existing recording of extinct languages
Poetics of Dead Space Let it grow again 028 51 sec mono
Source material for composition rain sound of coins wood sticks existing recording of extinct languages
Elisabeth Penker is a Viennese artist and musician working with sound in a sculptural context In her (subjective) tour
Penker approaches the entire anti-exhibition PROTECTIONS from an angle of its position and significance in the context
of Sound Art as located on the crossway between visual arts language and music Starting from her own house turned
into First Nation Pavillion which amongst others aims at connecting the recent discourse on cultural translation with
early avant-garde phonetic experiments Penker maps the sonic structure of Kunsthaus Graz and its (live) architecture
which for PROTECTIONS hosts an array of interdisciplinary projects with a strong audio-quality from Herwig Weisers
Death Before Disco (a micro-architecture of hyper-technological and electronic pop) through a newly created choir of
security guards for Tim Etchells Wall of Sound down to a cacophonic layers of anonimous noise generated by the
space itself and the presence of audience
Die Wiener Kuumlnstlerin und Musikerin Elisabeth Penker arbeitet mit Klang im Zusammenhang mit Bildhauerei In ihrer
(subjektiven) Fuumlhrung naumlhert sie sich der Anti-Ausstellung PROTECTIONS aus einem Blickwinkel der die Position und
Bedeutung der Klangkunst an der Kreuzung zwischen bildender Kunst Sprache und Musik verortet Von ihrem eigenen
Haus ausgehend das sich in den First Nation Pavilion verwandelt hat der u a den aktuellen Diskurs uumlber kulturelle
Uumlbersetzung mit fruumlhen phonetischen Experimenten der Avantgarde verbinden soll entwirft Penker die klangliche
Struktur des Gutshauses und seiner (Live-)Architektur die fuumlr PROTECTIONS eine Reihe von interdisziplinaumlren Projekten
mit einer starken Affinitaumlt zum Klang beherbergt von Herwig Weisers Death Before Disco (eine Mikroarchitektur aus
hyper-technoidem und elektronischem Pop) uumlber einen neu formierten Chor bestehend aus Security Guards fuumlr Tim
Etchells Wall of Sound bis zu einer Kakophonie aus anonymen Geraumluschen die vom Raum selbst und der Anwesenheit
des Publikums erzeugt werden
052813
Local Warming ATHENS
052813
AFTER A YEARLONG HIATUS the eighteenth Art-Athina hit the ground running on the evening of Thursday May 16 and the former Olympic
ldquoTae Kwon Dordquo Pavilion was packed with enthusiastic party people The fair had a more national flavor than ever this year under its new
director Alexis Caniaris the son of recently deceased artist Vlassis Caniaris whose iconic modern work has recently found great success on the
international market Of the very few foreign galleries exhibiting most were Greek-owned The Breeder gallery was dealing with the perceived
drop in the market by selling fantastic multiples by artists like Stelios Faitakis Jannis Varelas and Andreas Angelidakis at crisis-appropriate
prices ldquoNobody wants to come here now but I have already met three interested billionaire collectors today And if Greeks like you they
introduce you to their billionaire friendsrdquo raved Cologne dealer Mirko Mayer a seven-time exhibitor ldquoThat is what nobody knows There are
at least one-hundred billionaires collecting hererdquo Most international collectors were delayed several hours due to a union strike a de r igueur
mode of arrival in contemporary Greece
It was impossible to miss the exuberant activities of the DaDa Da restaurant a Greek-Austrian collaboration where artist Albert Mayr was
waving a skillet and raving nonsense while Lucas Willmann tenderized pink fillets for Wiener schnitzel ldquoThis is Viennese Actionism lightrdquo
quipped critic Sotirios Bahtsetzis Artist Natasha Papadopoulos added ldquoBut here there are hungry Greeks waitingrdquo On a table with a rotating
Sacher tort by Heacutelegravene van Duijne a sign carried the overwhelming spirit FUCK ART LETrsquoS EAT SOUVLAKI An insistent electronic beat and
pulsating light emanated from the next booth the American College of Greecersquos ldquoAthensUrgentrdquo while hooded performer Manos Tsatiris
stood against the wall with his hands tied perhaps a metaphor for the current Athenian exigency ldquoThis is not the kind of art fair scene we are
used tordquo said the Economou Collectionrsquos Annie-Claire Geisinger watching the madness
Left Artists Elisabeth Penker Michela Pelusio Petros Touloudis Panos Papadopoulos and Nino Stelzl Right Collector Anne-Marie Ros
Down on the floor the dealers seemed pleased particularly given dismal expectations having already sold a great deal at the preview Young
Rotterdam-based gallery Joey Ramone had sold sculptures by Fotini Gouseti to English and Belgian collectors dealer Erik Mulier had also sold
some work to Belgians Marc Van den Hende said he had bought a triptych by Eirene Efstathiou and was considering a Vlassis Caniaris piece
from the 1970s ldquoI saw some surprisesmdashyoung Greek artists I did not knowmdashand great new galleries like Elika and CANrdquo Dutch collector
Anne-Marie Ros said By the end of the day Dimitra and Sofia Vamiali reported that they had not seen one Greek collector although another
reported a Dakis Joannou sighting mdash Cathryn Drake
SEARCH
ARTICLES
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Week
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SEATTLE
WEEKLY
in the News
Columnist
Geov Parrish
is a regular
guest on
Mind Over
Matters on
KEXP-FM
(903)
Saturdays at
830 am and
provides news
commentary
on KBCS-FM
(913) Fridays
at 430 pm
Catch writers
Steve
Wiecking Tim
Appelo and
ARTS
March 30 - April 5 2005
Picking Up the Thread
Howard House ties together the best new conceptual art from Vienna
by Elise Richman
Franz Wests Mercury
(Howard House Contemporary Art)
Theres a German expression to lose the red thread which means losing
ones train of thought In its current show Howard House has found that
thread Julie Ryan a curator artist and writer organized The Red
Thread Glimpses of International Art in Vienna a two-part exhibition
featuring artists working and living at least part time in Austrias capital
Part one of the show is at Howard House the second half is currently on
display at the Educational Alliance Gallery in New York
Vienna has become a magnet for artists from all over the world including
the 15 individuals and artist teams that are part of The Red Thread
Excellent artist residency programs a low cost of living and living art
legends like Franz West are just a few of the reasons
An artistic collaboration with West took Ryan from New York to Vienna
She knows Billy Howard who runs Howard House from the University of
Washingtons School of Art And so the figurative string was strung
connecting the East and West coasts with artists from across the Atlantic
This is a complex exhibit whose emotional tenor ranges from cool
detachment to an almost urgent earnestness Unlike the formal richly
historical city that connects them artists in The Red Thread favor informal
approaches to art making use disposable materials and comment on
contemporary cultural themes
West has two formidable sculptures at Howard House The front room of the
gallery features Mercury (pictured) an ungainly behemoth composed of a
patchwork of fused metal Like many of Wests sculptures Mercury is
meant as an interactive structure that viewers can climb and sit on Bulbous
Gavin
Borchert
discussing
theater film
and music
regularly on
classical
KING-FM
(981)
Mark Fiore
Cartoons
Every
Thursday
nodules extend from its horizontal base and the seams of the dark maroon
metal look like scars rendering it at once vaguely obscene and absurdly
playful
Sisyphus the other West sculpture on display is a bulky conglomeration of
bits and wads of paper propped in the back room on a makeshift plinth (base
block) Though its as solid as the boulder its title references its surface is
like oozing skin partly coated with poured murky paint partly cloaked in
small clumps of newspaper detritus
The strenuous act of making each of these sculptures is eminently apparent
and central to the content of Wests work West considers creation a
symbolic act As you might expect he likens the artistic process to the plight
of Sisyphus the mythological figure who eternally rolled a boulder up a hill
only to have it come crashing back down For West art involves a
Sisyphean search for what he calls the absolute through the seemingly
senseless accumulation of materials However unlike Sisyphus futile quest
Wests process can lead to epiphany making sense of the senseless
Similarly Viennese artist Elisabeth Penkers art serves a facilitative
function easing the act of translation Penker uses Haida iconography in her
multimedia work because it provides potent visual symbols that
communicate single words and whole sentences simultaneously Her prints
at Howard House feature fragments of icons floating in the papers white
space They are spare visually arresting characters that employ an
iconographic language as encoded symbols of communication
Also featured in The Red Thread is Donald Baechler an internationally
known American painter who spends extended periods of time in Vienna
Baechler equalizes his imagery by painting it all in the same style For him
the source of an image doesnt matter whether its a drawing by Picasso or
graffiti on a bathroom wall What matters is the newfound context his
paintings provide
Victory by Default is part of Baechlers Skull series In this piece a painted
skull gapes from the dirty yet sensuous confines of a large canvas Terry
cloth and wrinkled rags provide literal texture and reference the world
outside the paintings boundaries Splatterings of color around the skull like
the self-conscious marks of Jasper Johns seem to express the language of
paintingmdashhue and gestural strokesmdashin a factual rather than illusional
manner
Another American painter Lisa Ruyter lives half-time in Vienna where she
runs an influential gallery She works from photographs projected onto
large-scale canvases tracing the contours of the projected imagery with
consistent black outlines In a way that seems arbitrary she paints the shapes
formed by her contour lines in flat designer colors Man of Means based on
a photo of fashion photographers looks like a scrambled color-by-numbers
painting I cant do justice to the unusually rich assortment of conceptual art
in The Red Thread Youll just have to see it for yourself Thomas
Baumans thrashing triangular foil blanket Walter Seidls slide show of
staged snapshots Markus Schinwalds photograph of a contortionist and the
other thoughtful works connected by The Red Thread
The Red Thread Glimpses of International Art in Vienna runs through
April 30 at Howard House 604 Second Ave 206- 256-6399 1030 amndash5
pm TuesndashSat Free
KUNSTFORUM
Parallelwelten fuumlr Parlamentarier Ausstellung
Von Brigitte Borchhardt-Birbaumer
Ende Oktober endet die Zusammenarbeit von Nationalratspraumlsident Andreas Khol und Peter Pakesch Direktor des Kunsthauses Graz am Joanneum Seit 2003
hatte Pakesch als Kurator mehrere Ausstellungen in den Sitzungssaumllen des Parlaments in Zusammenarbeit mit Galerien initiiert und namhafte Positionen
ausgewaumlhlt Kriterium fuumlr Praumlsentationen war die Praumlsenz durch eine Schau in einer der bekannten Kunstinstitutionen des Landes Nach Eva Schlegel Adriana
Czernin Maria Lassnig oder Esther Stocker sind dies nun bis April 2007 Josef Dabernig Daniel Hafner Ulrike Lienbacher Alois Mosbacher und Elisabeth
Penker
Das Parlament kann dabei durch die Margaretha-Lupac Stiftung immer eine Arbeit fuumlr die wachsende Sammlung des Hauses ankaufen Zuletzt war das ein
groszliges Oumll-Acryl-Gemaumllde der Georg-Eisler-Preistraumlgerin Maja Vukoje zuvor Johanna Kandl deren Temperabild derzeit an das Lentos in Linz geliehen wird
Einige Werke haumlngen schon als kuumlnstlerische Wegweiser in den Gaumlngen des Hauses und sind auch Blickfang fuumlr die 120000 Besucher die pro Jahr das
Parlament besuchen In die Architektur von Theophil Hansen mit ihrer zeitlosen Qualitaumlt fuumlgt sich die Gegenwartskunst kongenial
Hoffnung fuumlr spaumlter
Die derzeitige Zusammenstellung macht Hoffnung auf eine Fortsetzung unter der naumlchsten Praumlsidentschaft Fotografie Computerkunst Malerei Zeichnung
und Skulptur weisen auf die Vielfalt der Werkstoffe in der Gegenwartskunst Elisabeth Penker parallel im Kunsthaus Graz zu sehen baut schwarzweiszlige
Objekte aus bemaltem Holz die in ihrer seriellen und geometrischen Anordnung auf Bezuumlge zum Performativen und auf die Musik hinweisen
Noch juumlnger ist Daniel Hafner mit seinen am Computer komponierten digitalen Drucken Morphosentransformationen von 2006 Linienraster und
Raumkonstruktionen in subtiler Farbigkeit verbinden Tendenzen der fruumlhen Op-Art mit dem Cyber-Lab
Um konstruierte Realitaumlten geht es auch in den groszligformatigen Oumllbildern von Alois Mosbacher dem bekannten Vertreter der Neuen Wilden der
Achtzigerjahre in Oumlsterreich Wanderer in Wald und Wiese erzaumlhlen die Geschichten alternativer Welten die sich mancher in der Gesellschaft als Parallele
konstruiert
Zwei Fotofriese von Josef Dabernig bilden jeweils ein Panorama von oumlffentlichen Plaumltzen auf denen es zum einen um Fuszligball geht Zum anderen ist der
Rundblick in das Oval einer scheinbaren Arena auch eine Art Sehschule fuumlr die Betrachter Ein sozialer Befund ist die dritte Bedeutungsebene
Ulrike Lienbacher die heuer mit einer groszligen Schau im Innsbrucker Taxispalais ihre Karriere fortsetzt ist mit ihren feinlinigen Tuschezeichnungen den kleinen
oft unsichtbaren Zwaumlngen in unserer Gesellschaft auf der Spur Im Lokal II des Parlaments stellt sie zwar nicht ihre Objekte und Fotos aber einige
groszligformatige Blaumltter mit Frisurenvariationen neben teils fragmentierten Frauenkoumlrpern im Umgang mit Schmutz und Hygiene aber auch Fitnesskult aus
Disziplinierung und Kontrolle betreffen in der Oumlffentlichkeit besonders den weiblichen Koumlrper Sauberkeitsmechanismen weisen auch auf Vorstellungen von
wertvoll und minderwertig hin Ihre Transformationen enthalten wie die Themen der anderen subtile Kritik und sind daher vom Kurator uumlberlegt positioniert
Zeitgenoumlssische Kunst
im Parlament
Bis April 2007
Kurator Peter Pakesch
Konfrontationen
Dienstag 10 Oktober 2006
ltlt 2003 | 2004 Jan Feb Mar Apr May Jun Jul Aug Sep Oct Nov Dec 2004 | 2005 gtgt
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31
Sunday 17 October 2004
TIME
TITLE
NAME
700 Indymedia ESF breakfast show Indymedia London
Highlights news and views from the European Social Forum and the
autonomous spaces and initiatives taking place this week
website
800 Resonance Radio Art Riot Breakfast International
Radio Art
A five part special of the Harmon E Phraisyar show commissioned for
Kunstradio in Austria starts off the morning broadcast of international radio
art
website
1100 Resonance Live from the Frieze Art Fair Anna Colin amp
Tobi Maier
1100 Chris Weaver Resonance 1044FM live electronics set with James Dunn and
Robin Warren
1130 Michael Hall gallery Vienna presents audio works by artist Elisabeth Penker
1200 Maria Fusco presents latest the Bookworks commissions
1300 The Psychology of Collecting live broadcast of the frieze art fair panel
discussion
Is collecting an irrational act guided by compulsion and desire What are the use of
objects What are the motivations behind making collecting curating and
criticizing art A discussion of the psychology of collecting and the politics of taste
Hilary Rubenstein (Psychologist)
Eric Troncy (Art Critic and Director Le Consortium Dijon)
Haim Steinbach (Artist)
Chair Alice Rawsthorn (Director Design Museum)
1500 Portable live set and presentation of sudelectronic records London
1600 Where is Adventure What is Culture live broadcast of the frieze art fair
website
panel discussion
A discussion of the relationship of art to entertainment touching on the comedic
being popular and failing miserably
Trisha Donnelly (Artist)
Christian Jankowski (Artist)
David Robbins (Writer amp Artist)
Nancy Spector (Curator of Contemporary Art Solomon R Guggenheim Museum)
Chair Matthew Higgs (Curator CCA Wattis Institute for Contemporary Arts)
1800 Melissa Bent from Rivington Arms gallery New York in conversation with
artist Dan Colan and Tobi Maier Anna Colin
1830 VOX pop recordings from the fair with Sharon Gal
1900 Resonance Radio Art Riot Sarah
Washington
The Resonance Radio Art Riot brings together some of the foremost radio artists
and thinkers from around the world The studio lab situation will feature round
table discussions live performances and streamed events
Tonight Radio Text
Events Live broadcast from Sonic Arts Network Resonance benefit featuring
Henri Chopin studio performances from Julia Lee Barclay and Aude Tournay plus
Special Features None present live concrete radiophonics - Planning For
Emergencies
Guests include Clive Graham Chris Weaver Richard Thomas Toby Clarkson
John Lovett Robin Warren and James Dunn
Topics The word as art Sound poetry text performances
At Midnight Tom Wallace present exclusive excerpts from radio art pioneer
Gregory Whitehead
website
000 Resonance Radio Art Riot Nights International
Radio Art
The Resonance Radio Art riot continues throughout the night with the finest of
international radio art Resonance FM programme makers and our international
guests have put together many special hours of classic and obscure radio
works
website
- EPenkerDocumentationpdf
-
- 2bAusstellungenPublicaSpaceEPenkerpdf
-
- 2cUntitled_InstrumentsKunsthausGrazEPenker
- 2bpoeticsKunsthaus GrazEPenker
-
- 4PresseEPenkerpdf
-
- 4Review_Seattle Weekly
-
Elisabeth PenkerFerdinand Penker Galerie Charim curated by Michael Scott Hall
Elisabeth PenkerFerdinand Penker Galerie Charim curated by Michael Scott Hall
Elisabeth PenkerFerdinand Penker Galerie Charim curated by Michael Scott Hall
Elisabeth Penkerinstallation View Gallery 400 Chicago (left bdquoSplit Representation Ferdinand de Saussure (Green)ldquo right bdquoSplit Representation Walter Benjamin (Blue)ldquo 2013
Elisabeth Penkerinstallation View Gallery 400 Chicago left bdquoSplit Reprersentation Walter Benjamin (Blue)ldquo right bdquoSplit Represntation Frantz Fanon (Copper)ldquo 2013
Elisabeth Penkerinstallation View ReMap4 at Camp (Athens) 2013 Ferdinand de Saussure (Blue)
ELISABETH PENKER ldquoVienna calling comparative contemporary artrdquo LOG-IN amp VORRAUM GALERIE NAumlCHST ST STEPHAN ROSEMARIE SCHWARZWAumlLDER Elisabeth Penkers Skulpturen und Audiofilme sind seit 1998 im Bereich von Comparative Art und Sound Art verankert und untersuchen anhand von Sprachmorphologie die Verbindungen zur musikalischen und visuellen Grammatik In Elisabeth Penkers Ausstellung bdquoVienna calling comparative contemporary artrdquo ist der Titel in
Zusammenhang mit der Sprachmorphologie von Wiener Museen lesbar Penkers gezeigte Skulpturen vergleichen visuellelinguistische und musikalische Grammatiken (z B Moderne Kunst und First Nations Art) und verwenden die Ergebnisse als Ausgangsstruktur fuumlr die jeweilige Komposition Ihre Collagen Fotografien Diagramme und Zeichnungen sind erweiterte Fragestellungen ihrer Skulpturen Elisabeth Penker hat in Tonstudios in London und Chicago gearbeitet und seit 2000 eine Serie von Musikinstrumenten entwickelt die die Aufnahme-Methode von Jack Foley verwenden Exzerpte ihrer Multi-
Channel-Kompositionen wurden von Resonance 1044 fm (London) gesendet Weiters ist ein Text von Elisabeth Penker uumlber Sound Art im Resonance Magazine Supplement Juni 2006 erschienen Ein Video und eine Focus -Group wurde gemeinsam mit FOGO Lab bei der Documenta 12 gezeigt und war Teil des Documenta-12-Beitrages von Ricardo Basbaum
Ausstellungen siehe wwwschwarzwaelderat -gt LOGIN ELISABETH PENKER
Comparative Art is an academic discipline in the context of art histories The sculptures audio-films (sound
pieces) and the photographs (expanded sculpture) represent different 3rd 4th -dimensional by documenting
different cultural and spatial notions of perspective through usage of collaged andor spliced structural
compositionalformal structures Structural overlaps between visual artlanguagemusic are considered
Poetics of Dead Space 2 2009-2010
2 Kanaumlle einer 8-Kanal-Composition mono
Metallstativ Speaker Yamaha MSP3 CD-Player
H 133 cm
Ed 13
The non-linear 8-channel composition ldquoPoetics of Dead Space 2rdquo introduces polysynthetic language morphology
combined by the melody which is composed from pre-existing recordings of extinct languages and Penker‟s self-
made instrument ldquoUntitled Instrument sonic structurerdquo (see PDF and related essay written by E Penker at
Resonance fm Magazine upon request at Galerie naumlchst St Stephan)
The channel which is upstairs installed uses an existing wall as an acoustic filter and introduced sub-
consciousness polysynthetic language morphology into the gallery space The title refers to the book poetic of
space within unused architectural situations of exhibition spaces bdquo A Blind Spot (dead angle - Toter Winkel) has a
different meaning in terms of acoustics and cannot be compared with the visual context where blind spot is used
primarily in conversations
In musicsound production in film the visual blind spot is used very often by hearing a bike roller plane without
seeing it In everyday life we are used and depending by acoustic blind spots for our orientation of the situation
and space we are in at the moment Architectural acoustic issues play an important role during the time of the
composition ldquoPoetic of Dead Space 2rdquo is a context specific composition and deals with polysynthetic language
morphology recordings of the untitled instrument Sonic structure and acoustic exhibition architecture besides
issues which are depending of the unused architecture and their acoustics
First Nations Pavillon
Polysynthetische Doppelperspektive Claude Levi-Strauss 2006
Fotocollage C-Print gerahmter Spiegel
6-teilig
3 x 405 x 305 cm
2 x 245 x 305 cm
1 x 605 x 485 cm
Ed23 + 2 AP
A framed mirror from ldquoFirst Nations Pavilionrdquo is placed in the corner of the log-in space to place the viewer physically in the space cutting the reflection of the gaze as well mirrors a profile view of the installed
photographs The photo-series relates to polysynthetic language morphology (of the Inuit First Nations Maori and Caduveo Indians) and translates within the photographic image their structural common visual grammar Because they would create a frontal view which was made out of 2 (split) profile views thereby creating a 4-dimensional perspective that anticipatedparallels Cubism who later presented multiple perspectives within one image which intended to represent movement through time and space Specific references are in the related pdf upon request
at Galerie naumlchst St Stephan
Log [Baumstamm] 2010
Archivierung der Raumfarbe
Split Representation
Claude Levi-Strauss 2009
C-Print
5-teilig je 245 x 305 cm
Ed15 + 2 AP
The camera positions of a right angle mirror bdquoSplit Representationrdquo were chosen by E Penker in the way that the
flash is not in the image the photos are made utilizing a right angle mirror which both fragments and reflects the
image creating multiple or a split perspective EP
Bench-Shelf 2003
Acryl auf Pappelsperrholz
46 x 151 x 42 cm
The bench which is the earliest work in the exhibition mirrors the bottom and the top seating elements thereby
giving the object an asymmetrical appearance The bench-shelf was originally designed for a video archive was
later used by museum staff (in Porto) as gallery furniture
composition (or view) Numerous contemporary artists eg Donald Judd have related the ShakersAmish radical functionalism to their sculptural practice
Poetics of Dead Space 2 2009-2010
2 Kanaumlle einer 8-Kanal-Composition mono
Metallstativ Speaker Yamaha MSP3 CD-Player
H 133 cm
Ed 13
The non-linear 8-channel composition ldquoPoetics of Dead Space 2rdquo introduces polysynthetic language morphology
combined by the melody which is composed from pre-existing recordings of extinct languages and Penker‟s self-
made instrument ldquoUntitled Instrument sonic structurerdquo (see PDF and re lated essay written by E Penker at
Resonance fm Magazine upon request at Galerie naumlchst St Stephan)
The channel which is upstairs installed uses an existing wall as an acoustic filter and introduced sub-
consciousness polysynthetic language morphology into the gallery space The title refers to the book poetic of
space within unused architectural situations of exhibition spaces bdquo A Blind Spot (dead angle - Toter Winkel) has a
different meaning in terms of acoustics and cannot be compared with the visual context where blind spot is used
primarily in conversations
In musicsound production in film the visual blind spot is used very often by hearing a bike roller plane without
seeing it In everyday life we are used and depending by acoustic blind spots for our orientation of the situation
and space we are in at the moment Architectural acoustic issues play an important role during the time of the
composition ldquoPoetic of Dead Space 2rdquo is a context specific composition and deals with polysynthetic language
morphology recordings of the untitled instrument Sonic structure and acoustic exhibition architecture besides
issues which are depending of the unused architecture and their acoustics
Galerie naumlchst St Stephan
Aneta Grzeszykowska Elisabeth Penker
220110 bis 060310 Auf den Spuren gesellschaftlicher
Ordnungssysteme
Die beiden Ausstellungen von Aneta Grzeszykowska in den Galerieraumlumen
und Elisabeth Penker im Projektraum bdquoLOGINldquo sprechen unterschiedliche
Sprachen Momente der Beruumlhrung ergeben sich lediglich durch die
Auseinandersetzung der beiden Kuumlnstlerinnen mit Systembildungen und
gesellschaftlich bedingten Agglomerationen von Bedeutungen Waumlhrend der
Blick der in Warschau lebenden Kuumlnstlerin Aneta Grzeszykowska
psychologisch und kulturell bestimmt ist laumlsst sich das Verfahren der in
Wien und Rom lebenden Elisabeth Penker als ethnografisch und linguistisch
fundiert umschreiben Im Nebeneinander der beiden Positionen bilden sich
schaumlrfende Kontraste
Aneta Grzeszykowskas Interesse gilt dem Privaten in verschiedenen
visuellen Uumlbersetzungen Etwa kartografierte sie mit dem Warschauer
Kuumlnstler Jan Smaga in einer Fotoserie Wohnungen aus der Vogelperspektive
um eine intime Geschichte der Stadt uumlber die Anordnung von Raumlumen
Moumlbeln und Gebrauchsgegenstaumlnden zu erstellen Nun begibt sie sich mit
dem Film bdquoBirthdayldquo auf die Ebene fruumlhkindlicher Begegnungen mit dem
Unheimlichen Gedreht wurde er in der Art privater Dokumentationen zur
Feier des eigenen Nachwuchses anlaumlsslich eines Kindergeburtstags Durch
kommentierende Eingriffe wie die Animation sonst unbeweglicher
Gegenstaumlnde uumlbt die Kuumlnstlerin Kritik an den Konventionen und betont so
das Monstroumlse solcher Ereignisse In der Doppelboumldigkeit von inszenierter
Kindheit und Abgruumlndigem ist auch eine Reihe monochromer dunkler
Figurinen aus Stoff angesiedelt Dass diese bekleidet sind wie
Grzeszykowska in ihrer Kindheit verweist auf Versuche Dramatisches uumlber
die aumlsthetische Formalisierung zu bearbeiten Eine Fotografie mit dem durch
die Hand Grzeszykowskas unabsichtlich verletztem Auge ihres kleinen
Bruders und eine maumlrchenhaft anmutende Reliefskulptur mit einem Maumldchen
auf einem Hund aus stacheligen Distelbluumlten erzaumlhlen davon
Tiefenbohrungen zum Kern semantischer Ordnungen unternimmt dagegen
Elisabeth Penker im Kontext der Ausstellungsserie LOGIN in einem
ehemaligen Geschaumlftslokal und im Foyer der Galerie selbst Bekannt ist die
Kuumlnstlerin und Musikerin Elisabeth Penker etwa durch ihre Intervention im
Arkadenhof der Universitaumlt Wien mit einer Buumlste der oumlsterreichischen
Romanistin und ersten Universitaumltsprofessorin Elise Richter Diese leite das
phonetische Institut bis zu ihrer Deportation ins Ghetto Theresienstadt durch
die Nationalsozialisten und war in der patriarchalischen Ordnung der
steinernen Koumlpfe der Universitaumlt ndash ebenso wie die Leistungen von Frauen
generell ndash bis dahin kein Thema gewesen In der Ausstellung bdquoProtectionsldquo
im Kunsthaus Graz thematisierte Penker mit ihrem bdquoFirst Nation Pavillonldquo die Hegemonie des durch den
Kolonialismus gepraumlgten Blicks auf auszligereuropaumlische Gesellschaften
Stets sind ihre Annaumlherungen auf die Generierung von Bedeutungen im Sinne von Grammatiken
ausgerichtet Dementsprechend leitmotivisch fungiert ein Portraumlt des kuumlrzlich verstorbenen Ethnologen
Claude Leacutevi-Strauss in der Rauminstallation mit integrierter Soundkomposition Die gespiegelte und
mehrfach aufgefaumlcherte Fotografie von Leacutevi-Strauss in bdquopolysynthetischer Doppelperspektiverdquo laumlsst sich
als Verschneidung von Sprachlichem Klanglichen und Visuellen lesen
Eine Archaumlologie im Feld der Linguistik wie auf Materialebene fuumlhrt die Signifikanten auf engstem Raum
zusammen Triviale Vierkanthoumllzer beispielsweise wurden in genau jenen Farben lackiert die Penker als
uumlbereinander gelagerte Sedimente unter der Dispersion der Waumlnde freilegte Die laumlnglichen Houmllzer
beziehen sich auf den englischen Ausdruck bdquologldquo fuumlr Stamm und somit auch auf die Ausstellungsreihe der
Galerie Bemerkenswert dass ein Wort das bloszlig aus einem Morphem besteht einen Gegenstand
repraumlsentiert So baut sich uumlber eine Reihe weiterer Objekte wie etwa den bdquoHanging Chairsldquo aus dem
Fundus der Galerie ein elementares Netzwerk von Bezuumlgen auf Mit ihren Werken und abstrakten Sound-
Kompositionen dringt Elisabeth Penker kritisch forschend in die Makrobereiche von Grammatiken vor um
Potentiale semantischer Anbindungen in Nachbarsystemen freizulegen Roland Schoumlny
Elisabeth Penker Einzelausstellung MAK CAT TOWER Kurtaiert von Andreas Kristof
ldquoPassive Orchestrardquo 2008 8-Channel-Toninstallation Die Interpretation von Soundart sieht Penker in der Uumlberschneidung von Sprache-visueller Kunst und Musik und ist zumeist mit einer visuellen raumlumlichen Komponente verbunden Der Betrachter und Zuhoumlrer befindet sich in
einer Konzert-Situation statt Instrumenten sieht er nur Lautsprecher die auf unterschiedlichen Houmlhen auf einer grauen Wand positioniert sind Passiv Orchestra beruht in der Struktur auf die grammatische Einteilungen von Sprachen die in phonetische Minimaleinheiten dekonstruiert sind und wird uumlber eine Mehrkanal Matrix gespielt Elisabeth Penker referiert in dieser eigens fuumlr den Flakturm konzipierten Arbeit auf dadaistische Methoden der Sprachdekodierung die auch als ein klares Anti-Kriegs-Statement zu verstehen waren
1
Kunsthaus Graz
Protections
Kuratoren Adam Budak und Christine Peters
Elisabeth Penker
First Nation Pavilion
Der First Nation Pavilion von Elisabeth Penker unternimmt den Versuch einen Bereich fuumlr ein koloniales
Bewusstsein der europaumlischen Vergangenheit zu schaffen und einen utopischen Raum fuumlr neue Vorstellungen
von einer Mannigfaltigkeit an kulturellen Formen in der zeitgenoumlssischen Kunst Die Komposition de-
grammatical ein Bestandteil des First Nation Pavilion beruht in ihrer Struktur auf den grammatischen
Einteilungen der Sprachen die in phonetische Minimaleinheiten dekonstruiert sind und wird uumlber eine
nichtlineare 5-Kanal-Matrix gespielt
Penker untersucht moumlgliche Uumlberschneidungen zwischen der Sprache der Musik und der Bildstruktur wobei ihr
Hauptaugenmerk polysynthetischen Sprachen (First Nations und Pazifische Inseln) gilt sowie dem Vergleich
zwischen der Kunst von First Nations und der Modernen Kunst Erst in juumlngerer Zeit in der Aumlra des
Postkolonialismus hat der Diskurs der kulturellen Uumlbersetzung Fragen aufgeworfen mit denen man sich schon
in den phonetischen Experimenten des Dadaismus in den 1910er und 1920er Jahren beschaumlftigt hatte sowie
spaumlter in der Konzeptkunst der 1960er und 70er Jahre
Elisabeth Penker
First Nation Pavilion
The First Nation Pavilion by Elisabeth Penker attempts to set-up an area for colonial consciousness of the
European past and a utopic space for re-imagining a plurality of cultural forms in contemporary art The
composition entitled de-grammatical contained within the First Nation Pavilion is structurally-based on the
grammatical classifications of languages deconstructed into minimal phonetic units played within a non-linear
5-channel matrix
Penker is questioning the possible overlaps between music-language and visual structure within the primary
focus on polysynthetic languages (First Nation and Pacific Islands) and First Nation Art compared to Modern Art
More recently in the age of post-colonialism the discourse of cultural translation is arising questions that have
also been experimented by the Dadaists phonetic experiments in the 1910-20s and later in Concept Art of the
1960s-70s Text Adam Budak
Michael Elmgreen amp Ingar Dragset (the work of two other invited artists) offered Penker a typical prefabricated
house as her exhibition space within the Kunsthaus
id31403916 pdfMachine by Broadgun Software - a great PDF writer - a great PDF creator - httpwwwpdfmachinecom httpwwwbroadguncom
2
Elisabeth Penker Fisrt Nations Pavilion 2006
Change of floor plan of the prefabricated house by Michael Elmgreen amp Ingar Dragset
Entrance door Fisrt Nations Pavilion
3
Part 1 Colonial Conciseness in visual art
Room 1 and 3 Modernism=Imperialism after Henry Flynt Demolish serious culture
Woman as a the last Colony Rosa Luxenburg Veronika Bennholdt-
Thomsen Claudia von Werlhof und Maria Mies
4
Vinyl letters C-Print
5
6
Polysynthetische Doppelperspektive 1 Claude Levi- Strauss
Photocolloage C-Print
7
Polysynthetische Doppelperspektive 2 Claude Levi-Strauss
Photocolloage C-Print
9
Polysynthetische Doppelperspektive 4 Claude Levi Strauss
Photocolloage C-Print
2 prints Installed in corner
Installation view Polysynthetische Doppelperspektive 1-4 Claude Levi- Strauss
The visual grammar and its double perspective (split representation) of Haida Gwai and Tlinglet Art (First Nation
Art) is re-collaged with a photograph of Pablo Picasso comparing Cubism (early Modernism) with First Nation Art
and questioning its similarities of double perspectives
10
Room 4 and 5
Room 4
11
Luicide List The museum as an imperial graveyard
C-Print
Colonial after effects of Luicide
Gips Metallkette Hose Schuh
12
No7
Mirror Split Representation Mirror framed and installed in the corner
Part 2 Room 6 and 8 Comparative Contemporary Art
4-channel sound installation
De-grammatical Listen to mp3 audio excerpts
13
Front
2 CT (shelfbenches) Acryl auf Pappelsperrholz
Back Pull Over Yukme Shirley Hall outside
14
Pull Over Yukme Shirley Hall inside
Fabric wall silk print by (Tlinglet Artist) Yukme Shirley Hall
Wo ist Elise Richter wo ist
id99149429 pdfMachine by Broadgun Software - a great PDF writer - a great PDF creator - httpwwwpdfmachinecom httpwwwbroadguncom
Im Arkadenhof der Universitaumlt Wien stehen 154 Buumlsten von bedeutenden Wissenschaftlern der
Universitaumlt Wien (1700-2005) Bedauerlicherweise findet sich unter ihnen keine einzige Frau Eine temporaumlre Buumlste einer anonymen Wissenschaftlerin soll die systematische Ausblendung von Frauen
aus der Universitaumltsgeschichte thematisieren Die offene Web- Plattform (wwweliserichterat) ermoumlglicht allen Benutzern aktiv an der Umschreibung der Universitaumltsgeschichte und an re-imaging Prozessen der Repraumlsentation dieser Buumlsten teilzunehmen Weiters wird die Verbindung von raceclassgender und einer akademischen Kariere in diesem Zusammenhang hinterfragt We can never really change any form of social organisation without challenging all that organisations forms of
language (Debord)
Within the patriarchal structures of the Arkadenhof at the University of Vienna stand 154 busts of important scientists (1700-2005) Unfortunately none of these busts are women Through the placement of a temporary bust of an anonymous female scientist it declares the absence of them within the history of the university As well the anonymous bust embodies the presence of important scientists who have not yet been given equal representation The open web-platform (wwweliserichterat) allows every user to participate in this discourse to re-write the history of the university and to re-image the representation of these busts through a wiki system
Skizze Buumlste einer anonymen Wissenschaftlerin
Mein Interesse besteht nicht darin zu recherchieren welche Buumlsten von Wissenschaftlerinnen im Arkadenhof fehlen sondern das Fehlen der Wissenschaftlerinnen im Zeitraum von 1700 bis 2005 aufzuzeigen und Strukturen fuumlr eine oumlffentliche Kommunikationsplattform zu schaffen In der Genderforschung besteht Konsens daruumlber dass Gender kein Merkmal von Individuen sondern das einer
Institution ist (Connell) zudem ein struktureller Bestandteil einer Gesellschaft ist und dass Gendernormen alle Organisationen durchdringen (Acker)
Grundriss Arkadenhof der Universitaumlt Wien Literatur Acker J (1990) Hierarchies Jobs Bodies A theory of gendered organizations In Gender and Society
Connell R (1998) Gender and Power Society the Person and Sexual Politics Stanford University Press Stanford CA Maisel T (1990) Die Denkmaumller im Arkadenhof der Universitaumlt Wien Biographische Skizzen Wien Quellen Denkmalsakten Archiv der Universitaumlt Wien
Veranstalter Open Mind Projekt Utopie Freiheit httpwwwopenmindat vereinopenmindat Projektautorin Elisabeth Penker elpenkergmxat Bronzeguss Walter Rom Wachsmodel Buumlste Elisabeth Penker Steinsockel Ausfuumlhrung Fa Zehmann Mario Jungbauer Mediendesign Gernot Tscherteu httpwwwrealitylabatwphome gtrealitylabat Techn Umsetzung Christian Langreiter Webpage wwweliserichterat
Elisabeth Penker- Franzengasse 13- 1050 Wien ++43 (0)699 197 193 53 elpenkergmxat
Elisabeth Penker Untitled instruments 1-3 2000-2012
Galerie Georg Kargl Wien Galerie Priestor Bratislava Kuumlnstlerhaus Wien Kibla New
Media Center Maribor HTTP Galerie London Secession Wien Mak Wien Roma
Contemporary Wien
Elisabeth Penker Untiled Instrument Galerie Georg Kargl Wien
Curated by Michael Hall
Elisabeth Penker Untitled instrument 2001 New Media Center Maribor
Elisabeth Penker Untitled instrument 2001 New Media Center Maribor
Elisabeth Penker Untitled instrument Kuumlnstlerhaus Wien curated by Ursula Maria Probst
Live Performance mit Celia Mare
Detail Die BILD_HAU_ER_IN Kuumlnstlerhaus Wien
Live Performance Flower Structure Wiener Festwochen
Elisabeth Penker (Untiled instrument) Van Angh (Cello) Tri Minh Electronics
Elisabeth Penker Live Performance Poetics of space Secession Wien
MAK Nail Structure GRizo Sweet Susie Elisabeth Penker
Elisabeth Penker HTTP Gallery London 2005 curated by Tobi Maier
Elisabeth Penker HTTP Gallery London Live Performance
Elisabeth Penker Untitled Instrument Sonic Structure Kunsthaus Graz curated by Adam Budak amp
Christine Peters
Videolinks
httpwwwyoutubecomusersoundart24
Interview with Video Festwochen
httpbturncom8753interview-elisabeth-penker
Kunsthaus Graz
Protections
Kuratoren Adam Budak und Christine Peters
Elisabeth Penker Poetics of Dead Space
For PROTECTIONS Elisabeth Penker developed a key-sound Poetics of Dead Space which is to a large extent a homage
to Gaston Bachelards seminal book Poetics of Space where the connections between the poetry and the spatial emotions
are analysed Penkers key-sound will guide the viewer through the exhibition mapping the overall identity of the show in
some way controlling the viewers (audio-narrative) route in the maze of art objects events situations but also spatial
voids and unused corners
Fuumlr PROTECTIONS entwickelte Elisabeth Penker einen leitmotivischen Key Sound Poetics of Dead Space der weitgehend
eine Hommage an Gaston Bachelards wegweisendes Buch Poetics of Space darstellt in dem die Verbindungen zwischen
Lyrik und raumlumlichen Emotionen analysiert werden Penkers Key Sound wird das Publikum durch die Ausstellung geleiten
die Identitaumlt der Schau in ihrer Gesamtheit erfassen und in gewisser Weise die (audio-narrative) Route des Publikums im
Labyrinth der Kunstgegenstaumlnde Ereignisse und Situationen aber auch raumlumlicher Leerstellen und ungenutzter Winkel
kontrollieren
A non linear composition 7 mono active speakers are placed through out the Kunsthaus Graz Speaker placement
1 outdoor (entrance) 2 (travelator) 3 (corner with column) 4 (corner with door) 5 (corner) 6 (travelator) 7 (corner with
window)
Poetics of Dead Space Let it grow again 28 51 sec mono
Source material for composition rain sound of dried beans dropping down wood sticks breathing hardly existing
id78338975 pdfMachine by Broadgun Software - a great PDF writer - a great PDF creator - httpwwwpdfmachinecom httpwwwbroadguncom
recording of extinct languages
Poetics of Dead Space Let it grow again 28 51 sec mono
Source material for composition rain sound of dried beans dropping down wood sticks existing recording of extinct
languages
Poetics of Dead Space travelator 1 1min 04 sec mono loop
Source material for composition staff falling down man falling down stairs rattern recording untitled instrument
Background existing recording of extinct languages
Poetics of Dead Space 496 1min 409 sec mono loop
Source material for composition recording untitled instrument Background existing recording of extinct languages
Poetics of Dead Space 129525 1min 4888 sec mono loop
Source material for composition recording untitled instrument Background existing recording of extinct languages
Poetics of Dead Space 129525 1min 4888 sec mono loop
Source material for composition keyboard recording untitled instrument Background existing recording of extinct
languages
Poetics of Dead Space travelator 2 1min 5209 sec mono loop
Source material for composition recording untitled instrument violin Background existing recording of extinct
languages
Poetics of Dead Space2152518125220 1min 3200 sec mono loop
Source material for composition recording untitled instrument Background existing recording of library of extinct
languages
Poetics of Dead Space travelator 1 1min 04 sec mono loop
viewing down from upstairs Source material for composition staff falling down man falling down stairs rattern
recording untitled instrument Background existing recording of extinct languages
Poetics of Dead Space Let it grow again 028 51 sec mono
Source material for composition rain sound of coins wood sticks existing recording of extinct languages
Elisabeth Penker is a Viennese artist and musician working with sound in a sculptural context In her (subjective) tour
Penker approaches the entire anti-exhibition PROTECTIONS from an angle of its position and significance in the context
of Sound Art as located on the crossway between visual arts language and music Starting from her own house turned
into First Nation Pavillion which amongst others aims at connecting the recent discourse on cultural translation with
early avant-garde phonetic experiments Penker maps the sonic structure of Kunsthaus Graz and its (live) architecture
which for PROTECTIONS hosts an array of interdisciplinary projects with a strong audio-quality from Herwig Weisers
Death Before Disco (a micro-architecture of hyper-technological and electronic pop) through a newly created choir of
security guards for Tim Etchells Wall of Sound down to a cacophonic layers of anonimous noise generated by the
space itself and the presence of audience
Die Wiener Kuumlnstlerin und Musikerin Elisabeth Penker arbeitet mit Klang im Zusammenhang mit Bildhauerei In ihrer
(subjektiven) Fuumlhrung naumlhert sie sich der Anti-Ausstellung PROTECTIONS aus einem Blickwinkel der die Position und
Bedeutung der Klangkunst an der Kreuzung zwischen bildender Kunst Sprache und Musik verortet Von ihrem eigenen
Haus ausgehend das sich in den First Nation Pavilion verwandelt hat der u a den aktuellen Diskurs uumlber kulturelle
Uumlbersetzung mit fruumlhen phonetischen Experimenten der Avantgarde verbinden soll entwirft Penker die klangliche
Struktur des Gutshauses und seiner (Live-)Architektur die fuumlr PROTECTIONS eine Reihe von interdisziplinaumlren Projekten
mit einer starken Affinitaumlt zum Klang beherbergt von Herwig Weisers Death Before Disco (eine Mikroarchitektur aus
hyper-technoidem und elektronischem Pop) uumlber einen neu formierten Chor bestehend aus Security Guards fuumlr Tim
Etchells Wall of Sound bis zu einer Kakophonie aus anonymen Geraumluschen die vom Raum selbst und der Anwesenheit
des Publikums erzeugt werden
052813
Local Warming ATHENS
052813
AFTER A YEARLONG HIATUS the eighteenth Art-Athina hit the ground running on the evening of Thursday May 16 and the former Olympic
ldquoTae Kwon Dordquo Pavilion was packed with enthusiastic party people The fair had a more national flavor than ever this year under its new
director Alexis Caniaris the son of recently deceased artist Vlassis Caniaris whose iconic modern work has recently found great success on the
international market Of the very few foreign galleries exhibiting most were Greek-owned The Breeder gallery was dealing with the perceived
drop in the market by selling fantastic multiples by artists like Stelios Faitakis Jannis Varelas and Andreas Angelidakis at crisis-appropriate
prices ldquoNobody wants to come here now but I have already met three interested billionaire collectors today And if Greeks like you they
introduce you to their billionaire friendsrdquo raved Cologne dealer Mirko Mayer a seven-time exhibitor ldquoThat is what nobody knows There are
at least one-hundred billionaires collecting hererdquo Most international collectors were delayed several hours due to a union strike a de r igueur
mode of arrival in contemporary Greece
It was impossible to miss the exuberant activities of the DaDa Da restaurant a Greek-Austrian collaboration where artist Albert Mayr was
waving a skillet and raving nonsense while Lucas Willmann tenderized pink fillets for Wiener schnitzel ldquoThis is Viennese Actionism lightrdquo
quipped critic Sotirios Bahtsetzis Artist Natasha Papadopoulos added ldquoBut here there are hungry Greeks waitingrdquo On a table with a rotating
Sacher tort by Heacutelegravene van Duijne a sign carried the overwhelming spirit FUCK ART LETrsquoS EAT SOUVLAKI An insistent electronic beat and
pulsating light emanated from the next booth the American College of Greecersquos ldquoAthensUrgentrdquo while hooded performer Manos Tsatiris
stood against the wall with his hands tied perhaps a metaphor for the current Athenian exigency ldquoThis is not the kind of art fair scene we are
used tordquo said the Economou Collectionrsquos Annie-Claire Geisinger watching the madness
Left Artists Elisabeth Penker Michela Pelusio Petros Touloudis Panos Papadopoulos and Nino Stelzl Right Collector Anne-Marie Ros
Down on the floor the dealers seemed pleased particularly given dismal expectations having already sold a great deal at the preview Young
Rotterdam-based gallery Joey Ramone had sold sculptures by Fotini Gouseti to English and Belgian collectors dealer Erik Mulier had also sold
some work to Belgians Marc Van den Hende said he had bought a triptych by Eirene Efstathiou and was considering a Vlassis Caniaris piece
from the 1970s ldquoI saw some surprisesmdashyoung Greek artists I did not knowmdashand great new galleries like Elika and CANrdquo Dutch collector
Anne-Marie Ros said By the end of the day Dimitra and Sofia Vamiali reported that they had not seen one Greek collector although another
reported a Dakis Joannou sighting mdash Cathryn Drake
SEARCH
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SEATTLE
WEEKLY
in the News
Columnist
Geov Parrish
is a regular
guest on
Mind Over
Matters on
KEXP-FM
(903)
Saturdays at
830 am and
provides news
commentary
on KBCS-FM
(913) Fridays
at 430 pm
Catch writers
Steve
Wiecking Tim
Appelo and
ARTS
March 30 - April 5 2005
Picking Up the Thread
Howard House ties together the best new conceptual art from Vienna
by Elise Richman
Franz Wests Mercury
(Howard House Contemporary Art)
Theres a German expression to lose the red thread which means losing
ones train of thought In its current show Howard House has found that
thread Julie Ryan a curator artist and writer organized The Red
Thread Glimpses of International Art in Vienna a two-part exhibition
featuring artists working and living at least part time in Austrias capital
Part one of the show is at Howard House the second half is currently on
display at the Educational Alliance Gallery in New York
Vienna has become a magnet for artists from all over the world including
the 15 individuals and artist teams that are part of The Red Thread
Excellent artist residency programs a low cost of living and living art
legends like Franz West are just a few of the reasons
An artistic collaboration with West took Ryan from New York to Vienna
She knows Billy Howard who runs Howard House from the University of
Washingtons School of Art And so the figurative string was strung
connecting the East and West coasts with artists from across the Atlantic
This is a complex exhibit whose emotional tenor ranges from cool
detachment to an almost urgent earnestness Unlike the formal richly
historical city that connects them artists in The Red Thread favor informal
approaches to art making use disposable materials and comment on
contemporary cultural themes
West has two formidable sculptures at Howard House The front room of the
gallery features Mercury (pictured) an ungainly behemoth composed of a
patchwork of fused metal Like many of Wests sculptures Mercury is
meant as an interactive structure that viewers can climb and sit on Bulbous
Gavin
Borchert
discussing
theater film
and music
regularly on
classical
KING-FM
(981)
Mark Fiore
Cartoons
Every
Thursday
nodules extend from its horizontal base and the seams of the dark maroon
metal look like scars rendering it at once vaguely obscene and absurdly
playful
Sisyphus the other West sculpture on display is a bulky conglomeration of
bits and wads of paper propped in the back room on a makeshift plinth (base
block) Though its as solid as the boulder its title references its surface is
like oozing skin partly coated with poured murky paint partly cloaked in
small clumps of newspaper detritus
The strenuous act of making each of these sculptures is eminently apparent
and central to the content of Wests work West considers creation a
symbolic act As you might expect he likens the artistic process to the plight
of Sisyphus the mythological figure who eternally rolled a boulder up a hill
only to have it come crashing back down For West art involves a
Sisyphean search for what he calls the absolute through the seemingly
senseless accumulation of materials However unlike Sisyphus futile quest
Wests process can lead to epiphany making sense of the senseless
Similarly Viennese artist Elisabeth Penkers art serves a facilitative
function easing the act of translation Penker uses Haida iconography in her
multimedia work because it provides potent visual symbols that
communicate single words and whole sentences simultaneously Her prints
at Howard House feature fragments of icons floating in the papers white
space They are spare visually arresting characters that employ an
iconographic language as encoded symbols of communication
Also featured in The Red Thread is Donald Baechler an internationally
known American painter who spends extended periods of time in Vienna
Baechler equalizes his imagery by painting it all in the same style For him
the source of an image doesnt matter whether its a drawing by Picasso or
graffiti on a bathroom wall What matters is the newfound context his
paintings provide
Victory by Default is part of Baechlers Skull series In this piece a painted
skull gapes from the dirty yet sensuous confines of a large canvas Terry
cloth and wrinkled rags provide literal texture and reference the world
outside the paintings boundaries Splatterings of color around the skull like
the self-conscious marks of Jasper Johns seem to express the language of
paintingmdashhue and gestural strokesmdashin a factual rather than illusional
manner
Another American painter Lisa Ruyter lives half-time in Vienna where she
runs an influential gallery She works from photographs projected onto
large-scale canvases tracing the contours of the projected imagery with
consistent black outlines In a way that seems arbitrary she paints the shapes
formed by her contour lines in flat designer colors Man of Means based on
a photo of fashion photographers looks like a scrambled color-by-numbers
painting I cant do justice to the unusually rich assortment of conceptual art
in The Red Thread Youll just have to see it for yourself Thomas
Baumans thrashing triangular foil blanket Walter Seidls slide show of
staged snapshots Markus Schinwalds photograph of a contortionist and the
other thoughtful works connected by The Red Thread
The Red Thread Glimpses of International Art in Vienna runs through
April 30 at Howard House 604 Second Ave 206- 256-6399 1030 amndash5
pm TuesndashSat Free
KUNSTFORUM
Parallelwelten fuumlr Parlamentarier Ausstellung
Von Brigitte Borchhardt-Birbaumer
Ende Oktober endet die Zusammenarbeit von Nationalratspraumlsident Andreas Khol und Peter Pakesch Direktor des Kunsthauses Graz am Joanneum Seit 2003
hatte Pakesch als Kurator mehrere Ausstellungen in den Sitzungssaumllen des Parlaments in Zusammenarbeit mit Galerien initiiert und namhafte Positionen
ausgewaumlhlt Kriterium fuumlr Praumlsentationen war die Praumlsenz durch eine Schau in einer der bekannten Kunstinstitutionen des Landes Nach Eva Schlegel Adriana
Czernin Maria Lassnig oder Esther Stocker sind dies nun bis April 2007 Josef Dabernig Daniel Hafner Ulrike Lienbacher Alois Mosbacher und Elisabeth
Penker
Das Parlament kann dabei durch die Margaretha-Lupac Stiftung immer eine Arbeit fuumlr die wachsende Sammlung des Hauses ankaufen Zuletzt war das ein
groszliges Oumll-Acryl-Gemaumllde der Georg-Eisler-Preistraumlgerin Maja Vukoje zuvor Johanna Kandl deren Temperabild derzeit an das Lentos in Linz geliehen wird
Einige Werke haumlngen schon als kuumlnstlerische Wegweiser in den Gaumlngen des Hauses und sind auch Blickfang fuumlr die 120000 Besucher die pro Jahr das
Parlament besuchen In die Architektur von Theophil Hansen mit ihrer zeitlosen Qualitaumlt fuumlgt sich die Gegenwartskunst kongenial
Hoffnung fuumlr spaumlter
Die derzeitige Zusammenstellung macht Hoffnung auf eine Fortsetzung unter der naumlchsten Praumlsidentschaft Fotografie Computerkunst Malerei Zeichnung
und Skulptur weisen auf die Vielfalt der Werkstoffe in der Gegenwartskunst Elisabeth Penker parallel im Kunsthaus Graz zu sehen baut schwarzweiszlige
Objekte aus bemaltem Holz die in ihrer seriellen und geometrischen Anordnung auf Bezuumlge zum Performativen und auf die Musik hinweisen
Noch juumlnger ist Daniel Hafner mit seinen am Computer komponierten digitalen Drucken Morphosentransformationen von 2006 Linienraster und
Raumkonstruktionen in subtiler Farbigkeit verbinden Tendenzen der fruumlhen Op-Art mit dem Cyber-Lab
Um konstruierte Realitaumlten geht es auch in den groszligformatigen Oumllbildern von Alois Mosbacher dem bekannten Vertreter der Neuen Wilden der
Achtzigerjahre in Oumlsterreich Wanderer in Wald und Wiese erzaumlhlen die Geschichten alternativer Welten die sich mancher in der Gesellschaft als Parallele
konstruiert
Zwei Fotofriese von Josef Dabernig bilden jeweils ein Panorama von oumlffentlichen Plaumltzen auf denen es zum einen um Fuszligball geht Zum anderen ist der
Rundblick in das Oval einer scheinbaren Arena auch eine Art Sehschule fuumlr die Betrachter Ein sozialer Befund ist die dritte Bedeutungsebene
Ulrike Lienbacher die heuer mit einer groszligen Schau im Innsbrucker Taxispalais ihre Karriere fortsetzt ist mit ihren feinlinigen Tuschezeichnungen den kleinen
oft unsichtbaren Zwaumlngen in unserer Gesellschaft auf der Spur Im Lokal II des Parlaments stellt sie zwar nicht ihre Objekte und Fotos aber einige
groszligformatige Blaumltter mit Frisurenvariationen neben teils fragmentierten Frauenkoumlrpern im Umgang mit Schmutz und Hygiene aber auch Fitnesskult aus
Disziplinierung und Kontrolle betreffen in der Oumlffentlichkeit besonders den weiblichen Koumlrper Sauberkeitsmechanismen weisen auch auf Vorstellungen von
wertvoll und minderwertig hin Ihre Transformationen enthalten wie die Themen der anderen subtile Kritik und sind daher vom Kurator uumlberlegt positioniert
Zeitgenoumlssische Kunst
im Parlament
Bis April 2007
Kurator Peter Pakesch
Konfrontationen
Dienstag 10 Oktober 2006
ltlt 2003 | 2004 Jan Feb Mar Apr May Jun Jul Aug Sep Oct Nov Dec 2004 | 2005 gtgt
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31
Sunday 17 October 2004
TIME
TITLE
NAME
700 Indymedia ESF breakfast show Indymedia London
Highlights news and views from the European Social Forum and the
autonomous spaces and initiatives taking place this week
website
800 Resonance Radio Art Riot Breakfast International
Radio Art
A five part special of the Harmon E Phraisyar show commissioned for
Kunstradio in Austria starts off the morning broadcast of international radio
art
website
1100 Resonance Live from the Frieze Art Fair Anna Colin amp
Tobi Maier
1100 Chris Weaver Resonance 1044FM live electronics set with James Dunn and
Robin Warren
1130 Michael Hall gallery Vienna presents audio works by artist Elisabeth Penker
1200 Maria Fusco presents latest the Bookworks commissions
1300 The Psychology of Collecting live broadcast of the frieze art fair panel
discussion
Is collecting an irrational act guided by compulsion and desire What are the use of
objects What are the motivations behind making collecting curating and
criticizing art A discussion of the psychology of collecting and the politics of taste
Hilary Rubenstein (Psychologist)
Eric Troncy (Art Critic and Director Le Consortium Dijon)
Haim Steinbach (Artist)
Chair Alice Rawsthorn (Director Design Museum)
1500 Portable live set and presentation of sudelectronic records London
1600 Where is Adventure What is Culture live broadcast of the frieze art fair
website
panel discussion
A discussion of the relationship of art to entertainment touching on the comedic
being popular and failing miserably
Trisha Donnelly (Artist)
Christian Jankowski (Artist)
David Robbins (Writer amp Artist)
Nancy Spector (Curator of Contemporary Art Solomon R Guggenheim Museum)
Chair Matthew Higgs (Curator CCA Wattis Institute for Contemporary Arts)
1800 Melissa Bent from Rivington Arms gallery New York in conversation with
artist Dan Colan and Tobi Maier Anna Colin
1830 VOX pop recordings from the fair with Sharon Gal
1900 Resonance Radio Art Riot Sarah
Washington
The Resonance Radio Art Riot brings together some of the foremost radio artists
and thinkers from around the world The studio lab situation will feature round
table discussions live performances and streamed events
Tonight Radio Text
Events Live broadcast from Sonic Arts Network Resonance benefit featuring
Henri Chopin studio performances from Julia Lee Barclay and Aude Tournay plus
Special Features None present live concrete radiophonics - Planning For
Emergencies
Guests include Clive Graham Chris Weaver Richard Thomas Toby Clarkson
John Lovett Robin Warren and James Dunn
Topics The word as art Sound poetry text performances
At Midnight Tom Wallace present exclusive excerpts from radio art pioneer
Gregory Whitehead
website
000 Resonance Radio Art Riot Nights International
Radio Art
The Resonance Radio Art riot continues throughout the night with the finest of
international radio art Resonance FM programme makers and our international
guests have put together many special hours of classic and obscure radio
works
website
- EPenkerDocumentationpdf
-
- 2bAusstellungenPublicaSpaceEPenkerpdf
-
- 2cUntitled_InstrumentsKunsthausGrazEPenker
- 2bpoeticsKunsthaus GrazEPenker
-
- 4PresseEPenkerpdf
-
- 4Review_Seattle Weekly
-
Elisabeth PenkerFerdinand Penker Galerie Charim curated by Michael Scott Hall
Elisabeth PenkerFerdinand Penker Galerie Charim curated by Michael Scott Hall
Elisabeth Penkerinstallation View Gallery 400 Chicago (left bdquoSplit Representation Ferdinand de Saussure (Green)ldquo right bdquoSplit Representation Walter Benjamin (Blue)ldquo 2013
Elisabeth Penkerinstallation View Gallery 400 Chicago left bdquoSplit Reprersentation Walter Benjamin (Blue)ldquo right bdquoSplit Represntation Frantz Fanon (Copper)ldquo 2013
Elisabeth Penkerinstallation View ReMap4 at Camp (Athens) 2013 Ferdinand de Saussure (Blue)
ELISABETH PENKER ldquoVienna calling comparative contemporary artrdquo LOG-IN amp VORRAUM GALERIE NAumlCHST ST STEPHAN ROSEMARIE SCHWARZWAumlLDER Elisabeth Penkers Skulpturen und Audiofilme sind seit 1998 im Bereich von Comparative Art und Sound Art verankert und untersuchen anhand von Sprachmorphologie die Verbindungen zur musikalischen und visuellen Grammatik In Elisabeth Penkers Ausstellung bdquoVienna calling comparative contemporary artrdquo ist der Titel in
Zusammenhang mit der Sprachmorphologie von Wiener Museen lesbar Penkers gezeigte Skulpturen vergleichen visuellelinguistische und musikalische Grammatiken (z B Moderne Kunst und First Nations Art) und verwenden die Ergebnisse als Ausgangsstruktur fuumlr die jeweilige Komposition Ihre Collagen Fotografien Diagramme und Zeichnungen sind erweiterte Fragestellungen ihrer Skulpturen Elisabeth Penker hat in Tonstudios in London und Chicago gearbeitet und seit 2000 eine Serie von Musikinstrumenten entwickelt die die Aufnahme-Methode von Jack Foley verwenden Exzerpte ihrer Multi-
Channel-Kompositionen wurden von Resonance 1044 fm (London) gesendet Weiters ist ein Text von Elisabeth Penker uumlber Sound Art im Resonance Magazine Supplement Juni 2006 erschienen Ein Video und eine Focus -Group wurde gemeinsam mit FOGO Lab bei der Documenta 12 gezeigt und war Teil des Documenta-12-Beitrages von Ricardo Basbaum
Ausstellungen siehe wwwschwarzwaelderat -gt LOGIN ELISABETH PENKER
Comparative Art is an academic discipline in the context of art histories The sculptures audio-films (sound
pieces) and the photographs (expanded sculpture) represent different 3rd 4th -dimensional by documenting
different cultural and spatial notions of perspective through usage of collaged andor spliced structural
compositionalformal structures Structural overlaps between visual artlanguagemusic are considered
Poetics of Dead Space 2 2009-2010
2 Kanaumlle einer 8-Kanal-Composition mono
Metallstativ Speaker Yamaha MSP3 CD-Player
H 133 cm
Ed 13
The non-linear 8-channel composition ldquoPoetics of Dead Space 2rdquo introduces polysynthetic language morphology
combined by the melody which is composed from pre-existing recordings of extinct languages and Penker‟s self-
made instrument ldquoUntitled Instrument sonic structurerdquo (see PDF and related essay written by E Penker at
Resonance fm Magazine upon request at Galerie naumlchst St Stephan)
The channel which is upstairs installed uses an existing wall as an acoustic filter and introduced sub-
consciousness polysynthetic language morphology into the gallery space The title refers to the book poetic of
space within unused architectural situations of exhibition spaces bdquo A Blind Spot (dead angle - Toter Winkel) has a
different meaning in terms of acoustics and cannot be compared with the visual context where blind spot is used
primarily in conversations
In musicsound production in film the visual blind spot is used very often by hearing a bike roller plane without
seeing it In everyday life we are used and depending by acoustic blind spots for our orientation of the situation
and space we are in at the moment Architectural acoustic issues play an important role during the time of the
composition ldquoPoetic of Dead Space 2rdquo is a context specific composition and deals with polysynthetic language
morphology recordings of the untitled instrument Sonic structure and acoustic exhibition architecture besides
issues which are depending of the unused architecture and their acoustics
First Nations Pavillon
Polysynthetische Doppelperspektive Claude Levi-Strauss 2006
Fotocollage C-Print gerahmter Spiegel
6-teilig
3 x 405 x 305 cm
2 x 245 x 305 cm
1 x 605 x 485 cm
Ed23 + 2 AP
A framed mirror from ldquoFirst Nations Pavilionrdquo is placed in the corner of the log-in space to place the viewer physically in the space cutting the reflection of the gaze as well mirrors a profile view of the installed
photographs The photo-series relates to polysynthetic language morphology (of the Inuit First Nations Maori and Caduveo Indians) and translates within the photographic image their structural common visual grammar Because they would create a frontal view which was made out of 2 (split) profile views thereby creating a 4-dimensional perspective that anticipatedparallels Cubism who later presented multiple perspectives within one image which intended to represent movement through time and space Specific references are in the related pdf upon request
at Galerie naumlchst St Stephan
Log [Baumstamm] 2010
Archivierung der Raumfarbe
Split Representation
Claude Levi-Strauss 2009
C-Print
5-teilig je 245 x 305 cm
Ed15 + 2 AP
The camera positions of a right angle mirror bdquoSplit Representationrdquo were chosen by E Penker in the way that the
flash is not in the image the photos are made utilizing a right angle mirror which both fragments and reflects the
image creating multiple or a split perspective EP
Bench-Shelf 2003
Acryl auf Pappelsperrholz
46 x 151 x 42 cm
The bench which is the earliest work in the exhibition mirrors the bottom and the top seating elements thereby
giving the object an asymmetrical appearance The bench-shelf was originally designed for a video archive was
later used by museum staff (in Porto) as gallery furniture
composition (or view) Numerous contemporary artists eg Donald Judd have related the ShakersAmish radical functionalism to their sculptural practice
Poetics of Dead Space 2 2009-2010
2 Kanaumlle einer 8-Kanal-Composition mono
Metallstativ Speaker Yamaha MSP3 CD-Player
H 133 cm
Ed 13
The non-linear 8-channel composition ldquoPoetics of Dead Space 2rdquo introduces polysynthetic language morphology
combined by the melody which is composed from pre-existing recordings of extinct languages and Penker‟s self-
made instrument ldquoUntitled Instrument sonic structurerdquo (see PDF and re lated essay written by E Penker at
Resonance fm Magazine upon request at Galerie naumlchst St Stephan)
The channel which is upstairs installed uses an existing wall as an acoustic filter and introduced sub-
consciousness polysynthetic language morphology into the gallery space The title refers to the book poetic of
space within unused architectural situations of exhibition spaces bdquo A Blind Spot (dead angle - Toter Winkel) has a
different meaning in terms of acoustics and cannot be compared with the visual context where blind spot is used
primarily in conversations
In musicsound production in film the visual blind spot is used very often by hearing a bike roller plane without
seeing it In everyday life we are used and depending by acoustic blind spots for our orientation of the situation
and space we are in at the moment Architectural acoustic issues play an important role during the time of the
composition ldquoPoetic of Dead Space 2rdquo is a context specific composition and deals with polysynthetic language
morphology recordings of the untitled instrument Sonic structure and acoustic exhibition architecture besides
issues which are depending of the unused architecture and their acoustics
Galerie naumlchst St Stephan
Aneta Grzeszykowska Elisabeth Penker
220110 bis 060310 Auf den Spuren gesellschaftlicher
Ordnungssysteme
Die beiden Ausstellungen von Aneta Grzeszykowska in den Galerieraumlumen
und Elisabeth Penker im Projektraum bdquoLOGINldquo sprechen unterschiedliche
Sprachen Momente der Beruumlhrung ergeben sich lediglich durch die
Auseinandersetzung der beiden Kuumlnstlerinnen mit Systembildungen und
gesellschaftlich bedingten Agglomerationen von Bedeutungen Waumlhrend der
Blick der in Warschau lebenden Kuumlnstlerin Aneta Grzeszykowska
psychologisch und kulturell bestimmt ist laumlsst sich das Verfahren der in
Wien und Rom lebenden Elisabeth Penker als ethnografisch und linguistisch
fundiert umschreiben Im Nebeneinander der beiden Positionen bilden sich
schaumlrfende Kontraste
Aneta Grzeszykowskas Interesse gilt dem Privaten in verschiedenen
visuellen Uumlbersetzungen Etwa kartografierte sie mit dem Warschauer
Kuumlnstler Jan Smaga in einer Fotoserie Wohnungen aus der Vogelperspektive
um eine intime Geschichte der Stadt uumlber die Anordnung von Raumlumen
Moumlbeln und Gebrauchsgegenstaumlnden zu erstellen Nun begibt sie sich mit
dem Film bdquoBirthdayldquo auf die Ebene fruumlhkindlicher Begegnungen mit dem
Unheimlichen Gedreht wurde er in der Art privater Dokumentationen zur
Feier des eigenen Nachwuchses anlaumlsslich eines Kindergeburtstags Durch
kommentierende Eingriffe wie die Animation sonst unbeweglicher
Gegenstaumlnde uumlbt die Kuumlnstlerin Kritik an den Konventionen und betont so
das Monstroumlse solcher Ereignisse In der Doppelboumldigkeit von inszenierter
Kindheit und Abgruumlndigem ist auch eine Reihe monochromer dunkler
Figurinen aus Stoff angesiedelt Dass diese bekleidet sind wie
Grzeszykowska in ihrer Kindheit verweist auf Versuche Dramatisches uumlber
die aumlsthetische Formalisierung zu bearbeiten Eine Fotografie mit dem durch
die Hand Grzeszykowskas unabsichtlich verletztem Auge ihres kleinen
Bruders und eine maumlrchenhaft anmutende Reliefskulptur mit einem Maumldchen
auf einem Hund aus stacheligen Distelbluumlten erzaumlhlen davon
Tiefenbohrungen zum Kern semantischer Ordnungen unternimmt dagegen
Elisabeth Penker im Kontext der Ausstellungsserie LOGIN in einem
ehemaligen Geschaumlftslokal und im Foyer der Galerie selbst Bekannt ist die
Kuumlnstlerin und Musikerin Elisabeth Penker etwa durch ihre Intervention im
Arkadenhof der Universitaumlt Wien mit einer Buumlste der oumlsterreichischen
Romanistin und ersten Universitaumltsprofessorin Elise Richter Diese leite das
phonetische Institut bis zu ihrer Deportation ins Ghetto Theresienstadt durch
die Nationalsozialisten und war in der patriarchalischen Ordnung der
steinernen Koumlpfe der Universitaumlt ndash ebenso wie die Leistungen von Frauen
generell ndash bis dahin kein Thema gewesen In der Ausstellung bdquoProtectionsldquo
im Kunsthaus Graz thematisierte Penker mit ihrem bdquoFirst Nation Pavillonldquo die Hegemonie des durch den
Kolonialismus gepraumlgten Blicks auf auszligereuropaumlische Gesellschaften
Stets sind ihre Annaumlherungen auf die Generierung von Bedeutungen im Sinne von Grammatiken
ausgerichtet Dementsprechend leitmotivisch fungiert ein Portraumlt des kuumlrzlich verstorbenen Ethnologen
Claude Leacutevi-Strauss in der Rauminstallation mit integrierter Soundkomposition Die gespiegelte und
mehrfach aufgefaumlcherte Fotografie von Leacutevi-Strauss in bdquopolysynthetischer Doppelperspektiverdquo laumlsst sich
als Verschneidung von Sprachlichem Klanglichen und Visuellen lesen
Eine Archaumlologie im Feld der Linguistik wie auf Materialebene fuumlhrt die Signifikanten auf engstem Raum
zusammen Triviale Vierkanthoumllzer beispielsweise wurden in genau jenen Farben lackiert die Penker als
uumlbereinander gelagerte Sedimente unter der Dispersion der Waumlnde freilegte Die laumlnglichen Houmllzer
beziehen sich auf den englischen Ausdruck bdquologldquo fuumlr Stamm und somit auch auf die Ausstellungsreihe der
Galerie Bemerkenswert dass ein Wort das bloszlig aus einem Morphem besteht einen Gegenstand
repraumlsentiert So baut sich uumlber eine Reihe weiterer Objekte wie etwa den bdquoHanging Chairsldquo aus dem
Fundus der Galerie ein elementares Netzwerk von Bezuumlgen auf Mit ihren Werken und abstrakten Sound-
Kompositionen dringt Elisabeth Penker kritisch forschend in die Makrobereiche von Grammatiken vor um
Potentiale semantischer Anbindungen in Nachbarsystemen freizulegen Roland Schoumlny
Elisabeth Penker Einzelausstellung MAK CAT TOWER Kurtaiert von Andreas Kristof
ldquoPassive Orchestrardquo 2008 8-Channel-Toninstallation Die Interpretation von Soundart sieht Penker in der Uumlberschneidung von Sprache-visueller Kunst und Musik und ist zumeist mit einer visuellen raumlumlichen Komponente verbunden Der Betrachter und Zuhoumlrer befindet sich in
einer Konzert-Situation statt Instrumenten sieht er nur Lautsprecher die auf unterschiedlichen Houmlhen auf einer grauen Wand positioniert sind Passiv Orchestra beruht in der Struktur auf die grammatische Einteilungen von Sprachen die in phonetische Minimaleinheiten dekonstruiert sind und wird uumlber eine Mehrkanal Matrix gespielt Elisabeth Penker referiert in dieser eigens fuumlr den Flakturm konzipierten Arbeit auf dadaistische Methoden der Sprachdekodierung die auch als ein klares Anti-Kriegs-Statement zu verstehen waren
1
Kunsthaus Graz
Protections
Kuratoren Adam Budak und Christine Peters
Elisabeth Penker
First Nation Pavilion
Der First Nation Pavilion von Elisabeth Penker unternimmt den Versuch einen Bereich fuumlr ein koloniales
Bewusstsein der europaumlischen Vergangenheit zu schaffen und einen utopischen Raum fuumlr neue Vorstellungen
von einer Mannigfaltigkeit an kulturellen Formen in der zeitgenoumlssischen Kunst Die Komposition de-
grammatical ein Bestandteil des First Nation Pavilion beruht in ihrer Struktur auf den grammatischen
Einteilungen der Sprachen die in phonetische Minimaleinheiten dekonstruiert sind und wird uumlber eine
nichtlineare 5-Kanal-Matrix gespielt
Penker untersucht moumlgliche Uumlberschneidungen zwischen der Sprache der Musik und der Bildstruktur wobei ihr
Hauptaugenmerk polysynthetischen Sprachen (First Nations und Pazifische Inseln) gilt sowie dem Vergleich
zwischen der Kunst von First Nations und der Modernen Kunst Erst in juumlngerer Zeit in der Aumlra des
Postkolonialismus hat der Diskurs der kulturellen Uumlbersetzung Fragen aufgeworfen mit denen man sich schon
in den phonetischen Experimenten des Dadaismus in den 1910er und 1920er Jahren beschaumlftigt hatte sowie
spaumlter in der Konzeptkunst der 1960er und 70er Jahre
Elisabeth Penker
First Nation Pavilion
The First Nation Pavilion by Elisabeth Penker attempts to set-up an area for colonial consciousness of the
European past and a utopic space for re-imagining a plurality of cultural forms in contemporary art The
composition entitled de-grammatical contained within the First Nation Pavilion is structurally-based on the
grammatical classifications of languages deconstructed into minimal phonetic units played within a non-linear
5-channel matrix
Penker is questioning the possible overlaps between music-language and visual structure within the primary
focus on polysynthetic languages (First Nation and Pacific Islands) and First Nation Art compared to Modern Art
More recently in the age of post-colonialism the discourse of cultural translation is arising questions that have
also been experimented by the Dadaists phonetic experiments in the 1910-20s and later in Concept Art of the
1960s-70s Text Adam Budak
Michael Elmgreen amp Ingar Dragset (the work of two other invited artists) offered Penker a typical prefabricated
house as her exhibition space within the Kunsthaus
id31403916 pdfMachine by Broadgun Software - a great PDF writer - a great PDF creator - httpwwwpdfmachinecom httpwwwbroadguncom
2
Elisabeth Penker Fisrt Nations Pavilion 2006
Change of floor plan of the prefabricated house by Michael Elmgreen amp Ingar Dragset
Entrance door Fisrt Nations Pavilion
3
Part 1 Colonial Conciseness in visual art
Room 1 and 3 Modernism=Imperialism after Henry Flynt Demolish serious culture
Woman as a the last Colony Rosa Luxenburg Veronika Bennholdt-
Thomsen Claudia von Werlhof und Maria Mies
4
Vinyl letters C-Print
5
6
Polysynthetische Doppelperspektive 1 Claude Levi- Strauss
Photocolloage C-Print
7
Polysynthetische Doppelperspektive 2 Claude Levi-Strauss
Photocolloage C-Print
9
Polysynthetische Doppelperspektive 4 Claude Levi Strauss
Photocolloage C-Print
2 prints Installed in corner
Installation view Polysynthetische Doppelperspektive 1-4 Claude Levi- Strauss
The visual grammar and its double perspective (split representation) of Haida Gwai and Tlinglet Art (First Nation
Art) is re-collaged with a photograph of Pablo Picasso comparing Cubism (early Modernism) with First Nation Art
and questioning its similarities of double perspectives
10
Room 4 and 5
Room 4
11
Luicide List The museum as an imperial graveyard
C-Print
Colonial after effects of Luicide
Gips Metallkette Hose Schuh
12
No7
Mirror Split Representation Mirror framed and installed in the corner
Part 2 Room 6 and 8 Comparative Contemporary Art
4-channel sound installation
De-grammatical Listen to mp3 audio excerpts
13
Front
2 CT (shelfbenches) Acryl auf Pappelsperrholz
Back Pull Over Yukme Shirley Hall outside
14
Pull Over Yukme Shirley Hall inside
Fabric wall silk print by (Tlinglet Artist) Yukme Shirley Hall
Wo ist Elise Richter wo ist
id99149429 pdfMachine by Broadgun Software - a great PDF writer - a great PDF creator - httpwwwpdfmachinecom httpwwwbroadguncom
Im Arkadenhof der Universitaumlt Wien stehen 154 Buumlsten von bedeutenden Wissenschaftlern der
Universitaumlt Wien (1700-2005) Bedauerlicherweise findet sich unter ihnen keine einzige Frau Eine temporaumlre Buumlste einer anonymen Wissenschaftlerin soll die systematische Ausblendung von Frauen
aus der Universitaumltsgeschichte thematisieren Die offene Web- Plattform (wwweliserichterat) ermoumlglicht allen Benutzern aktiv an der Umschreibung der Universitaumltsgeschichte und an re-imaging Prozessen der Repraumlsentation dieser Buumlsten teilzunehmen Weiters wird die Verbindung von raceclassgender und einer akademischen Kariere in diesem Zusammenhang hinterfragt We can never really change any form of social organisation without challenging all that organisations forms of
language (Debord)
Within the patriarchal structures of the Arkadenhof at the University of Vienna stand 154 busts of important scientists (1700-2005) Unfortunately none of these busts are women Through the placement of a temporary bust of an anonymous female scientist it declares the absence of them within the history of the university As well the anonymous bust embodies the presence of important scientists who have not yet been given equal representation The open web-platform (wwweliserichterat) allows every user to participate in this discourse to re-write the history of the university and to re-image the representation of these busts through a wiki system
Skizze Buumlste einer anonymen Wissenschaftlerin
Mein Interesse besteht nicht darin zu recherchieren welche Buumlsten von Wissenschaftlerinnen im Arkadenhof fehlen sondern das Fehlen der Wissenschaftlerinnen im Zeitraum von 1700 bis 2005 aufzuzeigen und Strukturen fuumlr eine oumlffentliche Kommunikationsplattform zu schaffen In der Genderforschung besteht Konsens daruumlber dass Gender kein Merkmal von Individuen sondern das einer
Institution ist (Connell) zudem ein struktureller Bestandteil einer Gesellschaft ist und dass Gendernormen alle Organisationen durchdringen (Acker)
Grundriss Arkadenhof der Universitaumlt Wien Literatur Acker J (1990) Hierarchies Jobs Bodies A theory of gendered organizations In Gender and Society
Connell R (1998) Gender and Power Society the Person and Sexual Politics Stanford University Press Stanford CA Maisel T (1990) Die Denkmaumller im Arkadenhof der Universitaumlt Wien Biographische Skizzen Wien Quellen Denkmalsakten Archiv der Universitaumlt Wien
Veranstalter Open Mind Projekt Utopie Freiheit httpwwwopenmindat vereinopenmindat Projektautorin Elisabeth Penker elpenkergmxat Bronzeguss Walter Rom Wachsmodel Buumlste Elisabeth Penker Steinsockel Ausfuumlhrung Fa Zehmann Mario Jungbauer Mediendesign Gernot Tscherteu httpwwwrealitylabatwphome gtrealitylabat Techn Umsetzung Christian Langreiter Webpage wwweliserichterat
Elisabeth Penker- Franzengasse 13- 1050 Wien ++43 (0)699 197 193 53 elpenkergmxat
Elisabeth Penker Untitled instruments 1-3 2000-2012
Galerie Georg Kargl Wien Galerie Priestor Bratislava Kuumlnstlerhaus Wien Kibla New
Media Center Maribor HTTP Galerie London Secession Wien Mak Wien Roma
Contemporary Wien
Elisabeth Penker Untiled Instrument Galerie Georg Kargl Wien
Curated by Michael Hall
Elisabeth Penker Untitled instrument 2001 New Media Center Maribor
Elisabeth Penker Untitled instrument 2001 New Media Center Maribor
Elisabeth Penker Untitled instrument Kuumlnstlerhaus Wien curated by Ursula Maria Probst
Live Performance mit Celia Mare
Detail Die BILD_HAU_ER_IN Kuumlnstlerhaus Wien
Live Performance Flower Structure Wiener Festwochen
Elisabeth Penker (Untiled instrument) Van Angh (Cello) Tri Minh Electronics
Elisabeth Penker Live Performance Poetics of space Secession Wien
MAK Nail Structure GRizo Sweet Susie Elisabeth Penker
Elisabeth Penker HTTP Gallery London 2005 curated by Tobi Maier
Elisabeth Penker HTTP Gallery London Live Performance
Elisabeth Penker Untitled Instrument Sonic Structure Kunsthaus Graz curated by Adam Budak amp
Christine Peters
Videolinks
httpwwwyoutubecomusersoundart24
Interview with Video Festwochen
httpbturncom8753interview-elisabeth-penker
Kunsthaus Graz
Protections
Kuratoren Adam Budak und Christine Peters
Elisabeth Penker Poetics of Dead Space
For PROTECTIONS Elisabeth Penker developed a key-sound Poetics of Dead Space which is to a large extent a homage
to Gaston Bachelards seminal book Poetics of Space where the connections between the poetry and the spatial emotions
are analysed Penkers key-sound will guide the viewer through the exhibition mapping the overall identity of the show in
some way controlling the viewers (audio-narrative) route in the maze of art objects events situations but also spatial
voids and unused corners
Fuumlr PROTECTIONS entwickelte Elisabeth Penker einen leitmotivischen Key Sound Poetics of Dead Space der weitgehend
eine Hommage an Gaston Bachelards wegweisendes Buch Poetics of Space darstellt in dem die Verbindungen zwischen
Lyrik und raumlumlichen Emotionen analysiert werden Penkers Key Sound wird das Publikum durch die Ausstellung geleiten
die Identitaumlt der Schau in ihrer Gesamtheit erfassen und in gewisser Weise die (audio-narrative) Route des Publikums im
Labyrinth der Kunstgegenstaumlnde Ereignisse und Situationen aber auch raumlumlicher Leerstellen und ungenutzter Winkel
kontrollieren
A non linear composition 7 mono active speakers are placed through out the Kunsthaus Graz Speaker placement
1 outdoor (entrance) 2 (travelator) 3 (corner with column) 4 (corner with door) 5 (corner) 6 (travelator) 7 (corner with
window)
Poetics of Dead Space Let it grow again 28 51 sec mono
Source material for composition rain sound of dried beans dropping down wood sticks breathing hardly existing
id78338975 pdfMachine by Broadgun Software - a great PDF writer - a great PDF creator - httpwwwpdfmachinecom httpwwwbroadguncom
recording of extinct languages
Poetics of Dead Space Let it grow again 28 51 sec mono
Source material for composition rain sound of dried beans dropping down wood sticks existing recording of extinct
languages
Poetics of Dead Space travelator 1 1min 04 sec mono loop
Source material for composition staff falling down man falling down stairs rattern recording untitled instrument
Background existing recording of extinct languages
Poetics of Dead Space 496 1min 409 sec mono loop
Source material for composition recording untitled instrument Background existing recording of extinct languages
Poetics of Dead Space 129525 1min 4888 sec mono loop
Source material for composition recording untitled instrument Background existing recording of extinct languages
Poetics of Dead Space 129525 1min 4888 sec mono loop
Source material for composition keyboard recording untitled instrument Background existing recording of extinct
languages
Poetics of Dead Space travelator 2 1min 5209 sec mono loop
Source material for composition recording untitled instrument violin Background existing recording of extinct
languages
Poetics of Dead Space2152518125220 1min 3200 sec mono loop
Source material for composition recording untitled instrument Background existing recording of library of extinct
languages
Poetics of Dead Space travelator 1 1min 04 sec mono loop
viewing down from upstairs Source material for composition staff falling down man falling down stairs rattern
recording untitled instrument Background existing recording of extinct languages
Poetics of Dead Space Let it grow again 028 51 sec mono
Source material for composition rain sound of coins wood sticks existing recording of extinct languages
Elisabeth Penker is a Viennese artist and musician working with sound in a sculptural context In her (subjective) tour
Penker approaches the entire anti-exhibition PROTECTIONS from an angle of its position and significance in the context
of Sound Art as located on the crossway between visual arts language and music Starting from her own house turned
into First Nation Pavillion which amongst others aims at connecting the recent discourse on cultural translation with
early avant-garde phonetic experiments Penker maps the sonic structure of Kunsthaus Graz and its (live) architecture
which for PROTECTIONS hosts an array of interdisciplinary projects with a strong audio-quality from Herwig Weisers
Death Before Disco (a micro-architecture of hyper-technological and electronic pop) through a newly created choir of
security guards for Tim Etchells Wall of Sound down to a cacophonic layers of anonimous noise generated by the
space itself and the presence of audience
Die Wiener Kuumlnstlerin und Musikerin Elisabeth Penker arbeitet mit Klang im Zusammenhang mit Bildhauerei In ihrer
(subjektiven) Fuumlhrung naumlhert sie sich der Anti-Ausstellung PROTECTIONS aus einem Blickwinkel der die Position und
Bedeutung der Klangkunst an der Kreuzung zwischen bildender Kunst Sprache und Musik verortet Von ihrem eigenen
Haus ausgehend das sich in den First Nation Pavilion verwandelt hat der u a den aktuellen Diskurs uumlber kulturelle
Uumlbersetzung mit fruumlhen phonetischen Experimenten der Avantgarde verbinden soll entwirft Penker die klangliche
Struktur des Gutshauses und seiner (Live-)Architektur die fuumlr PROTECTIONS eine Reihe von interdisziplinaumlren Projekten
mit einer starken Affinitaumlt zum Klang beherbergt von Herwig Weisers Death Before Disco (eine Mikroarchitektur aus
hyper-technoidem und elektronischem Pop) uumlber einen neu formierten Chor bestehend aus Security Guards fuumlr Tim
Etchells Wall of Sound bis zu einer Kakophonie aus anonymen Geraumluschen die vom Raum selbst und der Anwesenheit
des Publikums erzeugt werden
052813
Local Warming ATHENS
052813
AFTER A YEARLONG HIATUS the eighteenth Art-Athina hit the ground running on the evening of Thursday May 16 and the former Olympic
ldquoTae Kwon Dordquo Pavilion was packed with enthusiastic party people The fair had a more national flavor than ever this year under its new
director Alexis Caniaris the son of recently deceased artist Vlassis Caniaris whose iconic modern work has recently found great success on the
international market Of the very few foreign galleries exhibiting most were Greek-owned The Breeder gallery was dealing with the perceived
drop in the market by selling fantastic multiples by artists like Stelios Faitakis Jannis Varelas and Andreas Angelidakis at crisis-appropriate
prices ldquoNobody wants to come here now but I have already met three interested billionaire collectors today And if Greeks like you they
introduce you to their billionaire friendsrdquo raved Cologne dealer Mirko Mayer a seven-time exhibitor ldquoThat is what nobody knows There are
at least one-hundred billionaires collecting hererdquo Most international collectors were delayed several hours due to a union strike a de r igueur
mode of arrival in contemporary Greece
It was impossible to miss the exuberant activities of the DaDa Da restaurant a Greek-Austrian collaboration where artist Albert Mayr was
waving a skillet and raving nonsense while Lucas Willmann tenderized pink fillets for Wiener schnitzel ldquoThis is Viennese Actionism lightrdquo
quipped critic Sotirios Bahtsetzis Artist Natasha Papadopoulos added ldquoBut here there are hungry Greeks waitingrdquo On a table with a rotating
Sacher tort by Heacutelegravene van Duijne a sign carried the overwhelming spirit FUCK ART LETrsquoS EAT SOUVLAKI An insistent electronic beat and
pulsating light emanated from the next booth the American College of Greecersquos ldquoAthensUrgentrdquo while hooded performer Manos Tsatiris
stood against the wall with his hands tied perhaps a metaphor for the current Athenian exigency ldquoThis is not the kind of art fair scene we are
used tordquo said the Economou Collectionrsquos Annie-Claire Geisinger watching the madness
Left Artists Elisabeth Penker Michela Pelusio Petros Touloudis Panos Papadopoulos and Nino Stelzl Right Collector Anne-Marie Ros
Down on the floor the dealers seemed pleased particularly given dismal expectations having already sold a great deal at the preview Young
Rotterdam-based gallery Joey Ramone had sold sculptures by Fotini Gouseti to English and Belgian collectors dealer Erik Mulier had also sold
some work to Belgians Marc Van den Hende said he had bought a triptych by Eirene Efstathiou and was considering a Vlassis Caniaris piece
from the 1970s ldquoI saw some surprisesmdashyoung Greek artists I did not knowmdashand great new galleries like Elika and CANrdquo Dutch collector
Anne-Marie Ros said By the end of the day Dimitra and Sofia Vamiali reported that they had not seen one Greek collector although another
reported a Dakis Joannou sighting mdash Cathryn Drake
SEARCH
ARTICLES
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Week
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SEATTLE
WEEKLY
in the News
Columnist
Geov Parrish
is a regular
guest on
Mind Over
Matters on
KEXP-FM
(903)
Saturdays at
830 am and
provides news
commentary
on KBCS-FM
(913) Fridays
at 430 pm
Catch writers
Steve
Wiecking Tim
Appelo and
ARTS
March 30 - April 5 2005
Picking Up the Thread
Howard House ties together the best new conceptual art from Vienna
by Elise Richman
Franz Wests Mercury
(Howard House Contemporary Art)
Theres a German expression to lose the red thread which means losing
ones train of thought In its current show Howard House has found that
thread Julie Ryan a curator artist and writer organized The Red
Thread Glimpses of International Art in Vienna a two-part exhibition
featuring artists working and living at least part time in Austrias capital
Part one of the show is at Howard House the second half is currently on
display at the Educational Alliance Gallery in New York
Vienna has become a magnet for artists from all over the world including
the 15 individuals and artist teams that are part of The Red Thread
Excellent artist residency programs a low cost of living and living art
legends like Franz West are just a few of the reasons
An artistic collaboration with West took Ryan from New York to Vienna
She knows Billy Howard who runs Howard House from the University of
Washingtons School of Art And so the figurative string was strung
connecting the East and West coasts with artists from across the Atlantic
This is a complex exhibit whose emotional tenor ranges from cool
detachment to an almost urgent earnestness Unlike the formal richly
historical city that connects them artists in The Red Thread favor informal
approaches to art making use disposable materials and comment on
contemporary cultural themes
West has two formidable sculptures at Howard House The front room of the
gallery features Mercury (pictured) an ungainly behemoth composed of a
patchwork of fused metal Like many of Wests sculptures Mercury is
meant as an interactive structure that viewers can climb and sit on Bulbous
Gavin
Borchert
discussing
theater film
and music
regularly on
classical
KING-FM
(981)
Mark Fiore
Cartoons
Every
Thursday
nodules extend from its horizontal base and the seams of the dark maroon
metal look like scars rendering it at once vaguely obscene and absurdly
playful
Sisyphus the other West sculpture on display is a bulky conglomeration of
bits and wads of paper propped in the back room on a makeshift plinth (base
block) Though its as solid as the boulder its title references its surface is
like oozing skin partly coated with poured murky paint partly cloaked in
small clumps of newspaper detritus
The strenuous act of making each of these sculptures is eminently apparent
and central to the content of Wests work West considers creation a
symbolic act As you might expect he likens the artistic process to the plight
of Sisyphus the mythological figure who eternally rolled a boulder up a hill
only to have it come crashing back down For West art involves a
Sisyphean search for what he calls the absolute through the seemingly
senseless accumulation of materials However unlike Sisyphus futile quest
Wests process can lead to epiphany making sense of the senseless
Similarly Viennese artist Elisabeth Penkers art serves a facilitative
function easing the act of translation Penker uses Haida iconography in her
multimedia work because it provides potent visual symbols that
communicate single words and whole sentences simultaneously Her prints
at Howard House feature fragments of icons floating in the papers white
space They are spare visually arresting characters that employ an
iconographic language as encoded symbols of communication
Also featured in The Red Thread is Donald Baechler an internationally
known American painter who spends extended periods of time in Vienna
Baechler equalizes his imagery by painting it all in the same style For him
the source of an image doesnt matter whether its a drawing by Picasso or
graffiti on a bathroom wall What matters is the newfound context his
paintings provide
Victory by Default is part of Baechlers Skull series In this piece a painted
skull gapes from the dirty yet sensuous confines of a large canvas Terry
cloth and wrinkled rags provide literal texture and reference the world
outside the paintings boundaries Splatterings of color around the skull like
the self-conscious marks of Jasper Johns seem to express the language of
paintingmdashhue and gestural strokesmdashin a factual rather than illusional
manner
Another American painter Lisa Ruyter lives half-time in Vienna where she
runs an influential gallery She works from photographs projected onto
large-scale canvases tracing the contours of the projected imagery with
consistent black outlines In a way that seems arbitrary she paints the shapes
formed by her contour lines in flat designer colors Man of Means based on
a photo of fashion photographers looks like a scrambled color-by-numbers
painting I cant do justice to the unusually rich assortment of conceptual art
in The Red Thread Youll just have to see it for yourself Thomas
Baumans thrashing triangular foil blanket Walter Seidls slide show of
staged snapshots Markus Schinwalds photograph of a contortionist and the
other thoughtful works connected by The Red Thread
The Red Thread Glimpses of International Art in Vienna runs through
April 30 at Howard House 604 Second Ave 206- 256-6399 1030 amndash5
pm TuesndashSat Free
KUNSTFORUM
Parallelwelten fuumlr Parlamentarier Ausstellung
Von Brigitte Borchhardt-Birbaumer
Ende Oktober endet die Zusammenarbeit von Nationalratspraumlsident Andreas Khol und Peter Pakesch Direktor des Kunsthauses Graz am Joanneum Seit 2003
hatte Pakesch als Kurator mehrere Ausstellungen in den Sitzungssaumllen des Parlaments in Zusammenarbeit mit Galerien initiiert und namhafte Positionen
ausgewaumlhlt Kriterium fuumlr Praumlsentationen war die Praumlsenz durch eine Schau in einer der bekannten Kunstinstitutionen des Landes Nach Eva Schlegel Adriana
Czernin Maria Lassnig oder Esther Stocker sind dies nun bis April 2007 Josef Dabernig Daniel Hafner Ulrike Lienbacher Alois Mosbacher und Elisabeth
Penker
Das Parlament kann dabei durch die Margaretha-Lupac Stiftung immer eine Arbeit fuumlr die wachsende Sammlung des Hauses ankaufen Zuletzt war das ein
groszliges Oumll-Acryl-Gemaumllde der Georg-Eisler-Preistraumlgerin Maja Vukoje zuvor Johanna Kandl deren Temperabild derzeit an das Lentos in Linz geliehen wird
Einige Werke haumlngen schon als kuumlnstlerische Wegweiser in den Gaumlngen des Hauses und sind auch Blickfang fuumlr die 120000 Besucher die pro Jahr das
Parlament besuchen In die Architektur von Theophil Hansen mit ihrer zeitlosen Qualitaumlt fuumlgt sich die Gegenwartskunst kongenial
Hoffnung fuumlr spaumlter
Die derzeitige Zusammenstellung macht Hoffnung auf eine Fortsetzung unter der naumlchsten Praumlsidentschaft Fotografie Computerkunst Malerei Zeichnung
und Skulptur weisen auf die Vielfalt der Werkstoffe in der Gegenwartskunst Elisabeth Penker parallel im Kunsthaus Graz zu sehen baut schwarzweiszlige
Objekte aus bemaltem Holz die in ihrer seriellen und geometrischen Anordnung auf Bezuumlge zum Performativen und auf die Musik hinweisen
Noch juumlnger ist Daniel Hafner mit seinen am Computer komponierten digitalen Drucken Morphosentransformationen von 2006 Linienraster und
Raumkonstruktionen in subtiler Farbigkeit verbinden Tendenzen der fruumlhen Op-Art mit dem Cyber-Lab
Um konstruierte Realitaumlten geht es auch in den groszligformatigen Oumllbildern von Alois Mosbacher dem bekannten Vertreter der Neuen Wilden der
Achtzigerjahre in Oumlsterreich Wanderer in Wald und Wiese erzaumlhlen die Geschichten alternativer Welten die sich mancher in der Gesellschaft als Parallele
konstruiert
Zwei Fotofriese von Josef Dabernig bilden jeweils ein Panorama von oumlffentlichen Plaumltzen auf denen es zum einen um Fuszligball geht Zum anderen ist der
Rundblick in das Oval einer scheinbaren Arena auch eine Art Sehschule fuumlr die Betrachter Ein sozialer Befund ist die dritte Bedeutungsebene
Ulrike Lienbacher die heuer mit einer groszligen Schau im Innsbrucker Taxispalais ihre Karriere fortsetzt ist mit ihren feinlinigen Tuschezeichnungen den kleinen
oft unsichtbaren Zwaumlngen in unserer Gesellschaft auf der Spur Im Lokal II des Parlaments stellt sie zwar nicht ihre Objekte und Fotos aber einige
groszligformatige Blaumltter mit Frisurenvariationen neben teils fragmentierten Frauenkoumlrpern im Umgang mit Schmutz und Hygiene aber auch Fitnesskult aus
Disziplinierung und Kontrolle betreffen in der Oumlffentlichkeit besonders den weiblichen Koumlrper Sauberkeitsmechanismen weisen auch auf Vorstellungen von
wertvoll und minderwertig hin Ihre Transformationen enthalten wie die Themen der anderen subtile Kritik und sind daher vom Kurator uumlberlegt positioniert
Zeitgenoumlssische Kunst
im Parlament
Bis April 2007
Kurator Peter Pakesch
Konfrontationen
Dienstag 10 Oktober 2006
ltlt 2003 | 2004 Jan Feb Mar Apr May Jun Jul Aug Sep Oct Nov Dec 2004 | 2005 gtgt
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31
Sunday 17 October 2004
TIME
TITLE
NAME
700 Indymedia ESF breakfast show Indymedia London
Highlights news and views from the European Social Forum and the
autonomous spaces and initiatives taking place this week
website
800 Resonance Radio Art Riot Breakfast International
Radio Art
A five part special of the Harmon E Phraisyar show commissioned for
Kunstradio in Austria starts off the morning broadcast of international radio
art
website
1100 Resonance Live from the Frieze Art Fair Anna Colin amp
Tobi Maier
1100 Chris Weaver Resonance 1044FM live electronics set with James Dunn and
Robin Warren
1130 Michael Hall gallery Vienna presents audio works by artist Elisabeth Penker
1200 Maria Fusco presents latest the Bookworks commissions
1300 The Psychology of Collecting live broadcast of the frieze art fair panel
discussion
Is collecting an irrational act guided by compulsion and desire What are the use of
objects What are the motivations behind making collecting curating and
criticizing art A discussion of the psychology of collecting and the politics of taste
Hilary Rubenstein (Psychologist)
Eric Troncy (Art Critic and Director Le Consortium Dijon)
Haim Steinbach (Artist)
Chair Alice Rawsthorn (Director Design Museum)
1500 Portable live set and presentation of sudelectronic records London
1600 Where is Adventure What is Culture live broadcast of the frieze art fair
website
panel discussion
A discussion of the relationship of art to entertainment touching on the comedic
being popular and failing miserably
Trisha Donnelly (Artist)
Christian Jankowski (Artist)
David Robbins (Writer amp Artist)
Nancy Spector (Curator of Contemporary Art Solomon R Guggenheim Museum)
Chair Matthew Higgs (Curator CCA Wattis Institute for Contemporary Arts)
1800 Melissa Bent from Rivington Arms gallery New York in conversation with
artist Dan Colan and Tobi Maier Anna Colin
1830 VOX pop recordings from the fair with Sharon Gal
1900 Resonance Radio Art Riot Sarah
Washington
The Resonance Radio Art Riot brings together some of the foremost radio artists
and thinkers from around the world The studio lab situation will feature round
table discussions live performances and streamed events
Tonight Radio Text
Events Live broadcast from Sonic Arts Network Resonance benefit featuring
Henri Chopin studio performances from Julia Lee Barclay and Aude Tournay plus
Special Features None present live concrete radiophonics - Planning For
Emergencies
Guests include Clive Graham Chris Weaver Richard Thomas Toby Clarkson
John Lovett Robin Warren and James Dunn
Topics The word as art Sound poetry text performances
At Midnight Tom Wallace present exclusive excerpts from radio art pioneer
Gregory Whitehead
website
000 Resonance Radio Art Riot Nights International
Radio Art
The Resonance Radio Art riot continues throughout the night with the finest of
international radio art Resonance FM programme makers and our international
guests have put together many special hours of classic and obscure radio
works
website
- EPenkerDocumentationpdf
-
- 2bAusstellungenPublicaSpaceEPenkerpdf
-
- 2cUntitled_InstrumentsKunsthausGrazEPenker
- 2bpoeticsKunsthaus GrazEPenker
-
- 4PresseEPenkerpdf
-
- 4Review_Seattle Weekly
-
Elisabeth PenkerFerdinand Penker Galerie Charim curated by Michael Scott Hall
Elisabeth Penkerinstallation View Gallery 400 Chicago (left bdquoSplit Representation Ferdinand de Saussure (Green)ldquo right bdquoSplit Representation Walter Benjamin (Blue)ldquo 2013
Elisabeth Penkerinstallation View Gallery 400 Chicago left bdquoSplit Reprersentation Walter Benjamin (Blue)ldquo right bdquoSplit Represntation Frantz Fanon (Copper)ldquo 2013
Elisabeth Penkerinstallation View ReMap4 at Camp (Athens) 2013 Ferdinand de Saussure (Blue)
ELISABETH PENKER ldquoVienna calling comparative contemporary artrdquo LOG-IN amp VORRAUM GALERIE NAumlCHST ST STEPHAN ROSEMARIE SCHWARZWAumlLDER Elisabeth Penkers Skulpturen und Audiofilme sind seit 1998 im Bereich von Comparative Art und Sound Art verankert und untersuchen anhand von Sprachmorphologie die Verbindungen zur musikalischen und visuellen Grammatik In Elisabeth Penkers Ausstellung bdquoVienna calling comparative contemporary artrdquo ist der Titel in
Zusammenhang mit der Sprachmorphologie von Wiener Museen lesbar Penkers gezeigte Skulpturen vergleichen visuellelinguistische und musikalische Grammatiken (z B Moderne Kunst und First Nations Art) und verwenden die Ergebnisse als Ausgangsstruktur fuumlr die jeweilige Komposition Ihre Collagen Fotografien Diagramme und Zeichnungen sind erweiterte Fragestellungen ihrer Skulpturen Elisabeth Penker hat in Tonstudios in London und Chicago gearbeitet und seit 2000 eine Serie von Musikinstrumenten entwickelt die die Aufnahme-Methode von Jack Foley verwenden Exzerpte ihrer Multi-
Channel-Kompositionen wurden von Resonance 1044 fm (London) gesendet Weiters ist ein Text von Elisabeth Penker uumlber Sound Art im Resonance Magazine Supplement Juni 2006 erschienen Ein Video und eine Focus -Group wurde gemeinsam mit FOGO Lab bei der Documenta 12 gezeigt und war Teil des Documenta-12-Beitrages von Ricardo Basbaum
Ausstellungen siehe wwwschwarzwaelderat -gt LOGIN ELISABETH PENKER
Comparative Art is an academic discipline in the context of art histories The sculptures audio-films (sound
pieces) and the photographs (expanded sculpture) represent different 3rd 4th -dimensional by documenting
different cultural and spatial notions of perspective through usage of collaged andor spliced structural
compositionalformal structures Structural overlaps between visual artlanguagemusic are considered
Poetics of Dead Space 2 2009-2010
2 Kanaumlle einer 8-Kanal-Composition mono
Metallstativ Speaker Yamaha MSP3 CD-Player
H 133 cm
Ed 13
The non-linear 8-channel composition ldquoPoetics of Dead Space 2rdquo introduces polysynthetic language morphology
combined by the melody which is composed from pre-existing recordings of extinct languages and Penker‟s self-
made instrument ldquoUntitled Instrument sonic structurerdquo (see PDF and related essay written by E Penker at
Resonance fm Magazine upon request at Galerie naumlchst St Stephan)
The channel which is upstairs installed uses an existing wall as an acoustic filter and introduced sub-
consciousness polysynthetic language morphology into the gallery space The title refers to the book poetic of
space within unused architectural situations of exhibition spaces bdquo A Blind Spot (dead angle - Toter Winkel) has a
different meaning in terms of acoustics and cannot be compared with the visual context where blind spot is used
primarily in conversations
In musicsound production in film the visual blind spot is used very often by hearing a bike roller plane without
seeing it In everyday life we are used and depending by acoustic blind spots for our orientation of the situation
and space we are in at the moment Architectural acoustic issues play an important role during the time of the
composition ldquoPoetic of Dead Space 2rdquo is a context specific composition and deals with polysynthetic language
morphology recordings of the untitled instrument Sonic structure and acoustic exhibition architecture besides
issues which are depending of the unused architecture and their acoustics
First Nations Pavillon
Polysynthetische Doppelperspektive Claude Levi-Strauss 2006
Fotocollage C-Print gerahmter Spiegel
6-teilig
3 x 405 x 305 cm
2 x 245 x 305 cm
1 x 605 x 485 cm
Ed23 + 2 AP
A framed mirror from ldquoFirst Nations Pavilionrdquo is placed in the corner of the log-in space to place the viewer physically in the space cutting the reflection of the gaze as well mirrors a profile view of the installed
photographs The photo-series relates to polysynthetic language morphology (of the Inuit First Nations Maori and Caduveo Indians) and translates within the photographic image their structural common visual grammar Because they would create a frontal view which was made out of 2 (split) profile views thereby creating a 4-dimensional perspective that anticipatedparallels Cubism who later presented multiple perspectives within one image which intended to represent movement through time and space Specific references are in the related pdf upon request
at Galerie naumlchst St Stephan
Log [Baumstamm] 2010
Archivierung der Raumfarbe
Split Representation
Claude Levi-Strauss 2009
C-Print
5-teilig je 245 x 305 cm
Ed15 + 2 AP
The camera positions of a right angle mirror bdquoSplit Representationrdquo were chosen by E Penker in the way that the
flash is not in the image the photos are made utilizing a right angle mirror which both fragments and reflects the
image creating multiple or a split perspective EP
Bench-Shelf 2003
Acryl auf Pappelsperrholz
46 x 151 x 42 cm
The bench which is the earliest work in the exhibition mirrors the bottom and the top seating elements thereby
giving the object an asymmetrical appearance The bench-shelf was originally designed for a video archive was
later used by museum staff (in Porto) as gallery furniture
composition (or view) Numerous contemporary artists eg Donald Judd have related the ShakersAmish radical functionalism to their sculptural practice
Poetics of Dead Space 2 2009-2010
2 Kanaumlle einer 8-Kanal-Composition mono
Metallstativ Speaker Yamaha MSP3 CD-Player
H 133 cm
Ed 13
The non-linear 8-channel composition ldquoPoetics of Dead Space 2rdquo introduces polysynthetic language morphology
combined by the melody which is composed from pre-existing recordings of extinct languages and Penker‟s self-
made instrument ldquoUntitled Instrument sonic structurerdquo (see PDF and re lated essay written by E Penker at
Resonance fm Magazine upon request at Galerie naumlchst St Stephan)
The channel which is upstairs installed uses an existing wall as an acoustic filter and introduced sub-
consciousness polysynthetic language morphology into the gallery space The title refers to the book poetic of
space within unused architectural situations of exhibition spaces bdquo A Blind Spot (dead angle - Toter Winkel) has a
different meaning in terms of acoustics and cannot be compared with the visual context where blind spot is used
primarily in conversations
In musicsound production in film the visual blind spot is used very often by hearing a bike roller plane without
seeing it In everyday life we are used and depending by acoustic blind spots for our orientation of the situation
and space we are in at the moment Architectural acoustic issues play an important role during the time of the
composition ldquoPoetic of Dead Space 2rdquo is a context specific composition and deals with polysynthetic language
morphology recordings of the untitled instrument Sonic structure and acoustic exhibition architecture besides
issues which are depending of the unused architecture and their acoustics
Galerie naumlchst St Stephan
Aneta Grzeszykowska Elisabeth Penker
220110 bis 060310 Auf den Spuren gesellschaftlicher
Ordnungssysteme
Die beiden Ausstellungen von Aneta Grzeszykowska in den Galerieraumlumen
und Elisabeth Penker im Projektraum bdquoLOGINldquo sprechen unterschiedliche
Sprachen Momente der Beruumlhrung ergeben sich lediglich durch die
Auseinandersetzung der beiden Kuumlnstlerinnen mit Systembildungen und
gesellschaftlich bedingten Agglomerationen von Bedeutungen Waumlhrend der
Blick der in Warschau lebenden Kuumlnstlerin Aneta Grzeszykowska
psychologisch und kulturell bestimmt ist laumlsst sich das Verfahren der in
Wien und Rom lebenden Elisabeth Penker als ethnografisch und linguistisch
fundiert umschreiben Im Nebeneinander der beiden Positionen bilden sich
schaumlrfende Kontraste
Aneta Grzeszykowskas Interesse gilt dem Privaten in verschiedenen
visuellen Uumlbersetzungen Etwa kartografierte sie mit dem Warschauer
Kuumlnstler Jan Smaga in einer Fotoserie Wohnungen aus der Vogelperspektive
um eine intime Geschichte der Stadt uumlber die Anordnung von Raumlumen
Moumlbeln und Gebrauchsgegenstaumlnden zu erstellen Nun begibt sie sich mit
dem Film bdquoBirthdayldquo auf die Ebene fruumlhkindlicher Begegnungen mit dem
Unheimlichen Gedreht wurde er in der Art privater Dokumentationen zur
Feier des eigenen Nachwuchses anlaumlsslich eines Kindergeburtstags Durch
kommentierende Eingriffe wie die Animation sonst unbeweglicher
Gegenstaumlnde uumlbt die Kuumlnstlerin Kritik an den Konventionen und betont so
das Monstroumlse solcher Ereignisse In der Doppelboumldigkeit von inszenierter
Kindheit und Abgruumlndigem ist auch eine Reihe monochromer dunkler
Figurinen aus Stoff angesiedelt Dass diese bekleidet sind wie
Grzeszykowska in ihrer Kindheit verweist auf Versuche Dramatisches uumlber
die aumlsthetische Formalisierung zu bearbeiten Eine Fotografie mit dem durch
die Hand Grzeszykowskas unabsichtlich verletztem Auge ihres kleinen
Bruders und eine maumlrchenhaft anmutende Reliefskulptur mit einem Maumldchen
auf einem Hund aus stacheligen Distelbluumlten erzaumlhlen davon
Tiefenbohrungen zum Kern semantischer Ordnungen unternimmt dagegen
Elisabeth Penker im Kontext der Ausstellungsserie LOGIN in einem
ehemaligen Geschaumlftslokal und im Foyer der Galerie selbst Bekannt ist die
Kuumlnstlerin und Musikerin Elisabeth Penker etwa durch ihre Intervention im
Arkadenhof der Universitaumlt Wien mit einer Buumlste der oumlsterreichischen
Romanistin und ersten Universitaumltsprofessorin Elise Richter Diese leite das
phonetische Institut bis zu ihrer Deportation ins Ghetto Theresienstadt durch
die Nationalsozialisten und war in der patriarchalischen Ordnung der
steinernen Koumlpfe der Universitaumlt ndash ebenso wie die Leistungen von Frauen
generell ndash bis dahin kein Thema gewesen In der Ausstellung bdquoProtectionsldquo
im Kunsthaus Graz thematisierte Penker mit ihrem bdquoFirst Nation Pavillonldquo die Hegemonie des durch den
Kolonialismus gepraumlgten Blicks auf auszligereuropaumlische Gesellschaften
Stets sind ihre Annaumlherungen auf die Generierung von Bedeutungen im Sinne von Grammatiken
ausgerichtet Dementsprechend leitmotivisch fungiert ein Portraumlt des kuumlrzlich verstorbenen Ethnologen
Claude Leacutevi-Strauss in der Rauminstallation mit integrierter Soundkomposition Die gespiegelte und
mehrfach aufgefaumlcherte Fotografie von Leacutevi-Strauss in bdquopolysynthetischer Doppelperspektiverdquo laumlsst sich
als Verschneidung von Sprachlichem Klanglichen und Visuellen lesen
Eine Archaumlologie im Feld der Linguistik wie auf Materialebene fuumlhrt die Signifikanten auf engstem Raum
zusammen Triviale Vierkanthoumllzer beispielsweise wurden in genau jenen Farben lackiert die Penker als
uumlbereinander gelagerte Sedimente unter der Dispersion der Waumlnde freilegte Die laumlnglichen Houmllzer
beziehen sich auf den englischen Ausdruck bdquologldquo fuumlr Stamm und somit auch auf die Ausstellungsreihe der
Galerie Bemerkenswert dass ein Wort das bloszlig aus einem Morphem besteht einen Gegenstand
repraumlsentiert So baut sich uumlber eine Reihe weiterer Objekte wie etwa den bdquoHanging Chairsldquo aus dem
Fundus der Galerie ein elementares Netzwerk von Bezuumlgen auf Mit ihren Werken und abstrakten Sound-
Kompositionen dringt Elisabeth Penker kritisch forschend in die Makrobereiche von Grammatiken vor um
Potentiale semantischer Anbindungen in Nachbarsystemen freizulegen Roland Schoumlny
Elisabeth Penker Einzelausstellung MAK CAT TOWER Kurtaiert von Andreas Kristof
ldquoPassive Orchestrardquo 2008 8-Channel-Toninstallation Die Interpretation von Soundart sieht Penker in der Uumlberschneidung von Sprache-visueller Kunst und Musik und ist zumeist mit einer visuellen raumlumlichen Komponente verbunden Der Betrachter und Zuhoumlrer befindet sich in
einer Konzert-Situation statt Instrumenten sieht er nur Lautsprecher die auf unterschiedlichen Houmlhen auf einer grauen Wand positioniert sind Passiv Orchestra beruht in der Struktur auf die grammatische Einteilungen von Sprachen die in phonetische Minimaleinheiten dekonstruiert sind und wird uumlber eine Mehrkanal Matrix gespielt Elisabeth Penker referiert in dieser eigens fuumlr den Flakturm konzipierten Arbeit auf dadaistische Methoden der Sprachdekodierung die auch als ein klares Anti-Kriegs-Statement zu verstehen waren
1
Kunsthaus Graz
Protections
Kuratoren Adam Budak und Christine Peters
Elisabeth Penker
First Nation Pavilion
Der First Nation Pavilion von Elisabeth Penker unternimmt den Versuch einen Bereich fuumlr ein koloniales
Bewusstsein der europaumlischen Vergangenheit zu schaffen und einen utopischen Raum fuumlr neue Vorstellungen
von einer Mannigfaltigkeit an kulturellen Formen in der zeitgenoumlssischen Kunst Die Komposition de-
grammatical ein Bestandteil des First Nation Pavilion beruht in ihrer Struktur auf den grammatischen
Einteilungen der Sprachen die in phonetische Minimaleinheiten dekonstruiert sind und wird uumlber eine
nichtlineare 5-Kanal-Matrix gespielt
Penker untersucht moumlgliche Uumlberschneidungen zwischen der Sprache der Musik und der Bildstruktur wobei ihr
Hauptaugenmerk polysynthetischen Sprachen (First Nations und Pazifische Inseln) gilt sowie dem Vergleich
zwischen der Kunst von First Nations und der Modernen Kunst Erst in juumlngerer Zeit in der Aumlra des
Postkolonialismus hat der Diskurs der kulturellen Uumlbersetzung Fragen aufgeworfen mit denen man sich schon
in den phonetischen Experimenten des Dadaismus in den 1910er und 1920er Jahren beschaumlftigt hatte sowie
spaumlter in der Konzeptkunst der 1960er und 70er Jahre
Elisabeth Penker
First Nation Pavilion
The First Nation Pavilion by Elisabeth Penker attempts to set-up an area for colonial consciousness of the
European past and a utopic space for re-imagining a plurality of cultural forms in contemporary art The
composition entitled de-grammatical contained within the First Nation Pavilion is structurally-based on the
grammatical classifications of languages deconstructed into minimal phonetic units played within a non-linear
5-channel matrix
Penker is questioning the possible overlaps between music-language and visual structure within the primary
focus on polysynthetic languages (First Nation and Pacific Islands) and First Nation Art compared to Modern Art
More recently in the age of post-colonialism the discourse of cultural translation is arising questions that have
also been experimented by the Dadaists phonetic experiments in the 1910-20s and later in Concept Art of the
1960s-70s Text Adam Budak
Michael Elmgreen amp Ingar Dragset (the work of two other invited artists) offered Penker a typical prefabricated
house as her exhibition space within the Kunsthaus
id31403916 pdfMachine by Broadgun Software - a great PDF writer - a great PDF creator - httpwwwpdfmachinecom httpwwwbroadguncom
2
Elisabeth Penker Fisrt Nations Pavilion 2006
Change of floor plan of the prefabricated house by Michael Elmgreen amp Ingar Dragset
Entrance door Fisrt Nations Pavilion
3
Part 1 Colonial Conciseness in visual art
Room 1 and 3 Modernism=Imperialism after Henry Flynt Demolish serious culture
Woman as a the last Colony Rosa Luxenburg Veronika Bennholdt-
Thomsen Claudia von Werlhof und Maria Mies
4
Vinyl letters C-Print
5
6
Polysynthetische Doppelperspektive 1 Claude Levi- Strauss
Photocolloage C-Print
7
Polysynthetische Doppelperspektive 2 Claude Levi-Strauss
Photocolloage C-Print
9
Polysynthetische Doppelperspektive 4 Claude Levi Strauss
Photocolloage C-Print
2 prints Installed in corner
Installation view Polysynthetische Doppelperspektive 1-4 Claude Levi- Strauss
The visual grammar and its double perspective (split representation) of Haida Gwai and Tlinglet Art (First Nation
Art) is re-collaged with a photograph of Pablo Picasso comparing Cubism (early Modernism) with First Nation Art
and questioning its similarities of double perspectives
10
Room 4 and 5
Room 4
11
Luicide List The museum as an imperial graveyard
C-Print
Colonial after effects of Luicide
Gips Metallkette Hose Schuh
12
No7
Mirror Split Representation Mirror framed and installed in the corner
Part 2 Room 6 and 8 Comparative Contemporary Art
4-channel sound installation
De-grammatical Listen to mp3 audio excerpts
13
Front
2 CT (shelfbenches) Acryl auf Pappelsperrholz
Back Pull Over Yukme Shirley Hall outside
14
Pull Over Yukme Shirley Hall inside
Fabric wall silk print by (Tlinglet Artist) Yukme Shirley Hall
Wo ist Elise Richter wo ist
id99149429 pdfMachine by Broadgun Software - a great PDF writer - a great PDF creator - httpwwwpdfmachinecom httpwwwbroadguncom
Im Arkadenhof der Universitaumlt Wien stehen 154 Buumlsten von bedeutenden Wissenschaftlern der
Universitaumlt Wien (1700-2005) Bedauerlicherweise findet sich unter ihnen keine einzige Frau Eine temporaumlre Buumlste einer anonymen Wissenschaftlerin soll die systematische Ausblendung von Frauen
aus der Universitaumltsgeschichte thematisieren Die offene Web- Plattform (wwweliserichterat) ermoumlglicht allen Benutzern aktiv an der Umschreibung der Universitaumltsgeschichte und an re-imaging Prozessen der Repraumlsentation dieser Buumlsten teilzunehmen Weiters wird die Verbindung von raceclassgender und einer akademischen Kariere in diesem Zusammenhang hinterfragt We can never really change any form of social organisation without challenging all that organisations forms of
language (Debord)
Within the patriarchal structures of the Arkadenhof at the University of Vienna stand 154 busts of important scientists (1700-2005) Unfortunately none of these busts are women Through the placement of a temporary bust of an anonymous female scientist it declares the absence of them within the history of the university As well the anonymous bust embodies the presence of important scientists who have not yet been given equal representation The open web-platform (wwweliserichterat) allows every user to participate in this discourse to re-write the history of the university and to re-image the representation of these busts through a wiki system
Skizze Buumlste einer anonymen Wissenschaftlerin
Mein Interesse besteht nicht darin zu recherchieren welche Buumlsten von Wissenschaftlerinnen im Arkadenhof fehlen sondern das Fehlen der Wissenschaftlerinnen im Zeitraum von 1700 bis 2005 aufzuzeigen und Strukturen fuumlr eine oumlffentliche Kommunikationsplattform zu schaffen In der Genderforschung besteht Konsens daruumlber dass Gender kein Merkmal von Individuen sondern das einer
Institution ist (Connell) zudem ein struktureller Bestandteil einer Gesellschaft ist und dass Gendernormen alle Organisationen durchdringen (Acker)
Grundriss Arkadenhof der Universitaumlt Wien Literatur Acker J (1990) Hierarchies Jobs Bodies A theory of gendered organizations In Gender and Society
Connell R (1998) Gender and Power Society the Person and Sexual Politics Stanford University Press Stanford CA Maisel T (1990) Die Denkmaumller im Arkadenhof der Universitaumlt Wien Biographische Skizzen Wien Quellen Denkmalsakten Archiv der Universitaumlt Wien
Veranstalter Open Mind Projekt Utopie Freiheit httpwwwopenmindat vereinopenmindat Projektautorin Elisabeth Penker elpenkergmxat Bronzeguss Walter Rom Wachsmodel Buumlste Elisabeth Penker Steinsockel Ausfuumlhrung Fa Zehmann Mario Jungbauer Mediendesign Gernot Tscherteu httpwwwrealitylabatwphome gtrealitylabat Techn Umsetzung Christian Langreiter Webpage wwweliserichterat
Elisabeth Penker- Franzengasse 13- 1050 Wien ++43 (0)699 197 193 53 elpenkergmxat
Elisabeth Penker Untitled instruments 1-3 2000-2012
Galerie Georg Kargl Wien Galerie Priestor Bratislava Kuumlnstlerhaus Wien Kibla New
Media Center Maribor HTTP Galerie London Secession Wien Mak Wien Roma
Contemporary Wien
Elisabeth Penker Untiled Instrument Galerie Georg Kargl Wien
Curated by Michael Hall
Elisabeth Penker Untitled instrument 2001 New Media Center Maribor
Elisabeth Penker Untitled instrument 2001 New Media Center Maribor
Elisabeth Penker Untitled instrument Kuumlnstlerhaus Wien curated by Ursula Maria Probst
Live Performance mit Celia Mare
Detail Die BILD_HAU_ER_IN Kuumlnstlerhaus Wien
Live Performance Flower Structure Wiener Festwochen
Elisabeth Penker (Untiled instrument) Van Angh (Cello) Tri Minh Electronics
Elisabeth Penker Live Performance Poetics of space Secession Wien
MAK Nail Structure GRizo Sweet Susie Elisabeth Penker
Elisabeth Penker HTTP Gallery London 2005 curated by Tobi Maier
Elisabeth Penker HTTP Gallery London Live Performance
Elisabeth Penker Untitled Instrument Sonic Structure Kunsthaus Graz curated by Adam Budak amp
Christine Peters
Videolinks
httpwwwyoutubecomusersoundart24
Interview with Video Festwochen
httpbturncom8753interview-elisabeth-penker
Kunsthaus Graz
Protections
Kuratoren Adam Budak und Christine Peters
Elisabeth Penker Poetics of Dead Space
For PROTECTIONS Elisabeth Penker developed a key-sound Poetics of Dead Space which is to a large extent a homage
to Gaston Bachelards seminal book Poetics of Space where the connections between the poetry and the spatial emotions
are analysed Penkers key-sound will guide the viewer through the exhibition mapping the overall identity of the show in
some way controlling the viewers (audio-narrative) route in the maze of art objects events situations but also spatial
voids and unused corners
Fuumlr PROTECTIONS entwickelte Elisabeth Penker einen leitmotivischen Key Sound Poetics of Dead Space der weitgehend
eine Hommage an Gaston Bachelards wegweisendes Buch Poetics of Space darstellt in dem die Verbindungen zwischen
Lyrik und raumlumlichen Emotionen analysiert werden Penkers Key Sound wird das Publikum durch die Ausstellung geleiten
die Identitaumlt der Schau in ihrer Gesamtheit erfassen und in gewisser Weise die (audio-narrative) Route des Publikums im
Labyrinth der Kunstgegenstaumlnde Ereignisse und Situationen aber auch raumlumlicher Leerstellen und ungenutzter Winkel
kontrollieren
A non linear composition 7 mono active speakers are placed through out the Kunsthaus Graz Speaker placement
1 outdoor (entrance) 2 (travelator) 3 (corner with column) 4 (corner with door) 5 (corner) 6 (travelator) 7 (corner with
window)
Poetics of Dead Space Let it grow again 28 51 sec mono
Source material for composition rain sound of dried beans dropping down wood sticks breathing hardly existing
id78338975 pdfMachine by Broadgun Software - a great PDF writer - a great PDF creator - httpwwwpdfmachinecom httpwwwbroadguncom
recording of extinct languages
Poetics of Dead Space Let it grow again 28 51 sec mono
Source material for composition rain sound of dried beans dropping down wood sticks existing recording of extinct
languages
Poetics of Dead Space travelator 1 1min 04 sec mono loop
Source material for composition staff falling down man falling down stairs rattern recording untitled instrument
Background existing recording of extinct languages
Poetics of Dead Space 496 1min 409 sec mono loop
Source material for composition recording untitled instrument Background existing recording of extinct languages
Poetics of Dead Space 129525 1min 4888 sec mono loop
Source material for composition recording untitled instrument Background existing recording of extinct languages
Poetics of Dead Space 129525 1min 4888 sec mono loop
Source material for composition keyboard recording untitled instrument Background existing recording of extinct
languages
Poetics of Dead Space travelator 2 1min 5209 sec mono loop
Source material for composition recording untitled instrument violin Background existing recording of extinct
languages
Poetics of Dead Space2152518125220 1min 3200 sec mono loop
Source material for composition recording untitled instrument Background existing recording of library of extinct
languages
Poetics of Dead Space travelator 1 1min 04 sec mono loop
viewing down from upstairs Source material for composition staff falling down man falling down stairs rattern
recording untitled instrument Background existing recording of extinct languages
Poetics of Dead Space Let it grow again 028 51 sec mono
Source material for composition rain sound of coins wood sticks existing recording of extinct languages
Elisabeth Penker is a Viennese artist and musician working with sound in a sculptural context In her (subjective) tour
Penker approaches the entire anti-exhibition PROTECTIONS from an angle of its position and significance in the context
of Sound Art as located on the crossway between visual arts language and music Starting from her own house turned
into First Nation Pavillion which amongst others aims at connecting the recent discourse on cultural translation with
early avant-garde phonetic experiments Penker maps the sonic structure of Kunsthaus Graz and its (live) architecture
which for PROTECTIONS hosts an array of interdisciplinary projects with a strong audio-quality from Herwig Weisers
Death Before Disco (a micro-architecture of hyper-technological and electronic pop) through a newly created choir of
security guards for Tim Etchells Wall of Sound down to a cacophonic layers of anonimous noise generated by the
space itself and the presence of audience
Die Wiener Kuumlnstlerin und Musikerin Elisabeth Penker arbeitet mit Klang im Zusammenhang mit Bildhauerei In ihrer
(subjektiven) Fuumlhrung naumlhert sie sich der Anti-Ausstellung PROTECTIONS aus einem Blickwinkel der die Position und
Bedeutung der Klangkunst an der Kreuzung zwischen bildender Kunst Sprache und Musik verortet Von ihrem eigenen
Haus ausgehend das sich in den First Nation Pavilion verwandelt hat der u a den aktuellen Diskurs uumlber kulturelle
Uumlbersetzung mit fruumlhen phonetischen Experimenten der Avantgarde verbinden soll entwirft Penker die klangliche
Struktur des Gutshauses und seiner (Live-)Architektur die fuumlr PROTECTIONS eine Reihe von interdisziplinaumlren Projekten
mit einer starken Affinitaumlt zum Klang beherbergt von Herwig Weisers Death Before Disco (eine Mikroarchitektur aus
hyper-technoidem und elektronischem Pop) uumlber einen neu formierten Chor bestehend aus Security Guards fuumlr Tim
Etchells Wall of Sound bis zu einer Kakophonie aus anonymen Geraumluschen die vom Raum selbst und der Anwesenheit
des Publikums erzeugt werden
052813
Local Warming ATHENS
052813
AFTER A YEARLONG HIATUS the eighteenth Art-Athina hit the ground running on the evening of Thursday May 16 and the former Olympic
ldquoTae Kwon Dordquo Pavilion was packed with enthusiastic party people The fair had a more national flavor than ever this year under its new
director Alexis Caniaris the son of recently deceased artist Vlassis Caniaris whose iconic modern work has recently found great success on the
international market Of the very few foreign galleries exhibiting most were Greek-owned The Breeder gallery was dealing with the perceived
drop in the market by selling fantastic multiples by artists like Stelios Faitakis Jannis Varelas and Andreas Angelidakis at crisis-appropriate
prices ldquoNobody wants to come here now but I have already met three interested billionaire collectors today And if Greeks like you they
introduce you to their billionaire friendsrdquo raved Cologne dealer Mirko Mayer a seven-time exhibitor ldquoThat is what nobody knows There are
at least one-hundred billionaires collecting hererdquo Most international collectors were delayed several hours due to a union strike a de r igueur
mode of arrival in contemporary Greece
It was impossible to miss the exuberant activities of the DaDa Da restaurant a Greek-Austrian collaboration where artist Albert Mayr was
waving a skillet and raving nonsense while Lucas Willmann tenderized pink fillets for Wiener schnitzel ldquoThis is Viennese Actionism lightrdquo
quipped critic Sotirios Bahtsetzis Artist Natasha Papadopoulos added ldquoBut here there are hungry Greeks waitingrdquo On a table with a rotating
Sacher tort by Heacutelegravene van Duijne a sign carried the overwhelming spirit FUCK ART LETrsquoS EAT SOUVLAKI An insistent electronic beat and
pulsating light emanated from the next booth the American College of Greecersquos ldquoAthensUrgentrdquo while hooded performer Manos Tsatiris
stood against the wall with his hands tied perhaps a metaphor for the current Athenian exigency ldquoThis is not the kind of art fair scene we are
used tordquo said the Economou Collectionrsquos Annie-Claire Geisinger watching the madness
Left Artists Elisabeth Penker Michela Pelusio Petros Touloudis Panos Papadopoulos and Nino Stelzl Right Collector Anne-Marie Ros
Down on the floor the dealers seemed pleased particularly given dismal expectations having already sold a great deal at the preview Young
Rotterdam-based gallery Joey Ramone had sold sculptures by Fotini Gouseti to English and Belgian collectors dealer Erik Mulier had also sold
some work to Belgians Marc Van den Hende said he had bought a triptych by Eirene Efstathiou and was considering a Vlassis Caniaris piece
from the 1970s ldquoI saw some surprisesmdashyoung Greek artists I did not knowmdashand great new galleries like Elika and CANrdquo Dutch collector
Anne-Marie Ros said By the end of the day Dimitra and Sofia Vamiali reported that they had not seen one Greek collector although another
reported a Dakis Joannou sighting mdash Cathryn Drake
SEARCH
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SEATTLE
WEEKLY
in the News
Columnist
Geov Parrish
is a regular
guest on
Mind Over
Matters on
KEXP-FM
(903)
Saturdays at
830 am and
provides news
commentary
on KBCS-FM
(913) Fridays
at 430 pm
Catch writers
Steve
Wiecking Tim
Appelo and
ARTS
March 30 - April 5 2005
Picking Up the Thread
Howard House ties together the best new conceptual art from Vienna
by Elise Richman
Franz Wests Mercury
(Howard House Contemporary Art)
Theres a German expression to lose the red thread which means losing
ones train of thought In its current show Howard House has found that
thread Julie Ryan a curator artist and writer organized The Red
Thread Glimpses of International Art in Vienna a two-part exhibition
featuring artists working and living at least part time in Austrias capital
Part one of the show is at Howard House the second half is currently on
display at the Educational Alliance Gallery in New York
Vienna has become a magnet for artists from all over the world including
the 15 individuals and artist teams that are part of The Red Thread
Excellent artist residency programs a low cost of living and living art
legends like Franz West are just a few of the reasons
An artistic collaboration with West took Ryan from New York to Vienna
She knows Billy Howard who runs Howard House from the University of
Washingtons School of Art And so the figurative string was strung
connecting the East and West coasts with artists from across the Atlantic
This is a complex exhibit whose emotional tenor ranges from cool
detachment to an almost urgent earnestness Unlike the formal richly
historical city that connects them artists in The Red Thread favor informal
approaches to art making use disposable materials and comment on
contemporary cultural themes
West has two formidable sculptures at Howard House The front room of the
gallery features Mercury (pictured) an ungainly behemoth composed of a
patchwork of fused metal Like many of Wests sculptures Mercury is
meant as an interactive structure that viewers can climb and sit on Bulbous
Gavin
Borchert
discussing
theater film
and music
regularly on
classical
KING-FM
(981)
Mark Fiore
Cartoons
Every
Thursday
nodules extend from its horizontal base and the seams of the dark maroon
metal look like scars rendering it at once vaguely obscene and absurdly
playful
Sisyphus the other West sculpture on display is a bulky conglomeration of
bits and wads of paper propped in the back room on a makeshift plinth (base
block) Though its as solid as the boulder its title references its surface is
like oozing skin partly coated with poured murky paint partly cloaked in
small clumps of newspaper detritus
The strenuous act of making each of these sculptures is eminently apparent
and central to the content of Wests work West considers creation a
symbolic act As you might expect he likens the artistic process to the plight
of Sisyphus the mythological figure who eternally rolled a boulder up a hill
only to have it come crashing back down For West art involves a
Sisyphean search for what he calls the absolute through the seemingly
senseless accumulation of materials However unlike Sisyphus futile quest
Wests process can lead to epiphany making sense of the senseless
Similarly Viennese artist Elisabeth Penkers art serves a facilitative
function easing the act of translation Penker uses Haida iconography in her
multimedia work because it provides potent visual symbols that
communicate single words and whole sentences simultaneously Her prints
at Howard House feature fragments of icons floating in the papers white
space They are spare visually arresting characters that employ an
iconographic language as encoded symbols of communication
Also featured in The Red Thread is Donald Baechler an internationally
known American painter who spends extended periods of time in Vienna
Baechler equalizes his imagery by painting it all in the same style For him
the source of an image doesnt matter whether its a drawing by Picasso or
graffiti on a bathroom wall What matters is the newfound context his
paintings provide
Victory by Default is part of Baechlers Skull series In this piece a painted
skull gapes from the dirty yet sensuous confines of a large canvas Terry
cloth and wrinkled rags provide literal texture and reference the world
outside the paintings boundaries Splatterings of color around the skull like
the self-conscious marks of Jasper Johns seem to express the language of
paintingmdashhue and gestural strokesmdashin a factual rather than illusional
manner
Another American painter Lisa Ruyter lives half-time in Vienna where she
runs an influential gallery She works from photographs projected onto
large-scale canvases tracing the contours of the projected imagery with
consistent black outlines In a way that seems arbitrary she paints the shapes
formed by her contour lines in flat designer colors Man of Means based on
a photo of fashion photographers looks like a scrambled color-by-numbers
painting I cant do justice to the unusually rich assortment of conceptual art
in The Red Thread Youll just have to see it for yourself Thomas
Baumans thrashing triangular foil blanket Walter Seidls slide show of
staged snapshots Markus Schinwalds photograph of a contortionist and the
other thoughtful works connected by The Red Thread
The Red Thread Glimpses of International Art in Vienna runs through
April 30 at Howard House 604 Second Ave 206- 256-6399 1030 amndash5
pm TuesndashSat Free
KUNSTFORUM
Parallelwelten fuumlr Parlamentarier Ausstellung
Von Brigitte Borchhardt-Birbaumer
Ende Oktober endet die Zusammenarbeit von Nationalratspraumlsident Andreas Khol und Peter Pakesch Direktor des Kunsthauses Graz am Joanneum Seit 2003
hatte Pakesch als Kurator mehrere Ausstellungen in den Sitzungssaumllen des Parlaments in Zusammenarbeit mit Galerien initiiert und namhafte Positionen
ausgewaumlhlt Kriterium fuumlr Praumlsentationen war die Praumlsenz durch eine Schau in einer der bekannten Kunstinstitutionen des Landes Nach Eva Schlegel Adriana
Czernin Maria Lassnig oder Esther Stocker sind dies nun bis April 2007 Josef Dabernig Daniel Hafner Ulrike Lienbacher Alois Mosbacher und Elisabeth
Penker
Das Parlament kann dabei durch die Margaretha-Lupac Stiftung immer eine Arbeit fuumlr die wachsende Sammlung des Hauses ankaufen Zuletzt war das ein
groszliges Oumll-Acryl-Gemaumllde der Georg-Eisler-Preistraumlgerin Maja Vukoje zuvor Johanna Kandl deren Temperabild derzeit an das Lentos in Linz geliehen wird
Einige Werke haumlngen schon als kuumlnstlerische Wegweiser in den Gaumlngen des Hauses und sind auch Blickfang fuumlr die 120000 Besucher die pro Jahr das
Parlament besuchen In die Architektur von Theophil Hansen mit ihrer zeitlosen Qualitaumlt fuumlgt sich die Gegenwartskunst kongenial
Hoffnung fuumlr spaumlter
Die derzeitige Zusammenstellung macht Hoffnung auf eine Fortsetzung unter der naumlchsten Praumlsidentschaft Fotografie Computerkunst Malerei Zeichnung
und Skulptur weisen auf die Vielfalt der Werkstoffe in der Gegenwartskunst Elisabeth Penker parallel im Kunsthaus Graz zu sehen baut schwarzweiszlige
Objekte aus bemaltem Holz die in ihrer seriellen und geometrischen Anordnung auf Bezuumlge zum Performativen und auf die Musik hinweisen
Noch juumlnger ist Daniel Hafner mit seinen am Computer komponierten digitalen Drucken Morphosentransformationen von 2006 Linienraster und
Raumkonstruktionen in subtiler Farbigkeit verbinden Tendenzen der fruumlhen Op-Art mit dem Cyber-Lab
Um konstruierte Realitaumlten geht es auch in den groszligformatigen Oumllbildern von Alois Mosbacher dem bekannten Vertreter der Neuen Wilden der
Achtzigerjahre in Oumlsterreich Wanderer in Wald und Wiese erzaumlhlen die Geschichten alternativer Welten die sich mancher in der Gesellschaft als Parallele
konstruiert
Zwei Fotofriese von Josef Dabernig bilden jeweils ein Panorama von oumlffentlichen Plaumltzen auf denen es zum einen um Fuszligball geht Zum anderen ist der
Rundblick in das Oval einer scheinbaren Arena auch eine Art Sehschule fuumlr die Betrachter Ein sozialer Befund ist die dritte Bedeutungsebene
Ulrike Lienbacher die heuer mit einer groszligen Schau im Innsbrucker Taxispalais ihre Karriere fortsetzt ist mit ihren feinlinigen Tuschezeichnungen den kleinen
oft unsichtbaren Zwaumlngen in unserer Gesellschaft auf der Spur Im Lokal II des Parlaments stellt sie zwar nicht ihre Objekte und Fotos aber einige
groszligformatige Blaumltter mit Frisurenvariationen neben teils fragmentierten Frauenkoumlrpern im Umgang mit Schmutz und Hygiene aber auch Fitnesskult aus
Disziplinierung und Kontrolle betreffen in der Oumlffentlichkeit besonders den weiblichen Koumlrper Sauberkeitsmechanismen weisen auch auf Vorstellungen von
wertvoll und minderwertig hin Ihre Transformationen enthalten wie die Themen der anderen subtile Kritik und sind daher vom Kurator uumlberlegt positioniert
Zeitgenoumlssische Kunst
im Parlament
Bis April 2007
Kurator Peter Pakesch
Konfrontationen
Dienstag 10 Oktober 2006
ltlt 2003 | 2004 Jan Feb Mar Apr May Jun Jul Aug Sep Oct Nov Dec 2004 | 2005 gtgt
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31
Sunday 17 October 2004
TIME
TITLE
NAME
700 Indymedia ESF breakfast show Indymedia London
Highlights news and views from the European Social Forum and the
autonomous spaces and initiatives taking place this week
website
800 Resonance Radio Art Riot Breakfast International
Radio Art
A five part special of the Harmon E Phraisyar show commissioned for
Kunstradio in Austria starts off the morning broadcast of international radio
art
website
1100 Resonance Live from the Frieze Art Fair Anna Colin amp
Tobi Maier
1100 Chris Weaver Resonance 1044FM live electronics set with James Dunn and
Robin Warren
1130 Michael Hall gallery Vienna presents audio works by artist Elisabeth Penker
1200 Maria Fusco presents latest the Bookworks commissions
1300 The Psychology of Collecting live broadcast of the frieze art fair panel
discussion
Is collecting an irrational act guided by compulsion and desire What are the use of
objects What are the motivations behind making collecting curating and
criticizing art A discussion of the psychology of collecting and the politics of taste
Hilary Rubenstein (Psychologist)
Eric Troncy (Art Critic and Director Le Consortium Dijon)
Haim Steinbach (Artist)
Chair Alice Rawsthorn (Director Design Museum)
1500 Portable live set and presentation of sudelectronic records London
1600 Where is Adventure What is Culture live broadcast of the frieze art fair
website
panel discussion
A discussion of the relationship of art to entertainment touching on the comedic
being popular and failing miserably
Trisha Donnelly (Artist)
Christian Jankowski (Artist)
David Robbins (Writer amp Artist)
Nancy Spector (Curator of Contemporary Art Solomon R Guggenheim Museum)
Chair Matthew Higgs (Curator CCA Wattis Institute for Contemporary Arts)
1800 Melissa Bent from Rivington Arms gallery New York in conversation with
artist Dan Colan and Tobi Maier Anna Colin
1830 VOX pop recordings from the fair with Sharon Gal
1900 Resonance Radio Art Riot Sarah
Washington
The Resonance Radio Art Riot brings together some of the foremost radio artists
and thinkers from around the world The studio lab situation will feature round
table discussions live performances and streamed events
Tonight Radio Text
Events Live broadcast from Sonic Arts Network Resonance benefit featuring
Henri Chopin studio performances from Julia Lee Barclay and Aude Tournay plus
Special Features None present live concrete radiophonics - Planning For
Emergencies
Guests include Clive Graham Chris Weaver Richard Thomas Toby Clarkson
John Lovett Robin Warren and James Dunn
Topics The word as art Sound poetry text performances
At Midnight Tom Wallace present exclusive excerpts from radio art pioneer
Gregory Whitehead
website
000 Resonance Radio Art Riot Nights International
Radio Art
The Resonance Radio Art riot continues throughout the night with the finest of
international radio art Resonance FM programme makers and our international
guests have put together many special hours of classic and obscure radio
works
website
- EPenkerDocumentationpdf
-
- 2bAusstellungenPublicaSpaceEPenkerpdf
-
- 2cUntitled_InstrumentsKunsthausGrazEPenker
- 2bpoeticsKunsthaus GrazEPenker
-
- 4PresseEPenkerpdf
-
- 4Review_Seattle Weekly
-
Elisabeth Penkerinstallation View Gallery 400 Chicago (left bdquoSplit Representation Ferdinand de Saussure (Green)ldquo right bdquoSplit Representation Walter Benjamin (Blue)ldquo 2013
Elisabeth Penkerinstallation View Gallery 400 Chicago left bdquoSplit Reprersentation Walter Benjamin (Blue)ldquo right bdquoSplit Represntation Frantz Fanon (Copper)ldquo 2013
Elisabeth Penkerinstallation View ReMap4 at Camp (Athens) 2013 Ferdinand de Saussure (Blue)
ELISABETH PENKER ldquoVienna calling comparative contemporary artrdquo LOG-IN amp VORRAUM GALERIE NAumlCHST ST STEPHAN ROSEMARIE SCHWARZWAumlLDER Elisabeth Penkers Skulpturen und Audiofilme sind seit 1998 im Bereich von Comparative Art und Sound Art verankert und untersuchen anhand von Sprachmorphologie die Verbindungen zur musikalischen und visuellen Grammatik In Elisabeth Penkers Ausstellung bdquoVienna calling comparative contemporary artrdquo ist der Titel in
Zusammenhang mit der Sprachmorphologie von Wiener Museen lesbar Penkers gezeigte Skulpturen vergleichen visuellelinguistische und musikalische Grammatiken (z B Moderne Kunst und First Nations Art) und verwenden die Ergebnisse als Ausgangsstruktur fuumlr die jeweilige Komposition Ihre Collagen Fotografien Diagramme und Zeichnungen sind erweiterte Fragestellungen ihrer Skulpturen Elisabeth Penker hat in Tonstudios in London und Chicago gearbeitet und seit 2000 eine Serie von Musikinstrumenten entwickelt die die Aufnahme-Methode von Jack Foley verwenden Exzerpte ihrer Multi-
Channel-Kompositionen wurden von Resonance 1044 fm (London) gesendet Weiters ist ein Text von Elisabeth Penker uumlber Sound Art im Resonance Magazine Supplement Juni 2006 erschienen Ein Video und eine Focus -Group wurde gemeinsam mit FOGO Lab bei der Documenta 12 gezeigt und war Teil des Documenta-12-Beitrages von Ricardo Basbaum
Ausstellungen siehe wwwschwarzwaelderat -gt LOGIN ELISABETH PENKER
Comparative Art is an academic discipline in the context of art histories The sculptures audio-films (sound
pieces) and the photographs (expanded sculpture) represent different 3rd 4th -dimensional by documenting
different cultural and spatial notions of perspective through usage of collaged andor spliced structural
compositionalformal structures Structural overlaps between visual artlanguagemusic are considered
Poetics of Dead Space 2 2009-2010
2 Kanaumlle einer 8-Kanal-Composition mono
Metallstativ Speaker Yamaha MSP3 CD-Player
H 133 cm
Ed 13
The non-linear 8-channel composition ldquoPoetics of Dead Space 2rdquo introduces polysynthetic language morphology
combined by the melody which is composed from pre-existing recordings of extinct languages and Penker‟s self-
made instrument ldquoUntitled Instrument sonic structurerdquo (see PDF and related essay written by E Penker at
Resonance fm Magazine upon request at Galerie naumlchst St Stephan)
The channel which is upstairs installed uses an existing wall as an acoustic filter and introduced sub-
consciousness polysynthetic language morphology into the gallery space The title refers to the book poetic of
space within unused architectural situations of exhibition spaces bdquo A Blind Spot (dead angle - Toter Winkel) has a
different meaning in terms of acoustics and cannot be compared with the visual context where blind spot is used
primarily in conversations
In musicsound production in film the visual blind spot is used very often by hearing a bike roller plane without
seeing it In everyday life we are used and depending by acoustic blind spots for our orientation of the situation
and space we are in at the moment Architectural acoustic issues play an important role during the time of the
composition ldquoPoetic of Dead Space 2rdquo is a context specific composition and deals with polysynthetic language
morphology recordings of the untitled instrument Sonic structure and acoustic exhibition architecture besides
issues which are depending of the unused architecture and their acoustics
First Nations Pavillon
Polysynthetische Doppelperspektive Claude Levi-Strauss 2006
Fotocollage C-Print gerahmter Spiegel
6-teilig
3 x 405 x 305 cm
2 x 245 x 305 cm
1 x 605 x 485 cm
Ed23 + 2 AP
A framed mirror from ldquoFirst Nations Pavilionrdquo is placed in the corner of the log-in space to place the viewer physically in the space cutting the reflection of the gaze as well mirrors a profile view of the installed
photographs The photo-series relates to polysynthetic language morphology (of the Inuit First Nations Maori and Caduveo Indians) and translates within the photographic image their structural common visual grammar Because they would create a frontal view which was made out of 2 (split) profile views thereby creating a 4-dimensional perspective that anticipatedparallels Cubism who later presented multiple perspectives within one image which intended to represent movement through time and space Specific references are in the related pdf upon request
at Galerie naumlchst St Stephan
Log [Baumstamm] 2010
Archivierung der Raumfarbe
Split Representation
Claude Levi-Strauss 2009
C-Print
5-teilig je 245 x 305 cm
Ed15 + 2 AP
The camera positions of a right angle mirror bdquoSplit Representationrdquo were chosen by E Penker in the way that the
flash is not in the image the photos are made utilizing a right angle mirror which both fragments and reflects the
image creating multiple or a split perspective EP
Bench-Shelf 2003
Acryl auf Pappelsperrholz
46 x 151 x 42 cm
The bench which is the earliest work in the exhibition mirrors the bottom and the top seating elements thereby
giving the object an asymmetrical appearance The bench-shelf was originally designed for a video archive was
later used by museum staff (in Porto) as gallery furniture
composition (or view) Numerous contemporary artists eg Donald Judd have related the ShakersAmish radical functionalism to their sculptural practice
Poetics of Dead Space 2 2009-2010
2 Kanaumlle einer 8-Kanal-Composition mono
Metallstativ Speaker Yamaha MSP3 CD-Player
H 133 cm
Ed 13
The non-linear 8-channel composition ldquoPoetics of Dead Space 2rdquo introduces polysynthetic language morphology
combined by the melody which is composed from pre-existing recordings of extinct languages and Penker‟s self-
made instrument ldquoUntitled Instrument sonic structurerdquo (see PDF and re lated essay written by E Penker at
Resonance fm Magazine upon request at Galerie naumlchst St Stephan)
The channel which is upstairs installed uses an existing wall as an acoustic filter and introduced sub-
consciousness polysynthetic language morphology into the gallery space The title refers to the book poetic of
space within unused architectural situations of exhibition spaces bdquo A Blind Spot (dead angle - Toter Winkel) has a
different meaning in terms of acoustics and cannot be compared with the visual context where blind spot is used
primarily in conversations
In musicsound production in film the visual blind spot is used very often by hearing a bike roller plane without
seeing it In everyday life we are used and depending by acoustic blind spots for our orientation of the situation
and space we are in at the moment Architectural acoustic issues play an important role during the time of the
composition ldquoPoetic of Dead Space 2rdquo is a context specific composition and deals with polysynthetic language
morphology recordings of the untitled instrument Sonic structure and acoustic exhibition architecture besides
issues which are depending of the unused architecture and their acoustics
Galerie naumlchst St Stephan
Aneta Grzeszykowska Elisabeth Penker
220110 bis 060310 Auf den Spuren gesellschaftlicher
Ordnungssysteme
Die beiden Ausstellungen von Aneta Grzeszykowska in den Galerieraumlumen
und Elisabeth Penker im Projektraum bdquoLOGINldquo sprechen unterschiedliche
Sprachen Momente der Beruumlhrung ergeben sich lediglich durch die
Auseinandersetzung der beiden Kuumlnstlerinnen mit Systembildungen und
gesellschaftlich bedingten Agglomerationen von Bedeutungen Waumlhrend der
Blick der in Warschau lebenden Kuumlnstlerin Aneta Grzeszykowska
psychologisch und kulturell bestimmt ist laumlsst sich das Verfahren der in
Wien und Rom lebenden Elisabeth Penker als ethnografisch und linguistisch
fundiert umschreiben Im Nebeneinander der beiden Positionen bilden sich
schaumlrfende Kontraste
Aneta Grzeszykowskas Interesse gilt dem Privaten in verschiedenen
visuellen Uumlbersetzungen Etwa kartografierte sie mit dem Warschauer
Kuumlnstler Jan Smaga in einer Fotoserie Wohnungen aus der Vogelperspektive
um eine intime Geschichte der Stadt uumlber die Anordnung von Raumlumen
Moumlbeln und Gebrauchsgegenstaumlnden zu erstellen Nun begibt sie sich mit
dem Film bdquoBirthdayldquo auf die Ebene fruumlhkindlicher Begegnungen mit dem
Unheimlichen Gedreht wurde er in der Art privater Dokumentationen zur
Feier des eigenen Nachwuchses anlaumlsslich eines Kindergeburtstags Durch
kommentierende Eingriffe wie die Animation sonst unbeweglicher
Gegenstaumlnde uumlbt die Kuumlnstlerin Kritik an den Konventionen und betont so
das Monstroumlse solcher Ereignisse In der Doppelboumldigkeit von inszenierter
Kindheit und Abgruumlndigem ist auch eine Reihe monochromer dunkler
Figurinen aus Stoff angesiedelt Dass diese bekleidet sind wie
Grzeszykowska in ihrer Kindheit verweist auf Versuche Dramatisches uumlber
die aumlsthetische Formalisierung zu bearbeiten Eine Fotografie mit dem durch
die Hand Grzeszykowskas unabsichtlich verletztem Auge ihres kleinen
Bruders und eine maumlrchenhaft anmutende Reliefskulptur mit einem Maumldchen
auf einem Hund aus stacheligen Distelbluumlten erzaumlhlen davon
Tiefenbohrungen zum Kern semantischer Ordnungen unternimmt dagegen
Elisabeth Penker im Kontext der Ausstellungsserie LOGIN in einem
ehemaligen Geschaumlftslokal und im Foyer der Galerie selbst Bekannt ist die
Kuumlnstlerin und Musikerin Elisabeth Penker etwa durch ihre Intervention im
Arkadenhof der Universitaumlt Wien mit einer Buumlste der oumlsterreichischen
Romanistin und ersten Universitaumltsprofessorin Elise Richter Diese leite das
phonetische Institut bis zu ihrer Deportation ins Ghetto Theresienstadt durch
die Nationalsozialisten und war in der patriarchalischen Ordnung der
steinernen Koumlpfe der Universitaumlt ndash ebenso wie die Leistungen von Frauen
generell ndash bis dahin kein Thema gewesen In der Ausstellung bdquoProtectionsldquo
im Kunsthaus Graz thematisierte Penker mit ihrem bdquoFirst Nation Pavillonldquo die Hegemonie des durch den
Kolonialismus gepraumlgten Blicks auf auszligereuropaumlische Gesellschaften
Stets sind ihre Annaumlherungen auf die Generierung von Bedeutungen im Sinne von Grammatiken
ausgerichtet Dementsprechend leitmotivisch fungiert ein Portraumlt des kuumlrzlich verstorbenen Ethnologen
Claude Leacutevi-Strauss in der Rauminstallation mit integrierter Soundkomposition Die gespiegelte und
mehrfach aufgefaumlcherte Fotografie von Leacutevi-Strauss in bdquopolysynthetischer Doppelperspektiverdquo laumlsst sich
als Verschneidung von Sprachlichem Klanglichen und Visuellen lesen
Eine Archaumlologie im Feld der Linguistik wie auf Materialebene fuumlhrt die Signifikanten auf engstem Raum
zusammen Triviale Vierkanthoumllzer beispielsweise wurden in genau jenen Farben lackiert die Penker als
uumlbereinander gelagerte Sedimente unter der Dispersion der Waumlnde freilegte Die laumlnglichen Houmllzer
beziehen sich auf den englischen Ausdruck bdquologldquo fuumlr Stamm und somit auch auf die Ausstellungsreihe der
Galerie Bemerkenswert dass ein Wort das bloszlig aus einem Morphem besteht einen Gegenstand
repraumlsentiert So baut sich uumlber eine Reihe weiterer Objekte wie etwa den bdquoHanging Chairsldquo aus dem
Fundus der Galerie ein elementares Netzwerk von Bezuumlgen auf Mit ihren Werken und abstrakten Sound-
Kompositionen dringt Elisabeth Penker kritisch forschend in die Makrobereiche von Grammatiken vor um
Potentiale semantischer Anbindungen in Nachbarsystemen freizulegen Roland Schoumlny
Elisabeth Penker Einzelausstellung MAK CAT TOWER Kurtaiert von Andreas Kristof
ldquoPassive Orchestrardquo 2008 8-Channel-Toninstallation Die Interpretation von Soundart sieht Penker in der Uumlberschneidung von Sprache-visueller Kunst und Musik und ist zumeist mit einer visuellen raumlumlichen Komponente verbunden Der Betrachter und Zuhoumlrer befindet sich in
einer Konzert-Situation statt Instrumenten sieht er nur Lautsprecher die auf unterschiedlichen Houmlhen auf einer grauen Wand positioniert sind Passiv Orchestra beruht in der Struktur auf die grammatische Einteilungen von Sprachen die in phonetische Minimaleinheiten dekonstruiert sind und wird uumlber eine Mehrkanal Matrix gespielt Elisabeth Penker referiert in dieser eigens fuumlr den Flakturm konzipierten Arbeit auf dadaistische Methoden der Sprachdekodierung die auch als ein klares Anti-Kriegs-Statement zu verstehen waren
1
Kunsthaus Graz
Protections
Kuratoren Adam Budak und Christine Peters
Elisabeth Penker
First Nation Pavilion
Der First Nation Pavilion von Elisabeth Penker unternimmt den Versuch einen Bereich fuumlr ein koloniales
Bewusstsein der europaumlischen Vergangenheit zu schaffen und einen utopischen Raum fuumlr neue Vorstellungen
von einer Mannigfaltigkeit an kulturellen Formen in der zeitgenoumlssischen Kunst Die Komposition de-
grammatical ein Bestandteil des First Nation Pavilion beruht in ihrer Struktur auf den grammatischen
Einteilungen der Sprachen die in phonetische Minimaleinheiten dekonstruiert sind und wird uumlber eine
nichtlineare 5-Kanal-Matrix gespielt
Penker untersucht moumlgliche Uumlberschneidungen zwischen der Sprache der Musik und der Bildstruktur wobei ihr
Hauptaugenmerk polysynthetischen Sprachen (First Nations und Pazifische Inseln) gilt sowie dem Vergleich
zwischen der Kunst von First Nations und der Modernen Kunst Erst in juumlngerer Zeit in der Aumlra des
Postkolonialismus hat der Diskurs der kulturellen Uumlbersetzung Fragen aufgeworfen mit denen man sich schon
in den phonetischen Experimenten des Dadaismus in den 1910er und 1920er Jahren beschaumlftigt hatte sowie
spaumlter in der Konzeptkunst der 1960er und 70er Jahre
Elisabeth Penker
First Nation Pavilion
The First Nation Pavilion by Elisabeth Penker attempts to set-up an area for colonial consciousness of the
European past and a utopic space for re-imagining a plurality of cultural forms in contemporary art The
composition entitled de-grammatical contained within the First Nation Pavilion is structurally-based on the
grammatical classifications of languages deconstructed into minimal phonetic units played within a non-linear
5-channel matrix
Penker is questioning the possible overlaps between music-language and visual structure within the primary
focus on polysynthetic languages (First Nation and Pacific Islands) and First Nation Art compared to Modern Art
More recently in the age of post-colonialism the discourse of cultural translation is arising questions that have
also been experimented by the Dadaists phonetic experiments in the 1910-20s and later in Concept Art of the
1960s-70s Text Adam Budak
Michael Elmgreen amp Ingar Dragset (the work of two other invited artists) offered Penker a typical prefabricated
house as her exhibition space within the Kunsthaus
id31403916 pdfMachine by Broadgun Software - a great PDF writer - a great PDF creator - httpwwwpdfmachinecom httpwwwbroadguncom
2
Elisabeth Penker Fisrt Nations Pavilion 2006
Change of floor plan of the prefabricated house by Michael Elmgreen amp Ingar Dragset
Entrance door Fisrt Nations Pavilion
3
Part 1 Colonial Conciseness in visual art
Room 1 and 3 Modernism=Imperialism after Henry Flynt Demolish serious culture
Woman as a the last Colony Rosa Luxenburg Veronika Bennholdt-
Thomsen Claudia von Werlhof und Maria Mies
4
Vinyl letters C-Print
5
6
Polysynthetische Doppelperspektive 1 Claude Levi- Strauss
Photocolloage C-Print
7
Polysynthetische Doppelperspektive 2 Claude Levi-Strauss
Photocolloage C-Print
9
Polysynthetische Doppelperspektive 4 Claude Levi Strauss
Photocolloage C-Print
2 prints Installed in corner
Installation view Polysynthetische Doppelperspektive 1-4 Claude Levi- Strauss
The visual grammar and its double perspective (split representation) of Haida Gwai and Tlinglet Art (First Nation
Art) is re-collaged with a photograph of Pablo Picasso comparing Cubism (early Modernism) with First Nation Art
and questioning its similarities of double perspectives
10
Room 4 and 5
Room 4
11
Luicide List The museum as an imperial graveyard
C-Print
Colonial after effects of Luicide
Gips Metallkette Hose Schuh
12
No7
Mirror Split Representation Mirror framed and installed in the corner
Part 2 Room 6 and 8 Comparative Contemporary Art
4-channel sound installation
De-grammatical Listen to mp3 audio excerpts
13
Front
2 CT (shelfbenches) Acryl auf Pappelsperrholz
Back Pull Over Yukme Shirley Hall outside
14
Pull Over Yukme Shirley Hall inside
Fabric wall silk print by (Tlinglet Artist) Yukme Shirley Hall
Wo ist Elise Richter wo ist
id99149429 pdfMachine by Broadgun Software - a great PDF writer - a great PDF creator - httpwwwpdfmachinecom httpwwwbroadguncom
Im Arkadenhof der Universitaumlt Wien stehen 154 Buumlsten von bedeutenden Wissenschaftlern der
Universitaumlt Wien (1700-2005) Bedauerlicherweise findet sich unter ihnen keine einzige Frau Eine temporaumlre Buumlste einer anonymen Wissenschaftlerin soll die systematische Ausblendung von Frauen
aus der Universitaumltsgeschichte thematisieren Die offene Web- Plattform (wwweliserichterat) ermoumlglicht allen Benutzern aktiv an der Umschreibung der Universitaumltsgeschichte und an re-imaging Prozessen der Repraumlsentation dieser Buumlsten teilzunehmen Weiters wird die Verbindung von raceclassgender und einer akademischen Kariere in diesem Zusammenhang hinterfragt We can never really change any form of social organisation without challenging all that organisations forms of
language (Debord)
Within the patriarchal structures of the Arkadenhof at the University of Vienna stand 154 busts of important scientists (1700-2005) Unfortunately none of these busts are women Through the placement of a temporary bust of an anonymous female scientist it declares the absence of them within the history of the university As well the anonymous bust embodies the presence of important scientists who have not yet been given equal representation The open web-platform (wwweliserichterat) allows every user to participate in this discourse to re-write the history of the university and to re-image the representation of these busts through a wiki system
Skizze Buumlste einer anonymen Wissenschaftlerin
Mein Interesse besteht nicht darin zu recherchieren welche Buumlsten von Wissenschaftlerinnen im Arkadenhof fehlen sondern das Fehlen der Wissenschaftlerinnen im Zeitraum von 1700 bis 2005 aufzuzeigen und Strukturen fuumlr eine oumlffentliche Kommunikationsplattform zu schaffen In der Genderforschung besteht Konsens daruumlber dass Gender kein Merkmal von Individuen sondern das einer
Institution ist (Connell) zudem ein struktureller Bestandteil einer Gesellschaft ist und dass Gendernormen alle Organisationen durchdringen (Acker)
Grundriss Arkadenhof der Universitaumlt Wien Literatur Acker J (1990) Hierarchies Jobs Bodies A theory of gendered organizations In Gender and Society
Connell R (1998) Gender and Power Society the Person and Sexual Politics Stanford University Press Stanford CA Maisel T (1990) Die Denkmaumller im Arkadenhof der Universitaumlt Wien Biographische Skizzen Wien Quellen Denkmalsakten Archiv der Universitaumlt Wien
Veranstalter Open Mind Projekt Utopie Freiheit httpwwwopenmindat vereinopenmindat Projektautorin Elisabeth Penker elpenkergmxat Bronzeguss Walter Rom Wachsmodel Buumlste Elisabeth Penker Steinsockel Ausfuumlhrung Fa Zehmann Mario Jungbauer Mediendesign Gernot Tscherteu httpwwwrealitylabatwphome gtrealitylabat Techn Umsetzung Christian Langreiter Webpage wwweliserichterat
Elisabeth Penker- Franzengasse 13- 1050 Wien ++43 (0)699 197 193 53 elpenkergmxat
Elisabeth Penker Untitled instruments 1-3 2000-2012
Galerie Georg Kargl Wien Galerie Priestor Bratislava Kuumlnstlerhaus Wien Kibla New
Media Center Maribor HTTP Galerie London Secession Wien Mak Wien Roma
Contemporary Wien
Elisabeth Penker Untiled Instrument Galerie Georg Kargl Wien
Curated by Michael Hall
Elisabeth Penker Untitled instrument 2001 New Media Center Maribor
Elisabeth Penker Untitled instrument 2001 New Media Center Maribor
Elisabeth Penker Untitled instrument Kuumlnstlerhaus Wien curated by Ursula Maria Probst
Live Performance mit Celia Mare
Detail Die BILD_HAU_ER_IN Kuumlnstlerhaus Wien
Live Performance Flower Structure Wiener Festwochen
Elisabeth Penker (Untiled instrument) Van Angh (Cello) Tri Minh Electronics
Elisabeth Penker Live Performance Poetics of space Secession Wien
MAK Nail Structure GRizo Sweet Susie Elisabeth Penker
Elisabeth Penker HTTP Gallery London 2005 curated by Tobi Maier
Elisabeth Penker HTTP Gallery London Live Performance
Elisabeth Penker Untitled Instrument Sonic Structure Kunsthaus Graz curated by Adam Budak amp
Christine Peters
Videolinks
httpwwwyoutubecomusersoundart24
Interview with Video Festwochen
httpbturncom8753interview-elisabeth-penker
Kunsthaus Graz
Protections
Kuratoren Adam Budak und Christine Peters
Elisabeth Penker Poetics of Dead Space
For PROTECTIONS Elisabeth Penker developed a key-sound Poetics of Dead Space which is to a large extent a homage
to Gaston Bachelards seminal book Poetics of Space where the connections between the poetry and the spatial emotions
are analysed Penkers key-sound will guide the viewer through the exhibition mapping the overall identity of the show in
some way controlling the viewers (audio-narrative) route in the maze of art objects events situations but also spatial
voids and unused corners
Fuumlr PROTECTIONS entwickelte Elisabeth Penker einen leitmotivischen Key Sound Poetics of Dead Space der weitgehend
eine Hommage an Gaston Bachelards wegweisendes Buch Poetics of Space darstellt in dem die Verbindungen zwischen
Lyrik und raumlumlichen Emotionen analysiert werden Penkers Key Sound wird das Publikum durch die Ausstellung geleiten
die Identitaumlt der Schau in ihrer Gesamtheit erfassen und in gewisser Weise die (audio-narrative) Route des Publikums im
Labyrinth der Kunstgegenstaumlnde Ereignisse und Situationen aber auch raumlumlicher Leerstellen und ungenutzter Winkel
kontrollieren
A non linear composition 7 mono active speakers are placed through out the Kunsthaus Graz Speaker placement
1 outdoor (entrance) 2 (travelator) 3 (corner with column) 4 (corner with door) 5 (corner) 6 (travelator) 7 (corner with
window)
Poetics of Dead Space Let it grow again 28 51 sec mono
Source material for composition rain sound of dried beans dropping down wood sticks breathing hardly existing
id78338975 pdfMachine by Broadgun Software - a great PDF writer - a great PDF creator - httpwwwpdfmachinecom httpwwwbroadguncom
recording of extinct languages
Poetics of Dead Space Let it grow again 28 51 sec mono
Source material for composition rain sound of dried beans dropping down wood sticks existing recording of extinct
languages
Poetics of Dead Space travelator 1 1min 04 sec mono loop
Source material for composition staff falling down man falling down stairs rattern recording untitled instrument
Background existing recording of extinct languages
Poetics of Dead Space 496 1min 409 sec mono loop
Source material for composition recording untitled instrument Background existing recording of extinct languages
Poetics of Dead Space 129525 1min 4888 sec mono loop
Source material for composition recording untitled instrument Background existing recording of extinct languages
Poetics of Dead Space 129525 1min 4888 sec mono loop
Source material for composition keyboard recording untitled instrument Background existing recording of extinct
languages
Poetics of Dead Space travelator 2 1min 5209 sec mono loop
Source material for composition recording untitled instrument violin Background existing recording of extinct
languages
Poetics of Dead Space2152518125220 1min 3200 sec mono loop
Source material for composition recording untitled instrument Background existing recording of library of extinct
languages
Poetics of Dead Space travelator 1 1min 04 sec mono loop
viewing down from upstairs Source material for composition staff falling down man falling down stairs rattern
recording untitled instrument Background existing recording of extinct languages
Poetics of Dead Space Let it grow again 028 51 sec mono
Source material for composition rain sound of coins wood sticks existing recording of extinct languages
Elisabeth Penker is a Viennese artist and musician working with sound in a sculptural context In her (subjective) tour
Penker approaches the entire anti-exhibition PROTECTIONS from an angle of its position and significance in the context
of Sound Art as located on the crossway between visual arts language and music Starting from her own house turned
into First Nation Pavillion which amongst others aims at connecting the recent discourse on cultural translation with
early avant-garde phonetic experiments Penker maps the sonic structure of Kunsthaus Graz and its (live) architecture
which for PROTECTIONS hosts an array of interdisciplinary projects with a strong audio-quality from Herwig Weisers
Death Before Disco (a micro-architecture of hyper-technological and electronic pop) through a newly created choir of
security guards for Tim Etchells Wall of Sound down to a cacophonic layers of anonimous noise generated by the
space itself and the presence of audience
Die Wiener Kuumlnstlerin und Musikerin Elisabeth Penker arbeitet mit Klang im Zusammenhang mit Bildhauerei In ihrer
(subjektiven) Fuumlhrung naumlhert sie sich der Anti-Ausstellung PROTECTIONS aus einem Blickwinkel der die Position und
Bedeutung der Klangkunst an der Kreuzung zwischen bildender Kunst Sprache und Musik verortet Von ihrem eigenen
Haus ausgehend das sich in den First Nation Pavilion verwandelt hat der u a den aktuellen Diskurs uumlber kulturelle
Uumlbersetzung mit fruumlhen phonetischen Experimenten der Avantgarde verbinden soll entwirft Penker die klangliche
Struktur des Gutshauses und seiner (Live-)Architektur die fuumlr PROTECTIONS eine Reihe von interdisziplinaumlren Projekten
mit einer starken Affinitaumlt zum Klang beherbergt von Herwig Weisers Death Before Disco (eine Mikroarchitektur aus
hyper-technoidem und elektronischem Pop) uumlber einen neu formierten Chor bestehend aus Security Guards fuumlr Tim
Etchells Wall of Sound bis zu einer Kakophonie aus anonymen Geraumluschen die vom Raum selbst und der Anwesenheit
des Publikums erzeugt werden
052813
Local Warming ATHENS
052813
AFTER A YEARLONG HIATUS the eighteenth Art-Athina hit the ground running on the evening of Thursday May 16 and the former Olympic
ldquoTae Kwon Dordquo Pavilion was packed with enthusiastic party people The fair had a more national flavor than ever this year under its new
director Alexis Caniaris the son of recently deceased artist Vlassis Caniaris whose iconic modern work has recently found great success on the
international market Of the very few foreign galleries exhibiting most were Greek-owned The Breeder gallery was dealing with the perceived
drop in the market by selling fantastic multiples by artists like Stelios Faitakis Jannis Varelas and Andreas Angelidakis at crisis-appropriate
prices ldquoNobody wants to come here now but I have already met three interested billionaire collectors today And if Greeks like you they
introduce you to their billionaire friendsrdquo raved Cologne dealer Mirko Mayer a seven-time exhibitor ldquoThat is what nobody knows There are
at least one-hundred billionaires collecting hererdquo Most international collectors were delayed several hours due to a union strike a de r igueur
mode of arrival in contemporary Greece
It was impossible to miss the exuberant activities of the DaDa Da restaurant a Greek-Austrian collaboration where artist Albert Mayr was
waving a skillet and raving nonsense while Lucas Willmann tenderized pink fillets for Wiener schnitzel ldquoThis is Viennese Actionism lightrdquo
quipped critic Sotirios Bahtsetzis Artist Natasha Papadopoulos added ldquoBut here there are hungry Greeks waitingrdquo On a table with a rotating
Sacher tort by Heacutelegravene van Duijne a sign carried the overwhelming spirit FUCK ART LETrsquoS EAT SOUVLAKI An insistent electronic beat and
pulsating light emanated from the next booth the American College of Greecersquos ldquoAthensUrgentrdquo while hooded performer Manos Tsatiris
stood against the wall with his hands tied perhaps a metaphor for the current Athenian exigency ldquoThis is not the kind of art fair scene we are
used tordquo said the Economou Collectionrsquos Annie-Claire Geisinger watching the madness
Left Artists Elisabeth Penker Michela Pelusio Petros Touloudis Panos Papadopoulos and Nino Stelzl Right Collector Anne-Marie Ros
Down on the floor the dealers seemed pleased particularly given dismal expectations having already sold a great deal at the preview Young
Rotterdam-based gallery Joey Ramone had sold sculptures by Fotini Gouseti to English and Belgian collectors dealer Erik Mulier had also sold
some work to Belgians Marc Van den Hende said he had bought a triptych by Eirene Efstathiou and was considering a Vlassis Caniaris piece
from the 1970s ldquoI saw some surprisesmdashyoung Greek artists I did not knowmdashand great new galleries like Elika and CANrdquo Dutch collector
Anne-Marie Ros said By the end of the day Dimitra and Sofia Vamiali reported that they had not seen one Greek collector although another
reported a Dakis Joannou sighting mdash Cathryn Drake
SEARCH
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SEATTLE
WEEKLY
in the News
Columnist
Geov Parrish
is a regular
guest on
Mind Over
Matters on
KEXP-FM
(903)
Saturdays at
830 am and
provides news
commentary
on KBCS-FM
(913) Fridays
at 430 pm
Catch writers
Steve
Wiecking Tim
Appelo and
ARTS
March 30 - April 5 2005
Picking Up the Thread
Howard House ties together the best new conceptual art from Vienna
by Elise Richman
Franz Wests Mercury
(Howard House Contemporary Art)
Theres a German expression to lose the red thread which means losing
ones train of thought In its current show Howard House has found that
thread Julie Ryan a curator artist and writer organized The Red
Thread Glimpses of International Art in Vienna a two-part exhibition
featuring artists working and living at least part time in Austrias capital
Part one of the show is at Howard House the second half is currently on
display at the Educational Alliance Gallery in New York
Vienna has become a magnet for artists from all over the world including
the 15 individuals and artist teams that are part of The Red Thread
Excellent artist residency programs a low cost of living and living art
legends like Franz West are just a few of the reasons
An artistic collaboration with West took Ryan from New York to Vienna
She knows Billy Howard who runs Howard House from the University of
Washingtons School of Art And so the figurative string was strung
connecting the East and West coasts with artists from across the Atlantic
This is a complex exhibit whose emotional tenor ranges from cool
detachment to an almost urgent earnestness Unlike the formal richly
historical city that connects them artists in The Red Thread favor informal
approaches to art making use disposable materials and comment on
contemporary cultural themes
West has two formidable sculptures at Howard House The front room of the
gallery features Mercury (pictured) an ungainly behemoth composed of a
patchwork of fused metal Like many of Wests sculptures Mercury is
meant as an interactive structure that viewers can climb and sit on Bulbous
Gavin
Borchert
discussing
theater film
and music
regularly on
classical
KING-FM
(981)
Mark Fiore
Cartoons
Every
Thursday
nodules extend from its horizontal base and the seams of the dark maroon
metal look like scars rendering it at once vaguely obscene and absurdly
playful
Sisyphus the other West sculpture on display is a bulky conglomeration of
bits and wads of paper propped in the back room on a makeshift plinth (base
block) Though its as solid as the boulder its title references its surface is
like oozing skin partly coated with poured murky paint partly cloaked in
small clumps of newspaper detritus
The strenuous act of making each of these sculptures is eminently apparent
and central to the content of Wests work West considers creation a
symbolic act As you might expect he likens the artistic process to the plight
of Sisyphus the mythological figure who eternally rolled a boulder up a hill
only to have it come crashing back down For West art involves a
Sisyphean search for what he calls the absolute through the seemingly
senseless accumulation of materials However unlike Sisyphus futile quest
Wests process can lead to epiphany making sense of the senseless
Similarly Viennese artist Elisabeth Penkers art serves a facilitative
function easing the act of translation Penker uses Haida iconography in her
multimedia work because it provides potent visual symbols that
communicate single words and whole sentences simultaneously Her prints
at Howard House feature fragments of icons floating in the papers white
space They are spare visually arresting characters that employ an
iconographic language as encoded symbols of communication
Also featured in The Red Thread is Donald Baechler an internationally
known American painter who spends extended periods of time in Vienna
Baechler equalizes his imagery by painting it all in the same style For him
the source of an image doesnt matter whether its a drawing by Picasso or
graffiti on a bathroom wall What matters is the newfound context his
paintings provide
Victory by Default is part of Baechlers Skull series In this piece a painted
skull gapes from the dirty yet sensuous confines of a large canvas Terry
cloth and wrinkled rags provide literal texture and reference the world
outside the paintings boundaries Splatterings of color around the skull like
the self-conscious marks of Jasper Johns seem to express the language of
paintingmdashhue and gestural strokesmdashin a factual rather than illusional
manner
Another American painter Lisa Ruyter lives half-time in Vienna where she
runs an influential gallery She works from photographs projected onto
large-scale canvases tracing the contours of the projected imagery with
consistent black outlines In a way that seems arbitrary she paints the shapes
formed by her contour lines in flat designer colors Man of Means based on
a photo of fashion photographers looks like a scrambled color-by-numbers
painting I cant do justice to the unusually rich assortment of conceptual art
in The Red Thread Youll just have to see it for yourself Thomas
Baumans thrashing triangular foil blanket Walter Seidls slide show of
staged snapshots Markus Schinwalds photograph of a contortionist and the
other thoughtful works connected by The Red Thread
The Red Thread Glimpses of International Art in Vienna runs through
April 30 at Howard House 604 Second Ave 206- 256-6399 1030 amndash5
pm TuesndashSat Free
KUNSTFORUM
Parallelwelten fuumlr Parlamentarier Ausstellung
Von Brigitte Borchhardt-Birbaumer
Ende Oktober endet die Zusammenarbeit von Nationalratspraumlsident Andreas Khol und Peter Pakesch Direktor des Kunsthauses Graz am Joanneum Seit 2003
hatte Pakesch als Kurator mehrere Ausstellungen in den Sitzungssaumllen des Parlaments in Zusammenarbeit mit Galerien initiiert und namhafte Positionen
ausgewaumlhlt Kriterium fuumlr Praumlsentationen war die Praumlsenz durch eine Schau in einer der bekannten Kunstinstitutionen des Landes Nach Eva Schlegel Adriana
Czernin Maria Lassnig oder Esther Stocker sind dies nun bis April 2007 Josef Dabernig Daniel Hafner Ulrike Lienbacher Alois Mosbacher und Elisabeth
Penker
Das Parlament kann dabei durch die Margaretha-Lupac Stiftung immer eine Arbeit fuumlr die wachsende Sammlung des Hauses ankaufen Zuletzt war das ein
groszliges Oumll-Acryl-Gemaumllde der Georg-Eisler-Preistraumlgerin Maja Vukoje zuvor Johanna Kandl deren Temperabild derzeit an das Lentos in Linz geliehen wird
Einige Werke haumlngen schon als kuumlnstlerische Wegweiser in den Gaumlngen des Hauses und sind auch Blickfang fuumlr die 120000 Besucher die pro Jahr das
Parlament besuchen In die Architektur von Theophil Hansen mit ihrer zeitlosen Qualitaumlt fuumlgt sich die Gegenwartskunst kongenial
Hoffnung fuumlr spaumlter
Die derzeitige Zusammenstellung macht Hoffnung auf eine Fortsetzung unter der naumlchsten Praumlsidentschaft Fotografie Computerkunst Malerei Zeichnung
und Skulptur weisen auf die Vielfalt der Werkstoffe in der Gegenwartskunst Elisabeth Penker parallel im Kunsthaus Graz zu sehen baut schwarzweiszlige
Objekte aus bemaltem Holz die in ihrer seriellen und geometrischen Anordnung auf Bezuumlge zum Performativen und auf die Musik hinweisen
Noch juumlnger ist Daniel Hafner mit seinen am Computer komponierten digitalen Drucken Morphosentransformationen von 2006 Linienraster und
Raumkonstruktionen in subtiler Farbigkeit verbinden Tendenzen der fruumlhen Op-Art mit dem Cyber-Lab
Um konstruierte Realitaumlten geht es auch in den groszligformatigen Oumllbildern von Alois Mosbacher dem bekannten Vertreter der Neuen Wilden der
Achtzigerjahre in Oumlsterreich Wanderer in Wald und Wiese erzaumlhlen die Geschichten alternativer Welten die sich mancher in der Gesellschaft als Parallele
konstruiert
Zwei Fotofriese von Josef Dabernig bilden jeweils ein Panorama von oumlffentlichen Plaumltzen auf denen es zum einen um Fuszligball geht Zum anderen ist der
Rundblick in das Oval einer scheinbaren Arena auch eine Art Sehschule fuumlr die Betrachter Ein sozialer Befund ist die dritte Bedeutungsebene
Ulrike Lienbacher die heuer mit einer groszligen Schau im Innsbrucker Taxispalais ihre Karriere fortsetzt ist mit ihren feinlinigen Tuschezeichnungen den kleinen
oft unsichtbaren Zwaumlngen in unserer Gesellschaft auf der Spur Im Lokal II des Parlaments stellt sie zwar nicht ihre Objekte und Fotos aber einige
groszligformatige Blaumltter mit Frisurenvariationen neben teils fragmentierten Frauenkoumlrpern im Umgang mit Schmutz und Hygiene aber auch Fitnesskult aus
Disziplinierung und Kontrolle betreffen in der Oumlffentlichkeit besonders den weiblichen Koumlrper Sauberkeitsmechanismen weisen auch auf Vorstellungen von
wertvoll und minderwertig hin Ihre Transformationen enthalten wie die Themen der anderen subtile Kritik und sind daher vom Kurator uumlberlegt positioniert
Zeitgenoumlssische Kunst
im Parlament
Bis April 2007
Kurator Peter Pakesch
Konfrontationen
Dienstag 10 Oktober 2006
ltlt 2003 | 2004 Jan Feb Mar Apr May Jun Jul Aug Sep Oct Nov Dec 2004 | 2005 gtgt
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31
Sunday 17 October 2004
TIME
TITLE
NAME
700 Indymedia ESF breakfast show Indymedia London
Highlights news and views from the European Social Forum and the
autonomous spaces and initiatives taking place this week
website
800 Resonance Radio Art Riot Breakfast International
Radio Art
A five part special of the Harmon E Phraisyar show commissioned for
Kunstradio in Austria starts off the morning broadcast of international radio
art
website
1100 Resonance Live from the Frieze Art Fair Anna Colin amp
Tobi Maier
1100 Chris Weaver Resonance 1044FM live electronics set with James Dunn and
Robin Warren
1130 Michael Hall gallery Vienna presents audio works by artist Elisabeth Penker
1200 Maria Fusco presents latest the Bookworks commissions
1300 The Psychology of Collecting live broadcast of the frieze art fair panel
discussion
Is collecting an irrational act guided by compulsion and desire What are the use of
objects What are the motivations behind making collecting curating and
criticizing art A discussion of the psychology of collecting and the politics of taste
Hilary Rubenstein (Psychologist)
Eric Troncy (Art Critic and Director Le Consortium Dijon)
Haim Steinbach (Artist)
Chair Alice Rawsthorn (Director Design Museum)
1500 Portable live set and presentation of sudelectronic records London
1600 Where is Adventure What is Culture live broadcast of the frieze art fair
website
panel discussion
A discussion of the relationship of art to entertainment touching on the comedic
being popular and failing miserably
Trisha Donnelly (Artist)
Christian Jankowski (Artist)
David Robbins (Writer amp Artist)
Nancy Spector (Curator of Contemporary Art Solomon R Guggenheim Museum)
Chair Matthew Higgs (Curator CCA Wattis Institute for Contemporary Arts)
1800 Melissa Bent from Rivington Arms gallery New York in conversation with
artist Dan Colan and Tobi Maier Anna Colin
1830 VOX pop recordings from the fair with Sharon Gal
1900 Resonance Radio Art Riot Sarah
Washington
The Resonance Radio Art Riot brings together some of the foremost radio artists
and thinkers from around the world The studio lab situation will feature round
table discussions live performances and streamed events
Tonight Radio Text
Events Live broadcast from Sonic Arts Network Resonance benefit featuring
Henri Chopin studio performances from Julia Lee Barclay and Aude Tournay plus
Special Features None present live concrete radiophonics - Planning For
Emergencies
Guests include Clive Graham Chris Weaver Richard Thomas Toby Clarkson
John Lovett Robin Warren and James Dunn
Topics The word as art Sound poetry text performances
At Midnight Tom Wallace present exclusive excerpts from radio art pioneer
Gregory Whitehead
website
000 Resonance Radio Art Riot Nights International
Radio Art
The Resonance Radio Art riot continues throughout the night with the finest of
international radio art Resonance FM programme makers and our international
guests have put together many special hours of classic and obscure radio
works
website
- EPenkerDocumentationpdf
-
- 2bAusstellungenPublicaSpaceEPenkerpdf
-
- 2cUntitled_InstrumentsKunsthausGrazEPenker
- 2bpoeticsKunsthaus GrazEPenker
-
- 4PresseEPenkerpdf
-
- 4Review_Seattle Weekly
-
Elisabeth Penkerinstallation View Gallery 400 Chicago left bdquoSplit Reprersentation Walter Benjamin (Blue)ldquo right bdquoSplit Represntation Frantz Fanon (Copper)ldquo 2013
Elisabeth Penkerinstallation View ReMap4 at Camp (Athens) 2013 Ferdinand de Saussure (Blue)
ELISABETH PENKER ldquoVienna calling comparative contemporary artrdquo LOG-IN amp VORRAUM GALERIE NAumlCHST ST STEPHAN ROSEMARIE SCHWARZWAumlLDER Elisabeth Penkers Skulpturen und Audiofilme sind seit 1998 im Bereich von Comparative Art und Sound Art verankert und untersuchen anhand von Sprachmorphologie die Verbindungen zur musikalischen und visuellen Grammatik In Elisabeth Penkers Ausstellung bdquoVienna calling comparative contemporary artrdquo ist der Titel in
Zusammenhang mit der Sprachmorphologie von Wiener Museen lesbar Penkers gezeigte Skulpturen vergleichen visuellelinguistische und musikalische Grammatiken (z B Moderne Kunst und First Nations Art) und verwenden die Ergebnisse als Ausgangsstruktur fuumlr die jeweilige Komposition Ihre Collagen Fotografien Diagramme und Zeichnungen sind erweiterte Fragestellungen ihrer Skulpturen Elisabeth Penker hat in Tonstudios in London und Chicago gearbeitet und seit 2000 eine Serie von Musikinstrumenten entwickelt die die Aufnahme-Methode von Jack Foley verwenden Exzerpte ihrer Multi-
Channel-Kompositionen wurden von Resonance 1044 fm (London) gesendet Weiters ist ein Text von Elisabeth Penker uumlber Sound Art im Resonance Magazine Supplement Juni 2006 erschienen Ein Video und eine Focus -Group wurde gemeinsam mit FOGO Lab bei der Documenta 12 gezeigt und war Teil des Documenta-12-Beitrages von Ricardo Basbaum
Ausstellungen siehe wwwschwarzwaelderat -gt LOGIN ELISABETH PENKER
Comparative Art is an academic discipline in the context of art histories The sculptures audio-films (sound
pieces) and the photographs (expanded sculpture) represent different 3rd 4th -dimensional by documenting
different cultural and spatial notions of perspective through usage of collaged andor spliced structural
compositionalformal structures Structural overlaps between visual artlanguagemusic are considered
Poetics of Dead Space 2 2009-2010
2 Kanaumlle einer 8-Kanal-Composition mono
Metallstativ Speaker Yamaha MSP3 CD-Player
H 133 cm
Ed 13
The non-linear 8-channel composition ldquoPoetics of Dead Space 2rdquo introduces polysynthetic language morphology
combined by the melody which is composed from pre-existing recordings of extinct languages and Penker‟s self-
made instrument ldquoUntitled Instrument sonic structurerdquo (see PDF and related essay written by E Penker at
Resonance fm Magazine upon request at Galerie naumlchst St Stephan)
The channel which is upstairs installed uses an existing wall as an acoustic filter and introduced sub-
consciousness polysynthetic language morphology into the gallery space The title refers to the book poetic of
space within unused architectural situations of exhibition spaces bdquo A Blind Spot (dead angle - Toter Winkel) has a
different meaning in terms of acoustics and cannot be compared with the visual context where blind spot is used
primarily in conversations
In musicsound production in film the visual blind spot is used very often by hearing a bike roller plane without
seeing it In everyday life we are used and depending by acoustic blind spots for our orientation of the situation
and space we are in at the moment Architectural acoustic issues play an important role during the time of the
composition ldquoPoetic of Dead Space 2rdquo is a context specific composition and deals with polysynthetic language
morphology recordings of the untitled instrument Sonic structure and acoustic exhibition architecture besides
issues which are depending of the unused architecture and their acoustics
First Nations Pavillon
Polysynthetische Doppelperspektive Claude Levi-Strauss 2006
Fotocollage C-Print gerahmter Spiegel
6-teilig
3 x 405 x 305 cm
2 x 245 x 305 cm
1 x 605 x 485 cm
Ed23 + 2 AP
A framed mirror from ldquoFirst Nations Pavilionrdquo is placed in the corner of the log-in space to place the viewer physically in the space cutting the reflection of the gaze as well mirrors a profile view of the installed
photographs The photo-series relates to polysynthetic language morphology (of the Inuit First Nations Maori and Caduveo Indians) and translates within the photographic image their structural common visual grammar Because they would create a frontal view which was made out of 2 (split) profile views thereby creating a 4-dimensional perspective that anticipatedparallels Cubism who later presented multiple perspectives within one image which intended to represent movement through time and space Specific references are in the related pdf upon request
at Galerie naumlchst St Stephan
Log [Baumstamm] 2010
Archivierung der Raumfarbe
Split Representation
Claude Levi-Strauss 2009
C-Print
5-teilig je 245 x 305 cm
Ed15 + 2 AP
The camera positions of a right angle mirror bdquoSplit Representationrdquo were chosen by E Penker in the way that the
flash is not in the image the photos are made utilizing a right angle mirror which both fragments and reflects the
image creating multiple or a split perspective EP
Bench-Shelf 2003
Acryl auf Pappelsperrholz
46 x 151 x 42 cm
The bench which is the earliest work in the exhibition mirrors the bottom and the top seating elements thereby
giving the object an asymmetrical appearance The bench-shelf was originally designed for a video archive was
later used by museum staff (in Porto) as gallery furniture
composition (or view) Numerous contemporary artists eg Donald Judd have related the ShakersAmish radical functionalism to their sculptural practice
Poetics of Dead Space 2 2009-2010
2 Kanaumlle einer 8-Kanal-Composition mono
Metallstativ Speaker Yamaha MSP3 CD-Player
H 133 cm
Ed 13
The non-linear 8-channel composition ldquoPoetics of Dead Space 2rdquo introduces polysynthetic language morphology
combined by the melody which is composed from pre-existing recordings of extinct languages and Penker‟s self-
made instrument ldquoUntitled Instrument sonic structurerdquo (see PDF and re lated essay written by E Penker at
Resonance fm Magazine upon request at Galerie naumlchst St Stephan)
The channel which is upstairs installed uses an existing wall as an acoustic filter and introduced sub-
consciousness polysynthetic language morphology into the gallery space The title refers to the book poetic of
space within unused architectural situations of exhibition spaces bdquo A Blind Spot (dead angle - Toter Winkel) has a
different meaning in terms of acoustics and cannot be compared with the visual context where blind spot is used
primarily in conversations
In musicsound production in film the visual blind spot is used very often by hearing a bike roller plane without
seeing it In everyday life we are used and depending by acoustic blind spots for our orientation of the situation
and space we are in at the moment Architectural acoustic issues play an important role during the time of the
composition ldquoPoetic of Dead Space 2rdquo is a context specific composition and deals with polysynthetic language
morphology recordings of the untitled instrument Sonic structure and acoustic exhibition architecture besides
issues which are depending of the unused architecture and their acoustics
Galerie naumlchst St Stephan
Aneta Grzeszykowska Elisabeth Penker
220110 bis 060310 Auf den Spuren gesellschaftlicher
Ordnungssysteme
Die beiden Ausstellungen von Aneta Grzeszykowska in den Galerieraumlumen
und Elisabeth Penker im Projektraum bdquoLOGINldquo sprechen unterschiedliche
Sprachen Momente der Beruumlhrung ergeben sich lediglich durch die
Auseinandersetzung der beiden Kuumlnstlerinnen mit Systembildungen und
gesellschaftlich bedingten Agglomerationen von Bedeutungen Waumlhrend der
Blick der in Warschau lebenden Kuumlnstlerin Aneta Grzeszykowska
psychologisch und kulturell bestimmt ist laumlsst sich das Verfahren der in
Wien und Rom lebenden Elisabeth Penker als ethnografisch und linguistisch
fundiert umschreiben Im Nebeneinander der beiden Positionen bilden sich
schaumlrfende Kontraste
Aneta Grzeszykowskas Interesse gilt dem Privaten in verschiedenen
visuellen Uumlbersetzungen Etwa kartografierte sie mit dem Warschauer
Kuumlnstler Jan Smaga in einer Fotoserie Wohnungen aus der Vogelperspektive
um eine intime Geschichte der Stadt uumlber die Anordnung von Raumlumen
Moumlbeln und Gebrauchsgegenstaumlnden zu erstellen Nun begibt sie sich mit
dem Film bdquoBirthdayldquo auf die Ebene fruumlhkindlicher Begegnungen mit dem
Unheimlichen Gedreht wurde er in der Art privater Dokumentationen zur
Feier des eigenen Nachwuchses anlaumlsslich eines Kindergeburtstags Durch
kommentierende Eingriffe wie die Animation sonst unbeweglicher
Gegenstaumlnde uumlbt die Kuumlnstlerin Kritik an den Konventionen und betont so
das Monstroumlse solcher Ereignisse In der Doppelboumldigkeit von inszenierter
Kindheit und Abgruumlndigem ist auch eine Reihe monochromer dunkler
Figurinen aus Stoff angesiedelt Dass diese bekleidet sind wie
Grzeszykowska in ihrer Kindheit verweist auf Versuche Dramatisches uumlber
die aumlsthetische Formalisierung zu bearbeiten Eine Fotografie mit dem durch
die Hand Grzeszykowskas unabsichtlich verletztem Auge ihres kleinen
Bruders und eine maumlrchenhaft anmutende Reliefskulptur mit einem Maumldchen
auf einem Hund aus stacheligen Distelbluumlten erzaumlhlen davon
Tiefenbohrungen zum Kern semantischer Ordnungen unternimmt dagegen
Elisabeth Penker im Kontext der Ausstellungsserie LOGIN in einem
ehemaligen Geschaumlftslokal und im Foyer der Galerie selbst Bekannt ist die
Kuumlnstlerin und Musikerin Elisabeth Penker etwa durch ihre Intervention im
Arkadenhof der Universitaumlt Wien mit einer Buumlste der oumlsterreichischen
Romanistin und ersten Universitaumltsprofessorin Elise Richter Diese leite das
phonetische Institut bis zu ihrer Deportation ins Ghetto Theresienstadt durch
die Nationalsozialisten und war in der patriarchalischen Ordnung der
steinernen Koumlpfe der Universitaumlt ndash ebenso wie die Leistungen von Frauen
generell ndash bis dahin kein Thema gewesen In der Ausstellung bdquoProtectionsldquo
im Kunsthaus Graz thematisierte Penker mit ihrem bdquoFirst Nation Pavillonldquo die Hegemonie des durch den
Kolonialismus gepraumlgten Blicks auf auszligereuropaumlische Gesellschaften
Stets sind ihre Annaumlherungen auf die Generierung von Bedeutungen im Sinne von Grammatiken
ausgerichtet Dementsprechend leitmotivisch fungiert ein Portraumlt des kuumlrzlich verstorbenen Ethnologen
Claude Leacutevi-Strauss in der Rauminstallation mit integrierter Soundkomposition Die gespiegelte und
mehrfach aufgefaumlcherte Fotografie von Leacutevi-Strauss in bdquopolysynthetischer Doppelperspektiverdquo laumlsst sich
als Verschneidung von Sprachlichem Klanglichen und Visuellen lesen
Eine Archaumlologie im Feld der Linguistik wie auf Materialebene fuumlhrt die Signifikanten auf engstem Raum
zusammen Triviale Vierkanthoumllzer beispielsweise wurden in genau jenen Farben lackiert die Penker als
uumlbereinander gelagerte Sedimente unter der Dispersion der Waumlnde freilegte Die laumlnglichen Houmllzer
beziehen sich auf den englischen Ausdruck bdquologldquo fuumlr Stamm und somit auch auf die Ausstellungsreihe der
Galerie Bemerkenswert dass ein Wort das bloszlig aus einem Morphem besteht einen Gegenstand
repraumlsentiert So baut sich uumlber eine Reihe weiterer Objekte wie etwa den bdquoHanging Chairsldquo aus dem
Fundus der Galerie ein elementares Netzwerk von Bezuumlgen auf Mit ihren Werken und abstrakten Sound-
Kompositionen dringt Elisabeth Penker kritisch forschend in die Makrobereiche von Grammatiken vor um
Potentiale semantischer Anbindungen in Nachbarsystemen freizulegen Roland Schoumlny
Elisabeth Penker Einzelausstellung MAK CAT TOWER Kurtaiert von Andreas Kristof
ldquoPassive Orchestrardquo 2008 8-Channel-Toninstallation Die Interpretation von Soundart sieht Penker in der Uumlberschneidung von Sprache-visueller Kunst und Musik und ist zumeist mit einer visuellen raumlumlichen Komponente verbunden Der Betrachter und Zuhoumlrer befindet sich in
einer Konzert-Situation statt Instrumenten sieht er nur Lautsprecher die auf unterschiedlichen Houmlhen auf einer grauen Wand positioniert sind Passiv Orchestra beruht in der Struktur auf die grammatische Einteilungen von Sprachen die in phonetische Minimaleinheiten dekonstruiert sind und wird uumlber eine Mehrkanal Matrix gespielt Elisabeth Penker referiert in dieser eigens fuumlr den Flakturm konzipierten Arbeit auf dadaistische Methoden der Sprachdekodierung die auch als ein klares Anti-Kriegs-Statement zu verstehen waren
1
Kunsthaus Graz
Protections
Kuratoren Adam Budak und Christine Peters
Elisabeth Penker
First Nation Pavilion
Der First Nation Pavilion von Elisabeth Penker unternimmt den Versuch einen Bereich fuumlr ein koloniales
Bewusstsein der europaumlischen Vergangenheit zu schaffen und einen utopischen Raum fuumlr neue Vorstellungen
von einer Mannigfaltigkeit an kulturellen Formen in der zeitgenoumlssischen Kunst Die Komposition de-
grammatical ein Bestandteil des First Nation Pavilion beruht in ihrer Struktur auf den grammatischen
Einteilungen der Sprachen die in phonetische Minimaleinheiten dekonstruiert sind und wird uumlber eine
nichtlineare 5-Kanal-Matrix gespielt
Penker untersucht moumlgliche Uumlberschneidungen zwischen der Sprache der Musik und der Bildstruktur wobei ihr
Hauptaugenmerk polysynthetischen Sprachen (First Nations und Pazifische Inseln) gilt sowie dem Vergleich
zwischen der Kunst von First Nations und der Modernen Kunst Erst in juumlngerer Zeit in der Aumlra des
Postkolonialismus hat der Diskurs der kulturellen Uumlbersetzung Fragen aufgeworfen mit denen man sich schon
in den phonetischen Experimenten des Dadaismus in den 1910er und 1920er Jahren beschaumlftigt hatte sowie
spaumlter in der Konzeptkunst der 1960er und 70er Jahre
Elisabeth Penker
First Nation Pavilion
The First Nation Pavilion by Elisabeth Penker attempts to set-up an area for colonial consciousness of the
European past and a utopic space for re-imagining a plurality of cultural forms in contemporary art The
composition entitled de-grammatical contained within the First Nation Pavilion is structurally-based on the
grammatical classifications of languages deconstructed into minimal phonetic units played within a non-linear
5-channel matrix
Penker is questioning the possible overlaps between music-language and visual structure within the primary
focus on polysynthetic languages (First Nation and Pacific Islands) and First Nation Art compared to Modern Art
More recently in the age of post-colonialism the discourse of cultural translation is arising questions that have
also been experimented by the Dadaists phonetic experiments in the 1910-20s and later in Concept Art of the
1960s-70s Text Adam Budak
Michael Elmgreen amp Ingar Dragset (the work of two other invited artists) offered Penker a typical prefabricated
house as her exhibition space within the Kunsthaus
id31403916 pdfMachine by Broadgun Software - a great PDF writer - a great PDF creator - httpwwwpdfmachinecom httpwwwbroadguncom
2
Elisabeth Penker Fisrt Nations Pavilion 2006
Change of floor plan of the prefabricated house by Michael Elmgreen amp Ingar Dragset
Entrance door Fisrt Nations Pavilion
3
Part 1 Colonial Conciseness in visual art
Room 1 and 3 Modernism=Imperialism after Henry Flynt Demolish serious culture
Woman as a the last Colony Rosa Luxenburg Veronika Bennholdt-
Thomsen Claudia von Werlhof und Maria Mies
4
Vinyl letters C-Print
5
6
Polysynthetische Doppelperspektive 1 Claude Levi- Strauss
Photocolloage C-Print
7
Polysynthetische Doppelperspektive 2 Claude Levi-Strauss
Photocolloage C-Print
9
Polysynthetische Doppelperspektive 4 Claude Levi Strauss
Photocolloage C-Print
2 prints Installed in corner
Installation view Polysynthetische Doppelperspektive 1-4 Claude Levi- Strauss
The visual grammar and its double perspective (split representation) of Haida Gwai and Tlinglet Art (First Nation
Art) is re-collaged with a photograph of Pablo Picasso comparing Cubism (early Modernism) with First Nation Art
and questioning its similarities of double perspectives
10
Room 4 and 5
Room 4
11
Luicide List The museum as an imperial graveyard
C-Print
Colonial after effects of Luicide
Gips Metallkette Hose Schuh
12
No7
Mirror Split Representation Mirror framed and installed in the corner
Part 2 Room 6 and 8 Comparative Contemporary Art
4-channel sound installation
De-grammatical Listen to mp3 audio excerpts
13
Front
2 CT (shelfbenches) Acryl auf Pappelsperrholz
Back Pull Over Yukme Shirley Hall outside
14
Pull Over Yukme Shirley Hall inside
Fabric wall silk print by (Tlinglet Artist) Yukme Shirley Hall
Wo ist Elise Richter wo ist
id99149429 pdfMachine by Broadgun Software - a great PDF writer - a great PDF creator - httpwwwpdfmachinecom httpwwwbroadguncom
Im Arkadenhof der Universitaumlt Wien stehen 154 Buumlsten von bedeutenden Wissenschaftlern der
Universitaumlt Wien (1700-2005) Bedauerlicherweise findet sich unter ihnen keine einzige Frau Eine temporaumlre Buumlste einer anonymen Wissenschaftlerin soll die systematische Ausblendung von Frauen
aus der Universitaumltsgeschichte thematisieren Die offene Web- Plattform (wwweliserichterat) ermoumlglicht allen Benutzern aktiv an der Umschreibung der Universitaumltsgeschichte und an re-imaging Prozessen der Repraumlsentation dieser Buumlsten teilzunehmen Weiters wird die Verbindung von raceclassgender und einer akademischen Kariere in diesem Zusammenhang hinterfragt We can never really change any form of social organisation without challenging all that organisations forms of
language (Debord)
Within the patriarchal structures of the Arkadenhof at the University of Vienna stand 154 busts of important scientists (1700-2005) Unfortunately none of these busts are women Through the placement of a temporary bust of an anonymous female scientist it declares the absence of them within the history of the university As well the anonymous bust embodies the presence of important scientists who have not yet been given equal representation The open web-platform (wwweliserichterat) allows every user to participate in this discourse to re-write the history of the university and to re-image the representation of these busts through a wiki system
Skizze Buumlste einer anonymen Wissenschaftlerin
Mein Interesse besteht nicht darin zu recherchieren welche Buumlsten von Wissenschaftlerinnen im Arkadenhof fehlen sondern das Fehlen der Wissenschaftlerinnen im Zeitraum von 1700 bis 2005 aufzuzeigen und Strukturen fuumlr eine oumlffentliche Kommunikationsplattform zu schaffen In der Genderforschung besteht Konsens daruumlber dass Gender kein Merkmal von Individuen sondern das einer
Institution ist (Connell) zudem ein struktureller Bestandteil einer Gesellschaft ist und dass Gendernormen alle Organisationen durchdringen (Acker)
Grundriss Arkadenhof der Universitaumlt Wien Literatur Acker J (1990) Hierarchies Jobs Bodies A theory of gendered organizations In Gender and Society
Connell R (1998) Gender and Power Society the Person and Sexual Politics Stanford University Press Stanford CA Maisel T (1990) Die Denkmaumller im Arkadenhof der Universitaumlt Wien Biographische Skizzen Wien Quellen Denkmalsakten Archiv der Universitaumlt Wien
Veranstalter Open Mind Projekt Utopie Freiheit httpwwwopenmindat vereinopenmindat Projektautorin Elisabeth Penker elpenkergmxat Bronzeguss Walter Rom Wachsmodel Buumlste Elisabeth Penker Steinsockel Ausfuumlhrung Fa Zehmann Mario Jungbauer Mediendesign Gernot Tscherteu httpwwwrealitylabatwphome gtrealitylabat Techn Umsetzung Christian Langreiter Webpage wwweliserichterat
Elisabeth Penker- Franzengasse 13- 1050 Wien ++43 (0)699 197 193 53 elpenkergmxat
Elisabeth Penker Untitled instruments 1-3 2000-2012
Galerie Georg Kargl Wien Galerie Priestor Bratislava Kuumlnstlerhaus Wien Kibla New
Media Center Maribor HTTP Galerie London Secession Wien Mak Wien Roma
Contemporary Wien
Elisabeth Penker Untiled Instrument Galerie Georg Kargl Wien
Curated by Michael Hall
Elisabeth Penker Untitled instrument 2001 New Media Center Maribor
Elisabeth Penker Untitled instrument 2001 New Media Center Maribor
Elisabeth Penker Untitled instrument Kuumlnstlerhaus Wien curated by Ursula Maria Probst
Live Performance mit Celia Mare
Detail Die BILD_HAU_ER_IN Kuumlnstlerhaus Wien
Live Performance Flower Structure Wiener Festwochen
Elisabeth Penker (Untiled instrument) Van Angh (Cello) Tri Minh Electronics
Elisabeth Penker Live Performance Poetics of space Secession Wien
MAK Nail Structure GRizo Sweet Susie Elisabeth Penker
Elisabeth Penker HTTP Gallery London 2005 curated by Tobi Maier
Elisabeth Penker HTTP Gallery London Live Performance
Elisabeth Penker Untitled Instrument Sonic Structure Kunsthaus Graz curated by Adam Budak amp
Christine Peters
Videolinks
httpwwwyoutubecomusersoundart24
Interview with Video Festwochen
httpbturncom8753interview-elisabeth-penker
Kunsthaus Graz
Protections
Kuratoren Adam Budak und Christine Peters
Elisabeth Penker Poetics of Dead Space
For PROTECTIONS Elisabeth Penker developed a key-sound Poetics of Dead Space which is to a large extent a homage
to Gaston Bachelards seminal book Poetics of Space where the connections between the poetry and the spatial emotions
are analysed Penkers key-sound will guide the viewer through the exhibition mapping the overall identity of the show in
some way controlling the viewers (audio-narrative) route in the maze of art objects events situations but also spatial
voids and unused corners
Fuumlr PROTECTIONS entwickelte Elisabeth Penker einen leitmotivischen Key Sound Poetics of Dead Space der weitgehend
eine Hommage an Gaston Bachelards wegweisendes Buch Poetics of Space darstellt in dem die Verbindungen zwischen
Lyrik und raumlumlichen Emotionen analysiert werden Penkers Key Sound wird das Publikum durch die Ausstellung geleiten
die Identitaumlt der Schau in ihrer Gesamtheit erfassen und in gewisser Weise die (audio-narrative) Route des Publikums im
Labyrinth der Kunstgegenstaumlnde Ereignisse und Situationen aber auch raumlumlicher Leerstellen und ungenutzter Winkel
kontrollieren
A non linear composition 7 mono active speakers are placed through out the Kunsthaus Graz Speaker placement
1 outdoor (entrance) 2 (travelator) 3 (corner with column) 4 (corner with door) 5 (corner) 6 (travelator) 7 (corner with
window)
Poetics of Dead Space Let it grow again 28 51 sec mono
Source material for composition rain sound of dried beans dropping down wood sticks breathing hardly existing
id78338975 pdfMachine by Broadgun Software - a great PDF writer - a great PDF creator - httpwwwpdfmachinecom httpwwwbroadguncom
recording of extinct languages
Poetics of Dead Space Let it grow again 28 51 sec mono
Source material for composition rain sound of dried beans dropping down wood sticks existing recording of extinct
languages
Poetics of Dead Space travelator 1 1min 04 sec mono loop
Source material for composition staff falling down man falling down stairs rattern recording untitled instrument
Background existing recording of extinct languages
Poetics of Dead Space 496 1min 409 sec mono loop
Source material for composition recording untitled instrument Background existing recording of extinct languages
Poetics of Dead Space 129525 1min 4888 sec mono loop
Source material for composition recording untitled instrument Background existing recording of extinct languages
Poetics of Dead Space 129525 1min 4888 sec mono loop
Source material for composition keyboard recording untitled instrument Background existing recording of extinct
languages
Poetics of Dead Space travelator 2 1min 5209 sec mono loop
Source material for composition recording untitled instrument violin Background existing recording of extinct
languages
Poetics of Dead Space2152518125220 1min 3200 sec mono loop
Source material for composition recording untitled instrument Background existing recording of library of extinct
languages
Poetics of Dead Space travelator 1 1min 04 sec mono loop
viewing down from upstairs Source material for composition staff falling down man falling down stairs rattern
recording untitled instrument Background existing recording of extinct languages
Poetics of Dead Space Let it grow again 028 51 sec mono
Source material for composition rain sound of coins wood sticks existing recording of extinct languages
Elisabeth Penker is a Viennese artist and musician working with sound in a sculptural context In her (subjective) tour
Penker approaches the entire anti-exhibition PROTECTIONS from an angle of its position and significance in the context
of Sound Art as located on the crossway between visual arts language and music Starting from her own house turned
into First Nation Pavillion which amongst others aims at connecting the recent discourse on cultural translation with
early avant-garde phonetic experiments Penker maps the sonic structure of Kunsthaus Graz and its (live) architecture
which for PROTECTIONS hosts an array of interdisciplinary projects with a strong audio-quality from Herwig Weisers
Death Before Disco (a micro-architecture of hyper-technological and electronic pop) through a newly created choir of
security guards for Tim Etchells Wall of Sound down to a cacophonic layers of anonimous noise generated by the
space itself and the presence of audience
Die Wiener Kuumlnstlerin und Musikerin Elisabeth Penker arbeitet mit Klang im Zusammenhang mit Bildhauerei In ihrer
(subjektiven) Fuumlhrung naumlhert sie sich der Anti-Ausstellung PROTECTIONS aus einem Blickwinkel der die Position und
Bedeutung der Klangkunst an der Kreuzung zwischen bildender Kunst Sprache und Musik verortet Von ihrem eigenen
Haus ausgehend das sich in den First Nation Pavilion verwandelt hat der u a den aktuellen Diskurs uumlber kulturelle
Uumlbersetzung mit fruumlhen phonetischen Experimenten der Avantgarde verbinden soll entwirft Penker die klangliche
Struktur des Gutshauses und seiner (Live-)Architektur die fuumlr PROTECTIONS eine Reihe von interdisziplinaumlren Projekten
mit einer starken Affinitaumlt zum Klang beherbergt von Herwig Weisers Death Before Disco (eine Mikroarchitektur aus
hyper-technoidem und elektronischem Pop) uumlber einen neu formierten Chor bestehend aus Security Guards fuumlr Tim
Etchells Wall of Sound bis zu einer Kakophonie aus anonymen Geraumluschen die vom Raum selbst und der Anwesenheit
des Publikums erzeugt werden
052813
Local Warming ATHENS
052813
AFTER A YEARLONG HIATUS the eighteenth Art-Athina hit the ground running on the evening of Thursday May 16 and the former Olympic
ldquoTae Kwon Dordquo Pavilion was packed with enthusiastic party people The fair had a more national flavor than ever this year under its new
director Alexis Caniaris the son of recently deceased artist Vlassis Caniaris whose iconic modern work has recently found great success on the
international market Of the very few foreign galleries exhibiting most were Greek-owned The Breeder gallery was dealing with the perceived
drop in the market by selling fantastic multiples by artists like Stelios Faitakis Jannis Varelas and Andreas Angelidakis at crisis-appropriate
prices ldquoNobody wants to come here now but I have already met three interested billionaire collectors today And if Greeks like you they
introduce you to their billionaire friendsrdquo raved Cologne dealer Mirko Mayer a seven-time exhibitor ldquoThat is what nobody knows There are
at least one-hundred billionaires collecting hererdquo Most international collectors were delayed several hours due to a union strike a de r igueur
mode of arrival in contemporary Greece
It was impossible to miss the exuberant activities of the DaDa Da restaurant a Greek-Austrian collaboration where artist Albert Mayr was
waving a skillet and raving nonsense while Lucas Willmann tenderized pink fillets for Wiener schnitzel ldquoThis is Viennese Actionism lightrdquo
quipped critic Sotirios Bahtsetzis Artist Natasha Papadopoulos added ldquoBut here there are hungry Greeks waitingrdquo On a table with a rotating
Sacher tort by Heacutelegravene van Duijne a sign carried the overwhelming spirit FUCK ART LETrsquoS EAT SOUVLAKI An insistent electronic beat and
pulsating light emanated from the next booth the American College of Greecersquos ldquoAthensUrgentrdquo while hooded performer Manos Tsatiris
stood against the wall with his hands tied perhaps a metaphor for the current Athenian exigency ldquoThis is not the kind of art fair scene we are
used tordquo said the Economou Collectionrsquos Annie-Claire Geisinger watching the madness
Left Artists Elisabeth Penker Michela Pelusio Petros Touloudis Panos Papadopoulos and Nino Stelzl Right Collector Anne-Marie Ros
Down on the floor the dealers seemed pleased particularly given dismal expectations having already sold a great deal at the preview Young
Rotterdam-based gallery Joey Ramone had sold sculptures by Fotini Gouseti to English and Belgian collectors dealer Erik Mulier had also sold
some work to Belgians Marc Van den Hende said he had bought a triptych by Eirene Efstathiou and was considering a Vlassis Caniaris piece
from the 1970s ldquoI saw some surprisesmdashyoung Greek artists I did not knowmdashand great new galleries like Elika and CANrdquo Dutch collector
Anne-Marie Ros said By the end of the day Dimitra and Sofia Vamiali reported that they had not seen one Greek collector although another
reported a Dakis Joannou sighting mdash Cathryn Drake
SEARCH
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SEATTLE
WEEKLY
in the News
Columnist
Geov Parrish
is a regular
guest on
Mind Over
Matters on
KEXP-FM
(903)
Saturdays at
830 am and
provides news
commentary
on KBCS-FM
(913) Fridays
at 430 pm
Catch writers
Steve
Wiecking Tim
Appelo and
ARTS
March 30 - April 5 2005
Picking Up the Thread
Howard House ties together the best new conceptual art from Vienna
by Elise Richman
Franz Wests Mercury
(Howard House Contemporary Art)
Theres a German expression to lose the red thread which means losing
ones train of thought In its current show Howard House has found that
thread Julie Ryan a curator artist and writer organized The Red
Thread Glimpses of International Art in Vienna a two-part exhibition
featuring artists working and living at least part time in Austrias capital
Part one of the show is at Howard House the second half is currently on
display at the Educational Alliance Gallery in New York
Vienna has become a magnet for artists from all over the world including
the 15 individuals and artist teams that are part of The Red Thread
Excellent artist residency programs a low cost of living and living art
legends like Franz West are just a few of the reasons
An artistic collaboration with West took Ryan from New York to Vienna
She knows Billy Howard who runs Howard House from the University of
Washingtons School of Art And so the figurative string was strung
connecting the East and West coasts with artists from across the Atlantic
This is a complex exhibit whose emotional tenor ranges from cool
detachment to an almost urgent earnestness Unlike the formal richly
historical city that connects them artists in The Red Thread favor informal
approaches to art making use disposable materials and comment on
contemporary cultural themes
West has two formidable sculptures at Howard House The front room of the
gallery features Mercury (pictured) an ungainly behemoth composed of a
patchwork of fused metal Like many of Wests sculptures Mercury is
meant as an interactive structure that viewers can climb and sit on Bulbous
Gavin
Borchert
discussing
theater film
and music
regularly on
classical
KING-FM
(981)
Mark Fiore
Cartoons
Every
Thursday
nodules extend from its horizontal base and the seams of the dark maroon
metal look like scars rendering it at once vaguely obscene and absurdly
playful
Sisyphus the other West sculpture on display is a bulky conglomeration of
bits and wads of paper propped in the back room on a makeshift plinth (base
block) Though its as solid as the boulder its title references its surface is
like oozing skin partly coated with poured murky paint partly cloaked in
small clumps of newspaper detritus
The strenuous act of making each of these sculptures is eminently apparent
and central to the content of Wests work West considers creation a
symbolic act As you might expect he likens the artistic process to the plight
of Sisyphus the mythological figure who eternally rolled a boulder up a hill
only to have it come crashing back down For West art involves a
Sisyphean search for what he calls the absolute through the seemingly
senseless accumulation of materials However unlike Sisyphus futile quest
Wests process can lead to epiphany making sense of the senseless
Similarly Viennese artist Elisabeth Penkers art serves a facilitative
function easing the act of translation Penker uses Haida iconography in her
multimedia work because it provides potent visual symbols that
communicate single words and whole sentences simultaneously Her prints
at Howard House feature fragments of icons floating in the papers white
space They are spare visually arresting characters that employ an
iconographic language as encoded symbols of communication
Also featured in The Red Thread is Donald Baechler an internationally
known American painter who spends extended periods of time in Vienna
Baechler equalizes his imagery by painting it all in the same style For him
the source of an image doesnt matter whether its a drawing by Picasso or
graffiti on a bathroom wall What matters is the newfound context his
paintings provide
Victory by Default is part of Baechlers Skull series In this piece a painted
skull gapes from the dirty yet sensuous confines of a large canvas Terry
cloth and wrinkled rags provide literal texture and reference the world
outside the paintings boundaries Splatterings of color around the skull like
the self-conscious marks of Jasper Johns seem to express the language of
paintingmdashhue and gestural strokesmdashin a factual rather than illusional
manner
Another American painter Lisa Ruyter lives half-time in Vienna where she
runs an influential gallery She works from photographs projected onto
large-scale canvases tracing the contours of the projected imagery with
consistent black outlines In a way that seems arbitrary she paints the shapes
formed by her contour lines in flat designer colors Man of Means based on
a photo of fashion photographers looks like a scrambled color-by-numbers
painting I cant do justice to the unusually rich assortment of conceptual art
in The Red Thread Youll just have to see it for yourself Thomas
Baumans thrashing triangular foil blanket Walter Seidls slide show of
staged snapshots Markus Schinwalds photograph of a contortionist and the
other thoughtful works connected by The Red Thread
The Red Thread Glimpses of International Art in Vienna runs through
April 30 at Howard House 604 Second Ave 206- 256-6399 1030 amndash5
pm TuesndashSat Free
KUNSTFORUM
Parallelwelten fuumlr Parlamentarier Ausstellung
Von Brigitte Borchhardt-Birbaumer
Ende Oktober endet die Zusammenarbeit von Nationalratspraumlsident Andreas Khol und Peter Pakesch Direktor des Kunsthauses Graz am Joanneum Seit 2003
hatte Pakesch als Kurator mehrere Ausstellungen in den Sitzungssaumllen des Parlaments in Zusammenarbeit mit Galerien initiiert und namhafte Positionen
ausgewaumlhlt Kriterium fuumlr Praumlsentationen war die Praumlsenz durch eine Schau in einer der bekannten Kunstinstitutionen des Landes Nach Eva Schlegel Adriana
Czernin Maria Lassnig oder Esther Stocker sind dies nun bis April 2007 Josef Dabernig Daniel Hafner Ulrike Lienbacher Alois Mosbacher und Elisabeth
Penker
Das Parlament kann dabei durch die Margaretha-Lupac Stiftung immer eine Arbeit fuumlr die wachsende Sammlung des Hauses ankaufen Zuletzt war das ein
groszliges Oumll-Acryl-Gemaumllde der Georg-Eisler-Preistraumlgerin Maja Vukoje zuvor Johanna Kandl deren Temperabild derzeit an das Lentos in Linz geliehen wird
Einige Werke haumlngen schon als kuumlnstlerische Wegweiser in den Gaumlngen des Hauses und sind auch Blickfang fuumlr die 120000 Besucher die pro Jahr das
Parlament besuchen In die Architektur von Theophil Hansen mit ihrer zeitlosen Qualitaumlt fuumlgt sich die Gegenwartskunst kongenial
Hoffnung fuumlr spaumlter
Die derzeitige Zusammenstellung macht Hoffnung auf eine Fortsetzung unter der naumlchsten Praumlsidentschaft Fotografie Computerkunst Malerei Zeichnung
und Skulptur weisen auf die Vielfalt der Werkstoffe in der Gegenwartskunst Elisabeth Penker parallel im Kunsthaus Graz zu sehen baut schwarzweiszlige
Objekte aus bemaltem Holz die in ihrer seriellen und geometrischen Anordnung auf Bezuumlge zum Performativen und auf die Musik hinweisen
Noch juumlnger ist Daniel Hafner mit seinen am Computer komponierten digitalen Drucken Morphosentransformationen von 2006 Linienraster und
Raumkonstruktionen in subtiler Farbigkeit verbinden Tendenzen der fruumlhen Op-Art mit dem Cyber-Lab
Um konstruierte Realitaumlten geht es auch in den groszligformatigen Oumllbildern von Alois Mosbacher dem bekannten Vertreter der Neuen Wilden der
Achtzigerjahre in Oumlsterreich Wanderer in Wald und Wiese erzaumlhlen die Geschichten alternativer Welten die sich mancher in der Gesellschaft als Parallele
konstruiert
Zwei Fotofriese von Josef Dabernig bilden jeweils ein Panorama von oumlffentlichen Plaumltzen auf denen es zum einen um Fuszligball geht Zum anderen ist der
Rundblick in das Oval einer scheinbaren Arena auch eine Art Sehschule fuumlr die Betrachter Ein sozialer Befund ist die dritte Bedeutungsebene
Ulrike Lienbacher die heuer mit einer groszligen Schau im Innsbrucker Taxispalais ihre Karriere fortsetzt ist mit ihren feinlinigen Tuschezeichnungen den kleinen
oft unsichtbaren Zwaumlngen in unserer Gesellschaft auf der Spur Im Lokal II des Parlaments stellt sie zwar nicht ihre Objekte und Fotos aber einige
groszligformatige Blaumltter mit Frisurenvariationen neben teils fragmentierten Frauenkoumlrpern im Umgang mit Schmutz und Hygiene aber auch Fitnesskult aus
Disziplinierung und Kontrolle betreffen in der Oumlffentlichkeit besonders den weiblichen Koumlrper Sauberkeitsmechanismen weisen auch auf Vorstellungen von
wertvoll und minderwertig hin Ihre Transformationen enthalten wie die Themen der anderen subtile Kritik und sind daher vom Kurator uumlberlegt positioniert
Zeitgenoumlssische Kunst
im Parlament
Bis April 2007
Kurator Peter Pakesch
Konfrontationen
Dienstag 10 Oktober 2006
ltlt 2003 | 2004 Jan Feb Mar Apr May Jun Jul Aug Sep Oct Nov Dec 2004 | 2005 gtgt
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31
Sunday 17 October 2004
TIME
TITLE
NAME
700 Indymedia ESF breakfast show Indymedia London
Highlights news and views from the European Social Forum and the
autonomous spaces and initiatives taking place this week
website
800 Resonance Radio Art Riot Breakfast International
Radio Art
A five part special of the Harmon E Phraisyar show commissioned for
Kunstradio in Austria starts off the morning broadcast of international radio
art
website
1100 Resonance Live from the Frieze Art Fair Anna Colin amp
Tobi Maier
1100 Chris Weaver Resonance 1044FM live electronics set with James Dunn and
Robin Warren
1130 Michael Hall gallery Vienna presents audio works by artist Elisabeth Penker
1200 Maria Fusco presents latest the Bookworks commissions
1300 The Psychology of Collecting live broadcast of the frieze art fair panel
discussion
Is collecting an irrational act guided by compulsion and desire What are the use of
objects What are the motivations behind making collecting curating and
criticizing art A discussion of the psychology of collecting and the politics of taste
Hilary Rubenstein (Psychologist)
Eric Troncy (Art Critic and Director Le Consortium Dijon)
Haim Steinbach (Artist)
Chair Alice Rawsthorn (Director Design Museum)
1500 Portable live set and presentation of sudelectronic records London
1600 Where is Adventure What is Culture live broadcast of the frieze art fair
website
panel discussion
A discussion of the relationship of art to entertainment touching on the comedic
being popular and failing miserably
Trisha Donnelly (Artist)
Christian Jankowski (Artist)
David Robbins (Writer amp Artist)
Nancy Spector (Curator of Contemporary Art Solomon R Guggenheim Museum)
Chair Matthew Higgs (Curator CCA Wattis Institute for Contemporary Arts)
1800 Melissa Bent from Rivington Arms gallery New York in conversation with
artist Dan Colan and Tobi Maier Anna Colin
1830 VOX pop recordings from the fair with Sharon Gal
1900 Resonance Radio Art Riot Sarah
Washington
The Resonance Radio Art Riot brings together some of the foremost radio artists
and thinkers from around the world The studio lab situation will feature round
table discussions live performances and streamed events
Tonight Radio Text
Events Live broadcast from Sonic Arts Network Resonance benefit featuring
Henri Chopin studio performances from Julia Lee Barclay and Aude Tournay plus
Special Features None present live concrete radiophonics - Planning For
Emergencies
Guests include Clive Graham Chris Weaver Richard Thomas Toby Clarkson
John Lovett Robin Warren and James Dunn
Topics The word as art Sound poetry text performances
At Midnight Tom Wallace present exclusive excerpts from radio art pioneer
Gregory Whitehead
website
000 Resonance Radio Art Riot Nights International
Radio Art
The Resonance Radio Art riot continues throughout the night with the finest of
international radio art Resonance FM programme makers and our international
guests have put together many special hours of classic and obscure radio
works
website
- EPenkerDocumentationpdf
-
- 2bAusstellungenPublicaSpaceEPenkerpdf
-
- 2cUntitled_InstrumentsKunsthausGrazEPenker
- 2bpoeticsKunsthaus GrazEPenker
-
- 4PresseEPenkerpdf
-
- 4Review_Seattle Weekly
-
Elisabeth Penkerinstallation View ReMap4 at Camp (Athens) 2013 Ferdinand de Saussure (Blue)
ELISABETH PENKER ldquoVienna calling comparative contemporary artrdquo LOG-IN amp VORRAUM GALERIE NAumlCHST ST STEPHAN ROSEMARIE SCHWARZWAumlLDER Elisabeth Penkers Skulpturen und Audiofilme sind seit 1998 im Bereich von Comparative Art und Sound Art verankert und untersuchen anhand von Sprachmorphologie die Verbindungen zur musikalischen und visuellen Grammatik In Elisabeth Penkers Ausstellung bdquoVienna calling comparative contemporary artrdquo ist der Titel in
Zusammenhang mit der Sprachmorphologie von Wiener Museen lesbar Penkers gezeigte Skulpturen vergleichen visuellelinguistische und musikalische Grammatiken (z B Moderne Kunst und First Nations Art) und verwenden die Ergebnisse als Ausgangsstruktur fuumlr die jeweilige Komposition Ihre Collagen Fotografien Diagramme und Zeichnungen sind erweiterte Fragestellungen ihrer Skulpturen Elisabeth Penker hat in Tonstudios in London und Chicago gearbeitet und seit 2000 eine Serie von Musikinstrumenten entwickelt die die Aufnahme-Methode von Jack Foley verwenden Exzerpte ihrer Multi-
Channel-Kompositionen wurden von Resonance 1044 fm (London) gesendet Weiters ist ein Text von Elisabeth Penker uumlber Sound Art im Resonance Magazine Supplement Juni 2006 erschienen Ein Video und eine Focus -Group wurde gemeinsam mit FOGO Lab bei der Documenta 12 gezeigt und war Teil des Documenta-12-Beitrages von Ricardo Basbaum
Ausstellungen siehe wwwschwarzwaelderat -gt LOGIN ELISABETH PENKER
Comparative Art is an academic discipline in the context of art histories The sculptures audio-films (sound
pieces) and the photographs (expanded sculpture) represent different 3rd 4th -dimensional by documenting
different cultural and spatial notions of perspective through usage of collaged andor spliced structural
compositionalformal structures Structural overlaps between visual artlanguagemusic are considered
Poetics of Dead Space 2 2009-2010
2 Kanaumlle einer 8-Kanal-Composition mono
Metallstativ Speaker Yamaha MSP3 CD-Player
H 133 cm
Ed 13
The non-linear 8-channel composition ldquoPoetics of Dead Space 2rdquo introduces polysynthetic language morphology
combined by the melody which is composed from pre-existing recordings of extinct languages and Penker‟s self-
made instrument ldquoUntitled Instrument sonic structurerdquo (see PDF and related essay written by E Penker at
Resonance fm Magazine upon request at Galerie naumlchst St Stephan)
The channel which is upstairs installed uses an existing wall as an acoustic filter and introduced sub-
consciousness polysynthetic language morphology into the gallery space The title refers to the book poetic of
space within unused architectural situations of exhibition spaces bdquo A Blind Spot (dead angle - Toter Winkel) has a
different meaning in terms of acoustics and cannot be compared with the visual context where blind spot is used
primarily in conversations
In musicsound production in film the visual blind spot is used very often by hearing a bike roller plane without
seeing it In everyday life we are used and depending by acoustic blind spots for our orientation of the situation
and space we are in at the moment Architectural acoustic issues play an important role during the time of the
composition ldquoPoetic of Dead Space 2rdquo is a context specific composition and deals with polysynthetic language
morphology recordings of the untitled instrument Sonic structure and acoustic exhibition architecture besides
issues which are depending of the unused architecture and their acoustics
First Nations Pavillon
Polysynthetische Doppelperspektive Claude Levi-Strauss 2006
Fotocollage C-Print gerahmter Spiegel
6-teilig
3 x 405 x 305 cm
2 x 245 x 305 cm
1 x 605 x 485 cm
Ed23 + 2 AP
A framed mirror from ldquoFirst Nations Pavilionrdquo is placed in the corner of the log-in space to place the viewer physically in the space cutting the reflection of the gaze as well mirrors a profile view of the installed
photographs The photo-series relates to polysynthetic language morphology (of the Inuit First Nations Maori and Caduveo Indians) and translates within the photographic image their structural common visual grammar Because they would create a frontal view which was made out of 2 (split) profile views thereby creating a 4-dimensional perspective that anticipatedparallels Cubism who later presented multiple perspectives within one image which intended to represent movement through time and space Specific references are in the related pdf upon request
at Galerie naumlchst St Stephan
Log [Baumstamm] 2010
Archivierung der Raumfarbe
Split Representation
Claude Levi-Strauss 2009
C-Print
5-teilig je 245 x 305 cm
Ed15 + 2 AP
The camera positions of a right angle mirror bdquoSplit Representationrdquo were chosen by E Penker in the way that the
flash is not in the image the photos are made utilizing a right angle mirror which both fragments and reflects the
image creating multiple or a split perspective EP
Bench-Shelf 2003
Acryl auf Pappelsperrholz
46 x 151 x 42 cm
The bench which is the earliest work in the exhibition mirrors the bottom and the top seating elements thereby
giving the object an asymmetrical appearance The bench-shelf was originally designed for a video archive was
later used by museum staff (in Porto) as gallery furniture
composition (or view) Numerous contemporary artists eg Donald Judd have related the ShakersAmish radical functionalism to their sculptural practice
Poetics of Dead Space 2 2009-2010
2 Kanaumlle einer 8-Kanal-Composition mono
Metallstativ Speaker Yamaha MSP3 CD-Player
H 133 cm
Ed 13
The non-linear 8-channel composition ldquoPoetics of Dead Space 2rdquo introduces polysynthetic language morphology
combined by the melody which is composed from pre-existing recordings of extinct languages and Penker‟s self-
made instrument ldquoUntitled Instrument sonic structurerdquo (see PDF and re lated essay written by E Penker at
Resonance fm Magazine upon request at Galerie naumlchst St Stephan)
The channel which is upstairs installed uses an existing wall as an acoustic filter and introduced sub-
consciousness polysynthetic language morphology into the gallery space The title refers to the book poetic of
space within unused architectural situations of exhibition spaces bdquo A Blind Spot (dead angle - Toter Winkel) has a
different meaning in terms of acoustics and cannot be compared with the visual context where blind spot is used
primarily in conversations
In musicsound production in film the visual blind spot is used very often by hearing a bike roller plane without
seeing it In everyday life we are used and depending by acoustic blind spots for our orientation of the situation
and space we are in at the moment Architectural acoustic issues play an important role during the time of the
composition ldquoPoetic of Dead Space 2rdquo is a context specific composition and deals with polysynthetic language
morphology recordings of the untitled instrument Sonic structure and acoustic exhibition architecture besides
issues which are depending of the unused architecture and their acoustics
Galerie naumlchst St Stephan
Aneta Grzeszykowska Elisabeth Penker
220110 bis 060310 Auf den Spuren gesellschaftlicher
Ordnungssysteme
Die beiden Ausstellungen von Aneta Grzeszykowska in den Galerieraumlumen
und Elisabeth Penker im Projektraum bdquoLOGINldquo sprechen unterschiedliche
Sprachen Momente der Beruumlhrung ergeben sich lediglich durch die
Auseinandersetzung der beiden Kuumlnstlerinnen mit Systembildungen und
gesellschaftlich bedingten Agglomerationen von Bedeutungen Waumlhrend der
Blick der in Warschau lebenden Kuumlnstlerin Aneta Grzeszykowska
psychologisch und kulturell bestimmt ist laumlsst sich das Verfahren der in
Wien und Rom lebenden Elisabeth Penker als ethnografisch und linguistisch
fundiert umschreiben Im Nebeneinander der beiden Positionen bilden sich
schaumlrfende Kontraste
Aneta Grzeszykowskas Interesse gilt dem Privaten in verschiedenen
visuellen Uumlbersetzungen Etwa kartografierte sie mit dem Warschauer
Kuumlnstler Jan Smaga in einer Fotoserie Wohnungen aus der Vogelperspektive
um eine intime Geschichte der Stadt uumlber die Anordnung von Raumlumen
Moumlbeln und Gebrauchsgegenstaumlnden zu erstellen Nun begibt sie sich mit
dem Film bdquoBirthdayldquo auf die Ebene fruumlhkindlicher Begegnungen mit dem
Unheimlichen Gedreht wurde er in der Art privater Dokumentationen zur
Feier des eigenen Nachwuchses anlaumlsslich eines Kindergeburtstags Durch
kommentierende Eingriffe wie die Animation sonst unbeweglicher
Gegenstaumlnde uumlbt die Kuumlnstlerin Kritik an den Konventionen und betont so
das Monstroumlse solcher Ereignisse In der Doppelboumldigkeit von inszenierter
Kindheit und Abgruumlndigem ist auch eine Reihe monochromer dunkler
Figurinen aus Stoff angesiedelt Dass diese bekleidet sind wie
Grzeszykowska in ihrer Kindheit verweist auf Versuche Dramatisches uumlber
die aumlsthetische Formalisierung zu bearbeiten Eine Fotografie mit dem durch
die Hand Grzeszykowskas unabsichtlich verletztem Auge ihres kleinen
Bruders und eine maumlrchenhaft anmutende Reliefskulptur mit einem Maumldchen
auf einem Hund aus stacheligen Distelbluumlten erzaumlhlen davon
Tiefenbohrungen zum Kern semantischer Ordnungen unternimmt dagegen
Elisabeth Penker im Kontext der Ausstellungsserie LOGIN in einem
ehemaligen Geschaumlftslokal und im Foyer der Galerie selbst Bekannt ist die
Kuumlnstlerin und Musikerin Elisabeth Penker etwa durch ihre Intervention im
Arkadenhof der Universitaumlt Wien mit einer Buumlste der oumlsterreichischen
Romanistin und ersten Universitaumltsprofessorin Elise Richter Diese leite das
phonetische Institut bis zu ihrer Deportation ins Ghetto Theresienstadt durch
die Nationalsozialisten und war in der patriarchalischen Ordnung der
steinernen Koumlpfe der Universitaumlt ndash ebenso wie die Leistungen von Frauen
generell ndash bis dahin kein Thema gewesen In der Ausstellung bdquoProtectionsldquo
im Kunsthaus Graz thematisierte Penker mit ihrem bdquoFirst Nation Pavillonldquo die Hegemonie des durch den
Kolonialismus gepraumlgten Blicks auf auszligereuropaumlische Gesellschaften
Stets sind ihre Annaumlherungen auf die Generierung von Bedeutungen im Sinne von Grammatiken
ausgerichtet Dementsprechend leitmotivisch fungiert ein Portraumlt des kuumlrzlich verstorbenen Ethnologen
Claude Leacutevi-Strauss in der Rauminstallation mit integrierter Soundkomposition Die gespiegelte und
mehrfach aufgefaumlcherte Fotografie von Leacutevi-Strauss in bdquopolysynthetischer Doppelperspektiverdquo laumlsst sich
als Verschneidung von Sprachlichem Klanglichen und Visuellen lesen
Eine Archaumlologie im Feld der Linguistik wie auf Materialebene fuumlhrt die Signifikanten auf engstem Raum
zusammen Triviale Vierkanthoumllzer beispielsweise wurden in genau jenen Farben lackiert die Penker als
uumlbereinander gelagerte Sedimente unter der Dispersion der Waumlnde freilegte Die laumlnglichen Houmllzer
beziehen sich auf den englischen Ausdruck bdquologldquo fuumlr Stamm und somit auch auf die Ausstellungsreihe der
Galerie Bemerkenswert dass ein Wort das bloszlig aus einem Morphem besteht einen Gegenstand
repraumlsentiert So baut sich uumlber eine Reihe weiterer Objekte wie etwa den bdquoHanging Chairsldquo aus dem
Fundus der Galerie ein elementares Netzwerk von Bezuumlgen auf Mit ihren Werken und abstrakten Sound-
Kompositionen dringt Elisabeth Penker kritisch forschend in die Makrobereiche von Grammatiken vor um
Potentiale semantischer Anbindungen in Nachbarsystemen freizulegen Roland Schoumlny
Elisabeth Penker Einzelausstellung MAK CAT TOWER Kurtaiert von Andreas Kristof
ldquoPassive Orchestrardquo 2008 8-Channel-Toninstallation Die Interpretation von Soundart sieht Penker in der Uumlberschneidung von Sprache-visueller Kunst und Musik und ist zumeist mit einer visuellen raumlumlichen Komponente verbunden Der Betrachter und Zuhoumlrer befindet sich in
einer Konzert-Situation statt Instrumenten sieht er nur Lautsprecher die auf unterschiedlichen Houmlhen auf einer grauen Wand positioniert sind Passiv Orchestra beruht in der Struktur auf die grammatische Einteilungen von Sprachen die in phonetische Minimaleinheiten dekonstruiert sind und wird uumlber eine Mehrkanal Matrix gespielt Elisabeth Penker referiert in dieser eigens fuumlr den Flakturm konzipierten Arbeit auf dadaistische Methoden der Sprachdekodierung die auch als ein klares Anti-Kriegs-Statement zu verstehen waren
1
Kunsthaus Graz
Protections
Kuratoren Adam Budak und Christine Peters
Elisabeth Penker
First Nation Pavilion
Der First Nation Pavilion von Elisabeth Penker unternimmt den Versuch einen Bereich fuumlr ein koloniales
Bewusstsein der europaumlischen Vergangenheit zu schaffen und einen utopischen Raum fuumlr neue Vorstellungen
von einer Mannigfaltigkeit an kulturellen Formen in der zeitgenoumlssischen Kunst Die Komposition de-
grammatical ein Bestandteil des First Nation Pavilion beruht in ihrer Struktur auf den grammatischen
Einteilungen der Sprachen die in phonetische Minimaleinheiten dekonstruiert sind und wird uumlber eine
nichtlineare 5-Kanal-Matrix gespielt
Penker untersucht moumlgliche Uumlberschneidungen zwischen der Sprache der Musik und der Bildstruktur wobei ihr
Hauptaugenmerk polysynthetischen Sprachen (First Nations und Pazifische Inseln) gilt sowie dem Vergleich
zwischen der Kunst von First Nations und der Modernen Kunst Erst in juumlngerer Zeit in der Aumlra des
Postkolonialismus hat der Diskurs der kulturellen Uumlbersetzung Fragen aufgeworfen mit denen man sich schon
in den phonetischen Experimenten des Dadaismus in den 1910er und 1920er Jahren beschaumlftigt hatte sowie
spaumlter in der Konzeptkunst der 1960er und 70er Jahre
Elisabeth Penker
First Nation Pavilion
The First Nation Pavilion by Elisabeth Penker attempts to set-up an area for colonial consciousness of the
European past and a utopic space for re-imagining a plurality of cultural forms in contemporary art The
composition entitled de-grammatical contained within the First Nation Pavilion is structurally-based on the
grammatical classifications of languages deconstructed into minimal phonetic units played within a non-linear
5-channel matrix
Penker is questioning the possible overlaps between music-language and visual structure within the primary
focus on polysynthetic languages (First Nation and Pacific Islands) and First Nation Art compared to Modern Art
More recently in the age of post-colonialism the discourse of cultural translation is arising questions that have
also been experimented by the Dadaists phonetic experiments in the 1910-20s and later in Concept Art of the
1960s-70s Text Adam Budak
Michael Elmgreen amp Ingar Dragset (the work of two other invited artists) offered Penker a typical prefabricated
house as her exhibition space within the Kunsthaus
id31403916 pdfMachine by Broadgun Software - a great PDF writer - a great PDF creator - httpwwwpdfmachinecom httpwwwbroadguncom
2
Elisabeth Penker Fisrt Nations Pavilion 2006
Change of floor plan of the prefabricated house by Michael Elmgreen amp Ingar Dragset
Entrance door Fisrt Nations Pavilion
3
Part 1 Colonial Conciseness in visual art
Room 1 and 3 Modernism=Imperialism after Henry Flynt Demolish serious culture
Woman as a the last Colony Rosa Luxenburg Veronika Bennholdt-
Thomsen Claudia von Werlhof und Maria Mies
4
Vinyl letters C-Print
5
6
Polysynthetische Doppelperspektive 1 Claude Levi- Strauss
Photocolloage C-Print
7
Polysynthetische Doppelperspektive 2 Claude Levi-Strauss
Photocolloage C-Print
9
Polysynthetische Doppelperspektive 4 Claude Levi Strauss
Photocolloage C-Print
2 prints Installed in corner
Installation view Polysynthetische Doppelperspektive 1-4 Claude Levi- Strauss
The visual grammar and its double perspective (split representation) of Haida Gwai and Tlinglet Art (First Nation
Art) is re-collaged with a photograph of Pablo Picasso comparing Cubism (early Modernism) with First Nation Art
and questioning its similarities of double perspectives
10
Room 4 and 5
Room 4
11
Luicide List The museum as an imperial graveyard
C-Print
Colonial after effects of Luicide
Gips Metallkette Hose Schuh
12
No7
Mirror Split Representation Mirror framed and installed in the corner
Part 2 Room 6 and 8 Comparative Contemporary Art
4-channel sound installation
De-grammatical Listen to mp3 audio excerpts
13
Front
2 CT (shelfbenches) Acryl auf Pappelsperrholz
Back Pull Over Yukme Shirley Hall outside
14
Pull Over Yukme Shirley Hall inside
Fabric wall silk print by (Tlinglet Artist) Yukme Shirley Hall
Wo ist Elise Richter wo ist
id99149429 pdfMachine by Broadgun Software - a great PDF writer - a great PDF creator - httpwwwpdfmachinecom httpwwwbroadguncom
Im Arkadenhof der Universitaumlt Wien stehen 154 Buumlsten von bedeutenden Wissenschaftlern der
Universitaumlt Wien (1700-2005) Bedauerlicherweise findet sich unter ihnen keine einzige Frau Eine temporaumlre Buumlste einer anonymen Wissenschaftlerin soll die systematische Ausblendung von Frauen
aus der Universitaumltsgeschichte thematisieren Die offene Web- Plattform (wwweliserichterat) ermoumlglicht allen Benutzern aktiv an der Umschreibung der Universitaumltsgeschichte und an re-imaging Prozessen der Repraumlsentation dieser Buumlsten teilzunehmen Weiters wird die Verbindung von raceclassgender und einer akademischen Kariere in diesem Zusammenhang hinterfragt We can never really change any form of social organisation without challenging all that organisations forms of
language (Debord)
Within the patriarchal structures of the Arkadenhof at the University of Vienna stand 154 busts of important scientists (1700-2005) Unfortunately none of these busts are women Through the placement of a temporary bust of an anonymous female scientist it declares the absence of them within the history of the university As well the anonymous bust embodies the presence of important scientists who have not yet been given equal representation The open web-platform (wwweliserichterat) allows every user to participate in this discourse to re-write the history of the university and to re-image the representation of these busts through a wiki system
Skizze Buumlste einer anonymen Wissenschaftlerin
Mein Interesse besteht nicht darin zu recherchieren welche Buumlsten von Wissenschaftlerinnen im Arkadenhof fehlen sondern das Fehlen der Wissenschaftlerinnen im Zeitraum von 1700 bis 2005 aufzuzeigen und Strukturen fuumlr eine oumlffentliche Kommunikationsplattform zu schaffen In der Genderforschung besteht Konsens daruumlber dass Gender kein Merkmal von Individuen sondern das einer
Institution ist (Connell) zudem ein struktureller Bestandteil einer Gesellschaft ist und dass Gendernormen alle Organisationen durchdringen (Acker)
Grundriss Arkadenhof der Universitaumlt Wien Literatur Acker J (1990) Hierarchies Jobs Bodies A theory of gendered organizations In Gender and Society
Connell R (1998) Gender and Power Society the Person and Sexual Politics Stanford University Press Stanford CA Maisel T (1990) Die Denkmaumller im Arkadenhof der Universitaumlt Wien Biographische Skizzen Wien Quellen Denkmalsakten Archiv der Universitaumlt Wien
Veranstalter Open Mind Projekt Utopie Freiheit httpwwwopenmindat vereinopenmindat Projektautorin Elisabeth Penker elpenkergmxat Bronzeguss Walter Rom Wachsmodel Buumlste Elisabeth Penker Steinsockel Ausfuumlhrung Fa Zehmann Mario Jungbauer Mediendesign Gernot Tscherteu httpwwwrealitylabatwphome gtrealitylabat Techn Umsetzung Christian Langreiter Webpage wwweliserichterat
Elisabeth Penker- Franzengasse 13- 1050 Wien ++43 (0)699 197 193 53 elpenkergmxat
Elisabeth Penker Untitled instruments 1-3 2000-2012
Galerie Georg Kargl Wien Galerie Priestor Bratislava Kuumlnstlerhaus Wien Kibla New
Media Center Maribor HTTP Galerie London Secession Wien Mak Wien Roma
Contemporary Wien
Elisabeth Penker Untiled Instrument Galerie Georg Kargl Wien
Curated by Michael Hall
Elisabeth Penker Untitled instrument 2001 New Media Center Maribor
Elisabeth Penker Untitled instrument 2001 New Media Center Maribor
Elisabeth Penker Untitled instrument Kuumlnstlerhaus Wien curated by Ursula Maria Probst
Live Performance mit Celia Mare
Detail Die BILD_HAU_ER_IN Kuumlnstlerhaus Wien
Live Performance Flower Structure Wiener Festwochen
Elisabeth Penker (Untiled instrument) Van Angh (Cello) Tri Minh Electronics
Elisabeth Penker Live Performance Poetics of space Secession Wien
MAK Nail Structure GRizo Sweet Susie Elisabeth Penker
Elisabeth Penker HTTP Gallery London 2005 curated by Tobi Maier
Elisabeth Penker HTTP Gallery London Live Performance
Elisabeth Penker Untitled Instrument Sonic Structure Kunsthaus Graz curated by Adam Budak amp
Christine Peters
Videolinks
httpwwwyoutubecomusersoundart24
Interview with Video Festwochen
httpbturncom8753interview-elisabeth-penker
Kunsthaus Graz
Protections
Kuratoren Adam Budak und Christine Peters
Elisabeth Penker Poetics of Dead Space
For PROTECTIONS Elisabeth Penker developed a key-sound Poetics of Dead Space which is to a large extent a homage
to Gaston Bachelards seminal book Poetics of Space where the connections between the poetry and the spatial emotions
are analysed Penkers key-sound will guide the viewer through the exhibition mapping the overall identity of the show in
some way controlling the viewers (audio-narrative) route in the maze of art objects events situations but also spatial
voids and unused corners
Fuumlr PROTECTIONS entwickelte Elisabeth Penker einen leitmotivischen Key Sound Poetics of Dead Space der weitgehend
eine Hommage an Gaston Bachelards wegweisendes Buch Poetics of Space darstellt in dem die Verbindungen zwischen
Lyrik und raumlumlichen Emotionen analysiert werden Penkers Key Sound wird das Publikum durch die Ausstellung geleiten
die Identitaumlt der Schau in ihrer Gesamtheit erfassen und in gewisser Weise die (audio-narrative) Route des Publikums im
Labyrinth der Kunstgegenstaumlnde Ereignisse und Situationen aber auch raumlumlicher Leerstellen und ungenutzter Winkel
kontrollieren
A non linear composition 7 mono active speakers are placed through out the Kunsthaus Graz Speaker placement
1 outdoor (entrance) 2 (travelator) 3 (corner with column) 4 (corner with door) 5 (corner) 6 (travelator) 7 (corner with
window)
Poetics of Dead Space Let it grow again 28 51 sec mono
Source material for composition rain sound of dried beans dropping down wood sticks breathing hardly existing
id78338975 pdfMachine by Broadgun Software - a great PDF writer - a great PDF creator - httpwwwpdfmachinecom httpwwwbroadguncom
recording of extinct languages
Poetics of Dead Space Let it grow again 28 51 sec mono
Source material for composition rain sound of dried beans dropping down wood sticks existing recording of extinct
languages
Poetics of Dead Space travelator 1 1min 04 sec mono loop
Source material for composition staff falling down man falling down stairs rattern recording untitled instrument
Background existing recording of extinct languages
Poetics of Dead Space 496 1min 409 sec mono loop
Source material for composition recording untitled instrument Background existing recording of extinct languages
Poetics of Dead Space 129525 1min 4888 sec mono loop
Source material for composition recording untitled instrument Background existing recording of extinct languages
Poetics of Dead Space 129525 1min 4888 sec mono loop
Source material for composition keyboard recording untitled instrument Background existing recording of extinct
languages
Poetics of Dead Space travelator 2 1min 5209 sec mono loop
Source material for composition recording untitled instrument violin Background existing recording of extinct
languages
Poetics of Dead Space2152518125220 1min 3200 sec mono loop
Source material for composition recording untitled instrument Background existing recording of library of extinct
languages
Poetics of Dead Space travelator 1 1min 04 sec mono loop
viewing down from upstairs Source material for composition staff falling down man falling down stairs rattern
recording untitled instrument Background existing recording of extinct languages
Poetics of Dead Space Let it grow again 028 51 sec mono
Source material for composition rain sound of coins wood sticks existing recording of extinct languages
Elisabeth Penker is a Viennese artist and musician working with sound in a sculptural context In her (subjective) tour
Penker approaches the entire anti-exhibition PROTECTIONS from an angle of its position and significance in the context
of Sound Art as located on the crossway between visual arts language and music Starting from her own house turned
into First Nation Pavillion which amongst others aims at connecting the recent discourse on cultural translation with
early avant-garde phonetic experiments Penker maps the sonic structure of Kunsthaus Graz and its (live) architecture
which for PROTECTIONS hosts an array of interdisciplinary projects with a strong audio-quality from Herwig Weisers
Death Before Disco (a micro-architecture of hyper-technological and electronic pop) through a newly created choir of
security guards for Tim Etchells Wall of Sound down to a cacophonic layers of anonimous noise generated by the
space itself and the presence of audience
Die Wiener Kuumlnstlerin und Musikerin Elisabeth Penker arbeitet mit Klang im Zusammenhang mit Bildhauerei In ihrer
(subjektiven) Fuumlhrung naumlhert sie sich der Anti-Ausstellung PROTECTIONS aus einem Blickwinkel der die Position und
Bedeutung der Klangkunst an der Kreuzung zwischen bildender Kunst Sprache und Musik verortet Von ihrem eigenen
Haus ausgehend das sich in den First Nation Pavilion verwandelt hat der u a den aktuellen Diskurs uumlber kulturelle
Uumlbersetzung mit fruumlhen phonetischen Experimenten der Avantgarde verbinden soll entwirft Penker die klangliche
Struktur des Gutshauses und seiner (Live-)Architektur die fuumlr PROTECTIONS eine Reihe von interdisziplinaumlren Projekten
mit einer starken Affinitaumlt zum Klang beherbergt von Herwig Weisers Death Before Disco (eine Mikroarchitektur aus
hyper-technoidem und elektronischem Pop) uumlber einen neu formierten Chor bestehend aus Security Guards fuumlr Tim
Etchells Wall of Sound bis zu einer Kakophonie aus anonymen Geraumluschen die vom Raum selbst und der Anwesenheit
des Publikums erzeugt werden
052813
Local Warming ATHENS
052813
AFTER A YEARLONG HIATUS the eighteenth Art-Athina hit the ground running on the evening of Thursday May 16 and the former Olympic
ldquoTae Kwon Dordquo Pavilion was packed with enthusiastic party people The fair had a more national flavor than ever this year under its new
director Alexis Caniaris the son of recently deceased artist Vlassis Caniaris whose iconic modern work has recently found great success on the
international market Of the very few foreign galleries exhibiting most were Greek-owned The Breeder gallery was dealing with the perceived
drop in the market by selling fantastic multiples by artists like Stelios Faitakis Jannis Varelas and Andreas Angelidakis at crisis-appropriate
prices ldquoNobody wants to come here now but I have already met three interested billionaire collectors today And if Greeks like you they
introduce you to their billionaire friendsrdquo raved Cologne dealer Mirko Mayer a seven-time exhibitor ldquoThat is what nobody knows There are
at least one-hundred billionaires collecting hererdquo Most international collectors were delayed several hours due to a union strike a de r igueur
mode of arrival in contemporary Greece
It was impossible to miss the exuberant activities of the DaDa Da restaurant a Greek-Austrian collaboration where artist Albert Mayr was
waving a skillet and raving nonsense while Lucas Willmann tenderized pink fillets for Wiener schnitzel ldquoThis is Viennese Actionism lightrdquo
quipped critic Sotirios Bahtsetzis Artist Natasha Papadopoulos added ldquoBut here there are hungry Greeks waitingrdquo On a table with a rotating
Sacher tort by Heacutelegravene van Duijne a sign carried the overwhelming spirit FUCK ART LETrsquoS EAT SOUVLAKI An insistent electronic beat and
pulsating light emanated from the next booth the American College of Greecersquos ldquoAthensUrgentrdquo while hooded performer Manos Tsatiris
stood against the wall with his hands tied perhaps a metaphor for the current Athenian exigency ldquoThis is not the kind of art fair scene we are
used tordquo said the Economou Collectionrsquos Annie-Claire Geisinger watching the madness
Left Artists Elisabeth Penker Michela Pelusio Petros Touloudis Panos Papadopoulos and Nino Stelzl Right Collector Anne-Marie Ros
Down on the floor the dealers seemed pleased particularly given dismal expectations having already sold a great deal at the preview Young
Rotterdam-based gallery Joey Ramone had sold sculptures by Fotini Gouseti to English and Belgian collectors dealer Erik Mulier had also sold
some work to Belgians Marc Van den Hende said he had bought a triptych by Eirene Efstathiou and was considering a Vlassis Caniaris piece
from the 1970s ldquoI saw some surprisesmdashyoung Greek artists I did not knowmdashand great new galleries like Elika and CANrdquo Dutch collector
Anne-Marie Ros said By the end of the day Dimitra and Sofia Vamiali reported that they had not seen one Greek collector although another
reported a Dakis Joannou sighting mdash Cathryn Drake
SEARCH
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SEATTLE
WEEKLY
in the News
Columnist
Geov Parrish
is a regular
guest on
Mind Over
Matters on
KEXP-FM
(903)
Saturdays at
830 am and
provides news
commentary
on KBCS-FM
(913) Fridays
at 430 pm
Catch writers
Steve
Wiecking Tim
Appelo and
ARTS
March 30 - April 5 2005
Picking Up the Thread
Howard House ties together the best new conceptual art from Vienna
by Elise Richman
Franz Wests Mercury
(Howard House Contemporary Art)
Theres a German expression to lose the red thread which means losing
ones train of thought In its current show Howard House has found that
thread Julie Ryan a curator artist and writer organized The Red
Thread Glimpses of International Art in Vienna a two-part exhibition
featuring artists working and living at least part time in Austrias capital
Part one of the show is at Howard House the second half is currently on
display at the Educational Alliance Gallery in New York
Vienna has become a magnet for artists from all over the world including
the 15 individuals and artist teams that are part of The Red Thread
Excellent artist residency programs a low cost of living and living art
legends like Franz West are just a few of the reasons
An artistic collaboration with West took Ryan from New York to Vienna
She knows Billy Howard who runs Howard House from the University of
Washingtons School of Art And so the figurative string was strung
connecting the East and West coasts with artists from across the Atlantic
This is a complex exhibit whose emotional tenor ranges from cool
detachment to an almost urgent earnestness Unlike the formal richly
historical city that connects them artists in The Red Thread favor informal
approaches to art making use disposable materials and comment on
contemporary cultural themes
West has two formidable sculptures at Howard House The front room of the
gallery features Mercury (pictured) an ungainly behemoth composed of a
patchwork of fused metal Like many of Wests sculptures Mercury is
meant as an interactive structure that viewers can climb and sit on Bulbous
Gavin
Borchert
discussing
theater film
and music
regularly on
classical
KING-FM
(981)
Mark Fiore
Cartoons
Every
Thursday
nodules extend from its horizontal base and the seams of the dark maroon
metal look like scars rendering it at once vaguely obscene and absurdly
playful
Sisyphus the other West sculpture on display is a bulky conglomeration of
bits and wads of paper propped in the back room on a makeshift plinth (base
block) Though its as solid as the boulder its title references its surface is
like oozing skin partly coated with poured murky paint partly cloaked in
small clumps of newspaper detritus
The strenuous act of making each of these sculptures is eminently apparent
and central to the content of Wests work West considers creation a
symbolic act As you might expect he likens the artistic process to the plight
of Sisyphus the mythological figure who eternally rolled a boulder up a hill
only to have it come crashing back down For West art involves a
Sisyphean search for what he calls the absolute through the seemingly
senseless accumulation of materials However unlike Sisyphus futile quest
Wests process can lead to epiphany making sense of the senseless
Similarly Viennese artist Elisabeth Penkers art serves a facilitative
function easing the act of translation Penker uses Haida iconography in her
multimedia work because it provides potent visual symbols that
communicate single words and whole sentences simultaneously Her prints
at Howard House feature fragments of icons floating in the papers white
space They are spare visually arresting characters that employ an
iconographic language as encoded symbols of communication
Also featured in The Red Thread is Donald Baechler an internationally
known American painter who spends extended periods of time in Vienna
Baechler equalizes his imagery by painting it all in the same style For him
the source of an image doesnt matter whether its a drawing by Picasso or
graffiti on a bathroom wall What matters is the newfound context his
paintings provide
Victory by Default is part of Baechlers Skull series In this piece a painted
skull gapes from the dirty yet sensuous confines of a large canvas Terry
cloth and wrinkled rags provide literal texture and reference the world
outside the paintings boundaries Splatterings of color around the skull like
the self-conscious marks of Jasper Johns seem to express the language of
paintingmdashhue and gestural strokesmdashin a factual rather than illusional
manner
Another American painter Lisa Ruyter lives half-time in Vienna where she
runs an influential gallery She works from photographs projected onto
large-scale canvases tracing the contours of the projected imagery with
consistent black outlines In a way that seems arbitrary she paints the shapes
formed by her contour lines in flat designer colors Man of Means based on
a photo of fashion photographers looks like a scrambled color-by-numbers
painting I cant do justice to the unusually rich assortment of conceptual art
in The Red Thread Youll just have to see it for yourself Thomas
Baumans thrashing triangular foil blanket Walter Seidls slide show of
staged snapshots Markus Schinwalds photograph of a contortionist and the
other thoughtful works connected by The Red Thread
The Red Thread Glimpses of International Art in Vienna runs through
April 30 at Howard House 604 Second Ave 206- 256-6399 1030 amndash5
pm TuesndashSat Free
KUNSTFORUM
Parallelwelten fuumlr Parlamentarier Ausstellung
Von Brigitte Borchhardt-Birbaumer
Ende Oktober endet die Zusammenarbeit von Nationalratspraumlsident Andreas Khol und Peter Pakesch Direktor des Kunsthauses Graz am Joanneum Seit 2003
hatte Pakesch als Kurator mehrere Ausstellungen in den Sitzungssaumllen des Parlaments in Zusammenarbeit mit Galerien initiiert und namhafte Positionen
ausgewaumlhlt Kriterium fuumlr Praumlsentationen war die Praumlsenz durch eine Schau in einer der bekannten Kunstinstitutionen des Landes Nach Eva Schlegel Adriana
Czernin Maria Lassnig oder Esther Stocker sind dies nun bis April 2007 Josef Dabernig Daniel Hafner Ulrike Lienbacher Alois Mosbacher und Elisabeth
Penker
Das Parlament kann dabei durch die Margaretha-Lupac Stiftung immer eine Arbeit fuumlr die wachsende Sammlung des Hauses ankaufen Zuletzt war das ein
groszliges Oumll-Acryl-Gemaumllde der Georg-Eisler-Preistraumlgerin Maja Vukoje zuvor Johanna Kandl deren Temperabild derzeit an das Lentos in Linz geliehen wird
Einige Werke haumlngen schon als kuumlnstlerische Wegweiser in den Gaumlngen des Hauses und sind auch Blickfang fuumlr die 120000 Besucher die pro Jahr das
Parlament besuchen In die Architektur von Theophil Hansen mit ihrer zeitlosen Qualitaumlt fuumlgt sich die Gegenwartskunst kongenial
Hoffnung fuumlr spaumlter
Die derzeitige Zusammenstellung macht Hoffnung auf eine Fortsetzung unter der naumlchsten Praumlsidentschaft Fotografie Computerkunst Malerei Zeichnung
und Skulptur weisen auf die Vielfalt der Werkstoffe in der Gegenwartskunst Elisabeth Penker parallel im Kunsthaus Graz zu sehen baut schwarzweiszlige
Objekte aus bemaltem Holz die in ihrer seriellen und geometrischen Anordnung auf Bezuumlge zum Performativen und auf die Musik hinweisen
Noch juumlnger ist Daniel Hafner mit seinen am Computer komponierten digitalen Drucken Morphosentransformationen von 2006 Linienraster und
Raumkonstruktionen in subtiler Farbigkeit verbinden Tendenzen der fruumlhen Op-Art mit dem Cyber-Lab
Um konstruierte Realitaumlten geht es auch in den groszligformatigen Oumllbildern von Alois Mosbacher dem bekannten Vertreter der Neuen Wilden der
Achtzigerjahre in Oumlsterreich Wanderer in Wald und Wiese erzaumlhlen die Geschichten alternativer Welten die sich mancher in der Gesellschaft als Parallele
konstruiert
Zwei Fotofriese von Josef Dabernig bilden jeweils ein Panorama von oumlffentlichen Plaumltzen auf denen es zum einen um Fuszligball geht Zum anderen ist der
Rundblick in das Oval einer scheinbaren Arena auch eine Art Sehschule fuumlr die Betrachter Ein sozialer Befund ist die dritte Bedeutungsebene
Ulrike Lienbacher die heuer mit einer groszligen Schau im Innsbrucker Taxispalais ihre Karriere fortsetzt ist mit ihren feinlinigen Tuschezeichnungen den kleinen
oft unsichtbaren Zwaumlngen in unserer Gesellschaft auf der Spur Im Lokal II des Parlaments stellt sie zwar nicht ihre Objekte und Fotos aber einige
groszligformatige Blaumltter mit Frisurenvariationen neben teils fragmentierten Frauenkoumlrpern im Umgang mit Schmutz und Hygiene aber auch Fitnesskult aus
Disziplinierung und Kontrolle betreffen in der Oumlffentlichkeit besonders den weiblichen Koumlrper Sauberkeitsmechanismen weisen auch auf Vorstellungen von
wertvoll und minderwertig hin Ihre Transformationen enthalten wie die Themen der anderen subtile Kritik und sind daher vom Kurator uumlberlegt positioniert
Zeitgenoumlssische Kunst
im Parlament
Bis April 2007
Kurator Peter Pakesch
Konfrontationen
Dienstag 10 Oktober 2006
ltlt 2003 | 2004 Jan Feb Mar Apr May Jun Jul Aug Sep Oct Nov Dec 2004 | 2005 gtgt
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31
Sunday 17 October 2004
TIME
TITLE
NAME
700 Indymedia ESF breakfast show Indymedia London
Highlights news and views from the European Social Forum and the
autonomous spaces and initiatives taking place this week
website
800 Resonance Radio Art Riot Breakfast International
Radio Art
A five part special of the Harmon E Phraisyar show commissioned for
Kunstradio in Austria starts off the morning broadcast of international radio
art
website
1100 Resonance Live from the Frieze Art Fair Anna Colin amp
Tobi Maier
1100 Chris Weaver Resonance 1044FM live electronics set with James Dunn and
Robin Warren
1130 Michael Hall gallery Vienna presents audio works by artist Elisabeth Penker
1200 Maria Fusco presents latest the Bookworks commissions
1300 The Psychology of Collecting live broadcast of the frieze art fair panel
discussion
Is collecting an irrational act guided by compulsion and desire What are the use of
objects What are the motivations behind making collecting curating and
criticizing art A discussion of the psychology of collecting and the politics of taste
Hilary Rubenstein (Psychologist)
Eric Troncy (Art Critic and Director Le Consortium Dijon)
Haim Steinbach (Artist)
Chair Alice Rawsthorn (Director Design Museum)
1500 Portable live set and presentation of sudelectronic records London
1600 Where is Adventure What is Culture live broadcast of the frieze art fair
website
panel discussion
A discussion of the relationship of art to entertainment touching on the comedic
being popular and failing miserably
Trisha Donnelly (Artist)
Christian Jankowski (Artist)
David Robbins (Writer amp Artist)
Nancy Spector (Curator of Contemporary Art Solomon R Guggenheim Museum)
Chair Matthew Higgs (Curator CCA Wattis Institute for Contemporary Arts)
1800 Melissa Bent from Rivington Arms gallery New York in conversation with
artist Dan Colan and Tobi Maier Anna Colin
1830 VOX pop recordings from the fair with Sharon Gal
1900 Resonance Radio Art Riot Sarah
Washington
The Resonance Radio Art Riot brings together some of the foremost radio artists
and thinkers from around the world The studio lab situation will feature round
table discussions live performances and streamed events
Tonight Radio Text
Events Live broadcast from Sonic Arts Network Resonance benefit featuring
Henri Chopin studio performances from Julia Lee Barclay and Aude Tournay plus
Special Features None present live concrete radiophonics - Planning For
Emergencies
Guests include Clive Graham Chris Weaver Richard Thomas Toby Clarkson
John Lovett Robin Warren and James Dunn
Topics The word as art Sound poetry text performances
At Midnight Tom Wallace present exclusive excerpts from radio art pioneer
Gregory Whitehead
website
000 Resonance Radio Art Riot Nights International
Radio Art
The Resonance Radio Art riot continues throughout the night with the finest of
international radio art Resonance FM programme makers and our international
guests have put together many special hours of classic and obscure radio
works
website
- EPenkerDocumentationpdf
-
- 2bAusstellungenPublicaSpaceEPenkerpdf
-
- 2cUntitled_InstrumentsKunsthausGrazEPenker
- 2bpoeticsKunsthaus GrazEPenker
-
- 4PresseEPenkerpdf
-
- 4Review_Seattle Weekly
-
ELISABETH PENKER ldquoVienna calling comparative contemporary artrdquo LOG-IN amp VORRAUM GALERIE NAumlCHST ST STEPHAN ROSEMARIE SCHWARZWAumlLDER Elisabeth Penkers Skulpturen und Audiofilme sind seit 1998 im Bereich von Comparative Art und Sound Art verankert und untersuchen anhand von Sprachmorphologie die Verbindungen zur musikalischen und visuellen Grammatik In Elisabeth Penkers Ausstellung bdquoVienna calling comparative contemporary artrdquo ist der Titel in
Zusammenhang mit der Sprachmorphologie von Wiener Museen lesbar Penkers gezeigte Skulpturen vergleichen visuellelinguistische und musikalische Grammatiken (z B Moderne Kunst und First Nations Art) und verwenden die Ergebnisse als Ausgangsstruktur fuumlr die jeweilige Komposition Ihre Collagen Fotografien Diagramme und Zeichnungen sind erweiterte Fragestellungen ihrer Skulpturen Elisabeth Penker hat in Tonstudios in London und Chicago gearbeitet und seit 2000 eine Serie von Musikinstrumenten entwickelt die die Aufnahme-Methode von Jack Foley verwenden Exzerpte ihrer Multi-
Channel-Kompositionen wurden von Resonance 1044 fm (London) gesendet Weiters ist ein Text von Elisabeth Penker uumlber Sound Art im Resonance Magazine Supplement Juni 2006 erschienen Ein Video und eine Focus -Group wurde gemeinsam mit FOGO Lab bei der Documenta 12 gezeigt und war Teil des Documenta-12-Beitrages von Ricardo Basbaum
Ausstellungen siehe wwwschwarzwaelderat -gt LOGIN ELISABETH PENKER
Comparative Art is an academic discipline in the context of art histories The sculptures audio-films (sound
pieces) and the photographs (expanded sculpture) represent different 3rd 4th -dimensional by documenting
different cultural and spatial notions of perspective through usage of collaged andor spliced structural
compositionalformal structures Structural overlaps between visual artlanguagemusic are considered
Poetics of Dead Space 2 2009-2010
2 Kanaumlle einer 8-Kanal-Composition mono
Metallstativ Speaker Yamaha MSP3 CD-Player
H 133 cm
Ed 13
The non-linear 8-channel composition ldquoPoetics of Dead Space 2rdquo introduces polysynthetic language morphology
combined by the melody which is composed from pre-existing recordings of extinct languages and Penker‟s self-
made instrument ldquoUntitled Instrument sonic structurerdquo (see PDF and related essay written by E Penker at
Resonance fm Magazine upon request at Galerie naumlchst St Stephan)
The channel which is upstairs installed uses an existing wall as an acoustic filter and introduced sub-
consciousness polysynthetic language morphology into the gallery space The title refers to the book poetic of
space within unused architectural situations of exhibition spaces bdquo A Blind Spot (dead angle - Toter Winkel) has a
different meaning in terms of acoustics and cannot be compared with the visual context where blind spot is used
primarily in conversations
In musicsound production in film the visual blind spot is used very often by hearing a bike roller plane without
seeing it In everyday life we are used and depending by acoustic blind spots for our orientation of the situation
and space we are in at the moment Architectural acoustic issues play an important role during the time of the
composition ldquoPoetic of Dead Space 2rdquo is a context specific composition and deals with polysynthetic language
morphology recordings of the untitled instrument Sonic structure and acoustic exhibition architecture besides
issues which are depending of the unused architecture and their acoustics
First Nations Pavillon
Polysynthetische Doppelperspektive Claude Levi-Strauss 2006
Fotocollage C-Print gerahmter Spiegel
6-teilig
3 x 405 x 305 cm
2 x 245 x 305 cm
1 x 605 x 485 cm
Ed23 + 2 AP
A framed mirror from ldquoFirst Nations Pavilionrdquo is placed in the corner of the log-in space to place the viewer physically in the space cutting the reflection of the gaze as well mirrors a profile view of the installed
photographs The photo-series relates to polysynthetic language morphology (of the Inuit First Nations Maori and Caduveo Indians) and translates within the photographic image their structural common visual grammar Because they would create a frontal view which was made out of 2 (split) profile views thereby creating a 4-dimensional perspective that anticipatedparallels Cubism who later presented multiple perspectives within one image which intended to represent movement through time and space Specific references are in the related pdf upon request
at Galerie naumlchst St Stephan
Log [Baumstamm] 2010
Archivierung der Raumfarbe
Split Representation
Claude Levi-Strauss 2009
C-Print
5-teilig je 245 x 305 cm
Ed15 + 2 AP
The camera positions of a right angle mirror bdquoSplit Representationrdquo were chosen by E Penker in the way that the
flash is not in the image the photos are made utilizing a right angle mirror which both fragments and reflects the
image creating multiple or a split perspective EP
Bench-Shelf 2003
Acryl auf Pappelsperrholz
46 x 151 x 42 cm
The bench which is the earliest work in the exhibition mirrors the bottom and the top seating elements thereby
giving the object an asymmetrical appearance The bench-shelf was originally designed for a video archive was
later used by museum staff (in Porto) as gallery furniture
composition (or view) Numerous contemporary artists eg Donald Judd have related the ShakersAmish radical functionalism to their sculptural practice
Poetics of Dead Space 2 2009-2010
2 Kanaumlle einer 8-Kanal-Composition mono
Metallstativ Speaker Yamaha MSP3 CD-Player
H 133 cm
Ed 13
The non-linear 8-channel composition ldquoPoetics of Dead Space 2rdquo introduces polysynthetic language morphology
combined by the melody which is composed from pre-existing recordings of extinct languages and Penker‟s self-
made instrument ldquoUntitled Instrument sonic structurerdquo (see PDF and re lated essay written by E Penker at
Resonance fm Magazine upon request at Galerie naumlchst St Stephan)
The channel which is upstairs installed uses an existing wall as an acoustic filter and introduced sub-
consciousness polysynthetic language morphology into the gallery space The title refers to the book poetic of
space within unused architectural situations of exhibition spaces bdquo A Blind Spot (dead angle - Toter Winkel) has a
different meaning in terms of acoustics and cannot be compared with the visual context where blind spot is used
primarily in conversations
In musicsound production in film the visual blind spot is used very often by hearing a bike roller plane without
seeing it In everyday life we are used and depending by acoustic blind spots for our orientation of the situation
and space we are in at the moment Architectural acoustic issues play an important role during the time of the
composition ldquoPoetic of Dead Space 2rdquo is a context specific composition and deals with polysynthetic language
morphology recordings of the untitled instrument Sonic structure and acoustic exhibition architecture besides
issues which are depending of the unused architecture and their acoustics
Galerie naumlchst St Stephan
Aneta Grzeszykowska Elisabeth Penker
220110 bis 060310 Auf den Spuren gesellschaftlicher
Ordnungssysteme
Die beiden Ausstellungen von Aneta Grzeszykowska in den Galerieraumlumen
und Elisabeth Penker im Projektraum bdquoLOGINldquo sprechen unterschiedliche
Sprachen Momente der Beruumlhrung ergeben sich lediglich durch die
Auseinandersetzung der beiden Kuumlnstlerinnen mit Systembildungen und
gesellschaftlich bedingten Agglomerationen von Bedeutungen Waumlhrend der
Blick der in Warschau lebenden Kuumlnstlerin Aneta Grzeszykowska
psychologisch und kulturell bestimmt ist laumlsst sich das Verfahren der in
Wien und Rom lebenden Elisabeth Penker als ethnografisch und linguistisch
fundiert umschreiben Im Nebeneinander der beiden Positionen bilden sich
schaumlrfende Kontraste
Aneta Grzeszykowskas Interesse gilt dem Privaten in verschiedenen
visuellen Uumlbersetzungen Etwa kartografierte sie mit dem Warschauer
Kuumlnstler Jan Smaga in einer Fotoserie Wohnungen aus der Vogelperspektive
um eine intime Geschichte der Stadt uumlber die Anordnung von Raumlumen
Moumlbeln und Gebrauchsgegenstaumlnden zu erstellen Nun begibt sie sich mit
dem Film bdquoBirthdayldquo auf die Ebene fruumlhkindlicher Begegnungen mit dem
Unheimlichen Gedreht wurde er in der Art privater Dokumentationen zur
Feier des eigenen Nachwuchses anlaumlsslich eines Kindergeburtstags Durch
kommentierende Eingriffe wie die Animation sonst unbeweglicher
Gegenstaumlnde uumlbt die Kuumlnstlerin Kritik an den Konventionen und betont so
das Monstroumlse solcher Ereignisse In der Doppelboumldigkeit von inszenierter
Kindheit und Abgruumlndigem ist auch eine Reihe monochromer dunkler
Figurinen aus Stoff angesiedelt Dass diese bekleidet sind wie
Grzeszykowska in ihrer Kindheit verweist auf Versuche Dramatisches uumlber
die aumlsthetische Formalisierung zu bearbeiten Eine Fotografie mit dem durch
die Hand Grzeszykowskas unabsichtlich verletztem Auge ihres kleinen
Bruders und eine maumlrchenhaft anmutende Reliefskulptur mit einem Maumldchen
auf einem Hund aus stacheligen Distelbluumlten erzaumlhlen davon
Tiefenbohrungen zum Kern semantischer Ordnungen unternimmt dagegen
Elisabeth Penker im Kontext der Ausstellungsserie LOGIN in einem
ehemaligen Geschaumlftslokal und im Foyer der Galerie selbst Bekannt ist die
Kuumlnstlerin und Musikerin Elisabeth Penker etwa durch ihre Intervention im
Arkadenhof der Universitaumlt Wien mit einer Buumlste der oumlsterreichischen
Romanistin und ersten Universitaumltsprofessorin Elise Richter Diese leite das
phonetische Institut bis zu ihrer Deportation ins Ghetto Theresienstadt durch
die Nationalsozialisten und war in der patriarchalischen Ordnung der
steinernen Koumlpfe der Universitaumlt ndash ebenso wie die Leistungen von Frauen
generell ndash bis dahin kein Thema gewesen In der Ausstellung bdquoProtectionsldquo
im Kunsthaus Graz thematisierte Penker mit ihrem bdquoFirst Nation Pavillonldquo die Hegemonie des durch den
Kolonialismus gepraumlgten Blicks auf auszligereuropaumlische Gesellschaften
Stets sind ihre Annaumlherungen auf die Generierung von Bedeutungen im Sinne von Grammatiken
ausgerichtet Dementsprechend leitmotivisch fungiert ein Portraumlt des kuumlrzlich verstorbenen Ethnologen
Claude Leacutevi-Strauss in der Rauminstallation mit integrierter Soundkomposition Die gespiegelte und
mehrfach aufgefaumlcherte Fotografie von Leacutevi-Strauss in bdquopolysynthetischer Doppelperspektiverdquo laumlsst sich
als Verschneidung von Sprachlichem Klanglichen und Visuellen lesen
Eine Archaumlologie im Feld der Linguistik wie auf Materialebene fuumlhrt die Signifikanten auf engstem Raum
zusammen Triviale Vierkanthoumllzer beispielsweise wurden in genau jenen Farben lackiert die Penker als
uumlbereinander gelagerte Sedimente unter der Dispersion der Waumlnde freilegte Die laumlnglichen Houmllzer
beziehen sich auf den englischen Ausdruck bdquologldquo fuumlr Stamm und somit auch auf die Ausstellungsreihe der
Galerie Bemerkenswert dass ein Wort das bloszlig aus einem Morphem besteht einen Gegenstand
repraumlsentiert So baut sich uumlber eine Reihe weiterer Objekte wie etwa den bdquoHanging Chairsldquo aus dem
Fundus der Galerie ein elementares Netzwerk von Bezuumlgen auf Mit ihren Werken und abstrakten Sound-
Kompositionen dringt Elisabeth Penker kritisch forschend in die Makrobereiche von Grammatiken vor um
Potentiale semantischer Anbindungen in Nachbarsystemen freizulegen Roland Schoumlny
Elisabeth Penker Einzelausstellung MAK CAT TOWER Kurtaiert von Andreas Kristof
ldquoPassive Orchestrardquo 2008 8-Channel-Toninstallation Die Interpretation von Soundart sieht Penker in der Uumlberschneidung von Sprache-visueller Kunst und Musik und ist zumeist mit einer visuellen raumlumlichen Komponente verbunden Der Betrachter und Zuhoumlrer befindet sich in
einer Konzert-Situation statt Instrumenten sieht er nur Lautsprecher die auf unterschiedlichen Houmlhen auf einer grauen Wand positioniert sind Passiv Orchestra beruht in der Struktur auf die grammatische Einteilungen von Sprachen die in phonetische Minimaleinheiten dekonstruiert sind und wird uumlber eine Mehrkanal Matrix gespielt Elisabeth Penker referiert in dieser eigens fuumlr den Flakturm konzipierten Arbeit auf dadaistische Methoden der Sprachdekodierung die auch als ein klares Anti-Kriegs-Statement zu verstehen waren
1
Kunsthaus Graz
Protections
Kuratoren Adam Budak und Christine Peters
Elisabeth Penker
First Nation Pavilion
Der First Nation Pavilion von Elisabeth Penker unternimmt den Versuch einen Bereich fuumlr ein koloniales
Bewusstsein der europaumlischen Vergangenheit zu schaffen und einen utopischen Raum fuumlr neue Vorstellungen
von einer Mannigfaltigkeit an kulturellen Formen in der zeitgenoumlssischen Kunst Die Komposition de-
grammatical ein Bestandteil des First Nation Pavilion beruht in ihrer Struktur auf den grammatischen
Einteilungen der Sprachen die in phonetische Minimaleinheiten dekonstruiert sind und wird uumlber eine
nichtlineare 5-Kanal-Matrix gespielt
Penker untersucht moumlgliche Uumlberschneidungen zwischen der Sprache der Musik und der Bildstruktur wobei ihr
Hauptaugenmerk polysynthetischen Sprachen (First Nations und Pazifische Inseln) gilt sowie dem Vergleich
zwischen der Kunst von First Nations und der Modernen Kunst Erst in juumlngerer Zeit in der Aumlra des
Postkolonialismus hat der Diskurs der kulturellen Uumlbersetzung Fragen aufgeworfen mit denen man sich schon
in den phonetischen Experimenten des Dadaismus in den 1910er und 1920er Jahren beschaumlftigt hatte sowie
spaumlter in der Konzeptkunst der 1960er und 70er Jahre
Elisabeth Penker
First Nation Pavilion
The First Nation Pavilion by Elisabeth Penker attempts to set-up an area for colonial consciousness of the
European past and a utopic space for re-imagining a plurality of cultural forms in contemporary art The
composition entitled de-grammatical contained within the First Nation Pavilion is structurally-based on the
grammatical classifications of languages deconstructed into minimal phonetic units played within a non-linear
5-channel matrix
Penker is questioning the possible overlaps between music-language and visual structure within the primary
focus on polysynthetic languages (First Nation and Pacific Islands) and First Nation Art compared to Modern Art
More recently in the age of post-colonialism the discourse of cultural translation is arising questions that have
also been experimented by the Dadaists phonetic experiments in the 1910-20s and later in Concept Art of the
1960s-70s Text Adam Budak
Michael Elmgreen amp Ingar Dragset (the work of two other invited artists) offered Penker a typical prefabricated
house as her exhibition space within the Kunsthaus
id31403916 pdfMachine by Broadgun Software - a great PDF writer - a great PDF creator - httpwwwpdfmachinecom httpwwwbroadguncom
2
Elisabeth Penker Fisrt Nations Pavilion 2006
Change of floor plan of the prefabricated house by Michael Elmgreen amp Ingar Dragset
Entrance door Fisrt Nations Pavilion
3
Part 1 Colonial Conciseness in visual art
Room 1 and 3 Modernism=Imperialism after Henry Flynt Demolish serious culture
Woman as a the last Colony Rosa Luxenburg Veronika Bennholdt-
Thomsen Claudia von Werlhof und Maria Mies
4
Vinyl letters C-Print
5
6
Polysynthetische Doppelperspektive 1 Claude Levi- Strauss
Photocolloage C-Print
7
Polysynthetische Doppelperspektive 2 Claude Levi-Strauss
Photocolloage C-Print
9
Polysynthetische Doppelperspektive 4 Claude Levi Strauss
Photocolloage C-Print
2 prints Installed in corner
Installation view Polysynthetische Doppelperspektive 1-4 Claude Levi- Strauss
The visual grammar and its double perspective (split representation) of Haida Gwai and Tlinglet Art (First Nation
Art) is re-collaged with a photograph of Pablo Picasso comparing Cubism (early Modernism) with First Nation Art
and questioning its similarities of double perspectives
10
Room 4 and 5
Room 4
11
Luicide List The museum as an imperial graveyard
C-Print
Colonial after effects of Luicide
Gips Metallkette Hose Schuh
12
No7
Mirror Split Representation Mirror framed and installed in the corner
Part 2 Room 6 and 8 Comparative Contemporary Art
4-channel sound installation
De-grammatical Listen to mp3 audio excerpts
13
Front
2 CT (shelfbenches) Acryl auf Pappelsperrholz
Back Pull Over Yukme Shirley Hall outside
14
Pull Over Yukme Shirley Hall inside
Fabric wall silk print by (Tlinglet Artist) Yukme Shirley Hall
Wo ist Elise Richter wo ist
id99149429 pdfMachine by Broadgun Software - a great PDF writer - a great PDF creator - httpwwwpdfmachinecom httpwwwbroadguncom
Im Arkadenhof der Universitaumlt Wien stehen 154 Buumlsten von bedeutenden Wissenschaftlern der
Universitaumlt Wien (1700-2005) Bedauerlicherweise findet sich unter ihnen keine einzige Frau Eine temporaumlre Buumlste einer anonymen Wissenschaftlerin soll die systematische Ausblendung von Frauen
aus der Universitaumltsgeschichte thematisieren Die offene Web- Plattform (wwweliserichterat) ermoumlglicht allen Benutzern aktiv an der Umschreibung der Universitaumltsgeschichte und an re-imaging Prozessen der Repraumlsentation dieser Buumlsten teilzunehmen Weiters wird die Verbindung von raceclassgender und einer akademischen Kariere in diesem Zusammenhang hinterfragt We can never really change any form of social organisation without challenging all that organisations forms of
language (Debord)
Within the patriarchal structures of the Arkadenhof at the University of Vienna stand 154 busts of important scientists (1700-2005) Unfortunately none of these busts are women Through the placement of a temporary bust of an anonymous female scientist it declares the absence of them within the history of the university As well the anonymous bust embodies the presence of important scientists who have not yet been given equal representation The open web-platform (wwweliserichterat) allows every user to participate in this discourse to re-write the history of the university and to re-image the representation of these busts through a wiki system
Skizze Buumlste einer anonymen Wissenschaftlerin
Mein Interesse besteht nicht darin zu recherchieren welche Buumlsten von Wissenschaftlerinnen im Arkadenhof fehlen sondern das Fehlen der Wissenschaftlerinnen im Zeitraum von 1700 bis 2005 aufzuzeigen und Strukturen fuumlr eine oumlffentliche Kommunikationsplattform zu schaffen In der Genderforschung besteht Konsens daruumlber dass Gender kein Merkmal von Individuen sondern das einer
Institution ist (Connell) zudem ein struktureller Bestandteil einer Gesellschaft ist und dass Gendernormen alle Organisationen durchdringen (Acker)
Grundriss Arkadenhof der Universitaumlt Wien Literatur Acker J (1990) Hierarchies Jobs Bodies A theory of gendered organizations In Gender and Society
Connell R (1998) Gender and Power Society the Person and Sexual Politics Stanford University Press Stanford CA Maisel T (1990) Die Denkmaumller im Arkadenhof der Universitaumlt Wien Biographische Skizzen Wien Quellen Denkmalsakten Archiv der Universitaumlt Wien
Veranstalter Open Mind Projekt Utopie Freiheit httpwwwopenmindat vereinopenmindat Projektautorin Elisabeth Penker elpenkergmxat Bronzeguss Walter Rom Wachsmodel Buumlste Elisabeth Penker Steinsockel Ausfuumlhrung Fa Zehmann Mario Jungbauer Mediendesign Gernot Tscherteu httpwwwrealitylabatwphome gtrealitylabat Techn Umsetzung Christian Langreiter Webpage wwweliserichterat
Elisabeth Penker- Franzengasse 13- 1050 Wien ++43 (0)699 197 193 53 elpenkergmxat
Elisabeth Penker Untitled instruments 1-3 2000-2012
Galerie Georg Kargl Wien Galerie Priestor Bratislava Kuumlnstlerhaus Wien Kibla New
Media Center Maribor HTTP Galerie London Secession Wien Mak Wien Roma
Contemporary Wien
Elisabeth Penker Untiled Instrument Galerie Georg Kargl Wien
Curated by Michael Hall
Elisabeth Penker Untitled instrument 2001 New Media Center Maribor
Elisabeth Penker Untitled instrument 2001 New Media Center Maribor
Elisabeth Penker Untitled instrument Kuumlnstlerhaus Wien curated by Ursula Maria Probst
Live Performance mit Celia Mare
Detail Die BILD_HAU_ER_IN Kuumlnstlerhaus Wien
Live Performance Flower Structure Wiener Festwochen
Elisabeth Penker (Untiled instrument) Van Angh (Cello) Tri Minh Electronics
Elisabeth Penker Live Performance Poetics of space Secession Wien
MAK Nail Structure GRizo Sweet Susie Elisabeth Penker
Elisabeth Penker HTTP Gallery London 2005 curated by Tobi Maier
Elisabeth Penker HTTP Gallery London Live Performance
Elisabeth Penker Untitled Instrument Sonic Structure Kunsthaus Graz curated by Adam Budak amp
Christine Peters
Videolinks
httpwwwyoutubecomusersoundart24
Interview with Video Festwochen
httpbturncom8753interview-elisabeth-penker
Kunsthaus Graz
Protections
Kuratoren Adam Budak und Christine Peters
Elisabeth Penker Poetics of Dead Space
For PROTECTIONS Elisabeth Penker developed a key-sound Poetics of Dead Space which is to a large extent a homage
to Gaston Bachelards seminal book Poetics of Space where the connections between the poetry and the spatial emotions
are analysed Penkers key-sound will guide the viewer through the exhibition mapping the overall identity of the show in
some way controlling the viewers (audio-narrative) route in the maze of art objects events situations but also spatial
voids and unused corners
Fuumlr PROTECTIONS entwickelte Elisabeth Penker einen leitmotivischen Key Sound Poetics of Dead Space der weitgehend
eine Hommage an Gaston Bachelards wegweisendes Buch Poetics of Space darstellt in dem die Verbindungen zwischen
Lyrik und raumlumlichen Emotionen analysiert werden Penkers Key Sound wird das Publikum durch die Ausstellung geleiten
die Identitaumlt der Schau in ihrer Gesamtheit erfassen und in gewisser Weise die (audio-narrative) Route des Publikums im
Labyrinth der Kunstgegenstaumlnde Ereignisse und Situationen aber auch raumlumlicher Leerstellen und ungenutzter Winkel
kontrollieren
A non linear composition 7 mono active speakers are placed through out the Kunsthaus Graz Speaker placement
1 outdoor (entrance) 2 (travelator) 3 (corner with column) 4 (corner with door) 5 (corner) 6 (travelator) 7 (corner with
window)
Poetics of Dead Space Let it grow again 28 51 sec mono
Source material for composition rain sound of dried beans dropping down wood sticks breathing hardly existing
id78338975 pdfMachine by Broadgun Software - a great PDF writer - a great PDF creator - httpwwwpdfmachinecom httpwwwbroadguncom
recording of extinct languages
Poetics of Dead Space Let it grow again 28 51 sec mono
Source material for composition rain sound of dried beans dropping down wood sticks existing recording of extinct
languages
Poetics of Dead Space travelator 1 1min 04 sec mono loop
Source material for composition staff falling down man falling down stairs rattern recording untitled instrument
Background existing recording of extinct languages
Poetics of Dead Space 496 1min 409 sec mono loop
Source material for composition recording untitled instrument Background existing recording of extinct languages
Poetics of Dead Space 129525 1min 4888 sec mono loop
Source material for composition recording untitled instrument Background existing recording of extinct languages
Poetics of Dead Space 129525 1min 4888 sec mono loop
Source material for composition keyboard recording untitled instrument Background existing recording of extinct
languages
Poetics of Dead Space travelator 2 1min 5209 sec mono loop
Source material for composition recording untitled instrument violin Background existing recording of extinct
languages
Poetics of Dead Space2152518125220 1min 3200 sec mono loop
Source material for composition recording untitled instrument Background existing recording of library of extinct
languages
Poetics of Dead Space travelator 1 1min 04 sec mono loop
viewing down from upstairs Source material for composition staff falling down man falling down stairs rattern
recording untitled instrument Background existing recording of extinct languages
Poetics of Dead Space Let it grow again 028 51 sec mono
Source material for composition rain sound of coins wood sticks existing recording of extinct languages
Elisabeth Penker is a Viennese artist and musician working with sound in a sculptural context In her (subjective) tour
Penker approaches the entire anti-exhibition PROTECTIONS from an angle of its position and significance in the context
of Sound Art as located on the crossway between visual arts language and music Starting from her own house turned
into First Nation Pavillion which amongst others aims at connecting the recent discourse on cultural translation with
early avant-garde phonetic experiments Penker maps the sonic structure of Kunsthaus Graz and its (live) architecture
which for PROTECTIONS hosts an array of interdisciplinary projects with a strong audio-quality from Herwig Weisers
Death Before Disco (a micro-architecture of hyper-technological and electronic pop) through a newly created choir of
security guards for Tim Etchells Wall of Sound down to a cacophonic layers of anonimous noise generated by the
space itself and the presence of audience
Die Wiener Kuumlnstlerin und Musikerin Elisabeth Penker arbeitet mit Klang im Zusammenhang mit Bildhauerei In ihrer
(subjektiven) Fuumlhrung naumlhert sie sich der Anti-Ausstellung PROTECTIONS aus einem Blickwinkel der die Position und
Bedeutung der Klangkunst an der Kreuzung zwischen bildender Kunst Sprache und Musik verortet Von ihrem eigenen
Haus ausgehend das sich in den First Nation Pavilion verwandelt hat der u a den aktuellen Diskurs uumlber kulturelle
Uumlbersetzung mit fruumlhen phonetischen Experimenten der Avantgarde verbinden soll entwirft Penker die klangliche
Struktur des Gutshauses und seiner (Live-)Architektur die fuumlr PROTECTIONS eine Reihe von interdisziplinaumlren Projekten
mit einer starken Affinitaumlt zum Klang beherbergt von Herwig Weisers Death Before Disco (eine Mikroarchitektur aus
hyper-technoidem und elektronischem Pop) uumlber einen neu formierten Chor bestehend aus Security Guards fuumlr Tim
Etchells Wall of Sound bis zu einer Kakophonie aus anonymen Geraumluschen die vom Raum selbst und der Anwesenheit
des Publikums erzeugt werden
052813
Local Warming ATHENS
052813
AFTER A YEARLONG HIATUS the eighteenth Art-Athina hit the ground running on the evening of Thursday May 16 and the former Olympic
ldquoTae Kwon Dordquo Pavilion was packed with enthusiastic party people The fair had a more national flavor than ever this year under its new
director Alexis Caniaris the son of recently deceased artist Vlassis Caniaris whose iconic modern work has recently found great success on the
international market Of the very few foreign galleries exhibiting most were Greek-owned The Breeder gallery was dealing with the perceived
drop in the market by selling fantastic multiples by artists like Stelios Faitakis Jannis Varelas and Andreas Angelidakis at crisis-appropriate
prices ldquoNobody wants to come here now but I have already met three interested billionaire collectors today And if Greeks like you they
introduce you to their billionaire friendsrdquo raved Cologne dealer Mirko Mayer a seven-time exhibitor ldquoThat is what nobody knows There are
at least one-hundred billionaires collecting hererdquo Most international collectors were delayed several hours due to a union strike a de r igueur
mode of arrival in contemporary Greece
It was impossible to miss the exuberant activities of the DaDa Da restaurant a Greek-Austrian collaboration where artist Albert Mayr was
waving a skillet and raving nonsense while Lucas Willmann tenderized pink fillets for Wiener schnitzel ldquoThis is Viennese Actionism lightrdquo
quipped critic Sotirios Bahtsetzis Artist Natasha Papadopoulos added ldquoBut here there are hungry Greeks waitingrdquo On a table with a rotating
Sacher tort by Heacutelegravene van Duijne a sign carried the overwhelming spirit FUCK ART LETrsquoS EAT SOUVLAKI An insistent electronic beat and
pulsating light emanated from the next booth the American College of Greecersquos ldquoAthensUrgentrdquo while hooded performer Manos Tsatiris
stood against the wall with his hands tied perhaps a metaphor for the current Athenian exigency ldquoThis is not the kind of art fair scene we are
used tordquo said the Economou Collectionrsquos Annie-Claire Geisinger watching the madness
Left Artists Elisabeth Penker Michela Pelusio Petros Touloudis Panos Papadopoulos and Nino Stelzl Right Collector Anne-Marie Ros
Down on the floor the dealers seemed pleased particularly given dismal expectations having already sold a great deal at the preview Young
Rotterdam-based gallery Joey Ramone had sold sculptures by Fotini Gouseti to English and Belgian collectors dealer Erik Mulier had also sold
some work to Belgians Marc Van den Hende said he had bought a triptych by Eirene Efstathiou and was considering a Vlassis Caniaris piece
from the 1970s ldquoI saw some surprisesmdashyoung Greek artists I did not knowmdashand great new galleries like Elika and CANrdquo Dutch collector
Anne-Marie Ros said By the end of the day Dimitra and Sofia Vamiali reported that they had not seen one Greek collector although another
reported a Dakis Joannou sighting mdash Cathryn Drake
SEARCH
ARTICLES
GO
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Week
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SEATTLE
WEEKLY
in the News
Columnist
Geov Parrish
is a regular
guest on
Mind Over
Matters on
KEXP-FM
(903)
Saturdays at
830 am and
provides news
commentary
on KBCS-FM
(913) Fridays
at 430 pm
Catch writers
Steve
Wiecking Tim
Appelo and
ARTS
March 30 - April 5 2005
Picking Up the Thread
Howard House ties together the best new conceptual art from Vienna
by Elise Richman
Franz Wests Mercury
(Howard House Contemporary Art)
Theres a German expression to lose the red thread which means losing
ones train of thought In its current show Howard House has found that
thread Julie Ryan a curator artist and writer organized The Red
Thread Glimpses of International Art in Vienna a two-part exhibition
featuring artists working and living at least part time in Austrias capital
Part one of the show is at Howard House the second half is currently on
display at the Educational Alliance Gallery in New York
Vienna has become a magnet for artists from all over the world including
the 15 individuals and artist teams that are part of The Red Thread
Excellent artist residency programs a low cost of living and living art
legends like Franz West are just a few of the reasons
An artistic collaboration with West took Ryan from New York to Vienna
She knows Billy Howard who runs Howard House from the University of
Washingtons School of Art And so the figurative string was strung
connecting the East and West coasts with artists from across the Atlantic
This is a complex exhibit whose emotional tenor ranges from cool
detachment to an almost urgent earnestness Unlike the formal richly
historical city that connects them artists in The Red Thread favor informal
approaches to art making use disposable materials and comment on
contemporary cultural themes
West has two formidable sculptures at Howard House The front room of the
gallery features Mercury (pictured) an ungainly behemoth composed of a
patchwork of fused metal Like many of Wests sculptures Mercury is
meant as an interactive structure that viewers can climb and sit on Bulbous
Gavin
Borchert
discussing
theater film
and music
regularly on
classical
KING-FM
(981)
Mark Fiore
Cartoons
Every
Thursday
nodules extend from its horizontal base and the seams of the dark maroon
metal look like scars rendering it at once vaguely obscene and absurdly
playful
Sisyphus the other West sculpture on display is a bulky conglomeration of
bits and wads of paper propped in the back room on a makeshift plinth (base
block) Though its as solid as the boulder its title references its surface is
like oozing skin partly coated with poured murky paint partly cloaked in
small clumps of newspaper detritus
The strenuous act of making each of these sculptures is eminently apparent
and central to the content of Wests work West considers creation a
symbolic act As you might expect he likens the artistic process to the plight
of Sisyphus the mythological figure who eternally rolled a boulder up a hill
only to have it come crashing back down For West art involves a
Sisyphean search for what he calls the absolute through the seemingly
senseless accumulation of materials However unlike Sisyphus futile quest
Wests process can lead to epiphany making sense of the senseless
Similarly Viennese artist Elisabeth Penkers art serves a facilitative
function easing the act of translation Penker uses Haida iconography in her
multimedia work because it provides potent visual symbols that
communicate single words and whole sentences simultaneously Her prints
at Howard House feature fragments of icons floating in the papers white
space They are spare visually arresting characters that employ an
iconographic language as encoded symbols of communication
Also featured in The Red Thread is Donald Baechler an internationally
known American painter who spends extended periods of time in Vienna
Baechler equalizes his imagery by painting it all in the same style For him
the source of an image doesnt matter whether its a drawing by Picasso or
graffiti on a bathroom wall What matters is the newfound context his
paintings provide
Victory by Default is part of Baechlers Skull series In this piece a painted
skull gapes from the dirty yet sensuous confines of a large canvas Terry
cloth and wrinkled rags provide literal texture and reference the world
outside the paintings boundaries Splatterings of color around the skull like
the self-conscious marks of Jasper Johns seem to express the language of
paintingmdashhue and gestural strokesmdashin a factual rather than illusional
manner
Another American painter Lisa Ruyter lives half-time in Vienna where she
runs an influential gallery She works from photographs projected onto
large-scale canvases tracing the contours of the projected imagery with
consistent black outlines In a way that seems arbitrary she paints the shapes
formed by her contour lines in flat designer colors Man of Means based on
a photo of fashion photographers looks like a scrambled color-by-numbers
painting I cant do justice to the unusually rich assortment of conceptual art
in The Red Thread Youll just have to see it for yourself Thomas
Baumans thrashing triangular foil blanket Walter Seidls slide show of
staged snapshots Markus Schinwalds photograph of a contortionist and the
other thoughtful works connected by The Red Thread
The Red Thread Glimpses of International Art in Vienna runs through
April 30 at Howard House 604 Second Ave 206- 256-6399 1030 amndash5
pm TuesndashSat Free
KUNSTFORUM
Parallelwelten fuumlr Parlamentarier Ausstellung
Von Brigitte Borchhardt-Birbaumer
Ende Oktober endet die Zusammenarbeit von Nationalratspraumlsident Andreas Khol und Peter Pakesch Direktor des Kunsthauses Graz am Joanneum Seit 2003
hatte Pakesch als Kurator mehrere Ausstellungen in den Sitzungssaumllen des Parlaments in Zusammenarbeit mit Galerien initiiert und namhafte Positionen
ausgewaumlhlt Kriterium fuumlr Praumlsentationen war die Praumlsenz durch eine Schau in einer der bekannten Kunstinstitutionen des Landes Nach Eva Schlegel Adriana
Czernin Maria Lassnig oder Esther Stocker sind dies nun bis April 2007 Josef Dabernig Daniel Hafner Ulrike Lienbacher Alois Mosbacher und Elisabeth
Penker
Das Parlament kann dabei durch die Margaretha-Lupac Stiftung immer eine Arbeit fuumlr die wachsende Sammlung des Hauses ankaufen Zuletzt war das ein
groszliges Oumll-Acryl-Gemaumllde der Georg-Eisler-Preistraumlgerin Maja Vukoje zuvor Johanna Kandl deren Temperabild derzeit an das Lentos in Linz geliehen wird
Einige Werke haumlngen schon als kuumlnstlerische Wegweiser in den Gaumlngen des Hauses und sind auch Blickfang fuumlr die 120000 Besucher die pro Jahr das
Parlament besuchen In die Architektur von Theophil Hansen mit ihrer zeitlosen Qualitaumlt fuumlgt sich die Gegenwartskunst kongenial
Hoffnung fuumlr spaumlter
Die derzeitige Zusammenstellung macht Hoffnung auf eine Fortsetzung unter der naumlchsten Praumlsidentschaft Fotografie Computerkunst Malerei Zeichnung
und Skulptur weisen auf die Vielfalt der Werkstoffe in der Gegenwartskunst Elisabeth Penker parallel im Kunsthaus Graz zu sehen baut schwarzweiszlige
Objekte aus bemaltem Holz die in ihrer seriellen und geometrischen Anordnung auf Bezuumlge zum Performativen und auf die Musik hinweisen
Noch juumlnger ist Daniel Hafner mit seinen am Computer komponierten digitalen Drucken Morphosentransformationen von 2006 Linienraster und
Raumkonstruktionen in subtiler Farbigkeit verbinden Tendenzen der fruumlhen Op-Art mit dem Cyber-Lab
Um konstruierte Realitaumlten geht es auch in den groszligformatigen Oumllbildern von Alois Mosbacher dem bekannten Vertreter der Neuen Wilden der
Achtzigerjahre in Oumlsterreich Wanderer in Wald und Wiese erzaumlhlen die Geschichten alternativer Welten die sich mancher in der Gesellschaft als Parallele
konstruiert
Zwei Fotofriese von Josef Dabernig bilden jeweils ein Panorama von oumlffentlichen Plaumltzen auf denen es zum einen um Fuszligball geht Zum anderen ist der
Rundblick in das Oval einer scheinbaren Arena auch eine Art Sehschule fuumlr die Betrachter Ein sozialer Befund ist die dritte Bedeutungsebene
Ulrike Lienbacher die heuer mit einer groszligen Schau im Innsbrucker Taxispalais ihre Karriere fortsetzt ist mit ihren feinlinigen Tuschezeichnungen den kleinen
oft unsichtbaren Zwaumlngen in unserer Gesellschaft auf der Spur Im Lokal II des Parlaments stellt sie zwar nicht ihre Objekte und Fotos aber einige
groszligformatige Blaumltter mit Frisurenvariationen neben teils fragmentierten Frauenkoumlrpern im Umgang mit Schmutz und Hygiene aber auch Fitnesskult aus
Disziplinierung und Kontrolle betreffen in der Oumlffentlichkeit besonders den weiblichen Koumlrper Sauberkeitsmechanismen weisen auch auf Vorstellungen von
wertvoll und minderwertig hin Ihre Transformationen enthalten wie die Themen der anderen subtile Kritik und sind daher vom Kurator uumlberlegt positioniert
Zeitgenoumlssische Kunst
im Parlament
Bis April 2007
Kurator Peter Pakesch
Konfrontationen
Dienstag 10 Oktober 2006
ltlt 2003 | 2004 Jan Feb Mar Apr May Jun Jul Aug Sep Oct Nov Dec 2004 | 2005 gtgt
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31
Sunday 17 October 2004
TIME
TITLE
NAME
700 Indymedia ESF breakfast show Indymedia London
Highlights news and views from the European Social Forum and the
autonomous spaces and initiatives taking place this week
website
800 Resonance Radio Art Riot Breakfast International
Radio Art
A five part special of the Harmon E Phraisyar show commissioned for
Kunstradio in Austria starts off the morning broadcast of international radio
art
website
1100 Resonance Live from the Frieze Art Fair Anna Colin amp
Tobi Maier
1100 Chris Weaver Resonance 1044FM live electronics set with James Dunn and
Robin Warren
1130 Michael Hall gallery Vienna presents audio works by artist Elisabeth Penker
1200 Maria Fusco presents latest the Bookworks commissions
1300 The Psychology of Collecting live broadcast of the frieze art fair panel
discussion
Is collecting an irrational act guided by compulsion and desire What are the use of
objects What are the motivations behind making collecting curating and
criticizing art A discussion of the psychology of collecting and the politics of taste
Hilary Rubenstein (Psychologist)
Eric Troncy (Art Critic and Director Le Consortium Dijon)
Haim Steinbach (Artist)
Chair Alice Rawsthorn (Director Design Museum)
1500 Portable live set and presentation of sudelectronic records London
1600 Where is Adventure What is Culture live broadcast of the frieze art fair
website
panel discussion
A discussion of the relationship of art to entertainment touching on the comedic
being popular and failing miserably
Trisha Donnelly (Artist)
Christian Jankowski (Artist)
David Robbins (Writer amp Artist)
Nancy Spector (Curator of Contemporary Art Solomon R Guggenheim Museum)
Chair Matthew Higgs (Curator CCA Wattis Institute for Contemporary Arts)
1800 Melissa Bent from Rivington Arms gallery New York in conversation with
artist Dan Colan and Tobi Maier Anna Colin
1830 VOX pop recordings from the fair with Sharon Gal
1900 Resonance Radio Art Riot Sarah
Washington
The Resonance Radio Art Riot brings together some of the foremost radio artists
and thinkers from around the world The studio lab situation will feature round
table discussions live performances and streamed events
Tonight Radio Text
Events Live broadcast from Sonic Arts Network Resonance benefit featuring
Henri Chopin studio performances from Julia Lee Barclay and Aude Tournay plus
Special Features None present live concrete radiophonics - Planning For
Emergencies
Guests include Clive Graham Chris Weaver Richard Thomas Toby Clarkson
John Lovett Robin Warren and James Dunn
Topics The word as art Sound poetry text performances
At Midnight Tom Wallace present exclusive excerpts from radio art pioneer
Gregory Whitehead
website
000 Resonance Radio Art Riot Nights International
Radio Art
The Resonance Radio Art riot continues throughout the night with the finest of
international radio art Resonance FM programme makers and our international
guests have put together many special hours of classic and obscure radio
works
website
- EPenkerDocumentationpdf
-
- 2bAusstellungenPublicaSpaceEPenkerpdf
-
- 2cUntitled_InstrumentsKunsthausGrazEPenker
- 2bpoeticsKunsthaus GrazEPenker
-
- 4PresseEPenkerpdf
-
- 4Review_Seattle Weekly
-
Poetics of Dead Space 2 2009-2010
2 Kanaumlle einer 8-Kanal-Composition mono
Metallstativ Speaker Yamaha MSP3 CD-Player
H 133 cm
Ed 13
The non-linear 8-channel composition ldquoPoetics of Dead Space 2rdquo introduces polysynthetic language morphology
combined by the melody which is composed from pre-existing recordings of extinct languages and Penker‟s self-
made instrument ldquoUntitled Instrument sonic structurerdquo (see PDF and related essay written by E Penker at
Resonance fm Magazine upon request at Galerie naumlchst St Stephan)
The channel which is upstairs installed uses an existing wall as an acoustic filter and introduced sub-
consciousness polysynthetic language morphology into the gallery space The title refers to the book poetic of
space within unused architectural situations of exhibition spaces bdquo A Blind Spot (dead angle - Toter Winkel) has a
different meaning in terms of acoustics and cannot be compared with the visual context where blind spot is used
primarily in conversations
In musicsound production in film the visual blind spot is used very often by hearing a bike roller plane without
seeing it In everyday life we are used and depending by acoustic blind spots for our orientation of the situation
and space we are in at the moment Architectural acoustic issues play an important role during the time of the
composition ldquoPoetic of Dead Space 2rdquo is a context specific composition and deals with polysynthetic language
morphology recordings of the untitled instrument Sonic structure and acoustic exhibition architecture besides
issues which are depending of the unused architecture and their acoustics
First Nations Pavillon
Polysynthetische Doppelperspektive Claude Levi-Strauss 2006
Fotocollage C-Print gerahmter Spiegel
6-teilig
3 x 405 x 305 cm
2 x 245 x 305 cm
1 x 605 x 485 cm
Ed23 + 2 AP
A framed mirror from ldquoFirst Nations Pavilionrdquo is placed in the corner of the log-in space to place the viewer physically in the space cutting the reflection of the gaze as well mirrors a profile view of the installed
photographs The photo-series relates to polysynthetic language morphology (of the Inuit First Nations Maori and Caduveo Indians) and translates within the photographic image their structural common visual grammar Because they would create a frontal view which was made out of 2 (split) profile views thereby creating a 4-dimensional perspective that anticipatedparallels Cubism who later presented multiple perspectives within one image which intended to represent movement through time and space Specific references are in the related pdf upon request
at Galerie naumlchst St Stephan
Log [Baumstamm] 2010
Archivierung der Raumfarbe
Split Representation
Claude Levi-Strauss 2009
C-Print
5-teilig je 245 x 305 cm
Ed15 + 2 AP
The camera positions of a right angle mirror bdquoSplit Representationrdquo were chosen by E Penker in the way that the
flash is not in the image the photos are made utilizing a right angle mirror which both fragments and reflects the
image creating multiple or a split perspective EP
Bench-Shelf 2003
Acryl auf Pappelsperrholz
46 x 151 x 42 cm
The bench which is the earliest work in the exhibition mirrors the bottom and the top seating elements thereby
giving the object an asymmetrical appearance The bench-shelf was originally designed for a video archive was
later used by museum staff (in Porto) as gallery furniture
composition (or view) Numerous contemporary artists eg Donald Judd have related the ShakersAmish radical functionalism to their sculptural practice
Poetics of Dead Space 2 2009-2010
2 Kanaumlle einer 8-Kanal-Composition mono
Metallstativ Speaker Yamaha MSP3 CD-Player
H 133 cm
Ed 13
The non-linear 8-channel composition ldquoPoetics of Dead Space 2rdquo introduces polysynthetic language morphology
combined by the melody which is composed from pre-existing recordings of extinct languages and Penker‟s self-
made instrument ldquoUntitled Instrument sonic structurerdquo (see PDF and re lated essay written by E Penker at
Resonance fm Magazine upon request at Galerie naumlchst St Stephan)
The channel which is upstairs installed uses an existing wall as an acoustic filter and introduced sub-
consciousness polysynthetic language morphology into the gallery space The title refers to the book poetic of
space within unused architectural situations of exhibition spaces bdquo A Blind Spot (dead angle - Toter Winkel) has a
different meaning in terms of acoustics and cannot be compared with the visual context where blind spot is used
primarily in conversations
In musicsound production in film the visual blind spot is used very often by hearing a bike roller plane without
seeing it In everyday life we are used and depending by acoustic blind spots for our orientation of the situation
and space we are in at the moment Architectural acoustic issues play an important role during the time of the
composition ldquoPoetic of Dead Space 2rdquo is a context specific composition and deals with polysynthetic language
morphology recordings of the untitled instrument Sonic structure and acoustic exhibition architecture besides
issues which are depending of the unused architecture and their acoustics
Galerie naumlchst St Stephan
Aneta Grzeszykowska Elisabeth Penker
220110 bis 060310 Auf den Spuren gesellschaftlicher
Ordnungssysteme
Die beiden Ausstellungen von Aneta Grzeszykowska in den Galerieraumlumen
und Elisabeth Penker im Projektraum bdquoLOGINldquo sprechen unterschiedliche
Sprachen Momente der Beruumlhrung ergeben sich lediglich durch die
Auseinandersetzung der beiden Kuumlnstlerinnen mit Systembildungen und
gesellschaftlich bedingten Agglomerationen von Bedeutungen Waumlhrend der
Blick der in Warschau lebenden Kuumlnstlerin Aneta Grzeszykowska
psychologisch und kulturell bestimmt ist laumlsst sich das Verfahren der in
Wien und Rom lebenden Elisabeth Penker als ethnografisch und linguistisch
fundiert umschreiben Im Nebeneinander der beiden Positionen bilden sich
schaumlrfende Kontraste
Aneta Grzeszykowskas Interesse gilt dem Privaten in verschiedenen
visuellen Uumlbersetzungen Etwa kartografierte sie mit dem Warschauer
Kuumlnstler Jan Smaga in einer Fotoserie Wohnungen aus der Vogelperspektive
um eine intime Geschichte der Stadt uumlber die Anordnung von Raumlumen
Moumlbeln und Gebrauchsgegenstaumlnden zu erstellen Nun begibt sie sich mit
dem Film bdquoBirthdayldquo auf die Ebene fruumlhkindlicher Begegnungen mit dem
Unheimlichen Gedreht wurde er in der Art privater Dokumentationen zur
Feier des eigenen Nachwuchses anlaumlsslich eines Kindergeburtstags Durch
kommentierende Eingriffe wie die Animation sonst unbeweglicher
Gegenstaumlnde uumlbt die Kuumlnstlerin Kritik an den Konventionen und betont so
das Monstroumlse solcher Ereignisse In der Doppelboumldigkeit von inszenierter
Kindheit und Abgruumlndigem ist auch eine Reihe monochromer dunkler
Figurinen aus Stoff angesiedelt Dass diese bekleidet sind wie
Grzeszykowska in ihrer Kindheit verweist auf Versuche Dramatisches uumlber
die aumlsthetische Formalisierung zu bearbeiten Eine Fotografie mit dem durch
die Hand Grzeszykowskas unabsichtlich verletztem Auge ihres kleinen
Bruders und eine maumlrchenhaft anmutende Reliefskulptur mit einem Maumldchen
auf einem Hund aus stacheligen Distelbluumlten erzaumlhlen davon
Tiefenbohrungen zum Kern semantischer Ordnungen unternimmt dagegen
Elisabeth Penker im Kontext der Ausstellungsserie LOGIN in einem
ehemaligen Geschaumlftslokal und im Foyer der Galerie selbst Bekannt ist die
Kuumlnstlerin und Musikerin Elisabeth Penker etwa durch ihre Intervention im
Arkadenhof der Universitaumlt Wien mit einer Buumlste der oumlsterreichischen
Romanistin und ersten Universitaumltsprofessorin Elise Richter Diese leite das
phonetische Institut bis zu ihrer Deportation ins Ghetto Theresienstadt durch
die Nationalsozialisten und war in der patriarchalischen Ordnung der
steinernen Koumlpfe der Universitaumlt ndash ebenso wie die Leistungen von Frauen
generell ndash bis dahin kein Thema gewesen In der Ausstellung bdquoProtectionsldquo
im Kunsthaus Graz thematisierte Penker mit ihrem bdquoFirst Nation Pavillonldquo die Hegemonie des durch den
Kolonialismus gepraumlgten Blicks auf auszligereuropaumlische Gesellschaften
Stets sind ihre Annaumlherungen auf die Generierung von Bedeutungen im Sinne von Grammatiken
ausgerichtet Dementsprechend leitmotivisch fungiert ein Portraumlt des kuumlrzlich verstorbenen Ethnologen
Claude Leacutevi-Strauss in der Rauminstallation mit integrierter Soundkomposition Die gespiegelte und
mehrfach aufgefaumlcherte Fotografie von Leacutevi-Strauss in bdquopolysynthetischer Doppelperspektiverdquo laumlsst sich
als Verschneidung von Sprachlichem Klanglichen und Visuellen lesen
Eine Archaumlologie im Feld der Linguistik wie auf Materialebene fuumlhrt die Signifikanten auf engstem Raum
zusammen Triviale Vierkanthoumllzer beispielsweise wurden in genau jenen Farben lackiert die Penker als
uumlbereinander gelagerte Sedimente unter der Dispersion der Waumlnde freilegte Die laumlnglichen Houmllzer
beziehen sich auf den englischen Ausdruck bdquologldquo fuumlr Stamm und somit auch auf die Ausstellungsreihe der
Galerie Bemerkenswert dass ein Wort das bloszlig aus einem Morphem besteht einen Gegenstand
repraumlsentiert So baut sich uumlber eine Reihe weiterer Objekte wie etwa den bdquoHanging Chairsldquo aus dem
Fundus der Galerie ein elementares Netzwerk von Bezuumlgen auf Mit ihren Werken und abstrakten Sound-
Kompositionen dringt Elisabeth Penker kritisch forschend in die Makrobereiche von Grammatiken vor um
Potentiale semantischer Anbindungen in Nachbarsystemen freizulegen Roland Schoumlny
Elisabeth Penker Einzelausstellung MAK CAT TOWER Kurtaiert von Andreas Kristof
ldquoPassive Orchestrardquo 2008 8-Channel-Toninstallation Die Interpretation von Soundart sieht Penker in der Uumlberschneidung von Sprache-visueller Kunst und Musik und ist zumeist mit einer visuellen raumlumlichen Komponente verbunden Der Betrachter und Zuhoumlrer befindet sich in
einer Konzert-Situation statt Instrumenten sieht er nur Lautsprecher die auf unterschiedlichen Houmlhen auf einer grauen Wand positioniert sind Passiv Orchestra beruht in der Struktur auf die grammatische Einteilungen von Sprachen die in phonetische Minimaleinheiten dekonstruiert sind und wird uumlber eine Mehrkanal Matrix gespielt Elisabeth Penker referiert in dieser eigens fuumlr den Flakturm konzipierten Arbeit auf dadaistische Methoden der Sprachdekodierung die auch als ein klares Anti-Kriegs-Statement zu verstehen waren
1
Kunsthaus Graz
Protections
Kuratoren Adam Budak und Christine Peters
Elisabeth Penker
First Nation Pavilion
Der First Nation Pavilion von Elisabeth Penker unternimmt den Versuch einen Bereich fuumlr ein koloniales
Bewusstsein der europaumlischen Vergangenheit zu schaffen und einen utopischen Raum fuumlr neue Vorstellungen
von einer Mannigfaltigkeit an kulturellen Formen in der zeitgenoumlssischen Kunst Die Komposition de-
grammatical ein Bestandteil des First Nation Pavilion beruht in ihrer Struktur auf den grammatischen
Einteilungen der Sprachen die in phonetische Minimaleinheiten dekonstruiert sind und wird uumlber eine
nichtlineare 5-Kanal-Matrix gespielt
Penker untersucht moumlgliche Uumlberschneidungen zwischen der Sprache der Musik und der Bildstruktur wobei ihr
Hauptaugenmerk polysynthetischen Sprachen (First Nations und Pazifische Inseln) gilt sowie dem Vergleich
zwischen der Kunst von First Nations und der Modernen Kunst Erst in juumlngerer Zeit in der Aumlra des
Postkolonialismus hat der Diskurs der kulturellen Uumlbersetzung Fragen aufgeworfen mit denen man sich schon
in den phonetischen Experimenten des Dadaismus in den 1910er und 1920er Jahren beschaumlftigt hatte sowie
spaumlter in der Konzeptkunst der 1960er und 70er Jahre
Elisabeth Penker
First Nation Pavilion
The First Nation Pavilion by Elisabeth Penker attempts to set-up an area for colonial consciousness of the
European past and a utopic space for re-imagining a plurality of cultural forms in contemporary art The
composition entitled de-grammatical contained within the First Nation Pavilion is structurally-based on the
grammatical classifications of languages deconstructed into minimal phonetic units played within a non-linear
5-channel matrix
Penker is questioning the possible overlaps between music-language and visual structure within the primary
focus on polysynthetic languages (First Nation and Pacific Islands) and First Nation Art compared to Modern Art
More recently in the age of post-colonialism the discourse of cultural translation is arising questions that have
also been experimented by the Dadaists phonetic experiments in the 1910-20s and later in Concept Art of the
1960s-70s Text Adam Budak
Michael Elmgreen amp Ingar Dragset (the work of two other invited artists) offered Penker a typical prefabricated
house as her exhibition space within the Kunsthaus
id31403916 pdfMachine by Broadgun Software - a great PDF writer - a great PDF creator - httpwwwpdfmachinecom httpwwwbroadguncom
2
Elisabeth Penker Fisrt Nations Pavilion 2006
Change of floor plan of the prefabricated house by Michael Elmgreen amp Ingar Dragset
Entrance door Fisrt Nations Pavilion
3
Part 1 Colonial Conciseness in visual art
Room 1 and 3 Modernism=Imperialism after Henry Flynt Demolish serious culture
Woman as a the last Colony Rosa Luxenburg Veronika Bennholdt-
Thomsen Claudia von Werlhof und Maria Mies
4
Vinyl letters C-Print
5
6
Polysynthetische Doppelperspektive 1 Claude Levi- Strauss
Photocolloage C-Print
7
Polysynthetische Doppelperspektive 2 Claude Levi-Strauss
Photocolloage C-Print
9
Polysynthetische Doppelperspektive 4 Claude Levi Strauss
Photocolloage C-Print
2 prints Installed in corner
Installation view Polysynthetische Doppelperspektive 1-4 Claude Levi- Strauss
The visual grammar and its double perspective (split representation) of Haida Gwai and Tlinglet Art (First Nation
Art) is re-collaged with a photograph of Pablo Picasso comparing Cubism (early Modernism) with First Nation Art
and questioning its similarities of double perspectives
10
Room 4 and 5
Room 4
11
Luicide List The museum as an imperial graveyard
C-Print
Colonial after effects of Luicide
Gips Metallkette Hose Schuh
12
No7
Mirror Split Representation Mirror framed and installed in the corner
Part 2 Room 6 and 8 Comparative Contemporary Art
4-channel sound installation
De-grammatical Listen to mp3 audio excerpts
13
Front
2 CT (shelfbenches) Acryl auf Pappelsperrholz
Back Pull Over Yukme Shirley Hall outside
14
Pull Over Yukme Shirley Hall inside
Fabric wall silk print by (Tlinglet Artist) Yukme Shirley Hall
Wo ist Elise Richter wo ist
id99149429 pdfMachine by Broadgun Software - a great PDF writer - a great PDF creator - httpwwwpdfmachinecom httpwwwbroadguncom
Im Arkadenhof der Universitaumlt Wien stehen 154 Buumlsten von bedeutenden Wissenschaftlern der
Universitaumlt Wien (1700-2005) Bedauerlicherweise findet sich unter ihnen keine einzige Frau Eine temporaumlre Buumlste einer anonymen Wissenschaftlerin soll die systematische Ausblendung von Frauen
aus der Universitaumltsgeschichte thematisieren Die offene Web- Plattform (wwweliserichterat) ermoumlglicht allen Benutzern aktiv an der Umschreibung der Universitaumltsgeschichte und an re-imaging Prozessen der Repraumlsentation dieser Buumlsten teilzunehmen Weiters wird die Verbindung von raceclassgender und einer akademischen Kariere in diesem Zusammenhang hinterfragt We can never really change any form of social organisation without challenging all that organisations forms of
language (Debord)
Within the patriarchal structures of the Arkadenhof at the University of Vienna stand 154 busts of important scientists (1700-2005) Unfortunately none of these busts are women Through the placement of a temporary bust of an anonymous female scientist it declares the absence of them within the history of the university As well the anonymous bust embodies the presence of important scientists who have not yet been given equal representation The open web-platform (wwweliserichterat) allows every user to participate in this discourse to re-write the history of the university and to re-image the representation of these busts through a wiki system
Skizze Buumlste einer anonymen Wissenschaftlerin
Mein Interesse besteht nicht darin zu recherchieren welche Buumlsten von Wissenschaftlerinnen im Arkadenhof fehlen sondern das Fehlen der Wissenschaftlerinnen im Zeitraum von 1700 bis 2005 aufzuzeigen und Strukturen fuumlr eine oumlffentliche Kommunikationsplattform zu schaffen In der Genderforschung besteht Konsens daruumlber dass Gender kein Merkmal von Individuen sondern das einer
Institution ist (Connell) zudem ein struktureller Bestandteil einer Gesellschaft ist und dass Gendernormen alle Organisationen durchdringen (Acker)
Grundriss Arkadenhof der Universitaumlt Wien Literatur Acker J (1990) Hierarchies Jobs Bodies A theory of gendered organizations In Gender and Society
Connell R (1998) Gender and Power Society the Person and Sexual Politics Stanford University Press Stanford CA Maisel T (1990) Die Denkmaumller im Arkadenhof der Universitaumlt Wien Biographische Skizzen Wien Quellen Denkmalsakten Archiv der Universitaumlt Wien
Veranstalter Open Mind Projekt Utopie Freiheit httpwwwopenmindat vereinopenmindat Projektautorin Elisabeth Penker elpenkergmxat Bronzeguss Walter Rom Wachsmodel Buumlste Elisabeth Penker Steinsockel Ausfuumlhrung Fa Zehmann Mario Jungbauer Mediendesign Gernot Tscherteu httpwwwrealitylabatwphome gtrealitylabat Techn Umsetzung Christian Langreiter Webpage wwweliserichterat
Elisabeth Penker- Franzengasse 13- 1050 Wien ++43 (0)699 197 193 53 elpenkergmxat
Elisabeth Penker Untitled instruments 1-3 2000-2012
Galerie Georg Kargl Wien Galerie Priestor Bratislava Kuumlnstlerhaus Wien Kibla New
Media Center Maribor HTTP Galerie London Secession Wien Mak Wien Roma
Contemporary Wien
Elisabeth Penker Untiled Instrument Galerie Georg Kargl Wien
Curated by Michael Hall
Elisabeth Penker Untitled instrument 2001 New Media Center Maribor
Elisabeth Penker Untitled instrument 2001 New Media Center Maribor
Elisabeth Penker Untitled instrument Kuumlnstlerhaus Wien curated by Ursula Maria Probst
Live Performance mit Celia Mare
Detail Die BILD_HAU_ER_IN Kuumlnstlerhaus Wien
Live Performance Flower Structure Wiener Festwochen
Elisabeth Penker (Untiled instrument) Van Angh (Cello) Tri Minh Electronics
Elisabeth Penker Live Performance Poetics of space Secession Wien
MAK Nail Structure GRizo Sweet Susie Elisabeth Penker
Elisabeth Penker HTTP Gallery London 2005 curated by Tobi Maier
Elisabeth Penker HTTP Gallery London Live Performance
Elisabeth Penker Untitled Instrument Sonic Structure Kunsthaus Graz curated by Adam Budak amp
Christine Peters
Videolinks
httpwwwyoutubecomusersoundart24
Interview with Video Festwochen
httpbturncom8753interview-elisabeth-penker
Kunsthaus Graz
Protections
Kuratoren Adam Budak und Christine Peters
Elisabeth Penker Poetics of Dead Space
For PROTECTIONS Elisabeth Penker developed a key-sound Poetics of Dead Space which is to a large extent a homage
to Gaston Bachelards seminal book Poetics of Space where the connections between the poetry and the spatial emotions
are analysed Penkers key-sound will guide the viewer through the exhibition mapping the overall identity of the show in
some way controlling the viewers (audio-narrative) route in the maze of art objects events situations but also spatial
voids and unused corners
Fuumlr PROTECTIONS entwickelte Elisabeth Penker einen leitmotivischen Key Sound Poetics of Dead Space der weitgehend
eine Hommage an Gaston Bachelards wegweisendes Buch Poetics of Space darstellt in dem die Verbindungen zwischen
Lyrik und raumlumlichen Emotionen analysiert werden Penkers Key Sound wird das Publikum durch die Ausstellung geleiten
die Identitaumlt der Schau in ihrer Gesamtheit erfassen und in gewisser Weise die (audio-narrative) Route des Publikums im
Labyrinth der Kunstgegenstaumlnde Ereignisse und Situationen aber auch raumlumlicher Leerstellen und ungenutzter Winkel
kontrollieren
A non linear composition 7 mono active speakers are placed through out the Kunsthaus Graz Speaker placement
1 outdoor (entrance) 2 (travelator) 3 (corner with column) 4 (corner with door) 5 (corner) 6 (travelator) 7 (corner with
window)
Poetics of Dead Space Let it grow again 28 51 sec mono
Source material for composition rain sound of dried beans dropping down wood sticks breathing hardly existing
id78338975 pdfMachine by Broadgun Software - a great PDF writer - a great PDF creator - httpwwwpdfmachinecom httpwwwbroadguncom
recording of extinct languages
Poetics of Dead Space Let it grow again 28 51 sec mono
Source material for composition rain sound of dried beans dropping down wood sticks existing recording of extinct
languages
Poetics of Dead Space travelator 1 1min 04 sec mono loop
Source material for composition staff falling down man falling down stairs rattern recording untitled instrument
Background existing recording of extinct languages
Poetics of Dead Space 496 1min 409 sec mono loop
Source material for composition recording untitled instrument Background existing recording of extinct languages
Poetics of Dead Space 129525 1min 4888 sec mono loop
Source material for composition recording untitled instrument Background existing recording of extinct languages
Poetics of Dead Space 129525 1min 4888 sec mono loop
Source material for composition keyboard recording untitled instrument Background existing recording of extinct
languages
Poetics of Dead Space travelator 2 1min 5209 sec mono loop
Source material for composition recording untitled instrument violin Background existing recording of extinct
languages
Poetics of Dead Space2152518125220 1min 3200 sec mono loop
Source material for composition recording untitled instrument Background existing recording of library of extinct
languages
Poetics of Dead Space travelator 1 1min 04 sec mono loop
viewing down from upstairs Source material for composition staff falling down man falling down stairs rattern
recording untitled instrument Background existing recording of extinct languages
Poetics of Dead Space Let it grow again 028 51 sec mono
Source material for composition rain sound of coins wood sticks existing recording of extinct languages
Elisabeth Penker is a Viennese artist and musician working with sound in a sculptural context In her (subjective) tour
Penker approaches the entire anti-exhibition PROTECTIONS from an angle of its position and significance in the context
of Sound Art as located on the crossway between visual arts language and music Starting from her own house turned
into First Nation Pavillion which amongst others aims at connecting the recent discourse on cultural translation with
early avant-garde phonetic experiments Penker maps the sonic structure of Kunsthaus Graz and its (live) architecture
which for PROTECTIONS hosts an array of interdisciplinary projects with a strong audio-quality from Herwig Weisers
Death Before Disco (a micro-architecture of hyper-technological and electronic pop) through a newly created choir of
security guards for Tim Etchells Wall of Sound down to a cacophonic layers of anonimous noise generated by the
space itself and the presence of audience
Die Wiener Kuumlnstlerin und Musikerin Elisabeth Penker arbeitet mit Klang im Zusammenhang mit Bildhauerei In ihrer
(subjektiven) Fuumlhrung naumlhert sie sich der Anti-Ausstellung PROTECTIONS aus einem Blickwinkel der die Position und
Bedeutung der Klangkunst an der Kreuzung zwischen bildender Kunst Sprache und Musik verortet Von ihrem eigenen
Haus ausgehend das sich in den First Nation Pavilion verwandelt hat der u a den aktuellen Diskurs uumlber kulturelle
Uumlbersetzung mit fruumlhen phonetischen Experimenten der Avantgarde verbinden soll entwirft Penker die klangliche
Struktur des Gutshauses und seiner (Live-)Architektur die fuumlr PROTECTIONS eine Reihe von interdisziplinaumlren Projekten
mit einer starken Affinitaumlt zum Klang beherbergt von Herwig Weisers Death Before Disco (eine Mikroarchitektur aus
hyper-technoidem und elektronischem Pop) uumlber einen neu formierten Chor bestehend aus Security Guards fuumlr Tim
Etchells Wall of Sound bis zu einer Kakophonie aus anonymen Geraumluschen die vom Raum selbst und der Anwesenheit
des Publikums erzeugt werden
052813
Local Warming ATHENS
052813
AFTER A YEARLONG HIATUS the eighteenth Art-Athina hit the ground running on the evening of Thursday May 16 and the former Olympic
ldquoTae Kwon Dordquo Pavilion was packed with enthusiastic party people The fair had a more national flavor than ever this year under its new
director Alexis Caniaris the son of recently deceased artist Vlassis Caniaris whose iconic modern work has recently found great success on the
international market Of the very few foreign galleries exhibiting most were Greek-owned The Breeder gallery was dealing with the perceived
drop in the market by selling fantastic multiples by artists like Stelios Faitakis Jannis Varelas and Andreas Angelidakis at crisis-appropriate
prices ldquoNobody wants to come here now but I have already met three interested billionaire collectors today And if Greeks like you they
introduce you to their billionaire friendsrdquo raved Cologne dealer Mirko Mayer a seven-time exhibitor ldquoThat is what nobody knows There are
at least one-hundred billionaires collecting hererdquo Most international collectors were delayed several hours due to a union strike a de r igueur
mode of arrival in contemporary Greece
It was impossible to miss the exuberant activities of the DaDa Da restaurant a Greek-Austrian collaboration where artist Albert Mayr was
waving a skillet and raving nonsense while Lucas Willmann tenderized pink fillets for Wiener schnitzel ldquoThis is Viennese Actionism lightrdquo
quipped critic Sotirios Bahtsetzis Artist Natasha Papadopoulos added ldquoBut here there are hungry Greeks waitingrdquo On a table with a rotating
Sacher tort by Heacutelegravene van Duijne a sign carried the overwhelming spirit FUCK ART LETrsquoS EAT SOUVLAKI An insistent electronic beat and
pulsating light emanated from the next booth the American College of Greecersquos ldquoAthensUrgentrdquo while hooded performer Manos Tsatiris
stood against the wall with his hands tied perhaps a metaphor for the current Athenian exigency ldquoThis is not the kind of art fair scene we are
used tordquo said the Economou Collectionrsquos Annie-Claire Geisinger watching the madness
Left Artists Elisabeth Penker Michela Pelusio Petros Touloudis Panos Papadopoulos and Nino Stelzl Right Collector Anne-Marie Ros
Down on the floor the dealers seemed pleased particularly given dismal expectations having already sold a great deal at the preview Young
Rotterdam-based gallery Joey Ramone had sold sculptures by Fotini Gouseti to English and Belgian collectors dealer Erik Mulier had also sold
some work to Belgians Marc Van den Hende said he had bought a triptych by Eirene Efstathiou and was considering a Vlassis Caniaris piece
from the 1970s ldquoI saw some surprisesmdashyoung Greek artists I did not knowmdashand great new galleries like Elika and CANrdquo Dutch collector
Anne-Marie Ros said By the end of the day Dimitra and Sofia Vamiali reported that they had not seen one Greek collector although another
reported a Dakis Joannou sighting mdash Cathryn Drake
SEARCH
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SEATTLE
WEEKLY
in the News
Columnist
Geov Parrish
is a regular
guest on
Mind Over
Matters on
KEXP-FM
(903)
Saturdays at
830 am and
provides news
commentary
on KBCS-FM
(913) Fridays
at 430 pm
Catch writers
Steve
Wiecking Tim
Appelo and
ARTS
March 30 - April 5 2005
Picking Up the Thread
Howard House ties together the best new conceptual art from Vienna
by Elise Richman
Franz Wests Mercury
(Howard House Contemporary Art)
Theres a German expression to lose the red thread which means losing
ones train of thought In its current show Howard House has found that
thread Julie Ryan a curator artist and writer organized The Red
Thread Glimpses of International Art in Vienna a two-part exhibition
featuring artists working and living at least part time in Austrias capital
Part one of the show is at Howard House the second half is currently on
display at the Educational Alliance Gallery in New York
Vienna has become a magnet for artists from all over the world including
the 15 individuals and artist teams that are part of The Red Thread
Excellent artist residency programs a low cost of living and living art
legends like Franz West are just a few of the reasons
An artistic collaboration with West took Ryan from New York to Vienna
She knows Billy Howard who runs Howard House from the University of
Washingtons School of Art And so the figurative string was strung
connecting the East and West coasts with artists from across the Atlantic
This is a complex exhibit whose emotional tenor ranges from cool
detachment to an almost urgent earnestness Unlike the formal richly
historical city that connects them artists in The Red Thread favor informal
approaches to art making use disposable materials and comment on
contemporary cultural themes
West has two formidable sculptures at Howard House The front room of the
gallery features Mercury (pictured) an ungainly behemoth composed of a
patchwork of fused metal Like many of Wests sculptures Mercury is
meant as an interactive structure that viewers can climb and sit on Bulbous
Gavin
Borchert
discussing
theater film
and music
regularly on
classical
KING-FM
(981)
Mark Fiore
Cartoons
Every
Thursday
nodules extend from its horizontal base and the seams of the dark maroon
metal look like scars rendering it at once vaguely obscene and absurdly
playful
Sisyphus the other West sculpture on display is a bulky conglomeration of
bits and wads of paper propped in the back room on a makeshift plinth (base
block) Though its as solid as the boulder its title references its surface is
like oozing skin partly coated with poured murky paint partly cloaked in
small clumps of newspaper detritus
The strenuous act of making each of these sculptures is eminently apparent
and central to the content of Wests work West considers creation a
symbolic act As you might expect he likens the artistic process to the plight
of Sisyphus the mythological figure who eternally rolled a boulder up a hill
only to have it come crashing back down For West art involves a
Sisyphean search for what he calls the absolute through the seemingly
senseless accumulation of materials However unlike Sisyphus futile quest
Wests process can lead to epiphany making sense of the senseless
Similarly Viennese artist Elisabeth Penkers art serves a facilitative
function easing the act of translation Penker uses Haida iconography in her
multimedia work because it provides potent visual symbols that
communicate single words and whole sentences simultaneously Her prints
at Howard House feature fragments of icons floating in the papers white
space They are spare visually arresting characters that employ an
iconographic language as encoded symbols of communication
Also featured in The Red Thread is Donald Baechler an internationally
known American painter who spends extended periods of time in Vienna
Baechler equalizes his imagery by painting it all in the same style For him
the source of an image doesnt matter whether its a drawing by Picasso or
graffiti on a bathroom wall What matters is the newfound context his
paintings provide
Victory by Default is part of Baechlers Skull series In this piece a painted
skull gapes from the dirty yet sensuous confines of a large canvas Terry
cloth and wrinkled rags provide literal texture and reference the world
outside the paintings boundaries Splatterings of color around the skull like
the self-conscious marks of Jasper Johns seem to express the language of
paintingmdashhue and gestural strokesmdashin a factual rather than illusional
manner
Another American painter Lisa Ruyter lives half-time in Vienna where she
runs an influential gallery She works from photographs projected onto
large-scale canvases tracing the contours of the projected imagery with
consistent black outlines In a way that seems arbitrary she paints the shapes
formed by her contour lines in flat designer colors Man of Means based on
a photo of fashion photographers looks like a scrambled color-by-numbers
painting I cant do justice to the unusually rich assortment of conceptual art
in The Red Thread Youll just have to see it for yourself Thomas
Baumans thrashing triangular foil blanket Walter Seidls slide show of
staged snapshots Markus Schinwalds photograph of a contortionist and the
other thoughtful works connected by The Red Thread
The Red Thread Glimpses of International Art in Vienna runs through
April 30 at Howard House 604 Second Ave 206- 256-6399 1030 amndash5
pm TuesndashSat Free
KUNSTFORUM
Parallelwelten fuumlr Parlamentarier Ausstellung
Von Brigitte Borchhardt-Birbaumer
Ende Oktober endet die Zusammenarbeit von Nationalratspraumlsident Andreas Khol und Peter Pakesch Direktor des Kunsthauses Graz am Joanneum Seit 2003
hatte Pakesch als Kurator mehrere Ausstellungen in den Sitzungssaumllen des Parlaments in Zusammenarbeit mit Galerien initiiert und namhafte Positionen
ausgewaumlhlt Kriterium fuumlr Praumlsentationen war die Praumlsenz durch eine Schau in einer der bekannten Kunstinstitutionen des Landes Nach Eva Schlegel Adriana
Czernin Maria Lassnig oder Esther Stocker sind dies nun bis April 2007 Josef Dabernig Daniel Hafner Ulrike Lienbacher Alois Mosbacher und Elisabeth
Penker
Das Parlament kann dabei durch die Margaretha-Lupac Stiftung immer eine Arbeit fuumlr die wachsende Sammlung des Hauses ankaufen Zuletzt war das ein
groszliges Oumll-Acryl-Gemaumllde der Georg-Eisler-Preistraumlgerin Maja Vukoje zuvor Johanna Kandl deren Temperabild derzeit an das Lentos in Linz geliehen wird
Einige Werke haumlngen schon als kuumlnstlerische Wegweiser in den Gaumlngen des Hauses und sind auch Blickfang fuumlr die 120000 Besucher die pro Jahr das
Parlament besuchen In die Architektur von Theophil Hansen mit ihrer zeitlosen Qualitaumlt fuumlgt sich die Gegenwartskunst kongenial
Hoffnung fuumlr spaumlter
Die derzeitige Zusammenstellung macht Hoffnung auf eine Fortsetzung unter der naumlchsten Praumlsidentschaft Fotografie Computerkunst Malerei Zeichnung
und Skulptur weisen auf die Vielfalt der Werkstoffe in der Gegenwartskunst Elisabeth Penker parallel im Kunsthaus Graz zu sehen baut schwarzweiszlige
Objekte aus bemaltem Holz die in ihrer seriellen und geometrischen Anordnung auf Bezuumlge zum Performativen und auf die Musik hinweisen
Noch juumlnger ist Daniel Hafner mit seinen am Computer komponierten digitalen Drucken Morphosentransformationen von 2006 Linienraster und
Raumkonstruktionen in subtiler Farbigkeit verbinden Tendenzen der fruumlhen Op-Art mit dem Cyber-Lab
Um konstruierte Realitaumlten geht es auch in den groszligformatigen Oumllbildern von Alois Mosbacher dem bekannten Vertreter der Neuen Wilden der
Achtzigerjahre in Oumlsterreich Wanderer in Wald und Wiese erzaumlhlen die Geschichten alternativer Welten die sich mancher in der Gesellschaft als Parallele
konstruiert
Zwei Fotofriese von Josef Dabernig bilden jeweils ein Panorama von oumlffentlichen Plaumltzen auf denen es zum einen um Fuszligball geht Zum anderen ist der
Rundblick in das Oval einer scheinbaren Arena auch eine Art Sehschule fuumlr die Betrachter Ein sozialer Befund ist die dritte Bedeutungsebene
Ulrike Lienbacher die heuer mit einer groszligen Schau im Innsbrucker Taxispalais ihre Karriere fortsetzt ist mit ihren feinlinigen Tuschezeichnungen den kleinen
oft unsichtbaren Zwaumlngen in unserer Gesellschaft auf der Spur Im Lokal II des Parlaments stellt sie zwar nicht ihre Objekte und Fotos aber einige
groszligformatige Blaumltter mit Frisurenvariationen neben teils fragmentierten Frauenkoumlrpern im Umgang mit Schmutz und Hygiene aber auch Fitnesskult aus
Disziplinierung und Kontrolle betreffen in der Oumlffentlichkeit besonders den weiblichen Koumlrper Sauberkeitsmechanismen weisen auch auf Vorstellungen von
wertvoll und minderwertig hin Ihre Transformationen enthalten wie die Themen der anderen subtile Kritik und sind daher vom Kurator uumlberlegt positioniert
Zeitgenoumlssische Kunst
im Parlament
Bis April 2007
Kurator Peter Pakesch
Konfrontationen
Dienstag 10 Oktober 2006
ltlt 2003 | 2004 Jan Feb Mar Apr May Jun Jul Aug Sep Oct Nov Dec 2004 | 2005 gtgt
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31
Sunday 17 October 2004
TIME
TITLE
NAME
700 Indymedia ESF breakfast show Indymedia London
Highlights news and views from the European Social Forum and the
autonomous spaces and initiatives taking place this week
website
800 Resonance Radio Art Riot Breakfast International
Radio Art
A five part special of the Harmon E Phraisyar show commissioned for
Kunstradio in Austria starts off the morning broadcast of international radio
art
website
1100 Resonance Live from the Frieze Art Fair Anna Colin amp
Tobi Maier
1100 Chris Weaver Resonance 1044FM live electronics set with James Dunn and
Robin Warren
1130 Michael Hall gallery Vienna presents audio works by artist Elisabeth Penker
1200 Maria Fusco presents latest the Bookworks commissions
1300 The Psychology of Collecting live broadcast of the frieze art fair panel
discussion
Is collecting an irrational act guided by compulsion and desire What are the use of
objects What are the motivations behind making collecting curating and
criticizing art A discussion of the psychology of collecting and the politics of taste
Hilary Rubenstein (Psychologist)
Eric Troncy (Art Critic and Director Le Consortium Dijon)
Haim Steinbach (Artist)
Chair Alice Rawsthorn (Director Design Museum)
1500 Portable live set and presentation of sudelectronic records London
1600 Where is Adventure What is Culture live broadcast of the frieze art fair
website
panel discussion
A discussion of the relationship of art to entertainment touching on the comedic
being popular and failing miserably
Trisha Donnelly (Artist)
Christian Jankowski (Artist)
David Robbins (Writer amp Artist)
Nancy Spector (Curator of Contemporary Art Solomon R Guggenheim Museum)
Chair Matthew Higgs (Curator CCA Wattis Institute for Contemporary Arts)
1800 Melissa Bent from Rivington Arms gallery New York in conversation with
artist Dan Colan and Tobi Maier Anna Colin
1830 VOX pop recordings from the fair with Sharon Gal
1900 Resonance Radio Art Riot Sarah
Washington
The Resonance Radio Art Riot brings together some of the foremost radio artists
and thinkers from around the world The studio lab situation will feature round
table discussions live performances and streamed events
Tonight Radio Text
Events Live broadcast from Sonic Arts Network Resonance benefit featuring
Henri Chopin studio performances from Julia Lee Barclay and Aude Tournay plus
Special Features None present live concrete radiophonics - Planning For
Emergencies
Guests include Clive Graham Chris Weaver Richard Thomas Toby Clarkson
John Lovett Robin Warren and James Dunn
Topics The word as art Sound poetry text performances
At Midnight Tom Wallace present exclusive excerpts from radio art pioneer
Gregory Whitehead
website
000 Resonance Radio Art Riot Nights International
Radio Art
The Resonance Radio Art riot continues throughout the night with the finest of
international radio art Resonance FM programme makers and our international
guests have put together many special hours of classic and obscure radio
works
website
- EPenkerDocumentationpdf
-
- 2bAusstellungenPublicaSpaceEPenkerpdf
-
- 2cUntitled_InstrumentsKunsthausGrazEPenker
- 2bpoeticsKunsthaus GrazEPenker
-
- 4PresseEPenkerpdf
-
- 4Review_Seattle Weekly
-
First Nations Pavillon
Polysynthetische Doppelperspektive Claude Levi-Strauss 2006
Fotocollage C-Print gerahmter Spiegel
6-teilig
3 x 405 x 305 cm
2 x 245 x 305 cm
1 x 605 x 485 cm
Ed23 + 2 AP
A framed mirror from ldquoFirst Nations Pavilionrdquo is placed in the corner of the log-in space to place the viewer physically in the space cutting the reflection of the gaze as well mirrors a profile view of the installed
photographs The photo-series relates to polysynthetic language morphology (of the Inuit First Nations Maori and Caduveo Indians) and translates within the photographic image their structural common visual grammar Because they would create a frontal view which was made out of 2 (split) profile views thereby creating a 4-dimensional perspective that anticipatedparallels Cubism who later presented multiple perspectives within one image which intended to represent movement through time and space Specific references are in the related pdf upon request
at Galerie naumlchst St Stephan
Log [Baumstamm] 2010
Archivierung der Raumfarbe
Split Representation
Claude Levi-Strauss 2009
C-Print
5-teilig je 245 x 305 cm
Ed15 + 2 AP
The camera positions of a right angle mirror bdquoSplit Representationrdquo were chosen by E Penker in the way that the
flash is not in the image the photos are made utilizing a right angle mirror which both fragments and reflects the
image creating multiple or a split perspective EP
Bench-Shelf 2003
Acryl auf Pappelsperrholz
46 x 151 x 42 cm
The bench which is the earliest work in the exhibition mirrors the bottom and the top seating elements thereby
giving the object an asymmetrical appearance The bench-shelf was originally designed for a video archive was
later used by museum staff (in Porto) as gallery furniture
composition (or view) Numerous contemporary artists eg Donald Judd have related the ShakersAmish radical functionalism to their sculptural practice
Poetics of Dead Space 2 2009-2010
2 Kanaumlle einer 8-Kanal-Composition mono
Metallstativ Speaker Yamaha MSP3 CD-Player
H 133 cm
Ed 13
The non-linear 8-channel composition ldquoPoetics of Dead Space 2rdquo introduces polysynthetic language morphology
combined by the melody which is composed from pre-existing recordings of extinct languages and Penker‟s self-
made instrument ldquoUntitled Instrument sonic structurerdquo (see PDF and re lated essay written by E Penker at
Resonance fm Magazine upon request at Galerie naumlchst St Stephan)
The channel which is upstairs installed uses an existing wall as an acoustic filter and introduced sub-
consciousness polysynthetic language morphology into the gallery space The title refers to the book poetic of
space within unused architectural situations of exhibition spaces bdquo A Blind Spot (dead angle - Toter Winkel) has a
different meaning in terms of acoustics and cannot be compared with the visual context where blind spot is used
primarily in conversations
In musicsound production in film the visual blind spot is used very often by hearing a bike roller plane without
seeing it In everyday life we are used and depending by acoustic blind spots for our orientation of the situation
and space we are in at the moment Architectural acoustic issues play an important role during the time of the
composition ldquoPoetic of Dead Space 2rdquo is a context specific composition and deals with polysynthetic language
morphology recordings of the untitled instrument Sonic structure and acoustic exhibition architecture besides
issues which are depending of the unused architecture and their acoustics
Galerie naumlchst St Stephan
Aneta Grzeszykowska Elisabeth Penker
220110 bis 060310 Auf den Spuren gesellschaftlicher
Ordnungssysteme
Die beiden Ausstellungen von Aneta Grzeszykowska in den Galerieraumlumen
und Elisabeth Penker im Projektraum bdquoLOGINldquo sprechen unterschiedliche
Sprachen Momente der Beruumlhrung ergeben sich lediglich durch die
Auseinandersetzung der beiden Kuumlnstlerinnen mit Systembildungen und
gesellschaftlich bedingten Agglomerationen von Bedeutungen Waumlhrend der
Blick der in Warschau lebenden Kuumlnstlerin Aneta Grzeszykowska
psychologisch und kulturell bestimmt ist laumlsst sich das Verfahren der in
Wien und Rom lebenden Elisabeth Penker als ethnografisch und linguistisch
fundiert umschreiben Im Nebeneinander der beiden Positionen bilden sich
schaumlrfende Kontraste
Aneta Grzeszykowskas Interesse gilt dem Privaten in verschiedenen
visuellen Uumlbersetzungen Etwa kartografierte sie mit dem Warschauer
Kuumlnstler Jan Smaga in einer Fotoserie Wohnungen aus der Vogelperspektive
um eine intime Geschichte der Stadt uumlber die Anordnung von Raumlumen
Moumlbeln und Gebrauchsgegenstaumlnden zu erstellen Nun begibt sie sich mit
dem Film bdquoBirthdayldquo auf die Ebene fruumlhkindlicher Begegnungen mit dem
Unheimlichen Gedreht wurde er in der Art privater Dokumentationen zur
Feier des eigenen Nachwuchses anlaumlsslich eines Kindergeburtstags Durch
kommentierende Eingriffe wie die Animation sonst unbeweglicher
Gegenstaumlnde uumlbt die Kuumlnstlerin Kritik an den Konventionen und betont so
das Monstroumlse solcher Ereignisse In der Doppelboumldigkeit von inszenierter
Kindheit und Abgruumlndigem ist auch eine Reihe monochromer dunkler
Figurinen aus Stoff angesiedelt Dass diese bekleidet sind wie
Grzeszykowska in ihrer Kindheit verweist auf Versuche Dramatisches uumlber
die aumlsthetische Formalisierung zu bearbeiten Eine Fotografie mit dem durch
die Hand Grzeszykowskas unabsichtlich verletztem Auge ihres kleinen
Bruders und eine maumlrchenhaft anmutende Reliefskulptur mit einem Maumldchen
auf einem Hund aus stacheligen Distelbluumlten erzaumlhlen davon
Tiefenbohrungen zum Kern semantischer Ordnungen unternimmt dagegen
Elisabeth Penker im Kontext der Ausstellungsserie LOGIN in einem
ehemaligen Geschaumlftslokal und im Foyer der Galerie selbst Bekannt ist die
Kuumlnstlerin und Musikerin Elisabeth Penker etwa durch ihre Intervention im
Arkadenhof der Universitaumlt Wien mit einer Buumlste der oumlsterreichischen
Romanistin und ersten Universitaumltsprofessorin Elise Richter Diese leite das
phonetische Institut bis zu ihrer Deportation ins Ghetto Theresienstadt durch
die Nationalsozialisten und war in der patriarchalischen Ordnung der
steinernen Koumlpfe der Universitaumlt ndash ebenso wie die Leistungen von Frauen
generell ndash bis dahin kein Thema gewesen In der Ausstellung bdquoProtectionsldquo
im Kunsthaus Graz thematisierte Penker mit ihrem bdquoFirst Nation Pavillonldquo die Hegemonie des durch den
Kolonialismus gepraumlgten Blicks auf auszligereuropaumlische Gesellschaften
Stets sind ihre Annaumlherungen auf die Generierung von Bedeutungen im Sinne von Grammatiken
ausgerichtet Dementsprechend leitmotivisch fungiert ein Portraumlt des kuumlrzlich verstorbenen Ethnologen
Claude Leacutevi-Strauss in der Rauminstallation mit integrierter Soundkomposition Die gespiegelte und
mehrfach aufgefaumlcherte Fotografie von Leacutevi-Strauss in bdquopolysynthetischer Doppelperspektiverdquo laumlsst sich
als Verschneidung von Sprachlichem Klanglichen und Visuellen lesen
Eine Archaumlologie im Feld der Linguistik wie auf Materialebene fuumlhrt die Signifikanten auf engstem Raum
zusammen Triviale Vierkanthoumllzer beispielsweise wurden in genau jenen Farben lackiert die Penker als
uumlbereinander gelagerte Sedimente unter der Dispersion der Waumlnde freilegte Die laumlnglichen Houmllzer
beziehen sich auf den englischen Ausdruck bdquologldquo fuumlr Stamm und somit auch auf die Ausstellungsreihe der
Galerie Bemerkenswert dass ein Wort das bloszlig aus einem Morphem besteht einen Gegenstand
repraumlsentiert So baut sich uumlber eine Reihe weiterer Objekte wie etwa den bdquoHanging Chairsldquo aus dem
Fundus der Galerie ein elementares Netzwerk von Bezuumlgen auf Mit ihren Werken und abstrakten Sound-
Kompositionen dringt Elisabeth Penker kritisch forschend in die Makrobereiche von Grammatiken vor um
Potentiale semantischer Anbindungen in Nachbarsystemen freizulegen Roland Schoumlny
Elisabeth Penker Einzelausstellung MAK CAT TOWER Kurtaiert von Andreas Kristof
ldquoPassive Orchestrardquo 2008 8-Channel-Toninstallation Die Interpretation von Soundart sieht Penker in der Uumlberschneidung von Sprache-visueller Kunst und Musik und ist zumeist mit einer visuellen raumlumlichen Komponente verbunden Der Betrachter und Zuhoumlrer befindet sich in
einer Konzert-Situation statt Instrumenten sieht er nur Lautsprecher die auf unterschiedlichen Houmlhen auf einer grauen Wand positioniert sind Passiv Orchestra beruht in der Struktur auf die grammatische Einteilungen von Sprachen die in phonetische Minimaleinheiten dekonstruiert sind und wird uumlber eine Mehrkanal Matrix gespielt Elisabeth Penker referiert in dieser eigens fuumlr den Flakturm konzipierten Arbeit auf dadaistische Methoden der Sprachdekodierung die auch als ein klares Anti-Kriegs-Statement zu verstehen waren
1
Kunsthaus Graz
Protections
Kuratoren Adam Budak und Christine Peters
Elisabeth Penker
First Nation Pavilion
Der First Nation Pavilion von Elisabeth Penker unternimmt den Versuch einen Bereich fuumlr ein koloniales
Bewusstsein der europaumlischen Vergangenheit zu schaffen und einen utopischen Raum fuumlr neue Vorstellungen
von einer Mannigfaltigkeit an kulturellen Formen in der zeitgenoumlssischen Kunst Die Komposition de-
grammatical ein Bestandteil des First Nation Pavilion beruht in ihrer Struktur auf den grammatischen
Einteilungen der Sprachen die in phonetische Minimaleinheiten dekonstruiert sind und wird uumlber eine
nichtlineare 5-Kanal-Matrix gespielt
Penker untersucht moumlgliche Uumlberschneidungen zwischen der Sprache der Musik und der Bildstruktur wobei ihr
Hauptaugenmerk polysynthetischen Sprachen (First Nations und Pazifische Inseln) gilt sowie dem Vergleich
zwischen der Kunst von First Nations und der Modernen Kunst Erst in juumlngerer Zeit in der Aumlra des
Postkolonialismus hat der Diskurs der kulturellen Uumlbersetzung Fragen aufgeworfen mit denen man sich schon
in den phonetischen Experimenten des Dadaismus in den 1910er und 1920er Jahren beschaumlftigt hatte sowie
spaumlter in der Konzeptkunst der 1960er und 70er Jahre
Elisabeth Penker
First Nation Pavilion
The First Nation Pavilion by Elisabeth Penker attempts to set-up an area for colonial consciousness of the
European past and a utopic space for re-imagining a plurality of cultural forms in contemporary art The
composition entitled de-grammatical contained within the First Nation Pavilion is structurally-based on the
grammatical classifications of languages deconstructed into minimal phonetic units played within a non-linear
5-channel matrix
Penker is questioning the possible overlaps between music-language and visual structure within the primary
focus on polysynthetic languages (First Nation and Pacific Islands) and First Nation Art compared to Modern Art
More recently in the age of post-colonialism the discourse of cultural translation is arising questions that have
also been experimented by the Dadaists phonetic experiments in the 1910-20s and later in Concept Art of the
1960s-70s Text Adam Budak
Michael Elmgreen amp Ingar Dragset (the work of two other invited artists) offered Penker a typical prefabricated
house as her exhibition space within the Kunsthaus
id31403916 pdfMachine by Broadgun Software - a great PDF writer - a great PDF creator - httpwwwpdfmachinecom httpwwwbroadguncom
2
Elisabeth Penker Fisrt Nations Pavilion 2006
Change of floor plan of the prefabricated house by Michael Elmgreen amp Ingar Dragset
Entrance door Fisrt Nations Pavilion
3
Part 1 Colonial Conciseness in visual art
Room 1 and 3 Modernism=Imperialism after Henry Flynt Demolish serious culture
Woman as a the last Colony Rosa Luxenburg Veronika Bennholdt-
Thomsen Claudia von Werlhof und Maria Mies
4
Vinyl letters C-Print
5
6
Polysynthetische Doppelperspektive 1 Claude Levi- Strauss
Photocolloage C-Print
7
Polysynthetische Doppelperspektive 2 Claude Levi-Strauss
Photocolloage C-Print
9
Polysynthetische Doppelperspektive 4 Claude Levi Strauss
Photocolloage C-Print
2 prints Installed in corner
Installation view Polysynthetische Doppelperspektive 1-4 Claude Levi- Strauss
The visual grammar and its double perspective (split representation) of Haida Gwai and Tlinglet Art (First Nation
Art) is re-collaged with a photograph of Pablo Picasso comparing Cubism (early Modernism) with First Nation Art
and questioning its similarities of double perspectives
10
Room 4 and 5
Room 4
11
Luicide List The museum as an imperial graveyard
C-Print
Colonial after effects of Luicide
Gips Metallkette Hose Schuh
12
No7
Mirror Split Representation Mirror framed and installed in the corner
Part 2 Room 6 and 8 Comparative Contemporary Art
4-channel sound installation
De-grammatical Listen to mp3 audio excerpts
13
Front
2 CT (shelfbenches) Acryl auf Pappelsperrholz
Back Pull Over Yukme Shirley Hall outside
14
Pull Over Yukme Shirley Hall inside
Fabric wall silk print by (Tlinglet Artist) Yukme Shirley Hall
Wo ist Elise Richter wo ist
id99149429 pdfMachine by Broadgun Software - a great PDF writer - a great PDF creator - httpwwwpdfmachinecom httpwwwbroadguncom
Im Arkadenhof der Universitaumlt Wien stehen 154 Buumlsten von bedeutenden Wissenschaftlern der
Universitaumlt Wien (1700-2005) Bedauerlicherweise findet sich unter ihnen keine einzige Frau Eine temporaumlre Buumlste einer anonymen Wissenschaftlerin soll die systematische Ausblendung von Frauen
aus der Universitaumltsgeschichte thematisieren Die offene Web- Plattform (wwweliserichterat) ermoumlglicht allen Benutzern aktiv an der Umschreibung der Universitaumltsgeschichte und an re-imaging Prozessen der Repraumlsentation dieser Buumlsten teilzunehmen Weiters wird die Verbindung von raceclassgender und einer akademischen Kariere in diesem Zusammenhang hinterfragt We can never really change any form of social organisation without challenging all that organisations forms of
language (Debord)
Within the patriarchal structures of the Arkadenhof at the University of Vienna stand 154 busts of important scientists (1700-2005) Unfortunately none of these busts are women Through the placement of a temporary bust of an anonymous female scientist it declares the absence of them within the history of the university As well the anonymous bust embodies the presence of important scientists who have not yet been given equal representation The open web-platform (wwweliserichterat) allows every user to participate in this discourse to re-write the history of the university and to re-image the representation of these busts through a wiki system
Skizze Buumlste einer anonymen Wissenschaftlerin
Mein Interesse besteht nicht darin zu recherchieren welche Buumlsten von Wissenschaftlerinnen im Arkadenhof fehlen sondern das Fehlen der Wissenschaftlerinnen im Zeitraum von 1700 bis 2005 aufzuzeigen und Strukturen fuumlr eine oumlffentliche Kommunikationsplattform zu schaffen In der Genderforschung besteht Konsens daruumlber dass Gender kein Merkmal von Individuen sondern das einer
Institution ist (Connell) zudem ein struktureller Bestandteil einer Gesellschaft ist und dass Gendernormen alle Organisationen durchdringen (Acker)
Grundriss Arkadenhof der Universitaumlt Wien Literatur Acker J (1990) Hierarchies Jobs Bodies A theory of gendered organizations In Gender and Society
Connell R (1998) Gender and Power Society the Person and Sexual Politics Stanford University Press Stanford CA Maisel T (1990) Die Denkmaumller im Arkadenhof der Universitaumlt Wien Biographische Skizzen Wien Quellen Denkmalsakten Archiv der Universitaumlt Wien
Veranstalter Open Mind Projekt Utopie Freiheit httpwwwopenmindat vereinopenmindat Projektautorin Elisabeth Penker elpenkergmxat Bronzeguss Walter Rom Wachsmodel Buumlste Elisabeth Penker Steinsockel Ausfuumlhrung Fa Zehmann Mario Jungbauer Mediendesign Gernot Tscherteu httpwwwrealitylabatwphome gtrealitylabat Techn Umsetzung Christian Langreiter Webpage wwweliserichterat
Elisabeth Penker- Franzengasse 13- 1050 Wien ++43 (0)699 197 193 53 elpenkergmxat
Elisabeth Penker Untitled instruments 1-3 2000-2012
Galerie Georg Kargl Wien Galerie Priestor Bratislava Kuumlnstlerhaus Wien Kibla New
Media Center Maribor HTTP Galerie London Secession Wien Mak Wien Roma
Contemporary Wien
Elisabeth Penker Untiled Instrument Galerie Georg Kargl Wien
Curated by Michael Hall
Elisabeth Penker Untitled instrument 2001 New Media Center Maribor
Elisabeth Penker Untitled instrument 2001 New Media Center Maribor
Elisabeth Penker Untitled instrument Kuumlnstlerhaus Wien curated by Ursula Maria Probst
Live Performance mit Celia Mare
Detail Die BILD_HAU_ER_IN Kuumlnstlerhaus Wien
Live Performance Flower Structure Wiener Festwochen
Elisabeth Penker (Untiled instrument) Van Angh (Cello) Tri Minh Electronics
Elisabeth Penker Live Performance Poetics of space Secession Wien
MAK Nail Structure GRizo Sweet Susie Elisabeth Penker
Elisabeth Penker HTTP Gallery London 2005 curated by Tobi Maier
Elisabeth Penker HTTP Gallery London Live Performance
Elisabeth Penker Untitled Instrument Sonic Structure Kunsthaus Graz curated by Adam Budak amp
Christine Peters
Videolinks
httpwwwyoutubecomusersoundart24
Interview with Video Festwochen
httpbturncom8753interview-elisabeth-penker
Kunsthaus Graz
Protections
Kuratoren Adam Budak und Christine Peters
Elisabeth Penker Poetics of Dead Space
For PROTECTIONS Elisabeth Penker developed a key-sound Poetics of Dead Space which is to a large extent a homage
to Gaston Bachelards seminal book Poetics of Space where the connections between the poetry and the spatial emotions
are analysed Penkers key-sound will guide the viewer through the exhibition mapping the overall identity of the show in
some way controlling the viewers (audio-narrative) route in the maze of art objects events situations but also spatial
voids and unused corners
Fuumlr PROTECTIONS entwickelte Elisabeth Penker einen leitmotivischen Key Sound Poetics of Dead Space der weitgehend
eine Hommage an Gaston Bachelards wegweisendes Buch Poetics of Space darstellt in dem die Verbindungen zwischen
Lyrik und raumlumlichen Emotionen analysiert werden Penkers Key Sound wird das Publikum durch die Ausstellung geleiten
die Identitaumlt der Schau in ihrer Gesamtheit erfassen und in gewisser Weise die (audio-narrative) Route des Publikums im
Labyrinth der Kunstgegenstaumlnde Ereignisse und Situationen aber auch raumlumlicher Leerstellen und ungenutzter Winkel
kontrollieren
A non linear composition 7 mono active speakers are placed through out the Kunsthaus Graz Speaker placement
1 outdoor (entrance) 2 (travelator) 3 (corner with column) 4 (corner with door) 5 (corner) 6 (travelator) 7 (corner with
window)
Poetics of Dead Space Let it grow again 28 51 sec mono
Source material for composition rain sound of dried beans dropping down wood sticks breathing hardly existing
id78338975 pdfMachine by Broadgun Software - a great PDF writer - a great PDF creator - httpwwwpdfmachinecom httpwwwbroadguncom
recording of extinct languages
Poetics of Dead Space Let it grow again 28 51 sec mono
Source material for composition rain sound of dried beans dropping down wood sticks existing recording of extinct
languages
Poetics of Dead Space travelator 1 1min 04 sec mono loop
Source material for composition staff falling down man falling down stairs rattern recording untitled instrument
Background existing recording of extinct languages
Poetics of Dead Space 496 1min 409 sec mono loop
Source material for composition recording untitled instrument Background existing recording of extinct languages
Poetics of Dead Space 129525 1min 4888 sec mono loop
Source material for composition recording untitled instrument Background existing recording of extinct languages
Poetics of Dead Space 129525 1min 4888 sec mono loop
Source material for composition keyboard recording untitled instrument Background existing recording of extinct
languages
Poetics of Dead Space travelator 2 1min 5209 sec mono loop
Source material for composition recording untitled instrument violin Background existing recording of extinct
languages
Poetics of Dead Space2152518125220 1min 3200 sec mono loop
Source material for composition recording untitled instrument Background existing recording of library of extinct
languages
Poetics of Dead Space travelator 1 1min 04 sec mono loop
viewing down from upstairs Source material for composition staff falling down man falling down stairs rattern
recording untitled instrument Background existing recording of extinct languages
Poetics of Dead Space Let it grow again 028 51 sec mono
Source material for composition rain sound of coins wood sticks existing recording of extinct languages
Elisabeth Penker is a Viennese artist and musician working with sound in a sculptural context In her (subjective) tour
Penker approaches the entire anti-exhibition PROTECTIONS from an angle of its position and significance in the context
of Sound Art as located on the crossway between visual arts language and music Starting from her own house turned
into First Nation Pavillion which amongst others aims at connecting the recent discourse on cultural translation with
early avant-garde phonetic experiments Penker maps the sonic structure of Kunsthaus Graz and its (live) architecture
which for PROTECTIONS hosts an array of interdisciplinary projects with a strong audio-quality from Herwig Weisers
Death Before Disco (a micro-architecture of hyper-technological and electronic pop) through a newly created choir of
security guards for Tim Etchells Wall of Sound down to a cacophonic layers of anonimous noise generated by the
space itself and the presence of audience
Die Wiener Kuumlnstlerin und Musikerin Elisabeth Penker arbeitet mit Klang im Zusammenhang mit Bildhauerei In ihrer
(subjektiven) Fuumlhrung naumlhert sie sich der Anti-Ausstellung PROTECTIONS aus einem Blickwinkel der die Position und
Bedeutung der Klangkunst an der Kreuzung zwischen bildender Kunst Sprache und Musik verortet Von ihrem eigenen
Haus ausgehend das sich in den First Nation Pavilion verwandelt hat der u a den aktuellen Diskurs uumlber kulturelle
Uumlbersetzung mit fruumlhen phonetischen Experimenten der Avantgarde verbinden soll entwirft Penker die klangliche
Struktur des Gutshauses und seiner (Live-)Architektur die fuumlr PROTECTIONS eine Reihe von interdisziplinaumlren Projekten
mit einer starken Affinitaumlt zum Klang beherbergt von Herwig Weisers Death Before Disco (eine Mikroarchitektur aus
hyper-technoidem und elektronischem Pop) uumlber einen neu formierten Chor bestehend aus Security Guards fuumlr Tim
Etchells Wall of Sound bis zu einer Kakophonie aus anonymen Geraumluschen die vom Raum selbst und der Anwesenheit
des Publikums erzeugt werden
052813
Local Warming ATHENS
052813
AFTER A YEARLONG HIATUS the eighteenth Art-Athina hit the ground running on the evening of Thursday May 16 and the former Olympic
ldquoTae Kwon Dordquo Pavilion was packed with enthusiastic party people The fair had a more national flavor than ever this year under its new
director Alexis Caniaris the son of recently deceased artist Vlassis Caniaris whose iconic modern work has recently found great success on the
international market Of the very few foreign galleries exhibiting most were Greek-owned The Breeder gallery was dealing with the perceived
drop in the market by selling fantastic multiples by artists like Stelios Faitakis Jannis Varelas and Andreas Angelidakis at crisis-appropriate
prices ldquoNobody wants to come here now but I have already met three interested billionaire collectors today And if Greeks like you they
introduce you to their billionaire friendsrdquo raved Cologne dealer Mirko Mayer a seven-time exhibitor ldquoThat is what nobody knows There are
at least one-hundred billionaires collecting hererdquo Most international collectors were delayed several hours due to a union strike a de r igueur
mode of arrival in contemporary Greece
It was impossible to miss the exuberant activities of the DaDa Da restaurant a Greek-Austrian collaboration where artist Albert Mayr was
waving a skillet and raving nonsense while Lucas Willmann tenderized pink fillets for Wiener schnitzel ldquoThis is Viennese Actionism lightrdquo
quipped critic Sotirios Bahtsetzis Artist Natasha Papadopoulos added ldquoBut here there are hungry Greeks waitingrdquo On a table with a rotating
Sacher tort by Heacutelegravene van Duijne a sign carried the overwhelming spirit FUCK ART LETrsquoS EAT SOUVLAKI An insistent electronic beat and
pulsating light emanated from the next booth the American College of Greecersquos ldquoAthensUrgentrdquo while hooded performer Manos Tsatiris
stood against the wall with his hands tied perhaps a metaphor for the current Athenian exigency ldquoThis is not the kind of art fair scene we are
used tordquo said the Economou Collectionrsquos Annie-Claire Geisinger watching the madness
Left Artists Elisabeth Penker Michela Pelusio Petros Touloudis Panos Papadopoulos and Nino Stelzl Right Collector Anne-Marie Ros
Down on the floor the dealers seemed pleased particularly given dismal expectations having already sold a great deal at the preview Young
Rotterdam-based gallery Joey Ramone had sold sculptures by Fotini Gouseti to English and Belgian collectors dealer Erik Mulier had also sold
some work to Belgians Marc Van den Hende said he had bought a triptych by Eirene Efstathiou and was considering a Vlassis Caniaris piece
from the 1970s ldquoI saw some surprisesmdashyoung Greek artists I did not knowmdashand great new galleries like Elika and CANrdquo Dutch collector
Anne-Marie Ros said By the end of the day Dimitra and Sofia Vamiali reported that they had not seen one Greek collector although another
reported a Dakis Joannou sighting mdash Cathryn Drake
SEARCH
ARTICLES
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SEATTLE
WEEKLY
in the News
Columnist
Geov Parrish
is a regular
guest on
Mind Over
Matters on
KEXP-FM
(903)
Saturdays at
830 am and
provides news
commentary
on KBCS-FM
(913) Fridays
at 430 pm
Catch writers
Steve
Wiecking Tim
Appelo and
ARTS
March 30 - April 5 2005
Picking Up the Thread
Howard House ties together the best new conceptual art from Vienna
by Elise Richman
Franz Wests Mercury
(Howard House Contemporary Art)
Theres a German expression to lose the red thread which means losing
ones train of thought In its current show Howard House has found that
thread Julie Ryan a curator artist and writer organized The Red
Thread Glimpses of International Art in Vienna a two-part exhibition
featuring artists working and living at least part time in Austrias capital
Part one of the show is at Howard House the second half is currently on
display at the Educational Alliance Gallery in New York
Vienna has become a magnet for artists from all over the world including
the 15 individuals and artist teams that are part of The Red Thread
Excellent artist residency programs a low cost of living and living art
legends like Franz West are just a few of the reasons
An artistic collaboration with West took Ryan from New York to Vienna
She knows Billy Howard who runs Howard House from the University of
Washingtons School of Art And so the figurative string was strung
connecting the East and West coasts with artists from across the Atlantic
This is a complex exhibit whose emotional tenor ranges from cool
detachment to an almost urgent earnestness Unlike the formal richly
historical city that connects them artists in The Red Thread favor informal
approaches to art making use disposable materials and comment on
contemporary cultural themes
West has two formidable sculptures at Howard House The front room of the
gallery features Mercury (pictured) an ungainly behemoth composed of a
patchwork of fused metal Like many of Wests sculptures Mercury is
meant as an interactive structure that viewers can climb and sit on Bulbous
Gavin
Borchert
discussing
theater film
and music
regularly on
classical
KING-FM
(981)
Mark Fiore
Cartoons
Every
Thursday
nodules extend from its horizontal base and the seams of the dark maroon
metal look like scars rendering it at once vaguely obscene and absurdly
playful
Sisyphus the other West sculpture on display is a bulky conglomeration of
bits and wads of paper propped in the back room on a makeshift plinth (base
block) Though its as solid as the boulder its title references its surface is
like oozing skin partly coated with poured murky paint partly cloaked in
small clumps of newspaper detritus
The strenuous act of making each of these sculptures is eminently apparent
and central to the content of Wests work West considers creation a
symbolic act As you might expect he likens the artistic process to the plight
of Sisyphus the mythological figure who eternally rolled a boulder up a hill
only to have it come crashing back down For West art involves a
Sisyphean search for what he calls the absolute through the seemingly
senseless accumulation of materials However unlike Sisyphus futile quest
Wests process can lead to epiphany making sense of the senseless
Similarly Viennese artist Elisabeth Penkers art serves a facilitative
function easing the act of translation Penker uses Haida iconography in her
multimedia work because it provides potent visual symbols that
communicate single words and whole sentences simultaneously Her prints
at Howard House feature fragments of icons floating in the papers white
space They are spare visually arresting characters that employ an
iconographic language as encoded symbols of communication
Also featured in The Red Thread is Donald Baechler an internationally
known American painter who spends extended periods of time in Vienna
Baechler equalizes his imagery by painting it all in the same style For him
the source of an image doesnt matter whether its a drawing by Picasso or
graffiti on a bathroom wall What matters is the newfound context his
paintings provide
Victory by Default is part of Baechlers Skull series In this piece a painted
skull gapes from the dirty yet sensuous confines of a large canvas Terry
cloth and wrinkled rags provide literal texture and reference the world
outside the paintings boundaries Splatterings of color around the skull like
the self-conscious marks of Jasper Johns seem to express the language of
paintingmdashhue and gestural strokesmdashin a factual rather than illusional
manner
Another American painter Lisa Ruyter lives half-time in Vienna where she
runs an influential gallery She works from photographs projected onto
large-scale canvases tracing the contours of the projected imagery with
consistent black outlines In a way that seems arbitrary she paints the shapes
formed by her contour lines in flat designer colors Man of Means based on
a photo of fashion photographers looks like a scrambled color-by-numbers
painting I cant do justice to the unusually rich assortment of conceptual art
in The Red Thread Youll just have to see it for yourself Thomas
Baumans thrashing triangular foil blanket Walter Seidls slide show of
staged snapshots Markus Schinwalds photograph of a contortionist and the
other thoughtful works connected by The Red Thread
The Red Thread Glimpses of International Art in Vienna runs through
April 30 at Howard House 604 Second Ave 206- 256-6399 1030 amndash5
pm TuesndashSat Free
KUNSTFORUM
Parallelwelten fuumlr Parlamentarier Ausstellung
Von Brigitte Borchhardt-Birbaumer
Ende Oktober endet die Zusammenarbeit von Nationalratspraumlsident Andreas Khol und Peter Pakesch Direktor des Kunsthauses Graz am Joanneum Seit 2003
hatte Pakesch als Kurator mehrere Ausstellungen in den Sitzungssaumllen des Parlaments in Zusammenarbeit mit Galerien initiiert und namhafte Positionen
ausgewaumlhlt Kriterium fuumlr Praumlsentationen war die Praumlsenz durch eine Schau in einer der bekannten Kunstinstitutionen des Landes Nach Eva Schlegel Adriana
Czernin Maria Lassnig oder Esther Stocker sind dies nun bis April 2007 Josef Dabernig Daniel Hafner Ulrike Lienbacher Alois Mosbacher und Elisabeth
Penker
Das Parlament kann dabei durch die Margaretha-Lupac Stiftung immer eine Arbeit fuumlr die wachsende Sammlung des Hauses ankaufen Zuletzt war das ein
groszliges Oumll-Acryl-Gemaumllde der Georg-Eisler-Preistraumlgerin Maja Vukoje zuvor Johanna Kandl deren Temperabild derzeit an das Lentos in Linz geliehen wird
Einige Werke haumlngen schon als kuumlnstlerische Wegweiser in den Gaumlngen des Hauses und sind auch Blickfang fuumlr die 120000 Besucher die pro Jahr das
Parlament besuchen In die Architektur von Theophil Hansen mit ihrer zeitlosen Qualitaumlt fuumlgt sich die Gegenwartskunst kongenial
Hoffnung fuumlr spaumlter
Die derzeitige Zusammenstellung macht Hoffnung auf eine Fortsetzung unter der naumlchsten Praumlsidentschaft Fotografie Computerkunst Malerei Zeichnung
und Skulptur weisen auf die Vielfalt der Werkstoffe in der Gegenwartskunst Elisabeth Penker parallel im Kunsthaus Graz zu sehen baut schwarzweiszlige
Objekte aus bemaltem Holz die in ihrer seriellen und geometrischen Anordnung auf Bezuumlge zum Performativen und auf die Musik hinweisen
Noch juumlnger ist Daniel Hafner mit seinen am Computer komponierten digitalen Drucken Morphosentransformationen von 2006 Linienraster und
Raumkonstruktionen in subtiler Farbigkeit verbinden Tendenzen der fruumlhen Op-Art mit dem Cyber-Lab
Um konstruierte Realitaumlten geht es auch in den groszligformatigen Oumllbildern von Alois Mosbacher dem bekannten Vertreter der Neuen Wilden der
Achtzigerjahre in Oumlsterreich Wanderer in Wald und Wiese erzaumlhlen die Geschichten alternativer Welten die sich mancher in der Gesellschaft als Parallele
konstruiert
Zwei Fotofriese von Josef Dabernig bilden jeweils ein Panorama von oumlffentlichen Plaumltzen auf denen es zum einen um Fuszligball geht Zum anderen ist der
Rundblick in das Oval einer scheinbaren Arena auch eine Art Sehschule fuumlr die Betrachter Ein sozialer Befund ist die dritte Bedeutungsebene
Ulrike Lienbacher die heuer mit einer groszligen Schau im Innsbrucker Taxispalais ihre Karriere fortsetzt ist mit ihren feinlinigen Tuschezeichnungen den kleinen
oft unsichtbaren Zwaumlngen in unserer Gesellschaft auf der Spur Im Lokal II des Parlaments stellt sie zwar nicht ihre Objekte und Fotos aber einige
groszligformatige Blaumltter mit Frisurenvariationen neben teils fragmentierten Frauenkoumlrpern im Umgang mit Schmutz und Hygiene aber auch Fitnesskult aus
Disziplinierung und Kontrolle betreffen in der Oumlffentlichkeit besonders den weiblichen Koumlrper Sauberkeitsmechanismen weisen auch auf Vorstellungen von
wertvoll und minderwertig hin Ihre Transformationen enthalten wie die Themen der anderen subtile Kritik und sind daher vom Kurator uumlberlegt positioniert
Zeitgenoumlssische Kunst
im Parlament
Bis April 2007
Kurator Peter Pakesch
Konfrontationen
Dienstag 10 Oktober 2006
ltlt 2003 | 2004 Jan Feb Mar Apr May Jun Jul Aug Sep Oct Nov Dec 2004 | 2005 gtgt
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31
Sunday 17 October 2004
TIME
TITLE
NAME
700 Indymedia ESF breakfast show Indymedia London
Highlights news and views from the European Social Forum and the
autonomous spaces and initiatives taking place this week
website
800 Resonance Radio Art Riot Breakfast International
Radio Art
A five part special of the Harmon E Phraisyar show commissioned for
Kunstradio in Austria starts off the morning broadcast of international radio
art
website
1100 Resonance Live from the Frieze Art Fair Anna Colin amp
Tobi Maier
1100 Chris Weaver Resonance 1044FM live electronics set with James Dunn and
Robin Warren
1130 Michael Hall gallery Vienna presents audio works by artist Elisabeth Penker
1200 Maria Fusco presents latest the Bookworks commissions
1300 The Psychology of Collecting live broadcast of the frieze art fair panel
discussion
Is collecting an irrational act guided by compulsion and desire What are the use of
objects What are the motivations behind making collecting curating and
criticizing art A discussion of the psychology of collecting and the politics of taste
Hilary Rubenstein (Psychologist)
Eric Troncy (Art Critic and Director Le Consortium Dijon)
Haim Steinbach (Artist)
Chair Alice Rawsthorn (Director Design Museum)
1500 Portable live set and presentation of sudelectronic records London
1600 Where is Adventure What is Culture live broadcast of the frieze art fair
website
panel discussion
A discussion of the relationship of art to entertainment touching on the comedic
being popular and failing miserably
Trisha Donnelly (Artist)
Christian Jankowski (Artist)
David Robbins (Writer amp Artist)
Nancy Spector (Curator of Contemporary Art Solomon R Guggenheim Museum)
Chair Matthew Higgs (Curator CCA Wattis Institute for Contemporary Arts)
1800 Melissa Bent from Rivington Arms gallery New York in conversation with
artist Dan Colan and Tobi Maier Anna Colin
1830 VOX pop recordings from the fair with Sharon Gal
1900 Resonance Radio Art Riot Sarah
Washington
The Resonance Radio Art Riot brings together some of the foremost radio artists
and thinkers from around the world The studio lab situation will feature round
table discussions live performances and streamed events
Tonight Radio Text
Events Live broadcast from Sonic Arts Network Resonance benefit featuring
Henri Chopin studio performances from Julia Lee Barclay and Aude Tournay plus
Special Features None present live concrete radiophonics - Planning For
Emergencies
Guests include Clive Graham Chris Weaver Richard Thomas Toby Clarkson
John Lovett Robin Warren and James Dunn
Topics The word as art Sound poetry text performances
At Midnight Tom Wallace present exclusive excerpts from radio art pioneer
Gregory Whitehead
website
000 Resonance Radio Art Riot Nights International
Radio Art
The Resonance Radio Art riot continues throughout the night with the finest of
international radio art Resonance FM programme makers and our international
guests have put together many special hours of classic and obscure radio
works
website
- EPenkerDocumentationpdf
-
- 2bAusstellungenPublicaSpaceEPenkerpdf
-
- 2cUntitled_InstrumentsKunsthausGrazEPenker
- 2bpoeticsKunsthaus GrazEPenker
-
- 4PresseEPenkerpdf
-
- 4Review_Seattle Weekly
-
Log [Baumstamm] 2010
Archivierung der Raumfarbe
Split Representation
Claude Levi-Strauss 2009
C-Print
5-teilig je 245 x 305 cm
Ed15 + 2 AP
The camera positions of a right angle mirror bdquoSplit Representationrdquo were chosen by E Penker in the way that the
flash is not in the image the photos are made utilizing a right angle mirror which both fragments and reflects the
image creating multiple or a split perspective EP
Bench-Shelf 2003
Acryl auf Pappelsperrholz
46 x 151 x 42 cm
The bench which is the earliest work in the exhibition mirrors the bottom and the top seating elements thereby
giving the object an asymmetrical appearance The bench-shelf was originally designed for a video archive was
later used by museum staff (in Porto) as gallery furniture
composition (or view) Numerous contemporary artists eg Donald Judd have related the ShakersAmish radical functionalism to their sculptural practice
Poetics of Dead Space 2 2009-2010
2 Kanaumlle einer 8-Kanal-Composition mono
Metallstativ Speaker Yamaha MSP3 CD-Player
H 133 cm
Ed 13
The non-linear 8-channel composition ldquoPoetics of Dead Space 2rdquo introduces polysynthetic language morphology
combined by the melody which is composed from pre-existing recordings of extinct languages and Penker‟s self-
made instrument ldquoUntitled Instrument sonic structurerdquo (see PDF and re lated essay written by E Penker at
Resonance fm Magazine upon request at Galerie naumlchst St Stephan)
The channel which is upstairs installed uses an existing wall as an acoustic filter and introduced sub-
consciousness polysynthetic language morphology into the gallery space The title refers to the book poetic of
space within unused architectural situations of exhibition spaces bdquo A Blind Spot (dead angle - Toter Winkel) has a
different meaning in terms of acoustics and cannot be compared with the visual context where blind spot is used
primarily in conversations
In musicsound production in film the visual blind spot is used very often by hearing a bike roller plane without
seeing it In everyday life we are used and depending by acoustic blind spots for our orientation of the situation
and space we are in at the moment Architectural acoustic issues play an important role during the time of the
composition ldquoPoetic of Dead Space 2rdquo is a context specific composition and deals with polysynthetic language
morphology recordings of the untitled instrument Sonic structure and acoustic exhibition architecture besides
issues which are depending of the unused architecture and their acoustics
Galerie naumlchst St Stephan
Aneta Grzeszykowska Elisabeth Penker
220110 bis 060310 Auf den Spuren gesellschaftlicher
Ordnungssysteme
Die beiden Ausstellungen von Aneta Grzeszykowska in den Galerieraumlumen
und Elisabeth Penker im Projektraum bdquoLOGINldquo sprechen unterschiedliche
Sprachen Momente der Beruumlhrung ergeben sich lediglich durch die
Auseinandersetzung der beiden Kuumlnstlerinnen mit Systembildungen und
gesellschaftlich bedingten Agglomerationen von Bedeutungen Waumlhrend der
Blick der in Warschau lebenden Kuumlnstlerin Aneta Grzeszykowska
psychologisch und kulturell bestimmt ist laumlsst sich das Verfahren der in
Wien und Rom lebenden Elisabeth Penker als ethnografisch und linguistisch
fundiert umschreiben Im Nebeneinander der beiden Positionen bilden sich
schaumlrfende Kontraste
Aneta Grzeszykowskas Interesse gilt dem Privaten in verschiedenen
visuellen Uumlbersetzungen Etwa kartografierte sie mit dem Warschauer
Kuumlnstler Jan Smaga in einer Fotoserie Wohnungen aus der Vogelperspektive
um eine intime Geschichte der Stadt uumlber die Anordnung von Raumlumen
Moumlbeln und Gebrauchsgegenstaumlnden zu erstellen Nun begibt sie sich mit
dem Film bdquoBirthdayldquo auf die Ebene fruumlhkindlicher Begegnungen mit dem
Unheimlichen Gedreht wurde er in der Art privater Dokumentationen zur
Feier des eigenen Nachwuchses anlaumlsslich eines Kindergeburtstags Durch
kommentierende Eingriffe wie die Animation sonst unbeweglicher
Gegenstaumlnde uumlbt die Kuumlnstlerin Kritik an den Konventionen und betont so
das Monstroumlse solcher Ereignisse In der Doppelboumldigkeit von inszenierter
Kindheit und Abgruumlndigem ist auch eine Reihe monochromer dunkler
Figurinen aus Stoff angesiedelt Dass diese bekleidet sind wie
Grzeszykowska in ihrer Kindheit verweist auf Versuche Dramatisches uumlber
die aumlsthetische Formalisierung zu bearbeiten Eine Fotografie mit dem durch
die Hand Grzeszykowskas unabsichtlich verletztem Auge ihres kleinen
Bruders und eine maumlrchenhaft anmutende Reliefskulptur mit einem Maumldchen
auf einem Hund aus stacheligen Distelbluumlten erzaumlhlen davon
Tiefenbohrungen zum Kern semantischer Ordnungen unternimmt dagegen
Elisabeth Penker im Kontext der Ausstellungsserie LOGIN in einem
ehemaligen Geschaumlftslokal und im Foyer der Galerie selbst Bekannt ist die
Kuumlnstlerin und Musikerin Elisabeth Penker etwa durch ihre Intervention im
Arkadenhof der Universitaumlt Wien mit einer Buumlste der oumlsterreichischen
Romanistin und ersten Universitaumltsprofessorin Elise Richter Diese leite das
phonetische Institut bis zu ihrer Deportation ins Ghetto Theresienstadt durch
die Nationalsozialisten und war in der patriarchalischen Ordnung der
steinernen Koumlpfe der Universitaumlt ndash ebenso wie die Leistungen von Frauen
generell ndash bis dahin kein Thema gewesen In der Ausstellung bdquoProtectionsldquo
im Kunsthaus Graz thematisierte Penker mit ihrem bdquoFirst Nation Pavillonldquo die Hegemonie des durch den
Kolonialismus gepraumlgten Blicks auf auszligereuropaumlische Gesellschaften
Stets sind ihre Annaumlherungen auf die Generierung von Bedeutungen im Sinne von Grammatiken
ausgerichtet Dementsprechend leitmotivisch fungiert ein Portraumlt des kuumlrzlich verstorbenen Ethnologen
Claude Leacutevi-Strauss in der Rauminstallation mit integrierter Soundkomposition Die gespiegelte und
mehrfach aufgefaumlcherte Fotografie von Leacutevi-Strauss in bdquopolysynthetischer Doppelperspektiverdquo laumlsst sich
als Verschneidung von Sprachlichem Klanglichen und Visuellen lesen
Eine Archaumlologie im Feld der Linguistik wie auf Materialebene fuumlhrt die Signifikanten auf engstem Raum
zusammen Triviale Vierkanthoumllzer beispielsweise wurden in genau jenen Farben lackiert die Penker als
uumlbereinander gelagerte Sedimente unter der Dispersion der Waumlnde freilegte Die laumlnglichen Houmllzer
beziehen sich auf den englischen Ausdruck bdquologldquo fuumlr Stamm und somit auch auf die Ausstellungsreihe der
Galerie Bemerkenswert dass ein Wort das bloszlig aus einem Morphem besteht einen Gegenstand
repraumlsentiert So baut sich uumlber eine Reihe weiterer Objekte wie etwa den bdquoHanging Chairsldquo aus dem
Fundus der Galerie ein elementares Netzwerk von Bezuumlgen auf Mit ihren Werken und abstrakten Sound-
Kompositionen dringt Elisabeth Penker kritisch forschend in die Makrobereiche von Grammatiken vor um
Potentiale semantischer Anbindungen in Nachbarsystemen freizulegen Roland Schoumlny
Elisabeth Penker Einzelausstellung MAK CAT TOWER Kurtaiert von Andreas Kristof
ldquoPassive Orchestrardquo 2008 8-Channel-Toninstallation Die Interpretation von Soundart sieht Penker in der Uumlberschneidung von Sprache-visueller Kunst und Musik und ist zumeist mit einer visuellen raumlumlichen Komponente verbunden Der Betrachter und Zuhoumlrer befindet sich in
einer Konzert-Situation statt Instrumenten sieht er nur Lautsprecher die auf unterschiedlichen Houmlhen auf einer grauen Wand positioniert sind Passiv Orchestra beruht in der Struktur auf die grammatische Einteilungen von Sprachen die in phonetische Minimaleinheiten dekonstruiert sind und wird uumlber eine Mehrkanal Matrix gespielt Elisabeth Penker referiert in dieser eigens fuumlr den Flakturm konzipierten Arbeit auf dadaistische Methoden der Sprachdekodierung die auch als ein klares Anti-Kriegs-Statement zu verstehen waren
1
Kunsthaus Graz
Protections
Kuratoren Adam Budak und Christine Peters
Elisabeth Penker
First Nation Pavilion
Der First Nation Pavilion von Elisabeth Penker unternimmt den Versuch einen Bereich fuumlr ein koloniales
Bewusstsein der europaumlischen Vergangenheit zu schaffen und einen utopischen Raum fuumlr neue Vorstellungen
von einer Mannigfaltigkeit an kulturellen Formen in der zeitgenoumlssischen Kunst Die Komposition de-
grammatical ein Bestandteil des First Nation Pavilion beruht in ihrer Struktur auf den grammatischen
Einteilungen der Sprachen die in phonetische Minimaleinheiten dekonstruiert sind und wird uumlber eine
nichtlineare 5-Kanal-Matrix gespielt
Penker untersucht moumlgliche Uumlberschneidungen zwischen der Sprache der Musik und der Bildstruktur wobei ihr
Hauptaugenmerk polysynthetischen Sprachen (First Nations und Pazifische Inseln) gilt sowie dem Vergleich
zwischen der Kunst von First Nations und der Modernen Kunst Erst in juumlngerer Zeit in der Aumlra des
Postkolonialismus hat der Diskurs der kulturellen Uumlbersetzung Fragen aufgeworfen mit denen man sich schon
in den phonetischen Experimenten des Dadaismus in den 1910er und 1920er Jahren beschaumlftigt hatte sowie
spaumlter in der Konzeptkunst der 1960er und 70er Jahre
Elisabeth Penker
First Nation Pavilion
The First Nation Pavilion by Elisabeth Penker attempts to set-up an area for colonial consciousness of the
European past and a utopic space for re-imagining a plurality of cultural forms in contemporary art The
composition entitled de-grammatical contained within the First Nation Pavilion is structurally-based on the
grammatical classifications of languages deconstructed into minimal phonetic units played within a non-linear
5-channel matrix
Penker is questioning the possible overlaps between music-language and visual structure within the primary
focus on polysynthetic languages (First Nation and Pacific Islands) and First Nation Art compared to Modern Art
More recently in the age of post-colonialism the discourse of cultural translation is arising questions that have
also been experimented by the Dadaists phonetic experiments in the 1910-20s and later in Concept Art of the
1960s-70s Text Adam Budak
Michael Elmgreen amp Ingar Dragset (the work of two other invited artists) offered Penker a typical prefabricated
house as her exhibition space within the Kunsthaus
id31403916 pdfMachine by Broadgun Software - a great PDF writer - a great PDF creator - httpwwwpdfmachinecom httpwwwbroadguncom
2
Elisabeth Penker Fisrt Nations Pavilion 2006
Change of floor plan of the prefabricated house by Michael Elmgreen amp Ingar Dragset
Entrance door Fisrt Nations Pavilion
3
Part 1 Colonial Conciseness in visual art
Room 1 and 3 Modernism=Imperialism after Henry Flynt Demolish serious culture
Woman as a the last Colony Rosa Luxenburg Veronika Bennholdt-
Thomsen Claudia von Werlhof und Maria Mies
4
Vinyl letters C-Print
5
6
Polysynthetische Doppelperspektive 1 Claude Levi- Strauss
Photocolloage C-Print
7
Polysynthetische Doppelperspektive 2 Claude Levi-Strauss
Photocolloage C-Print
9
Polysynthetische Doppelperspektive 4 Claude Levi Strauss
Photocolloage C-Print
2 prints Installed in corner
Installation view Polysynthetische Doppelperspektive 1-4 Claude Levi- Strauss
The visual grammar and its double perspective (split representation) of Haida Gwai and Tlinglet Art (First Nation
Art) is re-collaged with a photograph of Pablo Picasso comparing Cubism (early Modernism) with First Nation Art
and questioning its similarities of double perspectives
10
Room 4 and 5
Room 4
11
Luicide List The museum as an imperial graveyard
C-Print
Colonial after effects of Luicide
Gips Metallkette Hose Schuh
12
No7
Mirror Split Representation Mirror framed and installed in the corner
Part 2 Room 6 and 8 Comparative Contemporary Art
4-channel sound installation
De-grammatical Listen to mp3 audio excerpts
13
Front
2 CT (shelfbenches) Acryl auf Pappelsperrholz
Back Pull Over Yukme Shirley Hall outside
14
Pull Over Yukme Shirley Hall inside
Fabric wall silk print by (Tlinglet Artist) Yukme Shirley Hall
Wo ist Elise Richter wo ist
id99149429 pdfMachine by Broadgun Software - a great PDF writer - a great PDF creator - httpwwwpdfmachinecom httpwwwbroadguncom
Im Arkadenhof der Universitaumlt Wien stehen 154 Buumlsten von bedeutenden Wissenschaftlern der
Universitaumlt Wien (1700-2005) Bedauerlicherweise findet sich unter ihnen keine einzige Frau Eine temporaumlre Buumlste einer anonymen Wissenschaftlerin soll die systematische Ausblendung von Frauen
aus der Universitaumltsgeschichte thematisieren Die offene Web- Plattform (wwweliserichterat) ermoumlglicht allen Benutzern aktiv an der Umschreibung der Universitaumltsgeschichte und an re-imaging Prozessen der Repraumlsentation dieser Buumlsten teilzunehmen Weiters wird die Verbindung von raceclassgender und einer akademischen Kariere in diesem Zusammenhang hinterfragt We can never really change any form of social organisation without challenging all that organisations forms of
language (Debord)
Within the patriarchal structures of the Arkadenhof at the University of Vienna stand 154 busts of important scientists (1700-2005) Unfortunately none of these busts are women Through the placement of a temporary bust of an anonymous female scientist it declares the absence of them within the history of the university As well the anonymous bust embodies the presence of important scientists who have not yet been given equal representation The open web-platform (wwweliserichterat) allows every user to participate in this discourse to re-write the history of the university and to re-image the representation of these busts through a wiki system
Skizze Buumlste einer anonymen Wissenschaftlerin
Mein Interesse besteht nicht darin zu recherchieren welche Buumlsten von Wissenschaftlerinnen im Arkadenhof fehlen sondern das Fehlen der Wissenschaftlerinnen im Zeitraum von 1700 bis 2005 aufzuzeigen und Strukturen fuumlr eine oumlffentliche Kommunikationsplattform zu schaffen In der Genderforschung besteht Konsens daruumlber dass Gender kein Merkmal von Individuen sondern das einer
Institution ist (Connell) zudem ein struktureller Bestandteil einer Gesellschaft ist und dass Gendernormen alle Organisationen durchdringen (Acker)
Grundriss Arkadenhof der Universitaumlt Wien Literatur Acker J (1990) Hierarchies Jobs Bodies A theory of gendered organizations In Gender and Society
Connell R (1998) Gender and Power Society the Person and Sexual Politics Stanford University Press Stanford CA Maisel T (1990) Die Denkmaumller im Arkadenhof der Universitaumlt Wien Biographische Skizzen Wien Quellen Denkmalsakten Archiv der Universitaumlt Wien
Veranstalter Open Mind Projekt Utopie Freiheit httpwwwopenmindat vereinopenmindat Projektautorin Elisabeth Penker elpenkergmxat Bronzeguss Walter Rom Wachsmodel Buumlste Elisabeth Penker Steinsockel Ausfuumlhrung Fa Zehmann Mario Jungbauer Mediendesign Gernot Tscherteu httpwwwrealitylabatwphome gtrealitylabat Techn Umsetzung Christian Langreiter Webpage wwweliserichterat
Elisabeth Penker- Franzengasse 13- 1050 Wien ++43 (0)699 197 193 53 elpenkergmxat
Elisabeth Penker Untitled instruments 1-3 2000-2012
Galerie Georg Kargl Wien Galerie Priestor Bratislava Kuumlnstlerhaus Wien Kibla New
Media Center Maribor HTTP Galerie London Secession Wien Mak Wien Roma
Contemporary Wien
Elisabeth Penker Untiled Instrument Galerie Georg Kargl Wien
Curated by Michael Hall
Elisabeth Penker Untitled instrument 2001 New Media Center Maribor
Elisabeth Penker Untitled instrument 2001 New Media Center Maribor
Elisabeth Penker Untitled instrument Kuumlnstlerhaus Wien curated by Ursula Maria Probst
Live Performance mit Celia Mare
Detail Die BILD_HAU_ER_IN Kuumlnstlerhaus Wien
Live Performance Flower Structure Wiener Festwochen
Elisabeth Penker (Untiled instrument) Van Angh (Cello) Tri Minh Electronics
Elisabeth Penker Live Performance Poetics of space Secession Wien
MAK Nail Structure GRizo Sweet Susie Elisabeth Penker
Elisabeth Penker HTTP Gallery London 2005 curated by Tobi Maier
Elisabeth Penker HTTP Gallery London Live Performance
Elisabeth Penker Untitled Instrument Sonic Structure Kunsthaus Graz curated by Adam Budak amp
Christine Peters
Videolinks
httpwwwyoutubecomusersoundart24
Interview with Video Festwochen
httpbturncom8753interview-elisabeth-penker
Kunsthaus Graz
Protections
Kuratoren Adam Budak und Christine Peters
Elisabeth Penker Poetics of Dead Space
For PROTECTIONS Elisabeth Penker developed a key-sound Poetics of Dead Space which is to a large extent a homage
to Gaston Bachelards seminal book Poetics of Space where the connections between the poetry and the spatial emotions
are analysed Penkers key-sound will guide the viewer through the exhibition mapping the overall identity of the show in
some way controlling the viewers (audio-narrative) route in the maze of art objects events situations but also spatial
voids and unused corners
Fuumlr PROTECTIONS entwickelte Elisabeth Penker einen leitmotivischen Key Sound Poetics of Dead Space der weitgehend
eine Hommage an Gaston Bachelards wegweisendes Buch Poetics of Space darstellt in dem die Verbindungen zwischen
Lyrik und raumlumlichen Emotionen analysiert werden Penkers Key Sound wird das Publikum durch die Ausstellung geleiten
die Identitaumlt der Schau in ihrer Gesamtheit erfassen und in gewisser Weise die (audio-narrative) Route des Publikums im
Labyrinth der Kunstgegenstaumlnde Ereignisse und Situationen aber auch raumlumlicher Leerstellen und ungenutzter Winkel
kontrollieren
A non linear composition 7 mono active speakers are placed through out the Kunsthaus Graz Speaker placement
1 outdoor (entrance) 2 (travelator) 3 (corner with column) 4 (corner with door) 5 (corner) 6 (travelator) 7 (corner with
window)
Poetics of Dead Space Let it grow again 28 51 sec mono
Source material for composition rain sound of dried beans dropping down wood sticks breathing hardly existing
id78338975 pdfMachine by Broadgun Software - a great PDF writer - a great PDF creator - httpwwwpdfmachinecom httpwwwbroadguncom
recording of extinct languages
Poetics of Dead Space Let it grow again 28 51 sec mono
Source material for composition rain sound of dried beans dropping down wood sticks existing recording of extinct
languages
Poetics of Dead Space travelator 1 1min 04 sec mono loop
Source material for composition staff falling down man falling down stairs rattern recording untitled instrument
Background existing recording of extinct languages
Poetics of Dead Space 496 1min 409 sec mono loop
Source material for composition recording untitled instrument Background existing recording of extinct languages
Poetics of Dead Space 129525 1min 4888 sec mono loop
Source material for composition recording untitled instrument Background existing recording of extinct languages
Poetics of Dead Space 129525 1min 4888 sec mono loop
Source material for composition keyboard recording untitled instrument Background existing recording of extinct
languages
Poetics of Dead Space travelator 2 1min 5209 sec mono loop
Source material for composition recording untitled instrument violin Background existing recording of extinct
languages
Poetics of Dead Space2152518125220 1min 3200 sec mono loop
Source material for composition recording untitled instrument Background existing recording of library of extinct
languages
Poetics of Dead Space travelator 1 1min 04 sec mono loop
viewing down from upstairs Source material for composition staff falling down man falling down stairs rattern
recording untitled instrument Background existing recording of extinct languages
Poetics of Dead Space Let it grow again 028 51 sec mono
Source material for composition rain sound of coins wood sticks existing recording of extinct languages
Elisabeth Penker is a Viennese artist and musician working with sound in a sculptural context In her (subjective) tour
Penker approaches the entire anti-exhibition PROTECTIONS from an angle of its position and significance in the context
of Sound Art as located on the crossway between visual arts language and music Starting from her own house turned
into First Nation Pavillion which amongst others aims at connecting the recent discourse on cultural translation with
early avant-garde phonetic experiments Penker maps the sonic structure of Kunsthaus Graz and its (live) architecture
which for PROTECTIONS hosts an array of interdisciplinary projects with a strong audio-quality from Herwig Weisers
Death Before Disco (a micro-architecture of hyper-technological and electronic pop) through a newly created choir of
security guards for Tim Etchells Wall of Sound down to a cacophonic layers of anonimous noise generated by the
space itself and the presence of audience
Die Wiener Kuumlnstlerin und Musikerin Elisabeth Penker arbeitet mit Klang im Zusammenhang mit Bildhauerei In ihrer
(subjektiven) Fuumlhrung naumlhert sie sich der Anti-Ausstellung PROTECTIONS aus einem Blickwinkel der die Position und
Bedeutung der Klangkunst an der Kreuzung zwischen bildender Kunst Sprache und Musik verortet Von ihrem eigenen
Haus ausgehend das sich in den First Nation Pavilion verwandelt hat der u a den aktuellen Diskurs uumlber kulturelle
Uumlbersetzung mit fruumlhen phonetischen Experimenten der Avantgarde verbinden soll entwirft Penker die klangliche
Struktur des Gutshauses und seiner (Live-)Architektur die fuumlr PROTECTIONS eine Reihe von interdisziplinaumlren Projekten
mit einer starken Affinitaumlt zum Klang beherbergt von Herwig Weisers Death Before Disco (eine Mikroarchitektur aus
hyper-technoidem und elektronischem Pop) uumlber einen neu formierten Chor bestehend aus Security Guards fuumlr Tim
Etchells Wall of Sound bis zu einer Kakophonie aus anonymen Geraumluschen die vom Raum selbst und der Anwesenheit
des Publikums erzeugt werden
052813
Local Warming ATHENS
052813
AFTER A YEARLONG HIATUS the eighteenth Art-Athina hit the ground running on the evening of Thursday May 16 and the former Olympic
ldquoTae Kwon Dordquo Pavilion was packed with enthusiastic party people The fair had a more national flavor than ever this year under its new
director Alexis Caniaris the son of recently deceased artist Vlassis Caniaris whose iconic modern work has recently found great success on the
international market Of the very few foreign galleries exhibiting most were Greek-owned The Breeder gallery was dealing with the perceived
drop in the market by selling fantastic multiples by artists like Stelios Faitakis Jannis Varelas and Andreas Angelidakis at crisis-appropriate
prices ldquoNobody wants to come here now but I have already met three interested billionaire collectors today And if Greeks like you they
introduce you to their billionaire friendsrdquo raved Cologne dealer Mirko Mayer a seven-time exhibitor ldquoThat is what nobody knows There are
at least one-hundred billionaires collecting hererdquo Most international collectors were delayed several hours due to a union strike a de r igueur
mode of arrival in contemporary Greece
It was impossible to miss the exuberant activities of the DaDa Da restaurant a Greek-Austrian collaboration where artist Albert Mayr was
waving a skillet and raving nonsense while Lucas Willmann tenderized pink fillets for Wiener schnitzel ldquoThis is Viennese Actionism lightrdquo
quipped critic Sotirios Bahtsetzis Artist Natasha Papadopoulos added ldquoBut here there are hungry Greeks waitingrdquo On a table with a rotating
Sacher tort by Heacutelegravene van Duijne a sign carried the overwhelming spirit FUCK ART LETrsquoS EAT SOUVLAKI An insistent electronic beat and
pulsating light emanated from the next booth the American College of Greecersquos ldquoAthensUrgentrdquo while hooded performer Manos Tsatiris
stood against the wall with his hands tied perhaps a metaphor for the current Athenian exigency ldquoThis is not the kind of art fair scene we are
used tordquo said the Economou Collectionrsquos Annie-Claire Geisinger watching the madness
Left Artists Elisabeth Penker Michela Pelusio Petros Touloudis Panos Papadopoulos and Nino Stelzl Right Collector Anne-Marie Ros
Down on the floor the dealers seemed pleased particularly given dismal expectations having already sold a great deal at the preview Young
Rotterdam-based gallery Joey Ramone had sold sculptures by Fotini Gouseti to English and Belgian collectors dealer Erik Mulier had also sold
some work to Belgians Marc Van den Hende said he had bought a triptych by Eirene Efstathiou and was considering a Vlassis Caniaris piece
from the 1970s ldquoI saw some surprisesmdashyoung Greek artists I did not knowmdashand great new galleries like Elika and CANrdquo Dutch collector
Anne-Marie Ros said By the end of the day Dimitra and Sofia Vamiali reported that they had not seen one Greek collector although another
reported a Dakis Joannou sighting mdash Cathryn Drake
SEARCH
ARTICLES
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SEATTLE
WEEKLY
in the News
Columnist
Geov Parrish
is a regular
guest on
Mind Over
Matters on
KEXP-FM
(903)
Saturdays at
830 am and
provides news
commentary
on KBCS-FM
(913) Fridays
at 430 pm
Catch writers
Steve
Wiecking Tim
Appelo and
ARTS
March 30 - April 5 2005
Picking Up the Thread
Howard House ties together the best new conceptual art from Vienna
by Elise Richman
Franz Wests Mercury
(Howard House Contemporary Art)
Theres a German expression to lose the red thread which means losing
ones train of thought In its current show Howard House has found that
thread Julie Ryan a curator artist and writer organized The Red
Thread Glimpses of International Art in Vienna a two-part exhibition
featuring artists working and living at least part time in Austrias capital
Part one of the show is at Howard House the second half is currently on
display at the Educational Alliance Gallery in New York
Vienna has become a magnet for artists from all over the world including
the 15 individuals and artist teams that are part of The Red Thread
Excellent artist residency programs a low cost of living and living art
legends like Franz West are just a few of the reasons
An artistic collaboration with West took Ryan from New York to Vienna
She knows Billy Howard who runs Howard House from the University of
Washingtons School of Art And so the figurative string was strung
connecting the East and West coasts with artists from across the Atlantic
This is a complex exhibit whose emotional tenor ranges from cool
detachment to an almost urgent earnestness Unlike the formal richly
historical city that connects them artists in The Red Thread favor informal
approaches to art making use disposable materials and comment on
contemporary cultural themes
West has two formidable sculptures at Howard House The front room of the
gallery features Mercury (pictured) an ungainly behemoth composed of a
patchwork of fused metal Like many of Wests sculptures Mercury is
meant as an interactive structure that viewers can climb and sit on Bulbous
Gavin
Borchert
discussing
theater film
and music
regularly on
classical
KING-FM
(981)
Mark Fiore
Cartoons
Every
Thursday
nodules extend from its horizontal base and the seams of the dark maroon
metal look like scars rendering it at once vaguely obscene and absurdly
playful
Sisyphus the other West sculpture on display is a bulky conglomeration of
bits and wads of paper propped in the back room on a makeshift plinth (base
block) Though its as solid as the boulder its title references its surface is
like oozing skin partly coated with poured murky paint partly cloaked in
small clumps of newspaper detritus
The strenuous act of making each of these sculptures is eminently apparent
and central to the content of Wests work West considers creation a
symbolic act As you might expect he likens the artistic process to the plight
of Sisyphus the mythological figure who eternally rolled a boulder up a hill
only to have it come crashing back down For West art involves a
Sisyphean search for what he calls the absolute through the seemingly
senseless accumulation of materials However unlike Sisyphus futile quest
Wests process can lead to epiphany making sense of the senseless
Similarly Viennese artist Elisabeth Penkers art serves a facilitative
function easing the act of translation Penker uses Haida iconography in her
multimedia work because it provides potent visual symbols that
communicate single words and whole sentences simultaneously Her prints
at Howard House feature fragments of icons floating in the papers white
space They are spare visually arresting characters that employ an
iconographic language as encoded symbols of communication
Also featured in The Red Thread is Donald Baechler an internationally
known American painter who spends extended periods of time in Vienna
Baechler equalizes his imagery by painting it all in the same style For him
the source of an image doesnt matter whether its a drawing by Picasso or
graffiti on a bathroom wall What matters is the newfound context his
paintings provide
Victory by Default is part of Baechlers Skull series In this piece a painted
skull gapes from the dirty yet sensuous confines of a large canvas Terry
cloth and wrinkled rags provide literal texture and reference the world
outside the paintings boundaries Splatterings of color around the skull like
the self-conscious marks of Jasper Johns seem to express the language of
paintingmdashhue and gestural strokesmdashin a factual rather than illusional
manner
Another American painter Lisa Ruyter lives half-time in Vienna where she
runs an influential gallery She works from photographs projected onto
large-scale canvases tracing the contours of the projected imagery with
consistent black outlines In a way that seems arbitrary she paints the shapes
formed by her contour lines in flat designer colors Man of Means based on
a photo of fashion photographers looks like a scrambled color-by-numbers
painting I cant do justice to the unusually rich assortment of conceptual art
in The Red Thread Youll just have to see it for yourself Thomas
Baumans thrashing triangular foil blanket Walter Seidls slide show of
staged snapshots Markus Schinwalds photograph of a contortionist and the
other thoughtful works connected by The Red Thread
The Red Thread Glimpses of International Art in Vienna runs through
April 30 at Howard House 604 Second Ave 206- 256-6399 1030 amndash5
pm TuesndashSat Free
KUNSTFORUM
Parallelwelten fuumlr Parlamentarier Ausstellung
Von Brigitte Borchhardt-Birbaumer
Ende Oktober endet die Zusammenarbeit von Nationalratspraumlsident Andreas Khol und Peter Pakesch Direktor des Kunsthauses Graz am Joanneum Seit 2003
hatte Pakesch als Kurator mehrere Ausstellungen in den Sitzungssaumllen des Parlaments in Zusammenarbeit mit Galerien initiiert und namhafte Positionen
ausgewaumlhlt Kriterium fuumlr Praumlsentationen war die Praumlsenz durch eine Schau in einer der bekannten Kunstinstitutionen des Landes Nach Eva Schlegel Adriana
Czernin Maria Lassnig oder Esther Stocker sind dies nun bis April 2007 Josef Dabernig Daniel Hafner Ulrike Lienbacher Alois Mosbacher und Elisabeth
Penker
Das Parlament kann dabei durch die Margaretha-Lupac Stiftung immer eine Arbeit fuumlr die wachsende Sammlung des Hauses ankaufen Zuletzt war das ein
groszliges Oumll-Acryl-Gemaumllde der Georg-Eisler-Preistraumlgerin Maja Vukoje zuvor Johanna Kandl deren Temperabild derzeit an das Lentos in Linz geliehen wird
Einige Werke haumlngen schon als kuumlnstlerische Wegweiser in den Gaumlngen des Hauses und sind auch Blickfang fuumlr die 120000 Besucher die pro Jahr das
Parlament besuchen In die Architektur von Theophil Hansen mit ihrer zeitlosen Qualitaumlt fuumlgt sich die Gegenwartskunst kongenial
Hoffnung fuumlr spaumlter
Die derzeitige Zusammenstellung macht Hoffnung auf eine Fortsetzung unter der naumlchsten Praumlsidentschaft Fotografie Computerkunst Malerei Zeichnung
und Skulptur weisen auf die Vielfalt der Werkstoffe in der Gegenwartskunst Elisabeth Penker parallel im Kunsthaus Graz zu sehen baut schwarzweiszlige
Objekte aus bemaltem Holz die in ihrer seriellen und geometrischen Anordnung auf Bezuumlge zum Performativen und auf die Musik hinweisen
Noch juumlnger ist Daniel Hafner mit seinen am Computer komponierten digitalen Drucken Morphosentransformationen von 2006 Linienraster und
Raumkonstruktionen in subtiler Farbigkeit verbinden Tendenzen der fruumlhen Op-Art mit dem Cyber-Lab
Um konstruierte Realitaumlten geht es auch in den groszligformatigen Oumllbildern von Alois Mosbacher dem bekannten Vertreter der Neuen Wilden der
Achtzigerjahre in Oumlsterreich Wanderer in Wald und Wiese erzaumlhlen die Geschichten alternativer Welten die sich mancher in der Gesellschaft als Parallele
konstruiert
Zwei Fotofriese von Josef Dabernig bilden jeweils ein Panorama von oumlffentlichen Plaumltzen auf denen es zum einen um Fuszligball geht Zum anderen ist der
Rundblick in das Oval einer scheinbaren Arena auch eine Art Sehschule fuumlr die Betrachter Ein sozialer Befund ist die dritte Bedeutungsebene
Ulrike Lienbacher die heuer mit einer groszligen Schau im Innsbrucker Taxispalais ihre Karriere fortsetzt ist mit ihren feinlinigen Tuschezeichnungen den kleinen
oft unsichtbaren Zwaumlngen in unserer Gesellschaft auf der Spur Im Lokal II des Parlaments stellt sie zwar nicht ihre Objekte und Fotos aber einige
groszligformatige Blaumltter mit Frisurenvariationen neben teils fragmentierten Frauenkoumlrpern im Umgang mit Schmutz und Hygiene aber auch Fitnesskult aus
Disziplinierung und Kontrolle betreffen in der Oumlffentlichkeit besonders den weiblichen Koumlrper Sauberkeitsmechanismen weisen auch auf Vorstellungen von
wertvoll und minderwertig hin Ihre Transformationen enthalten wie die Themen der anderen subtile Kritik und sind daher vom Kurator uumlberlegt positioniert
Zeitgenoumlssische Kunst
im Parlament
Bis April 2007
Kurator Peter Pakesch
Konfrontationen
Dienstag 10 Oktober 2006
ltlt 2003 | 2004 Jan Feb Mar Apr May Jun Jul Aug Sep Oct Nov Dec 2004 | 2005 gtgt
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31
Sunday 17 October 2004
TIME
TITLE
NAME
700 Indymedia ESF breakfast show Indymedia London
Highlights news and views from the European Social Forum and the
autonomous spaces and initiatives taking place this week
website
800 Resonance Radio Art Riot Breakfast International
Radio Art
A five part special of the Harmon E Phraisyar show commissioned for
Kunstradio in Austria starts off the morning broadcast of international radio
art
website
1100 Resonance Live from the Frieze Art Fair Anna Colin amp
Tobi Maier
1100 Chris Weaver Resonance 1044FM live electronics set with James Dunn and
Robin Warren
1130 Michael Hall gallery Vienna presents audio works by artist Elisabeth Penker
1200 Maria Fusco presents latest the Bookworks commissions
1300 The Psychology of Collecting live broadcast of the frieze art fair panel
discussion
Is collecting an irrational act guided by compulsion and desire What are the use of
objects What are the motivations behind making collecting curating and
criticizing art A discussion of the psychology of collecting and the politics of taste
Hilary Rubenstein (Psychologist)
Eric Troncy (Art Critic and Director Le Consortium Dijon)
Haim Steinbach (Artist)
Chair Alice Rawsthorn (Director Design Museum)
1500 Portable live set and presentation of sudelectronic records London
1600 Where is Adventure What is Culture live broadcast of the frieze art fair
website
panel discussion
A discussion of the relationship of art to entertainment touching on the comedic
being popular and failing miserably
Trisha Donnelly (Artist)
Christian Jankowski (Artist)
David Robbins (Writer amp Artist)
Nancy Spector (Curator of Contemporary Art Solomon R Guggenheim Museum)
Chair Matthew Higgs (Curator CCA Wattis Institute for Contemporary Arts)
1800 Melissa Bent from Rivington Arms gallery New York in conversation with
artist Dan Colan and Tobi Maier Anna Colin
1830 VOX pop recordings from the fair with Sharon Gal
1900 Resonance Radio Art Riot Sarah
Washington
The Resonance Radio Art Riot brings together some of the foremost radio artists
and thinkers from around the world The studio lab situation will feature round
table discussions live performances and streamed events
Tonight Radio Text
Events Live broadcast from Sonic Arts Network Resonance benefit featuring
Henri Chopin studio performances from Julia Lee Barclay and Aude Tournay plus
Special Features None present live concrete radiophonics - Planning For
Emergencies
Guests include Clive Graham Chris Weaver Richard Thomas Toby Clarkson
John Lovett Robin Warren and James Dunn
Topics The word as art Sound poetry text performances
At Midnight Tom Wallace present exclusive excerpts from radio art pioneer
Gregory Whitehead
website
000 Resonance Radio Art Riot Nights International
Radio Art
The Resonance Radio Art riot continues throughout the night with the finest of
international radio art Resonance FM programme makers and our international
guests have put together many special hours of classic and obscure radio
works
website
- EPenkerDocumentationpdf
-
- 2bAusstellungenPublicaSpaceEPenkerpdf
-
- 2cUntitled_InstrumentsKunsthausGrazEPenker
- 2bpoeticsKunsthaus GrazEPenker
-
- 4PresseEPenkerpdf
-
- 4Review_Seattle Weekly
-
Split Representation
Claude Levi-Strauss 2009
C-Print
5-teilig je 245 x 305 cm
Ed15 + 2 AP
The camera positions of a right angle mirror bdquoSplit Representationrdquo were chosen by E Penker in the way that the
flash is not in the image the photos are made utilizing a right angle mirror which both fragments and reflects the
image creating multiple or a split perspective EP
Bench-Shelf 2003
Acryl auf Pappelsperrholz
46 x 151 x 42 cm
The bench which is the earliest work in the exhibition mirrors the bottom and the top seating elements thereby
giving the object an asymmetrical appearance The bench-shelf was originally designed for a video archive was
later used by museum staff (in Porto) as gallery furniture
composition (or view) Numerous contemporary artists eg Donald Judd have related the ShakersAmish radical functionalism to their sculptural practice
Poetics of Dead Space 2 2009-2010
2 Kanaumlle einer 8-Kanal-Composition mono
Metallstativ Speaker Yamaha MSP3 CD-Player
H 133 cm
Ed 13
The non-linear 8-channel composition ldquoPoetics of Dead Space 2rdquo introduces polysynthetic language morphology
combined by the melody which is composed from pre-existing recordings of extinct languages and Penker‟s self-
made instrument ldquoUntitled Instrument sonic structurerdquo (see PDF and re lated essay written by E Penker at
Resonance fm Magazine upon request at Galerie naumlchst St Stephan)
The channel which is upstairs installed uses an existing wall as an acoustic filter and introduced sub-
consciousness polysynthetic language morphology into the gallery space The title refers to the book poetic of
space within unused architectural situations of exhibition spaces bdquo A Blind Spot (dead angle - Toter Winkel) has a
different meaning in terms of acoustics and cannot be compared with the visual context where blind spot is used
primarily in conversations
In musicsound production in film the visual blind spot is used very often by hearing a bike roller plane without
seeing it In everyday life we are used and depending by acoustic blind spots for our orientation of the situation
and space we are in at the moment Architectural acoustic issues play an important role during the time of the
composition ldquoPoetic of Dead Space 2rdquo is a context specific composition and deals with polysynthetic language
morphology recordings of the untitled instrument Sonic structure and acoustic exhibition architecture besides
issues which are depending of the unused architecture and their acoustics
Galerie naumlchst St Stephan
Aneta Grzeszykowska Elisabeth Penker
220110 bis 060310 Auf den Spuren gesellschaftlicher
Ordnungssysteme
Die beiden Ausstellungen von Aneta Grzeszykowska in den Galerieraumlumen
und Elisabeth Penker im Projektraum bdquoLOGINldquo sprechen unterschiedliche
Sprachen Momente der Beruumlhrung ergeben sich lediglich durch die
Auseinandersetzung der beiden Kuumlnstlerinnen mit Systembildungen und
gesellschaftlich bedingten Agglomerationen von Bedeutungen Waumlhrend der
Blick der in Warschau lebenden Kuumlnstlerin Aneta Grzeszykowska
psychologisch und kulturell bestimmt ist laumlsst sich das Verfahren der in
Wien und Rom lebenden Elisabeth Penker als ethnografisch und linguistisch
fundiert umschreiben Im Nebeneinander der beiden Positionen bilden sich
schaumlrfende Kontraste
Aneta Grzeszykowskas Interesse gilt dem Privaten in verschiedenen
visuellen Uumlbersetzungen Etwa kartografierte sie mit dem Warschauer
Kuumlnstler Jan Smaga in einer Fotoserie Wohnungen aus der Vogelperspektive
um eine intime Geschichte der Stadt uumlber die Anordnung von Raumlumen
Moumlbeln und Gebrauchsgegenstaumlnden zu erstellen Nun begibt sie sich mit
dem Film bdquoBirthdayldquo auf die Ebene fruumlhkindlicher Begegnungen mit dem
Unheimlichen Gedreht wurde er in der Art privater Dokumentationen zur
Feier des eigenen Nachwuchses anlaumlsslich eines Kindergeburtstags Durch
kommentierende Eingriffe wie die Animation sonst unbeweglicher
Gegenstaumlnde uumlbt die Kuumlnstlerin Kritik an den Konventionen und betont so
das Monstroumlse solcher Ereignisse In der Doppelboumldigkeit von inszenierter
Kindheit und Abgruumlndigem ist auch eine Reihe monochromer dunkler
Figurinen aus Stoff angesiedelt Dass diese bekleidet sind wie
Grzeszykowska in ihrer Kindheit verweist auf Versuche Dramatisches uumlber
die aumlsthetische Formalisierung zu bearbeiten Eine Fotografie mit dem durch
die Hand Grzeszykowskas unabsichtlich verletztem Auge ihres kleinen
Bruders und eine maumlrchenhaft anmutende Reliefskulptur mit einem Maumldchen
auf einem Hund aus stacheligen Distelbluumlten erzaumlhlen davon
Tiefenbohrungen zum Kern semantischer Ordnungen unternimmt dagegen
Elisabeth Penker im Kontext der Ausstellungsserie LOGIN in einem
ehemaligen Geschaumlftslokal und im Foyer der Galerie selbst Bekannt ist die
Kuumlnstlerin und Musikerin Elisabeth Penker etwa durch ihre Intervention im
Arkadenhof der Universitaumlt Wien mit einer Buumlste der oumlsterreichischen
Romanistin und ersten Universitaumltsprofessorin Elise Richter Diese leite das
phonetische Institut bis zu ihrer Deportation ins Ghetto Theresienstadt durch
die Nationalsozialisten und war in der patriarchalischen Ordnung der
steinernen Koumlpfe der Universitaumlt ndash ebenso wie die Leistungen von Frauen
generell ndash bis dahin kein Thema gewesen In der Ausstellung bdquoProtectionsldquo
im Kunsthaus Graz thematisierte Penker mit ihrem bdquoFirst Nation Pavillonldquo die Hegemonie des durch den
Kolonialismus gepraumlgten Blicks auf auszligereuropaumlische Gesellschaften
Stets sind ihre Annaumlherungen auf die Generierung von Bedeutungen im Sinne von Grammatiken
ausgerichtet Dementsprechend leitmotivisch fungiert ein Portraumlt des kuumlrzlich verstorbenen Ethnologen
Claude Leacutevi-Strauss in der Rauminstallation mit integrierter Soundkomposition Die gespiegelte und
mehrfach aufgefaumlcherte Fotografie von Leacutevi-Strauss in bdquopolysynthetischer Doppelperspektiverdquo laumlsst sich
als Verschneidung von Sprachlichem Klanglichen und Visuellen lesen
Eine Archaumlologie im Feld der Linguistik wie auf Materialebene fuumlhrt die Signifikanten auf engstem Raum
zusammen Triviale Vierkanthoumllzer beispielsweise wurden in genau jenen Farben lackiert die Penker als
uumlbereinander gelagerte Sedimente unter der Dispersion der Waumlnde freilegte Die laumlnglichen Houmllzer
beziehen sich auf den englischen Ausdruck bdquologldquo fuumlr Stamm und somit auch auf die Ausstellungsreihe der
Galerie Bemerkenswert dass ein Wort das bloszlig aus einem Morphem besteht einen Gegenstand
repraumlsentiert So baut sich uumlber eine Reihe weiterer Objekte wie etwa den bdquoHanging Chairsldquo aus dem
Fundus der Galerie ein elementares Netzwerk von Bezuumlgen auf Mit ihren Werken und abstrakten Sound-
Kompositionen dringt Elisabeth Penker kritisch forschend in die Makrobereiche von Grammatiken vor um
Potentiale semantischer Anbindungen in Nachbarsystemen freizulegen Roland Schoumlny
Elisabeth Penker Einzelausstellung MAK CAT TOWER Kurtaiert von Andreas Kristof
ldquoPassive Orchestrardquo 2008 8-Channel-Toninstallation Die Interpretation von Soundart sieht Penker in der Uumlberschneidung von Sprache-visueller Kunst und Musik und ist zumeist mit einer visuellen raumlumlichen Komponente verbunden Der Betrachter und Zuhoumlrer befindet sich in
einer Konzert-Situation statt Instrumenten sieht er nur Lautsprecher die auf unterschiedlichen Houmlhen auf einer grauen Wand positioniert sind Passiv Orchestra beruht in der Struktur auf die grammatische Einteilungen von Sprachen die in phonetische Minimaleinheiten dekonstruiert sind und wird uumlber eine Mehrkanal Matrix gespielt Elisabeth Penker referiert in dieser eigens fuumlr den Flakturm konzipierten Arbeit auf dadaistische Methoden der Sprachdekodierung die auch als ein klares Anti-Kriegs-Statement zu verstehen waren
1
Kunsthaus Graz
Protections
Kuratoren Adam Budak und Christine Peters
Elisabeth Penker
First Nation Pavilion
Der First Nation Pavilion von Elisabeth Penker unternimmt den Versuch einen Bereich fuumlr ein koloniales
Bewusstsein der europaumlischen Vergangenheit zu schaffen und einen utopischen Raum fuumlr neue Vorstellungen
von einer Mannigfaltigkeit an kulturellen Formen in der zeitgenoumlssischen Kunst Die Komposition de-
grammatical ein Bestandteil des First Nation Pavilion beruht in ihrer Struktur auf den grammatischen
Einteilungen der Sprachen die in phonetische Minimaleinheiten dekonstruiert sind und wird uumlber eine
nichtlineare 5-Kanal-Matrix gespielt
Penker untersucht moumlgliche Uumlberschneidungen zwischen der Sprache der Musik und der Bildstruktur wobei ihr
Hauptaugenmerk polysynthetischen Sprachen (First Nations und Pazifische Inseln) gilt sowie dem Vergleich
zwischen der Kunst von First Nations und der Modernen Kunst Erst in juumlngerer Zeit in der Aumlra des
Postkolonialismus hat der Diskurs der kulturellen Uumlbersetzung Fragen aufgeworfen mit denen man sich schon
in den phonetischen Experimenten des Dadaismus in den 1910er und 1920er Jahren beschaumlftigt hatte sowie
spaumlter in der Konzeptkunst der 1960er und 70er Jahre
Elisabeth Penker
First Nation Pavilion
The First Nation Pavilion by Elisabeth Penker attempts to set-up an area for colonial consciousness of the
European past and a utopic space for re-imagining a plurality of cultural forms in contemporary art The
composition entitled de-grammatical contained within the First Nation Pavilion is structurally-based on the
grammatical classifications of languages deconstructed into minimal phonetic units played within a non-linear
5-channel matrix
Penker is questioning the possible overlaps between music-language and visual structure within the primary
focus on polysynthetic languages (First Nation and Pacific Islands) and First Nation Art compared to Modern Art
More recently in the age of post-colonialism the discourse of cultural translation is arising questions that have
also been experimented by the Dadaists phonetic experiments in the 1910-20s and later in Concept Art of the
1960s-70s Text Adam Budak
Michael Elmgreen amp Ingar Dragset (the work of two other invited artists) offered Penker a typical prefabricated
house as her exhibition space within the Kunsthaus
id31403916 pdfMachine by Broadgun Software - a great PDF writer - a great PDF creator - httpwwwpdfmachinecom httpwwwbroadguncom
2
Elisabeth Penker Fisrt Nations Pavilion 2006
Change of floor plan of the prefabricated house by Michael Elmgreen amp Ingar Dragset
Entrance door Fisrt Nations Pavilion
3
Part 1 Colonial Conciseness in visual art
Room 1 and 3 Modernism=Imperialism after Henry Flynt Demolish serious culture
Woman as a the last Colony Rosa Luxenburg Veronika Bennholdt-
Thomsen Claudia von Werlhof und Maria Mies
4
Vinyl letters C-Print
5
6
Polysynthetische Doppelperspektive 1 Claude Levi- Strauss
Photocolloage C-Print
7
Polysynthetische Doppelperspektive 2 Claude Levi-Strauss
Photocolloage C-Print
9
Polysynthetische Doppelperspektive 4 Claude Levi Strauss
Photocolloage C-Print
2 prints Installed in corner
Installation view Polysynthetische Doppelperspektive 1-4 Claude Levi- Strauss
The visual grammar and its double perspective (split representation) of Haida Gwai and Tlinglet Art (First Nation
Art) is re-collaged with a photograph of Pablo Picasso comparing Cubism (early Modernism) with First Nation Art
and questioning its similarities of double perspectives
10
Room 4 and 5
Room 4
11
Luicide List The museum as an imperial graveyard
C-Print
Colonial after effects of Luicide
Gips Metallkette Hose Schuh
12
No7
Mirror Split Representation Mirror framed and installed in the corner
Part 2 Room 6 and 8 Comparative Contemporary Art
4-channel sound installation
De-grammatical Listen to mp3 audio excerpts
13
Front
2 CT (shelfbenches) Acryl auf Pappelsperrholz
Back Pull Over Yukme Shirley Hall outside
14
Pull Over Yukme Shirley Hall inside
Fabric wall silk print by (Tlinglet Artist) Yukme Shirley Hall
Wo ist Elise Richter wo ist
id99149429 pdfMachine by Broadgun Software - a great PDF writer - a great PDF creator - httpwwwpdfmachinecom httpwwwbroadguncom
Im Arkadenhof der Universitaumlt Wien stehen 154 Buumlsten von bedeutenden Wissenschaftlern der
Universitaumlt Wien (1700-2005) Bedauerlicherweise findet sich unter ihnen keine einzige Frau Eine temporaumlre Buumlste einer anonymen Wissenschaftlerin soll die systematische Ausblendung von Frauen
aus der Universitaumltsgeschichte thematisieren Die offene Web- Plattform (wwweliserichterat) ermoumlglicht allen Benutzern aktiv an der Umschreibung der Universitaumltsgeschichte und an re-imaging Prozessen der Repraumlsentation dieser Buumlsten teilzunehmen Weiters wird die Verbindung von raceclassgender und einer akademischen Kariere in diesem Zusammenhang hinterfragt We can never really change any form of social organisation without challenging all that organisations forms of
language (Debord)
Within the patriarchal structures of the Arkadenhof at the University of Vienna stand 154 busts of important scientists (1700-2005) Unfortunately none of these busts are women Through the placement of a temporary bust of an anonymous female scientist it declares the absence of them within the history of the university As well the anonymous bust embodies the presence of important scientists who have not yet been given equal representation The open web-platform (wwweliserichterat) allows every user to participate in this discourse to re-write the history of the university and to re-image the representation of these busts through a wiki system
Skizze Buumlste einer anonymen Wissenschaftlerin
Mein Interesse besteht nicht darin zu recherchieren welche Buumlsten von Wissenschaftlerinnen im Arkadenhof fehlen sondern das Fehlen der Wissenschaftlerinnen im Zeitraum von 1700 bis 2005 aufzuzeigen und Strukturen fuumlr eine oumlffentliche Kommunikationsplattform zu schaffen In der Genderforschung besteht Konsens daruumlber dass Gender kein Merkmal von Individuen sondern das einer
Institution ist (Connell) zudem ein struktureller Bestandteil einer Gesellschaft ist und dass Gendernormen alle Organisationen durchdringen (Acker)
Grundriss Arkadenhof der Universitaumlt Wien Literatur Acker J (1990) Hierarchies Jobs Bodies A theory of gendered organizations In Gender and Society
Connell R (1998) Gender and Power Society the Person and Sexual Politics Stanford University Press Stanford CA Maisel T (1990) Die Denkmaumller im Arkadenhof der Universitaumlt Wien Biographische Skizzen Wien Quellen Denkmalsakten Archiv der Universitaumlt Wien
Veranstalter Open Mind Projekt Utopie Freiheit httpwwwopenmindat vereinopenmindat Projektautorin Elisabeth Penker elpenkergmxat Bronzeguss Walter Rom Wachsmodel Buumlste Elisabeth Penker Steinsockel Ausfuumlhrung Fa Zehmann Mario Jungbauer Mediendesign Gernot Tscherteu httpwwwrealitylabatwphome gtrealitylabat Techn Umsetzung Christian Langreiter Webpage wwweliserichterat
Elisabeth Penker- Franzengasse 13- 1050 Wien ++43 (0)699 197 193 53 elpenkergmxat
Elisabeth Penker Untitled instruments 1-3 2000-2012
Galerie Georg Kargl Wien Galerie Priestor Bratislava Kuumlnstlerhaus Wien Kibla New
Media Center Maribor HTTP Galerie London Secession Wien Mak Wien Roma
Contemporary Wien
Elisabeth Penker Untiled Instrument Galerie Georg Kargl Wien
Curated by Michael Hall
Elisabeth Penker Untitled instrument 2001 New Media Center Maribor
Elisabeth Penker Untitled instrument 2001 New Media Center Maribor
Elisabeth Penker Untitled instrument Kuumlnstlerhaus Wien curated by Ursula Maria Probst
Live Performance mit Celia Mare
Detail Die BILD_HAU_ER_IN Kuumlnstlerhaus Wien
Live Performance Flower Structure Wiener Festwochen
Elisabeth Penker (Untiled instrument) Van Angh (Cello) Tri Minh Electronics
Elisabeth Penker Live Performance Poetics of space Secession Wien
MAK Nail Structure GRizo Sweet Susie Elisabeth Penker
Elisabeth Penker HTTP Gallery London 2005 curated by Tobi Maier
Elisabeth Penker HTTP Gallery London Live Performance
Elisabeth Penker Untitled Instrument Sonic Structure Kunsthaus Graz curated by Adam Budak amp
Christine Peters
Videolinks
httpwwwyoutubecomusersoundart24
Interview with Video Festwochen
httpbturncom8753interview-elisabeth-penker
Kunsthaus Graz
Protections
Kuratoren Adam Budak und Christine Peters
Elisabeth Penker Poetics of Dead Space
For PROTECTIONS Elisabeth Penker developed a key-sound Poetics of Dead Space which is to a large extent a homage
to Gaston Bachelards seminal book Poetics of Space where the connections between the poetry and the spatial emotions
are analysed Penkers key-sound will guide the viewer through the exhibition mapping the overall identity of the show in
some way controlling the viewers (audio-narrative) route in the maze of art objects events situations but also spatial
voids and unused corners
Fuumlr PROTECTIONS entwickelte Elisabeth Penker einen leitmotivischen Key Sound Poetics of Dead Space der weitgehend
eine Hommage an Gaston Bachelards wegweisendes Buch Poetics of Space darstellt in dem die Verbindungen zwischen
Lyrik und raumlumlichen Emotionen analysiert werden Penkers Key Sound wird das Publikum durch die Ausstellung geleiten
die Identitaumlt der Schau in ihrer Gesamtheit erfassen und in gewisser Weise die (audio-narrative) Route des Publikums im
Labyrinth der Kunstgegenstaumlnde Ereignisse und Situationen aber auch raumlumlicher Leerstellen und ungenutzter Winkel
kontrollieren
A non linear composition 7 mono active speakers are placed through out the Kunsthaus Graz Speaker placement
1 outdoor (entrance) 2 (travelator) 3 (corner with column) 4 (corner with door) 5 (corner) 6 (travelator) 7 (corner with
window)
Poetics of Dead Space Let it grow again 28 51 sec mono
Source material for composition rain sound of dried beans dropping down wood sticks breathing hardly existing
id78338975 pdfMachine by Broadgun Software - a great PDF writer - a great PDF creator - httpwwwpdfmachinecom httpwwwbroadguncom
recording of extinct languages
Poetics of Dead Space Let it grow again 28 51 sec mono
Source material for composition rain sound of dried beans dropping down wood sticks existing recording of extinct
languages
Poetics of Dead Space travelator 1 1min 04 sec mono loop
Source material for composition staff falling down man falling down stairs rattern recording untitled instrument
Background existing recording of extinct languages
Poetics of Dead Space 496 1min 409 sec mono loop
Source material for composition recording untitled instrument Background existing recording of extinct languages
Poetics of Dead Space 129525 1min 4888 sec mono loop
Source material for composition recording untitled instrument Background existing recording of extinct languages
Poetics of Dead Space 129525 1min 4888 sec mono loop
Source material for composition keyboard recording untitled instrument Background existing recording of extinct
languages
Poetics of Dead Space travelator 2 1min 5209 sec mono loop
Source material for composition recording untitled instrument violin Background existing recording of extinct
languages
Poetics of Dead Space2152518125220 1min 3200 sec mono loop
Source material for composition recording untitled instrument Background existing recording of library of extinct
languages
Poetics of Dead Space travelator 1 1min 04 sec mono loop
viewing down from upstairs Source material for composition staff falling down man falling down stairs rattern
recording untitled instrument Background existing recording of extinct languages
Poetics of Dead Space Let it grow again 028 51 sec mono
Source material for composition rain sound of coins wood sticks existing recording of extinct languages
Elisabeth Penker is a Viennese artist and musician working with sound in a sculptural context In her (subjective) tour
Penker approaches the entire anti-exhibition PROTECTIONS from an angle of its position and significance in the context
of Sound Art as located on the crossway between visual arts language and music Starting from her own house turned
into First Nation Pavillion which amongst others aims at connecting the recent discourse on cultural translation with
early avant-garde phonetic experiments Penker maps the sonic structure of Kunsthaus Graz and its (live) architecture
which for PROTECTIONS hosts an array of interdisciplinary projects with a strong audio-quality from Herwig Weisers
Death Before Disco (a micro-architecture of hyper-technological and electronic pop) through a newly created choir of
security guards for Tim Etchells Wall of Sound down to a cacophonic layers of anonimous noise generated by the
space itself and the presence of audience
Die Wiener Kuumlnstlerin und Musikerin Elisabeth Penker arbeitet mit Klang im Zusammenhang mit Bildhauerei In ihrer
(subjektiven) Fuumlhrung naumlhert sie sich der Anti-Ausstellung PROTECTIONS aus einem Blickwinkel der die Position und
Bedeutung der Klangkunst an der Kreuzung zwischen bildender Kunst Sprache und Musik verortet Von ihrem eigenen
Haus ausgehend das sich in den First Nation Pavilion verwandelt hat der u a den aktuellen Diskurs uumlber kulturelle
Uumlbersetzung mit fruumlhen phonetischen Experimenten der Avantgarde verbinden soll entwirft Penker die klangliche
Struktur des Gutshauses und seiner (Live-)Architektur die fuumlr PROTECTIONS eine Reihe von interdisziplinaumlren Projekten
mit einer starken Affinitaumlt zum Klang beherbergt von Herwig Weisers Death Before Disco (eine Mikroarchitektur aus
hyper-technoidem und elektronischem Pop) uumlber einen neu formierten Chor bestehend aus Security Guards fuumlr Tim
Etchells Wall of Sound bis zu einer Kakophonie aus anonymen Geraumluschen die vom Raum selbst und der Anwesenheit
des Publikums erzeugt werden
052813
Local Warming ATHENS
052813
AFTER A YEARLONG HIATUS the eighteenth Art-Athina hit the ground running on the evening of Thursday May 16 and the former Olympic
ldquoTae Kwon Dordquo Pavilion was packed with enthusiastic party people The fair had a more national flavor than ever this year under its new
director Alexis Caniaris the son of recently deceased artist Vlassis Caniaris whose iconic modern work has recently found great success on the
international market Of the very few foreign galleries exhibiting most were Greek-owned The Breeder gallery was dealing with the perceived
drop in the market by selling fantastic multiples by artists like Stelios Faitakis Jannis Varelas and Andreas Angelidakis at crisis-appropriate
prices ldquoNobody wants to come here now but I have already met three interested billionaire collectors today And if Greeks like you they
introduce you to their billionaire friendsrdquo raved Cologne dealer Mirko Mayer a seven-time exhibitor ldquoThat is what nobody knows There are
at least one-hundred billionaires collecting hererdquo Most international collectors were delayed several hours due to a union strike a de r igueur
mode of arrival in contemporary Greece
It was impossible to miss the exuberant activities of the DaDa Da restaurant a Greek-Austrian collaboration where artist Albert Mayr was
waving a skillet and raving nonsense while Lucas Willmann tenderized pink fillets for Wiener schnitzel ldquoThis is Viennese Actionism lightrdquo
quipped critic Sotirios Bahtsetzis Artist Natasha Papadopoulos added ldquoBut here there are hungry Greeks waitingrdquo On a table with a rotating
Sacher tort by Heacutelegravene van Duijne a sign carried the overwhelming spirit FUCK ART LETrsquoS EAT SOUVLAKI An insistent electronic beat and
pulsating light emanated from the next booth the American College of Greecersquos ldquoAthensUrgentrdquo while hooded performer Manos Tsatiris
stood against the wall with his hands tied perhaps a metaphor for the current Athenian exigency ldquoThis is not the kind of art fair scene we are
used tordquo said the Economou Collectionrsquos Annie-Claire Geisinger watching the madness
Left Artists Elisabeth Penker Michela Pelusio Petros Touloudis Panos Papadopoulos and Nino Stelzl Right Collector Anne-Marie Ros
Down on the floor the dealers seemed pleased particularly given dismal expectations having already sold a great deal at the preview Young
Rotterdam-based gallery Joey Ramone had sold sculptures by Fotini Gouseti to English and Belgian collectors dealer Erik Mulier had also sold
some work to Belgians Marc Van den Hende said he had bought a triptych by Eirene Efstathiou and was considering a Vlassis Caniaris piece
from the 1970s ldquoI saw some surprisesmdashyoung Greek artists I did not knowmdashand great new galleries like Elika and CANrdquo Dutch collector
Anne-Marie Ros said By the end of the day Dimitra and Sofia Vamiali reported that they had not seen one Greek collector although another
reported a Dakis Joannou sighting mdash Cathryn Drake
SEARCH
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SEATTLE
WEEKLY
in the News
Columnist
Geov Parrish
is a regular
guest on
Mind Over
Matters on
KEXP-FM
(903)
Saturdays at
830 am and
provides news
commentary
on KBCS-FM
(913) Fridays
at 430 pm
Catch writers
Steve
Wiecking Tim
Appelo and
ARTS
March 30 - April 5 2005
Picking Up the Thread
Howard House ties together the best new conceptual art from Vienna
by Elise Richman
Franz Wests Mercury
(Howard House Contemporary Art)
Theres a German expression to lose the red thread which means losing
ones train of thought In its current show Howard House has found that
thread Julie Ryan a curator artist and writer organized The Red
Thread Glimpses of International Art in Vienna a two-part exhibition
featuring artists working and living at least part time in Austrias capital
Part one of the show is at Howard House the second half is currently on
display at the Educational Alliance Gallery in New York
Vienna has become a magnet for artists from all over the world including
the 15 individuals and artist teams that are part of The Red Thread
Excellent artist residency programs a low cost of living and living art
legends like Franz West are just a few of the reasons
An artistic collaboration with West took Ryan from New York to Vienna
She knows Billy Howard who runs Howard House from the University of
Washingtons School of Art And so the figurative string was strung
connecting the East and West coasts with artists from across the Atlantic
This is a complex exhibit whose emotional tenor ranges from cool
detachment to an almost urgent earnestness Unlike the formal richly
historical city that connects them artists in The Red Thread favor informal
approaches to art making use disposable materials and comment on
contemporary cultural themes
West has two formidable sculptures at Howard House The front room of the
gallery features Mercury (pictured) an ungainly behemoth composed of a
patchwork of fused metal Like many of Wests sculptures Mercury is
meant as an interactive structure that viewers can climb and sit on Bulbous
Gavin
Borchert
discussing
theater film
and music
regularly on
classical
KING-FM
(981)
Mark Fiore
Cartoons
Every
Thursday
nodules extend from its horizontal base and the seams of the dark maroon
metal look like scars rendering it at once vaguely obscene and absurdly
playful
Sisyphus the other West sculpture on display is a bulky conglomeration of
bits and wads of paper propped in the back room on a makeshift plinth (base
block) Though its as solid as the boulder its title references its surface is
like oozing skin partly coated with poured murky paint partly cloaked in
small clumps of newspaper detritus
The strenuous act of making each of these sculptures is eminently apparent
and central to the content of Wests work West considers creation a
symbolic act As you might expect he likens the artistic process to the plight
of Sisyphus the mythological figure who eternally rolled a boulder up a hill
only to have it come crashing back down For West art involves a
Sisyphean search for what he calls the absolute through the seemingly
senseless accumulation of materials However unlike Sisyphus futile quest
Wests process can lead to epiphany making sense of the senseless
Similarly Viennese artist Elisabeth Penkers art serves a facilitative
function easing the act of translation Penker uses Haida iconography in her
multimedia work because it provides potent visual symbols that
communicate single words and whole sentences simultaneously Her prints
at Howard House feature fragments of icons floating in the papers white
space They are spare visually arresting characters that employ an
iconographic language as encoded symbols of communication
Also featured in The Red Thread is Donald Baechler an internationally
known American painter who spends extended periods of time in Vienna
Baechler equalizes his imagery by painting it all in the same style For him
the source of an image doesnt matter whether its a drawing by Picasso or
graffiti on a bathroom wall What matters is the newfound context his
paintings provide
Victory by Default is part of Baechlers Skull series In this piece a painted
skull gapes from the dirty yet sensuous confines of a large canvas Terry
cloth and wrinkled rags provide literal texture and reference the world
outside the paintings boundaries Splatterings of color around the skull like
the self-conscious marks of Jasper Johns seem to express the language of
paintingmdashhue and gestural strokesmdashin a factual rather than illusional
manner
Another American painter Lisa Ruyter lives half-time in Vienna where she
runs an influential gallery She works from photographs projected onto
large-scale canvases tracing the contours of the projected imagery with
consistent black outlines In a way that seems arbitrary she paints the shapes
formed by her contour lines in flat designer colors Man of Means based on
a photo of fashion photographers looks like a scrambled color-by-numbers
painting I cant do justice to the unusually rich assortment of conceptual art
in The Red Thread Youll just have to see it for yourself Thomas
Baumans thrashing triangular foil blanket Walter Seidls slide show of
staged snapshots Markus Schinwalds photograph of a contortionist and the
other thoughtful works connected by The Red Thread
The Red Thread Glimpses of International Art in Vienna runs through
April 30 at Howard House 604 Second Ave 206- 256-6399 1030 amndash5
pm TuesndashSat Free
KUNSTFORUM
Parallelwelten fuumlr Parlamentarier Ausstellung
Von Brigitte Borchhardt-Birbaumer
Ende Oktober endet die Zusammenarbeit von Nationalratspraumlsident Andreas Khol und Peter Pakesch Direktor des Kunsthauses Graz am Joanneum Seit 2003
hatte Pakesch als Kurator mehrere Ausstellungen in den Sitzungssaumllen des Parlaments in Zusammenarbeit mit Galerien initiiert und namhafte Positionen
ausgewaumlhlt Kriterium fuumlr Praumlsentationen war die Praumlsenz durch eine Schau in einer der bekannten Kunstinstitutionen des Landes Nach Eva Schlegel Adriana
Czernin Maria Lassnig oder Esther Stocker sind dies nun bis April 2007 Josef Dabernig Daniel Hafner Ulrike Lienbacher Alois Mosbacher und Elisabeth
Penker
Das Parlament kann dabei durch die Margaretha-Lupac Stiftung immer eine Arbeit fuumlr die wachsende Sammlung des Hauses ankaufen Zuletzt war das ein
groszliges Oumll-Acryl-Gemaumllde der Georg-Eisler-Preistraumlgerin Maja Vukoje zuvor Johanna Kandl deren Temperabild derzeit an das Lentos in Linz geliehen wird
Einige Werke haumlngen schon als kuumlnstlerische Wegweiser in den Gaumlngen des Hauses und sind auch Blickfang fuumlr die 120000 Besucher die pro Jahr das
Parlament besuchen In die Architektur von Theophil Hansen mit ihrer zeitlosen Qualitaumlt fuumlgt sich die Gegenwartskunst kongenial
Hoffnung fuumlr spaumlter
Die derzeitige Zusammenstellung macht Hoffnung auf eine Fortsetzung unter der naumlchsten Praumlsidentschaft Fotografie Computerkunst Malerei Zeichnung
und Skulptur weisen auf die Vielfalt der Werkstoffe in der Gegenwartskunst Elisabeth Penker parallel im Kunsthaus Graz zu sehen baut schwarzweiszlige
Objekte aus bemaltem Holz die in ihrer seriellen und geometrischen Anordnung auf Bezuumlge zum Performativen und auf die Musik hinweisen
Noch juumlnger ist Daniel Hafner mit seinen am Computer komponierten digitalen Drucken Morphosentransformationen von 2006 Linienraster und
Raumkonstruktionen in subtiler Farbigkeit verbinden Tendenzen der fruumlhen Op-Art mit dem Cyber-Lab
Um konstruierte Realitaumlten geht es auch in den groszligformatigen Oumllbildern von Alois Mosbacher dem bekannten Vertreter der Neuen Wilden der
Achtzigerjahre in Oumlsterreich Wanderer in Wald und Wiese erzaumlhlen die Geschichten alternativer Welten die sich mancher in der Gesellschaft als Parallele
konstruiert
Zwei Fotofriese von Josef Dabernig bilden jeweils ein Panorama von oumlffentlichen Plaumltzen auf denen es zum einen um Fuszligball geht Zum anderen ist der
Rundblick in das Oval einer scheinbaren Arena auch eine Art Sehschule fuumlr die Betrachter Ein sozialer Befund ist die dritte Bedeutungsebene
Ulrike Lienbacher die heuer mit einer groszligen Schau im Innsbrucker Taxispalais ihre Karriere fortsetzt ist mit ihren feinlinigen Tuschezeichnungen den kleinen
oft unsichtbaren Zwaumlngen in unserer Gesellschaft auf der Spur Im Lokal II des Parlaments stellt sie zwar nicht ihre Objekte und Fotos aber einige
groszligformatige Blaumltter mit Frisurenvariationen neben teils fragmentierten Frauenkoumlrpern im Umgang mit Schmutz und Hygiene aber auch Fitnesskult aus
Disziplinierung und Kontrolle betreffen in der Oumlffentlichkeit besonders den weiblichen Koumlrper Sauberkeitsmechanismen weisen auch auf Vorstellungen von
wertvoll und minderwertig hin Ihre Transformationen enthalten wie die Themen der anderen subtile Kritik und sind daher vom Kurator uumlberlegt positioniert
Zeitgenoumlssische Kunst
im Parlament
Bis April 2007
Kurator Peter Pakesch
Konfrontationen
Dienstag 10 Oktober 2006
ltlt 2003 | 2004 Jan Feb Mar Apr May Jun Jul Aug Sep Oct Nov Dec 2004 | 2005 gtgt
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31
Sunday 17 October 2004
TIME
TITLE
NAME
700 Indymedia ESF breakfast show Indymedia London
Highlights news and views from the European Social Forum and the
autonomous spaces and initiatives taking place this week
website
800 Resonance Radio Art Riot Breakfast International
Radio Art
A five part special of the Harmon E Phraisyar show commissioned for
Kunstradio in Austria starts off the morning broadcast of international radio
art
website
1100 Resonance Live from the Frieze Art Fair Anna Colin amp
Tobi Maier
1100 Chris Weaver Resonance 1044FM live electronics set with James Dunn and
Robin Warren
1130 Michael Hall gallery Vienna presents audio works by artist Elisabeth Penker
1200 Maria Fusco presents latest the Bookworks commissions
1300 The Psychology of Collecting live broadcast of the frieze art fair panel
discussion
Is collecting an irrational act guided by compulsion and desire What are the use of
objects What are the motivations behind making collecting curating and
criticizing art A discussion of the psychology of collecting and the politics of taste
Hilary Rubenstein (Psychologist)
Eric Troncy (Art Critic and Director Le Consortium Dijon)
Haim Steinbach (Artist)
Chair Alice Rawsthorn (Director Design Museum)
1500 Portable live set and presentation of sudelectronic records London
1600 Where is Adventure What is Culture live broadcast of the frieze art fair
website
panel discussion
A discussion of the relationship of art to entertainment touching on the comedic
being popular and failing miserably
Trisha Donnelly (Artist)
Christian Jankowski (Artist)
David Robbins (Writer amp Artist)
Nancy Spector (Curator of Contemporary Art Solomon R Guggenheim Museum)
Chair Matthew Higgs (Curator CCA Wattis Institute for Contemporary Arts)
1800 Melissa Bent from Rivington Arms gallery New York in conversation with
artist Dan Colan and Tobi Maier Anna Colin
1830 VOX pop recordings from the fair with Sharon Gal
1900 Resonance Radio Art Riot Sarah
Washington
The Resonance Radio Art Riot brings together some of the foremost radio artists
and thinkers from around the world The studio lab situation will feature round
table discussions live performances and streamed events
Tonight Radio Text
Events Live broadcast from Sonic Arts Network Resonance benefit featuring
Henri Chopin studio performances from Julia Lee Barclay and Aude Tournay plus
Special Features None present live concrete radiophonics - Planning For
Emergencies
Guests include Clive Graham Chris Weaver Richard Thomas Toby Clarkson
John Lovett Robin Warren and James Dunn
Topics The word as art Sound poetry text performances
At Midnight Tom Wallace present exclusive excerpts from radio art pioneer
Gregory Whitehead
website
000 Resonance Radio Art Riot Nights International
Radio Art
The Resonance Radio Art riot continues throughout the night with the finest of
international radio art Resonance FM programme makers and our international
guests have put together many special hours of classic and obscure radio
works
website
- EPenkerDocumentationpdf
-
- 2bAusstellungenPublicaSpaceEPenkerpdf
-
- 2cUntitled_InstrumentsKunsthausGrazEPenker
- 2bpoeticsKunsthaus GrazEPenker
-
- 4PresseEPenkerpdf
-
- 4Review_Seattle Weekly
-
Bench-Shelf 2003
Acryl auf Pappelsperrholz
46 x 151 x 42 cm
The bench which is the earliest work in the exhibition mirrors the bottom and the top seating elements thereby
giving the object an asymmetrical appearance The bench-shelf was originally designed for a video archive was
later used by museum staff (in Porto) as gallery furniture
composition (or view) Numerous contemporary artists eg Donald Judd have related the ShakersAmish radical functionalism to their sculptural practice
Poetics of Dead Space 2 2009-2010
2 Kanaumlle einer 8-Kanal-Composition mono
Metallstativ Speaker Yamaha MSP3 CD-Player
H 133 cm
Ed 13
The non-linear 8-channel composition ldquoPoetics of Dead Space 2rdquo introduces polysynthetic language morphology
combined by the melody which is composed from pre-existing recordings of extinct languages and Penker‟s self-
made instrument ldquoUntitled Instrument sonic structurerdquo (see PDF and re lated essay written by E Penker at
Resonance fm Magazine upon request at Galerie naumlchst St Stephan)
The channel which is upstairs installed uses an existing wall as an acoustic filter and introduced sub-
consciousness polysynthetic language morphology into the gallery space The title refers to the book poetic of
space within unused architectural situations of exhibition spaces bdquo A Blind Spot (dead angle - Toter Winkel) has a
different meaning in terms of acoustics and cannot be compared with the visual context where blind spot is used
primarily in conversations
In musicsound production in film the visual blind spot is used very often by hearing a bike roller plane without
seeing it In everyday life we are used and depending by acoustic blind spots for our orientation of the situation
and space we are in at the moment Architectural acoustic issues play an important role during the time of the
composition ldquoPoetic of Dead Space 2rdquo is a context specific composition and deals with polysynthetic language
morphology recordings of the untitled instrument Sonic structure and acoustic exhibition architecture besides
issues which are depending of the unused architecture and their acoustics
Galerie naumlchst St Stephan
Aneta Grzeszykowska Elisabeth Penker
220110 bis 060310 Auf den Spuren gesellschaftlicher
Ordnungssysteme
Die beiden Ausstellungen von Aneta Grzeszykowska in den Galerieraumlumen
und Elisabeth Penker im Projektraum bdquoLOGINldquo sprechen unterschiedliche
Sprachen Momente der Beruumlhrung ergeben sich lediglich durch die
Auseinandersetzung der beiden Kuumlnstlerinnen mit Systembildungen und
gesellschaftlich bedingten Agglomerationen von Bedeutungen Waumlhrend der
Blick der in Warschau lebenden Kuumlnstlerin Aneta Grzeszykowska
psychologisch und kulturell bestimmt ist laumlsst sich das Verfahren der in
Wien und Rom lebenden Elisabeth Penker als ethnografisch und linguistisch
fundiert umschreiben Im Nebeneinander der beiden Positionen bilden sich
schaumlrfende Kontraste
Aneta Grzeszykowskas Interesse gilt dem Privaten in verschiedenen
visuellen Uumlbersetzungen Etwa kartografierte sie mit dem Warschauer
Kuumlnstler Jan Smaga in einer Fotoserie Wohnungen aus der Vogelperspektive
um eine intime Geschichte der Stadt uumlber die Anordnung von Raumlumen
Moumlbeln und Gebrauchsgegenstaumlnden zu erstellen Nun begibt sie sich mit
dem Film bdquoBirthdayldquo auf die Ebene fruumlhkindlicher Begegnungen mit dem
Unheimlichen Gedreht wurde er in der Art privater Dokumentationen zur
Feier des eigenen Nachwuchses anlaumlsslich eines Kindergeburtstags Durch
kommentierende Eingriffe wie die Animation sonst unbeweglicher
Gegenstaumlnde uumlbt die Kuumlnstlerin Kritik an den Konventionen und betont so
das Monstroumlse solcher Ereignisse In der Doppelboumldigkeit von inszenierter
Kindheit und Abgruumlndigem ist auch eine Reihe monochromer dunkler
Figurinen aus Stoff angesiedelt Dass diese bekleidet sind wie
Grzeszykowska in ihrer Kindheit verweist auf Versuche Dramatisches uumlber
die aumlsthetische Formalisierung zu bearbeiten Eine Fotografie mit dem durch
die Hand Grzeszykowskas unabsichtlich verletztem Auge ihres kleinen
Bruders und eine maumlrchenhaft anmutende Reliefskulptur mit einem Maumldchen
auf einem Hund aus stacheligen Distelbluumlten erzaumlhlen davon
Tiefenbohrungen zum Kern semantischer Ordnungen unternimmt dagegen
Elisabeth Penker im Kontext der Ausstellungsserie LOGIN in einem
ehemaligen Geschaumlftslokal und im Foyer der Galerie selbst Bekannt ist die
Kuumlnstlerin und Musikerin Elisabeth Penker etwa durch ihre Intervention im
Arkadenhof der Universitaumlt Wien mit einer Buumlste der oumlsterreichischen
Romanistin und ersten Universitaumltsprofessorin Elise Richter Diese leite das
phonetische Institut bis zu ihrer Deportation ins Ghetto Theresienstadt durch
die Nationalsozialisten und war in der patriarchalischen Ordnung der
steinernen Koumlpfe der Universitaumlt ndash ebenso wie die Leistungen von Frauen
generell ndash bis dahin kein Thema gewesen In der Ausstellung bdquoProtectionsldquo
im Kunsthaus Graz thematisierte Penker mit ihrem bdquoFirst Nation Pavillonldquo die Hegemonie des durch den
Kolonialismus gepraumlgten Blicks auf auszligereuropaumlische Gesellschaften
Stets sind ihre Annaumlherungen auf die Generierung von Bedeutungen im Sinne von Grammatiken
ausgerichtet Dementsprechend leitmotivisch fungiert ein Portraumlt des kuumlrzlich verstorbenen Ethnologen
Claude Leacutevi-Strauss in der Rauminstallation mit integrierter Soundkomposition Die gespiegelte und
mehrfach aufgefaumlcherte Fotografie von Leacutevi-Strauss in bdquopolysynthetischer Doppelperspektiverdquo laumlsst sich
als Verschneidung von Sprachlichem Klanglichen und Visuellen lesen
Eine Archaumlologie im Feld der Linguistik wie auf Materialebene fuumlhrt die Signifikanten auf engstem Raum
zusammen Triviale Vierkanthoumllzer beispielsweise wurden in genau jenen Farben lackiert die Penker als
uumlbereinander gelagerte Sedimente unter der Dispersion der Waumlnde freilegte Die laumlnglichen Houmllzer
beziehen sich auf den englischen Ausdruck bdquologldquo fuumlr Stamm und somit auch auf die Ausstellungsreihe der
Galerie Bemerkenswert dass ein Wort das bloszlig aus einem Morphem besteht einen Gegenstand
repraumlsentiert So baut sich uumlber eine Reihe weiterer Objekte wie etwa den bdquoHanging Chairsldquo aus dem
Fundus der Galerie ein elementares Netzwerk von Bezuumlgen auf Mit ihren Werken und abstrakten Sound-
Kompositionen dringt Elisabeth Penker kritisch forschend in die Makrobereiche von Grammatiken vor um
Potentiale semantischer Anbindungen in Nachbarsystemen freizulegen Roland Schoumlny
Elisabeth Penker Einzelausstellung MAK CAT TOWER Kurtaiert von Andreas Kristof
ldquoPassive Orchestrardquo 2008 8-Channel-Toninstallation Die Interpretation von Soundart sieht Penker in der Uumlberschneidung von Sprache-visueller Kunst und Musik und ist zumeist mit einer visuellen raumlumlichen Komponente verbunden Der Betrachter und Zuhoumlrer befindet sich in
einer Konzert-Situation statt Instrumenten sieht er nur Lautsprecher die auf unterschiedlichen Houmlhen auf einer grauen Wand positioniert sind Passiv Orchestra beruht in der Struktur auf die grammatische Einteilungen von Sprachen die in phonetische Minimaleinheiten dekonstruiert sind und wird uumlber eine Mehrkanal Matrix gespielt Elisabeth Penker referiert in dieser eigens fuumlr den Flakturm konzipierten Arbeit auf dadaistische Methoden der Sprachdekodierung die auch als ein klares Anti-Kriegs-Statement zu verstehen waren
1
Kunsthaus Graz
Protections
Kuratoren Adam Budak und Christine Peters
Elisabeth Penker
First Nation Pavilion
Der First Nation Pavilion von Elisabeth Penker unternimmt den Versuch einen Bereich fuumlr ein koloniales
Bewusstsein der europaumlischen Vergangenheit zu schaffen und einen utopischen Raum fuumlr neue Vorstellungen
von einer Mannigfaltigkeit an kulturellen Formen in der zeitgenoumlssischen Kunst Die Komposition de-
grammatical ein Bestandteil des First Nation Pavilion beruht in ihrer Struktur auf den grammatischen
Einteilungen der Sprachen die in phonetische Minimaleinheiten dekonstruiert sind und wird uumlber eine
nichtlineare 5-Kanal-Matrix gespielt
Penker untersucht moumlgliche Uumlberschneidungen zwischen der Sprache der Musik und der Bildstruktur wobei ihr
Hauptaugenmerk polysynthetischen Sprachen (First Nations und Pazifische Inseln) gilt sowie dem Vergleich
zwischen der Kunst von First Nations und der Modernen Kunst Erst in juumlngerer Zeit in der Aumlra des
Postkolonialismus hat der Diskurs der kulturellen Uumlbersetzung Fragen aufgeworfen mit denen man sich schon
in den phonetischen Experimenten des Dadaismus in den 1910er und 1920er Jahren beschaumlftigt hatte sowie
spaumlter in der Konzeptkunst der 1960er und 70er Jahre
Elisabeth Penker
First Nation Pavilion
The First Nation Pavilion by Elisabeth Penker attempts to set-up an area for colonial consciousness of the
European past and a utopic space for re-imagining a plurality of cultural forms in contemporary art The
composition entitled de-grammatical contained within the First Nation Pavilion is structurally-based on the
grammatical classifications of languages deconstructed into minimal phonetic units played within a non-linear
5-channel matrix
Penker is questioning the possible overlaps between music-language and visual structure within the primary
focus on polysynthetic languages (First Nation and Pacific Islands) and First Nation Art compared to Modern Art
More recently in the age of post-colonialism the discourse of cultural translation is arising questions that have
also been experimented by the Dadaists phonetic experiments in the 1910-20s and later in Concept Art of the
1960s-70s Text Adam Budak
Michael Elmgreen amp Ingar Dragset (the work of two other invited artists) offered Penker a typical prefabricated
house as her exhibition space within the Kunsthaus
id31403916 pdfMachine by Broadgun Software - a great PDF writer - a great PDF creator - httpwwwpdfmachinecom httpwwwbroadguncom
2
Elisabeth Penker Fisrt Nations Pavilion 2006
Change of floor plan of the prefabricated house by Michael Elmgreen amp Ingar Dragset
Entrance door Fisrt Nations Pavilion
3
Part 1 Colonial Conciseness in visual art
Room 1 and 3 Modernism=Imperialism after Henry Flynt Demolish serious culture
Woman as a the last Colony Rosa Luxenburg Veronika Bennholdt-
Thomsen Claudia von Werlhof und Maria Mies
4
Vinyl letters C-Print
5
6
Polysynthetische Doppelperspektive 1 Claude Levi- Strauss
Photocolloage C-Print
7
Polysynthetische Doppelperspektive 2 Claude Levi-Strauss
Photocolloage C-Print
9
Polysynthetische Doppelperspektive 4 Claude Levi Strauss
Photocolloage C-Print
2 prints Installed in corner
Installation view Polysynthetische Doppelperspektive 1-4 Claude Levi- Strauss
The visual grammar and its double perspective (split representation) of Haida Gwai and Tlinglet Art (First Nation
Art) is re-collaged with a photograph of Pablo Picasso comparing Cubism (early Modernism) with First Nation Art
and questioning its similarities of double perspectives
10
Room 4 and 5
Room 4
11
Luicide List The museum as an imperial graveyard
C-Print
Colonial after effects of Luicide
Gips Metallkette Hose Schuh
12
No7
Mirror Split Representation Mirror framed and installed in the corner
Part 2 Room 6 and 8 Comparative Contemporary Art
4-channel sound installation
De-grammatical Listen to mp3 audio excerpts
13
Front
2 CT (shelfbenches) Acryl auf Pappelsperrholz
Back Pull Over Yukme Shirley Hall outside
14
Pull Over Yukme Shirley Hall inside
Fabric wall silk print by (Tlinglet Artist) Yukme Shirley Hall
Wo ist Elise Richter wo ist
id99149429 pdfMachine by Broadgun Software - a great PDF writer - a great PDF creator - httpwwwpdfmachinecom httpwwwbroadguncom
Im Arkadenhof der Universitaumlt Wien stehen 154 Buumlsten von bedeutenden Wissenschaftlern der
Universitaumlt Wien (1700-2005) Bedauerlicherweise findet sich unter ihnen keine einzige Frau Eine temporaumlre Buumlste einer anonymen Wissenschaftlerin soll die systematische Ausblendung von Frauen
aus der Universitaumltsgeschichte thematisieren Die offene Web- Plattform (wwweliserichterat) ermoumlglicht allen Benutzern aktiv an der Umschreibung der Universitaumltsgeschichte und an re-imaging Prozessen der Repraumlsentation dieser Buumlsten teilzunehmen Weiters wird die Verbindung von raceclassgender und einer akademischen Kariere in diesem Zusammenhang hinterfragt We can never really change any form of social organisation without challenging all that organisations forms of
language (Debord)
Within the patriarchal structures of the Arkadenhof at the University of Vienna stand 154 busts of important scientists (1700-2005) Unfortunately none of these busts are women Through the placement of a temporary bust of an anonymous female scientist it declares the absence of them within the history of the university As well the anonymous bust embodies the presence of important scientists who have not yet been given equal representation The open web-platform (wwweliserichterat) allows every user to participate in this discourse to re-write the history of the university and to re-image the representation of these busts through a wiki system
Skizze Buumlste einer anonymen Wissenschaftlerin
Mein Interesse besteht nicht darin zu recherchieren welche Buumlsten von Wissenschaftlerinnen im Arkadenhof fehlen sondern das Fehlen der Wissenschaftlerinnen im Zeitraum von 1700 bis 2005 aufzuzeigen und Strukturen fuumlr eine oumlffentliche Kommunikationsplattform zu schaffen In der Genderforschung besteht Konsens daruumlber dass Gender kein Merkmal von Individuen sondern das einer
Institution ist (Connell) zudem ein struktureller Bestandteil einer Gesellschaft ist und dass Gendernormen alle Organisationen durchdringen (Acker)
Grundriss Arkadenhof der Universitaumlt Wien Literatur Acker J (1990) Hierarchies Jobs Bodies A theory of gendered organizations In Gender and Society
Connell R (1998) Gender and Power Society the Person and Sexual Politics Stanford University Press Stanford CA Maisel T (1990) Die Denkmaumller im Arkadenhof der Universitaumlt Wien Biographische Skizzen Wien Quellen Denkmalsakten Archiv der Universitaumlt Wien
Veranstalter Open Mind Projekt Utopie Freiheit httpwwwopenmindat vereinopenmindat Projektautorin Elisabeth Penker elpenkergmxat Bronzeguss Walter Rom Wachsmodel Buumlste Elisabeth Penker Steinsockel Ausfuumlhrung Fa Zehmann Mario Jungbauer Mediendesign Gernot Tscherteu httpwwwrealitylabatwphome gtrealitylabat Techn Umsetzung Christian Langreiter Webpage wwweliserichterat
Elisabeth Penker- Franzengasse 13- 1050 Wien ++43 (0)699 197 193 53 elpenkergmxat
Elisabeth Penker Untitled instruments 1-3 2000-2012
Galerie Georg Kargl Wien Galerie Priestor Bratislava Kuumlnstlerhaus Wien Kibla New
Media Center Maribor HTTP Galerie London Secession Wien Mak Wien Roma
Contemporary Wien
Elisabeth Penker Untiled Instrument Galerie Georg Kargl Wien
Curated by Michael Hall
Elisabeth Penker Untitled instrument 2001 New Media Center Maribor
Elisabeth Penker Untitled instrument 2001 New Media Center Maribor
Elisabeth Penker Untitled instrument Kuumlnstlerhaus Wien curated by Ursula Maria Probst
Live Performance mit Celia Mare
Detail Die BILD_HAU_ER_IN Kuumlnstlerhaus Wien
Live Performance Flower Structure Wiener Festwochen
Elisabeth Penker (Untiled instrument) Van Angh (Cello) Tri Minh Electronics
Elisabeth Penker Live Performance Poetics of space Secession Wien
MAK Nail Structure GRizo Sweet Susie Elisabeth Penker
Elisabeth Penker HTTP Gallery London 2005 curated by Tobi Maier
Elisabeth Penker HTTP Gallery London Live Performance
Elisabeth Penker Untitled Instrument Sonic Structure Kunsthaus Graz curated by Adam Budak amp
Christine Peters
Videolinks
httpwwwyoutubecomusersoundart24
Interview with Video Festwochen
httpbturncom8753interview-elisabeth-penker
Kunsthaus Graz
Protections
Kuratoren Adam Budak und Christine Peters
Elisabeth Penker Poetics of Dead Space
For PROTECTIONS Elisabeth Penker developed a key-sound Poetics of Dead Space which is to a large extent a homage
to Gaston Bachelards seminal book Poetics of Space where the connections between the poetry and the spatial emotions
are analysed Penkers key-sound will guide the viewer through the exhibition mapping the overall identity of the show in
some way controlling the viewers (audio-narrative) route in the maze of art objects events situations but also spatial
voids and unused corners
Fuumlr PROTECTIONS entwickelte Elisabeth Penker einen leitmotivischen Key Sound Poetics of Dead Space der weitgehend
eine Hommage an Gaston Bachelards wegweisendes Buch Poetics of Space darstellt in dem die Verbindungen zwischen
Lyrik und raumlumlichen Emotionen analysiert werden Penkers Key Sound wird das Publikum durch die Ausstellung geleiten
die Identitaumlt der Schau in ihrer Gesamtheit erfassen und in gewisser Weise die (audio-narrative) Route des Publikums im
Labyrinth der Kunstgegenstaumlnde Ereignisse und Situationen aber auch raumlumlicher Leerstellen und ungenutzter Winkel
kontrollieren
A non linear composition 7 mono active speakers are placed through out the Kunsthaus Graz Speaker placement
1 outdoor (entrance) 2 (travelator) 3 (corner with column) 4 (corner with door) 5 (corner) 6 (travelator) 7 (corner with
window)
Poetics of Dead Space Let it grow again 28 51 sec mono
Source material for composition rain sound of dried beans dropping down wood sticks breathing hardly existing
id78338975 pdfMachine by Broadgun Software - a great PDF writer - a great PDF creator - httpwwwpdfmachinecom httpwwwbroadguncom
recording of extinct languages
Poetics of Dead Space Let it grow again 28 51 sec mono
Source material for composition rain sound of dried beans dropping down wood sticks existing recording of extinct
languages
Poetics of Dead Space travelator 1 1min 04 sec mono loop
Source material for composition staff falling down man falling down stairs rattern recording untitled instrument
Background existing recording of extinct languages
Poetics of Dead Space 496 1min 409 sec mono loop
Source material for composition recording untitled instrument Background existing recording of extinct languages
Poetics of Dead Space 129525 1min 4888 sec mono loop
Source material for composition recording untitled instrument Background existing recording of extinct languages
Poetics of Dead Space 129525 1min 4888 sec mono loop
Source material for composition keyboard recording untitled instrument Background existing recording of extinct
languages
Poetics of Dead Space travelator 2 1min 5209 sec mono loop
Source material for composition recording untitled instrument violin Background existing recording of extinct
languages
Poetics of Dead Space2152518125220 1min 3200 sec mono loop
Source material for composition recording untitled instrument Background existing recording of library of extinct
languages
Poetics of Dead Space travelator 1 1min 04 sec mono loop
viewing down from upstairs Source material for composition staff falling down man falling down stairs rattern
recording untitled instrument Background existing recording of extinct languages
Poetics of Dead Space Let it grow again 028 51 sec mono
Source material for composition rain sound of coins wood sticks existing recording of extinct languages
Elisabeth Penker is a Viennese artist and musician working with sound in a sculptural context In her (subjective) tour
Penker approaches the entire anti-exhibition PROTECTIONS from an angle of its position and significance in the context
of Sound Art as located on the crossway between visual arts language and music Starting from her own house turned
into First Nation Pavillion which amongst others aims at connecting the recent discourse on cultural translation with
early avant-garde phonetic experiments Penker maps the sonic structure of Kunsthaus Graz and its (live) architecture
which for PROTECTIONS hosts an array of interdisciplinary projects with a strong audio-quality from Herwig Weisers
Death Before Disco (a micro-architecture of hyper-technological and electronic pop) through a newly created choir of
security guards for Tim Etchells Wall of Sound down to a cacophonic layers of anonimous noise generated by the
space itself and the presence of audience
Die Wiener Kuumlnstlerin und Musikerin Elisabeth Penker arbeitet mit Klang im Zusammenhang mit Bildhauerei In ihrer
(subjektiven) Fuumlhrung naumlhert sie sich der Anti-Ausstellung PROTECTIONS aus einem Blickwinkel der die Position und
Bedeutung der Klangkunst an der Kreuzung zwischen bildender Kunst Sprache und Musik verortet Von ihrem eigenen
Haus ausgehend das sich in den First Nation Pavilion verwandelt hat der u a den aktuellen Diskurs uumlber kulturelle
Uumlbersetzung mit fruumlhen phonetischen Experimenten der Avantgarde verbinden soll entwirft Penker die klangliche
Struktur des Gutshauses und seiner (Live-)Architektur die fuumlr PROTECTIONS eine Reihe von interdisziplinaumlren Projekten
mit einer starken Affinitaumlt zum Klang beherbergt von Herwig Weisers Death Before Disco (eine Mikroarchitektur aus
hyper-technoidem und elektronischem Pop) uumlber einen neu formierten Chor bestehend aus Security Guards fuumlr Tim
Etchells Wall of Sound bis zu einer Kakophonie aus anonymen Geraumluschen die vom Raum selbst und der Anwesenheit
des Publikums erzeugt werden
052813
Local Warming ATHENS
052813
AFTER A YEARLONG HIATUS the eighteenth Art-Athina hit the ground running on the evening of Thursday May 16 and the former Olympic
ldquoTae Kwon Dordquo Pavilion was packed with enthusiastic party people The fair had a more national flavor than ever this year under its new
director Alexis Caniaris the son of recently deceased artist Vlassis Caniaris whose iconic modern work has recently found great success on the
international market Of the very few foreign galleries exhibiting most were Greek-owned The Breeder gallery was dealing with the perceived
drop in the market by selling fantastic multiples by artists like Stelios Faitakis Jannis Varelas and Andreas Angelidakis at crisis-appropriate
prices ldquoNobody wants to come here now but I have already met three interested billionaire collectors today And if Greeks like you they
introduce you to their billionaire friendsrdquo raved Cologne dealer Mirko Mayer a seven-time exhibitor ldquoThat is what nobody knows There are
at least one-hundred billionaires collecting hererdquo Most international collectors were delayed several hours due to a union strike a de r igueur
mode of arrival in contemporary Greece
It was impossible to miss the exuberant activities of the DaDa Da restaurant a Greek-Austrian collaboration where artist Albert Mayr was
waving a skillet and raving nonsense while Lucas Willmann tenderized pink fillets for Wiener schnitzel ldquoThis is Viennese Actionism lightrdquo
quipped critic Sotirios Bahtsetzis Artist Natasha Papadopoulos added ldquoBut here there are hungry Greeks waitingrdquo On a table with a rotating
Sacher tort by Heacutelegravene van Duijne a sign carried the overwhelming spirit FUCK ART LETrsquoS EAT SOUVLAKI An insistent electronic beat and
pulsating light emanated from the next booth the American College of Greecersquos ldquoAthensUrgentrdquo while hooded performer Manos Tsatiris
stood against the wall with his hands tied perhaps a metaphor for the current Athenian exigency ldquoThis is not the kind of art fair scene we are
used tordquo said the Economou Collectionrsquos Annie-Claire Geisinger watching the madness
Left Artists Elisabeth Penker Michela Pelusio Petros Touloudis Panos Papadopoulos and Nino Stelzl Right Collector Anne-Marie Ros
Down on the floor the dealers seemed pleased particularly given dismal expectations having already sold a great deal at the preview Young
Rotterdam-based gallery Joey Ramone had sold sculptures by Fotini Gouseti to English and Belgian collectors dealer Erik Mulier had also sold
some work to Belgians Marc Van den Hende said he had bought a triptych by Eirene Efstathiou and was considering a Vlassis Caniaris piece
from the 1970s ldquoI saw some surprisesmdashyoung Greek artists I did not knowmdashand great new galleries like Elika and CANrdquo Dutch collector
Anne-Marie Ros said By the end of the day Dimitra and Sofia Vamiali reported that they had not seen one Greek collector although another
reported a Dakis Joannou sighting mdash Cathryn Drake
SEARCH
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SEATTLE
WEEKLY
in the News
Columnist
Geov Parrish
is a regular
guest on
Mind Over
Matters on
KEXP-FM
(903)
Saturdays at
830 am and
provides news
commentary
on KBCS-FM
(913) Fridays
at 430 pm
Catch writers
Steve
Wiecking Tim
Appelo and
ARTS
March 30 - April 5 2005
Picking Up the Thread
Howard House ties together the best new conceptual art from Vienna
by Elise Richman
Franz Wests Mercury
(Howard House Contemporary Art)
Theres a German expression to lose the red thread which means losing
ones train of thought In its current show Howard House has found that
thread Julie Ryan a curator artist and writer organized The Red
Thread Glimpses of International Art in Vienna a two-part exhibition
featuring artists working and living at least part time in Austrias capital
Part one of the show is at Howard House the second half is currently on
display at the Educational Alliance Gallery in New York
Vienna has become a magnet for artists from all over the world including
the 15 individuals and artist teams that are part of The Red Thread
Excellent artist residency programs a low cost of living and living art
legends like Franz West are just a few of the reasons
An artistic collaboration with West took Ryan from New York to Vienna
She knows Billy Howard who runs Howard House from the University of
Washingtons School of Art And so the figurative string was strung
connecting the East and West coasts with artists from across the Atlantic
This is a complex exhibit whose emotional tenor ranges from cool
detachment to an almost urgent earnestness Unlike the formal richly
historical city that connects them artists in The Red Thread favor informal
approaches to art making use disposable materials and comment on
contemporary cultural themes
West has two formidable sculptures at Howard House The front room of the
gallery features Mercury (pictured) an ungainly behemoth composed of a
patchwork of fused metal Like many of Wests sculptures Mercury is
meant as an interactive structure that viewers can climb and sit on Bulbous
Gavin
Borchert
discussing
theater film
and music
regularly on
classical
KING-FM
(981)
Mark Fiore
Cartoons
Every
Thursday
nodules extend from its horizontal base and the seams of the dark maroon
metal look like scars rendering it at once vaguely obscene and absurdly
playful
Sisyphus the other West sculpture on display is a bulky conglomeration of
bits and wads of paper propped in the back room on a makeshift plinth (base
block) Though its as solid as the boulder its title references its surface is
like oozing skin partly coated with poured murky paint partly cloaked in
small clumps of newspaper detritus
The strenuous act of making each of these sculptures is eminently apparent
and central to the content of Wests work West considers creation a
symbolic act As you might expect he likens the artistic process to the plight
of Sisyphus the mythological figure who eternally rolled a boulder up a hill
only to have it come crashing back down For West art involves a
Sisyphean search for what he calls the absolute through the seemingly
senseless accumulation of materials However unlike Sisyphus futile quest
Wests process can lead to epiphany making sense of the senseless
Similarly Viennese artist Elisabeth Penkers art serves a facilitative
function easing the act of translation Penker uses Haida iconography in her
multimedia work because it provides potent visual symbols that
communicate single words and whole sentences simultaneously Her prints
at Howard House feature fragments of icons floating in the papers white
space They are spare visually arresting characters that employ an
iconographic language as encoded symbols of communication
Also featured in The Red Thread is Donald Baechler an internationally
known American painter who spends extended periods of time in Vienna
Baechler equalizes his imagery by painting it all in the same style For him
the source of an image doesnt matter whether its a drawing by Picasso or
graffiti on a bathroom wall What matters is the newfound context his
paintings provide
Victory by Default is part of Baechlers Skull series In this piece a painted
skull gapes from the dirty yet sensuous confines of a large canvas Terry
cloth and wrinkled rags provide literal texture and reference the world
outside the paintings boundaries Splatterings of color around the skull like
the self-conscious marks of Jasper Johns seem to express the language of
paintingmdashhue and gestural strokesmdashin a factual rather than illusional
manner
Another American painter Lisa Ruyter lives half-time in Vienna where she
runs an influential gallery She works from photographs projected onto
large-scale canvases tracing the contours of the projected imagery with
consistent black outlines In a way that seems arbitrary she paints the shapes
formed by her contour lines in flat designer colors Man of Means based on
a photo of fashion photographers looks like a scrambled color-by-numbers
painting I cant do justice to the unusually rich assortment of conceptual art
in The Red Thread Youll just have to see it for yourself Thomas
Baumans thrashing triangular foil blanket Walter Seidls slide show of
staged snapshots Markus Schinwalds photograph of a contortionist and the
other thoughtful works connected by The Red Thread
The Red Thread Glimpses of International Art in Vienna runs through
April 30 at Howard House 604 Second Ave 206- 256-6399 1030 amndash5
pm TuesndashSat Free
KUNSTFORUM
Parallelwelten fuumlr Parlamentarier Ausstellung
Von Brigitte Borchhardt-Birbaumer
Ende Oktober endet die Zusammenarbeit von Nationalratspraumlsident Andreas Khol und Peter Pakesch Direktor des Kunsthauses Graz am Joanneum Seit 2003
hatte Pakesch als Kurator mehrere Ausstellungen in den Sitzungssaumllen des Parlaments in Zusammenarbeit mit Galerien initiiert und namhafte Positionen
ausgewaumlhlt Kriterium fuumlr Praumlsentationen war die Praumlsenz durch eine Schau in einer der bekannten Kunstinstitutionen des Landes Nach Eva Schlegel Adriana
Czernin Maria Lassnig oder Esther Stocker sind dies nun bis April 2007 Josef Dabernig Daniel Hafner Ulrike Lienbacher Alois Mosbacher und Elisabeth
Penker
Das Parlament kann dabei durch die Margaretha-Lupac Stiftung immer eine Arbeit fuumlr die wachsende Sammlung des Hauses ankaufen Zuletzt war das ein
groszliges Oumll-Acryl-Gemaumllde der Georg-Eisler-Preistraumlgerin Maja Vukoje zuvor Johanna Kandl deren Temperabild derzeit an das Lentos in Linz geliehen wird
Einige Werke haumlngen schon als kuumlnstlerische Wegweiser in den Gaumlngen des Hauses und sind auch Blickfang fuumlr die 120000 Besucher die pro Jahr das
Parlament besuchen In die Architektur von Theophil Hansen mit ihrer zeitlosen Qualitaumlt fuumlgt sich die Gegenwartskunst kongenial
Hoffnung fuumlr spaumlter
Die derzeitige Zusammenstellung macht Hoffnung auf eine Fortsetzung unter der naumlchsten Praumlsidentschaft Fotografie Computerkunst Malerei Zeichnung
und Skulptur weisen auf die Vielfalt der Werkstoffe in der Gegenwartskunst Elisabeth Penker parallel im Kunsthaus Graz zu sehen baut schwarzweiszlige
Objekte aus bemaltem Holz die in ihrer seriellen und geometrischen Anordnung auf Bezuumlge zum Performativen und auf die Musik hinweisen
Noch juumlnger ist Daniel Hafner mit seinen am Computer komponierten digitalen Drucken Morphosentransformationen von 2006 Linienraster und
Raumkonstruktionen in subtiler Farbigkeit verbinden Tendenzen der fruumlhen Op-Art mit dem Cyber-Lab
Um konstruierte Realitaumlten geht es auch in den groszligformatigen Oumllbildern von Alois Mosbacher dem bekannten Vertreter der Neuen Wilden der
Achtzigerjahre in Oumlsterreich Wanderer in Wald und Wiese erzaumlhlen die Geschichten alternativer Welten die sich mancher in der Gesellschaft als Parallele
konstruiert
Zwei Fotofriese von Josef Dabernig bilden jeweils ein Panorama von oumlffentlichen Plaumltzen auf denen es zum einen um Fuszligball geht Zum anderen ist der
Rundblick in das Oval einer scheinbaren Arena auch eine Art Sehschule fuumlr die Betrachter Ein sozialer Befund ist die dritte Bedeutungsebene
Ulrike Lienbacher die heuer mit einer groszligen Schau im Innsbrucker Taxispalais ihre Karriere fortsetzt ist mit ihren feinlinigen Tuschezeichnungen den kleinen
oft unsichtbaren Zwaumlngen in unserer Gesellschaft auf der Spur Im Lokal II des Parlaments stellt sie zwar nicht ihre Objekte und Fotos aber einige
groszligformatige Blaumltter mit Frisurenvariationen neben teils fragmentierten Frauenkoumlrpern im Umgang mit Schmutz und Hygiene aber auch Fitnesskult aus
Disziplinierung und Kontrolle betreffen in der Oumlffentlichkeit besonders den weiblichen Koumlrper Sauberkeitsmechanismen weisen auch auf Vorstellungen von
wertvoll und minderwertig hin Ihre Transformationen enthalten wie die Themen der anderen subtile Kritik und sind daher vom Kurator uumlberlegt positioniert
Zeitgenoumlssische Kunst
im Parlament
Bis April 2007
Kurator Peter Pakesch
Konfrontationen
Dienstag 10 Oktober 2006
ltlt 2003 | 2004 Jan Feb Mar Apr May Jun Jul Aug Sep Oct Nov Dec 2004 | 2005 gtgt
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31
Sunday 17 October 2004
TIME
TITLE
NAME
700 Indymedia ESF breakfast show Indymedia London
Highlights news and views from the European Social Forum and the
autonomous spaces and initiatives taking place this week
website
800 Resonance Radio Art Riot Breakfast International
Radio Art
A five part special of the Harmon E Phraisyar show commissioned for
Kunstradio in Austria starts off the morning broadcast of international radio
art
website
1100 Resonance Live from the Frieze Art Fair Anna Colin amp
Tobi Maier
1100 Chris Weaver Resonance 1044FM live electronics set with James Dunn and
Robin Warren
1130 Michael Hall gallery Vienna presents audio works by artist Elisabeth Penker
1200 Maria Fusco presents latest the Bookworks commissions
1300 The Psychology of Collecting live broadcast of the frieze art fair panel
discussion
Is collecting an irrational act guided by compulsion and desire What are the use of
objects What are the motivations behind making collecting curating and
criticizing art A discussion of the psychology of collecting and the politics of taste
Hilary Rubenstein (Psychologist)
Eric Troncy (Art Critic and Director Le Consortium Dijon)
Haim Steinbach (Artist)
Chair Alice Rawsthorn (Director Design Museum)
1500 Portable live set and presentation of sudelectronic records London
1600 Where is Adventure What is Culture live broadcast of the frieze art fair
website
panel discussion
A discussion of the relationship of art to entertainment touching on the comedic
being popular and failing miserably
Trisha Donnelly (Artist)
Christian Jankowski (Artist)
David Robbins (Writer amp Artist)
Nancy Spector (Curator of Contemporary Art Solomon R Guggenheim Museum)
Chair Matthew Higgs (Curator CCA Wattis Institute for Contemporary Arts)
1800 Melissa Bent from Rivington Arms gallery New York in conversation with
artist Dan Colan and Tobi Maier Anna Colin
1830 VOX pop recordings from the fair with Sharon Gal
1900 Resonance Radio Art Riot Sarah
Washington
The Resonance Radio Art Riot brings together some of the foremost radio artists
and thinkers from around the world The studio lab situation will feature round
table discussions live performances and streamed events
Tonight Radio Text
Events Live broadcast from Sonic Arts Network Resonance benefit featuring
Henri Chopin studio performances from Julia Lee Barclay and Aude Tournay plus
Special Features None present live concrete radiophonics - Planning For
Emergencies
Guests include Clive Graham Chris Weaver Richard Thomas Toby Clarkson
John Lovett Robin Warren and James Dunn
Topics The word as art Sound poetry text performances
At Midnight Tom Wallace present exclusive excerpts from radio art pioneer
Gregory Whitehead
website
000 Resonance Radio Art Riot Nights International
Radio Art
The Resonance Radio Art riot continues throughout the night with the finest of
international radio art Resonance FM programme makers and our international
guests have put together many special hours of classic and obscure radio
works
website
- EPenkerDocumentationpdf
-
- 2bAusstellungenPublicaSpaceEPenkerpdf
-
- 2cUntitled_InstrumentsKunsthausGrazEPenker
- 2bpoeticsKunsthaus GrazEPenker
-
- 4PresseEPenkerpdf
-
- 4Review_Seattle Weekly
-
composition (or view) Numerous contemporary artists eg Donald Judd have related the ShakersAmish radical functionalism to their sculptural practice
Poetics of Dead Space 2 2009-2010
2 Kanaumlle einer 8-Kanal-Composition mono
Metallstativ Speaker Yamaha MSP3 CD-Player
H 133 cm
Ed 13
The non-linear 8-channel composition ldquoPoetics of Dead Space 2rdquo introduces polysynthetic language morphology
combined by the melody which is composed from pre-existing recordings of extinct languages and Penker‟s self-
made instrument ldquoUntitled Instrument sonic structurerdquo (see PDF and re lated essay written by E Penker at
Resonance fm Magazine upon request at Galerie naumlchst St Stephan)
The channel which is upstairs installed uses an existing wall as an acoustic filter and introduced sub-
consciousness polysynthetic language morphology into the gallery space The title refers to the book poetic of
space within unused architectural situations of exhibition spaces bdquo A Blind Spot (dead angle - Toter Winkel) has a
different meaning in terms of acoustics and cannot be compared with the visual context where blind spot is used
primarily in conversations
In musicsound production in film the visual blind spot is used very often by hearing a bike roller plane without
seeing it In everyday life we are used and depending by acoustic blind spots for our orientation of the situation
and space we are in at the moment Architectural acoustic issues play an important role during the time of the
composition ldquoPoetic of Dead Space 2rdquo is a context specific composition and deals with polysynthetic language
morphology recordings of the untitled instrument Sonic structure and acoustic exhibition architecture besides
issues which are depending of the unused architecture and their acoustics
Galerie naumlchst St Stephan
Aneta Grzeszykowska Elisabeth Penker
220110 bis 060310 Auf den Spuren gesellschaftlicher
Ordnungssysteme
Die beiden Ausstellungen von Aneta Grzeszykowska in den Galerieraumlumen
und Elisabeth Penker im Projektraum bdquoLOGINldquo sprechen unterschiedliche
Sprachen Momente der Beruumlhrung ergeben sich lediglich durch die
Auseinandersetzung der beiden Kuumlnstlerinnen mit Systembildungen und
gesellschaftlich bedingten Agglomerationen von Bedeutungen Waumlhrend der
Blick der in Warschau lebenden Kuumlnstlerin Aneta Grzeszykowska
psychologisch und kulturell bestimmt ist laumlsst sich das Verfahren der in
Wien und Rom lebenden Elisabeth Penker als ethnografisch und linguistisch
fundiert umschreiben Im Nebeneinander der beiden Positionen bilden sich
schaumlrfende Kontraste
Aneta Grzeszykowskas Interesse gilt dem Privaten in verschiedenen
visuellen Uumlbersetzungen Etwa kartografierte sie mit dem Warschauer
Kuumlnstler Jan Smaga in einer Fotoserie Wohnungen aus der Vogelperspektive
um eine intime Geschichte der Stadt uumlber die Anordnung von Raumlumen
Moumlbeln und Gebrauchsgegenstaumlnden zu erstellen Nun begibt sie sich mit
dem Film bdquoBirthdayldquo auf die Ebene fruumlhkindlicher Begegnungen mit dem
Unheimlichen Gedreht wurde er in der Art privater Dokumentationen zur
Feier des eigenen Nachwuchses anlaumlsslich eines Kindergeburtstags Durch
kommentierende Eingriffe wie die Animation sonst unbeweglicher
Gegenstaumlnde uumlbt die Kuumlnstlerin Kritik an den Konventionen und betont so
das Monstroumlse solcher Ereignisse In der Doppelboumldigkeit von inszenierter
Kindheit und Abgruumlndigem ist auch eine Reihe monochromer dunkler
Figurinen aus Stoff angesiedelt Dass diese bekleidet sind wie
Grzeszykowska in ihrer Kindheit verweist auf Versuche Dramatisches uumlber
die aumlsthetische Formalisierung zu bearbeiten Eine Fotografie mit dem durch
die Hand Grzeszykowskas unabsichtlich verletztem Auge ihres kleinen
Bruders und eine maumlrchenhaft anmutende Reliefskulptur mit einem Maumldchen
auf einem Hund aus stacheligen Distelbluumlten erzaumlhlen davon
Tiefenbohrungen zum Kern semantischer Ordnungen unternimmt dagegen
Elisabeth Penker im Kontext der Ausstellungsserie LOGIN in einem
ehemaligen Geschaumlftslokal und im Foyer der Galerie selbst Bekannt ist die
Kuumlnstlerin und Musikerin Elisabeth Penker etwa durch ihre Intervention im
Arkadenhof der Universitaumlt Wien mit einer Buumlste der oumlsterreichischen
Romanistin und ersten Universitaumltsprofessorin Elise Richter Diese leite das
phonetische Institut bis zu ihrer Deportation ins Ghetto Theresienstadt durch
die Nationalsozialisten und war in der patriarchalischen Ordnung der
steinernen Koumlpfe der Universitaumlt ndash ebenso wie die Leistungen von Frauen
generell ndash bis dahin kein Thema gewesen In der Ausstellung bdquoProtectionsldquo
im Kunsthaus Graz thematisierte Penker mit ihrem bdquoFirst Nation Pavillonldquo die Hegemonie des durch den
Kolonialismus gepraumlgten Blicks auf auszligereuropaumlische Gesellschaften
Stets sind ihre Annaumlherungen auf die Generierung von Bedeutungen im Sinne von Grammatiken
ausgerichtet Dementsprechend leitmotivisch fungiert ein Portraumlt des kuumlrzlich verstorbenen Ethnologen
Claude Leacutevi-Strauss in der Rauminstallation mit integrierter Soundkomposition Die gespiegelte und
mehrfach aufgefaumlcherte Fotografie von Leacutevi-Strauss in bdquopolysynthetischer Doppelperspektiverdquo laumlsst sich
als Verschneidung von Sprachlichem Klanglichen und Visuellen lesen
Eine Archaumlologie im Feld der Linguistik wie auf Materialebene fuumlhrt die Signifikanten auf engstem Raum
zusammen Triviale Vierkanthoumllzer beispielsweise wurden in genau jenen Farben lackiert die Penker als
uumlbereinander gelagerte Sedimente unter der Dispersion der Waumlnde freilegte Die laumlnglichen Houmllzer
beziehen sich auf den englischen Ausdruck bdquologldquo fuumlr Stamm und somit auch auf die Ausstellungsreihe der
Galerie Bemerkenswert dass ein Wort das bloszlig aus einem Morphem besteht einen Gegenstand
repraumlsentiert So baut sich uumlber eine Reihe weiterer Objekte wie etwa den bdquoHanging Chairsldquo aus dem
Fundus der Galerie ein elementares Netzwerk von Bezuumlgen auf Mit ihren Werken und abstrakten Sound-
Kompositionen dringt Elisabeth Penker kritisch forschend in die Makrobereiche von Grammatiken vor um
Potentiale semantischer Anbindungen in Nachbarsystemen freizulegen Roland Schoumlny
Elisabeth Penker Einzelausstellung MAK CAT TOWER Kurtaiert von Andreas Kristof
ldquoPassive Orchestrardquo 2008 8-Channel-Toninstallation Die Interpretation von Soundart sieht Penker in der Uumlberschneidung von Sprache-visueller Kunst und Musik und ist zumeist mit einer visuellen raumlumlichen Komponente verbunden Der Betrachter und Zuhoumlrer befindet sich in
einer Konzert-Situation statt Instrumenten sieht er nur Lautsprecher die auf unterschiedlichen Houmlhen auf einer grauen Wand positioniert sind Passiv Orchestra beruht in der Struktur auf die grammatische Einteilungen von Sprachen die in phonetische Minimaleinheiten dekonstruiert sind und wird uumlber eine Mehrkanal Matrix gespielt Elisabeth Penker referiert in dieser eigens fuumlr den Flakturm konzipierten Arbeit auf dadaistische Methoden der Sprachdekodierung die auch als ein klares Anti-Kriegs-Statement zu verstehen waren
1
Kunsthaus Graz
Protections
Kuratoren Adam Budak und Christine Peters
Elisabeth Penker
First Nation Pavilion
Der First Nation Pavilion von Elisabeth Penker unternimmt den Versuch einen Bereich fuumlr ein koloniales
Bewusstsein der europaumlischen Vergangenheit zu schaffen und einen utopischen Raum fuumlr neue Vorstellungen
von einer Mannigfaltigkeit an kulturellen Formen in der zeitgenoumlssischen Kunst Die Komposition de-
grammatical ein Bestandteil des First Nation Pavilion beruht in ihrer Struktur auf den grammatischen
Einteilungen der Sprachen die in phonetische Minimaleinheiten dekonstruiert sind und wird uumlber eine
nichtlineare 5-Kanal-Matrix gespielt
Penker untersucht moumlgliche Uumlberschneidungen zwischen der Sprache der Musik und der Bildstruktur wobei ihr
Hauptaugenmerk polysynthetischen Sprachen (First Nations und Pazifische Inseln) gilt sowie dem Vergleich
zwischen der Kunst von First Nations und der Modernen Kunst Erst in juumlngerer Zeit in der Aumlra des
Postkolonialismus hat der Diskurs der kulturellen Uumlbersetzung Fragen aufgeworfen mit denen man sich schon
in den phonetischen Experimenten des Dadaismus in den 1910er und 1920er Jahren beschaumlftigt hatte sowie
spaumlter in der Konzeptkunst der 1960er und 70er Jahre
Elisabeth Penker
First Nation Pavilion
The First Nation Pavilion by Elisabeth Penker attempts to set-up an area for colonial consciousness of the
European past and a utopic space for re-imagining a plurality of cultural forms in contemporary art The
composition entitled de-grammatical contained within the First Nation Pavilion is structurally-based on the
grammatical classifications of languages deconstructed into minimal phonetic units played within a non-linear
5-channel matrix
Penker is questioning the possible overlaps between music-language and visual structure within the primary
focus on polysynthetic languages (First Nation and Pacific Islands) and First Nation Art compared to Modern Art
More recently in the age of post-colonialism the discourse of cultural translation is arising questions that have
also been experimented by the Dadaists phonetic experiments in the 1910-20s and later in Concept Art of the
1960s-70s Text Adam Budak
Michael Elmgreen amp Ingar Dragset (the work of two other invited artists) offered Penker a typical prefabricated
house as her exhibition space within the Kunsthaus
id31403916 pdfMachine by Broadgun Software - a great PDF writer - a great PDF creator - httpwwwpdfmachinecom httpwwwbroadguncom
2
Elisabeth Penker Fisrt Nations Pavilion 2006
Change of floor plan of the prefabricated house by Michael Elmgreen amp Ingar Dragset
Entrance door Fisrt Nations Pavilion
3
Part 1 Colonial Conciseness in visual art
Room 1 and 3 Modernism=Imperialism after Henry Flynt Demolish serious culture
Woman as a the last Colony Rosa Luxenburg Veronika Bennholdt-
Thomsen Claudia von Werlhof und Maria Mies
4
Vinyl letters C-Print
5
6
Polysynthetische Doppelperspektive 1 Claude Levi- Strauss
Photocolloage C-Print
7
Polysynthetische Doppelperspektive 2 Claude Levi-Strauss
Photocolloage C-Print
9
Polysynthetische Doppelperspektive 4 Claude Levi Strauss
Photocolloage C-Print
2 prints Installed in corner
Installation view Polysynthetische Doppelperspektive 1-4 Claude Levi- Strauss
The visual grammar and its double perspective (split representation) of Haida Gwai and Tlinglet Art (First Nation
Art) is re-collaged with a photograph of Pablo Picasso comparing Cubism (early Modernism) with First Nation Art
and questioning its similarities of double perspectives
10
Room 4 and 5
Room 4
11
Luicide List The museum as an imperial graveyard
C-Print
Colonial after effects of Luicide
Gips Metallkette Hose Schuh
12
No7
Mirror Split Representation Mirror framed and installed in the corner
Part 2 Room 6 and 8 Comparative Contemporary Art
4-channel sound installation
De-grammatical Listen to mp3 audio excerpts
13
Front
2 CT (shelfbenches) Acryl auf Pappelsperrholz
Back Pull Over Yukme Shirley Hall outside
14
Pull Over Yukme Shirley Hall inside
Fabric wall silk print by (Tlinglet Artist) Yukme Shirley Hall
Wo ist Elise Richter wo ist
id99149429 pdfMachine by Broadgun Software - a great PDF writer - a great PDF creator - httpwwwpdfmachinecom httpwwwbroadguncom
Im Arkadenhof der Universitaumlt Wien stehen 154 Buumlsten von bedeutenden Wissenschaftlern der
Universitaumlt Wien (1700-2005) Bedauerlicherweise findet sich unter ihnen keine einzige Frau Eine temporaumlre Buumlste einer anonymen Wissenschaftlerin soll die systematische Ausblendung von Frauen
aus der Universitaumltsgeschichte thematisieren Die offene Web- Plattform (wwweliserichterat) ermoumlglicht allen Benutzern aktiv an der Umschreibung der Universitaumltsgeschichte und an re-imaging Prozessen der Repraumlsentation dieser Buumlsten teilzunehmen Weiters wird die Verbindung von raceclassgender und einer akademischen Kariere in diesem Zusammenhang hinterfragt We can never really change any form of social organisation without challenging all that organisations forms of
language (Debord)
Within the patriarchal structures of the Arkadenhof at the University of Vienna stand 154 busts of important scientists (1700-2005) Unfortunately none of these busts are women Through the placement of a temporary bust of an anonymous female scientist it declares the absence of them within the history of the university As well the anonymous bust embodies the presence of important scientists who have not yet been given equal representation The open web-platform (wwweliserichterat) allows every user to participate in this discourse to re-write the history of the university and to re-image the representation of these busts through a wiki system
Skizze Buumlste einer anonymen Wissenschaftlerin
Mein Interesse besteht nicht darin zu recherchieren welche Buumlsten von Wissenschaftlerinnen im Arkadenhof fehlen sondern das Fehlen der Wissenschaftlerinnen im Zeitraum von 1700 bis 2005 aufzuzeigen und Strukturen fuumlr eine oumlffentliche Kommunikationsplattform zu schaffen In der Genderforschung besteht Konsens daruumlber dass Gender kein Merkmal von Individuen sondern das einer
Institution ist (Connell) zudem ein struktureller Bestandteil einer Gesellschaft ist und dass Gendernormen alle Organisationen durchdringen (Acker)
Grundriss Arkadenhof der Universitaumlt Wien Literatur Acker J (1990) Hierarchies Jobs Bodies A theory of gendered organizations In Gender and Society
Connell R (1998) Gender and Power Society the Person and Sexual Politics Stanford University Press Stanford CA Maisel T (1990) Die Denkmaumller im Arkadenhof der Universitaumlt Wien Biographische Skizzen Wien Quellen Denkmalsakten Archiv der Universitaumlt Wien
Veranstalter Open Mind Projekt Utopie Freiheit httpwwwopenmindat vereinopenmindat Projektautorin Elisabeth Penker elpenkergmxat Bronzeguss Walter Rom Wachsmodel Buumlste Elisabeth Penker Steinsockel Ausfuumlhrung Fa Zehmann Mario Jungbauer Mediendesign Gernot Tscherteu httpwwwrealitylabatwphome gtrealitylabat Techn Umsetzung Christian Langreiter Webpage wwweliserichterat
Elisabeth Penker- Franzengasse 13- 1050 Wien ++43 (0)699 197 193 53 elpenkergmxat
Elisabeth Penker Untitled instruments 1-3 2000-2012
Galerie Georg Kargl Wien Galerie Priestor Bratislava Kuumlnstlerhaus Wien Kibla New
Media Center Maribor HTTP Galerie London Secession Wien Mak Wien Roma
Contemporary Wien
Elisabeth Penker Untiled Instrument Galerie Georg Kargl Wien
Curated by Michael Hall
Elisabeth Penker Untitled instrument 2001 New Media Center Maribor
Elisabeth Penker Untitled instrument 2001 New Media Center Maribor
Elisabeth Penker Untitled instrument Kuumlnstlerhaus Wien curated by Ursula Maria Probst
Live Performance mit Celia Mare
Detail Die BILD_HAU_ER_IN Kuumlnstlerhaus Wien
Live Performance Flower Structure Wiener Festwochen
Elisabeth Penker (Untiled instrument) Van Angh (Cello) Tri Minh Electronics
Elisabeth Penker Live Performance Poetics of space Secession Wien
MAK Nail Structure GRizo Sweet Susie Elisabeth Penker
Elisabeth Penker HTTP Gallery London 2005 curated by Tobi Maier
Elisabeth Penker HTTP Gallery London Live Performance
Elisabeth Penker Untitled Instrument Sonic Structure Kunsthaus Graz curated by Adam Budak amp
Christine Peters
Videolinks
httpwwwyoutubecomusersoundart24
Interview with Video Festwochen
httpbturncom8753interview-elisabeth-penker
Kunsthaus Graz
Protections
Kuratoren Adam Budak und Christine Peters
Elisabeth Penker Poetics of Dead Space
For PROTECTIONS Elisabeth Penker developed a key-sound Poetics of Dead Space which is to a large extent a homage
to Gaston Bachelards seminal book Poetics of Space where the connections between the poetry and the spatial emotions
are analysed Penkers key-sound will guide the viewer through the exhibition mapping the overall identity of the show in
some way controlling the viewers (audio-narrative) route in the maze of art objects events situations but also spatial
voids and unused corners
Fuumlr PROTECTIONS entwickelte Elisabeth Penker einen leitmotivischen Key Sound Poetics of Dead Space der weitgehend
eine Hommage an Gaston Bachelards wegweisendes Buch Poetics of Space darstellt in dem die Verbindungen zwischen
Lyrik und raumlumlichen Emotionen analysiert werden Penkers Key Sound wird das Publikum durch die Ausstellung geleiten
die Identitaumlt der Schau in ihrer Gesamtheit erfassen und in gewisser Weise die (audio-narrative) Route des Publikums im
Labyrinth der Kunstgegenstaumlnde Ereignisse und Situationen aber auch raumlumlicher Leerstellen und ungenutzter Winkel
kontrollieren
A non linear composition 7 mono active speakers are placed through out the Kunsthaus Graz Speaker placement
1 outdoor (entrance) 2 (travelator) 3 (corner with column) 4 (corner with door) 5 (corner) 6 (travelator) 7 (corner with
window)
Poetics of Dead Space Let it grow again 28 51 sec mono
Source material for composition rain sound of dried beans dropping down wood sticks breathing hardly existing
id78338975 pdfMachine by Broadgun Software - a great PDF writer - a great PDF creator - httpwwwpdfmachinecom httpwwwbroadguncom
recording of extinct languages
Poetics of Dead Space Let it grow again 28 51 sec mono
Source material for composition rain sound of dried beans dropping down wood sticks existing recording of extinct
languages
Poetics of Dead Space travelator 1 1min 04 sec mono loop
Source material for composition staff falling down man falling down stairs rattern recording untitled instrument
Background existing recording of extinct languages
Poetics of Dead Space 496 1min 409 sec mono loop
Source material for composition recording untitled instrument Background existing recording of extinct languages
Poetics of Dead Space 129525 1min 4888 sec mono loop
Source material for composition recording untitled instrument Background existing recording of extinct languages
Poetics of Dead Space 129525 1min 4888 sec mono loop
Source material for composition keyboard recording untitled instrument Background existing recording of extinct
languages
Poetics of Dead Space travelator 2 1min 5209 sec mono loop
Source material for composition recording untitled instrument violin Background existing recording of extinct
languages
Poetics of Dead Space2152518125220 1min 3200 sec mono loop
Source material for composition recording untitled instrument Background existing recording of library of extinct
languages
Poetics of Dead Space travelator 1 1min 04 sec mono loop
viewing down from upstairs Source material for composition staff falling down man falling down stairs rattern
recording untitled instrument Background existing recording of extinct languages
Poetics of Dead Space Let it grow again 028 51 sec mono
Source material for composition rain sound of coins wood sticks existing recording of extinct languages
Elisabeth Penker is a Viennese artist and musician working with sound in a sculptural context In her (subjective) tour
Penker approaches the entire anti-exhibition PROTECTIONS from an angle of its position and significance in the context
of Sound Art as located on the crossway between visual arts language and music Starting from her own house turned
into First Nation Pavillion which amongst others aims at connecting the recent discourse on cultural translation with
early avant-garde phonetic experiments Penker maps the sonic structure of Kunsthaus Graz and its (live) architecture
which for PROTECTIONS hosts an array of interdisciplinary projects with a strong audio-quality from Herwig Weisers
Death Before Disco (a micro-architecture of hyper-technological and electronic pop) through a newly created choir of
security guards for Tim Etchells Wall of Sound down to a cacophonic layers of anonimous noise generated by the
space itself and the presence of audience
Die Wiener Kuumlnstlerin und Musikerin Elisabeth Penker arbeitet mit Klang im Zusammenhang mit Bildhauerei In ihrer
(subjektiven) Fuumlhrung naumlhert sie sich der Anti-Ausstellung PROTECTIONS aus einem Blickwinkel der die Position und
Bedeutung der Klangkunst an der Kreuzung zwischen bildender Kunst Sprache und Musik verortet Von ihrem eigenen
Haus ausgehend das sich in den First Nation Pavilion verwandelt hat der u a den aktuellen Diskurs uumlber kulturelle
Uumlbersetzung mit fruumlhen phonetischen Experimenten der Avantgarde verbinden soll entwirft Penker die klangliche
Struktur des Gutshauses und seiner (Live-)Architektur die fuumlr PROTECTIONS eine Reihe von interdisziplinaumlren Projekten
mit einer starken Affinitaumlt zum Klang beherbergt von Herwig Weisers Death Before Disco (eine Mikroarchitektur aus
hyper-technoidem und elektronischem Pop) uumlber einen neu formierten Chor bestehend aus Security Guards fuumlr Tim
Etchells Wall of Sound bis zu einer Kakophonie aus anonymen Geraumluschen die vom Raum selbst und der Anwesenheit
des Publikums erzeugt werden
052813
Local Warming ATHENS
052813
AFTER A YEARLONG HIATUS the eighteenth Art-Athina hit the ground running on the evening of Thursday May 16 and the former Olympic
ldquoTae Kwon Dordquo Pavilion was packed with enthusiastic party people The fair had a more national flavor than ever this year under its new
director Alexis Caniaris the son of recently deceased artist Vlassis Caniaris whose iconic modern work has recently found great success on the
international market Of the very few foreign galleries exhibiting most were Greek-owned The Breeder gallery was dealing with the perceived
drop in the market by selling fantastic multiples by artists like Stelios Faitakis Jannis Varelas and Andreas Angelidakis at crisis-appropriate
prices ldquoNobody wants to come here now but I have already met three interested billionaire collectors today And if Greeks like you they
introduce you to their billionaire friendsrdquo raved Cologne dealer Mirko Mayer a seven-time exhibitor ldquoThat is what nobody knows There are
at least one-hundred billionaires collecting hererdquo Most international collectors were delayed several hours due to a union strike a de r igueur
mode of arrival in contemporary Greece
It was impossible to miss the exuberant activities of the DaDa Da restaurant a Greek-Austrian collaboration where artist Albert Mayr was
waving a skillet and raving nonsense while Lucas Willmann tenderized pink fillets for Wiener schnitzel ldquoThis is Viennese Actionism lightrdquo
quipped critic Sotirios Bahtsetzis Artist Natasha Papadopoulos added ldquoBut here there are hungry Greeks waitingrdquo On a table with a rotating
Sacher tort by Heacutelegravene van Duijne a sign carried the overwhelming spirit FUCK ART LETrsquoS EAT SOUVLAKI An insistent electronic beat and
pulsating light emanated from the next booth the American College of Greecersquos ldquoAthensUrgentrdquo while hooded performer Manos Tsatiris
stood against the wall with his hands tied perhaps a metaphor for the current Athenian exigency ldquoThis is not the kind of art fair scene we are
used tordquo said the Economou Collectionrsquos Annie-Claire Geisinger watching the madness
Left Artists Elisabeth Penker Michela Pelusio Petros Touloudis Panos Papadopoulos and Nino Stelzl Right Collector Anne-Marie Ros
Down on the floor the dealers seemed pleased particularly given dismal expectations having already sold a great deal at the preview Young
Rotterdam-based gallery Joey Ramone had sold sculptures by Fotini Gouseti to English and Belgian collectors dealer Erik Mulier had also sold
some work to Belgians Marc Van den Hende said he had bought a triptych by Eirene Efstathiou and was considering a Vlassis Caniaris piece
from the 1970s ldquoI saw some surprisesmdashyoung Greek artists I did not knowmdashand great new galleries like Elika and CANrdquo Dutch collector
Anne-Marie Ros said By the end of the day Dimitra and Sofia Vamiali reported that they had not seen one Greek collector although another
reported a Dakis Joannou sighting mdash Cathryn Drake
SEARCH
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SEATTLE
WEEKLY
in the News
Columnist
Geov Parrish
is a regular
guest on
Mind Over
Matters on
KEXP-FM
(903)
Saturdays at
830 am and
provides news
commentary
on KBCS-FM
(913) Fridays
at 430 pm
Catch writers
Steve
Wiecking Tim
Appelo and
ARTS
March 30 - April 5 2005
Picking Up the Thread
Howard House ties together the best new conceptual art from Vienna
by Elise Richman
Franz Wests Mercury
(Howard House Contemporary Art)
Theres a German expression to lose the red thread which means losing
ones train of thought In its current show Howard House has found that
thread Julie Ryan a curator artist and writer organized The Red
Thread Glimpses of International Art in Vienna a two-part exhibition
featuring artists working and living at least part time in Austrias capital
Part one of the show is at Howard House the second half is currently on
display at the Educational Alliance Gallery in New York
Vienna has become a magnet for artists from all over the world including
the 15 individuals and artist teams that are part of The Red Thread
Excellent artist residency programs a low cost of living and living art
legends like Franz West are just a few of the reasons
An artistic collaboration with West took Ryan from New York to Vienna
She knows Billy Howard who runs Howard House from the University of
Washingtons School of Art And so the figurative string was strung
connecting the East and West coasts with artists from across the Atlantic
This is a complex exhibit whose emotional tenor ranges from cool
detachment to an almost urgent earnestness Unlike the formal richly
historical city that connects them artists in The Red Thread favor informal
approaches to art making use disposable materials and comment on
contemporary cultural themes
West has two formidable sculptures at Howard House The front room of the
gallery features Mercury (pictured) an ungainly behemoth composed of a
patchwork of fused metal Like many of Wests sculptures Mercury is
meant as an interactive structure that viewers can climb and sit on Bulbous
Gavin
Borchert
discussing
theater film
and music
regularly on
classical
KING-FM
(981)
Mark Fiore
Cartoons
Every
Thursday
nodules extend from its horizontal base and the seams of the dark maroon
metal look like scars rendering it at once vaguely obscene and absurdly
playful
Sisyphus the other West sculpture on display is a bulky conglomeration of
bits and wads of paper propped in the back room on a makeshift plinth (base
block) Though its as solid as the boulder its title references its surface is
like oozing skin partly coated with poured murky paint partly cloaked in
small clumps of newspaper detritus
The strenuous act of making each of these sculptures is eminently apparent
and central to the content of Wests work West considers creation a
symbolic act As you might expect he likens the artistic process to the plight
of Sisyphus the mythological figure who eternally rolled a boulder up a hill
only to have it come crashing back down For West art involves a
Sisyphean search for what he calls the absolute through the seemingly
senseless accumulation of materials However unlike Sisyphus futile quest
Wests process can lead to epiphany making sense of the senseless
Similarly Viennese artist Elisabeth Penkers art serves a facilitative
function easing the act of translation Penker uses Haida iconography in her
multimedia work because it provides potent visual symbols that
communicate single words and whole sentences simultaneously Her prints
at Howard House feature fragments of icons floating in the papers white
space They are spare visually arresting characters that employ an
iconographic language as encoded symbols of communication
Also featured in The Red Thread is Donald Baechler an internationally
known American painter who spends extended periods of time in Vienna
Baechler equalizes his imagery by painting it all in the same style For him
the source of an image doesnt matter whether its a drawing by Picasso or
graffiti on a bathroom wall What matters is the newfound context his
paintings provide
Victory by Default is part of Baechlers Skull series In this piece a painted
skull gapes from the dirty yet sensuous confines of a large canvas Terry
cloth and wrinkled rags provide literal texture and reference the world
outside the paintings boundaries Splatterings of color around the skull like
the self-conscious marks of Jasper Johns seem to express the language of
paintingmdashhue and gestural strokesmdashin a factual rather than illusional
manner
Another American painter Lisa Ruyter lives half-time in Vienna where she
runs an influential gallery She works from photographs projected onto
large-scale canvases tracing the contours of the projected imagery with
consistent black outlines In a way that seems arbitrary she paints the shapes
formed by her contour lines in flat designer colors Man of Means based on
a photo of fashion photographers looks like a scrambled color-by-numbers
painting I cant do justice to the unusually rich assortment of conceptual art
in The Red Thread Youll just have to see it for yourself Thomas
Baumans thrashing triangular foil blanket Walter Seidls slide show of
staged snapshots Markus Schinwalds photograph of a contortionist and the
other thoughtful works connected by The Red Thread
The Red Thread Glimpses of International Art in Vienna runs through
April 30 at Howard House 604 Second Ave 206- 256-6399 1030 amndash5
pm TuesndashSat Free
KUNSTFORUM
Parallelwelten fuumlr Parlamentarier Ausstellung
Von Brigitte Borchhardt-Birbaumer
Ende Oktober endet die Zusammenarbeit von Nationalratspraumlsident Andreas Khol und Peter Pakesch Direktor des Kunsthauses Graz am Joanneum Seit 2003
hatte Pakesch als Kurator mehrere Ausstellungen in den Sitzungssaumllen des Parlaments in Zusammenarbeit mit Galerien initiiert und namhafte Positionen
ausgewaumlhlt Kriterium fuumlr Praumlsentationen war die Praumlsenz durch eine Schau in einer der bekannten Kunstinstitutionen des Landes Nach Eva Schlegel Adriana
Czernin Maria Lassnig oder Esther Stocker sind dies nun bis April 2007 Josef Dabernig Daniel Hafner Ulrike Lienbacher Alois Mosbacher und Elisabeth
Penker
Das Parlament kann dabei durch die Margaretha-Lupac Stiftung immer eine Arbeit fuumlr die wachsende Sammlung des Hauses ankaufen Zuletzt war das ein
groszliges Oumll-Acryl-Gemaumllde der Georg-Eisler-Preistraumlgerin Maja Vukoje zuvor Johanna Kandl deren Temperabild derzeit an das Lentos in Linz geliehen wird
Einige Werke haumlngen schon als kuumlnstlerische Wegweiser in den Gaumlngen des Hauses und sind auch Blickfang fuumlr die 120000 Besucher die pro Jahr das
Parlament besuchen In die Architektur von Theophil Hansen mit ihrer zeitlosen Qualitaumlt fuumlgt sich die Gegenwartskunst kongenial
Hoffnung fuumlr spaumlter
Die derzeitige Zusammenstellung macht Hoffnung auf eine Fortsetzung unter der naumlchsten Praumlsidentschaft Fotografie Computerkunst Malerei Zeichnung
und Skulptur weisen auf die Vielfalt der Werkstoffe in der Gegenwartskunst Elisabeth Penker parallel im Kunsthaus Graz zu sehen baut schwarzweiszlige
Objekte aus bemaltem Holz die in ihrer seriellen und geometrischen Anordnung auf Bezuumlge zum Performativen und auf die Musik hinweisen
Noch juumlnger ist Daniel Hafner mit seinen am Computer komponierten digitalen Drucken Morphosentransformationen von 2006 Linienraster und
Raumkonstruktionen in subtiler Farbigkeit verbinden Tendenzen der fruumlhen Op-Art mit dem Cyber-Lab
Um konstruierte Realitaumlten geht es auch in den groszligformatigen Oumllbildern von Alois Mosbacher dem bekannten Vertreter der Neuen Wilden der
Achtzigerjahre in Oumlsterreich Wanderer in Wald und Wiese erzaumlhlen die Geschichten alternativer Welten die sich mancher in der Gesellschaft als Parallele
konstruiert
Zwei Fotofriese von Josef Dabernig bilden jeweils ein Panorama von oumlffentlichen Plaumltzen auf denen es zum einen um Fuszligball geht Zum anderen ist der
Rundblick in das Oval einer scheinbaren Arena auch eine Art Sehschule fuumlr die Betrachter Ein sozialer Befund ist die dritte Bedeutungsebene
Ulrike Lienbacher die heuer mit einer groszligen Schau im Innsbrucker Taxispalais ihre Karriere fortsetzt ist mit ihren feinlinigen Tuschezeichnungen den kleinen
oft unsichtbaren Zwaumlngen in unserer Gesellschaft auf der Spur Im Lokal II des Parlaments stellt sie zwar nicht ihre Objekte und Fotos aber einige
groszligformatige Blaumltter mit Frisurenvariationen neben teils fragmentierten Frauenkoumlrpern im Umgang mit Schmutz und Hygiene aber auch Fitnesskult aus
Disziplinierung und Kontrolle betreffen in der Oumlffentlichkeit besonders den weiblichen Koumlrper Sauberkeitsmechanismen weisen auch auf Vorstellungen von
wertvoll und minderwertig hin Ihre Transformationen enthalten wie die Themen der anderen subtile Kritik und sind daher vom Kurator uumlberlegt positioniert
Zeitgenoumlssische Kunst
im Parlament
Bis April 2007
Kurator Peter Pakesch
Konfrontationen
Dienstag 10 Oktober 2006
ltlt 2003 | 2004 Jan Feb Mar Apr May Jun Jul Aug Sep Oct Nov Dec 2004 | 2005 gtgt
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31
Sunday 17 October 2004
TIME
TITLE
NAME
700 Indymedia ESF breakfast show Indymedia London
Highlights news and views from the European Social Forum and the
autonomous spaces and initiatives taking place this week
website
800 Resonance Radio Art Riot Breakfast International
Radio Art
A five part special of the Harmon E Phraisyar show commissioned for
Kunstradio in Austria starts off the morning broadcast of international radio
art
website
1100 Resonance Live from the Frieze Art Fair Anna Colin amp
Tobi Maier
1100 Chris Weaver Resonance 1044FM live electronics set with James Dunn and
Robin Warren
1130 Michael Hall gallery Vienna presents audio works by artist Elisabeth Penker
1200 Maria Fusco presents latest the Bookworks commissions
1300 The Psychology of Collecting live broadcast of the frieze art fair panel
discussion
Is collecting an irrational act guided by compulsion and desire What are the use of
objects What are the motivations behind making collecting curating and
criticizing art A discussion of the psychology of collecting and the politics of taste
Hilary Rubenstein (Psychologist)
Eric Troncy (Art Critic and Director Le Consortium Dijon)
Haim Steinbach (Artist)
Chair Alice Rawsthorn (Director Design Museum)
1500 Portable live set and presentation of sudelectronic records London
1600 Where is Adventure What is Culture live broadcast of the frieze art fair
website
panel discussion
A discussion of the relationship of art to entertainment touching on the comedic
being popular and failing miserably
Trisha Donnelly (Artist)
Christian Jankowski (Artist)
David Robbins (Writer amp Artist)
Nancy Spector (Curator of Contemporary Art Solomon R Guggenheim Museum)
Chair Matthew Higgs (Curator CCA Wattis Institute for Contemporary Arts)
1800 Melissa Bent from Rivington Arms gallery New York in conversation with
artist Dan Colan and Tobi Maier Anna Colin
1830 VOX pop recordings from the fair with Sharon Gal
1900 Resonance Radio Art Riot Sarah
Washington
The Resonance Radio Art Riot brings together some of the foremost radio artists
and thinkers from around the world The studio lab situation will feature round
table discussions live performances and streamed events
Tonight Radio Text
Events Live broadcast from Sonic Arts Network Resonance benefit featuring
Henri Chopin studio performances from Julia Lee Barclay and Aude Tournay plus
Special Features None present live concrete radiophonics - Planning For
Emergencies
Guests include Clive Graham Chris Weaver Richard Thomas Toby Clarkson
John Lovett Robin Warren and James Dunn
Topics The word as art Sound poetry text performances
At Midnight Tom Wallace present exclusive excerpts from radio art pioneer
Gregory Whitehead
website
000 Resonance Radio Art Riot Nights International
Radio Art
The Resonance Radio Art riot continues throughout the night with the finest of
international radio art Resonance FM programme makers and our international
guests have put together many special hours of classic and obscure radio
works
website
- EPenkerDocumentationpdf
-
- 2bAusstellungenPublicaSpaceEPenkerpdf
-
- 2cUntitled_InstrumentsKunsthausGrazEPenker
- 2bpoeticsKunsthaus GrazEPenker
-
- 4PresseEPenkerpdf
-
- 4Review_Seattle Weekly
-
Galerie naumlchst St Stephan
Aneta Grzeszykowska Elisabeth Penker
220110 bis 060310 Auf den Spuren gesellschaftlicher
Ordnungssysteme
Die beiden Ausstellungen von Aneta Grzeszykowska in den Galerieraumlumen
und Elisabeth Penker im Projektraum bdquoLOGINldquo sprechen unterschiedliche
Sprachen Momente der Beruumlhrung ergeben sich lediglich durch die
Auseinandersetzung der beiden Kuumlnstlerinnen mit Systembildungen und
gesellschaftlich bedingten Agglomerationen von Bedeutungen Waumlhrend der
Blick der in Warschau lebenden Kuumlnstlerin Aneta Grzeszykowska
psychologisch und kulturell bestimmt ist laumlsst sich das Verfahren der in
Wien und Rom lebenden Elisabeth Penker als ethnografisch und linguistisch
fundiert umschreiben Im Nebeneinander der beiden Positionen bilden sich
schaumlrfende Kontraste
Aneta Grzeszykowskas Interesse gilt dem Privaten in verschiedenen
visuellen Uumlbersetzungen Etwa kartografierte sie mit dem Warschauer
Kuumlnstler Jan Smaga in einer Fotoserie Wohnungen aus der Vogelperspektive
um eine intime Geschichte der Stadt uumlber die Anordnung von Raumlumen
Moumlbeln und Gebrauchsgegenstaumlnden zu erstellen Nun begibt sie sich mit
dem Film bdquoBirthdayldquo auf die Ebene fruumlhkindlicher Begegnungen mit dem
Unheimlichen Gedreht wurde er in der Art privater Dokumentationen zur
Feier des eigenen Nachwuchses anlaumlsslich eines Kindergeburtstags Durch
kommentierende Eingriffe wie die Animation sonst unbeweglicher
Gegenstaumlnde uumlbt die Kuumlnstlerin Kritik an den Konventionen und betont so
das Monstroumlse solcher Ereignisse In der Doppelboumldigkeit von inszenierter
Kindheit und Abgruumlndigem ist auch eine Reihe monochromer dunkler
Figurinen aus Stoff angesiedelt Dass diese bekleidet sind wie
Grzeszykowska in ihrer Kindheit verweist auf Versuche Dramatisches uumlber
die aumlsthetische Formalisierung zu bearbeiten Eine Fotografie mit dem durch
die Hand Grzeszykowskas unabsichtlich verletztem Auge ihres kleinen
Bruders und eine maumlrchenhaft anmutende Reliefskulptur mit einem Maumldchen
auf einem Hund aus stacheligen Distelbluumlten erzaumlhlen davon
Tiefenbohrungen zum Kern semantischer Ordnungen unternimmt dagegen
Elisabeth Penker im Kontext der Ausstellungsserie LOGIN in einem
ehemaligen Geschaumlftslokal und im Foyer der Galerie selbst Bekannt ist die
Kuumlnstlerin und Musikerin Elisabeth Penker etwa durch ihre Intervention im
Arkadenhof der Universitaumlt Wien mit einer Buumlste der oumlsterreichischen
Romanistin und ersten Universitaumltsprofessorin Elise Richter Diese leite das
phonetische Institut bis zu ihrer Deportation ins Ghetto Theresienstadt durch
die Nationalsozialisten und war in der patriarchalischen Ordnung der
steinernen Koumlpfe der Universitaumlt ndash ebenso wie die Leistungen von Frauen
generell ndash bis dahin kein Thema gewesen In der Ausstellung bdquoProtectionsldquo
im Kunsthaus Graz thematisierte Penker mit ihrem bdquoFirst Nation Pavillonldquo die Hegemonie des durch den
Kolonialismus gepraumlgten Blicks auf auszligereuropaumlische Gesellschaften
Stets sind ihre Annaumlherungen auf die Generierung von Bedeutungen im Sinne von Grammatiken
ausgerichtet Dementsprechend leitmotivisch fungiert ein Portraumlt des kuumlrzlich verstorbenen Ethnologen
Claude Leacutevi-Strauss in der Rauminstallation mit integrierter Soundkomposition Die gespiegelte und
mehrfach aufgefaumlcherte Fotografie von Leacutevi-Strauss in bdquopolysynthetischer Doppelperspektiverdquo laumlsst sich
als Verschneidung von Sprachlichem Klanglichen und Visuellen lesen
Eine Archaumlologie im Feld der Linguistik wie auf Materialebene fuumlhrt die Signifikanten auf engstem Raum
zusammen Triviale Vierkanthoumllzer beispielsweise wurden in genau jenen Farben lackiert die Penker als
uumlbereinander gelagerte Sedimente unter der Dispersion der Waumlnde freilegte Die laumlnglichen Houmllzer
beziehen sich auf den englischen Ausdruck bdquologldquo fuumlr Stamm und somit auch auf die Ausstellungsreihe der
Galerie Bemerkenswert dass ein Wort das bloszlig aus einem Morphem besteht einen Gegenstand
repraumlsentiert So baut sich uumlber eine Reihe weiterer Objekte wie etwa den bdquoHanging Chairsldquo aus dem
Fundus der Galerie ein elementares Netzwerk von Bezuumlgen auf Mit ihren Werken und abstrakten Sound-
Kompositionen dringt Elisabeth Penker kritisch forschend in die Makrobereiche von Grammatiken vor um
Potentiale semantischer Anbindungen in Nachbarsystemen freizulegen Roland Schoumlny
Elisabeth Penker Einzelausstellung MAK CAT TOWER Kurtaiert von Andreas Kristof
ldquoPassive Orchestrardquo 2008 8-Channel-Toninstallation Die Interpretation von Soundart sieht Penker in der Uumlberschneidung von Sprache-visueller Kunst und Musik und ist zumeist mit einer visuellen raumlumlichen Komponente verbunden Der Betrachter und Zuhoumlrer befindet sich in
einer Konzert-Situation statt Instrumenten sieht er nur Lautsprecher die auf unterschiedlichen Houmlhen auf einer grauen Wand positioniert sind Passiv Orchestra beruht in der Struktur auf die grammatische Einteilungen von Sprachen die in phonetische Minimaleinheiten dekonstruiert sind und wird uumlber eine Mehrkanal Matrix gespielt Elisabeth Penker referiert in dieser eigens fuumlr den Flakturm konzipierten Arbeit auf dadaistische Methoden der Sprachdekodierung die auch als ein klares Anti-Kriegs-Statement zu verstehen waren
1
Kunsthaus Graz
Protections
Kuratoren Adam Budak und Christine Peters
Elisabeth Penker
First Nation Pavilion
Der First Nation Pavilion von Elisabeth Penker unternimmt den Versuch einen Bereich fuumlr ein koloniales
Bewusstsein der europaumlischen Vergangenheit zu schaffen und einen utopischen Raum fuumlr neue Vorstellungen
von einer Mannigfaltigkeit an kulturellen Formen in der zeitgenoumlssischen Kunst Die Komposition de-
grammatical ein Bestandteil des First Nation Pavilion beruht in ihrer Struktur auf den grammatischen
Einteilungen der Sprachen die in phonetische Minimaleinheiten dekonstruiert sind und wird uumlber eine
nichtlineare 5-Kanal-Matrix gespielt
Penker untersucht moumlgliche Uumlberschneidungen zwischen der Sprache der Musik und der Bildstruktur wobei ihr
Hauptaugenmerk polysynthetischen Sprachen (First Nations und Pazifische Inseln) gilt sowie dem Vergleich
zwischen der Kunst von First Nations und der Modernen Kunst Erst in juumlngerer Zeit in der Aumlra des
Postkolonialismus hat der Diskurs der kulturellen Uumlbersetzung Fragen aufgeworfen mit denen man sich schon
in den phonetischen Experimenten des Dadaismus in den 1910er und 1920er Jahren beschaumlftigt hatte sowie
spaumlter in der Konzeptkunst der 1960er und 70er Jahre
Elisabeth Penker
First Nation Pavilion
The First Nation Pavilion by Elisabeth Penker attempts to set-up an area for colonial consciousness of the
European past and a utopic space for re-imagining a plurality of cultural forms in contemporary art The
composition entitled de-grammatical contained within the First Nation Pavilion is structurally-based on the
grammatical classifications of languages deconstructed into minimal phonetic units played within a non-linear
5-channel matrix
Penker is questioning the possible overlaps between music-language and visual structure within the primary
focus on polysynthetic languages (First Nation and Pacific Islands) and First Nation Art compared to Modern Art
More recently in the age of post-colonialism the discourse of cultural translation is arising questions that have
also been experimented by the Dadaists phonetic experiments in the 1910-20s and later in Concept Art of the
1960s-70s Text Adam Budak
Michael Elmgreen amp Ingar Dragset (the work of two other invited artists) offered Penker a typical prefabricated
house as her exhibition space within the Kunsthaus
id31403916 pdfMachine by Broadgun Software - a great PDF writer - a great PDF creator - httpwwwpdfmachinecom httpwwwbroadguncom
2
Elisabeth Penker Fisrt Nations Pavilion 2006
Change of floor plan of the prefabricated house by Michael Elmgreen amp Ingar Dragset
Entrance door Fisrt Nations Pavilion
3
Part 1 Colonial Conciseness in visual art
Room 1 and 3 Modernism=Imperialism after Henry Flynt Demolish serious culture
Woman as a the last Colony Rosa Luxenburg Veronika Bennholdt-
Thomsen Claudia von Werlhof und Maria Mies
4
Vinyl letters C-Print
5
6
Polysynthetische Doppelperspektive 1 Claude Levi- Strauss
Photocolloage C-Print
7
Polysynthetische Doppelperspektive 2 Claude Levi-Strauss
Photocolloage C-Print
9
Polysynthetische Doppelperspektive 4 Claude Levi Strauss
Photocolloage C-Print
2 prints Installed in corner
Installation view Polysynthetische Doppelperspektive 1-4 Claude Levi- Strauss
The visual grammar and its double perspective (split representation) of Haida Gwai and Tlinglet Art (First Nation
Art) is re-collaged with a photograph of Pablo Picasso comparing Cubism (early Modernism) with First Nation Art
and questioning its similarities of double perspectives
10
Room 4 and 5
Room 4
11
Luicide List The museum as an imperial graveyard
C-Print
Colonial after effects of Luicide
Gips Metallkette Hose Schuh
12
No7
Mirror Split Representation Mirror framed and installed in the corner
Part 2 Room 6 and 8 Comparative Contemporary Art
4-channel sound installation
De-grammatical Listen to mp3 audio excerpts
13
Front
2 CT (shelfbenches) Acryl auf Pappelsperrholz
Back Pull Over Yukme Shirley Hall outside
14
Pull Over Yukme Shirley Hall inside
Fabric wall silk print by (Tlinglet Artist) Yukme Shirley Hall
Wo ist Elise Richter wo ist
id99149429 pdfMachine by Broadgun Software - a great PDF writer - a great PDF creator - httpwwwpdfmachinecom httpwwwbroadguncom
Im Arkadenhof der Universitaumlt Wien stehen 154 Buumlsten von bedeutenden Wissenschaftlern der
Universitaumlt Wien (1700-2005) Bedauerlicherweise findet sich unter ihnen keine einzige Frau Eine temporaumlre Buumlste einer anonymen Wissenschaftlerin soll die systematische Ausblendung von Frauen
aus der Universitaumltsgeschichte thematisieren Die offene Web- Plattform (wwweliserichterat) ermoumlglicht allen Benutzern aktiv an der Umschreibung der Universitaumltsgeschichte und an re-imaging Prozessen der Repraumlsentation dieser Buumlsten teilzunehmen Weiters wird die Verbindung von raceclassgender und einer akademischen Kariere in diesem Zusammenhang hinterfragt We can never really change any form of social organisation without challenging all that organisations forms of
language (Debord)
Within the patriarchal structures of the Arkadenhof at the University of Vienna stand 154 busts of important scientists (1700-2005) Unfortunately none of these busts are women Through the placement of a temporary bust of an anonymous female scientist it declares the absence of them within the history of the university As well the anonymous bust embodies the presence of important scientists who have not yet been given equal representation The open web-platform (wwweliserichterat) allows every user to participate in this discourse to re-write the history of the university and to re-image the representation of these busts through a wiki system
Skizze Buumlste einer anonymen Wissenschaftlerin
Mein Interesse besteht nicht darin zu recherchieren welche Buumlsten von Wissenschaftlerinnen im Arkadenhof fehlen sondern das Fehlen der Wissenschaftlerinnen im Zeitraum von 1700 bis 2005 aufzuzeigen und Strukturen fuumlr eine oumlffentliche Kommunikationsplattform zu schaffen In der Genderforschung besteht Konsens daruumlber dass Gender kein Merkmal von Individuen sondern das einer
Institution ist (Connell) zudem ein struktureller Bestandteil einer Gesellschaft ist und dass Gendernormen alle Organisationen durchdringen (Acker)
Grundriss Arkadenhof der Universitaumlt Wien Literatur Acker J (1990) Hierarchies Jobs Bodies A theory of gendered organizations In Gender and Society
Connell R (1998) Gender and Power Society the Person and Sexual Politics Stanford University Press Stanford CA Maisel T (1990) Die Denkmaumller im Arkadenhof der Universitaumlt Wien Biographische Skizzen Wien Quellen Denkmalsakten Archiv der Universitaumlt Wien
Veranstalter Open Mind Projekt Utopie Freiheit httpwwwopenmindat vereinopenmindat Projektautorin Elisabeth Penker elpenkergmxat Bronzeguss Walter Rom Wachsmodel Buumlste Elisabeth Penker Steinsockel Ausfuumlhrung Fa Zehmann Mario Jungbauer Mediendesign Gernot Tscherteu httpwwwrealitylabatwphome gtrealitylabat Techn Umsetzung Christian Langreiter Webpage wwweliserichterat
Elisabeth Penker- Franzengasse 13- 1050 Wien ++43 (0)699 197 193 53 elpenkergmxat
Elisabeth Penker Untitled instruments 1-3 2000-2012
Galerie Georg Kargl Wien Galerie Priestor Bratislava Kuumlnstlerhaus Wien Kibla New
Media Center Maribor HTTP Galerie London Secession Wien Mak Wien Roma
Contemporary Wien
Elisabeth Penker Untiled Instrument Galerie Georg Kargl Wien
Curated by Michael Hall
Elisabeth Penker Untitled instrument 2001 New Media Center Maribor
Elisabeth Penker Untitled instrument 2001 New Media Center Maribor
Elisabeth Penker Untitled instrument Kuumlnstlerhaus Wien curated by Ursula Maria Probst
Live Performance mit Celia Mare
Detail Die BILD_HAU_ER_IN Kuumlnstlerhaus Wien
Live Performance Flower Structure Wiener Festwochen
Elisabeth Penker (Untiled instrument) Van Angh (Cello) Tri Minh Electronics
Elisabeth Penker Live Performance Poetics of space Secession Wien
MAK Nail Structure GRizo Sweet Susie Elisabeth Penker
Elisabeth Penker HTTP Gallery London 2005 curated by Tobi Maier
Elisabeth Penker HTTP Gallery London Live Performance
Elisabeth Penker Untitled Instrument Sonic Structure Kunsthaus Graz curated by Adam Budak amp
Christine Peters
Videolinks
httpwwwyoutubecomusersoundart24
Interview with Video Festwochen
httpbturncom8753interview-elisabeth-penker
Kunsthaus Graz
Protections
Kuratoren Adam Budak und Christine Peters
Elisabeth Penker Poetics of Dead Space
For PROTECTIONS Elisabeth Penker developed a key-sound Poetics of Dead Space which is to a large extent a homage
to Gaston Bachelards seminal book Poetics of Space where the connections between the poetry and the spatial emotions
are analysed Penkers key-sound will guide the viewer through the exhibition mapping the overall identity of the show in
some way controlling the viewers (audio-narrative) route in the maze of art objects events situations but also spatial
voids and unused corners
Fuumlr PROTECTIONS entwickelte Elisabeth Penker einen leitmotivischen Key Sound Poetics of Dead Space der weitgehend
eine Hommage an Gaston Bachelards wegweisendes Buch Poetics of Space darstellt in dem die Verbindungen zwischen
Lyrik und raumlumlichen Emotionen analysiert werden Penkers Key Sound wird das Publikum durch die Ausstellung geleiten
die Identitaumlt der Schau in ihrer Gesamtheit erfassen und in gewisser Weise die (audio-narrative) Route des Publikums im
Labyrinth der Kunstgegenstaumlnde Ereignisse und Situationen aber auch raumlumlicher Leerstellen und ungenutzter Winkel
kontrollieren
A non linear composition 7 mono active speakers are placed through out the Kunsthaus Graz Speaker placement
1 outdoor (entrance) 2 (travelator) 3 (corner with column) 4 (corner with door) 5 (corner) 6 (travelator) 7 (corner with
window)
Poetics of Dead Space Let it grow again 28 51 sec mono
Source material for composition rain sound of dried beans dropping down wood sticks breathing hardly existing
id78338975 pdfMachine by Broadgun Software - a great PDF writer - a great PDF creator - httpwwwpdfmachinecom httpwwwbroadguncom
recording of extinct languages
Poetics of Dead Space Let it grow again 28 51 sec mono
Source material for composition rain sound of dried beans dropping down wood sticks existing recording of extinct
languages
Poetics of Dead Space travelator 1 1min 04 sec mono loop
Source material for composition staff falling down man falling down stairs rattern recording untitled instrument
Background existing recording of extinct languages
Poetics of Dead Space 496 1min 409 sec mono loop
Source material for composition recording untitled instrument Background existing recording of extinct languages
Poetics of Dead Space 129525 1min 4888 sec mono loop
Source material for composition recording untitled instrument Background existing recording of extinct languages
Poetics of Dead Space 129525 1min 4888 sec mono loop
Source material for composition keyboard recording untitled instrument Background existing recording of extinct
languages
Poetics of Dead Space travelator 2 1min 5209 sec mono loop
Source material for composition recording untitled instrument violin Background existing recording of extinct
languages
Poetics of Dead Space2152518125220 1min 3200 sec mono loop
Source material for composition recording untitled instrument Background existing recording of library of extinct
languages
Poetics of Dead Space travelator 1 1min 04 sec mono loop
viewing down from upstairs Source material for composition staff falling down man falling down stairs rattern
recording untitled instrument Background existing recording of extinct languages
Poetics of Dead Space Let it grow again 028 51 sec mono
Source material for composition rain sound of coins wood sticks existing recording of extinct languages
Elisabeth Penker is a Viennese artist and musician working with sound in a sculptural context In her (subjective) tour
Penker approaches the entire anti-exhibition PROTECTIONS from an angle of its position and significance in the context
of Sound Art as located on the crossway between visual arts language and music Starting from her own house turned
into First Nation Pavillion which amongst others aims at connecting the recent discourse on cultural translation with
early avant-garde phonetic experiments Penker maps the sonic structure of Kunsthaus Graz and its (live) architecture
which for PROTECTIONS hosts an array of interdisciplinary projects with a strong audio-quality from Herwig Weisers
Death Before Disco (a micro-architecture of hyper-technological and electronic pop) through a newly created choir of
security guards for Tim Etchells Wall of Sound down to a cacophonic layers of anonimous noise generated by the
space itself and the presence of audience
Die Wiener Kuumlnstlerin und Musikerin Elisabeth Penker arbeitet mit Klang im Zusammenhang mit Bildhauerei In ihrer
(subjektiven) Fuumlhrung naumlhert sie sich der Anti-Ausstellung PROTECTIONS aus einem Blickwinkel der die Position und
Bedeutung der Klangkunst an der Kreuzung zwischen bildender Kunst Sprache und Musik verortet Von ihrem eigenen
Haus ausgehend das sich in den First Nation Pavilion verwandelt hat der u a den aktuellen Diskurs uumlber kulturelle
Uumlbersetzung mit fruumlhen phonetischen Experimenten der Avantgarde verbinden soll entwirft Penker die klangliche
Struktur des Gutshauses und seiner (Live-)Architektur die fuumlr PROTECTIONS eine Reihe von interdisziplinaumlren Projekten
mit einer starken Affinitaumlt zum Klang beherbergt von Herwig Weisers Death Before Disco (eine Mikroarchitektur aus
hyper-technoidem und elektronischem Pop) uumlber einen neu formierten Chor bestehend aus Security Guards fuumlr Tim
Etchells Wall of Sound bis zu einer Kakophonie aus anonymen Geraumluschen die vom Raum selbst und der Anwesenheit
des Publikums erzeugt werden
052813
Local Warming ATHENS
052813
AFTER A YEARLONG HIATUS the eighteenth Art-Athina hit the ground running on the evening of Thursday May 16 and the former Olympic
ldquoTae Kwon Dordquo Pavilion was packed with enthusiastic party people The fair had a more national flavor than ever this year under its new
director Alexis Caniaris the son of recently deceased artist Vlassis Caniaris whose iconic modern work has recently found great success on the
international market Of the very few foreign galleries exhibiting most were Greek-owned The Breeder gallery was dealing with the perceived
drop in the market by selling fantastic multiples by artists like Stelios Faitakis Jannis Varelas and Andreas Angelidakis at crisis-appropriate
prices ldquoNobody wants to come here now but I have already met three interested billionaire collectors today And if Greeks like you they
introduce you to their billionaire friendsrdquo raved Cologne dealer Mirko Mayer a seven-time exhibitor ldquoThat is what nobody knows There are
at least one-hundred billionaires collecting hererdquo Most international collectors were delayed several hours due to a union strike a de r igueur
mode of arrival in contemporary Greece
It was impossible to miss the exuberant activities of the DaDa Da restaurant a Greek-Austrian collaboration where artist Albert Mayr was
waving a skillet and raving nonsense while Lucas Willmann tenderized pink fillets for Wiener schnitzel ldquoThis is Viennese Actionism lightrdquo
quipped critic Sotirios Bahtsetzis Artist Natasha Papadopoulos added ldquoBut here there are hungry Greeks waitingrdquo On a table with a rotating
Sacher tort by Heacutelegravene van Duijne a sign carried the overwhelming spirit FUCK ART LETrsquoS EAT SOUVLAKI An insistent electronic beat and
pulsating light emanated from the next booth the American College of Greecersquos ldquoAthensUrgentrdquo while hooded performer Manos Tsatiris
stood against the wall with his hands tied perhaps a metaphor for the current Athenian exigency ldquoThis is not the kind of art fair scene we are
used tordquo said the Economou Collectionrsquos Annie-Claire Geisinger watching the madness
Left Artists Elisabeth Penker Michela Pelusio Petros Touloudis Panos Papadopoulos and Nino Stelzl Right Collector Anne-Marie Ros
Down on the floor the dealers seemed pleased particularly given dismal expectations having already sold a great deal at the preview Young
Rotterdam-based gallery Joey Ramone had sold sculptures by Fotini Gouseti to English and Belgian collectors dealer Erik Mulier had also sold
some work to Belgians Marc Van den Hende said he had bought a triptych by Eirene Efstathiou and was considering a Vlassis Caniaris piece
from the 1970s ldquoI saw some surprisesmdashyoung Greek artists I did not knowmdashand great new galleries like Elika and CANrdquo Dutch collector
Anne-Marie Ros said By the end of the day Dimitra and Sofia Vamiali reported that they had not seen one Greek collector although another
reported a Dakis Joannou sighting mdash Cathryn Drake
SEARCH
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SEATTLE
WEEKLY
in the News
Columnist
Geov Parrish
is a regular
guest on
Mind Over
Matters on
KEXP-FM
(903)
Saturdays at
830 am and
provides news
commentary
on KBCS-FM
(913) Fridays
at 430 pm
Catch writers
Steve
Wiecking Tim
Appelo and
ARTS
March 30 - April 5 2005
Picking Up the Thread
Howard House ties together the best new conceptual art from Vienna
by Elise Richman
Franz Wests Mercury
(Howard House Contemporary Art)
Theres a German expression to lose the red thread which means losing
ones train of thought In its current show Howard House has found that
thread Julie Ryan a curator artist and writer organized The Red
Thread Glimpses of International Art in Vienna a two-part exhibition
featuring artists working and living at least part time in Austrias capital
Part one of the show is at Howard House the second half is currently on
display at the Educational Alliance Gallery in New York
Vienna has become a magnet for artists from all over the world including
the 15 individuals and artist teams that are part of The Red Thread
Excellent artist residency programs a low cost of living and living art
legends like Franz West are just a few of the reasons
An artistic collaboration with West took Ryan from New York to Vienna
She knows Billy Howard who runs Howard House from the University of
Washingtons School of Art And so the figurative string was strung
connecting the East and West coasts with artists from across the Atlantic
This is a complex exhibit whose emotional tenor ranges from cool
detachment to an almost urgent earnestness Unlike the formal richly
historical city that connects them artists in The Red Thread favor informal
approaches to art making use disposable materials and comment on
contemporary cultural themes
West has two formidable sculptures at Howard House The front room of the
gallery features Mercury (pictured) an ungainly behemoth composed of a
patchwork of fused metal Like many of Wests sculptures Mercury is
meant as an interactive structure that viewers can climb and sit on Bulbous
Gavin
Borchert
discussing
theater film
and music
regularly on
classical
KING-FM
(981)
Mark Fiore
Cartoons
Every
Thursday
nodules extend from its horizontal base and the seams of the dark maroon
metal look like scars rendering it at once vaguely obscene and absurdly
playful
Sisyphus the other West sculpture on display is a bulky conglomeration of
bits and wads of paper propped in the back room on a makeshift plinth (base
block) Though its as solid as the boulder its title references its surface is
like oozing skin partly coated with poured murky paint partly cloaked in
small clumps of newspaper detritus
The strenuous act of making each of these sculptures is eminently apparent
and central to the content of Wests work West considers creation a
symbolic act As you might expect he likens the artistic process to the plight
of Sisyphus the mythological figure who eternally rolled a boulder up a hill
only to have it come crashing back down For West art involves a
Sisyphean search for what he calls the absolute through the seemingly
senseless accumulation of materials However unlike Sisyphus futile quest
Wests process can lead to epiphany making sense of the senseless
Similarly Viennese artist Elisabeth Penkers art serves a facilitative
function easing the act of translation Penker uses Haida iconography in her
multimedia work because it provides potent visual symbols that
communicate single words and whole sentences simultaneously Her prints
at Howard House feature fragments of icons floating in the papers white
space They are spare visually arresting characters that employ an
iconographic language as encoded symbols of communication
Also featured in The Red Thread is Donald Baechler an internationally
known American painter who spends extended periods of time in Vienna
Baechler equalizes his imagery by painting it all in the same style For him
the source of an image doesnt matter whether its a drawing by Picasso or
graffiti on a bathroom wall What matters is the newfound context his
paintings provide
Victory by Default is part of Baechlers Skull series In this piece a painted
skull gapes from the dirty yet sensuous confines of a large canvas Terry
cloth and wrinkled rags provide literal texture and reference the world
outside the paintings boundaries Splatterings of color around the skull like
the self-conscious marks of Jasper Johns seem to express the language of
paintingmdashhue and gestural strokesmdashin a factual rather than illusional
manner
Another American painter Lisa Ruyter lives half-time in Vienna where she
runs an influential gallery She works from photographs projected onto
large-scale canvases tracing the contours of the projected imagery with
consistent black outlines In a way that seems arbitrary she paints the shapes
formed by her contour lines in flat designer colors Man of Means based on
a photo of fashion photographers looks like a scrambled color-by-numbers
painting I cant do justice to the unusually rich assortment of conceptual art
in The Red Thread Youll just have to see it for yourself Thomas
Baumans thrashing triangular foil blanket Walter Seidls slide show of
staged snapshots Markus Schinwalds photograph of a contortionist and the
other thoughtful works connected by The Red Thread
The Red Thread Glimpses of International Art in Vienna runs through
April 30 at Howard House 604 Second Ave 206- 256-6399 1030 amndash5
pm TuesndashSat Free
KUNSTFORUM
Parallelwelten fuumlr Parlamentarier Ausstellung
Von Brigitte Borchhardt-Birbaumer
Ende Oktober endet die Zusammenarbeit von Nationalratspraumlsident Andreas Khol und Peter Pakesch Direktor des Kunsthauses Graz am Joanneum Seit 2003
hatte Pakesch als Kurator mehrere Ausstellungen in den Sitzungssaumllen des Parlaments in Zusammenarbeit mit Galerien initiiert und namhafte Positionen
ausgewaumlhlt Kriterium fuumlr Praumlsentationen war die Praumlsenz durch eine Schau in einer der bekannten Kunstinstitutionen des Landes Nach Eva Schlegel Adriana
Czernin Maria Lassnig oder Esther Stocker sind dies nun bis April 2007 Josef Dabernig Daniel Hafner Ulrike Lienbacher Alois Mosbacher und Elisabeth
Penker
Das Parlament kann dabei durch die Margaretha-Lupac Stiftung immer eine Arbeit fuumlr die wachsende Sammlung des Hauses ankaufen Zuletzt war das ein
groszliges Oumll-Acryl-Gemaumllde der Georg-Eisler-Preistraumlgerin Maja Vukoje zuvor Johanna Kandl deren Temperabild derzeit an das Lentos in Linz geliehen wird
Einige Werke haumlngen schon als kuumlnstlerische Wegweiser in den Gaumlngen des Hauses und sind auch Blickfang fuumlr die 120000 Besucher die pro Jahr das
Parlament besuchen In die Architektur von Theophil Hansen mit ihrer zeitlosen Qualitaumlt fuumlgt sich die Gegenwartskunst kongenial
Hoffnung fuumlr spaumlter
Die derzeitige Zusammenstellung macht Hoffnung auf eine Fortsetzung unter der naumlchsten Praumlsidentschaft Fotografie Computerkunst Malerei Zeichnung
und Skulptur weisen auf die Vielfalt der Werkstoffe in der Gegenwartskunst Elisabeth Penker parallel im Kunsthaus Graz zu sehen baut schwarzweiszlige
Objekte aus bemaltem Holz die in ihrer seriellen und geometrischen Anordnung auf Bezuumlge zum Performativen und auf die Musik hinweisen
Noch juumlnger ist Daniel Hafner mit seinen am Computer komponierten digitalen Drucken Morphosentransformationen von 2006 Linienraster und
Raumkonstruktionen in subtiler Farbigkeit verbinden Tendenzen der fruumlhen Op-Art mit dem Cyber-Lab
Um konstruierte Realitaumlten geht es auch in den groszligformatigen Oumllbildern von Alois Mosbacher dem bekannten Vertreter der Neuen Wilden der
Achtzigerjahre in Oumlsterreich Wanderer in Wald und Wiese erzaumlhlen die Geschichten alternativer Welten die sich mancher in der Gesellschaft als Parallele
konstruiert
Zwei Fotofriese von Josef Dabernig bilden jeweils ein Panorama von oumlffentlichen Plaumltzen auf denen es zum einen um Fuszligball geht Zum anderen ist der
Rundblick in das Oval einer scheinbaren Arena auch eine Art Sehschule fuumlr die Betrachter Ein sozialer Befund ist die dritte Bedeutungsebene
Ulrike Lienbacher die heuer mit einer groszligen Schau im Innsbrucker Taxispalais ihre Karriere fortsetzt ist mit ihren feinlinigen Tuschezeichnungen den kleinen
oft unsichtbaren Zwaumlngen in unserer Gesellschaft auf der Spur Im Lokal II des Parlaments stellt sie zwar nicht ihre Objekte und Fotos aber einige
groszligformatige Blaumltter mit Frisurenvariationen neben teils fragmentierten Frauenkoumlrpern im Umgang mit Schmutz und Hygiene aber auch Fitnesskult aus
Disziplinierung und Kontrolle betreffen in der Oumlffentlichkeit besonders den weiblichen Koumlrper Sauberkeitsmechanismen weisen auch auf Vorstellungen von
wertvoll und minderwertig hin Ihre Transformationen enthalten wie die Themen der anderen subtile Kritik und sind daher vom Kurator uumlberlegt positioniert
Zeitgenoumlssische Kunst
im Parlament
Bis April 2007
Kurator Peter Pakesch
Konfrontationen
Dienstag 10 Oktober 2006
ltlt 2003 | 2004 Jan Feb Mar Apr May Jun Jul Aug Sep Oct Nov Dec 2004 | 2005 gtgt
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31
Sunday 17 October 2004
TIME
TITLE
NAME
700 Indymedia ESF breakfast show Indymedia London
Highlights news and views from the European Social Forum and the
autonomous spaces and initiatives taking place this week
website
800 Resonance Radio Art Riot Breakfast International
Radio Art
A five part special of the Harmon E Phraisyar show commissioned for
Kunstradio in Austria starts off the morning broadcast of international radio
art
website
1100 Resonance Live from the Frieze Art Fair Anna Colin amp
Tobi Maier
1100 Chris Weaver Resonance 1044FM live electronics set with James Dunn and
Robin Warren
1130 Michael Hall gallery Vienna presents audio works by artist Elisabeth Penker
1200 Maria Fusco presents latest the Bookworks commissions
1300 The Psychology of Collecting live broadcast of the frieze art fair panel
discussion
Is collecting an irrational act guided by compulsion and desire What are the use of
objects What are the motivations behind making collecting curating and
criticizing art A discussion of the psychology of collecting and the politics of taste
Hilary Rubenstein (Psychologist)
Eric Troncy (Art Critic and Director Le Consortium Dijon)
Haim Steinbach (Artist)
Chair Alice Rawsthorn (Director Design Museum)
1500 Portable live set and presentation of sudelectronic records London
1600 Where is Adventure What is Culture live broadcast of the frieze art fair
website
panel discussion
A discussion of the relationship of art to entertainment touching on the comedic
being popular and failing miserably
Trisha Donnelly (Artist)
Christian Jankowski (Artist)
David Robbins (Writer amp Artist)
Nancy Spector (Curator of Contemporary Art Solomon R Guggenheim Museum)
Chair Matthew Higgs (Curator CCA Wattis Institute for Contemporary Arts)
1800 Melissa Bent from Rivington Arms gallery New York in conversation with
artist Dan Colan and Tobi Maier Anna Colin
1830 VOX pop recordings from the fair with Sharon Gal
1900 Resonance Radio Art Riot Sarah
Washington
The Resonance Radio Art Riot brings together some of the foremost radio artists
and thinkers from around the world The studio lab situation will feature round
table discussions live performances and streamed events
Tonight Radio Text
Events Live broadcast from Sonic Arts Network Resonance benefit featuring
Henri Chopin studio performances from Julia Lee Barclay and Aude Tournay plus
Special Features None present live concrete radiophonics - Planning For
Emergencies
Guests include Clive Graham Chris Weaver Richard Thomas Toby Clarkson
John Lovett Robin Warren and James Dunn
Topics The word as art Sound poetry text performances
At Midnight Tom Wallace present exclusive excerpts from radio art pioneer
Gregory Whitehead
website
000 Resonance Radio Art Riot Nights International
Radio Art
The Resonance Radio Art riot continues throughout the night with the finest of
international radio art Resonance FM programme makers and our international
guests have put together many special hours of classic and obscure radio
works
website
- EPenkerDocumentationpdf
-
- 2bAusstellungenPublicaSpaceEPenkerpdf
-
- 2cUntitled_InstrumentsKunsthausGrazEPenker
- 2bpoeticsKunsthaus GrazEPenker
-
- 4PresseEPenkerpdf
-
- 4Review_Seattle Weekly
-
Elisabeth Penker Einzelausstellung MAK CAT TOWER Kurtaiert von Andreas Kristof
ldquoPassive Orchestrardquo 2008 8-Channel-Toninstallation Die Interpretation von Soundart sieht Penker in der Uumlberschneidung von Sprache-visueller Kunst und Musik und ist zumeist mit einer visuellen raumlumlichen Komponente verbunden Der Betrachter und Zuhoumlrer befindet sich in
einer Konzert-Situation statt Instrumenten sieht er nur Lautsprecher die auf unterschiedlichen Houmlhen auf einer grauen Wand positioniert sind Passiv Orchestra beruht in der Struktur auf die grammatische Einteilungen von Sprachen die in phonetische Minimaleinheiten dekonstruiert sind und wird uumlber eine Mehrkanal Matrix gespielt Elisabeth Penker referiert in dieser eigens fuumlr den Flakturm konzipierten Arbeit auf dadaistische Methoden der Sprachdekodierung die auch als ein klares Anti-Kriegs-Statement zu verstehen waren
1
Kunsthaus Graz
Protections
Kuratoren Adam Budak und Christine Peters
Elisabeth Penker
First Nation Pavilion
Der First Nation Pavilion von Elisabeth Penker unternimmt den Versuch einen Bereich fuumlr ein koloniales
Bewusstsein der europaumlischen Vergangenheit zu schaffen und einen utopischen Raum fuumlr neue Vorstellungen
von einer Mannigfaltigkeit an kulturellen Formen in der zeitgenoumlssischen Kunst Die Komposition de-
grammatical ein Bestandteil des First Nation Pavilion beruht in ihrer Struktur auf den grammatischen
Einteilungen der Sprachen die in phonetische Minimaleinheiten dekonstruiert sind und wird uumlber eine
nichtlineare 5-Kanal-Matrix gespielt
Penker untersucht moumlgliche Uumlberschneidungen zwischen der Sprache der Musik und der Bildstruktur wobei ihr
Hauptaugenmerk polysynthetischen Sprachen (First Nations und Pazifische Inseln) gilt sowie dem Vergleich
zwischen der Kunst von First Nations und der Modernen Kunst Erst in juumlngerer Zeit in der Aumlra des
Postkolonialismus hat der Diskurs der kulturellen Uumlbersetzung Fragen aufgeworfen mit denen man sich schon
in den phonetischen Experimenten des Dadaismus in den 1910er und 1920er Jahren beschaumlftigt hatte sowie
spaumlter in der Konzeptkunst der 1960er und 70er Jahre
Elisabeth Penker
First Nation Pavilion
The First Nation Pavilion by Elisabeth Penker attempts to set-up an area for colonial consciousness of the
European past and a utopic space for re-imagining a plurality of cultural forms in contemporary art The
composition entitled de-grammatical contained within the First Nation Pavilion is structurally-based on the
grammatical classifications of languages deconstructed into minimal phonetic units played within a non-linear
5-channel matrix
Penker is questioning the possible overlaps between music-language and visual structure within the primary
focus on polysynthetic languages (First Nation and Pacific Islands) and First Nation Art compared to Modern Art
More recently in the age of post-colonialism the discourse of cultural translation is arising questions that have
also been experimented by the Dadaists phonetic experiments in the 1910-20s and later in Concept Art of the
1960s-70s Text Adam Budak
Michael Elmgreen amp Ingar Dragset (the work of two other invited artists) offered Penker a typical prefabricated
house as her exhibition space within the Kunsthaus
id31403916 pdfMachine by Broadgun Software - a great PDF writer - a great PDF creator - httpwwwpdfmachinecom httpwwwbroadguncom
2
Elisabeth Penker Fisrt Nations Pavilion 2006
Change of floor plan of the prefabricated house by Michael Elmgreen amp Ingar Dragset
Entrance door Fisrt Nations Pavilion
3
Part 1 Colonial Conciseness in visual art
Room 1 and 3 Modernism=Imperialism after Henry Flynt Demolish serious culture
Woman as a the last Colony Rosa Luxenburg Veronika Bennholdt-
Thomsen Claudia von Werlhof und Maria Mies
4
Vinyl letters C-Print
5
6
Polysynthetische Doppelperspektive 1 Claude Levi- Strauss
Photocolloage C-Print
7
Polysynthetische Doppelperspektive 2 Claude Levi-Strauss
Photocolloage C-Print
9
Polysynthetische Doppelperspektive 4 Claude Levi Strauss
Photocolloage C-Print
2 prints Installed in corner
Installation view Polysynthetische Doppelperspektive 1-4 Claude Levi- Strauss
The visual grammar and its double perspective (split representation) of Haida Gwai and Tlinglet Art (First Nation
Art) is re-collaged with a photograph of Pablo Picasso comparing Cubism (early Modernism) with First Nation Art
and questioning its similarities of double perspectives
10
Room 4 and 5
Room 4
11
Luicide List The museum as an imperial graveyard
C-Print
Colonial after effects of Luicide
Gips Metallkette Hose Schuh
12
No7
Mirror Split Representation Mirror framed and installed in the corner
Part 2 Room 6 and 8 Comparative Contemporary Art
4-channel sound installation
De-grammatical Listen to mp3 audio excerpts
13
Front
2 CT (shelfbenches) Acryl auf Pappelsperrholz
Back Pull Over Yukme Shirley Hall outside
14
Pull Over Yukme Shirley Hall inside
Fabric wall silk print by (Tlinglet Artist) Yukme Shirley Hall
Wo ist Elise Richter wo ist
id99149429 pdfMachine by Broadgun Software - a great PDF writer - a great PDF creator - httpwwwpdfmachinecom httpwwwbroadguncom
Im Arkadenhof der Universitaumlt Wien stehen 154 Buumlsten von bedeutenden Wissenschaftlern der
Universitaumlt Wien (1700-2005) Bedauerlicherweise findet sich unter ihnen keine einzige Frau Eine temporaumlre Buumlste einer anonymen Wissenschaftlerin soll die systematische Ausblendung von Frauen
aus der Universitaumltsgeschichte thematisieren Die offene Web- Plattform (wwweliserichterat) ermoumlglicht allen Benutzern aktiv an der Umschreibung der Universitaumltsgeschichte und an re-imaging Prozessen der Repraumlsentation dieser Buumlsten teilzunehmen Weiters wird die Verbindung von raceclassgender und einer akademischen Kariere in diesem Zusammenhang hinterfragt We can never really change any form of social organisation without challenging all that organisations forms of
language (Debord)
Within the patriarchal structures of the Arkadenhof at the University of Vienna stand 154 busts of important scientists (1700-2005) Unfortunately none of these busts are women Through the placement of a temporary bust of an anonymous female scientist it declares the absence of them within the history of the university As well the anonymous bust embodies the presence of important scientists who have not yet been given equal representation The open web-platform (wwweliserichterat) allows every user to participate in this discourse to re-write the history of the university and to re-image the representation of these busts through a wiki system
Skizze Buumlste einer anonymen Wissenschaftlerin
Mein Interesse besteht nicht darin zu recherchieren welche Buumlsten von Wissenschaftlerinnen im Arkadenhof fehlen sondern das Fehlen der Wissenschaftlerinnen im Zeitraum von 1700 bis 2005 aufzuzeigen und Strukturen fuumlr eine oumlffentliche Kommunikationsplattform zu schaffen In der Genderforschung besteht Konsens daruumlber dass Gender kein Merkmal von Individuen sondern das einer
Institution ist (Connell) zudem ein struktureller Bestandteil einer Gesellschaft ist und dass Gendernormen alle Organisationen durchdringen (Acker)
Grundriss Arkadenhof der Universitaumlt Wien Literatur Acker J (1990) Hierarchies Jobs Bodies A theory of gendered organizations In Gender and Society
Connell R (1998) Gender and Power Society the Person and Sexual Politics Stanford University Press Stanford CA Maisel T (1990) Die Denkmaumller im Arkadenhof der Universitaumlt Wien Biographische Skizzen Wien Quellen Denkmalsakten Archiv der Universitaumlt Wien
Veranstalter Open Mind Projekt Utopie Freiheit httpwwwopenmindat vereinopenmindat Projektautorin Elisabeth Penker elpenkergmxat Bronzeguss Walter Rom Wachsmodel Buumlste Elisabeth Penker Steinsockel Ausfuumlhrung Fa Zehmann Mario Jungbauer Mediendesign Gernot Tscherteu httpwwwrealitylabatwphome gtrealitylabat Techn Umsetzung Christian Langreiter Webpage wwweliserichterat
Elisabeth Penker- Franzengasse 13- 1050 Wien ++43 (0)699 197 193 53 elpenkergmxat
Elisabeth Penker Untitled instruments 1-3 2000-2012
Galerie Georg Kargl Wien Galerie Priestor Bratislava Kuumlnstlerhaus Wien Kibla New
Media Center Maribor HTTP Galerie London Secession Wien Mak Wien Roma
Contemporary Wien
Elisabeth Penker Untiled Instrument Galerie Georg Kargl Wien
Curated by Michael Hall
Elisabeth Penker Untitled instrument 2001 New Media Center Maribor
Elisabeth Penker Untitled instrument 2001 New Media Center Maribor
Elisabeth Penker Untitled instrument Kuumlnstlerhaus Wien curated by Ursula Maria Probst
Live Performance mit Celia Mare
Detail Die BILD_HAU_ER_IN Kuumlnstlerhaus Wien
Live Performance Flower Structure Wiener Festwochen
Elisabeth Penker (Untiled instrument) Van Angh (Cello) Tri Minh Electronics
Elisabeth Penker Live Performance Poetics of space Secession Wien
MAK Nail Structure GRizo Sweet Susie Elisabeth Penker
Elisabeth Penker HTTP Gallery London 2005 curated by Tobi Maier
Elisabeth Penker HTTP Gallery London Live Performance
Elisabeth Penker Untitled Instrument Sonic Structure Kunsthaus Graz curated by Adam Budak amp
Christine Peters
Videolinks
httpwwwyoutubecomusersoundart24
Interview with Video Festwochen
httpbturncom8753interview-elisabeth-penker
Kunsthaus Graz
Protections
Kuratoren Adam Budak und Christine Peters
Elisabeth Penker Poetics of Dead Space
For PROTECTIONS Elisabeth Penker developed a key-sound Poetics of Dead Space which is to a large extent a homage
to Gaston Bachelards seminal book Poetics of Space where the connections between the poetry and the spatial emotions
are analysed Penkers key-sound will guide the viewer through the exhibition mapping the overall identity of the show in
some way controlling the viewers (audio-narrative) route in the maze of art objects events situations but also spatial
voids and unused corners
Fuumlr PROTECTIONS entwickelte Elisabeth Penker einen leitmotivischen Key Sound Poetics of Dead Space der weitgehend
eine Hommage an Gaston Bachelards wegweisendes Buch Poetics of Space darstellt in dem die Verbindungen zwischen
Lyrik und raumlumlichen Emotionen analysiert werden Penkers Key Sound wird das Publikum durch die Ausstellung geleiten
die Identitaumlt der Schau in ihrer Gesamtheit erfassen und in gewisser Weise die (audio-narrative) Route des Publikums im
Labyrinth der Kunstgegenstaumlnde Ereignisse und Situationen aber auch raumlumlicher Leerstellen und ungenutzter Winkel
kontrollieren
A non linear composition 7 mono active speakers are placed through out the Kunsthaus Graz Speaker placement
1 outdoor (entrance) 2 (travelator) 3 (corner with column) 4 (corner with door) 5 (corner) 6 (travelator) 7 (corner with
window)
Poetics of Dead Space Let it grow again 28 51 sec mono
Source material for composition rain sound of dried beans dropping down wood sticks breathing hardly existing
id78338975 pdfMachine by Broadgun Software - a great PDF writer - a great PDF creator - httpwwwpdfmachinecom httpwwwbroadguncom
recording of extinct languages
Poetics of Dead Space Let it grow again 28 51 sec mono
Source material for composition rain sound of dried beans dropping down wood sticks existing recording of extinct
languages
Poetics of Dead Space travelator 1 1min 04 sec mono loop
Source material for composition staff falling down man falling down stairs rattern recording untitled instrument
Background existing recording of extinct languages
Poetics of Dead Space 496 1min 409 sec mono loop
Source material for composition recording untitled instrument Background existing recording of extinct languages
Poetics of Dead Space 129525 1min 4888 sec mono loop
Source material for composition recording untitled instrument Background existing recording of extinct languages
Poetics of Dead Space 129525 1min 4888 sec mono loop
Source material for composition keyboard recording untitled instrument Background existing recording of extinct
languages
Poetics of Dead Space travelator 2 1min 5209 sec mono loop
Source material for composition recording untitled instrument violin Background existing recording of extinct
languages
Poetics of Dead Space2152518125220 1min 3200 sec mono loop
Source material for composition recording untitled instrument Background existing recording of library of extinct
languages
Poetics of Dead Space travelator 1 1min 04 sec mono loop
viewing down from upstairs Source material for composition staff falling down man falling down stairs rattern
recording untitled instrument Background existing recording of extinct languages
Poetics of Dead Space Let it grow again 028 51 sec mono
Source material for composition rain sound of coins wood sticks existing recording of extinct languages
Elisabeth Penker is a Viennese artist and musician working with sound in a sculptural context In her (subjective) tour
Penker approaches the entire anti-exhibition PROTECTIONS from an angle of its position and significance in the context
of Sound Art as located on the crossway between visual arts language and music Starting from her own house turned
into First Nation Pavillion which amongst others aims at connecting the recent discourse on cultural translation with
early avant-garde phonetic experiments Penker maps the sonic structure of Kunsthaus Graz and its (live) architecture
which for PROTECTIONS hosts an array of interdisciplinary projects with a strong audio-quality from Herwig Weisers
Death Before Disco (a micro-architecture of hyper-technological and electronic pop) through a newly created choir of
security guards for Tim Etchells Wall of Sound down to a cacophonic layers of anonimous noise generated by the
space itself and the presence of audience
Die Wiener Kuumlnstlerin und Musikerin Elisabeth Penker arbeitet mit Klang im Zusammenhang mit Bildhauerei In ihrer
(subjektiven) Fuumlhrung naumlhert sie sich der Anti-Ausstellung PROTECTIONS aus einem Blickwinkel der die Position und
Bedeutung der Klangkunst an der Kreuzung zwischen bildender Kunst Sprache und Musik verortet Von ihrem eigenen
Haus ausgehend das sich in den First Nation Pavilion verwandelt hat der u a den aktuellen Diskurs uumlber kulturelle
Uumlbersetzung mit fruumlhen phonetischen Experimenten der Avantgarde verbinden soll entwirft Penker die klangliche
Struktur des Gutshauses und seiner (Live-)Architektur die fuumlr PROTECTIONS eine Reihe von interdisziplinaumlren Projekten
mit einer starken Affinitaumlt zum Klang beherbergt von Herwig Weisers Death Before Disco (eine Mikroarchitektur aus
hyper-technoidem und elektronischem Pop) uumlber einen neu formierten Chor bestehend aus Security Guards fuumlr Tim
Etchells Wall of Sound bis zu einer Kakophonie aus anonymen Geraumluschen die vom Raum selbst und der Anwesenheit
des Publikums erzeugt werden
052813
Local Warming ATHENS
052813
AFTER A YEARLONG HIATUS the eighteenth Art-Athina hit the ground running on the evening of Thursday May 16 and the former Olympic
ldquoTae Kwon Dordquo Pavilion was packed with enthusiastic party people The fair had a more national flavor than ever this year under its new
director Alexis Caniaris the son of recently deceased artist Vlassis Caniaris whose iconic modern work has recently found great success on the
international market Of the very few foreign galleries exhibiting most were Greek-owned The Breeder gallery was dealing with the perceived
drop in the market by selling fantastic multiples by artists like Stelios Faitakis Jannis Varelas and Andreas Angelidakis at crisis-appropriate
prices ldquoNobody wants to come here now but I have already met three interested billionaire collectors today And if Greeks like you they
introduce you to their billionaire friendsrdquo raved Cologne dealer Mirko Mayer a seven-time exhibitor ldquoThat is what nobody knows There are
at least one-hundred billionaires collecting hererdquo Most international collectors were delayed several hours due to a union strike a de r igueur
mode of arrival in contemporary Greece
It was impossible to miss the exuberant activities of the DaDa Da restaurant a Greek-Austrian collaboration where artist Albert Mayr was
waving a skillet and raving nonsense while Lucas Willmann tenderized pink fillets for Wiener schnitzel ldquoThis is Viennese Actionism lightrdquo
quipped critic Sotirios Bahtsetzis Artist Natasha Papadopoulos added ldquoBut here there are hungry Greeks waitingrdquo On a table with a rotating
Sacher tort by Heacutelegravene van Duijne a sign carried the overwhelming spirit FUCK ART LETrsquoS EAT SOUVLAKI An insistent electronic beat and
pulsating light emanated from the next booth the American College of Greecersquos ldquoAthensUrgentrdquo while hooded performer Manos Tsatiris
stood against the wall with his hands tied perhaps a metaphor for the current Athenian exigency ldquoThis is not the kind of art fair scene we are
used tordquo said the Economou Collectionrsquos Annie-Claire Geisinger watching the madness
Left Artists Elisabeth Penker Michela Pelusio Petros Touloudis Panos Papadopoulos and Nino Stelzl Right Collector Anne-Marie Ros
Down on the floor the dealers seemed pleased particularly given dismal expectations having already sold a great deal at the preview Young
Rotterdam-based gallery Joey Ramone had sold sculptures by Fotini Gouseti to English and Belgian collectors dealer Erik Mulier had also sold
some work to Belgians Marc Van den Hende said he had bought a triptych by Eirene Efstathiou and was considering a Vlassis Caniaris piece
from the 1970s ldquoI saw some surprisesmdashyoung Greek artists I did not knowmdashand great new galleries like Elika and CANrdquo Dutch collector
Anne-Marie Ros said By the end of the day Dimitra and Sofia Vamiali reported that they had not seen one Greek collector although another
reported a Dakis Joannou sighting mdash Cathryn Drake
SEARCH
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SEATTLE
WEEKLY
in the News
Columnist
Geov Parrish
is a regular
guest on
Mind Over
Matters on
KEXP-FM
(903)
Saturdays at
830 am and
provides news
commentary
on KBCS-FM
(913) Fridays
at 430 pm
Catch writers
Steve
Wiecking Tim
Appelo and
ARTS
March 30 - April 5 2005
Picking Up the Thread
Howard House ties together the best new conceptual art from Vienna
by Elise Richman
Franz Wests Mercury
(Howard House Contemporary Art)
Theres a German expression to lose the red thread which means losing
ones train of thought In its current show Howard House has found that
thread Julie Ryan a curator artist and writer organized The Red
Thread Glimpses of International Art in Vienna a two-part exhibition
featuring artists working and living at least part time in Austrias capital
Part one of the show is at Howard House the second half is currently on
display at the Educational Alliance Gallery in New York
Vienna has become a magnet for artists from all over the world including
the 15 individuals and artist teams that are part of The Red Thread
Excellent artist residency programs a low cost of living and living art
legends like Franz West are just a few of the reasons
An artistic collaboration with West took Ryan from New York to Vienna
She knows Billy Howard who runs Howard House from the University of
Washingtons School of Art And so the figurative string was strung
connecting the East and West coasts with artists from across the Atlantic
This is a complex exhibit whose emotional tenor ranges from cool
detachment to an almost urgent earnestness Unlike the formal richly
historical city that connects them artists in The Red Thread favor informal
approaches to art making use disposable materials and comment on
contemporary cultural themes
West has two formidable sculptures at Howard House The front room of the
gallery features Mercury (pictured) an ungainly behemoth composed of a
patchwork of fused metal Like many of Wests sculptures Mercury is
meant as an interactive structure that viewers can climb and sit on Bulbous
Gavin
Borchert
discussing
theater film
and music
regularly on
classical
KING-FM
(981)
Mark Fiore
Cartoons
Every
Thursday
nodules extend from its horizontal base and the seams of the dark maroon
metal look like scars rendering it at once vaguely obscene and absurdly
playful
Sisyphus the other West sculpture on display is a bulky conglomeration of
bits and wads of paper propped in the back room on a makeshift plinth (base
block) Though its as solid as the boulder its title references its surface is
like oozing skin partly coated with poured murky paint partly cloaked in
small clumps of newspaper detritus
The strenuous act of making each of these sculptures is eminently apparent
and central to the content of Wests work West considers creation a
symbolic act As you might expect he likens the artistic process to the plight
of Sisyphus the mythological figure who eternally rolled a boulder up a hill
only to have it come crashing back down For West art involves a
Sisyphean search for what he calls the absolute through the seemingly
senseless accumulation of materials However unlike Sisyphus futile quest
Wests process can lead to epiphany making sense of the senseless
Similarly Viennese artist Elisabeth Penkers art serves a facilitative
function easing the act of translation Penker uses Haida iconography in her
multimedia work because it provides potent visual symbols that
communicate single words and whole sentences simultaneously Her prints
at Howard House feature fragments of icons floating in the papers white
space They are spare visually arresting characters that employ an
iconographic language as encoded symbols of communication
Also featured in The Red Thread is Donald Baechler an internationally
known American painter who spends extended periods of time in Vienna
Baechler equalizes his imagery by painting it all in the same style For him
the source of an image doesnt matter whether its a drawing by Picasso or
graffiti on a bathroom wall What matters is the newfound context his
paintings provide
Victory by Default is part of Baechlers Skull series In this piece a painted
skull gapes from the dirty yet sensuous confines of a large canvas Terry
cloth and wrinkled rags provide literal texture and reference the world
outside the paintings boundaries Splatterings of color around the skull like
the self-conscious marks of Jasper Johns seem to express the language of
paintingmdashhue and gestural strokesmdashin a factual rather than illusional
manner
Another American painter Lisa Ruyter lives half-time in Vienna where she
runs an influential gallery She works from photographs projected onto
large-scale canvases tracing the contours of the projected imagery with
consistent black outlines In a way that seems arbitrary she paints the shapes
formed by her contour lines in flat designer colors Man of Means based on
a photo of fashion photographers looks like a scrambled color-by-numbers
painting I cant do justice to the unusually rich assortment of conceptual art
in The Red Thread Youll just have to see it for yourself Thomas
Baumans thrashing triangular foil blanket Walter Seidls slide show of
staged snapshots Markus Schinwalds photograph of a contortionist and the
other thoughtful works connected by The Red Thread
The Red Thread Glimpses of International Art in Vienna runs through
April 30 at Howard House 604 Second Ave 206- 256-6399 1030 amndash5
pm TuesndashSat Free
KUNSTFORUM
Parallelwelten fuumlr Parlamentarier Ausstellung
Von Brigitte Borchhardt-Birbaumer
Ende Oktober endet die Zusammenarbeit von Nationalratspraumlsident Andreas Khol und Peter Pakesch Direktor des Kunsthauses Graz am Joanneum Seit 2003
hatte Pakesch als Kurator mehrere Ausstellungen in den Sitzungssaumllen des Parlaments in Zusammenarbeit mit Galerien initiiert und namhafte Positionen
ausgewaumlhlt Kriterium fuumlr Praumlsentationen war die Praumlsenz durch eine Schau in einer der bekannten Kunstinstitutionen des Landes Nach Eva Schlegel Adriana
Czernin Maria Lassnig oder Esther Stocker sind dies nun bis April 2007 Josef Dabernig Daniel Hafner Ulrike Lienbacher Alois Mosbacher und Elisabeth
Penker
Das Parlament kann dabei durch die Margaretha-Lupac Stiftung immer eine Arbeit fuumlr die wachsende Sammlung des Hauses ankaufen Zuletzt war das ein
groszliges Oumll-Acryl-Gemaumllde der Georg-Eisler-Preistraumlgerin Maja Vukoje zuvor Johanna Kandl deren Temperabild derzeit an das Lentos in Linz geliehen wird
Einige Werke haumlngen schon als kuumlnstlerische Wegweiser in den Gaumlngen des Hauses und sind auch Blickfang fuumlr die 120000 Besucher die pro Jahr das
Parlament besuchen In die Architektur von Theophil Hansen mit ihrer zeitlosen Qualitaumlt fuumlgt sich die Gegenwartskunst kongenial
Hoffnung fuumlr spaumlter
Die derzeitige Zusammenstellung macht Hoffnung auf eine Fortsetzung unter der naumlchsten Praumlsidentschaft Fotografie Computerkunst Malerei Zeichnung
und Skulptur weisen auf die Vielfalt der Werkstoffe in der Gegenwartskunst Elisabeth Penker parallel im Kunsthaus Graz zu sehen baut schwarzweiszlige
Objekte aus bemaltem Holz die in ihrer seriellen und geometrischen Anordnung auf Bezuumlge zum Performativen und auf die Musik hinweisen
Noch juumlnger ist Daniel Hafner mit seinen am Computer komponierten digitalen Drucken Morphosentransformationen von 2006 Linienraster und
Raumkonstruktionen in subtiler Farbigkeit verbinden Tendenzen der fruumlhen Op-Art mit dem Cyber-Lab
Um konstruierte Realitaumlten geht es auch in den groszligformatigen Oumllbildern von Alois Mosbacher dem bekannten Vertreter der Neuen Wilden der
Achtzigerjahre in Oumlsterreich Wanderer in Wald und Wiese erzaumlhlen die Geschichten alternativer Welten die sich mancher in der Gesellschaft als Parallele
konstruiert
Zwei Fotofriese von Josef Dabernig bilden jeweils ein Panorama von oumlffentlichen Plaumltzen auf denen es zum einen um Fuszligball geht Zum anderen ist der
Rundblick in das Oval einer scheinbaren Arena auch eine Art Sehschule fuumlr die Betrachter Ein sozialer Befund ist die dritte Bedeutungsebene
Ulrike Lienbacher die heuer mit einer groszligen Schau im Innsbrucker Taxispalais ihre Karriere fortsetzt ist mit ihren feinlinigen Tuschezeichnungen den kleinen
oft unsichtbaren Zwaumlngen in unserer Gesellschaft auf der Spur Im Lokal II des Parlaments stellt sie zwar nicht ihre Objekte und Fotos aber einige
groszligformatige Blaumltter mit Frisurenvariationen neben teils fragmentierten Frauenkoumlrpern im Umgang mit Schmutz und Hygiene aber auch Fitnesskult aus
Disziplinierung und Kontrolle betreffen in der Oumlffentlichkeit besonders den weiblichen Koumlrper Sauberkeitsmechanismen weisen auch auf Vorstellungen von
wertvoll und minderwertig hin Ihre Transformationen enthalten wie die Themen der anderen subtile Kritik und sind daher vom Kurator uumlberlegt positioniert
Zeitgenoumlssische Kunst
im Parlament
Bis April 2007
Kurator Peter Pakesch
Konfrontationen
Dienstag 10 Oktober 2006
ltlt 2003 | 2004 Jan Feb Mar Apr May Jun Jul Aug Sep Oct Nov Dec 2004 | 2005 gtgt
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31
Sunday 17 October 2004
TIME
TITLE
NAME
700 Indymedia ESF breakfast show Indymedia London
Highlights news and views from the European Social Forum and the
autonomous spaces and initiatives taking place this week
website
800 Resonance Radio Art Riot Breakfast International
Radio Art
A five part special of the Harmon E Phraisyar show commissioned for
Kunstradio in Austria starts off the morning broadcast of international radio
art
website
1100 Resonance Live from the Frieze Art Fair Anna Colin amp
Tobi Maier
1100 Chris Weaver Resonance 1044FM live electronics set with James Dunn and
Robin Warren
1130 Michael Hall gallery Vienna presents audio works by artist Elisabeth Penker
1200 Maria Fusco presents latest the Bookworks commissions
1300 The Psychology of Collecting live broadcast of the frieze art fair panel
discussion
Is collecting an irrational act guided by compulsion and desire What are the use of
objects What are the motivations behind making collecting curating and
criticizing art A discussion of the psychology of collecting and the politics of taste
Hilary Rubenstein (Psychologist)
Eric Troncy (Art Critic and Director Le Consortium Dijon)
Haim Steinbach (Artist)
Chair Alice Rawsthorn (Director Design Museum)
1500 Portable live set and presentation of sudelectronic records London
1600 Where is Adventure What is Culture live broadcast of the frieze art fair
website
panel discussion
A discussion of the relationship of art to entertainment touching on the comedic
being popular and failing miserably
Trisha Donnelly (Artist)
Christian Jankowski (Artist)
David Robbins (Writer amp Artist)
Nancy Spector (Curator of Contemporary Art Solomon R Guggenheim Museum)
Chair Matthew Higgs (Curator CCA Wattis Institute for Contemporary Arts)
1800 Melissa Bent from Rivington Arms gallery New York in conversation with
artist Dan Colan and Tobi Maier Anna Colin
1830 VOX pop recordings from the fair with Sharon Gal
1900 Resonance Radio Art Riot Sarah
Washington
The Resonance Radio Art Riot brings together some of the foremost radio artists
and thinkers from around the world The studio lab situation will feature round
table discussions live performances and streamed events
Tonight Radio Text
Events Live broadcast from Sonic Arts Network Resonance benefit featuring
Henri Chopin studio performances from Julia Lee Barclay and Aude Tournay plus
Special Features None present live concrete radiophonics - Planning For
Emergencies
Guests include Clive Graham Chris Weaver Richard Thomas Toby Clarkson
John Lovett Robin Warren and James Dunn
Topics The word as art Sound poetry text performances
At Midnight Tom Wallace present exclusive excerpts from radio art pioneer
Gregory Whitehead
website
000 Resonance Radio Art Riot Nights International
Radio Art
The Resonance Radio Art riot continues throughout the night with the finest of
international radio art Resonance FM programme makers and our international
guests have put together many special hours of classic and obscure radio
works
website
- EPenkerDocumentationpdf
-
- 2bAusstellungenPublicaSpaceEPenkerpdf
-
- 2cUntitled_InstrumentsKunsthausGrazEPenker
- 2bpoeticsKunsthaus GrazEPenker
-
- 4PresseEPenkerpdf
-
- 4Review_Seattle Weekly
-
1
Kunsthaus Graz
Protections
Kuratoren Adam Budak und Christine Peters
Elisabeth Penker
First Nation Pavilion
Der First Nation Pavilion von Elisabeth Penker unternimmt den Versuch einen Bereich fuumlr ein koloniales
Bewusstsein der europaumlischen Vergangenheit zu schaffen und einen utopischen Raum fuumlr neue Vorstellungen
von einer Mannigfaltigkeit an kulturellen Formen in der zeitgenoumlssischen Kunst Die Komposition de-
grammatical ein Bestandteil des First Nation Pavilion beruht in ihrer Struktur auf den grammatischen
Einteilungen der Sprachen die in phonetische Minimaleinheiten dekonstruiert sind und wird uumlber eine
nichtlineare 5-Kanal-Matrix gespielt
Penker untersucht moumlgliche Uumlberschneidungen zwischen der Sprache der Musik und der Bildstruktur wobei ihr
Hauptaugenmerk polysynthetischen Sprachen (First Nations und Pazifische Inseln) gilt sowie dem Vergleich
zwischen der Kunst von First Nations und der Modernen Kunst Erst in juumlngerer Zeit in der Aumlra des
Postkolonialismus hat der Diskurs der kulturellen Uumlbersetzung Fragen aufgeworfen mit denen man sich schon
in den phonetischen Experimenten des Dadaismus in den 1910er und 1920er Jahren beschaumlftigt hatte sowie
spaumlter in der Konzeptkunst der 1960er und 70er Jahre
Elisabeth Penker
First Nation Pavilion
The First Nation Pavilion by Elisabeth Penker attempts to set-up an area for colonial consciousness of the
European past and a utopic space for re-imagining a plurality of cultural forms in contemporary art The
composition entitled de-grammatical contained within the First Nation Pavilion is structurally-based on the
grammatical classifications of languages deconstructed into minimal phonetic units played within a non-linear
5-channel matrix
Penker is questioning the possible overlaps between music-language and visual structure within the primary
focus on polysynthetic languages (First Nation and Pacific Islands) and First Nation Art compared to Modern Art
More recently in the age of post-colonialism the discourse of cultural translation is arising questions that have
also been experimented by the Dadaists phonetic experiments in the 1910-20s and later in Concept Art of the
1960s-70s Text Adam Budak
Michael Elmgreen amp Ingar Dragset (the work of two other invited artists) offered Penker a typical prefabricated
house as her exhibition space within the Kunsthaus
id31403916 pdfMachine by Broadgun Software - a great PDF writer - a great PDF creator - httpwwwpdfmachinecom httpwwwbroadguncom
2
Elisabeth Penker Fisrt Nations Pavilion 2006
Change of floor plan of the prefabricated house by Michael Elmgreen amp Ingar Dragset
Entrance door Fisrt Nations Pavilion
3
Part 1 Colonial Conciseness in visual art
Room 1 and 3 Modernism=Imperialism after Henry Flynt Demolish serious culture
Woman as a the last Colony Rosa Luxenburg Veronika Bennholdt-
Thomsen Claudia von Werlhof und Maria Mies
4
Vinyl letters C-Print
5
6
Polysynthetische Doppelperspektive 1 Claude Levi- Strauss
Photocolloage C-Print
7
Polysynthetische Doppelperspektive 2 Claude Levi-Strauss
Photocolloage C-Print
9
Polysynthetische Doppelperspektive 4 Claude Levi Strauss
Photocolloage C-Print
2 prints Installed in corner
Installation view Polysynthetische Doppelperspektive 1-4 Claude Levi- Strauss
The visual grammar and its double perspective (split representation) of Haida Gwai and Tlinglet Art (First Nation
Art) is re-collaged with a photograph of Pablo Picasso comparing Cubism (early Modernism) with First Nation Art
and questioning its similarities of double perspectives
10
Room 4 and 5
Room 4
11
Luicide List The museum as an imperial graveyard
C-Print
Colonial after effects of Luicide
Gips Metallkette Hose Schuh
12
No7
Mirror Split Representation Mirror framed and installed in the corner
Part 2 Room 6 and 8 Comparative Contemporary Art
4-channel sound installation
De-grammatical Listen to mp3 audio excerpts
13
Front
2 CT (shelfbenches) Acryl auf Pappelsperrholz
Back Pull Over Yukme Shirley Hall outside
14
Pull Over Yukme Shirley Hall inside
Fabric wall silk print by (Tlinglet Artist) Yukme Shirley Hall
Wo ist Elise Richter wo ist
id99149429 pdfMachine by Broadgun Software - a great PDF writer - a great PDF creator - httpwwwpdfmachinecom httpwwwbroadguncom
Im Arkadenhof der Universitaumlt Wien stehen 154 Buumlsten von bedeutenden Wissenschaftlern der
Universitaumlt Wien (1700-2005) Bedauerlicherweise findet sich unter ihnen keine einzige Frau Eine temporaumlre Buumlste einer anonymen Wissenschaftlerin soll die systematische Ausblendung von Frauen
aus der Universitaumltsgeschichte thematisieren Die offene Web- Plattform (wwweliserichterat) ermoumlglicht allen Benutzern aktiv an der Umschreibung der Universitaumltsgeschichte und an re-imaging Prozessen der Repraumlsentation dieser Buumlsten teilzunehmen Weiters wird die Verbindung von raceclassgender und einer akademischen Kariere in diesem Zusammenhang hinterfragt We can never really change any form of social organisation without challenging all that organisations forms of
language (Debord)
Within the patriarchal structures of the Arkadenhof at the University of Vienna stand 154 busts of important scientists (1700-2005) Unfortunately none of these busts are women Through the placement of a temporary bust of an anonymous female scientist it declares the absence of them within the history of the university As well the anonymous bust embodies the presence of important scientists who have not yet been given equal representation The open web-platform (wwweliserichterat) allows every user to participate in this discourse to re-write the history of the university and to re-image the representation of these busts through a wiki system
Skizze Buumlste einer anonymen Wissenschaftlerin
Mein Interesse besteht nicht darin zu recherchieren welche Buumlsten von Wissenschaftlerinnen im Arkadenhof fehlen sondern das Fehlen der Wissenschaftlerinnen im Zeitraum von 1700 bis 2005 aufzuzeigen und Strukturen fuumlr eine oumlffentliche Kommunikationsplattform zu schaffen In der Genderforschung besteht Konsens daruumlber dass Gender kein Merkmal von Individuen sondern das einer
Institution ist (Connell) zudem ein struktureller Bestandteil einer Gesellschaft ist und dass Gendernormen alle Organisationen durchdringen (Acker)
Grundriss Arkadenhof der Universitaumlt Wien Literatur Acker J (1990) Hierarchies Jobs Bodies A theory of gendered organizations In Gender and Society
Connell R (1998) Gender and Power Society the Person and Sexual Politics Stanford University Press Stanford CA Maisel T (1990) Die Denkmaumller im Arkadenhof der Universitaumlt Wien Biographische Skizzen Wien Quellen Denkmalsakten Archiv der Universitaumlt Wien
Veranstalter Open Mind Projekt Utopie Freiheit httpwwwopenmindat vereinopenmindat Projektautorin Elisabeth Penker elpenkergmxat Bronzeguss Walter Rom Wachsmodel Buumlste Elisabeth Penker Steinsockel Ausfuumlhrung Fa Zehmann Mario Jungbauer Mediendesign Gernot Tscherteu httpwwwrealitylabatwphome gtrealitylabat Techn Umsetzung Christian Langreiter Webpage wwweliserichterat
Elisabeth Penker- Franzengasse 13- 1050 Wien ++43 (0)699 197 193 53 elpenkergmxat
Elisabeth Penker Untitled instruments 1-3 2000-2012
Galerie Georg Kargl Wien Galerie Priestor Bratislava Kuumlnstlerhaus Wien Kibla New
Media Center Maribor HTTP Galerie London Secession Wien Mak Wien Roma
Contemporary Wien
Elisabeth Penker Untiled Instrument Galerie Georg Kargl Wien
Curated by Michael Hall
Elisabeth Penker Untitled instrument 2001 New Media Center Maribor
Elisabeth Penker Untitled instrument 2001 New Media Center Maribor
Elisabeth Penker Untitled instrument Kuumlnstlerhaus Wien curated by Ursula Maria Probst
Live Performance mit Celia Mare
Detail Die BILD_HAU_ER_IN Kuumlnstlerhaus Wien
Live Performance Flower Structure Wiener Festwochen
Elisabeth Penker (Untiled instrument) Van Angh (Cello) Tri Minh Electronics
Elisabeth Penker Live Performance Poetics of space Secession Wien
MAK Nail Structure GRizo Sweet Susie Elisabeth Penker
Elisabeth Penker HTTP Gallery London 2005 curated by Tobi Maier
Elisabeth Penker HTTP Gallery London Live Performance
Elisabeth Penker Untitled Instrument Sonic Structure Kunsthaus Graz curated by Adam Budak amp
Christine Peters
Videolinks
httpwwwyoutubecomusersoundart24
Interview with Video Festwochen
httpbturncom8753interview-elisabeth-penker
Kunsthaus Graz
Protections
Kuratoren Adam Budak und Christine Peters
Elisabeth Penker Poetics of Dead Space
For PROTECTIONS Elisabeth Penker developed a key-sound Poetics of Dead Space which is to a large extent a homage
to Gaston Bachelards seminal book Poetics of Space where the connections between the poetry and the spatial emotions
are analysed Penkers key-sound will guide the viewer through the exhibition mapping the overall identity of the show in
some way controlling the viewers (audio-narrative) route in the maze of art objects events situations but also spatial
voids and unused corners
Fuumlr PROTECTIONS entwickelte Elisabeth Penker einen leitmotivischen Key Sound Poetics of Dead Space der weitgehend
eine Hommage an Gaston Bachelards wegweisendes Buch Poetics of Space darstellt in dem die Verbindungen zwischen
Lyrik und raumlumlichen Emotionen analysiert werden Penkers Key Sound wird das Publikum durch die Ausstellung geleiten
die Identitaumlt der Schau in ihrer Gesamtheit erfassen und in gewisser Weise die (audio-narrative) Route des Publikums im
Labyrinth der Kunstgegenstaumlnde Ereignisse und Situationen aber auch raumlumlicher Leerstellen und ungenutzter Winkel
kontrollieren
A non linear composition 7 mono active speakers are placed through out the Kunsthaus Graz Speaker placement
1 outdoor (entrance) 2 (travelator) 3 (corner with column) 4 (corner with door) 5 (corner) 6 (travelator) 7 (corner with
window)
Poetics of Dead Space Let it grow again 28 51 sec mono
Source material for composition rain sound of dried beans dropping down wood sticks breathing hardly existing
id78338975 pdfMachine by Broadgun Software - a great PDF writer - a great PDF creator - httpwwwpdfmachinecom httpwwwbroadguncom
recording of extinct languages
Poetics of Dead Space Let it grow again 28 51 sec mono
Source material for composition rain sound of dried beans dropping down wood sticks existing recording of extinct
languages
Poetics of Dead Space travelator 1 1min 04 sec mono loop
Source material for composition staff falling down man falling down stairs rattern recording untitled instrument
Background existing recording of extinct languages
Poetics of Dead Space 496 1min 409 sec mono loop
Source material for composition recording untitled instrument Background existing recording of extinct languages
Poetics of Dead Space 129525 1min 4888 sec mono loop
Source material for composition recording untitled instrument Background existing recording of extinct languages
Poetics of Dead Space 129525 1min 4888 sec mono loop
Source material for composition keyboard recording untitled instrument Background existing recording of extinct
languages
Poetics of Dead Space travelator 2 1min 5209 sec mono loop
Source material for composition recording untitled instrument violin Background existing recording of extinct
languages
Poetics of Dead Space2152518125220 1min 3200 sec mono loop
Source material for composition recording untitled instrument Background existing recording of library of extinct
languages
Poetics of Dead Space travelator 1 1min 04 sec mono loop
viewing down from upstairs Source material for composition staff falling down man falling down stairs rattern
recording untitled instrument Background existing recording of extinct languages
Poetics of Dead Space Let it grow again 028 51 sec mono
Source material for composition rain sound of coins wood sticks existing recording of extinct languages
Elisabeth Penker is a Viennese artist and musician working with sound in a sculptural context In her (subjective) tour
Penker approaches the entire anti-exhibition PROTECTIONS from an angle of its position and significance in the context
of Sound Art as located on the crossway between visual arts language and music Starting from her own house turned
into First Nation Pavillion which amongst others aims at connecting the recent discourse on cultural translation with
early avant-garde phonetic experiments Penker maps the sonic structure of Kunsthaus Graz and its (live) architecture
which for PROTECTIONS hosts an array of interdisciplinary projects with a strong audio-quality from Herwig Weisers
Death Before Disco (a micro-architecture of hyper-technological and electronic pop) through a newly created choir of
security guards for Tim Etchells Wall of Sound down to a cacophonic layers of anonimous noise generated by the
space itself and the presence of audience
Die Wiener Kuumlnstlerin und Musikerin Elisabeth Penker arbeitet mit Klang im Zusammenhang mit Bildhauerei In ihrer
(subjektiven) Fuumlhrung naumlhert sie sich der Anti-Ausstellung PROTECTIONS aus einem Blickwinkel der die Position und
Bedeutung der Klangkunst an der Kreuzung zwischen bildender Kunst Sprache und Musik verortet Von ihrem eigenen
Haus ausgehend das sich in den First Nation Pavilion verwandelt hat der u a den aktuellen Diskurs uumlber kulturelle
Uumlbersetzung mit fruumlhen phonetischen Experimenten der Avantgarde verbinden soll entwirft Penker die klangliche
Struktur des Gutshauses und seiner (Live-)Architektur die fuumlr PROTECTIONS eine Reihe von interdisziplinaumlren Projekten
mit einer starken Affinitaumlt zum Klang beherbergt von Herwig Weisers Death Before Disco (eine Mikroarchitektur aus
hyper-technoidem und elektronischem Pop) uumlber einen neu formierten Chor bestehend aus Security Guards fuumlr Tim
Etchells Wall of Sound bis zu einer Kakophonie aus anonymen Geraumluschen die vom Raum selbst und der Anwesenheit
des Publikums erzeugt werden
052813
Local Warming ATHENS
052813
AFTER A YEARLONG HIATUS the eighteenth Art-Athina hit the ground running on the evening of Thursday May 16 and the former Olympic
ldquoTae Kwon Dordquo Pavilion was packed with enthusiastic party people The fair had a more national flavor than ever this year under its new
director Alexis Caniaris the son of recently deceased artist Vlassis Caniaris whose iconic modern work has recently found great success on the
international market Of the very few foreign galleries exhibiting most were Greek-owned The Breeder gallery was dealing with the perceived
drop in the market by selling fantastic multiples by artists like Stelios Faitakis Jannis Varelas and Andreas Angelidakis at crisis-appropriate
prices ldquoNobody wants to come here now but I have already met three interested billionaire collectors today And if Greeks like you they
introduce you to their billionaire friendsrdquo raved Cologne dealer Mirko Mayer a seven-time exhibitor ldquoThat is what nobody knows There are
at least one-hundred billionaires collecting hererdquo Most international collectors were delayed several hours due to a union strike a de r igueur
mode of arrival in contemporary Greece
It was impossible to miss the exuberant activities of the DaDa Da restaurant a Greek-Austrian collaboration where artist Albert Mayr was
waving a skillet and raving nonsense while Lucas Willmann tenderized pink fillets for Wiener schnitzel ldquoThis is Viennese Actionism lightrdquo
quipped critic Sotirios Bahtsetzis Artist Natasha Papadopoulos added ldquoBut here there are hungry Greeks waitingrdquo On a table with a rotating
Sacher tort by Heacutelegravene van Duijne a sign carried the overwhelming spirit FUCK ART LETrsquoS EAT SOUVLAKI An insistent electronic beat and
pulsating light emanated from the next booth the American College of Greecersquos ldquoAthensUrgentrdquo while hooded performer Manos Tsatiris
stood against the wall with his hands tied perhaps a metaphor for the current Athenian exigency ldquoThis is not the kind of art fair scene we are
used tordquo said the Economou Collectionrsquos Annie-Claire Geisinger watching the madness
Left Artists Elisabeth Penker Michela Pelusio Petros Touloudis Panos Papadopoulos and Nino Stelzl Right Collector Anne-Marie Ros
Down on the floor the dealers seemed pleased particularly given dismal expectations having already sold a great deal at the preview Young
Rotterdam-based gallery Joey Ramone had sold sculptures by Fotini Gouseti to English and Belgian collectors dealer Erik Mulier had also sold
some work to Belgians Marc Van den Hende said he had bought a triptych by Eirene Efstathiou and was considering a Vlassis Caniaris piece
from the 1970s ldquoI saw some surprisesmdashyoung Greek artists I did not knowmdashand great new galleries like Elika and CANrdquo Dutch collector
Anne-Marie Ros said By the end of the day Dimitra and Sofia Vamiali reported that they had not seen one Greek collector although another
reported a Dakis Joannou sighting mdash Cathryn Drake
SEARCH
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SEATTLE
WEEKLY
in the News
Columnist
Geov Parrish
is a regular
guest on
Mind Over
Matters on
KEXP-FM
(903)
Saturdays at
830 am and
provides news
commentary
on KBCS-FM
(913) Fridays
at 430 pm
Catch writers
Steve
Wiecking Tim
Appelo and
ARTS
March 30 - April 5 2005
Picking Up the Thread
Howard House ties together the best new conceptual art from Vienna
by Elise Richman
Franz Wests Mercury
(Howard House Contemporary Art)
Theres a German expression to lose the red thread which means losing
ones train of thought In its current show Howard House has found that
thread Julie Ryan a curator artist and writer organized The Red
Thread Glimpses of International Art in Vienna a two-part exhibition
featuring artists working and living at least part time in Austrias capital
Part one of the show is at Howard House the second half is currently on
display at the Educational Alliance Gallery in New York
Vienna has become a magnet for artists from all over the world including
the 15 individuals and artist teams that are part of The Red Thread
Excellent artist residency programs a low cost of living and living art
legends like Franz West are just a few of the reasons
An artistic collaboration with West took Ryan from New York to Vienna
She knows Billy Howard who runs Howard House from the University of
Washingtons School of Art And so the figurative string was strung
connecting the East and West coasts with artists from across the Atlantic
This is a complex exhibit whose emotional tenor ranges from cool
detachment to an almost urgent earnestness Unlike the formal richly
historical city that connects them artists in The Red Thread favor informal
approaches to art making use disposable materials and comment on
contemporary cultural themes
West has two formidable sculptures at Howard House The front room of the
gallery features Mercury (pictured) an ungainly behemoth composed of a
patchwork of fused metal Like many of Wests sculptures Mercury is
meant as an interactive structure that viewers can climb and sit on Bulbous
Gavin
Borchert
discussing
theater film
and music
regularly on
classical
KING-FM
(981)
Mark Fiore
Cartoons
Every
Thursday
nodules extend from its horizontal base and the seams of the dark maroon
metal look like scars rendering it at once vaguely obscene and absurdly
playful
Sisyphus the other West sculpture on display is a bulky conglomeration of
bits and wads of paper propped in the back room on a makeshift plinth (base
block) Though its as solid as the boulder its title references its surface is
like oozing skin partly coated with poured murky paint partly cloaked in
small clumps of newspaper detritus
The strenuous act of making each of these sculptures is eminently apparent
and central to the content of Wests work West considers creation a
symbolic act As you might expect he likens the artistic process to the plight
of Sisyphus the mythological figure who eternally rolled a boulder up a hill
only to have it come crashing back down For West art involves a
Sisyphean search for what he calls the absolute through the seemingly
senseless accumulation of materials However unlike Sisyphus futile quest
Wests process can lead to epiphany making sense of the senseless
Similarly Viennese artist Elisabeth Penkers art serves a facilitative
function easing the act of translation Penker uses Haida iconography in her
multimedia work because it provides potent visual symbols that
communicate single words and whole sentences simultaneously Her prints
at Howard House feature fragments of icons floating in the papers white
space They are spare visually arresting characters that employ an
iconographic language as encoded symbols of communication
Also featured in The Red Thread is Donald Baechler an internationally
known American painter who spends extended periods of time in Vienna
Baechler equalizes his imagery by painting it all in the same style For him
the source of an image doesnt matter whether its a drawing by Picasso or
graffiti on a bathroom wall What matters is the newfound context his
paintings provide
Victory by Default is part of Baechlers Skull series In this piece a painted
skull gapes from the dirty yet sensuous confines of a large canvas Terry
cloth and wrinkled rags provide literal texture and reference the world
outside the paintings boundaries Splatterings of color around the skull like
the self-conscious marks of Jasper Johns seem to express the language of
paintingmdashhue and gestural strokesmdashin a factual rather than illusional
manner
Another American painter Lisa Ruyter lives half-time in Vienna where she
runs an influential gallery She works from photographs projected onto
large-scale canvases tracing the contours of the projected imagery with
consistent black outlines In a way that seems arbitrary she paints the shapes
formed by her contour lines in flat designer colors Man of Means based on
a photo of fashion photographers looks like a scrambled color-by-numbers
painting I cant do justice to the unusually rich assortment of conceptual art
in The Red Thread Youll just have to see it for yourself Thomas
Baumans thrashing triangular foil blanket Walter Seidls slide show of
staged snapshots Markus Schinwalds photograph of a contortionist and the
other thoughtful works connected by The Red Thread
The Red Thread Glimpses of International Art in Vienna runs through
April 30 at Howard House 604 Second Ave 206- 256-6399 1030 amndash5
pm TuesndashSat Free
KUNSTFORUM
Parallelwelten fuumlr Parlamentarier Ausstellung
Von Brigitte Borchhardt-Birbaumer
Ende Oktober endet die Zusammenarbeit von Nationalratspraumlsident Andreas Khol und Peter Pakesch Direktor des Kunsthauses Graz am Joanneum Seit 2003
hatte Pakesch als Kurator mehrere Ausstellungen in den Sitzungssaumllen des Parlaments in Zusammenarbeit mit Galerien initiiert und namhafte Positionen
ausgewaumlhlt Kriterium fuumlr Praumlsentationen war die Praumlsenz durch eine Schau in einer der bekannten Kunstinstitutionen des Landes Nach Eva Schlegel Adriana
Czernin Maria Lassnig oder Esther Stocker sind dies nun bis April 2007 Josef Dabernig Daniel Hafner Ulrike Lienbacher Alois Mosbacher und Elisabeth
Penker
Das Parlament kann dabei durch die Margaretha-Lupac Stiftung immer eine Arbeit fuumlr die wachsende Sammlung des Hauses ankaufen Zuletzt war das ein
groszliges Oumll-Acryl-Gemaumllde der Georg-Eisler-Preistraumlgerin Maja Vukoje zuvor Johanna Kandl deren Temperabild derzeit an das Lentos in Linz geliehen wird
Einige Werke haumlngen schon als kuumlnstlerische Wegweiser in den Gaumlngen des Hauses und sind auch Blickfang fuumlr die 120000 Besucher die pro Jahr das
Parlament besuchen In die Architektur von Theophil Hansen mit ihrer zeitlosen Qualitaumlt fuumlgt sich die Gegenwartskunst kongenial
Hoffnung fuumlr spaumlter
Die derzeitige Zusammenstellung macht Hoffnung auf eine Fortsetzung unter der naumlchsten Praumlsidentschaft Fotografie Computerkunst Malerei Zeichnung
und Skulptur weisen auf die Vielfalt der Werkstoffe in der Gegenwartskunst Elisabeth Penker parallel im Kunsthaus Graz zu sehen baut schwarzweiszlige
Objekte aus bemaltem Holz die in ihrer seriellen und geometrischen Anordnung auf Bezuumlge zum Performativen und auf die Musik hinweisen
Noch juumlnger ist Daniel Hafner mit seinen am Computer komponierten digitalen Drucken Morphosentransformationen von 2006 Linienraster und
Raumkonstruktionen in subtiler Farbigkeit verbinden Tendenzen der fruumlhen Op-Art mit dem Cyber-Lab
Um konstruierte Realitaumlten geht es auch in den groszligformatigen Oumllbildern von Alois Mosbacher dem bekannten Vertreter der Neuen Wilden der
Achtzigerjahre in Oumlsterreich Wanderer in Wald und Wiese erzaumlhlen die Geschichten alternativer Welten die sich mancher in der Gesellschaft als Parallele
konstruiert
Zwei Fotofriese von Josef Dabernig bilden jeweils ein Panorama von oumlffentlichen Plaumltzen auf denen es zum einen um Fuszligball geht Zum anderen ist der
Rundblick in das Oval einer scheinbaren Arena auch eine Art Sehschule fuumlr die Betrachter Ein sozialer Befund ist die dritte Bedeutungsebene
Ulrike Lienbacher die heuer mit einer groszligen Schau im Innsbrucker Taxispalais ihre Karriere fortsetzt ist mit ihren feinlinigen Tuschezeichnungen den kleinen
oft unsichtbaren Zwaumlngen in unserer Gesellschaft auf der Spur Im Lokal II des Parlaments stellt sie zwar nicht ihre Objekte und Fotos aber einige
groszligformatige Blaumltter mit Frisurenvariationen neben teils fragmentierten Frauenkoumlrpern im Umgang mit Schmutz und Hygiene aber auch Fitnesskult aus
Disziplinierung und Kontrolle betreffen in der Oumlffentlichkeit besonders den weiblichen Koumlrper Sauberkeitsmechanismen weisen auch auf Vorstellungen von
wertvoll und minderwertig hin Ihre Transformationen enthalten wie die Themen der anderen subtile Kritik und sind daher vom Kurator uumlberlegt positioniert
Zeitgenoumlssische Kunst
im Parlament
Bis April 2007
Kurator Peter Pakesch
Konfrontationen
Dienstag 10 Oktober 2006
ltlt 2003 | 2004 Jan Feb Mar Apr May Jun Jul Aug Sep Oct Nov Dec 2004 | 2005 gtgt
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31
Sunday 17 October 2004
TIME
TITLE
NAME
700 Indymedia ESF breakfast show Indymedia London
Highlights news and views from the European Social Forum and the
autonomous spaces and initiatives taking place this week
website
800 Resonance Radio Art Riot Breakfast International
Radio Art
A five part special of the Harmon E Phraisyar show commissioned for
Kunstradio in Austria starts off the morning broadcast of international radio
art
website
1100 Resonance Live from the Frieze Art Fair Anna Colin amp
Tobi Maier
1100 Chris Weaver Resonance 1044FM live electronics set with James Dunn and
Robin Warren
1130 Michael Hall gallery Vienna presents audio works by artist Elisabeth Penker
1200 Maria Fusco presents latest the Bookworks commissions
1300 The Psychology of Collecting live broadcast of the frieze art fair panel
discussion
Is collecting an irrational act guided by compulsion and desire What are the use of
objects What are the motivations behind making collecting curating and
criticizing art A discussion of the psychology of collecting and the politics of taste
Hilary Rubenstein (Psychologist)
Eric Troncy (Art Critic and Director Le Consortium Dijon)
Haim Steinbach (Artist)
Chair Alice Rawsthorn (Director Design Museum)
1500 Portable live set and presentation of sudelectronic records London
1600 Where is Adventure What is Culture live broadcast of the frieze art fair
website
panel discussion
A discussion of the relationship of art to entertainment touching on the comedic
being popular and failing miserably
Trisha Donnelly (Artist)
Christian Jankowski (Artist)
David Robbins (Writer amp Artist)
Nancy Spector (Curator of Contemporary Art Solomon R Guggenheim Museum)
Chair Matthew Higgs (Curator CCA Wattis Institute for Contemporary Arts)
1800 Melissa Bent from Rivington Arms gallery New York in conversation with
artist Dan Colan and Tobi Maier Anna Colin
1830 VOX pop recordings from the fair with Sharon Gal
1900 Resonance Radio Art Riot Sarah
Washington
The Resonance Radio Art Riot brings together some of the foremost radio artists
and thinkers from around the world The studio lab situation will feature round
table discussions live performances and streamed events
Tonight Radio Text
Events Live broadcast from Sonic Arts Network Resonance benefit featuring
Henri Chopin studio performances from Julia Lee Barclay and Aude Tournay plus
Special Features None present live concrete radiophonics - Planning For
Emergencies
Guests include Clive Graham Chris Weaver Richard Thomas Toby Clarkson
John Lovett Robin Warren and James Dunn
Topics The word as art Sound poetry text performances
At Midnight Tom Wallace present exclusive excerpts from radio art pioneer
Gregory Whitehead
website
000 Resonance Radio Art Riot Nights International
Radio Art
The Resonance Radio Art riot continues throughout the night with the finest of
international radio art Resonance FM programme makers and our international
guests have put together many special hours of classic and obscure radio
works
website
- EPenkerDocumentationpdf
-
- 2bAusstellungenPublicaSpaceEPenkerpdf
-
- 2cUntitled_InstrumentsKunsthausGrazEPenker
- 2bpoeticsKunsthaus GrazEPenker
-
- 4PresseEPenkerpdf
-
- 4Review_Seattle Weekly
-
2
Elisabeth Penker Fisrt Nations Pavilion 2006
Change of floor plan of the prefabricated house by Michael Elmgreen amp Ingar Dragset
Entrance door Fisrt Nations Pavilion
3
Part 1 Colonial Conciseness in visual art
Room 1 and 3 Modernism=Imperialism after Henry Flynt Demolish serious culture
Woman as a the last Colony Rosa Luxenburg Veronika Bennholdt-
Thomsen Claudia von Werlhof und Maria Mies
4
Vinyl letters C-Print
5
6
Polysynthetische Doppelperspektive 1 Claude Levi- Strauss
Photocolloage C-Print
7
Polysynthetische Doppelperspektive 2 Claude Levi-Strauss
Photocolloage C-Print
9
Polysynthetische Doppelperspektive 4 Claude Levi Strauss
Photocolloage C-Print
2 prints Installed in corner
Installation view Polysynthetische Doppelperspektive 1-4 Claude Levi- Strauss
The visual grammar and its double perspective (split representation) of Haida Gwai and Tlinglet Art (First Nation
Art) is re-collaged with a photograph of Pablo Picasso comparing Cubism (early Modernism) with First Nation Art
and questioning its similarities of double perspectives
10
Room 4 and 5
Room 4
11
Luicide List The museum as an imperial graveyard
C-Print
Colonial after effects of Luicide
Gips Metallkette Hose Schuh
12
No7
Mirror Split Representation Mirror framed and installed in the corner
Part 2 Room 6 and 8 Comparative Contemporary Art
4-channel sound installation
De-grammatical Listen to mp3 audio excerpts
13
Front
2 CT (shelfbenches) Acryl auf Pappelsperrholz
Back Pull Over Yukme Shirley Hall outside
14
Pull Over Yukme Shirley Hall inside
Fabric wall silk print by (Tlinglet Artist) Yukme Shirley Hall
Wo ist Elise Richter wo ist
id99149429 pdfMachine by Broadgun Software - a great PDF writer - a great PDF creator - httpwwwpdfmachinecom httpwwwbroadguncom
Im Arkadenhof der Universitaumlt Wien stehen 154 Buumlsten von bedeutenden Wissenschaftlern der
Universitaumlt Wien (1700-2005) Bedauerlicherweise findet sich unter ihnen keine einzige Frau Eine temporaumlre Buumlste einer anonymen Wissenschaftlerin soll die systematische Ausblendung von Frauen
aus der Universitaumltsgeschichte thematisieren Die offene Web- Plattform (wwweliserichterat) ermoumlglicht allen Benutzern aktiv an der Umschreibung der Universitaumltsgeschichte und an re-imaging Prozessen der Repraumlsentation dieser Buumlsten teilzunehmen Weiters wird die Verbindung von raceclassgender und einer akademischen Kariere in diesem Zusammenhang hinterfragt We can never really change any form of social organisation without challenging all that organisations forms of
language (Debord)
Within the patriarchal structures of the Arkadenhof at the University of Vienna stand 154 busts of important scientists (1700-2005) Unfortunately none of these busts are women Through the placement of a temporary bust of an anonymous female scientist it declares the absence of them within the history of the university As well the anonymous bust embodies the presence of important scientists who have not yet been given equal representation The open web-platform (wwweliserichterat) allows every user to participate in this discourse to re-write the history of the university and to re-image the representation of these busts through a wiki system
Skizze Buumlste einer anonymen Wissenschaftlerin
Mein Interesse besteht nicht darin zu recherchieren welche Buumlsten von Wissenschaftlerinnen im Arkadenhof fehlen sondern das Fehlen der Wissenschaftlerinnen im Zeitraum von 1700 bis 2005 aufzuzeigen und Strukturen fuumlr eine oumlffentliche Kommunikationsplattform zu schaffen In der Genderforschung besteht Konsens daruumlber dass Gender kein Merkmal von Individuen sondern das einer
Institution ist (Connell) zudem ein struktureller Bestandteil einer Gesellschaft ist und dass Gendernormen alle Organisationen durchdringen (Acker)
Grundriss Arkadenhof der Universitaumlt Wien Literatur Acker J (1990) Hierarchies Jobs Bodies A theory of gendered organizations In Gender and Society
Connell R (1998) Gender and Power Society the Person and Sexual Politics Stanford University Press Stanford CA Maisel T (1990) Die Denkmaumller im Arkadenhof der Universitaumlt Wien Biographische Skizzen Wien Quellen Denkmalsakten Archiv der Universitaumlt Wien
Veranstalter Open Mind Projekt Utopie Freiheit httpwwwopenmindat vereinopenmindat Projektautorin Elisabeth Penker elpenkergmxat Bronzeguss Walter Rom Wachsmodel Buumlste Elisabeth Penker Steinsockel Ausfuumlhrung Fa Zehmann Mario Jungbauer Mediendesign Gernot Tscherteu httpwwwrealitylabatwphome gtrealitylabat Techn Umsetzung Christian Langreiter Webpage wwweliserichterat
Elisabeth Penker- Franzengasse 13- 1050 Wien ++43 (0)699 197 193 53 elpenkergmxat
Elisabeth Penker Untitled instruments 1-3 2000-2012
Galerie Georg Kargl Wien Galerie Priestor Bratislava Kuumlnstlerhaus Wien Kibla New
Media Center Maribor HTTP Galerie London Secession Wien Mak Wien Roma
Contemporary Wien
Elisabeth Penker Untiled Instrument Galerie Georg Kargl Wien
Curated by Michael Hall
Elisabeth Penker Untitled instrument 2001 New Media Center Maribor
Elisabeth Penker Untitled instrument 2001 New Media Center Maribor
Elisabeth Penker Untitled instrument Kuumlnstlerhaus Wien curated by Ursula Maria Probst
Live Performance mit Celia Mare
Detail Die BILD_HAU_ER_IN Kuumlnstlerhaus Wien
Live Performance Flower Structure Wiener Festwochen
Elisabeth Penker (Untiled instrument) Van Angh (Cello) Tri Minh Electronics
Elisabeth Penker Live Performance Poetics of space Secession Wien
MAK Nail Structure GRizo Sweet Susie Elisabeth Penker
Elisabeth Penker HTTP Gallery London 2005 curated by Tobi Maier
Elisabeth Penker HTTP Gallery London Live Performance
Elisabeth Penker Untitled Instrument Sonic Structure Kunsthaus Graz curated by Adam Budak amp
Christine Peters
Videolinks
httpwwwyoutubecomusersoundart24
Interview with Video Festwochen
httpbturncom8753interview-elisabeth-penker
Kunsthaus Graz
Protections
Kuratoren Adam Budak und Christine Peters
Elisabeth Penker Poetics of Dead Space
For PROTECTIONS Elisabeth Penker developed a key-sound Poetics of Dead Space which is to a large extent a homage
to Gaston Bachelards seminal book Poetics of Space where the connections between the poetry and the spatial emotions
are analysed Penkers key-sound will guide the viewer through the exhibition mapping the overall identity of the show in
some way controlling the viewers (audio-narrative) route in the maze of art objects events situations but also spatial
voids and unused corners
Fuumlr PROTECTIONS entwickelte Elisabeth Penker einen leitmotivischen Key Sound Poetics of Dead Space der weitgehend
eine Hommage an Gaston Bachelards wegweisendes Buch Poetics of Space darstellt in dem die Verbindungen zwischen
Lyrik und raumlumlichen Emotionen analysiert werden Penkers Key Sound wird das Publikum durch die Ausstellung geleiten
die Identitaumlt der Schau in ihrer Gesamtheit erfassen und in gewisser Weise die (audio-narrative) Route des Publikums im
Labyrinth der Kunstgegenstaumlnde Ereignisse und Situationen aber auch raumlumlicher Leerstellen und ungenutzter Winkel
kontrollieren
A non linear composition 7 mono active speakers are placed through out the Kunsthaus Graz Speaker placement
1 outdoor (entrance) 2 (travelator) 3 (corner with column) 4 (corner with door) 5 (corner) 6 (travelator) 7 (corner with
window)
Poetics of Dead Space Let it grow again 28 51 sec mono
Source material for composition rain sound of dried beans dropping down wood sticks breathing hardly existing
id78338975 pdfMachine by Broadgun Software - a great PDF writer - a great PDF creator - httpwwwpdfmachinecom httpwwwbroadguncom
recording of extinct languages
Poetics of Dead Space Let it grow again 28 51 sec mono
Source material for composition rain sound of dried beans dropping down wood sticks existing recording of extinct
languages
Poetics of Dead Space travelator 1 1min 04 sec mono loop
Source material for composition staff falling down man falling down stairs rattern recording untitled instrument
Background existing recording of extinct languages
Poetics of Dead Space 496 1min 409 sec mono loop
Source material for composition recording untitled instrument Background existing recording of extinct languages
Poetics of Dead Space 129525 1min 4888 sec mono loop
Source material for composition recording untitled instrument Background existing recording of extinct languages
Poetics of Dead Space 129525 1min 4888 sec mono loop
Source material for composition keyboard recording untitled instrument Background existing recording of extinct
languages
Poetics of Dead Space travelator 2 1min 5209 sec mono loop
Source material for composition recording untitled instrument violin Background existing recording of extinct
languages
Poetics of Dead Space2152518125220 1min 3200 sec mono loop
Source material for composition recording untitled instrument Background existing recording of library of extinct
languages
Poetics of Dead Space travelator 1 1min 04 sec mono loop
viewing down from upstairs Source material for composition staff falling down man falling down stairs rattern
recording untitled instrument Background existing recording of extinct languages
Poetics of Dead Space Let it grow again 028 51 sec mono
Source material for composition rain sound of coins wood sticks existing recording of extinct languages
Elisabeth Penker is a Viennese artist and musician working with sound in a sculptural context In her (subjective) tour
Penker approaches the entire anti-exhibition PROTECTIONS from an angle of its position and significance in the context
of Sound Art as located on the crossway between visual arts language and music Starting from her own house turned
into First Nation Pavillion which amongst others aims at connecting the recent discourse on cultural translation with
early avant-garde phonetic experiments Penker maps the sonic structure of Kunsthaus Graz and its (live) architecture
which for PROTECTIONS hosts an array of interdisciplinary projects with a strong audio-quality from Herwig Weisers
Death Before Disco (a micro-architecture of hyper-technological and electronic pop) through a newly created choir of
security guards for Tim Etchells Wall of Sound down to a cacophonic layers of anonimous noise generated by the
space itself and the presence of audience
Die Wiener Kuumlnstlerin und Musikerin Elisabeth Penker arbeitet mit Klang im Zusammenhang mit Bildhauerei In ihrer
(subjektiven) Fuumlhrung naumlhert sie sich der Anti-Ausstellung PROTECTIONS aus einem Blickwinkel der die Position und
Bedeutung der Klangkunst an der Kreuzung zwischen bildender Kunst Sprache und Musik verortet Von ihrem eigenen
Haus ausgehend das sich in den First Nation Pavilion verwandelt hat der u a den aktuellen Diskurs uumlber kulturelle
Uumlbersetzung mit fruumlhen phonetischen Experimenten der Avantgarde verbinden soll entwirft Penker die klangliche
Struktur des Gutshauses und seiner (Live-)Architektur die fuumlr PROTECTIONS eine Reihe von interdisziplinaumlren Projekten
mit einer starken Affinitaumlt zum Klang beherbergt von Herwig Weisers Death Before Disco (eine Mikroarchitektur aus
hyper-technoidem und elektronischem Pop) uumlber einen neu formierten Chor bestehend aus Security Guards fuumlr Tim
Etchells Wall of Sound bis zu einer Kakophonie aus anonymen Geraumluschen die vom Raum selbst und der Anwesenheit
des Publikums erzeugt werden
052813
Local Warming ATHENS
052813
AFTER A YEARLONG HIATUS the eighteenth Art-Athina hit the ground running on the evening of Thursday May 16 and the former Olympic
ldquoTae Kwon Dordquo Pavilion was packed with enthusiastic party people The fair had a more national flavor than ever this year under its new
director Alexis Caniaris the son of recently deceased artist Vlassis Caniaris whose iconic modern work has recently found great success on the
international market Of the very few foreign galleries exhibiting most were Greek-owned The Breeder gallery was dealing with the perceived
drop in the market by selling fantastic multiples by artists like Stelios Faitakis Jannis Varelas and Andreas Angelidakis at crisis-appropriate
prices ldquoNobody wants to come here now but I have already met three interested billionaire collectors today And if Greeks like you they
introduce you to their billionaire friendsrdquo raved Cologne dealer Mirko Mayer a seven-time exhibitor ldquoThat is what nobody knows There are
at least one-hundred billionaires collecting hererdquo Most international collectors were delayed several hours due to a union strike a de r igueur
mode of arrival in contemporary Greece
It was impossible to miss the exuberant activities of the DaDa Da restaurant a Greek-Austrian collaboration where artist Albert Mayr was
waving a skillet and raving nonsense while Lucas Willmann tenderized pink fillets for Wiener schnitzel ldquoThis is Viennese Actionism lightrdquo
quipped critic Sotirios Bahtsetzis Artist Natasha Papadopoulos added ldquoBut here there are hungry Greeks waitingrdquo On a table with a rotating
Sacher tort by Heacutelegravene van Duijne a sign carried the overwhelming spirit FUCK ART LETrsquoS EAT SOUVLAKI An insistent electronic beat and
pulsating light emanated from the next booth the American College of Greecersquos ldquoAthensUrgentrdquo while hooded performer Manos Tsatiris
stood against the wall with his hands tied perhaps a metaphor for the current Athenian exigency ldquoThis is not the kind of art fair scene we are
used tordquo said the Economou Collectionrsquos Annie-Claire Geisinger watching the madness
Left Artists Elisabeth Penker Michela Pelusio Petros Touloudis Panos Papadopoulos and Nino Stelzl Right Collector Anne-Marie Ros
Down on the floor the dealers seemed pleased particularly given dismal expectations having already sold a great deal at the preview Young
Rotterdam-based gallery Joey Ramone had sold sculptures by Fotini Gouseti to English and Belgian collectors dealer Erik Mulier had also sold
some work to Belgians Marc Van den Hende said he had bought a triptych by Eirene Efstathiou and was considering a Vlassis Caniaris piece
from the 1970s ldquoI saw some surprisesmdashyoung Greek artists I did not knowmdashand great new galleries like Elika and CANrdquo Dutch collector
Anne-Marie Ros said By the end of the day Dimitra and Sofia Vamiali reported that they had not seen one Greek collector although another
reported a Dakis Joannou sighting mdash Cathryn Drake
SEARCH
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SEATTLE
WEEKLY
in the News
Columnist
Geov Parrish
is a regular
guest on
Mind Over
Matters on
KEXP-FM
(903)
Saturdays at
830 am and
provides news
commentary
on KBCS-FM
(913) Fridays
at 430 pm
Catch writers
Steve
Wiecking Tim
Appelo and
ARTS
March 30 - April 5 2005
Picking Up the Thread
Howard House ties together the best new conceptual art from Vienna
by Elise Richman
Franz Wests Mercury
(Howard House Contemporary Art)
Theres a German expression to lose the red thread which means losing
ones train of thought In its current show Howard House has found that
thread Julie Ryan a curator artist and writer organized The Red
Thread Glimpses of International Art in Vienna a two-part exhibition
featuring artists working and living at least part time in Austrias capital
Part one of the show is at Howard House the second half is currently on
display at the Educational Alliance Gallery in New York
Vienna has become a magnet for artists from all over the world including
the 15 individuals and artist teams that are part of The Red Thread
Excellent artist residency programs a low cost of living and living art
legends like Franz West are just a few of the reasons
An artistic collaboration with West took Ryan from New York to Vienna
She knows Billy Howard who runs Howard House from the University of
Washingtons School of Art And so the figurative string was strung
connecting the East and West coasts with artists from across the Atlantic
This is a complex exhibit whose emotional tenor ranges from cool
detachment to an almost urgent earnestness Unlike the formal richly
historical city that connects them artists in The Red Thread favor informal
approaches to art making use disposable materials and comment on
contemporary cultural themes
West has two formidable sculptures at Howard House The front room of the
gallery features Mercury (pictured) an ungainly behemoth composed of a
patchwork of fused metal Like many of Wests sculptures Mercury is
meant as an interactive structure that viewers can climb and sit on Bulbous
Gavin
Borchert
discussing
theater film
and music
regularly on
classical
KING-FM
(981)
Mark Fiore
Cartoons
Every
Thursday
nodules extend from its horizontal base and the seams of the dark maroon
metal look like scars rendering it at once vaguely obscene and absurdly
playful
Sisyphus the other West sculpture on display is a bulky conglomeration of
bits and wads of paper propped in the back room on a makeshift plinth (base
block) Though its as solid as the boulder its title references its surface is
like oozing skin partly coated with poured murky paint partly cloaked in
small clumps of newspaper detritus
The strenuous act of making each of these sculptures is eminently apparent
and central to the content of Wests work West considers creation a
symbolic act As you might expect he likens the artistic process to the plight
of Sisyphus the mythological figure who eternally rolled a boulder up a hill
only to have it come crashing back down For West art involves a
Sisyphean search for what he calls the absolute through the seemingly
senseless accumulation of materials However unlike Sisyphus futile quest
Wests process can lead to epiphany making sense of the senseless
Similarly Viennese artist Elisabeth Penkers art serves a facilitative
function easing the act of translation Penker uses Haida iconography in her
multimedia work because it provides potent visual symbols that
communicate single words and whole sentences simultaneously Her prints
at Howard House feature fragments of icons floating in the papers white
space They are spare visually arresting characters that employ an
iconographic language as encoded symbols of communication
Also featured in The Red Thread is Donald Baechler an internationally
known American painter who spends extended periods of time in Vienna
Baechler equalizes his imagery by painting it all in the same style For him
the source of an image doesnt matter whether its a drawing by Picasso or
graffiti on a bathroom wall What matters is the newfound context his
paintings provide
Victory by Default is part of Baechlers Skull series In this piece a painted
skull gapes from the dirty yet sensuous confines of a large canvas Terry
cloth and wrinkled rags provide literal texture and reference the world
outside the paintings boundaries Splatterings of color around the skull like
the self-conscious marks of Jasper Johns seem to express the language of
paintingmdashhue and gestural strokesmdashin a factual rather than illusional
manner
Another American painter Lisa Ruyter lives half-time in Vienna where she
runs an influential gallery She works from photographs projected onto
large-scale canvases tracing the contours of the projected imagery with
consistent black outlines In a way that seems arbitrary she paints the shapes
formed by her contour lines in flat designer colors Man of Means based on
a photo of fashion photographers looks like a scrambled color-by-numbers
painting I cant do justice to the unusually rich assortment of conceptual art
in The Red Thread Youll just have to see it for yourself Thomas
Baumans thrashing triangular foil blanket Walter Seidls slide show of
staged snapshots Markus Schinwalds photograph of a contortionist and the
other thoughtful works connected by The Red Thread
The Red Thread Glimpses of International Art in Vienna runs through
April 30 at Howard House 604 Second Ave 206- 256-6399 1030 amndash5
pm TuesndashSat Free
KUNSTFORUM
Parallelwelten fuumlr Parlamentarier Ausstellung
Von Brigitte Borchhardt-Birbaumer
Ende Oktober endet die Zusammenarbeit von Nationalratspraumlsident Andreas Khol und Peter Pakesch Direktor des Kunsthauses Graz am Joanneum Seit 2003
hatte Pakesch als Kurator mehrere Ausstellungen in den Sitzungssaumllen des Parlaments in Zusammenarbeit mit Galerien initiiert und namhafte Positionen
ausgewaumlhlt Kriterium fuumlr Praumlsentationen war die Praumlsenz durch eine Schau in einer der bekannten Kunstinstitutionen des Landes Nach Eva Schlegel Adriana
Czernin Maria Lassnig oder Esther Stocker sind dies nun bis April 2007 Josef Dabernig Daniel Hafner Ulrike Lienbacher Alois Mosbacher und Elisabeth
Penker
Das Parlament kann dabei durch die Margaretha-Lupac Stiftung immer eine Arbeit fuumlr die wachsende Sammlung des Hauses ankaufen Zuletzt war das ein
groszliges Oumll-Acryl-Gemaumllde der Georg-Eisler-Preistraumlgerin Maja Vukoje zuvor Johanna Kandl deren Temperabild derzeit an das Lentos in Linz geliehen wird
Einige Werke haumlngen schon als kuumlnstlerische Wegweiser in den Gaumlngen des Hauses und sind auch Blickfang fuumlr die 120000 Besucher die pro Jahr das
Parlament besuchen In die Architektur von Theophil Hansen mit ihrer zeitlosen Qualitaumlt fuumlgt sich die Gegenwartskunst kongenial
Hoffnung fuumlr spaumlter
Die derzeitige Zusammenstellung macht Hoffnung auf eine Fortsetzung unter der naumlchsten Praumlsidentschaft Fotografie Computerkunst Malerei Zeichnung
und Skulptur weisen auf die Vielfalt der Werkstoffe in der Gegenwartskunst Elisabeth Penker parallel im Kunsthaus Graz zu sehen baut schwarzweiszlige
Objekte aus bemaltem Holz die in ihrer seriellen und geometrischen Anordnung auf Bezuumlge zum Performativen und auf die Musik hinweisen
Noch juumlnger ist Daniel Hafner mit seinen am Computer komponierten digitalen Drucken Morphosentransformationen von 2006 Linienraster und
Raumkonstruktionen in subtiler Farbigkeit verbinden Tendenzen der fruumlhen Op-Art mit dem Cyber-Lab
Um konstruierte Realitaumlten geht es auch in den groszligformatigen Oumllbildern von Alois Mosbacher dem bekannten Vertreter der Neuen Wilden der
Achtzigerjahre in Oumlsterreich Wanderer in Wald und Wiese erzaumlhlen die Geschichten alternativer Welten die sich mancher in der Gesellschaft als Parallele
konstruiert
Zwei Fotofriese von Josef Dabernig bilden jeweils ein Panorama von oumlffentlichen Plaumltzen auf denen es zum einen um Fuszligball geht Zum anderen ist der
Rundblick in das Oval einer scheinbaren Arena auch eine Art Sehschule fuumlr die Betrachter Ein sozialer Befund ist die dritte Bedeutungsebene
Ulrike Lienbacher die heuer mit einer groszligen Schau im Innsbrucker Taxispalais ihre Karriere fortsetzt ist mit ihren feinlinigen Tuschezeichnungen den kleinen
oft unsichtbaren Zwaumlngen in unserer Gesellschaft auf der Spur Im Lokal II des Parlaments stellt sie zwar nicht ihre Objekte und Fotos aber einige
groszligformatige Blaumltter mit Frisurenvariationen neben teils fragmentierten Frauenkoumlrpern im Umgang mit Schmutz und Hygiene aber auch Fitnesskult aus
Disziplinierung und Kontrolle betreffen in der Oumlffentlichkeit besonders den weiblichen Koumlrper Sauberkeitsmechanismen weisen auch auf Vorstellungen von
wertvoll und minderwertig hin Ihre Transformationen enthalten wie die Themen der anderen subtile Kritik und sind daher vom Kurator uumlberlegt positioniert
Zeitgenoumlssische Kunst
im Parlament
Bis April 2007
Kurator Peter Pakesch
Konfrontationen
Dienstag 10 Oktober 2006
ltlt 2003 | 2004 Jan Feb Mar Apr May Jun Jul Aug Sep Oct Nov Dec 2004 | 2005 gtgt
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31
Sunday 17 October 2004
TIME
TITLE
NAME
700 Indymedia ESF breakfast show Indymedia London
Highlights news and views from the European Social Forum and the
autonomous spaces and initiatives taking place this week
website
800 Resonance Radio Art Riot Breakfast International
Radio Art
A five part special of the Harmon E Phraisyar show commissioned for
Kunstradio in Austria starts off the morning broadcast of international radio
art
website
1100 Resonance Live from the Frieze Art Fair Anna Colin amp
Tobi Maier
1100 Chris Weaver Resonance 1044FM live electronics set with James Dunn and
Robin Warren
1130 Michael Hall gallery Vienna presents audio works by artist Elisabeth Penker
1200 Maria Fusco presents latest the Bookworks commissions
1300 The Psychology of Collecting live broadcast of the frieze art fair panel
discussion
Is collecting an irrational act guided by compulsion and desire What are the use of
objects What are the motivations behind making collecting curating and
criticizing art A discussion of the psychology of collecting and the politics of taste
Hilary Rubenstein (Psychologist)
Eric Troncy (Art Critic and Director Le Consortium Dijon)
Haim Steinbach (Artist)
Chair Alice Rawsthorn (Director Design Museum)
1500 Portable live set and presentation of sudelectronic records London
1600 Where is Adventure What is Culture live broadcast of the frieze art fair
website
panel discussion
A discussion of the relationship of art to entertainment touching on the comedic
being popular and failing miserably
Trisha Donnelly (Artist)
Christian Jankowski (Artist)
David Robbins (Writer amp Artist)
Nancy Spector (Curator of Contemporary Art Solomon R Guggenheim Museum)
Chair Matthew Higgs (Curator CCA Wattis Institute for Contemporary Arts)
1800 Melissa Bent from Rivington Arms gallery New York in conversation with
artist Dan Colan and Tobi Maier Anna Colin
1830 VOX pop recordings from the fair with Sharon Gal
1900 Resonance Radio Art Riot Sarah
Washington
The Resonance Radio Art Riot brings together some of the foremost radio artists
and thinkers from around the world The studio lab situation will feature round
table discussions live performances and streamed events
Tonight Radio Text
Events Live broadcast from Sonic Arts Network Resonance benefit featuring
Henri Chopin studio performances from Julia Lee Barclay and Aude Tournay plus
Special Features None present live concrete radiophonics - Planning For
Emergencies
Guests include Clive Graham Chris Weaver Richard Thomas Toby Clarkson
John Lovett Robin Warren and James Dunn
Topics The word as art Sound poetry text performances
At Midnight Tom Wallace present exclusive excerpts from radio art pioneer
Gregory Whitehead
website
000 Resonance Radio Art Riot Nights International
Radio Art
The Resonance Radio Art riot continues throughout the night with the finest of
international radio art Resonance FM programme makers and our international
guests have put together many special hours of classic and obscure radio
works
website
- EPenkerDocumentationpdf
-
- 2bAusstellungenPublicaSpaceEPenkerpdf
-
- 2cUntitled_InstrumentsKunsthausGrazEPenker
- 2bpoeticsKunsthaus GrazEPenker
-
- 4PresseEPenkerpdf
-
- 4Review_Seattle Weekly
-
3
Part 1 Colonial Conciseness in visual art
Room 1 and 3 Modernism=Imperialism after Henry Flynt Demolish serious culture
Woman as a the last Colony Rosa Luxenburg Veronika Bennholdt-
Thomsen Claudia von Werlhof und Maria Mies
4
Vinyl letters C-Print
5
6
Polysynthetische Doppelperspektive 1 Claude Levi- Strauss
Photocolloage C-Print
7
Polysynthetische Doppelperspektive 2 Claude Levi-Strauss
Photocolloage C-Print
9
Polysynthetische Doppelperspektive 4 Claude Levi Strauss
Photocolloage C-Print
2 prints Installed in corner
Installation view Polysynthetische Doppelperspektive 1-4 Claude Levi- Strauss
The visual grammar and its double perspective (split representation) of Haida Gwai and Tlinglet Art (First Nation
Art) is re-collaged with a photograph of Pablo Picasso comparing Cubism (early Modernism) with First Nation Art
and questioning its similarities of double perspectives
10
Room 4 and 5
Room 4
11
Luicide List The museum as an imperial graveyard
C-Print
Colonial after effects of Luicide
Gips Metallkette Hose Schuh
12
No7
Mirror Split Representation Mirror framed and installed in the corner
Part 2 Room 6 and 8 Comparative Contemporary Art
4-channel sound installation
De-grammatical Listen to mp3 audio excerpts
13
Front
2 CT (shelfbenches) Acryl auf Pappelsperrholz
Back Pull Over Yukme Shirley Hall outside
14
Pull Over Yukme Shirley Hall inside
Fabric wall silk print by (Tlinglet Artist) Yukme Shirley Hall
Wo ist Elise Richter wo ist
id99149429 pdfMachine by Broadgun Software - a great PDF writer - a great PDF creator - httpwwwpdfmachinecom httpwwwbroadguncom
Im Arkadenhof der Universitaumlt Wien stehen 154 Buumlsten von bedeutenden Wissenschaftlern der
Universitaumlt Wien (1700-2005) Bedauerlicherweise findet sich unter ihnen keine einzige Frau Eine temporaumlre Buumlste einer anonymen Wissenschaftlerin soll die systematische Ausblendung von Frauen
aus der Universitaumltsgeschichte thematisieren Die offene Web- Plattform (wwweliserichterat) ermoumlglicht allen Benutzern aktiv an der Umschreibung der Universitaumltsgeschichte und an re-imaging Prozessen der Repraumlsentation dieser Buumlsten teilzunehmen Weiters wird die Verbindung von raceclassgender und einer akademischen Kariere in diesem Zusammenhang hinterfragt We can never really change any form of social organisation without challenging all that organisations forms of
language (Debord)
Within the patriarchal structures of the Arkadenhof at the University of Vienna stand 154 busts of important scientists (1700-2005) Unfortunately none of these busts are women Through the placement of a temporary bust of an anonymous female scientist it declares the absence of them within the history of the university As well the anonymous bust embodies the presence of important scientists who have not yet been given equal representation The open web-platform (wwweliserichterat) allows every user to participate in this discourse to re-write the history of the university and to re-image the representation of these busts through a wiki system
Skizze Buumlste einer anonymen Wissenschaftlerin
Mein Interesse besteht nicht darin zu recherchieren welche Buumlsten von Wissenschaftlerinnen im Arkadenhof fehlen sondern das Fehlen der Wissenschaftlerinnen im Zeitraum von 1700 bis 2005 aufzuzeigen und Strukturen fuumlr eine oumlffentliche Kommunikationsplattform zu schaffen In der Genderforschung besteht Konsens daruumlber dass Gender kein Merkmal von Individuen sondern das einer
Institution ist (Connell) zudem ein struktureller Bestandteil einer Gesellschaft ist und dass Gendernormen alle Organisationen durchdringen (Acker)
Grundriss Arkadenhof der Universitaumlt Wien Literatur Acker J (1990) Hierarchies Jobs Bodies A theory of gendered organizations In Gender and Society
Connell R (1998) Gender and Power Society the Person and Sexual Politics Stanford University Press Stanford CA Maisel T (1990) Die Denkmaumller im Arkadenhof der Universitaumlt Wien Biographische Skizzen Wien Quellen Denkmalsakten Archiv der Universitaumlt Wien
Veranstalter Open Mind Projekt Utopie Freiheit httpwwwopenmindat vereinopenmindat Projektautorin Elisabeth Penker elpenkergmxat Bronzeguss Walter Rom Wachsmodel Buumlste Elisabeth Penker Steinsockel Ausfuumlhrung Fa Zehmann Mario Jungbauer Mediendesign Gernot Tscherteu httpwwwrealitylabatwphome gtrealitylabat Techn Umsetzung Christian Langreiter Webpage wwweliserichterat
Elisabeth Penker- Franzengasse 13- 1050 Wien ++43 (0)699 197 193 53 elpenkergmxat
Elisabeth Penker Untitled instruments 1-3 2000-2012
Galerie Georg Kargl Wien Galerie Priestor Bratislava Kuumlnstlerhaus Wien Kibla New
Media Center Maribor HTTP Galerie London Secession Wien Mak Wien Roma
Contemporary Wien
Elisabeth Penker Untiled Instrument Galerie Georg Kargl Wien
Curated by Michael Hall
Elisabeth Penker Untitled instrument 2001 New Media Center Maribor
Elisabeth Penker Untitled instrument 2001 New Media Center Maribor
Elisabeth Penker Untitled instrument Kuumlnstlerhaus Wien curated by Ursula Maria Probst
Live Performance mit Celia Mare
Detail Die BILD_HAU_ER_IN Kuumlnstlerhaus Wien
Live Performance Flower Structure Wiener Festwochen
Elisabeth Penker (Untiled instrument) Van Angh (Cello) Tri Minh Electronics
Elisabeth Penker Live Performance Poetics of space Secession Wien
MAK Nail Structure GRizo Sweet Susie Elisabeth Penker
Elisabeth Penker HTTP Gallery London 2005 curated by Tobi Maier
Elisabeth Penker HTTP Gallery London Live Performance
Elisabeth Penker Untitled Instrument Sonic Structure Kunsthaus Graz curated by Adam Budak amp
Christine Peters
Videolinks
httpwwwyoutubecomusersoundart24
Interview with Video Festwochen
httpbturncom8753interview-elisabeth-penker
Kunsthaus Graz
Protections
Kuratoren Adam Budak und Christine Peters
Elisabeth Penker Poetics of Dead Space
For PROTECTIONS Elisabeth Penker developed a key-sound Poetics of Dead Space which is to a large extent a homage
to Gaston Bachelards seminal book Poetics of Space where the connections between the poetry and the spatial emotions
are analysed Penkers key-sound will guide the viewer through the exhibition mapping the overall identity of the show in
some way controlling the viewers (audio-narrative) route in the maze of art objects events situations but also spatial
voids and unused corners
Fuumlr PROTECTIONS entwickelte Elisabeth Penker einen leitmotivischen Key Sound Poetics of Dead Space der weitgehend
eine Hommage an Gaston Bachelards wegweisendes Buch Poetics of Space darstellt in dem die Verbindungen zwischen
Lyrik und raumlumlichen Emotionen analysiert werden Penkers Key Sound wird das Publikum durch die Ausstellung geleiten
die Identitaumlt der Schau in ihrer Gesamtheit erfassen und in gewisser Weise die (audio-narrative) Route des Publikums im
Labyrinth der Kunstgegenstaumlnde Ereignisse und Situationen aber auch raumlumlicher Leerstellen und ungenutzter Winkel
kontrollieren
A non linear composition 7 mono active speakers are placed through out the Kunsthaus Graz Speaker placement
1 outdoor (entrance) 2 (travelator) 3 (corner with column) 4 (corner with door) 5 (corner) 6 (travelator) 7 (corner with
window)
Poetics of Dead Space Let it grow again 28 51 sec mono
Source material for composition rain sound of dried beans dropping down wood sticks breathing hardly existing
id78338975 pdfMachine by Broadgun Software - a great PDF writer - a great PDF creator - httpwwwpdfmachinecom httpwwwbroadguncom
recording of extinct languages
Poetics of Dead Space Let it grow again 28 51 sec mono
Source material for composition rain sound of dried beans dropping down wood sticks existing recording of extinct
languages
Poetics of Dead Space travelator 1 1min 04 sec mono loop
Source material for composition staff falling down man falling down stairs rattern recording untitled instrument
Background existing recording of extinct languages
Poetics of Dead Space 496 1min 409 sec mono loop
Source material for composition recording untitled instrument Background existing recording of extinct languages
Poetics of Dead Space 129525 1min 4888 sec mono loop
Source material for composition recording untitled instrument Background existing recording of extinct languages
Poetics of Dead Space 129525 1min 4888 sec mono loop
Source material for composition keyboard recording untitled instrument Background existing recording of extinct
languages
Poetics of Dead Space travelator 2 1min 5209 sec mono loop
Source material for composition recording untitled instrument violin Background existing recording of extinct
languages
Poetics of Dead Space2152518125220 1min 3200 sec mono loop
Source material for composition recording untitled instrument Background existing recording of library of extinct
languages
Poetics of Dead Space travelator 1 1min 04 sec mono loop
viewing down from upstairs Source material for composition staff falling down man falling down stairs rattern
recording untitled instrument Background existing recording of extinct languages
Poetics of Dead Space Let it grow again 028 51 sec mono
Source material for composition rain sound of coins wood sticks existing recording of extinct languages
Elisabeth Penker is a Viennese artist and musician working with sound in a sculptural context In her (subjective) tour
Penker approaches the entire anti-exhibition PROTECTIONS from an angle of its position and significance in the context
of Sound Art as located on the crossway between visual arts language and music Starting from her own house turned
into First Nation Pavillion which amongst others aims at connecting the recent discourse on cultural translation with
early avant-garde phonetic experiments Penker maps the sonic structure of Kunsthaus Graz and its (live) architecture
which for PROTECTIONS hosts an array of interdisciplinary projects with a strong audio-quality from Herwig Weisers
Death Before Disco (a micro-architecture of hyper-technological and electronic pop) through a newly created choir of
security guards for Tim Etchells Wall of Sound down to a cacophonic layers of anonimous noise generated by the
space itself and the presence of audience
Die Wiener Kuumlnstlerin und Musikerin Elisabeth Penker arbeitet mit Klang im Zusammenhang mit Bildhauerei In ihrer
(subjektiven) Fuumlhrung naumlhert sie sich der Anti-Ausstellung PROTECTIONS aus einem Blickwinkel der die Position und
Bedeutung der Klangkunst an der Kreuzung zwischen bildender Kunst Sprache und Musik verortet Von ihrem eigenen
Haus ausgehend das sich in den First Nation Pavilion verwandelt hat der u a den aktuellen Diskurs uumlber kulturelle
Uumlbersetzung mit fruumlhen phonetischen Experimenten der Avantgarde verbinden soll entwirft Penker die klangliche
Struktur des Gutshauses und seiner (Live-)Architektur die fuumlr PROTECTIONS eine Reihe von interdisziplinaumlren Projekten
mit einer starken Affinitaumlt zum Klang beherbergt von Herwig Weisers Death Before Disco (eine Mikroarchitektur aus
hyper-technoidem und elektronischem Pop) uumlber einen neu formierten Chor bestehend aus Security Guards fuumlr Tim
Etchells Wall of Sound bis zu einer Kakophonie aus anonymen Geraumluschen die vom Raum selbst und der Anwesenheit
des Publikums erzeugt werden
052813
Local Warming ATHENS
052813
AFTER A YEARLONG HIATUS the eighteenth Art-Athina hit the ground running on the evening of Thursday May 16 and the former Olympic
ldquoTae Kwon Dordquo Pavilion was packed with enthusiastic party people The fair had a more national flavor than ever this year under its new
director Alexis Caniaris the son of recently deceased artist Vlassis Caniaris whose iconic modern work has recently found great success on the
international market Of the very few foreign galleries exhibiting most were Greek-owned The Breeder gallery was dealing with the perceived
drop in the market by selling fantastic multiples by artists like Stelios Faitakis Jannis Varelas and Andreas Angelidakis at crisis-appropriate
prices ldquoNobody wants to come here now but I have already met three interested billionaire collectors today And if Greeks like you they
introduce you to their billionaire friendsrdquo raved Cologne dealer Mirko Mayer a seven-time exhibitor ldquoThat is what nobody knows There are
at least one-hundred billionaires collecting hererdquo Most international collectors were delayed several hours due to a union strike a de r igueur
mode of arrival in contemporary Greece
It was impossible to miss the exuberant activities of the DaDa Da restaurant a Greek-Austrian collaboration where artist Albert Mayr was
waving a skillet and raving nonsense while Lucas Willmann tenderized pink fillets for Wiener schnitzel ldquoThis is Viennese Actionism lightrdquo
quipped critic Sotirios Bahtsetzis Artist Natasha Papadopoulos added ldquoBut here there are hungry Greeks waitingrdquo On a table with a rotating
Sacher tort by Heacutelegravene van Duijne a sign carried the overwhelming spirit FUCK ART LETrsquoS EAT SOUVLAKI An insistent electronic beat and
pulsating light emanated from the next booth the American College of Greecersquos ldquoAthensUrgentrdquo while hooded performer Manos Tsatiris
stood against the wall with his hands tied perhaps a metaphor for the current Athenian exigency ldquoThis is not the kind of art fair scene we are
used tordquo said the Economou Collectionrsquos Annie-Claire Geisinger watching the madness
Left Artists Elisabeth Penker Michela Pelusio Petros Touloudis Panos Papadopoulos and Nino Stelzl Right Collector Anne-Marie Ros
Down on the floor the dealers seemed pleased particularly given dismal expectations having already sold a great deal at the preview Young
Rotterdam-based gallery Joey Ramone had sold sculptures by Fotini Gouseti to English and Belgian collectors dealer Erik Mulier had also sold
some work to Belgians Marc Van den Hende said he had bought a triptych by Eirene Efstathiou and was considering a Vlassis Caniaris piece
from the 1970s ldquoI saw some surprisesmdashyoung Greek artists I did not knowmdashand great new galleries like Elika and CANrdquo Dutch collector
Anne-Marie Ros said By the end of the day Dimitra and Sofia Vamiali reported that they had not seen one Greek collector although another
reported a Dakis Joannou sighting mdash Cathryn Drake
SEARCH
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SEATTLE
WEEKLY
in the News
Columnist
Geov Parrish
is a regular
guest on
Mind Over
Matters on
KEXP-FM
(903)
Saturdays at
830 am and
provides news
commentary
on KBCS-FM
(913) Fridays
at 430 pm
Catch writers
Steve
Wiecking Tim
Appelo and
ARTS
March 30 - April 5 2005
Picking Up the Thread
Howard House ties together the best new conceptual art from Vienna
by Elise Richman
Franz Wests Mercury
(Howard House Contemporary Art)
Theres a German expression to lose the red thread which means losing
ones train of thought In its current show Howard House has found that
thread Julie Ryan a curator artist and writer organized The Red
Thread Glimpses of International Art in Vienna a two-part exhibition
featuring artists working and living at least part time in Austrias capital
Part one of the show is at Howard House the second half is currently on
display at the Educational Alliance Gallery in New York
Vienna has become a magnet for artists from all over the world including
the 15 individuals and artist teams that are part of The Red Thread
Excellent artist residency programs a low cost of living and living art
legends like Franz West are just a few of the reasons
An artistic collaboration with West took Ryan from New York to Vienna
She knows Billy Howard who runs Howard House from the University of
Washingtons School of Art And so the figurative string was strung
connecting the East and West coasts with artists from across the Atlantic
This is a complex exhibit whose emotional tenor ranges from cool
detachment to an almost urgent earnestness Unlike the formal richly
historical city that connects them artists in The Red Thread favor informal
approaches to art making use disposable materials and comment on
contemporary cultural themes
West has two formidable sculptures at Howard House The front room of the
gallery features Mercury (pictured) an ungainly behemoth composed of a
patchwork of fused metal Like many of Wests sculptures Mercury is
meant as an interactive structure that viewers can climb and sit on Bulbous
Gavin
Borchert
discussing
theater film
and music
regularly on
classical
KING-FM
(981)
Mark Fiore
Cartoons
Every
Thursday
nodules extend from its horizontal base and the seams of the dark maroon
metal look like scars rendering it at once vaguely obscene and absurdly
playful
Sisyphus the other West sculpture on display is a bulky conglomeration of
bits and wads of paper propped in the back room on a makeshift plinth (base
block) Though its as solid as the boulder its title references its surface is
like oozing skin partly coated with poured murky paint partly cloaked in
small clumps of newspaper detritus
The strenuous act of making each of these sculptures is eminently apparent
and central to the content of Wests work West considers creation a
symbolic act As you might expect he likens the artistic process to the plight
of Sisyphus the mythological figure who eternally rolled a boulder up a hill
only to have it come crashing back down For West art involves a
Sisyphean search for what he calls the absolute through the seemingly
senseless accumulation of materials However unlike Sisyphus futile quest
Wests process can lead to epiphany making sense of the senseless
Similarly Viennese artist Elisabeth Penkers art serves a facilitative
function easing the act of translation Penker uses Haida iconography in her
multimedia work because it provides potent visual symbols that
communicate single words and whole sentences simultaneously Her prints
at Howard House feature fragments of icons floating in the papers white
space They are spare visually arresting characters that employ an
iconographic language as encoded symbols of communication
Also featured in The Red Thread is Donald Baechler an internationally
known American painter who spends extended periods of time in Vienna
Baechler equalizes his imagery by painting it all in the same style For him
the source of an image doesnt matter whether its a drawing by Picasso or
graffiti on a bathroom wall What matters is the newfound context his
paintings provide
Victory by Default is part of Baechlers Skull series In this piece a painted
skull gapes from the dirty yet sensuous confines of a large canvas Terry
cloth and wrinkled rags provide literal texture and reference the world
outside the paintings boundaries Splatterings of color around the skull like
the self-conscious marks of Jasper Johns seem to express the language of
paintingmdashhue and gestural strokesmdashin a factual rather than illusional
manner
Another American painter Lisa Ruyter lives half-time in Vienna where she
runs an influential gallery She works from photographs projected onto
large-scale canvases tracing the contours of the projected imagery with
consistent black outlines In a way that seems arbitrary she paints the shapes
formed by her contour lines in flat designer colors Man of Means based on
a photo of fashion photographers looks like a scrambled color-by-numbers
painting I cant do justice to the unusually rich assortment of conceptual art
in The Red Thread Youll just have to see it for yourself Thomas
Baumans thrashing triangular foil blanket Walter Seidls slide show of
staged snapshots Markus Schinwalds photograph of a contortionist and the
other thoughtful works connected by The Red Thread
The Red Thread Glimpses of International Art in Vienna runs through
April 30 at Howard House 604 Second Ave 206- 256-6399 1030 amndash5
pm TuesndashSat Free
KUNSTFORUM
Parallelwelten fuumlr Parlamentarier Ausstellung
Von Brigitte Borchhardt-Birbaumer
Ende Oktober endet die Zusammenarbeit von Nationalratspraumlsident Andreas Khol und Peter Pakesch Direktor des Kunsthauses Graz am Joanneum Seit 2003
hatte Pakesch als Kurator mehrere Ausstellungen in den Sitzungssaumllen des Parlaments in Zusammenarbeit mit Galerien initiiert und namhafte Positionen
ausgewaumlhlt Kriterium fuumlr Praumlsentationen war die Praumlsenz durch eine Schau in einer der bekannten Kunstinstitutionen des Landes Nach Eva Schlegel Adriana
Czernin Maria Lassnig oder Esther Stocker sind dies nun bis April 2007 Josef Dabernig Daniel Hafner Ulrike Lienbacher Alois Mosbacher und Elisabeth
Penker
Das Parlament kann dabei durch die Margaretha-Lupac Stiftung immer eine Arbeit fuumlr die wachsende Sammlung des Hauses ankaufen Zuletzt war das ein
groszliges Oumll-Acryl-Gemaumllde der Georg-Eisler-Preistraumlgerin Maja Vukoje zuvor Johanna Kandl deren Temperabild derzeit an das Lentos in Linz geliehen wird
Einige Werke haumlngen schon als kuumlnstlerische Wegweiser in den Gaumlngen des Hauses und sind auch Blickfang fuumlr die 120000 Besucher die pro Jahr das
Parlament besuchen In die Architektur von Theophil Hansen mit ihrer zeitlosen Qualitaumlt fuumlgt sich die Gegenwartskunst kongenial
Hoffnung fuumlr spaumlter
Die derzeitige Zusammenstellung macht Hoffnung auf eine Fortsetzung unter der naumlchsten Praumlsidentschaft Fotografie Computerkunst Malerei Zeichnung
und Skulptur weisen auf die Vielfalt der Werkstoffe in der Gegenwartskunst Elisabeth Penker parallel im Kunsthaus Graz zu sehen baut schwarzweiszlige
Objekte aus bemaltem Holz die in ihrer seriellen und geometrischen Anordnung auf Bezuumlge zum Performativen und auf die Musik hinweisen
Noch juumlnger ist Daniel Hafner mit seinen am Computer komponierten digitalen Drucken Morphosentransformationen von 2006 Linienraster und
Raumkonstruktionen in subtiler Farbigkeit verbinden Tendenzen der fruumlhen Op-Art mit dem Cyber-Lab
Um konstruierte Realitaumlten geht es auch in den groszligformatigen Oumllbildern von Alois Mosbacher dem bekannten Vertreter der Neuen Wilden der
Achtzigerjahre in Oumlsterreich Wanderer in Wald und Wiese erzaumlhlen die Geschichten alternativer Welten die sich mancher in der Gesellschaft als Parallele
konstruiert
Zwei Fotofriese von Josef Dabernig bilden jeweils ein Panorama von oumlffentlichen Plaumltzen auf denen es zum einen um Fuszligball geht Zum anderen ist der
Rundblick in das Oval einer scheinbaren Arena auch eine Art Sehschule fuumlr die Betrachter Ein sozialer Befund ist die dritte Bedeutungsebene
Ulrike Lienbacher die heuer mit einer groszligen Schau im Innsbrucker Taxispalais ihre Karriere fortsetzt ist mit ihren feinlinigen Tuschezeichnungen den kleinen
oft unsichtbaren Zwaumlngen in unserer Gesellschaft auf der Spur Im Lokal II des Parlaments stellt sie zwar nicht ihre Objekte und Fotos aber einige
groszligformatige Blaumltter mit Frisurenvariationen neben teils fragmentierten Frauenkoumlrpern im Umgang mit Schmutz und Hygiene aber auch Fitnesskult aus
Disziplinierung und Kontrolle betreffen in der Oumlffentlichkeit besonders den weiblichen Koumlrper Sauberkeitsmechanismen weisen auch auf Vorstellungen von
wertvoll und minderwertig hin Ihre Transformationen enthalten wie die Themen der anderen subtile Kritik und sind daher vom Kurator uumlberlegt positioniert
Zeitgenoumlssische Kunst
im Parlament
Bis April 2007
Kurator Peter Pakesch
Konfrontationen
Dienstag 10 Oktober 2006
ltlt 2003 | 2004 Jan Feb Mar Apr May Jun Jul Aug Sep Oct Nov Dec 2004 | 2005 gtgt
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31
Sunday 17 October 2004
TIME
TITLE
NAME
700 Indymedia ESF breakfast show Indymedia London
Highlights news and views from the European Social Forum and the
autonomous spaces and initiatives taking place this week
website
800 Resonance Radio Art Riot Breakfast International
Radio Art
A five part special of the Harmon E Phraisyar show commissioned for
Kunstradio in Austria starts off the morning broadcast of international radio
art
website
1100 Resonance Live from the Frieze Art Fair Anna Colin amp
Tobi Maier
1100 Chris Weaver Resonance 1044FM live electronics set with James Dunn and
Robin Warren
1130 Michael Hall gallery Vienna presents audio works by artist Elisabeth Penker
1200 Maria Fusco presents latest the Bookworks commissions
1300 The Psychology of Collecting live broadcast of the frieze art fair panel
discussion
Is collecting an irrational act guided by compulsion and desire What are the use of
objects What are the motivations behind making collecting curating and
criticizing art A discussion of the psychology of collecting and the politics of taste
Hilary Rubenstein (Psychologist)
Eric Troncy (Art Critic and Director Le Consortium Dijon)
Haim Steinbach (Artist)
Chair Alice Rawsthorn (Director Design Museum)
1500 Portable live set and presentation of sudelectronic records London
1600 Where is Adventure What is Culture live broadcast of the frieze art fair
website
panel discussion
A discussion of the relationship of art to entertainment touching on the comedic
being popular and failing miserably
Trisha Donnelly (Artist)
Christian Jankowski (Artist)
David Robbins (Writer amp Artist)
Nancy Spector (Curator of Contemporary Art Solomon R Guggenheim Museum)
Chair Matthew Higgs (Curator CCA Wattis Institute for Contemporary Arts)
1800 Melissa Bent from Rivington Arms gallery New York in conversation with
artist Dan Colan and Tobi Maier Anna Colin
1830 VOX pop recordings from the fair with Sharon Gal
1900 Resonance Radio Art Riot Sarah
Washington
The Resonance Radio Art Riot brings together some of the foremost radio artists
and thinkers from around the world The studio lab situation will feature round
table discussions live performances and streamed events
Tonight Radio Text
Events Live broadcast from Sonic Arts Network Resonance benefit featuring
Henri Chopin studio performances from Julia Lee Barclay and Aude Tournay plus
Special Features None present live concrete radiophonics - Planning For
Emergencies
Guests include Clive Graham Chris Weaver Richard Thomas Toby Clarkson
John Lovett Robin Warren and James Dunn
Topics The word as art Sound poetry text performances
At Midnight Tom Wallace present exclusive excerpts from radio art pioneer
Gregory Whitehead
website
000 Resonance Radio Art Riot Nights International
Radio Art
The Resonance Radio Art riot continues throughout the night with the finest of
international radio art Resonance FM programme makers and our international
guests have put together many special hours of classic and obscure radio
works
website
- EPenkerDocumentationpdf
-
- 2bAusstellungenPublicaSpaceEPenkerpdf
-
- 2cUntitled_InstrumentsKunsthausGrazEPenker
- 2bpoeticsKunsthaus GrazEPenker
-
- 4PresseEPenkerpdf
-
- 4Review_Seattle Weekly
-
4
Vinyl letters C-Print
5
6
Polysynthetische Doppelperspektive 1 Claude Levi- Strauss
Photocolloage C-Print
7
Polysynthetische Doppelperspektive 2 Claude Levi-Strauss
Photocolloage C-Print
9
Polysynthetische Doppelperspektive 4 Claude Levi Strauss
Photocolloage C-Print
2 prints Installed in corner
Installation view Polysynthetische Doppelperspektive 1-4 Claude Levi- Strauss
The visual grammar and its double perspective (split representation) of Haida Gwai and Tlinglet Art (First Nation
Art) is re-collaged with a photograph of Pablo Picasso comparing Cubism (early Modernism) with First Nation Art
and questioning its similarities of double perspectives
10
Room 4 and 5
Room 4
11
Luicide List The museum as an imperial graveyard
C-Print
Colonial after effects of Luicide
Gips Metallkette Hose Schuh
12
No7
Mirror Split Representation Mirror framed and installed in the corner
Part 2 Room 6 and 8 Comparative Contemporary Art
4-channel sound installation
De-grammatical Listen to mp3 audio excerpts
13
Front
2 CT (shelfbenches) Acryl auf Pappelsperrholz
Back Pull Over Yukme Shirley Hall outside
14
Pull Over Yukme Shirley Hall inside
Fabric wall silk print by (Tlinglet Artist) Yukme Shirley Hall
Wo ist Elise Richter wo ist
id99149429 pdfMachine by Broadgun Software - a great PDF writer - a great PDF creator - httpwwwpdfmachinecom httpwwwbroadguncom
Im Arkadenhof der Universitaumlt Wien stehen 154 Buumlsten von bedeutenden Wissenschaftlern der
Universitaumlt Wien (1700-2005) Bedauerlicherweise findet sich unter ihnen keine einzige Frau Eine temporaumlre Buumlste einer anonymen Wissenschaftlerin soll die systematische Ausblendung von Frauen
aus der Universitaumltsgeschichte thematisieren Die offene Web- Plattform (wwweliserichterat) ermoumlglicht allen Benutzern aktiv an der Umschreibung der Universitaumltsgeschichte und an re-imaging Prozessen der Repraumlsentation dieser Buumlsten teilzunehmen Weiters wird die Verbindung von raceclassgender und einer akademischen Kariere in diesem Zusammenhang hinterfragt We can never really change any form of social organisation without challenging all that organisations forms of
language (Debord)
Within the patriarchal structures of the Arkadenhof at the University of Vienna stand 154 busts of important scientists (1700-2005) Unfortunately none of these busts are women Through the placement of a temporary bust of an anonymous female scientist it declares the absence of them within the history of the university As well the anonymous bust embodies the presence of important scientists who have not yet been given equal representation The open web-platform (wwweliserichterat) allows every user to participate in this discourse to re-write the history of the university and to re-image the representation of these busts through a wiki system
Skizze Buumlste einer anonymen Wissenschaftlerin
Mein Interesse besteht nicht darin zu recherchieren welche Buumlsten von Wissenschaftlerinnen im Arkadenhof fehlen sondern das Fehlen der Wissenschaftlerinnen im Zeitraum von 1700 bis 2005 aufzuzeigen und Strukturen fuumlr eine oumlffentliche Kommunikationsplattform zu schaffen In der Genderforschung besteht Konsens daruumlber dass Gender kein Merkmal von Individuen sondern das einer
Institution ist (Connell) zudem ein struktureller Bestandteil einer Gesellschaft ist und dass Gendernormen alle Organisationen durchdringen (Acker)
Grundriss Arkadenhof der Universitaumlt Wien Literatur Acker J (1990) Hierarchies Jobs Bodies A theory of gendered organizations In Gender and Society
Connell R (1998) Gender and Power Society the Person and Sexual Politics Stanford University Press Stanford CA Maisel T (1990) Die Denkmaumller im Arkadenhof der Universitaumlt Wien Biographische Skizzen Wien Quellen Denkmalsakten Archiv der Universitaumlt Wien
Veranstalter Open Mind Projekt Utopie Freiheit httpwwwopenmindat vereinopenmindat Projektautorin Elisabeth Penker elpenkergmxat Bronzeguss Walter Rom Wachsmodel Buumlste Elisabeth Penker Steinsockel Ausfuumlhrung Fa Zehmann Mario Jungbauer Mediendesign Gernot Tscherteu httpwwwrealitylabatwphome gtrealitylabat Techn Umsetzung Christian Langreiter Webpage wwweliserichterat
Elisabeth Penker- Franzengasse 13- 1050 Wien ++43 (0)699 197 193 53 elpenkergmxat
Elisabeth Penker Untitled instruments 1-3 2000-2012
Galerie Georg Kargl Wien Galerie Priestor Bratislava Kuumlnstlerhaus Wien Kibla New
Media Center Maribor HTTP Galerie London Secession Wien Mak Wien Roma
Contemporary Wien
Elisabeth Penker Untiled Instrument Galerie Georg Kargl Wien
Curated by Michael Hall
Elisabeth Penker Untitled instrument 2001 New Media Center Maribor
Elisabeth Penker Untitled instrument 2001 New Media Center Maribor
Elisabeth Penker Untitled instrument Kuumlnstlerhaus Wien curated by Ursula Maria Probst
Live Performance mit Celia Mare
Detail Die BILD_HAU_ER_IN Kuumlnstlerhaus Wien
Live Performance Flower Structure Wiener Festwochen
Elisabeth Penker (Untiled instrument) Van Angh (Cello) Tri Minh Electronics
Elisabeth Penker Live Performance Poetics of space Secession Wien
MAK Nail Structure GRizo Sweet Susie Elisabeth Penker
Elisabeth Penker HTTP Gallery London 2005 curated by Tobi Maier
Elisabeth Penker HTTP Gallery London Live Performance
Elisabeth Penker Untitled Instrument Sonic Structure Kunsthaus Graz curated by Adam Budak amp
Christine Peters
Videolinks
httpwwwyoutubecomusersoundart24
Interview with Video Festwochen
httpbturncom8753interview-elisabeth-penker
Kunsthaus Graz
Protections
Kuratoren Adam Budak und Christine Peters
Elisabeth Penker Poetics of Dead Space
For PROTECTIONS Elisabeth Penker developed a key-sound Poetics of Dead Space which is to a large extent a homage
to Gaston Bachelards seminal book Poetics of Space where the connections between the poetry and the spatial emotions
are analysed Penkers key-sound will guide the viewer through the exhibition mapping the overall identity of the show in
some way controlling the viewers (audio-narrative) route in the maze of art objects events situations but also spatial
voids and unused corners
Fuumlr PROTECTIONS entwickelte Elisabeth Penker einen leitmotivischen Key Sound Poetics of Dead Space der weitgehend
eine Hommage an Gaston Bachelards wegweisendes Buch Poetics of Space darstellt in dem die Verbindungen zwischen
Lyrik und raumlumlichen Emotionen analysiert werden Penkers Key Sound wird das Publikum durch die Ausstellung geleiten
die Identitaumlt der Schau in ihrer Gesamtheit erfassen und in gewisser Weise die (audio-narrative) Route des Publikums im
Labyrinth der Kunstgegenstaumlnde Ereignisse und Situationen aber auch raumlumlicher Leerstellen und ungenutzter Winkel
kontrollieren
A non linear composition 7 mono active speakers are placed through out the Kunsthaus Graz Speaker placement
1 outdoor (entrance) 2 (travelator) 3 (corner with column) 4 (corner with door) 5 (corner) 6 (travelator) 7 (corner with
window)
Poetics of Dead Space Let it grow again 28 51 sec mono
Source material for composition rain sound of dried beans dropping down wood sticks breathing hardly existing
id78338975 pdfMachine by Broadgun Software - a great PDF writer - a great PDF creator - httpwwwpdfmachinecom httpwwwbroadguncom
recording of extinct languages
Poetics of Dead Space Let it grow again 28 51 sec mono
Source material for composition rain sound of dried beans dropping down wood sticks existing recording of extinct
languages
Poetics of Dead Space travelator 1 1min 04 sec mono loop
Source material for composition staff falling down man falling down stairs rattern recording untitled instrument
Background existing recording of extinct languages
Poetics of Dead Space 496 1min 409 sec mono loop
Source material for composition recording untitled instrument Background existing recording of extinct languages
Poetics of Dead Space 129525 1min 4888 sec mono loop
Source material for composition recording untitled instrument Background existing recording of extinct languages
Poetics of Dead Space 129525 1min 4888 sec mono loop
Source material for composition keyboard recording untitled instrument Background existing recording of extinct
languages
Poetics of Dead Space travelator 2 1min 5209 sec mono loop
Source material for composition recording untitled instrument violin Background existing recording of extinct
languages
Poetics of Dead Space2152518125220 1min 3200 sec mono loop
Source material for composition recording untitled instrument Background existing recording of library of extinct
languages
Poetics of Dead Space travelator 1 1min 04 sec mono loop
viewing down from upstairs Source material for composition staff falling down man falling down stairs rattern
recording untitled instrument Background existing recording of extinct languages
Poetics of Dead Space Let it grow again 028 51 sec mono
Source material for composition rain sound of coins wood sticks existing recording of extinct languages
Elisabeth Penker is a Viennese artist and musician working with sound in a sculptural context In her (subjective) tour
Penker approaches the entire anti-exhibition PROTECTIONS from an angle of its position and significance in the context
of Sound Art as located on the crossway between visual arts language and music Starting from her own house turned
into First Nation Pavillion which amongst others aims at connecting the recent discourse on cultural translation with
early avant-garde phonetic experiments Penker maps the sonic structure of Kunsthaus Graz and its (live) architecture
which for PROTECTIONS hosts an array of interdisciplinary projects with a strong audio-quality from Herwig Weisers
Death Before Disco (a micro-architecture of hyper-technological and electronic pop) through a newly created choir of
security guards for Tim Etchells Wall of Sound down to a cacophonic layers of anonimous noise generated by the
space itself and the presence of audience
Die Wiener Kuumlnstlerin und Musikerin Elisabeth Penker arbeitet mit Klang im Zusammenhang mit Bildhauerei In ihrer
(subjektiven) Fuumlhrung naumlhert sie sich der Anti-Ausstellung PROTECTIONS aus einem Blickwinkel der die Position und
Bedeutung der Klangkunst an der Kreuzung zwischen bildender Kunst Sprache und Musik verortet Von ihrem eigenen
Haus ausgehend das sich in den First Nation Pavilion verwandelt hat der u a den aktuellen Diskurs uumlber kulturelle
Uumlbersetzung mit fruumlhen phonetischen Experimenten der Avantgarde verbinden soll entwirft Penker die klangliche
Struktur des Gutshauses und seiner (Live-)Architektur die fuumlr PROTECTIONS eine Reihe von interdisziplinaumlren Projekten
mit einer starken Affinitaumlt zum Klang beherbergt von Herwig Weisers Death Before Disco (eine Mikroarchitektur aus
hyper-technoidem und elektronischem Pop) uumlber einen neu formierten Chor bestehend aus Security Guards fuumlr Tim
Etchells Wall of Sound bis zu einer Kakophonie aus anonymen Geraumluschen die vom Raum selbst und der Anwesenheit
des Publikums erzeugt werden
052813
Local Warming ATHENS
052813
AFTER A YEARLONG HIATUS the eighteenth Art-Athina hit the ground running on the evening of Thursday May 16 and the former Olympic
ldquoTae Kwon Dordquo Pavilion was packed with enthusiastic party people The fair had a more national flavor than ever this year under its new
director Alexis Caniaris the son of recently deceased artist Vlassis Caniaris whose iconic modern work has recently found great success on the
international market Of the very few foreign galleries exhibiting most were Greek-owned The Breeder gallery was dealing with the perceived
drop in the market by selling fantastic multiples by artists like Stelios Faitakis Jannis Varelas and Andreas Angelidakis at crisis-appropriate
prices ldquoNobody wants to come here now but I have already met three interested billionaire collectors today And if Greeks like you they
introduce you to their billionaire friendsrdquo raved Cologne dealer Mirko Mayer a seven-time exhibitor ldquoThat is what nobody knows There are
at least one-hundred billionaires collecting hererdquo Most international collectors were delayed several hours due to a union strike a de r igueur
mode of arrival in contemporary Greece
It was impossible to miss the exuberant activities of the DaDa Da restaurant a Greek-Austrian collaboration where artist Albert Mayr was
waving a skillet and raving nonsense while Lucas Willmann tenderized pink fillets for Wiener schnitzel ldquoThis is Viennese Actionism lightrdquo
quipped critic Sotirios Bahtsetzis Artist Natasha Papadopoulos added ldquoBut here there are hungry Greeks waitingrdquo On a table with a rotating
Sacher tort by Heacutelegravene van Duijne a sign carried the overwhelming spirit FUCK ART LETrsquoS EAT SOUVLAKI An insistent electronic beat and
pulsating light emanated from the next booth the American College of Greecersquos ldquoAthensUrgentrdquo while hooded performer Manos Tsatiris
stood against the wall with his hands tied perhaps a metaphor for the current Athenian exigency ldquoThis is not the kind of art fair scene we are
used tordquo said the Economou Collectionrsquos Annie-Claire Geisinger watching the madness
Left Artists Elisabeth Penker Michela Pelusio Petros Touloudis Panos Papadopoulos and Nino Stelzl Right Collector Anne-Marie Ros
Down on the floor the dealers seemed pleased particularly given dismal expectations having already sold a great deal at the preview Young
Rotterdam-based gallery Joey Ramone had sold sculptures by Fotini Gouseti to English and Belgian collectors dealer Erik Mulier had also sold
some work to Belgians Marc Van den Hende said he had bought a triptych by Eirene Efstathiou and was considering a Vlassis Caniaris piece
from the 1970s ldquoI saw some surprisesmdashyoung Greek artists I did not knowmdashand great new galleries like Elika and CANrdquo Dutch collector
Anne-Marie Ros said By the end of the day Dimitra and Sofia Vamiali reported that they had not seen one Greek collector although another
reported a Dakis Joannou sighting mdash Cathryn Drake
SEARCH
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SEATTLE
WEEKLY
in the News
Columnist
Geov Parrish
is a regular
guest on
Mind Over
Matters on
KEXP-FM
(903)
Saturdays at
830 am and
provides news
commentary
on KBCS-FM
(913) Fridays
at 430 pm
Catch writers
Steve
Wiecking Tim
Appelo and
ARTS
March 30 - April 5 2005
Picking Up the Thread
Howard House ties together the best new conceptual art from Vienna
by Elise Richman
Franz Wests Mercury
(Howard House Contemporary Art)
Theres a German expression to lose the red thread which means losing
ones train of thought In its current show Howard House has found that
thread Julie Ryan a curator artist and writer organized The Red
Thread Glimpses of International Art in Vienna a two-part exhibition
featuring artists working and living at least part time in Austrias capital
Part one of the show is at Howard House the second half is currently on
display at the Educational Alliance Gallery in New York
Vienna has become a magnet for artists from all over the world including
the 15 individuals and artist teams that are part of The Red Thread
Excellent artist residency programs a low cost of living and living art
legends like Franz West are just a few of the reasons
An artistic collaboration with West took Ryan from New York to Vienna
She knows Billy Howard who runs Howard House from the University of
Washingtons School of Art And so the figurative string was strung
connecting the East and West coasts with artists from across the Atlantic
This is a complex exhibit whose emotional tenor ranges from cool
detachment to an almost urgent earnestness Unlike the formal richly
historical city that connects them artists in The Red Thread favor informal
approaches to art making use disposable materials and comment on
contemporary cultural themes
West has two formidable sculptures at Howard House The front room of the
gallery features Mercury (pictured) an ungainly behemoth composed of a
patchwork of fused metal Like many of Wests sculptures Mercury is
meant as an interactive structure that viewers can climb and sit on Bulbous
Gavin
Borchert
discussing
theater film
and music
regularly on
classical
KING-FM
(981)
Mark Fiore
Cartoons
Every
Thursday
nodules extend from its horizontal base and the seams of the dark maroon
metal look like scars rendering it at once vaguely obscene and absurdly
playful
Sisyphus the other West sculpture on display is a bulky conglomeration of
bits and wads of paper propped in the back room on a makeshift plinth (base
block) Though its as solid as the boulder its title references its surface is
like oozing skin partly coated with poured murky paint partly cloaked in
small clumps of newspaper detritus
The strenuous act of making each of these sculptures is eminently apparent
and central to the content of Wests work West considers creation a
symbolic act As you might expect he likens the artistic process to the plight
of Sisyphus the mythological figure who eternally rolled a boulder up a hill
only to have it come crashing back down For West art involves a
Sisyphean search for what he calls the absolute through the seemingly
senseless accumulation of materials However unlike Sisyphus futile quest
Wests process can lead to epiphany making sense of the senseless
Similarly Viennese artist Elisabeth Penkers art serves a facilitative
function easing the act of translation Penker uses Haida iconography in her
multimedia work because it provides potent visual symbols that
communicate single words and whole sentences simultaneously Her prints
at Howard House feature fragments of icons floating in the papers white
space They are spare visually arresting characters that employ an
iconographic language as encoded symbols of communication
Also featured in The Red Thread is Donald Baechler an internationally
known American painter who spends extended periods of time in Vienna
Baechler equalizes his imagery by painting it all in the same style For him
the source of an image doesnt matter whether its a drawing by Picasso or
graffiti on a bathroom wall What matters is the newfound context his
paintings provide
Victory by Default is part of Baechlers Skull series In this piece a painted
skull gapes from the dirty yet sensuous confines of a large canvas Terry
cloth and wrinkled rags provide literal texture and reference the world
outside the paintings boundaries Splatterings of color around the skull like
the self-conscious marks of Jasper Johns seem to express the language of
paintingmdashhue and gestural strokesmdashin a factual rather than illusional
manner
Another American painter Lisa Ruyter lives half-time in Vienna where she
runs an influential gallery She works from photographs projected onto
large-scale canvases tracing the contours of the projected imagery with
consistent black outlines In a way that seems arbitrary she paints the shapes
formed by her contour lines in flat designer colors Man of Means based on
a photo of fashion photographers looks like a scrambled color-by-numbers
painting I cant do justice to the unusually rich assortment of conceptual art
in The Red Thread Youll just have to see it for yourself Thomas
Baumans thrashing triangular foil blanket Walter Seidls slide show of
staged snapshots Markus Schinwalds photograph of a contortionist and the
other thoughtful works connected by The Red Thread
The Red Thread Glimpses of International Art in Vienna runs through
April 30 at Howard House 604 Second Ave 206- 256-6399 1030 amndash5
pm TuesndashSat Free
KUNSTFORUM
Parallelwelten fuumlr Parlamentarier Ausstellung
Von Brigitte Borchhardt-Birbaumer
Ende Oktober endet die Zusammenarbeit von Nationalratspraumlsident Andreas Khol und Peter Pakesch Direktor des Kunsthauses Graz am Joanneum Seit 2003
hatte Pakesch als Kurator mehrere Ausstellungen in den Sitzungssaumllen des Parlaments in Zusammenarbeit mit Galerien initiiert und namhafte Positionen
ausgewaumlhlt Kriterium fuumlr Praumlsentationen war die Praumlsenz durch eine Schau in einer der bekannten Kunstinstitutionen des Landes Nach Eva Schlegel Adriana
Czernin Maria Lassnig oder Esther Stocker sind dies nun bis April 2007 Josef Dabernig Daniel Hafner Ulrike Lienbacher Alois Mosbacher und Elisabeth
Penker
Das Parlament kann dabei durch die Margaretha-Lupac Stiftung immer eine Arbeit fuumlr die wachsende Sammlung des Hauses ankaufen Zuletzt war das ein
groszliges Oumll-Acryl-Gemaumllde der Georg-Eisler-Preistraumlgerin Maja Vukoje zuvor Johanna Kandl deren Temperabild derzeit an das Lentos in Linz geliehen wird
Einige Werke haumlngen schon als kuumlnstlerische Wegweiser in den Gaumlngen des Hauses und sind auch Blickfang fuumlr die 120000 Besucher die pro Jahr das
Parlament besuchen In die Architektur von Theophil Hansen mit ihrer zeitlosen Qualitaumlt fuumlgt sich die Gegenwartskunst kongenial
Hoffnung fuumlr spaumlter
Die derzeitige Zusammenstellung macht Hoffnung auf eine Fortsetzung unter der naumlchsten Praumlsidentschaft Fotografie Computerkunst Malerei Zeichnung
und Skulptur weisen auf die Vielfalt der Werkstoffe in der Gegenwartskunst Elisabeth Penker parallel im Kunsthaus Graz zu sehen baut schwarzweiszlige
Objekte aus bemaltem Holz die in ihrer seriellen und geometrischen Anordnung auf Bezuumlge zum Performativen und auf die Musik hinweisen
Noch juumlnger ist Daniel Hafner mit seinen am Computer komponierten digitalen Drucken Morphosentransformationen von 2006 Linienraster und
Raumkonstruktionen in subtiler Farbigkeit verbinden Tendenzen der fruumlhen Op-Art mit dem Cyber-Lab
Um konstruierte Realitaumlten geht es auch in den groszligformatigen Oumllbildern von Alois Mosbacher dem bekannten Vertreter der Neuen Wilden der
Achtzigerjahre in Oumlsterreich Wanderer in Wald und Wiese erzaumlhlen die Geschichten alternativer Welten die sich mancher in der Gesellschaft als Parallele
konstruiert
Zwei Fotofriese von Josef Dabernig bilden jeweils ein Panorama von oumlffentlichen Plaumltzen auf denen es zum einen um Fuszligball geht Zum anderen ist der
Rundblick in das Oval einer scheinbaren Arena auch eine Art Sehschule fuumlr die Betrachter Ein sozialer Befund ist die dritte Bedeutungsebene
Ulrike Lienbacher die heuer mit einer groszligen Schau im Innsbrucker Taxispalais ihre Karriere fortsetzt ist mit ihren feinlinigen Tuschezeichnungen den kleinen
oft unsichtbaren Zwaumlngen in unserer Gesellschaft auf der Spur Im Lokal II des Parlaments stellt sie zwar nicht ihre Objekte und Fotos aber einige
groszligformatige Blaumltter mit Frisurenvariationen neben teils fragmentierten Frauenkoumlrpern im Umgang mit Schmutz und Hygiene aber auch Fitnesskult aus
Disziplinierung und Kontrolle betreffen in der Oumlffentlichkeit besonders den weiblichen Koumlrper Sauberkeitsmechanismen weisen auch auf Vorstellungen von
wertvoll und minderwertig hin Ihre Transformationen enthalten wie die Themen der anderen subtile Kritik und sind daher vom Kurator uumlberlegt positioniert
Zeitgenoumlssische Kunst
im Parlament
Bis April 2007
Kurator Peter Pakesch
Konfrontationen
Dienstag 10 Oktober 2006
ltlt 2003 | 2004 Jan Feb Mar Apr May Jun Jul Aug Sep Oct Nov Dec 2004 | 2005 gtgt
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31
Sunday 17 October 2004
TIME
TITLE
NAME
700 Indymedia ESF breakfast show Indymedia London
Highlights news and views from the European Social Forum and the
autonomous spaces and initiatives taking place this week
website
800 Resonance Radio Art Riot Breakfast International
Radio Art
A five part special of the Harmon E Phraisyar show commissioned for
Kunstradio in Austria starts off the morning broadcast of international radio
art
website
1100 Resonance Live from the Frieze Art Fair Anna Colin amp
Tobi Maier
1100 Chris Weaver Resonance 1044FM live electronics set with James Dunn and
Robin Warren
1130 Michael Hall gallery Vienna presents audio works by artist Elisabeth Penker
1200 Maria Fusco presents latest the Bookworks commissions
1300 The Psychology of Collecting live broadcast of the frieze art fair panel
discussion
Is collecting an irrational act guided by compulsion and desire What are the use of
objects What are the motivations behind making collecting curating and
criticizing art A discussion of the psychology of collecting and the politics of taste
Hilary Rubenstein (Psychologist)
Eric Troncy (Art Critic and Director Le Consortium Dijon)
Haim Steinbach (Artist)
Chair Alice Rawsthorn (Director Design Museum)
1500 Portable live set and presentation of sudelectronic records London
1600 Where is Adventure What is Culture live broadcast of the frieze art fair
website
panel discussion
A discussion of the relationship of art to entertainment touching on the comedic
being popular and failing miserably
Trisha Donnelly (Artist)
Christian Jankowski (Artist)
David Robbins (Writer amp Artist)
Nancy Spector (Curator of Contemporary Art Solomon R Guggenheim Museum)
Chair Matthew Higgs (Curator CCA Wattis Institute for Contemporary Arts)
1800 Melissa Bent from Rivington Arms gallery New York in conversation with
artist Dan Colan and Tobi Maier Anna Colin
1830 VOX pop recordings from the fair with Sharon Gal
1900 Resonance Radio Art Riot Sarah
Washington
The Resonance Radio Art Riot brings together some of the foremost radio artists
and thinkers from around the world The studio lab situation will feature round
table discussions live performances and streamed events
Tonight Radio Text
Events Live broadcast from Sonic Arts Network Resonance benefit featuring
Henri Chopin studio performances from Julia Lee Barclay and Aude Tournay plus
Special Features None present live concrete radiophonics - Planning For
Emergencies
Guests include Clive Graham Chris Weaver Richard Thomas Toby Clarkson
John Lovett Robin Warren and James Dunn
Topics The word as art Sound poetry text performances
At Midnight Tom Wallace present exclusive excerpts from radio art pioneer
Gregory Whitehead
website
000 Resonance Radio Art Riot Nights International
Radio Art
The Resonance Radio Art riot continues throughout the night with the finest of
international radio art Resonance FM programme makers and our international
guests have put together many special hours of classic and obscure radio
works
website
- EPenkerDocumentationpdf
-
- 2bAusstellungenPublicaSpaceEPenkerpdf
-
- 2cUntitled_InstrumentsKunsthausGrazEPenker
- 2bpoeticsKunsthaus GrazEPenker
-
- 4PresseEPenkerpdf
-
- 4Review_Seattle Weekly
-
5
6
Polysynthetische Doppelperspektive 1 Claude Levi- Strauss
Photocolloage C-Print
7
Polysynthetische Doppelperspektive 2 Claude Levi-Strauss
Photocolloage C-Print
9
Polysynthetische Doppelperspektive 4 Claude Levi Strauss
Photocolloage C-Print
2 prints Installed in corner
Installation view Polysynthetische Doppelperspektive 1-4 Claude Levi- Strauss
The visual grammar and its double perspective (split representation) of Haida Gwai and Tlinglet Art (First Nation
Art) is re-collaged with a photograph of Pablo Picasso comparing Cubism (early Modernism) with First Nation Art
and questioning its similarities of double perspectives
10
Room 4 and 5
Room 4
11
Luicide List The museum as an imperial graveyard
C-Print
Colonial after effects of Luicide
Gips Metallkette Hose Schuh
12
No7
Mirror Split Representation Mirror framed and installed in the corner
Part 2 Room 6 and 8 Comparative Contemporary Art
4-channel sound installation
De-grammatical Listen to mp3 audio excerpts
13
Front
2 CT (shelfbenches) Acryl auf Pappelsperrholz
Back Pull Over Yukme Shirley Hall outside
14
Pull Over Yukme Shirley Hall inside
Fabric wall silk print by (Tlinglet Artist) Yukme Shirley Hall
Wo ist Elise Richter wo ist
id99149429 pdfMachine by Broadgun Software - a great PDF writer - a great PDF creator - httpwwwpdfmachinecom httpwwwbroadguncom
Im Arkadenhof der Universitaumlt Wien stehen 154 Buumlsten von bedeutenden Wissenschaftlern der
Universitaumlt Wien (1700-2005) Bedauerlicherweise findet sich unter ihnen keine einzige Frau Eine temporaumlre Buumlste einer anonymen Wissenschaftlerin soll die systematische Ausblendung von Frauen
aus der Universitaumltsgeschichte thematisieren Die offene Web- Plattform (wwweliserichterat) ermoumlglicht allen Benutzern aktiv an der Umschreibung der Universitaumltsgeschichte und an re-imaging Prozessen der Repraumlsentation dieser Buumlsten teilzunehmen Weiters wird die Verbindung von raceclassgender und einer akademischen Kariere in diesem Zusammenhang hinterfragt We can never really change any form of social organisation without challenging all that organisations forms of
language (Debord)
Within the patriarchal structures of the Arkadenhof at the University of Vienna stand 154 busts of important scientists (1700-2005) Unfortunately none of these busts are women Through the placement of a temporary bust of an anonymous female scientist it declares the absence of them within the history of the university As well the anonymous bust embodies the presence of important scientists who have not yet been given equal representation The open web-platform (wwweliserichterat) allows every user to participate in this discourse to re-write the history of the university and to re-image the representation of these busts through a wiki system
Skizze Buumlste einer anonymen Wissenschaftlerin
Mein Interesse besteht nicht darin zu recherchieren welche Buumlsten von Wissenschaftlerinnen im Arkadenhof fehlen sondern das Fehlen der Wissenschaftlerinnen im Zeitraum von 1700 bis 2005 aufzuzeigen und Strukturen fuumlr eine oumlffentliche Kommunikationsplattform zu schaffen In der Genderforschung besteht Konsens daruumlber dass Gender kein Merkmal von Individuen sondern das einer
Institution ist (Connell) zudem ein struktureller Bestandteil einer Gesellschaft ist und dass Gendernormen alle Organisationen durchdringen (Acker)
Grundriss Arkadenhof der Universitaumlt Wien Literatur Acker J (1990) Hierarchies Jobs Bodies A theory of gendered organizations In Gender and Society
Connell R (1998) Gender and Power Society the Person and Sexual Politics Stanford University Press Stanford CA Maisel T (1990) Die Denkmaumller im Arkadenhof der Universitaumlt Wien Biographische Skizzen Wien Quellen Denkmalsakten Archiv der Universitaumlt Wien
Veranstalter Open Mind Projekt Utopie Freiheit httpwwwopenmindat vereinopenmindat Projektautorin Elisabeth Penker elpenkergmxat Bronzeguss Walter Rom Wachsmodel Buumlste Elisabeth Penker Steinsockel Ausfuumlhrung Fa Zehmann Mario Jungbauer Mediendesign Gernot Tscherteu httpwwwrealitylabatwphome gtrealitylabat Techn Umsetzung Christian Langreiter Webpage wwweliserichterat
Elisabeth Penker- Franzengasse 13- 1050 Wien ++43 (0)699 197 193 53 elpenkergmxat
Elisabeth Penker Untitled instruments 1-3 2000-2012
Galerie Georg Kargl Wien Galerie Priestor Bratislava Kuumlnstlerhaus Wien Kibla New
Media Center Maribor HTTP Galerie London Secession Wien Mak Wien Roma
Contemporary Wien
Elisabeth Penker Untiled Instrument Galerie Georg Kargl Wien
Curated by Michael Hall
Elisabeth Penker Untitled instrument 2001 New Media Center Maribor
Elisabeth Penker Untitled instrument 2001 New Media Center Maribor
Elisabeth Penker Untitled instrument Kuumlnstlerhaus Wien curated by Ursula Maria Probst
Live Performance mit Celia Mare
Detail Die BILD_HAU_ER_IN Kuumlnstlerhaus Wien
Live Performance Flower Structure Wiener Festwochen
Elisabeth Penker (Untiled instrument) Van Angh (Cello) Tri Minh Electronics
Elisabeth Penker Live Performance Poetics of space Secession Wien
MAK Nail Structure GRizo Sweet Susie Elisabeth Penker
Elisabeth Penker HTTP Gallery London 2005 curated by Tobi Maier
Elisabeth Penker HTTP Gallery London Live Performance
Elisabeth Penker Untitled Instrument Sonic Structure Kunsthaus Graz curated by Adam Budak amp
Christine Peters
Videolinks
httpwwwyoutubecomusersoundart24
Interview with Video Festwochen
httpbturncom8753interview-elisabeth-penker
Kunsthaus Graz
Protections
Kuratoren Adam Budak und Christine Peters
Elisabeth Penker Poetics of Dead Space
For PROTECTIONS Elisabeth Penker developed a key-sound Poetics of Dead Space which is to a large extent a homage
to Gaston Bachelards seminal book Poetics of Space where the connections between the poetry and the spatial emotions
are analysed Penkers key-sound will guide the viewer through the exhibition mapping the overall identity of the show in
some way controlling the viewers (audio-narrative) route in the maze of art objects events situations but also spatial
voids and unused corners
Fuumlr PROTECTIONS entwickelte Elisabeth Penker einen leitmotivischen Key Sound Poetics of Dead Space der weitgehend
eine Hommage an Gaston Bachelards wegweisendes Buch Poetics of Space darstellt in dem die Verbindungen zwischen
Lyrik und raumlumlichen Emotionen analysiert werden Penkers Key Sound wird das Publikum durch die Ausstellung geleiten
die Identitaumlt der Schau in ihrer Gesamtheit erfassen und in gewisser Weise die (audio-narrative) Route des Publikums im
Labyrinth der Kunstgegenstaumlnde Ereignisse und Situationen aber auch raumlumlicher Leerstellen und ungenutzter Winkel
kontrollieren
A non linear composition 7 mono active speakers are placed through out the Kunsthaus Graz Speaker placement
1 outdoor (entrance) 2 (travelator) 3 (corner with column) 4 (corner with door) 5 (corner) 6 (travelator) 7 (corner with
window)
Poetics of Dead Space Let it grow again 28 51 sec mono
Source material for composition rain sound of dried beans dropping down wood sticks breathing hardly existing
id78338975 pdfMachine by Broadgun Software - a great PDF writer - a great PDF creator - httpwwwpdfmachinecom httpwwwbroadguncom
recording of extinct languages
Poetics of Dead Space Let it grow again 28 51 sec mono
Source material for composition rain sound of dried beans dropping down wood sticks existing recording of extinct
languages
Poetics of Dead Space travelator 1 1min 04 sec mono loop
Source material for composition staff falling down man falling down stairs rattern recording untitled instrument
Background existing recording of extinct languages
Poetics of Dead Space 496 1min 409 sec mono loop
Source material for composition recording untitled instrument Background existing recording of extinct languages
Poetics of Dead Space 129525 1min 4888 sec mono loop
Source material for composition recording untitled instrument Background existing recording of extinct languages
Poetics of Dead Space 129525 1min 4888 sec mono loop
Source material for composition keyboard recording untitled instrument Background existing recording of extinct
languages
Poetics of Dead Space travelator 2 1min 5209 sec mono loop
Source material for composition recording untitled instrument violin Background existing recording of extinct
languages
Poetics of Dead Space2152518125220 1min 3200 sec mono loop
Source material for composition recording untitled instrument Background existing recording of library of extinct
languages
Poetics of Dead Space travelator 1 1min 04 sec mono loop
viewing down from upstairs Source material for composition staff falling down man falling down stairs rattern
recording untitled instrument Background existing recording of extinct languages
Poetics of Dead Space Let it grow again 028 51 sec mono
Source material for composition rain sound of coins wood sticks existing recording of extinct languages
Elisabeth Penker is a Viennese artist and musician working with sound in a sculptural context In her (subjective) tour
Penker approaches the entire anti-exhibition PROTECTIONS from an angle of its position and significance in the context
of Sound Art as located on the crossway between visual arts language and music Starting from her own house turned
into First Nation Pavillion which amongst others aims at connecting the recent discourse on cultural translation with
early avant-garde phonetic experiments Penker maps the sonic structure of Kunsthaus Graz and its (live) architecture
which for PROTECTIONS hosts an array of interdisciplinary projects with a strong audio-quality from Herwig Weisers
Death Before Disco (a micro-architecture of hyper-technological and electronic pop) through a newly created choir of
security guards for Tim Etchells Wall of Sound down to a cacophonic layers of anonimous noise generated by the
space itself and the presence of audience
Die Wiener Kuumlnstlerin und Musikerin Elisabeth Penker arbeitet mit Klang im Zusammenhang mit Bildhauerei In ihrer
(subjektiven) Fuumlhrung naumlhert sie sich der Anti-Ausstellung PROTECTIONS aus einem Blickwinkel der die Position und
Bedeutung der Klangkunst an der Kreuzung zwischen bildender Kunst Sprache und Musik verortet Von ihrem eigenen
Haus ausgehend das sich in den First Nation Pavilion verwandelt hat der u a den aktuellen Diskurs uumlber kulturelle
Uumlbersetzung mit fruumlhen phonetischen Experimenten der Avantgarde verbinden soll entwirft Penker die klangliche
Struktur des Gutshauses und seiner (Live-)Architektur die fuumlr PROTECTIONS eine Reihe von interdisziplinaumlren Projekten
mit einer starken Affinitaumlt zum Klang beherbergt von Herwig Weisers Death Before Disco (eine Mikroarchitektur aus
hyper-technoidem und elektronischem Pop) uumlber einen neu formierten Chor bestehend aus Security Guards fuumlr Tim
Etchells Wall of Sound bis zu einer Kakophonie aus anonymen Geraumluschen die vom Raum selbst und der Anwesenheit
des Publikums erzeugt werden
052813
Local Warming ATHENS
052813
AFTER A YEARLONG HIATUS the eighteenth Art-Athina hit the ground running on the evening of Thursday May 16 and the former Olympic
ldquoTae Kwon Dordquo Pavilion was packed with enthusiastic party people The fair had a more national flavor than ever this year under its new
director Alexis Caniaris the son of recently deceased artist Vlassis Caniaris whose iconic modern work has recently found great success on the
international market Of the very few foreign galleries exhibiting most were Greek-owned The Breeder gallery was dealing with the perceived
drop in the market by selling fantastic multiples by artists like Stelios Faitakis Jannis Varelas and Andreas Angelidakis at crisis-appropriate
prices ldquoNobody wants to come here now but I have already met three interested billionaire collectors today And if Greeks like you they
introduce you to their billionaire friendsrdquo raved Cologne dealer Mirko Mayer a seven-time exhibitor ldquoThat is what nobody knows There are
at least one-hundred billionaires collecting hererdquo Most international collectors were delayed several hours due to a union strike a de r igueur
mode of arrival in contemporary Greece
It was impossible to miss the exuberant activities of the DaDa Da restaurant a Greek-Austrian collaboration where artist Albert Mayr was
waving a skillet and raving nonsense while Lucas Willmann tenderized pink fillets for Wiener schnitzel ldquoThis is Viennese Actionism lightrdquo
quipped critic Sotirios Bahtsetzis Artist Natasha Papadopoulos added ldquoBut here there are hungry Greeks waitingrdquo On a table with a rotating
Sacher tort by Heacutelegravene van Duijne a sign carried the overwhelming spirit FUCK ART LETrsquoS EAT SOUVLAKI An insistent electronic beat and
pulsating light emanated from the next booth the American College of Greecersquos ldquoAthensUrgentrdquo while hooded performer Manos Tsatiris
stood against the wall with his hands tied perhaps a metaphor for the current Athenian exigency ldquoThis is not the kind of art fair scene we are
used tordquo said the Economou Collectionrsquos Annie-Claire Geisinger watching the madness
Left Artists Elisabeth Penker Michela Pelusio Petros Touloudis Panos Papadopoulos and Nino Stelzl Right Collector Anne-Marie Ros
Down on the floor the dealers seemed pleased particularly given dismal expectations having already sold a great deal at the preview Young
Rotterdam-based gallery Joey Ramone had sold sculptures by Fotini Gouseti to English and Belgian collectors dealer Erik Mulier had also sold
some work to Belgians Marc Van den Hende said he had bought a triptych by Eirene Efstathiou and was considering a Vlassis Caniaris piece
from the 1970s ldquoI saw some surprisesmdashyoung Greek artists I did not knowmdashand great new galleries like Elika and CANrdquo Dutch collector
Anne-Marie Ros said By the end of the day Dimitra and Sofia Vamiali reported that they had not seen one Greek collector although another
reported a Dakis Joannou sighting mdash Cathryn Drake
SEARCH
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GO
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SEATTLE
WEEKLY
in the News
Columnist
Geov Parrish
is a regular
guest on
Mind Over
Matters on
KEXP-FM
(903)
Saturdays at
830 am and
provides news
commentary
on KBCS-FM
(913) Fridays
at 430 pm
Catch writers
Steve
Wiecking Tim
Appelo and
ARTS
March 30 - April 5 2005
Picking Up the Thread
Howard House ties together the best new conceptual art from Vienna
by Elise Richman
Franz Wests Mercury
(Howard House Contemporary Art)
Theres a German expression to lose the red thread which means losing
ones train of thought In its current show Howard House has found that
thread Julie Ryan a curator artist and writer organized The Red
Thread Glimpses of International Art in Vienna a two-part exhibition
featuring artists working and living at least part time in Austrias capital
Part one of the show is at Howard House the second half is currently on
display at the Educational Alliance Gallery in New York
Vienna has become a magnet for artists from all over the world including
the 15 individuals and artist teams that are part of The Red Thread
Excellent artist residency programs a low cost of living and living art
legends like Franz West are just a few of the reasons
An artistic collaboration with West took Ryan from New York to Vienna
She knows Billy Howard who runs Howard House from the University of
Washingtons School of Art And so the figurative string was strung
connecting the East and West coasts with artists from across the Atlantic
This is a complex exhibit whose emotional tenor ranges from cool
detachment to an almost urgent earnestness Unlike the formal richly
historical city that connects them artists in The Red Thread favor informal
approaches to art making use disposable materials and comment on
contemporary cultural themes
West has two formidable sculptures at Howard House The front room of the
gallery features Mercury (pictured) an ungainly behemoth composed of a
patchwork of fused metal Like many of Wests sculptures Mercury is
meant as an interactive structure that viewers can climb and sit on Bulbous
Gavin
Borchert
discussing
theater film
and music
regularly on
classical
KING-FM
(981)
Mark Fiore
Cartoons
Every
Thursday
nodules extend from its horizontal base and the seams of the dark maroon
metal look like scars rendering it at once vaguely obscene and absurdly
playful
Sisyphus the other West sculpture on display is a bulky conglomeration of
bits and wads of paper propped in the back room on a makeshift plinth (base
block) Though its as solid as the boulder its title references its surface is
like oozing skin partly coated with poured murky paint partly cloaked in
small clumps of newspaper detritus
The strenuous act of making each of these sculptures is eminently apparent
and central to the content of Wests work West considers creation a
symbolic act As you might expect he likens the artistic process to the plight
of Sisyphus the mythological figure who eternally rolled a boulder up a hill
only to have it come crashing back down For West art involves a
Sisyphean search for what he calls the absolute through the seemingly
senseless accumulation of materials However unlike Sisyphus futile quest
Wests process can lead to epiphany making sense of the senseless
Similarly Viennese artist Elisabeth Penkers art serves a facilitative
function easing the act of translation Penker uses Haida iconography in her
multimedia work because it provides potent visual symbols that
communicate single words and whole sentences simultaneously Her prints
at Howard House feature fragments of icons floating in the papers white
space They are spare visually arresting characters that employ an
iconographic language as encoded symbols of communication
Also featured in The Red Thread is Donald Baechler an internationally
known American painter who spends extended periods of time in Vienna
Baechler equalizes his imagery by painting it all in the same style For him
the source of an image doesnt matter whether its a drawing by Picasso or
graffiti on a bathroom wall What matters is the newfound context his
paintings provide
Victory by Default is part of Baechlers Skull series In this piece a painted
skull gapes from the dirty yet sensuous confines of a large canvas Terry
cloth and wrinkled rags provide literal texture and reference the world
outside the paintings boundaries Splatterings of color around the skull like
the self-conscious marks of Jasper Johns seem to express the language of
paintingmdashhue and gestural strokesmdashin a factual rather than illusional
manner
Another American painter Lisa Ruyter lives half-time in Vienna where she
runs an influential gallery She works from photographs projected onto
large-scale canvases tracing the contours of the projected imagery with
consistent black outlines In a way that seems arbitrary she paints the shapes
formed by her contour lines in flat designer colors Man of Means based on
a photo of fashion photographers looks like a scrambled color-by-numbers
painting I cant do justice to the unusually rich assortment of conceptual art
in The Red Thread Youll just have to see it for yourself Thomas
Baumans thrashing triangular foil blanket Walter Seidls slide show of
staged snapshots Markus Schinwalds photograph of a contortionist and the
other thoughtful works connected by The Red Thread
The Red Thread Glimpses of International Art in Vienna runs through
April 30 at Howard House 604 Second Ave 206- 256-6399 1030 amndash5
pm TuesndashSat Free
KUNSTFORUM
Parallelwelten fuumlr Parlamentarier Ausstellung
Von Brigitte Borchhardt-Birbaumer
Ende Oktober endet die Zusammenarbeit von Nationalratspraumlsident Andreas Khol und Peter Pakesch Direktor des Kunsthauses Graz am Joanneum Seit 2003
hatte Pakesch als Kurator mehrere Ausstellungen in den Sitzungssaumllen des Parlaments in Zusammenarbeit mit Galerien initiiert und namhafte Positionen
ausgewaumlhlt Kriterium fuumlr Praumlsentationen war die Praumlsenz durch eine Schau in einer der bekannten Kunstinstitutionen des Landes Nach Eva Schlegel Adriana
Czernin Maria Lassnig oder Esther Stocker sind dies nun bis April 2007 Josef Dabernig Daniel Hafner Ulrike Lienbacher Alois Mosbacher und Elisabeth
Penker
Das Parlament kann dabei durch die Margaretha-Lupac Stiftung immer eine Arbeit fuumlr die wachsende Sammlung des Hauses ankaufen Zuletzt war das ein
groszliges Oumll-Acryl-Gemaumllde der Georg-Eisler-Preistraumlgerin Maja Vukoje zuvor Johanna Kandl deren Temperabild derzeit an das Lentos in Linz geliehen wird
Einige Werke haumlngen schon als kuumlnstlerische Wegweiser in den Gaumlngen des Hauses und sind auch Blickfang fuumlr die 120000 Besucher die pro Jahr das
Parlament besuchen In die Architektur von Theophil Hansen mit ihrer zeitlosen Qualitaumlt fuumlgt sich die Gegenwartskunst kongenial
Hoffnung fuumlr spaumlter
Die derzeitige Zusammenstellung macht Hoffnung auf eine Fortsetzung unter der naumlchsten Praumlsidentschaft Fotografie Computerkunst Malerei Zeichnung
und Skulptur weisen auf die Vielfalt der Werkstoffe in der Gegenwartskunst Elisabeth Penker parallel im Kunsthaus Graz zu sehen baut schwarzweiszlige
Objekte aus bemaltem Holz die in ihrer seriellen und geometrischen Anordnung auf Bezuumlge zum Performativen und auf die Musik hinweisen
Noch juumlnger ist Daniel Hafner mit seinen am Computer komponierten digitalen Drucken Morphosentransformationen von 2006 Linienraster und
Raumkonstruktionen in subtiler Farbigkeit verbinden Tendenzen der fruumlhen Op-Art mit dem Cyber-Lab
Um konstruierte Realitaumlten geht es auch in den groszligformatigen Oumllbildern von Alois Mosbacher dem bekannten Vertreter der Neuen Wilden der
Achtzigerjahre in Oumlsterreich Wanderer in Wald und Wiese erzaumlhlen die Geschichten alternativer Welten die sich mancher in der Gesellschaft als Parallele
konstruiert
Zwei Fotofriese von Josef Dabernig bilden jeweils ein Panorama von oumlffentlichen Plaumltzen auf denen es zum einen um Fuszligball geht Zum anderen ist der
Rundblick in das Oval einer scheinbaren Arena auch eine Art Sehschule fuumlr die Betrachter Ein sozialer Befund ist die dritte Bedeutungsebene
Ulrike Lienbacher die heuer mit einer groszligen Schau im Innsbrucker Taxispalais ihre Karriere fortsetzt ist mit ihren feinlinigen Tuschezeichnungen den kleinen
oft unsichtbaren Zwaumlngen in unserer Gesellschaft auf der Spur Im Lokal II des Parlaments stellt sie zwar nicht ihre Objekte und Fotos aber einige
groszligformatige Blaumltter mit Frisurenvariationen neben teils fragmentierten Frauenkoumlrpern im Umgang mit Schmutz und Hygiene aber auch Fitnesskult aus
Disziplinierung und Kontrolle betreffen in der Oumlffentlichkeit besonders den weiblichen Koumlrper Sauberkeitsmechanismen weisen auch auf Vorstellungen von
wertvoll und minderwertig hin Ihre Transformationen enthalten wie die Themen der anderen subtile Kritik und sind daher vom Kurator uumlberlegt positioniert
Zeitgenoumlssische Kunst
im Parlament
Bis April 2007
Kurator Peter Pakesch
Konfrontationen
Dienstag 10 Oktober 2006
ltlt 2003 | 2004 Jan Feb Mar Apr May Jun Jul Aug Sep Oct Nov Dec 2004 | 2005 gtgt
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31
Sunday 17 October 2004
TIME
TITLE
NAME
700 Indymedia ESF breakfast show Indymedia London
Highlights news and views from the European Social Forum and the
autonomous spaces and initiatives taking place this week
website
800 Resonance Radio Art Riot Breakfast International
Radio Art
A five part special of the Harmon E Phraisyar show commissioned for
Kunstradio in Austria starts off the morning broadcast of international radio
art
website
1100 Resonance Live from the Frieze Art Fair Anna Colin amp
Tobi Maier
1100 Chris Weaver Resonance 1044FM live electronics set with James Dunn and
Robin Warren
1130 Michael Hall gallery Vienna presents audio works by artist Elisabeth Penker
1200 Maria Fusco presents latest the Bookworks commissions
1300 The Psychology of Collecting live broadcast of the frieze art fair panel
discussion
Is collecting an irrational act guided by compulsion and desire What are the use of
objects What are the motivations behind making collecting curating and
criticizing art A discussion of the psychology of collecting and the politics of taste
Hilary Rubenstein (Psychologist)
Eric Troncy (Art Critic and Director Le Consortium Dijon)
Haim Steinbach (Artist)
Chair Alice Rawsthorn (Director Design Museum)
1500 Portable live set and presentation of sudelectronic records London
1600 Where is Adventure What is Culture live broadcast of the frieze art fair
website
panel discussion
A discussion of the relationship of art to entertainment touching on the comedic
being popular and failing miserably
Trisha Donnelly (Artist)
Christian Jankowski (Artist)
David Robbins (Writer amp Artist)
Nancy Spector (Curator of Contemporary Art Solomon R Guggenheim Museum)
Chair Matthew Higgs (Curator CCA Wattis Institute for Contemporary Arts)
1800 Melissa Bent from Rivington Arms gallery New York in conversation with
artist Dan Colan and Tobi Maier Anna Colin
1830 VOX pop recordings from the fair with Sharon Gal
1900 Resonance Radio Art Riot Sarah
Washington
The Resonance Radio Art Riot brings together some of the foremost radio artists
and thinkers from around the world The studio lab situation will feature round
table discussions live performances and streamed events
Tonight Radio Text
Events Live broadcast from Sonic Arts Network Resonance benefit featuring
Henri Chopin studio performances from Julia Lee Barclay and Aude Tournay plus
Special Features None present live concrete radiophonics - Planning For
Emergencies
Guests include Clive Graham Chris Weaver Richard Thomas Toby Clarkson
John Lovett Robin Warren and James Dunn
Topics The word as art Sound poetry text performances
At Midnight Tom Wallace present exclusive excerpts from radio art pioneer
Gregory Whitehead
website
000 Resonance Radio Art Riot Nights International
Radio Art
The Resonance Radio Art riot continues throughout the night with the finest of
international radio art Resonance FM programme makers and our international
guests have put together many special hours of classic and obscure radio
works
website
- EPenkerDocumentationpdf
-
- 2bAusstellungenPublicaSpaceEPenkerpdf
-
- 2cUntitled_InstrumentsKunsthausGrazEPenker
- 2bpoeticsKunsthaus GrazEPenker
-
- 4PresseEPenkerpdf
-
- 4Review_Seattle Weekly
-
6
Polysynthetische Doppelperspektive 1 Claude Levi- Strauss
Photocolloage C-Print
7
Polysynthetische Doppelperspektive 2 Claude Levi-Strauss
Photocolloage C-Print
9
Polysynthetische Doppelperspektive 4 Claude Levi Strauss
Photocolloage C-Print
2 prints Installed in corner
Installation view Polysynthetische Doppelperspektive 1-4 Claude Levi- Strauss
The visual grammar and its double perspective (split representation) of Haida Gwai and Tlinglet Art (First Nation
Art) is re-collaged with a photograph of Pablo Picasso comparing Cubism (early Modernism) with First Nation Art
and questioning its similarities of double perspectives
10
Room 4 and 5
Room 4
11
Luicide List The museum as an imperial graveyard
C-Print
Colonial after effects of Luicide
Gips Metallkette Hose Schuh
12
No7
Mirror Split Representation Mirror framed and installed in the corner
Part 2 Room 6 and 8 Comparative Contemporary Art
4-channel sound installation
De-grammatical Listen to mp3 audio excerpts
13
Front
2 CT (shelfbenches) Acryl auf Pappelsperrholz
Back Pull Over Yukme Shirley Hall outside
14
Pull Over Yukme Shirley Hall inside
Fabric wall silk print by (Tlinglet Artist) Yukme Shirley Hall
Wo ist Elise Richter wo ist
id99149429 pdfMachine by Broadgun Software - a great PDF writer - a great PDF creator - httpwwwpdfmachinecom httpwwwbroadguncom
Im Arkadenhof der Universitaumlt Wien stehen 154 Buumlsten von bedeutenden Wissenschaftlern der
Universitaumlt Wien (1700-2005) Bedauerlicherweise findet sich unter ihnen keine einzige Frau Eine temporaumlre Buumlste einer anonymen Wissenschaftlerin soll die systematische Ausblendung von Frauen
aus der Universitaumltsgeschichte thematisieren Die offene Web- Plattform (wwweliserichterat) ermoumlglicht allen Benutzern aktiv an der Umschreibung der Universitaumltsgeschichte und an re-imaging Prozessen der Repraumlsentation dieser Buumlsten teilzunehmen Weiters wird die Verbindung von raceclassgender und einer akademischen Kariere in diesem Zusammenhang hinterfragt We can never really change any form of social organisation without challenging all that organisations forms of
language (Debord)
Within the patriarchal structures of the Arkadenhof at the University of Vienna stand 154 busts of important scientists (1700-2005) Unfortunately none of these busts are women Through the placement of a temporary bust of an anonymous female scientist it declares the absence of them within the history of the university As well the anonymous bust embodies the presence of important scientists who have not yet been given equal representation The open web-platform (wwweliserichterat) allows every user to participate in this discourse to re-write the history of the university and to re-image the representation of these busts through a wiki system
Skizze Buumlste einer anonymen Wissenschaftlerin
Mein Interesse besteht nicht darin zu recherchieren welche Buumlsten von Wissenschaftlerinnen im Arkadenhof fehlen sondern das Fehlen der Wissenschaftlerinnen im Zeitraum von 1700 bis 2005 aufzuzeigen und Strukturen fuumlr eine oumlffentliche Kommunikationsplattform zu schaffen In der Genderforschung besteht Konsens daruumlber dass Gender kein Merkmal von Individuen sondern das einer
Institution ist (Connell) zudem ein struktureller Bestandteil einer Gesellschaft ist und dass Gendernormen alle Organisationen durchdringen (Acker)
Grundriss Arkadenhof der Universitaumlt Wien Literatur Acker J (1990) Hierarchies Jobs Bodies A theory of gendered organizations In Gender and Society
Connell R (1998) Gender and Power Society the Person and Sexual Politics Stanford University Press Stanford CA Maisel T (1990) Die Denkmaumller im Arkadenhof der Universitaumlt Wien Biographische Skizzen Wien Quellen Denkmalsakten Archiv der Universitaumlt Wien
Veranstalter Open Mind Projekt Utopie Freiheit httpwwwopenmindat vereinopenmindat Projektautorin Elisabeth Penker elpenkergmxat Bronzeguss Walter Rom Wachsmodel Buumlste Elisabeth Penker Steinsockel Ausfuumlhrung Fa Zehmann Mario Jungbauer Mediendesign Gernot Tscherteu httpwwwrealitylabatwphome gtrealitylabat Techn Umsetzung Christian Langreiter Webpage wwweliserichterat
Elisabeth Penker- Franzengasse 13- 1050 Wien ++43 (0)699 197 193 53 elpenkergmxat
Elisabeth Penker Untitled instruments 1-3 2000-2012
Galerie Georg Kargl Wien Galerie Priestor Bratislava Kuumlnstlerhaus Wien Kibla New
Media Center Maribor HTTP Galerie London Secession Wien Mak Wien Roma
Contemporary Wien
Elisabeth Penker Untiled Instrument Galerie Georg Kargl Wien
Curated by Michael Hall
Elisabeth Penker Untitled instrument 2001 New Media Center Maribor
Elisabeth Penker Untitled instrument 2001 New Media Center Maribor
Elisabeth Penker Untitled instrument Kuumlnstlerhaus Wien curated by Ursula Maria Probst
Live Performance mit Celia Mare
Detail Die BILD_HAU_ER_IN Kuumlnstlerhaus Wien
Live Performance Flower Structure Wiener Festwochen
Elisabeth Penker (Untiled instrument) Van Angh (Cello) Tri Minh Electronics
Elisabeth Penker Live Performance Poetics of space Secession Wien
MAK Nail Structure GRizo Sweet Susie Elisabeth Penker
Elisabeth Penker HTTP Gallery London 2005 curated by Tobi Maier
Elisabeth Penker HTTP Gallery London Live Performance
Elisabeth Penker Untitled Instrument Sonic Structure Kunsthaus Graz curated by Adam Budak amp
Christine Peters
Videolinks
httpwwwyoutubecomusersoundart24
Interview with Video Festwochen
httpbturncom8753interview-elisabeth-penker
Kunsthaus Graz
Protections
Kuratoren Adam Budak und Christine Peters
Elisabeth Penker Poetics of Dead Space
For PROTECTIONS Elisabeth Penker developed a key-sound Poetics of Dead Space which is to a large extent a homage
to Gaston Bachelards seminal book Poetics of Space where the connections between the poetry and the spatial emotions
are analysed Penkers key-sound will guide the viewer through the exhibition mapping the overall identity of the show in
some way controlling the viewers (audio-narrative) route in the maze of art objects events situations but also spatial
voids and unused corners
Fuumlr PROTECTIONS entwickelte Elisabeth Penker einen leitmotivischen Key Sound Poetics of Dead Space der weitgehend
eine Hommage an Gaston Bachelards wegweisendes Buch Poetics of Space darstellt in dem die Verbindungen zwischen
Lyrik und raumlumlichen Emotionen analysiert werden Penkers Key Sound wird das Publikum durch die Ausstellung geleiten
die Identitaumlt der Schau in ihrer Gesamtheit erfassen und in gewisser Weise die (audio-narrative) Route des Publikums im
Labyrinth der Kunstgegenstaumlnde Ereignisse und Situationen aber auch raumlumlicher Leerstellen und ungenutzter Winkel
kontrollieren
A non linear composition 7 mono active speakers are placed through out the Kunsthaus Graz Speaker placement
1 outdoor (entrance) 2 (travelator) 3 (corner with column) 4 (corner with door) 5 (corner) 6 (travelator) 7 (corner with
window)
Poetics of Dead Space Let it grow again 28 51 sec mono
Source material for composition rain sound of dried beans dropping down wood sticks breathing hardly existing
id78338975 pdfMachine by Broadgun Software - a great PDF writer - a great PDF creator - httpwwwpdfmachinecom httpwwwbroadguncom
recording of extinct languages
Poetics of Dead Space Let it grow again 28 51 sec mono
Source material for composition rain sound of dried beans dropping down wood sticks existing recording of extinct
languages
Poetics of Dead Space travelator 1 1min 04 sec mono loop
Source material for composition staff falling down man falling down stairs rattern recording untitled instrument
Background existing recording of extinct languages
Poetics of Dead Space 496 1min 409 sec mono loop
Source material for composition recording untitled instrument Background existing recording of extinct languages
Poetics of Dead Space 129525 1min 4888 sec mono loop
Source material for composition recording untitled instrument Background existing recording of extinct languages
Poetics of Dead Space 129525 1min 4888 sec mono loop
Source material for composition keyboard recording untitled instrument Background existing recording of extinct
languages
Poetics of Dead Space travelator 2 1min 5209 sec mono loop
Source material for composition recording untitled instrument violin Background existing recording of extinct
languages
Poetics of Dead Space2152518125220 1min 3200 sec mono loop
Source material for composition recording untitled instrument Background existing recording of library of extinct
languages
Poetics of Dead Space travelator 1 1min 04 sec mono loop
viewing down from upstairs Source material for composition staff falling down man falling down stairs rattern
recording untitled instrument Background existing recording of extinct languages
Poetics of Dead Space Let it grow again 028 51 sec mono
Source material for composition rain sound of coins wood sticks existing recording of extinct languages
Elisabeth Penker is a Viennese artist and musician working with sound in a sculptural context In her (subjective) tour
Penker approaches the entire anti-exhibition PROTECTIONS from an angle of its position and significance in the context
of Sound Art as located on the crossway between visual arts language and music Starting from her own house turned
into First Nation Pavillion which amongst others aims at connecting the recent discourse on cultural translation with
early avant-garde phonetic experiments Penker maps the sonic structure of Kunsthaus Graz and its (live) architecture
which for PROTECTIONS hosts an array of interdisciplinary projects with a strong audio-quality from Herwig Weisers
Death Before Disco (a micro-architecture of hyper-technological and electronic pop) through a newly created choir of
security guards for Tim Etchells Wall of Sound down to a cacophonic layers of anonimous noise generated by the
space itself and the presence of audience
Die Wiener Kuumlnstlerin und Musikerin Elisabeth Penker arbeitet mit Klang im Zusammenhang mit Bildhauerei In ihrer
(subjektiven) Fuumlhrung naumlhert sie sich der Anti-Ausstellung PROTECTIONS aus einem Blickwinkel der die Position und
Bedeutung der Klangkunst an der Kreuzung zwischen bildender Kunst Sprache und Musik verortet Von ihrem eigenen
Haus ausgehend das sich in den First Nation Pavilion verwandelt hat der u a den aktuellen Diskurs uumlber kulturelle
Uumlbersetzung mit fruumlhen phonetischen Experimenten der Avantgarde verbinden soll entwirft Penker die klangliche
Struktur des Gutshauses und seiner (Live-)Architektur die fuumlr PROTECTIONS eine Reihe von interdisziplinaumlren Projekten
mit einer starken Affinitaumlt zum Klang beherbergt von Herwig Weisers Death Before Disco (eine Mikroarchitektur aus
hyper-technoidem und elektronischem Pop) uumlber einen neu formierten Chor bestehend aus Security Guards fuumlr Tim
Etchells Wall of Sound bis zu einer Kakophonie aus anonymen Geraumluschen die vom Raum selbst und der Anwesenheit
des Publikums erzeugt werden
052813
Local Warming ATHENS
052813
AFTER A YEARLONG HIATUS the eighteenth Art-Athina hit the ground running on the evening of Thursday May 16 and the former Olympic
ldquoTae Kwon Dordquo Pavilion was packed with enthusiastic party people The fair had a more national flavor than ever this year under its new
director Alexis Caniaris the son of recently deceased artist Vlassis Caniaris whose iconic modern work has recently found great success on the
international market Of the very few foreign galleries exhibiting most were Greek-owned The Breeder gallery was dealing with the perceived
drop in the market by selling fantastic multiples by artists like Stelios Faitakis Jannis Varelas and Andreas Angelidakis at crisis-appropriate
prices ldquoNobody wants to come here now but I have already met three interested billionaire collectors today And if Greeks like you they
introduce you to their billionaire friendsrdquo raved Cologne dealer Mirko Mayer a seven-time exhibitor ldquoThat is what nobody knows There are
at least one-hundred billionaires collecting hererdquo Most international collectors were delayed several hours due to a union strike a de r igueur
mode of arrival in contemporary Greece
It was impossible to miss the exuberant activities of the DaDa Da restaurant a Greek-Austrian collaboration where artist Albert Mayr was
waving a skillet and raving nonsense while Lucas Willmann tenderized pink fillets for Wiener schnitzel ldquoThis is Viennese Actionism lightrdquo
quipped critic Sotirios Bahtsetzis Artist Natasha Papadopoulos added ldquoBut here there are hungry Greeks waitingrdquo On a table with a rotating
Sacher tort by Heacutelegravene van Duijne a sign carried the overwhelming spirit FUCK ART LETrsquoS EAT SOUVLAKI An insistent electronic beat and
pulsating light emanated from the next booth the American College of Greecersquos ldquoAthensUrgentrdquo while hooded performer Manos Tsatiris
stood against the wall with his hands tied perhaps a metaphor for the current Athenian exigency ldquoThis is not the kind of art fair scene we are
used tordquo said the Economou Collectionrsquos Annie-Claire Geisinger watching the madness
Left Artists Elisabeth Penker Michela Pelusio Petros Touloudis Panos Papadopoulos and Nino Stelzl Right Collector Anne-Marie Ros
Down on the floor the dealers seemed pleased particularly given dismal expectations having already sold a great deal at the preview Young
Rotterdam-based gallery Joey Ramone had sold sculptures by Fotini Gouseti to English and Belgian collectors dealer Erik Mulier had also sold
some work to Belgians Marc Van den Hende said he had bought a triptych by Eirene Efstathiou and was considering a Vlassis Caniaris piece
from the 1970s ldquoI saw some surprisesmdashyoung Greek artists I did not knowmdashand great new galleries like Elika and CANrdquo Dutch collector
Anne-Marie Ros said By the end of the day Dimitra and Sofia Vamiali reported that they had not seen one Greek collector although another
reported a Dakis Joannou sighting mdash Cathryn Drake
SEARCH
ARTICLES
GO
Home
News
War Dead
Music
Film
Arts
Food
Diversions
Best of Seattle
About Us
Search
Classifieds
Job Mall
Special Offers
Personals
Contests
Images this
Week
Newsletter
Signup
SEATTLE
WEEKLY
in the News
Columnist
Geov Parrish
is a regular
guest on
Mind Over
Matters on
KEXP-FM
(903)
Saturdays at
830 am and
provides news
commentary
on KBCS-FM
(913) Fridays
at 430 pm
Catch writers
Steve
Wiecking Tim
Appelo and
ARTS
March 30 - April 5 2005
Picking Up the Thread
Howard House ties together the best new conceptual art from Vienna
by Elise Richman
Franz Wests Mercury
(Howard House Contemporary Art)
Theres a German expression to lose the red thread which means losing
ones train of thought In its current show Howard House has found that
thread Julie Ryan a curator artist and writer organized The Red
Thread Glimpses of International Art in Vienna a two-part exhibition
featuring artists working and living at least part time in Austrias capital
Part one of the show is at Howard House the second half is currently on
display at the Educational Alliance Gallery in New York
Vienna has become a magnet for artists from all over the world including
the 15 individuals and artist teams that are part of The Red Thread
Excellent artist residency programs a low cost of living and living art
legends like Franz West are just a few of the reasons
An artistic collaboration with West took Ryan from New York to Vienna
She knows Billy Howard who runs Howard House from the University of
Washingtons School of Art And so the figurative string was strung
connecting the East and West coasts with artists from across the Atlantic
This is a complex exhibit whose emotional tenor ranges from cool
detachment to an almost urgent earnestness Unlike the formal richly
historical city that connects them artists in The Red Thread favor informal
approaches to art making use disposable materials and comment on
contemporary cultural themes
West has two formidable sculptures at Howard House The front room of the
gallery features Mercury (pictured) an ungainly behemoth composed of a
patchwork of fused metal Like many of Wests sculptures Mercury is
meant as an interactive structure that viewers can climb and sit on Bulbous
Gavin
Borchert
discussing
theater film
and music
regularly on
classical
KING-FM
(981)
Mark Fiore
Cartoons
Every
Thursday
nodules extend from its horizontal base and the seams of the dark maroon
metal look like scars rendering it at once vaguely obscene and absurdly
playful
Sisyphus the other West sculpture on display is a bulky conglomeration of
bits and wads of paper propped in the back room on a makeshift plinth (base
block) Though its as solid as the boulder its title references its surface is
like oozing skin partly coated with poured murky paint partly cloaked in
small clumps of newspaper detritus
The strenuous act of making each of these sculptures is eminently apparent
and central to the content of Wests work West considers creation a
symbolic act As you might expect he likens the artistic process to the plight
of Sisyphus the mythological figure who eternally rolled a boulder up a hill
only to have it come crashing back down For West art involves a
Sisyphean search for what he calls the absolute through the seemingly
senseless accumulation of materials However unlike Sisyphus futile quest
Wests process can lead to epiphany making sense of the senseless
Similarly Viennese artist Elisabeth Penkers art serves a facilitative
function easing the act of translation Penker uses Haida iconography in her
multimedia work because it provides potent visual symbols that
communicate single words and whole sentences simultaneously Her prints
at Howard House feature fragments of icons floating in the papers white
space They are spare visually arresting characters that employ an
iconographic language as encoded symbols of communication
Also featured in The Red Thread is Donald Baechler an internationally
known American painter who spends extended periods of time in Vienna
Baechler equalizes his imagery by painting it all in the same style For him
the source of an image doesnt matter whether its a drawing by Picasso or
graffiti on a bathroom wall What matters is the newfound context his
paintings provide
Victory by Default is part of Baechlers Skull series In this piece a painted
skull gapes from the dirty yet sensuous confines of a large canvas Terry
cloth and wrinkled rags provide literal texture and reference the world
outside the paintings boundaries Splatterings of color around the skull like
the self-conscious marks of Jasper Johns seem to express the language of
paintingmdashhue and gestural strokesmdashin a factual rather than illusional
manner
Another American painter Lisa Ruyter lives half-time in Vienna where she
runs an influential gallery She works from photographs projected onto
large-scale canvases tracing the contours of the projected imagery with
consistent black outlines In a way that seems arbitrary she paints the shapes
formed by her contour lines in flat designer colors Man of Means based on
a photo of fashion photographers looks like a scrambled color-by-numbers
painting I cant do justice to the unusually rich assortment of conceptual art
in The Red Thread Youll just have to see it for yourself Thomas
Baumans thrashing triangular foil blanket Walter Seidls slide show of
staged snapshots Markus Schinwalds photograph of a contortionist and the
other thoughtful works connected by The Red Thread
The Red Thread Glimpses of International Art in Vienna runs through
April 30 at Howard House 604 Second Ave 206- 256-6399 1030 amndash5
pm TuesndashSat Free
KUNSTFORUM
Parallelwelten fuumlr Parlamentarier Ausstellung
Von Brigitte Borchhardt-Birbaumer
Ende Oktober endet die Zusammenarbeit von Nationalratspraumlsident Andreas Khol und Peter Pakesch Direktor des Kunsthauses Graz am Joanneum Seit 2003
hatte Pakesch als Kurator mehrere Ausstellungen in den Sitzungssaumllen des Parlaments in Zusammenarbeit mit Galerien initiiert und namhafte Positionen
ausgewaumlhlt Kriterium fuumlr Praumlsentationen war die Praumlsenz durch eine Schau in einer der bekannten Kunstinstitutionen des Landes Nach Eva Schlegel Adriana
Czernin Maria Lassnig oder Esther Stocker sind dies nun bis April 2007 Josef Dabernig Daniel Hafner Ulrike Lienbacher Alois Mosbacher und Elisabeth
Penker
Das Parlament kann dabei durch die Margaretha-Lupac Stiftung immer eine Arbeit fuumlr die wachsende Sammlung des Hauses ankaufen Zuletzt war das ein
groszliges Oumll-Acryl-Gemaumllde der Georg-Eisler-Preistraumlgerin Maja Vukoje zuvor Johanna Kandl deren Temperabild derzeit an das Lentos in Linz geliehen wird
Einige Werke haumlngen schon als kuumlnstlerische Wegweiser in den Gaumlngen des Hauses und sind auch Blickfang fuumlr die 120000 Besucher die pro Jahr das
Parlament besuchen In die Architektur von Theophil Hansen mit ihrer zeitlosen Qualitaumlt fuumlgt sich die Gegenwartskunst kongenial
Hoffnung fuumlr spaumlter
Die derzeitige Zusammenstellung macht Hoffnung auf eine Fortsetzung unter der naumlchsten Praumlsidentschaft Fotografie Computerkunst Malerei Zeichnung
und Skulptur weisen auf die Vielfalt der Werkstoffe in der Gegenwartskunst Elisabeth Penker parallel im Kunsthaus Graz zu sehen baut schwarzweiszlige
Objekte aus bemaltem Holz die in ihrer seriellen und geometrischen Anordnung auf Bezuumlge zum Performativen und auf die Musik hinweisen
Noch juumlnger ist Daniel Hafner mit seinen am Computer komponierten digitalen Drucken Morphosentransformationen von 2006 Linienraster und
Raumkonstruktionen in subtiler Farbigkeit verbinden Tendenzen der fruumlhen Op-Art mit dem Cyber-Lab
Um konstruierte Realitaumlten geht es auch in den groszligformatigen Oumllbildern von Alois Mosbacher dem bekannten Vertreter der Neuen Wilden der
Achtzigerjahre in Oumlsterreich Wanderer in Wald und Wiese erzaumlhlen die Geschichten alternativer Welten die sich mancher in der Gesellschaft als Parallele
konstruiert
Zwei Fotofriese von Josef Dabernig bilden jeweils ein Panorama von oumlffentlichen Plaumltzen auf denen es zum einen um Fuszligball geht Zum anderen ist der
Rundblick in das Oval einer scheinbaren Arena auch eine Art Sehschule fuumlr die Betrachter Ein sozialer Befund ist die dritte Bedeutungsebene
Ulrike Lienbacher die heuer mit einer groszligen Schau im Innsbrucker Taxispalais ihre Karriere fortsetzt ist mit ihren feinlinigen Tuschezeichnungen den kleinen
oft unsichtbaren Zwaumlngen in unserer Gesellschaft auf der Spur Im Lokal II des Parlaments stellt sie zwar nicht ihre Objekte und Fotos aber einige
groszligformatige Blaumltter mit Frisurenvariationen neben teils fragmentierten Frauenkoumlrpern im Umgang mit Schmutz und Hygiene aber auch Fitnesskult aus
Disziplinierung und Kontrolle betreffen in der Oumlffentlichkeit besonders den weiblichen Koumlrper Sauberkeitsmechanismen weisen auch auf Vorstellungen von
wertvoll und minderwertig hin Ihre Transformationen enthalten wie die Themen der anderen subtile Kritik und sind daher vom Kurator uumlberlegt positioniert
Zeitgenoumlssische Kunst
im Parlament
Bis April 2007
Kurator Peter Pakesch
Konfrontationen
Dienstag 10 Oktober 2006
ltlt 2003 | 2004 Jan Feb Mar Apr May Jun Jul Aug Sep Oct Nov Dec 2004 | 2005 gtgt
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31
Sunday 17 October 2004
TIME
TITLE
NAME
700 Indymedia ESF breakfast show Indymedia London
Highlights news and views from the European Social Forum and the
autonomous spaces and initiatives taking place this week
website
800 Resonance Radio Art Riot Breakfast International
Radio Art
A five part special of the Harmon E Phraisyar show commissioned for
Kunstradio in Austria starts off the morning broadcast of international radio
art
website
1100 Resonance Live from the Frieze Art Fair Anna Colin amp
Tobi Maier
1100 Chris Weaver Resonance 1044FM live electronics set with James Dunn and
Robin Warren
1130 Michael Hall gallery Vienna presents audio works by artist Elisabeth Penker
1200 Maria Fusco presents latest the Bookworks commissions
1300 The Psychology of Collecting live broadcast of the frieze art fair panel
discussion
Is collecting an irrational act guided by compulsion and desire What are the use of
objects What are the motivations behind making collecting curating and
criticizing art A discussion of the psychology of collecting and the politics of taste
Hilary Rubenstein (Psychologist)
Eric Troncy (Art Critic and Director Le Consortium Dijon)
Haim Steinbach (Artist)
Chair Alice Rawsthorn (Director Design Museum)
1500 Portable live set and presentation of sudelectronic records London
1600 Where is Adventure What is Culture live broadcast of the frieze art fair
website
panel discussion
A discussion of the relationship of art to entertainment touching on the comedic
being popular and failing miserably
Trisha Donnelly (Artist)
Christian Jankowski (Artist)
David Robbins (Writer amp Artist)
Nancy Spector (Curator of Contemporary Art Solomon R Guggenheim Museum)
Chair Matthew Higgs (Curator CCA Wattis Institute for Contemporary Arts)
1800 Melissa Bent from Rivington Arms gallery New York in conversation with
artist Dan Colan and Tobi Maier Anna Colin
1830 VOX pop recordings from the fair with Sharon Gal
1900 Resonance Radio Art Riot Sarah
Washington
The Resonance Radio Art Riot brings together some of the foremost radio artists
and thinkers from around the world The studio lab situation will feature round
table discussions live performances and streamed events
Tonight Radio Text
Events Live broadcast from Sonic Arts Network Resonance benefit featuring
Henri Chopin studio performances from Julia Lee Barclay and Aude Tournay plus
Special Features None present live concrete radiophonics - Planning For
Emergencies
Guests include Clive Graham Chris Weaver Richard Thomas Toby Clarkson
John Lovett Robin Warren and James Dunn
Topics The word as art Sound poetry text performances
At Midnight Tom Wallace present exclusive excerpts from radio art pioneer
Gregory Whitehead
website
000 Resonance Radio Art Riot Nights International
Radio Art
The Resonance Radio Art riot continues throughout the night with the finest of
international radio art Resonance FM programme makers and our international
guests have put together many special hours of classic and obscure radio
works
website
- EPenkerDocumentationpdf
-
- 2bAusstellungenPublicaSpaceEPenkerpdf
-
- 2cUntitled_InstrumentsKunsthausGrazEPenker
- 2bpoeticsKunsthaus GrazEPenker
-
- 4PresseEPenkerpdf
-
- 4Review_Seattle Weekly
-
7
Polysynthetische Doppelperspektive 2 Claude Levi-Strauss
Photocolloage C-Print
9
Polysynthetische Doppelperspektive 4 Claude Levi Strauss
Photocolloage C-Print
2 prints Installed in corner
Installation view Polysynthetische Doppelperspektive 1-4 Claude Levi- Strauss
The visual grammar and its double perspective (split representation) of Haida Gwai and Tlinglet Art (First Nation
Art) is re-collaged with a photograph of Pablo Picasso comparing Cubism (early Modernism) with First Nation Art
and questioning its similarities of double perspectives
10
Room 4 and 5
Room 4
11
Luicide List The museum as an imperial graveyard
C-Print
Colonial after effects of Luicide
Gips Metallkette Hose Schuh
12
No7
Mirror Split Representation Mirror framed and installed in the corner
Part 2 Room 6 and 8 Comparative Contemporary Art
4-channel sound installation
De-grammatical Listen to mp3 audio excerpts
13
Front
2 CT (shelfbenches) Acryl auf Pappelsperrholz
Back Pull Over Yukme Shirley Hall outside
14
Pull Over Yukme Shirley Hall inside
Fabric wall silk print by (Tlinglet Artist) Yukme Shirley Hall
Wo ist Elise Richter wo ist
id99149429 pdfMachine by Broadgun Software - a great PDF writer - a great PDF creator - httpwwwpdfmachinecom httpwwwbroadguncom
Im Arkadenhof der Universitaumlt Wien stehen 154 Buumlsten von bedeutenden Wissenschaftlern der
Universitaumlt Wien (1700-2005) Bedauerlicherweise findet sich unter ihnen keine einzige Frau Eine temporaumlre Buumlste einer anonymen Wissenschaftlerin soll die systematische Ausblendung von Frauen
aus der Universitaumltsgeschichte thematisieren Die offene Web- Plattform (wwweliserichterat) ermoumlglicht allen Benutzern aktiv an der Umschreibung der Universitaumltsgeschichte und an re-imaging Prozessen der Repraumlsentation dieser Buumlsten teilzunehmen Weiters wird die Verbindung von raceclassgender und einer akademischen Kariere in diesem Zusammenhang hinterfragt We can never really change any form of social organisation without challenging all that organisations forms of
language (Debord)
Within the patriarchal structures of the Arkadenhof at the University of Vienna stand 154 busts of important scientists (1700-2005) Unfortunately none of these busts are women Through the placement of a temporary bust of an anonymous female scientist it declares the absence of them within the history of the university As well the anonymous bust embodies the presence of important scientists who have not yet been given equal representation The open web-platform (wwweliserichterat) allows every user to participate in this discourse to re-write the history of the university and to re-image the representation of these busts through a wiki system
Skizze Buumlste einer anonymen Wissenschaftlerin
Mein Interesse besteht nicht darin zu recherchieren welche Buumlsten von Wissenschaftlerinnen im Arkadenhof fehlen sondern das Fehlen der Wissenschaftlerinnen im Zeitraum von 1700 bis 2005 aufzuzeigen und Strukturen fuumlr eine oumlffentliche Kommunikationsplattform zu schaffen In der Genderforschung besteht Konsens daruumlber dass Gender kein Merkmal von Individuen sondern das einer
Institution ist (Connell) zudem ein struktureller Bestandteil einer Gesellschaft ist und dass Gendernormen alle Organisationen durchdringen (Acker)
Grundriss Arkadenhof der Universitaumlt Wien Literatur Acker J (1990) Hierarchies Jobs Bodies A theory of gendered organizations In Gender and Society
Connell R (1998) Gender and Power Society the Person and Sexual Politics Stanford University Press Stanford CA Maisel T (1990) Die Denkmaumller im Arkadenhof der Universitaumlt Wien Biographische Skizzen Wien Quellen Denkmalsakten Archiv der Universitaumlt Wien
Veranstalter Open Mind Projekt Utopie Freiheit httpwwwopenmindat vereinopenmindat Projektautorin Elisabeth Penker elpenkergmxat Bronzeguss Walter Rom Wachsmodel Buumlste Elisabeth Penker Steinsockel Ausfuumlhrung Fa Zehmann Mario Jungbauer Mediendesign Gernot Tscherteu httpwwwrealitylabatwphome gtrealitylabat Techn Umsetzung Christian Langreiter Webpage wwweliserichterat
Elisabeth Penker- Franzengasse 13- 1050 Wien ++43 (0)699 197 193 53 elpenkergmxat
Elisabeth Penker Untitled instruments 1-3 2000-2012
Galerie Georg Kargl Wien Galerie Priestor Bratislava Kuumlnstlerhaus Wien Kibla New
Media Center Maribor HTTP Galerie London Secession Wien Mak Wien Roma
Contemporary Wien
Elisabeth Penker Untiled Instrument Galerie Georg Kargl Wien
Curated by Michael Hall
Elisabeth Penker Untitled instrument 2001 New Media Center Maribor
Elisabeth Penker Untitled instrument 2001 New Media Center Maribor
Elisabeth Penker Untitled instrument Kuumlnstlerhaus Wien curated by Ursula Maria Probst
Live Performance mit Celia Mare
Detail Die BILD_HAU_ER_IN Kuumlnstlerhaus Wien
Live Performance Flower Structure Wiener Festwochen
Elisabeth Penker (Untiled instrument) Van Angh (Cello) Tri Minh Electronics
Elisabeth Penker Live Performance Poetics of space Secession Wien
MAK Nail Structure GRizo Sweet Susie Elisabeth Penker
Elisabeth Penker HTTP Gallery London 2005 curated by Tobi Maier
Elisabeth Penker HTTP Gallery London Live Performance
Elisabeth Penker Untitled Instrument Sonic Structure Kunsthaus Graz curated by Adam Budak amp
Christine Peters
Videolinks
httpwwwyoutubecomusersoundart24
Interview with Video Festwochen
httpbturncom8753interview-elisabeth-penker
Kunsthaus Graz
Protections
Kuratoren Adam Budak und Christine Peters
Elisabeth Penker Poetics of Dead Space
For PROTECTIONS Elisabeth Penker developed a key-sound Poetics of Dead Space which is to a large extent a homage
to Gaston Bachelards seminal book Poetics of Space where the connections between the poetry and the spatial emotions
are analysed Penkers key-sound will guide the viewer through the exhibition mapping the overall identity of the show in
some way controlling the viewers (audio-narrative) route in the maze of art objects events situations but also spatial
voids and unused corners
Fuumlr PROTECTIONS entwickelte Elisabeth Penker einen leitmotivischen Key Sound Poetics of Dead Space der weitgehend
eine Hommage an Gaston Bachelards wegweisendes Buch Poetics of Space darstellt in dem die Verbindungen zwischen
Lyrik und raumlumlichen Emotionen analysiert werden Penkers Key Sound wird das Publikum durch die Ausstellung geleiten
die Identitaumlt der Schau in ihrer Gesamtheit erfassen und in gewisser Weise die (audio-narrative) Route des Publikums im
Labyrinth der Kunstgegenstaumlnde Ereignisse und Situationen aber auch raumlumlicher Leerstellen und ungenutzter Winkel
kontrollieren
A non linear composition 7 mono active speakers are placed through out the Kunsthaus Graz Speaker placement
1 outdoor (entrance) 2 (travelator) 3 (corner with column) 4 (corner with door) 5 (corner) 6 (travelator) 7 (corner with
window)
Poetics of Dead Space Let it grow again 28 51 sec mono
Source material for composition rain sound of dried beans dropping down wood sticks breathing hardly existing
id78338975 pdfMachine by Broadgun Software - a great PDF writer - a great PDF creator - httpwwwpdfmachinecom httpwwwbroadguncom
recording of extinct languages
Poetics of Dead Space Let it grow again 28 51 sec mono
Source material for composition rain sound of dried beans dropping down wood sticks existing recording of extinct
languages
Poetics of Dead Space travelator 1 1min 04 sec mono loop
Source material for composition staff falling down man falling down stairs rattern recording untitled instrument
Background existing recording of extinct languages
Poetics of Dead Space 496 1min 409 sec mono loop
Source material for composition recording untitled instrument Background existing recording of extinct languages
Poetics of Dead Space 129525 1min 4888 sec mono loop
Source material for composition recording untitled instrument Background existing recording of extinct languages
Poetics of Dead Space 129525 1min 4888 sec mono loop
Source material for composition keyboard recording untitled instrument Background existing recording of extinct
languages
Poetics of Dead Space travelator 2 1min 5209 sec mono loop
Source material for composition recording untitled instrument violin Background existing recording of extinct
languages
Poetics of Dead Space2152518125220 1min 3200 sec mono loop
Source material for composition recording untitled instrument Background existing recording of library of extinct
languages
Poetics of Dead Space travelator 1 1min 04 sec mono loop
viewing down from upstairs Source material for composition staff falling down man falling down stairs rattern
recording untitled instrument Background existing recording of extinct languages
Poetics of Dead Space Let it grow again 028 51 sec mono
Source material for composition rain sound of coins wood sticks existing recording of extinct languages
Elisabeth Penker is a Viennese artist and musician working with sound in a sculptural context In her (subjective) tour
Penker approaches the entire anti-exhibition PROTECTIONS from an angle of its position and significance in the context
of Sound Art as located on the crossway between visual arts language and music Starting from her own house turned
into First Nation Pavillion which amongst others aims at connecting the recent discourse on cultural translation with
early avant-garde phonetic experiments Penker maps the sonic structure of Kunsthaus Graz and its (live) architecture
which for PROTECTIONS hosts an array of interdisciplinary projects with a strong audio-quality from Herwig Weisers
Death Before Disco (a micro-architecture of hyper-technological and electronic pop) through a newly created choir of
security guards for Tim Etchells Wall of Sound down to a cacophonic layers of anonimous noise generated by the
space itself and the presence of audience
Die Wiener Kuumlnstlerin und Musikerin Elisabeth Penker arbeitet mit Klang im Zusammenhang mit Bildhauerei In ihrer
(subjektiven) Fuumlhrung naumlhert sie sich der Anti-Ausstellung PROTECTIONS aus einem Blickwinkel der die Position und
Bedeutung der Klangkunst an der Kreuzung zwischen bildender Kunst Sprache und Musik verortet Von ihrem eigenen
Haus ausgehend das sich in den First Nation Pavilion verwandelt hat der u a den aktuellen Diskurs uumlber kulturelle
Uumlbersetzung mit fruumlhen phonetischen Experimenten der Avantgarde verbinden soll entwirft Penker die klangliche
Struktur des Gutshauses und seiner (Live-)Architektur die fuumlr PROTECTIONS eine Reihe von interdisziplinaumlren Projekten
mit einer starken Affinitaumlt zum Klang beherbergt von Herwig Weisers Death Before Disco (eine Mikroarchitektur aus
hyper-technoidem und elektronischem Pop) uumlber einen neu formierten Chor bestehend aus Security Guards fuumlr Tim
Etchells Wall of Sound bis zu einer Kakophonie aus anonymen Geraumluschen die vom Raum selbst und der Anwesenheit
des Publikums erzeugt werden
052813
Local Warming ATHENS
052813
AFTER A YEARLONG HIATUS the eighteenth Art-Athina hit the ground running on the evening of Thursday May 16 and the former Olympic
ldquoTae Kwon Dordquo Pavilion was packed with enthusiastic party people The fair had a more national flavor than ever this year under its new
director Alexis Caniaris the son of recently deceased artist Vlassis Caniaris whose iconic modern work has recently found great success on the
international market Of the very few foreign galleries exhibiting most were Greek-owned The Breeder gallery was dealing with the perceived
drop in the market by selling fantastic multiples by artists like Stelios Faitakis Jannis Varelas and Andreas Angelidakis at crisis-appropriate
prices ldquoNobody wants to come here now but I have already met three interested billionaire collectors today And if Greeks like you they
introduce you to their billionaire friendsrdquo raved Cologne dealer Mirko Mayer a seven-time exhibitor ldquoThat is what nobody knows There are
at least one-hundred billionaires collecting hererdquo Most international collectors were delayed several hours due to a union strike a de r igueur
mode of arrival in contemporary Greece
It was impossible to miss the exuberant activities of the DaDa Da restaurant a Greek-Austrian collaboration where artist Albert Mayr was
waving a skillet and raving nonsense while Lucas Willmann tenderized pink fillets for Wiener schnitzel ldquoThis is Viennese Actionism lightrdquo
quipped critic Sotirios Bahtsetzis Artist Natasha Papadopoulos added ldquoBut here there are hungry Greeks waitingrdquo On a table with a rotating
Sacher tort by Heacutelegravene van Duijne a sign carried the overwhelming spirit FUCK ART LETrsquoS EAT SOUVLAKI An insistent electronic beat and
pulsating light emanated from the next booth the American College of Greecersquos ldquoAthensUrgentrdquo while hooded performer Manos Tsatiris
stood against the wall with his hands tied perhaps a metaphor for the current Athenian exigency ldquoThis is not the kind of art fair scene we are
used tordquo said the Economou Collectionrsquos Annie-Claire Geisinger watching the madness
Left Artists Elisabeth Penker Michela Pelusio Petros Touloudis Panos Papadopoulos and Nino Stelzl Right Collector Anne-Marie Ros
Down on the floor the dealers seemed pleased particularly given dismal expectations having already sold a great deal at the preview Young
Rotterdam-based gallery Joey Ramone had sold sculptures by Fotini Gouseti to English and Belgian collectors dealer Erik Mulier had also sold
some work to Belgians Marc Van den Hende said he had bought a triptych by Eirene Efstathiou and was considering a Vlassis Caniaris piece
from the 1970s ldquoI saw some surprisesmdashyoung Greek artists I did not knowmdashand great new galleries like Elika and CANrdquo Dutch collector
Anne-Marie Ros said By the end of the day Dimitra and Sofia Vamiali reported that they had not seen one Greek collector although another
reported a Dakis Joannou sighting mdash Cathryn Drake
SEARCH
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SEATTLE
WEEKLY
in the News
Columnist
Geov Parrish
is a regular
guest on
Mind Over
Matters on
KEXP-FM
(903)
Saturdays at
830 am and
provides news
commentary
on KBCS-FM
(913) Fridays
at 430 pm
Catch writers
Steve
Wiecking Tim
Appelo and
ARTS
March 30 - April 5 2005
Picking Up the Thread
Howard House ties together the best new conceptual art from Vienna
by Elise Richman
Franz Wests Mercury
(Howard House Contemporary Art)
Theres a German expression to lose the red thread which means losing
ones train of thought In its current show Howard House has found that
thread Julie Ryan a curator artist and writer organized The Red
Thread Glimpses of International Art in Vienna a two-part exhibition
featuring artists working and living at least part time in Austrias capital
Part one of the show is at Howard House the second half is currently on
display at the Educational Alliance Gallery in New York
Vienna has become a magnet for artists from all over the world including
the 15 individuals and artist teams that are part of The Red Thread
Excellent artist residency programs a low cost of living and living art
legends like Franz West are just a few of the reasons
An artistic collaboration with West took Ryan from New York to Vienna
She knows Billy Howard who runs Howard House from the University of
Washingtons School of Art And so the figurative string was strung
connecting the East and West coasts with artists from across the Atlantic
This is a complex exhibit whose emotional tenor ranges from cool
detachment to an almost urgent earnestness Unlike the formal richly
historical city that connects them artists in The Red Thread favor informal
approaches to art making use disposable materials and comment on
contemporary cultural themes
West has two formidable sculptures at Howard House The front room of the
gallery features Mercury (pictured) an ungainly behemoth composed of a
patchwork of fused metal Like many of Wests sculptures Mercury is
meant as an interactive structure that viewers can climb and sit on Bulbous
Gavin
Borchert
discussing
theater film
and music
regularly on
classical
KING-FM
(981)
Mark Fiore
Cartoons
Every
Thursday
nodules extend from its horizontal base and the seams of the dark maroon
metal look like scars rendering it at once vaguely obscene and absurdly
playful
Sisyphus the other West sculpture on display is a bulky conglomeration of
bits and wads of paper propped in the back room on a makeshift plinth (base
block) Though its as solid as the boulder its title references its surface is
like oozing skin partly coated with poured murky paint partly cloaked in
small clumps of newspaper detritus
The strenuous act of making each of these sculptures is eminently apparent
and central to the content of Wests work West considers creation a
symbolic act As you might expect he likens the artistic process to the plight
of Sisyphus the mythological figure who eternally rolled a boulder up a hill
only to have it come crashing back down For West art involves a
Sisyphean search for what he calls the absolute through the seemingly
senseless accumulation of materials However unlike Sisyphus futile quest
Wests process can lead to epiphany making sense of the senseless
Similarly Viennese artist Elisabeth Penkers art serves a facilitative
function easing the act of translation Penker uses Haida iconography in her
multimedia work because it provides potent visual symbols that
communicate single words and whole sentences simultaneously Her prints
at Howard House feature fragments of icons floating in the papers white
space They are spare visually arresting characters that employ an
iconographic language as encoded symbols of communication
Also featured in The Red Thread is Donald Baechler an internationally
known American painter who spends extended periods of time in Vienna
Baechler equalizes his imagery by painting it all in the same style For him
the source of an image doesnt matter whether its a drawing by Picasso or
graffiti on a bathroom wall What matters is the newfound context his
paintings provide
Victory by Default is part of Baechlers Skull series In this piece a painted
skull gapes from the dirty yet sensuous confines of a large canvas Terry
cloth and wrinkled rags provide literal texture and reference the world
outside the paintings boundaries Splatterings of color around the skull like
the self-conscious marks of Jasper Johns seem to express the language of
paintingmdashhue and gestural strokesmdashin a factual rather than illusional
manner
Another American painter Lisa Ruyter lives half-time in Vienna where she
runs an influential gallery She works from photographs projected onto
large-scale canvases tracing the contours of the projected imagery with
consistent black outlines In a way that seems arbitrary she paints the shapes
formed by her contour lines in flat designer colors Man of Means based on
a photo of fashion photographers looks like a scrambled color-by-numbers
painting I cant do justice to the unusually rich assortment of conceptual art
in The Red Thread Youll just have to see it for yourself Thomas
Baumans thrashing triangular foil blanket Walter Seidls slide show of
staged snapshots Markus Schinwalds photograph of a contortionist and the
other thoughtful works connected by The Red Thread
The Red Thread Glimpses of International Art in Vienna runs through
April 30 at Howard House 604 Second Ave 206- 256-6399 1030 amndash5
pm TuesndashSat Free
KUNSTFORUM
Parallelwelten fuumlr Parlamentarier Ausstellung
Von Brigitte Borchhardt-Birbaumer
Ende Oktober endet die Zusammenarbeit von Nationalratspraumlsident Andreas Khol und Peter Pakesch Direktor des Kunsthauses Graz am Joanneum Seit 2003
hatte Pakesch als Kurator mehrere Ausstellungen in den Sitzungssaumllen des Parlaments in Zusammenarbeit mit Galerien initiiert und namhafte Positionen
ausgewaumlhlt Kriterium fuumlr Praumlsentationen war die Praumlsenz durch eine Schau in einer der bekannten Kunstinstitutionen des Landes Nach Eva Schlegel Adriana
Czernin Maria Lassnig oder Esther Stocker sind dies nun bis April 2007 Josef Dabernig Daniel Hafner Ulrike Lienbacher Alois Mosbacher und Elisabeth
Penker
Das Parlament kann dabei durch die Margaretha-Lupac Stiftung immer eine Arbeit fuumlr die wachsende Sammlung des Hauses ankaufen Zuletzt war das ein
groszliges Oumll-Acryl-Gemaumllde der Georg-Eisler-Preistraumlgerin Maja Vukoje zuvor Johanna Kandl deren Temperabild derzeit an das Lentos in Linz geliehen wird
Einige Werke haumlngen schon als kuumlnstlerische Wegweiser in den Gaumlngen des Hauses und sind auch Blickfang fuumlr die 120000 Besucher die pro Jahr das
Parlament besuchen In die Architektur von Theophil Hansen mit ihrer zeitlosen Qualitaumlt fuumlgt sich die Gegenwartskunst kongenial
Hoffnung fuumlr spaumlter
Die derzeitige Zusammenstellung macht Hoffnung auf eine Fortsetzung unter der naumlchsten Praumlsidentschaft Fotografie Computerkunst Malerei Zeichnung
und Skulptur weisen auf die Vielfalt der Werkstoffe in der Gegenwartskunst Elisabeth Penker parallel im Kunsthaus Graz zu sehen baut schwarzweiszlige
Objekte aus bemaltem Holz die in ihrer seriellen und geometrischen Anordnung auf Bezuumlge zum Performativen und auf die Musik hinweisen
Noch juumlnger ist Daniel Hafner mit seinen am Computer komponierten digitalen Drucken Morphosentransformationen von 2006 Linienraster und
Raumkonstruktionen in subtiler Farbigkeit verbinden Tendenzen der fruumlhen Op-Art mit dem Cyber-Lab
Um konstruierte Realitaumlten geht es auch in den groszligformatigen Oumllbildern von Alois Mosbacher dem bekannten Vertreter der Neuen Wilden der
Achtzigerjahre in Oumlsterreich Wanderer in Wald und Wiese erzaumlhlen die Geschichten alternativer Welten die sich mancher in der Gesellschaft als Parallele
konstruiert
Zwei Fotofriese von Josef Dabernig bilden jeweils ein Panorama von oumlffentlichen Plaumltzen auf denen es zum einen um Fuszligball geht Zum anderen ist der
Rundblick in das Oval einer scheinbaren Arena auch eine Art Sehschule fuumlr die Betrachter Ein sozialer Befund ist die dritte Bedeutungsebene
Ulrike Lienbacher die heuer mit einer groszligen Schau im Innsbrucker Taxispalais ihre Karriere fortsetzt ist mit ihren feinlinigen Tuschezeichnungen den kleinen
oft unsichtbaren Zwaumlngen in unserer Gesellschaft auf der Spur Im Lokal II des Parlaments stellt sie zwar nicht ihre Objekte und Fotos aber einige
groszligformatige Blaumltter mit Frisurenvariationen neben teils fragmentierten Frauenkoumlrpern im Umgang mit Schmutz und Hygiene aber auch Fitnesskult aus
Disziplinierung und Kontrolle betreffen in der Oumlffentlichkeit besonders den weiblichen Koumlrper Sauberkeitsmechanismen weisen auch auf Vorstellungen von
wertvoll und minderwertig hin Ihre Transformationen enthalten wie die Themen der anderen subtile Kritik und sind daher vom Kurator uumlberlegt positioniert
Zeitgenoumlssische Kunst
im Parlament
Bis April 2007
Kurator Peter Pakesch
Konfrontationen
Dienstag 10 Oktober 2006
ltlt 2003 | 2004 Jan Feb Mar Apr May Jun Jul Aug Sep Oct Nov Dec 2004 | 2005 gtgt
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31
Sunday 17 October 2004
TIME
TITLE
NAME
700 Indymedia ESF breakfast show Indymedia London
Highlights news and views from the European Social Forum and the
autonomous spaces and initiatives taking place this week
website
800 Resonance Radio Art Riot Breakfast International
Radio Art
A five part special of the Harmon E Phraisyar show commissioned for
Kunstradio in Austria starts off the morning broadcast of international radio
art
website
1100 Resonance Live from the Frieze Art Fair Anna Colin amp
Tobi Maier
1100 Chris Weaver Resonance 1044FM live electronics set with James Dunn and
Robin Warren
1130 Michael Hall gallery Vienna presents audio works by artist Elisabeth Penker
1200 Maria Fusco presents latest the Bookworks commissions
1300 The Psychology of Collecting live broadcast of the frieze art fair panel
discussion
Is collecting an irrational act guided by compulsion and desire What are the use of
objects What are the motivations behind making collecting curating and
criticizing art A discussion of the psychology of collecting and the politics of taste
Hilary Rubenstein (Psychologist)
Eric Troncy (Art Critic and Director Le Consortium Dijon)
Haim Steinbach (Artist)
Chair Alice Rawsthorn (Director Design Museum)
1500 Portable live set and presentation of sudelectronic records London
1600 Where is Adventure What is Culture live broadcast of the frieze art fair
website
panel discussion
A discussion of the relationship of art to entertainment touching on the comedic
being popular and failing miserably
Trisha Donnelly (Artist)
Christian Jankowski (Artist)
David Robbins (Writer amp Artist)
Nancy Spector (Curator of Contemporary Art Solomon R Guggenheim Museum)
Chair Matthew Higgs (Curator CCA Wattis Institute for Contemporary Arts)
1800 Melissa Bent from Rivington Arms gallery New York in conversation with
artist Dan Colan and Tobi Maier Anna Colin
1830 VOX pop recordings from the fair with Sharon Gal
1900 Resonance Radio Art Riot Sarah
Washington
The Resonance Radio Art Riot brings together some of the foremost radio artists
and thinkers from around the world The studio lab situation will feature round
table discussions live performances and streamed events
Tonight Radio Text
Events Live broadcast from Sonic Arts Network Resonance benefit featuring
Henri Chopin studio performances from Julia Lee Barclay and Aude Tournay plus
Special Features None present live concrete radiophonics - Planning For
Emergencies
Guests include Clive Graham Chris Weaver Richard Thomas Toby Clarkson
John Lovett Robin Warren and James Dunn
Topics The word as art Sound poetry text performances
At Midnight Tom Wallace present exclusive excerpts from radio art pioneer
Gregory Whitehead
website
000 Resonance Radio Art Riot Nights International
Radio Art
The Resonance Radio Art riot continues throughout the night with the finest of
international radio art Resonance FM programme makers and our international
guests have put together many special hours of classic and obscure radio
works
website
- EPenkerDocumentationpdf
-
- 2bAusstellungenPublicaSpaceEPenkerpdf
-
- 2cUntitled_InstrumentsKunsthausGrazEPenker
- 2bpoeticsKunsthaus GrazEPenker
-
- 4PresseEPenkerpdf
-
- 4Review_Seattle Weekly
-
9
Polysynthetische Doppelperspektive 4 Claude Levi Strauss
Photocolloage C-Print
2 prints Installed in corner
Installation view Polysynthetische Doppelperspektive 1-4 Claude Levi- Strauss
The visual grammar and its double perspective (split representation) of Haida Gwai and Tlinglet Art (First Nation
Art) is re-collaged with a photograph of Pablo Picasso comparing Cubism (early Modernism) with First Nation Art
and questioning its similarities of double perspectives
10
Room 4 and 5
Room 4
11
Luicide List The museum as an imperial graveyard
C-Print
Colonial after effects of Luicide
Gips Metallkette Hose Schuh
12
No7
Mirror Split Representation Mirror framed and installed in the corner
Part 2 Room 6 and 8 Comparative Contemporary Art
4-channel sound installation
De-grammatical Listen to mp3 audio excerpts
13
Front
2 CT (shelfbenches) Acryl auf Pappelsperrholz
Back Pull Over Yukme Shirley Hall outside
14
Pull Over Yukme Shirley Hall inside
Fabric wall silk print by (Tlinglet Artist) Yukme Shirley Hall
Wo ist Elise Richter wo ist
id99149429 pdfMachine by Broadgun Software - a great PDF writer - a great PDF creator - httpwwwpdfmachinecom httpwwwbroadguncom
Im Arkadenhof der Universitaumlt Wien stehen 154 Buumlsten von bedeutenden Wissenschaftlern der
Universitaumlt Wien (1700-2005) Bedauerlicherweise findet sich unter ihnen keine einzige Frau Eine temporaumlre Buumlste einer anonymen Wissenschaftlerin soll die systematische Ausblendung von Frauen
aus der Universitaumltsgeschichte thematisieren Die offene Web- Plattform (wwweliserichterat) ermoumlglicht allen Benutzern aktiv an der Umschreibung der Universitaumltsgeschichte und an re-imaging Prozessen der Repraumlsentation dieser Buumlsten teilzunehmen Weiters wird die Verbindung von raceclassgender und einer akademischen Kariere in diesem Zusammenhang hinterfragt We can never really change any form of social organisation without challenging all that organisations forms of
language (Debord)
Within the patriarchal structures of the Arkadenhof at the University of Vienna stand 154 busts of important scientists (1700-2005) Unfortunately none of these busts are women Through the placement of a temporary bust of an anonymous female scientist it declares the absence of them within the history of the university As well the anonymous bust embodies the presence of important scientists who have not yet been given equal representation The open web-platform (wwweliserichterat) allows every user to participate in this discourse to re-write the history of the university and to re-image the representation of these busts through a wiki system
Skizze Buumlste einer anonymen Wissenschaftlerin
Mein Interesse besteht nicht darin zu recherchieren welche Buumlsten von Wissenschaftlerinnen im Arkadenhof fehlen sondern das Fehlen der Wissenschaftlerinnen im Zeitraum von 1700 bis 2005 aufzuzeigen und Strukturen fuumlr eine oumlffentliche Kommunikationsplattform zu schaffen In der Genderforschung besteht Konsens daruumlber dass Gender kein Merkmal von Individuen sondern das einer
Institution ist (Connell) zudem ein struktureller Bestandteil einer Gesellschaft ist und dass Gendernormen alle Organisationen durchdringen (Acker)
Grundriss Arkadenhof der Universitaumlt Wien Literatur Acker J (1990) Hierarchies Jobs Bodies A theory of gendered organizations In Gender and Society
Connell R (1998) Gender and Power Society the Person and Sexual Politics Stanford University Press Stanford CA Maisel T (1990) Die Denkmaumller im Arkadenhof der Universitaumlt Wien Biographische Skizzen Wien Quellen Denkmalsakten Archiv der Universitaumlt Wien
Veranstalter Open Mind Projekt Utopie Freiheit httpwwwopenmindat vereinopenmindat Projektautorin Elisabeth Penker elpenkergmxat Bronzeguss Walter Rom Wachsmodel Buumlste Elisabeth Penker Steinsockel Ausfuumlhrung Fa Zehmann Mario Jungbauer Mediendesign Gernot Tscherteu httpwwwrealitylabatwphome gtrealitylabat Techn Umsetzung Christian Langreiter Webpage wwweliserichterat
Elisabeth Penker- Franzengasse 13- 1050 Wien ++43 (0)699 197 193 53 elpenkergmxat
Elisabeth Penker Untitled instruments 1-3 2000-2012
Galerie Georg Kargl Wien Galerie Priestor Bratislava Kuumlnstlerhaus Wien Kibla New
Media Center Maribor HTTP Galerie London Secession Wien Mak Wien Roma
Contemporary Wien
Elisabeth Penker Untiled Instrument Galerie Georg Kargl Wien
Curated by Michael Hall
Elisabeth Penker Untitled instrument 2001 New Media Center Maribor
Elisabeth Penker Untitled instrument 2001 New Media Center Maribor
Elisabeth Penker Untitled instrument Kuumlnstlerhaus Wien curated by Ursula Maria Probst
Live Performance mit Celia Mare
Detail Die BILD_HAU_ER_IN Kuumlnstlerhaus Wien
Live Performance Flower Structure Wiener Festwochen
Elisabeth Penker (Untiled instrument) Van Angh (Cello) Tri Minh Electronics
Elisabeth Penker Live Performance Poetics of space Secession Wien
MAK Nail Structure GRizo Sweet Susie Elisabeth Penker
Elisabeth Penker HTTP Gallery London 2005 curated by Tobi Maier
Elisabeth Penker HTTP Gallery London Live Performance
Elisabeth Penker Untitled Instrument Sonic Structure Kunsthaus Graz curated by Adam Budak amp
Christine Peters
Videolinks
httpwwwyoutubecomusersoundart24
Interview with Video Festwochen
httpbturncom8753interview-elisabeth-penker
Kunsthaus Graz
Protections
Kuratoren Adam Budak und Christine Peters
Elisabeth Penker Poetics of Dead Space
For PROTECTIONS Elisabeth Penker developed a key-sound Poetics of Dead Space which is to a large extent a homage
to Gaston Bachelards seminal book Poetics of Space where the connections between the poetry and the spatial emotions
are analysed Penkers key-sound will guide the viewer through the exhibition mapping the overall identity of the show in
some way controlling the viewers (audio-narrative) route in the maze of art objects events situations but also spatial
voids and unused corners
Fuumlr PROTECTIONS entwickelte Elisabeth Penker einen leitmotivischen Key Sound Poetics of Dead Space der weitgehend
eine Hommage an Gaston Bachelards wegweisendes Buch Poetics of Space darstellt in dem die Verbindungen zwischen
Lyrik und raumlumlichen Emotionen analysiert werden Penkers Key Sound wird das Publikum durch die Ausstellung geleiten
die Identitaumlt der Schau in ihrer Gesamtheit erfassen und in gewisser Weise die (audio-narrative) Route des Publikums im
Labyrinth der Kunstgegenstaumlnde Ereignisse und Situationen aber auch raumlumlicher Leerstellen und ungenutzter Winkel
kontrollieren
A non linear composition 7 mono active speakers are placed through out the Kunsthaus Graz Speaker placement
1 outdoor (entrance) 2 (travelator) 3 (corner with column) 4 (corner with door) 5 (corner) 6 (travelator) 7 (corner with
window)
Poetics of Dead Space Let it grow again 28 51 sec mono
Source material for composition rain sound of dried beans dropping down wood sticks breathing hardly existing
id78338975 pdfMachine by Broadgun Software - a great PDF writer - a great PDF creator - httpwwwpdfmachinecom httpwwwbroadguncom
recording of extinct languages
Poetics of Dead Space Let it grow again 28 51 sec mono
Source material for composition rain sound of dried beans dropping down wood sticks existing recording of extinct
languages
Poetics of Dead Space travelator 1 1min 04 sec mono loop
Source material for composition staff falling down man falling down stairs rattern recording untitled instrument
Background existing recording of extinct languages
Poetics of Dead Space 496 1min 409 sec mono loop
Source material for composition recording untitled instrument Background existing recording of extinct languages
Poetics of Dead Space 129525 1min 4888 sec mono loop
Source material for composition recording untitled instrument Background existing recording of extinct languages
Poetics of Dead Space 129525 1min 4888 sec mono loop
Source material for composition keyboard recording untitled instrument Background existing recording of extinct
languages
Poetics of Dead Space travelator 2 1min 5209 sec mono loop
Source material for composition recording untitled instrument violin Background existing recording of extinct
languages
Poetics of Dead Space2152518125220 1min 3200 sec mono loop
Source material for composition recording untitled instrument Background existing recording of library of extinct
languages
Poetics of Dead Space travelator 1 1min 04 sec mono loop
viewing down from upstairs Source material for composition staff falling down man falling down stairs rattern
recording untitled instrument Background existing recording of extinct languages
Poetics of Dead Space Let it grow again 028 51 sec mono
Source material for composition rain sound of coins wood sticks existing recording of extinct languages
Elisabeth Penker is a Viennese artist and musician working with sound in a sculptural context In her (subjective) tour
Penker approaches the entire anti-exhibition PROTECTIONS from an angle of its position and significance in the context
of Sound Art as located on the crossway between visual arts language and music Starting from her own house turned
into First Nation Pavillion which amongst others aims at connecting the recent discourse on cultural translation with
early avant-garde phonetic experiments Penker maps the sonic structure of Kunsthaus Graz and its (live) architecture
which for PROTECTIONS hosts an array of interdisciplinary projects with a strong audio-quality from Herwig Weisers
Death Before Disco (a micro-architecture of hyper-technological and electronic pop) through a newly created choir of
security guards for Tim Etchells Wall of Sound down to a cacophonic layers of anonimous noise generated by the
space itself and the presence of audience
Die Wiener Kuumlnstlerin und Musikerin Elisabeth Penker arbeitet mit Klang im Zusammenhang mit Bildhauerei In ihrer
(subjektiven) Fuumlhrung naumlhert sie sich der Anti-Ausstellung PROTECTIONS aus einem Blickwinkel der die Position und
Bedeutung der Klangkunst an der Kreuzung zwischen bildender Kunst Sprache und Musik verortet Von ihrem eigenen
Haus ausgehend das sich in den First Nation Pavilion verwandelt hat der u a den aktuellen Diskurs uumlber kulturelle
Uumlbersetzung mit fruumlhen phonetischen Experimenten der Avantgarde verbinden soll entwirft Penker die klangliche
Struktur des Gutshauses und seiner (Live-)Architektur die fuumlr PROTECTIONS eine Reihe von interdisziplinaumlren Projekten
mit einer starken Affinitaumlt zum Klang beherbergt von Herwig Weisers Death Before Disco (eine Mikroarchitektur aus
hyper-technoidem und elektronischem Pop) uumlber einen neu formierten Chor bestehend aus Security Guards fuumlr Tim
Etchells Wall of Sound bis zu einer Kakophonie aus anonymen Geraumluschen die vom Raum selbst und der Anwesenheit
des Publikums erzeugt werden
052813
Local Warming ATHENS
052813
AFTER A YEARLONG HIATUS the eighteenth Art-Athina hit the ground running on the evening of Thursday May 16 and the former Olympic
ldquoTae Kwon Dordquo Pavilion was packed with enthusiastic party people The fair had a more national flavor than ever this year under its new
director Alexis Caniaris the son of recently deceased artist Vlassis Caniaris whose iconic modern work has recently found great success on the
international market Of the very few foreign galleries exhibiting most were Greek-owned The Breeder gallery was dealing with the perceived
drop in the market by selling fantastic multiples by artists like Stelios Faitakis Jannis Varelas and Andreas Angelidakis at crisis-appropriate
prices ldquoNobody wants to come here now but I have already met three interested billionaire collectors today And if Greeks like you they
introduce you to their billionaire friendsrdquo raved Cologne dealer Mirko Mayer a seven-time exhibitor ldquoThat is what nobody knows There are
at least one-hundred billionaires collecting hererdquo Most international collectors were delayed several hours due to a union strike a de r igueur
mode of arrival in contemporary Greece
It was impossible to miss the exuberant activities of the DaDa Da restaurant a Greek-Austrian collaboration where artist Albert Mayr was
waving a skillet and raving nonsense while Lucas Willmann tenderized pink fillets for Wiener schnitzel ldquoThis is Viennese Actionism lightrdquo
quipped critic Sotirios Bahtsetzis Artist Natasha Papadopoulos added ldquoBut here there are hungry Greeks waitingrdquo On a table with a rotating
Sacher tort by Heacutelegravene van Duijne a sign carried the overwhelming spirit FUCK ART LETrsquoS EAT SOUVLAKI An insistent electronic beat and
pulsating light emanated from the next booth the American College of Greecersquos ldquoAthensUrgentrdquo while hooded performer Manos Tsatiris
stood against the wall with his hands tied perhaps a metaphor for the current Athenian exigency ldquoThis is not the kind of art fair scene we are
used tordquo said the Economou Collectionrsquos Annie-Claire Geisinger watching the madness
Left Artists Elisabeth Penker Michela Pelusio Petros Touloudis Panos Papadopoulos and Nino Stelzl Right Collector Anne-Marie Ros
Down on the floor the dealers seemed pleased particularly given dismal expectations having already sold a great deal at the preview Young
Rotterdam-based gallery Joey Ramone had sold sculptures by Fotini Gouseti to English and Belgian collectors dealer Erik Mulier had also sold
some work to Belgians Marc Van den Hende said he had bought a triptych by Eirene Efstathiou and was considering a Vlassis Caniaris piece
from the 1970s ldquoI saw some surprisesmdashyoung Greek artists I did not knowmdashand great new galleries like Elika and CANrdquo Dutch collector
Anne-Marie Ros said By the end of the day Dimitra and Sofia Vamiali reported that they had not seen one Greek collector although another
reported a Dakis Joannou sighting mdash Cathryn Drake
SEARCH
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SEATTLE
WEEKLY
in the News
Columnist
Geov Parrish
is a regular
guest on
Mind Over
Matters on
KEXP-FM
(903)
Saturdays at
830 am and
provides news
commentary
on KBCS-FM
(913) Fridays
at 430 pm
Catch writers
Steve
Wiecking Tim
Appelo and
ARTS
March 30 - April 5 2005
Picking Up the Thread
Howard House ties together the best new conceptual art from Vienna
by Elise Richman
Franz Wests Mercury
(Howard House Contemporary Art)
Theres a German expression to lose the red thread which means losing
ones train of thought In its current show Howard House has found that
thread Julie Ryan a curator artist and writer organized The Red
Thread Glimpses of International Art in Vienna a two-part exhibition
featuring artists working and living at least part time in Austrias capital
Part one of the show is at Howard House the second half is currently on
display at the Educational Alliance Gallery in New York
Vienna has become a magnet for artists from all over the world including
the 15 individuals and artist teams that are part of The Red Thread
Excellent artist residency programs a low cost of living and living art
legends like Franz West are just a few of the reasons
An artistic collaboration with West took Ryan from New York to Vienna
She knows Billy Howard who runs Howard House from the University of
Washingtons School of Art And so the figurative string was strung
connecting the East and West coasts with artists from across the Atlantic
This is a complex exhibit whose emotional tenor ranges from cool
detachment to an almost urgent earnestness Unlike the formal richly
historical city that connects them artists in The Red Thread favor informal
approaches to art making use disposable materials and comment on
contemporary cultural themes
West has two formidable sculptures at Howard House The front room of the
gallery features Mercury (pictured) an ungainly behemoth composed of a
patchwork of fused metal Like many of Wests sculptures Mercury is
meant as an interactive structure that viewers can climb and sit on Bulbous
Gavin
Borchert
discussing
theater film
and music
regularly on
classical
KING-FM
(981)
Mark Fiore
Cartoons
Every
Thursday
nodules extend from its horizontal base and the seams of the dark maroon
metal look like scars rendering it at once vaguely obscene and absurdly
playful
Sisyphus the other West sculpture on display is a bulky conglomeration of
bits and wads of paper propped in the back room on a makeshift plinth (base
block) Though its as solid as the boulder its title references its surface is
like oozing skin partly coated with poured murky paint partly cloaked in
small clumps of newspaper detritus
The strenuous act of making each of these sculptures is eminently apparent
and central to the content of Wests work West considers creation a
symbolic act As you might expect he likens the artistic process to the plight
of Sisyphus the mythological figure who eternally rolled a boulder up a hill
only to have it come crashing back down For West art involves a
Sisyphean search for what he calls the absolute through the seemingly
senseless accumulation of materials However unlike Sisyphus futile quest
Wests process can lead to epiphany making sense of the senseless
Similarly Viennese artist Elisabeth Penkers art serves a facilitative
function easing the act of translation Penker uses Haida iconography in her
multimedia work because it provides potent visual symbols that
communicate single words and whole sentences simultaneously Her prints
at Howard House feature fragments of icons floating in the papers white
space They are spare visually arresting characters that employ an
iconographic language as encoded symbols of communication
Also featured in The Red Thread is Donald Baechler an internationally
known American painter who spends extended periods of time in Vienna
Baechler equalizes his imagery by painting it all in the same style For him
the source of an image doesnt matter whether its a drawing by Picasso or
graffiti on a bathroom wall What matters is the newfound context his
paintings provide
Victory by Default is part of Baechlers Skull series In this piece a painted
skull gapes from the dirty yet sensuous confines of a large canvas Terry
cloth and wrinkled rags provide literal texture and reference the world
outside the paintings boundaries Splatterings of color around the skull like
the self-conscious marks of Jasper Johns seem to express the language of
paintingmdashhue and gestural strokesmdashin a factual rather than illusional
manner
Another American painter Lisa Ruyter lives half-time in Vienna where she
runs an influential gallery She works from photographs projected onto
large-scale canvases tracing the contours of the projected imagery with
consistent black outlines In a way that seems arbitrary she paints the shapes
formed by her contour lines in flat designer colors Man of Means based on
a photo of fashion photographers looks like a scrambled color-by-numbers
painting I cant do justice to the unusually rich assortment of conceptual art
in The Red Thread Youll just have to see it for yourself Thomas
Baumans thrashing triangular foil blanket Walter Seidls slide show of
staged snapshots Markus Schinwalds photograph of a contortionist and the
other thoughtful works connected by The Red Thread
The Red Thread Glimpses of International Art in Vienna runs through
April 30 at Howard House 604 Second Ave 206- 256-6399 1030 amndash5
pm TuesndashSat Free
KUNSTFORUM
Parallelwelten fuumlr Parlamentarier Ausstellung
Von Brigitte Borchhardt-Birbaumer
Ende Oktober endet die Zusammenarbeit von Nationalratspraumlsident Andreas Khol und Peter Pakesch Direktor des Kunsthauses Graz am Joanneum Seit 2003
hatte Pakesch als Kurator mehrere Ausstellungen in den Sitzungssaumllen des Parlaments in Zusammenarbeit mit Galerien initiiert und namhafte Positionen
ausgewaumlhlt Kriterium fuumlr Praumlsentationen war die Praumlsenz durch eine Schau in einer der bekannten Kunstinstitutionen des Landes Nach Eva Schlegel Adriana
Czernin Maria Lassnig oder Esther Stocker sind dies nun bis April 2007 Josef Dabernig Daniel Hafner Ulrike Lienbacher Alois Mosbacher und Elisabeth
Penker
Das Parlament kann dabei durch die Margaretha-Lupac Stiftung immer eine Arbeit fuumlr die wachsende Sammlung des Hauses ankaufen Zuletzt war das ein
groszliges Oumll-Acryl-Gemaumllde der Georg-Eisler-Preistraumlgerin Maja Vukoje zuvor Johanna Kandl deren Temperabild derzeit an das Lentos in Linz geliehen wird
Einige Werke haumlngen schon als kuumlnstlerische Wegweiser in den Gaumlngen des Hauses und sind auch Blickfang fuumlr die 120000 Besucher die pro Jahr das
Parlament besuchen In die Architektur von Theophil Hansen mit ihrer zeitlosen Qualitaumlt fuumlgt sich die Gegenwartskunst kongenial
Hoffnung fuumlr spaumlter
Die derzeitige Zusammenstellung macht Hoffnung auf eine Fortsetzung unter der naumlchsten Praumlsidentschaft Fotografie Computerkunst Malerei Zeichnung
und Skulptur weisen auf die Vielfalt der Werkstoffe in der Gegenwartskunst Elisabeth Penker parallel im Kunsthaus Graz zu sehen baut schwarzweiszlige
Objekte aus bemaltem Holz die in ihrer seriellen und geometrischen Anordnung auf Bezuumlge zum Performativen und auf die Musik hinweisen
Noch juumlnger ist Daniel Hafner mit seinen am Computer komponierten digitalen Drucken Morphosentransformationen von 2006 Linienraster und
Raumkonstruktionen in subtiler Farbigkeit verbinden Tendenzen der fruumlhen Op-Art mit dem Cyber-Lab
Um konstruierte Realitaumlten geht es auch in den groszligformatigen Oumllbildern von Alois Mosbacher dem bekannten Vertreter der Neuen Wilden der
Achtzigerjahre in Oumlsterreich Wanderer in Wald und Wiese erzaumlhlen die Geschichten alternativer Welten die sich mancher in der Gesellschaft als Parallele
konstruiert
Zwei Fotofriese von Josef Dabernig bilden jeweils ein Panorama von oumlffentlichen Plaumltzen auf denen es zum einen um Fuszligball geht Zum anderen ist der
Rundblick in das Oval einer scheinbaren Arena auch eine Art Sehschule fuumlr die Betrachter Ein sozialer Befund ist die dritte Bedeutungsebene
Ulrike Lienbacher die heuer mit einer groszligen Schau im Innsbrucker Taxispalais ihre Karriere fortsetzt ist mit ihren feinlinigen Tuschezeichnungen den kleinen
oft unsichtbaren Zwaumlngen in unserer Gesellschaft auf der Spur Im Lokal II des Parlaments stellt sie zwar nicht ihre Objekte und Fotos aber einige
groszligformatige Blaumltter mit Frisurenvariationen neben teils fragmentierten Frauenkoumlrpern im Umgang mit Schmutz und Hygiene aber auch Fitnesskult aus
Disziplinierung und Kontrolle betreffen in der Oumlffentlichkeit besonders den weiblichen Koumlrper Sauberkeitsmechanismen weisen auch auf Vorstellungen von
wertvoll und minderwertig hin Ihre Transformationen enthalten wie die Themen der anderen subtile Kritik und sind daher vom Kurator uumlberlegt positioniert
Zeitgenoumlssische Kunst
im Parlament
Bis April 2007
Kurator Peter Pakesch
Konfrontationen
Dienstag 10 Oktober 2006
ltlt 2003 | 2004 Jan Feb Mar Apr May Jun Jul Aug Sep Oct Nov Dec 2004 | 2005 gtgt
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31
Sunday 17 October 2004
TIME
TITLE
NAME
700 Indymedia ESF breakfast show Indymedia London
Highlights news and views from the European Social Forum and the
autonomous spaces and initiatives taking place this week
website
800 Resonance Radio Art Riot Breakfast International
Radio Art
A five part special of the Harmon E Phraisyar show commissioned for
Kunstradio in Austria starts off the morning broadcast of international radio
art
website
1100 Resonance Live from the Frieze Art Fair Anna Colin amp
Tobi Maier
1100 Chris Weaver Resonance 1044FM live electronics set with James Dunn and
Robin Warren
1130 Michael Hall gallery Vienna presents audio works by artist Elisabeth Penker
1200 Maria Fusco presents latest the Bookworks commissions
1300 The Psychology of Collecting live broadcast of the frieze art fair panel
discussion
Is collecting an irrational act guided by compulsion and desire What are the use of
objects What are the motivations behind making collecting curating and
criticizing art A discussion of the psychology of collecting and the politics of taste
Hilary Rubenstein (Psychologist)
Eric Troncy (Art Critic and Director Le Consortium Dijon)
Haim Steinbach (Artist)
Chair Alice Rawsthorn (Director Design Museum)
1500 Portable live set and presentation of sudelectronic records London
1600 Where is Adventure What is Culture live broadcast of the frieze art fair
website
panel discussion
A discussion of the relationship of art to entertainment touching on the comedic
being popular and failing miserably
Trisha Donnelly (Artist)
Christian Jankowski (Artist)
David Robbins (Writer amp Artist)
Nancy Spector (Curator of Contemporary Art Solomon R Guggenheim Museum)
Chair Matthew Higgs (Curator CCA Wattis Institute for Contemporary Arts)
1800 Melissa Bent from Rivington Arms gallery New York in conversation with
artist Dan Colan and Tobi Maier Anna Colin
1830 VOX pop recordings from the fair with Sharon Gal
1900 Resonance Radio Art Riot Sarah
Washington
The Resonance Radio Art Riot brings together some of the foremost radio artists
and thinkers from around the world The studio lab situation will feature round
table discussions live performances and streamed events
Tonight Radio Text
Events Live broadcast from Sonic Arts Network Resonance benefit featuring
Henri Chopin studio performances from Julia Lee Barclay and Aude Tournay plus
Special Features None present live concrete radiophonics - Planning For
Emergencies
Guests include Clive Graham Chris Weaver Richard Thomas Toby Clarkson
John Lovett Robin Warren and James Dunn
Topics The word as art Sound poetry text performances
At Midnight Tom Wallace present exclusive excerpts from radio art pioneer
Gregory Whitehead
website
000 Resonance Radio Art Riot Nights International
Radio Art
The Resonance Radio Art riot continues throughout the night with the finest of
international radio art Resonance FM programme makers and our international
guests have put together many special hours of classic and obscure radio
works
website
- EPenkerDocumentationpdf
-
- 2bAusstellungenPublicaSpaceEPenkerpdf
-
- 2cUntitled_InstrumentsKunsthausGrazEPenker
- 2bpoeticsKunsthaus GrazEPenker
-
- 4PresseEPenkerpdf
-
- 4Review_Seattle Weekly
-
10
Room 4 and 5
Room 4
11
Luicide List The museum as an imperial graveyard
C-Print
Colonial after effects of Luicide
Gips Metallkette Hose Schuh
12
No7
Mirror Split Representation Mirror framed and installed in the corner
Part 2 Room 6 and 8 Comparative Contemporary Art
4-channel sound installation
De-grammatical Listen to mp3 audio excerpts
13
Front
2 CT (shelfbenches) Acryl auf Pappelsperrholz
Back Pull Over Yukme Shirley Hall outside
14
Pull Over Yukme Shirley Hall inside
Fabric wall silk print by (Tlinglet Artist) Yukme Shirley Hall
Wo ist Elise Richter wo ist
id99149429 pdfMachine by Broadgun Software - a great PDF writer - a great PDF creator - httpwwwpdfmachinecom httpwwwbroadguncom
Im Arkadenhof der Universitaumlt Wien stehen 154 Buumlsten von bedeutenden Wissenschaftlern der
Universitaumlt Wien (1700-2005) Bedauerlicherweise findet sich unter ihnen keine einzige Frau Eine temporaumlre Buumlste einer anonymen Wissenschaftlerin soll die systematische Ausblendung von Frauen
aus der Universitaumltsgeschichte thematisieren Die offene Web- Plattform (wwweliserichterat) ermoumlglicht allen Benutzern aktiv an der Umschreibung der Universitaumltsgeschichte und an re-imaging Prozessen der Repraumlsentation dieser Buumlsten teilzunehmen Weiters wird die Verbindung von raceclassgender und einer akademischen Kariere in diesem Zusammenhang hinterfragt We can never really change any form of social organisation without challenging all that organisations forms of
language (Debord)
Within the patriarchal structures of the Arkadenhof at the University of Vienna stand 154 busts of important scientists (1700-2005) Unfortunately none of these busts are women Through the placement of a temporary bust of an anonymous female scientist it declares the absence of them within the history of the university As well the anonymous bust embodies the presence of important scientists who have not yet been given equal representation The open web-platform (wwweliserichterat) allows every user to participate in this discourse to re-write the history of the university and to re-image the representation of these busts through a wiki system
Skizze Buumlste einer anonymen Wissenschaftlerin
Mein Interesse besteht nicht darin zu recherchieren welche Buumlsten von Wissenschaftlerinnen im Arkadenhof fehlen sondern das Fehlen der Wissenschaftlerinnen im Zeitraum von 1700 bis 2005 aufzuzeigen und Strukturen fuumlr eine oumlffentliche Kommunikationsplattform zu schaffen In der Genderforschung besteht Konsens daruumlber dass Gender kein Merkmal von Individuen sondern das einer
Institution ist (Connell) zudem ein struktureller Bestandteil einer Gesellschaft ist und dass Gendernormen alle Organisationen durchdringen (Acker)
Grundriss Arkadenhof der Universitaumlt Wien Literatur Acker J (1990) Hierarchies Jobs Bodies A theory of gendered organizations In Gender and Society
Connell R (1998) Gender and Power Society the Person and Sexual Politics Stanford University Press Stanford CA Maisel T (1990) Die Denkmaumller im Arkadenhof der Universitaumlt Wien Biographische Skizzen Wien Quellen Denkmalsakten Archiv der Universitaumlt Wien
Veranstalter Open Mind Projekt Utopie Freiheit httpwwwopenmindat vereinopenmindat Projektautorin Elisabeth Penker elpenkergmxat Bronzeguss Walter Rom Wachsmodel Buumlste Elisabeth Penker Steinsockel Ausfuumlhrung Fa Zehmann Mario Jungbauer Mediendesign Gernot Tscherteu httpwwwrealitylabatwphome gtrealitylabat Techn Umsetzung Christian Langreiter Webpage wwweliserichterat
Elisabeth Penker- Franzengasse 13- 1050 Wien ++43 (0)699 197 193 53 elpenkergmxat
Elisabeth Penker Untitled instruments 1-3 2000-2012
Galerie Georg Kargl Wien Galerie Priestor Bratislava Kuumlnstlerhaus Wien Kibla New
Media Center Maribor HTTP Galerie London Secession Wien Mak Wien Roma
Contemporary Wien
Elisabeth Penker Untiled Instrument Galerie Georg Kargl Wien
Curated by Michael Hall
Elisabeth Penker Untitled instrument 2001 New Media Center Maribor
Elisabeth Penker Untitled instrument 2001 New Media Center Maribor
Elisabeth Penker Untitled instrument Kuumlnstlerhaus Wien curated by Ursula Maria Probst
Live Performance mit Celia Mare
Detail Die BILD_HAU_ER_IN Kuumlnstlerhaus Wien
Live Performance Flower Structure Wiener Festwochen
Elisabeth Penker (Untiled instrument) Van Angh (Cello) Tri Minh Electronics
Elisabeth Penker Live Performance Poetics of space Secession Wien
MAK Nail Structure GRizo Sweet Susie Elisabeth Penker
Elisabeth Penker HTTP Gallery London 2005 curated by Tobi Maier
Elisabeth Penker HTTP Gallery London Live Performance
Elisabeth Penker Untitled Instrument Sonic Structure Kunsthaus Graz curated by Adam Budak amp
Christine Peters
Videolinks
httpwwwyoutubecomusersoundart24
Interview with Video Festwochen
httpbturncom8753interview-elisabeth-penker
Kunsthaus Graz
Protections
Kuratoren Adam Budak und Christine Peters
Elisabeth Penker Poetics of Dead Space
For PROTECTIONS Elisabeth Penker developed a key-sound Poetics of Dead Space which is to a large extent a homage
to Gaston Bachelards seminal book Poetics of Space where the connections between the poetry and the spatial emotions
are analysed Penkers key-sound will guide the viewer through the exhibition mapping the overall identity of the show in
some way controlling the viewers (audio-narrative) route in the maze of art objects events situations but also spatial
voids and unused corners
Fuumlr PROTECTIONS entwickelte Elisabeth Penker einen leitmotivischen Key Sound Poetics of Dead Space der weitgehend
eine Hommage an Gaston Bachelards wegweisendes Buch Poetics of Space darstellt in dem die Verbindungen zwischen
Lyrik und raumlumlichen Emotionen analysiert werden Penkers Key Sound wird das Publikum durch die Ausstellung geleiten
die Identitaumlt der Schau in ihrer Gesamtheit erfassen und in gewisser Weise die (audio-narrative) Route des Publikums im
Labyrinth der Kunstgegenstaumlnde Ereignisse und Situationen aber auch raumlumlicher Leerstellen und ungenutzter Winkel
kontrollieren
A non linear composition 7 mono active speakers are placed through out the Kunsthaus Graz Speaker placement
1 outdoor (entrance) 2 (travelator) 3 (corner with column) 4 (corner with door) 5 (corner) 6 (travelator) 7 (corner with
window)
Poetics of Dead Space Let it grow again 28 51 sec mono
Source material for composition rain sound of dried beans dropping down wood sticks breathing hardly existing
id78338975 pdfMachine by Broadgun Software - a great PDF writer - a great PDF creator - httpwwwpdfmachinecom httpwwwbroadguncom
recording of extinct languages
Poetics of Dead Space Let it grow again 28 51 sec mono
Source material for composition rain sound of dried beans dropping down wood sticks existing recording of extinct
languages
Poetics of Dead Space travelator 1 1min 04 sec mono loop
Source material for composition staff falling down man falling down stairs rattern recording untitled instrument
Background existing recording of extinct languages
Poetics of Dead Space 496 1min 409 sec mono loop
Source material for composition recording untitled instrument Background existing recording of extinct languages
Poetics of Dead Space 129525 1min 4888 sec mono loop
Source material for composition recording untitled instrument Background existing recording of extinct languages
Poetics of Dead Space 129525 1min 4888 sec mono loop
Source material for composition keyboard recording untitled instrument Background existing recording of extinct
languages
Poetics of Dead Space travelator 2 1min 5209 sec mono loop
Source material for composition recording untitled instrument violin Background existing recording of extinct
languages
Poetics of Dead Space2152518125220 1min 3200 sec mono loop
Source material for composition recording untitled instrument Background existing recording of library of extinct
languages
Poetics of Dead Space travelator 1 1min 04 sec mono loop
viewing down from upstairs Source material for composition staff falling down man falling down stairs rattern
recording untitled instrument Background existing recording of extinct languages
Poetics of Dead Space Let it grow again 028 51 sec mono
Source material for composition rain sound of coins wood sticks existing recording of extinct languages
Elisabeth Penker is a Viennese artist and musician working with sound in a sculptural context In her (subjective) tour
Penker approaches the entire anti-exhibition PROTECTIONS from an angle of its position and significance in the context
of Sound Art as located on the crossway between visual arts language and music Starting from her own house turned
into First Nation Pavillion which amongst others aims at connecting the recent discourse on cultural translation with
early avant-garde phonetic experiments Penker maps the sonic structure of Kunsthaus Graz and its (live) architecture
which for PROTECTIONS hosts an array of interdisciplinary projects with a strong audio-quality from Herwig Weisers
Death Before Disco (a micro-architecture of hyper-technological and electronic pop) through a newly created choir of
security guards for Tim Etchells Wall of Sound down to a cacophonic layers of anonimous noise generated by the
space itself and the presence of audience
Die Wiener Kuumlnstlerin und Musikerin Elisabeth Penker arbeitet mit Klang im Zusammenhang mit Bildhauerei In ihrer
(subjektiven) Fuumlhrung naumlhert sie sich der Anti-Ausstellung PROTECTIONS aus einem Blickwinkel der die Position und
Bedeutung der Klangkunst an der Kreuzung zwischen bildender Kunst Sprache und Musik verortet Von ihrem eigenen
Haus ausgehend das sich in den First Nation Pavilion verwandelt hat der u a den aktuellen Diskurs uumlber kulturelle
Uumlbersetzung mit fruumlhen phonetischen Experimenten der Avantgarde verbinden soll entwirft Penker die klangliche
Struktur des Gutshauses und seiner (Live-)Architektur die fuumlr PROTECTIONS eine Reihe von interdisziplinaumlren Projekten
mit einer starken Affinitaumlt zum Klang beherbergt von Herwig Weisers Death Before Disco (eine Mikroarchitektur aus
hyper-technoidem und elektronischem Pop) uumlber einen neu formierten Chor bestehend aus Security Guards fuumlr Tim
Etchells Wall of Sound bis zu einer Kakophonie aus anonymen Geraumluschen die vom Raum selbst und der Anwesenheit
des Publikums erzeugt werden
052813
Local Warming ATHENS
052813
AFTER A YEARLONG HIATUS the eighteenth Art-Athina hit the ground running on the evening of Thursday May 16 and the former Olympic
ldquoTae Kwon Dordquo Pavilion was packed with enthusiastic party people The fair had a more national flavor than ever this year under its new
director Alexis Caniaris the son of recently deceased artist Vlassis Caniaris whose iconic modern work has recently found great success on the
international market Of the very few foreign galleries exhibiting most were Greek-owned The Breeder gallery was dealing with the perceived
drop in the market by selling fantastic multiples by artists like Stelios Faitakis Jannis Varelas and Andreas Angelidakis at crisis-appropriate
prices ldquoNobody wants to come here now but I have already met three interested billionaire collectors today And if Greeks like you they
introduce you to their billionaire friendsrdquo raved Cologne dealer Mirko Mayer a seven-time exhibitor ldquoThat is what nobody knows There are
at least one-hundred billionaires collecting hererdquo Most international collectors were delayed several hours due to a union strike a de r igueur
mode of arrival in contemporary Greece
It was impossible to miss the exuberant activities of the DaDa Da restaurant a Greek-Austrian collaboration where artist Albert Mayr was
waving a skillet and raving nonsense while Lucas Willmann tenderized pink fillets for Wiener schnitzel ldquoThis is Viennese Actionism lightrdquo
quipped critic Sotirios Bahtsetzis Artist Natasha Papadopoulos added ldquoBut here there are hungry Greeks waitingrdquo On a table with a rotating
Sacher tort by Heacutelegravene van Duijne a sign carried the overwhelming spirit FUCK ART LETrsquoS EAT SOUVLAKI An insistent electronic beat and
pulsating light emanated from the next booth the American College of Greecersquos ldquoAthensUrgentrdquo while hooded performer Manos Tsatiris
stood against the wall with his hands tied perhaps a metaphor for the current Athenian exigency ldquoThis is not the kind of art fair scene we are
used tordquo said the Economou Collectionrsquos Annie-Claire Geisinger watching the madness
Left Artists Elisabeth Penker Michela Pelusio Petros Touloudis Panos Papadopoulos and Nino Stelzl Right Collector Anne-Marie Ros
Down on the floor the dealers seemed pleased particularly given dismal expectations having already sold a great deal at the preview Young
Rotterdam-based gallery Joey Ramone had sold sculptures by Fotini Gouseti to English and Belgian collectors dealer Erik Mulier had also sold
some work to Belgians Marc Van den Hende said he had bought a triptych by Eirene Efstathiou and was considering a Vlassis Caniaris piece
from the 1970s ldquoI saw some surprisesmdashyoung Greek artists I did not knowmdashand great new galleries like Elika and CANrdquo Dutch collector
Anne-Marie Ros said By the end of the day Dimitra and Sofia Vamiali reported that they had not seen one Greek collector although another
reported a Dakis Joannou sighting mdash Cathryn Drake
SEARCH
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SEATTLE
WEEKLY
in the News
Columnist
Geov Parrish
is a regular
guest on
Mind Over
Matters on
KEXP-FM
(903)
Saturdays at
830 am and
provides news
commentary
on KBCS-FM
(913) Fridays
at 430 pm
Catch writers
Steve
Wiecking Tim
Appelo and
ARTS
March 30 - April 5 2005
Picking Up the Thread
Howard House ties together the best new conceptual art from Vienna
by Elise Richman
Franz Wests Mercury
(Howard House Contemporary Art)
Theres a German expression to lose the red thread which means losing
ones train of thought In its current show Howard House has found that
thread Julie Ryan a curator artist and writer organized The Red
Thread Glimpses of International Art in Vienna a two-part exhibition
featuring artists working and living at least part time in Austrias capital
Part one of the show is at Howard House the second half is currently on
display at the Educational Alliance Gallery in New York
Vienna has become a magnet for artists from all over the world including
the 15 individuals and artist teams that are part of The Red Thread
Excellent artist residency programs a low cost of living and living art
legends like Franz West are just a few of the reasons
An artistic collaboration with West took Ryan from New York to Vienna
She knows Billy Howard who runs Howard House from the University of
Washingtons School of Art And so the figurative string was strung
connecting the East and West coasts with artists from across the Atlantic
This is a complex exhibit whose emotional tenor ranges from cool
detachment to an almost urgent earnestness Unlike the formal richly
historical city that connects them artists in The Red Thread favor informal
approaches to art making use disposable materials and comment on
contemporary cultural themes
West has two formidable sculptures at Howard House The front room of the
gallery features Mercury (pictured) an ungainly behemoth composed of a
patchwork of fused metal Like many of Wests sculptures Mercury is
meant as an interactive structure that viewers can climb and sit on Bulbous
Gavin
Borchert
discussing
theater film
and music
regularly on
classical
KING-FM
(981)
Mark Fiore
Cartoons
Every
Thursday
nodules extend from its horizontal base and the seams of the dark maroon
metal look like scars rendering it at once vaguely obscene and absurdly
playful
Sisyphus the other West sculpture on display is a bulky conglomeration of
bits and wads of paper propped in the back room on a makeshift plinth (base
block) Though its as solid as the boulder its title references its surface is
like oozing skin partly coated with poured murky paint partly cloaked in
small clumps of newspaper detritus
The strenuous act of making each of these sculptures is eminently apparent
and central to the content of Wests work West considers creation a
symbolic act As you might expect he likens the artistic process to the plight
of Sisyphus the mythological figure who eternally rolled a boulder up a hill
only to have it come crashing back down For West art involves a
Sisyphean search for what he calls the absolute through the seemingly
senseless accumulation of materials However unlike Sisyphus futile quest
Wests process can lead to epiphany making sense of the senseless
Similarly Viennese artist Elisabeth Penkers art serves a facilitative
function easing the act of translation Penker uses Haida iconography in her
multimedia work because it provides potent visual symbols that
communicate single words and whole sentences simultaneously Her prints
at Howard House feature fragments of icons floating in the papers white
space They are spare visually arresting characters that employ an
iconographic language as encoded symbols of communication
Also featured in The Red Thread is Donald Baechler an internationally
known American painter who spends extended periods of time in Vienna
Baechler equalizes his imagery by painting it all in the same style For him
the source of an image doesnt matter whether its a drawing by Picasso or
graffiti on a bathroom wall What matters is the newfound context his
paintings provide
Victory by Default is part of Baechlers Skull series In this piece a painted
skull gapes from the dirty yet sensuous confines of a large canvas Terry
cloth and wrinkled rags provide literal texture and reference the world
outside the paintings boundaries Splatterings of color around the skull like
the self-conscious marks of Jasper Johns seem to express the language of
paintingmdashhue and gestural strokesmdashin a factual rather than illusional
manner
Another American painter Lisa Ruyter lives half-time in Vienna where she
runs an influential gallery She works from photographs projected onto
large-scale canvases tracing the contours of the projected imagery with
consistent black outlines In a way that seems arbitrary she paints the shapes
formed by her contour lines in flat designer colors Man of Means based on
a photo of fashion photographers looks like a scrambled color-by-numbers
painting I cant do justice to the unusually rich assortment of conceptual art
in The Red Thread Youll just have to see it for yourself Thomas
Baumans thrashing triangular foil blanket Walter Seidls slide show of
staged snapshots Markus Schinwalds photograph of a contortionist and the
other thoughtful works connected by The Red Thread
The Red Thread Glimpses of International Art in Vienna runs through
April 30 at Howard House 604 Second Ave 206- 256-6399 1030 amndash5
pm TuesndashSat Free
KUNSTFORUM
Parallelwelten fuumlr Parlamentarier Ausstellung
Von Brigitte Borchhardt-Birbaumer
Ende Oktober endet die Zusammenarbeit von Nationalratspraumlsident Andreas Khol und Peter Pakesch Direktor des Kunsthauses Graz am Joanneum Seit 2003
hatte Pakesch als Kurator mehrere Ausstellungen in den Sitzungssaumllen des Parlaments in Zusammenarbeit mit Galerien initiiert und namhafte Positionen
ausgewaumlhlt Kriterium fuumlr Praumlsentationen war die Praumlsenz durch eine Schau in einer der bekannten Kunstinstitutionen des Landes Nach Eva Schlegel Adriana
Czernin Maria Lassnig oder Esther Stocker sind dies nun bis April 2007 Josef Dabernig Daniel Hafner Ulrike Lienbacher Alois Mosbacher und Elisabeth
Penker
Das Parlament kann dabei durch die Margaretha-Lupac Stiftung immer eine Arbeit fuumlr die wachsende Sammlung des Hauses ankaufen Zuletzt war das ein
groszliges Oumll-Acryl-Gemaumllde der Georg-Eisler-Preistraumlgerin Maja Vukoje zuvor Johanna Kandl deren Temperabild derzeit an das Lentos in Linz geliehen wird
Einige Werke haumlngen schon als kuumlnstlerische Wegweiser in den Gaumlngen des Hauses und sind auch Blickfang fuumlr die 120000 Besucher die pro Jahr das
Parlament besuchen In die Architektur von Theophil Hansen mit ihrer zeitlosen Qualitaumlt fuumlgt sich die Gegenwartskunst kongenial
Hoffnung fuumlr spaumlter
Die derzeitige Zusammenstellung macht Hoffnung auf eine Fortsetzung unter der naumlchsten Praumlsidentschaft Fotografie Computerkunst Malerei Zeichnung
und Skulptur weisen auf die Vielfalt der Werkstoffe in der Gegenwartskunst Elisabeth Penker parallel im Kunsthaus Graz zu sehen baut schwarzweiszlige
Objekte aus bemaltem Holz die in ihrer seriellen und geometrischen Anordnung auf Bezuumlge zum Performativen und auf die Musik hinweisen
Noch juumlnger ist Daniel Hafner mit seinen am Computer komponierten digitalen Drucken Morphosentransformationen von 2006 Linienraster und
Raumkonstruktionen in subtiler Farbigkeit verbinden Tendenzen der fruumlhen Op-Art mit dem Cyber-Lab
Um konstruierte Realitaumlten geht es auch in den groszligformatigen Oumllbildern von Alois Mosbacher dem bekannten Vertreter der Neuen Wilden der
Achtzigerjahre in Oumlsterreich Wanderer in Wald und Wiese erzaumlhlen die Geschichten alternativer Welten die sich mancher in der Gesellschaft als Parallele
konstruiert
Zwei Fotofriese von Josef Dabernig bilden jeweils ein Panorama von oumlffentlichen Plaumltzen auf denen es zum einen um Fuszligball geht Zum anderen ist der
Rundblick in das Oval einer scheinbaren Arena auch eine Art Sehschule fuumlr die Betrachter Ein sozialer Befund ist die dritte Bedeutungsebene
Ulrike Lienbacher die heuer mit einer groszligen Schau im Innsbrucker Taxispalais ihre Karriere fortsetzt ist mit ihren feinlinigen Tuschezeichnungen den kleinen
oft unsichtbaren Zwaumlngen in unserer Gesellschaft auf der Spur Im Lokal II des Parlaments stellt sie zwar nicht ihre Objekte und Fotos aber einige
groszligformatige Blaumltter mit Frisurenvariationen neben teils fragmentierten Frauenkoumlrpern im Umgang mit Schmutz und Hygiene aber auch Fitnesskult aus
Disziplinierung und Kontrolle betreffen in der Oumlffentlichkeit besonders den weiblichen Koumlrper Sauberkeitsmechanismen weisen auch auf Vorstellungen von
wertvoll und minderwertig hin Ihre Transformationen enthalten wie die Themen der anderen subtile Kritik und sind daher vom Kurator uumlberlegt positioniert
Zeitgenoumlssische Kunst
im Parlament
Bis April 2007
Kurator Peter Pakesch
Konfrontationen
Dienstag 10 Oktober 2006
ltlt 2003 | 2004 Jan Feb Mar Apr May Jun Jul Aug Sep Oct Nov Dec 2004 | 2005 gtgt
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31
Sunday 17 October 2004
TIME
TITLE
NAME
700 Indymedia ESF breakfast show Indymedia London
Highlights news and views from the European Social Forum and the
autonomous spaces and initiatives taking place this week
website
800 Resonance Radio Art Riot Breakfast International
Radio Art
A five part special of the Harmon E Phraisyar show commissioned for
Kunstradio in Austria starts off the morning broadcast of international radio
art
website
1100 Resonance Live from the Frieze Art Fair Anna Colin amp
Tobi Maier
1100 Chris Weaver Resonance 1044FM live electronics set with James Dunn and
Robin Warren
1130 Michael Hall gallery Vienna presents audio works by artist Elisabeth Penker
1200 Maria Fusco presents latest the Bookworks commissions
1300 The Psychology of Collecting live broadcast of the frieze art fair panel
discussion
Is collecting an irrational act guided by compulsion and desire What are the use of
objects What are the motivations behind making collecting curating and
criticizing art A discussion of the psychology of collecting and the politics of taste
Hilary Rubenstein (Psychologist)
Eric Troncy (Art Critic and Director Le Consortium Dijon)
Haim Steinbach (Artist)
Chair Alice Rawsthorn (Director Design Museum)
1500 Portable live set and presentation of sudelectronic records London
1600 Where is Adventure What is Culture live broadcast of the frieze art fair
website
panel discussion
A discussion of the relationship of art to entertainment touching on the comedic
being popular and failing miserably
Trisha Donnelly (Artist)
Christian Jankowski (Artist)
David Robbins (Writer amp Artist)
Nancy Spector (Curator of Contemporary Art Solomon R Guggenheim Museum)
Chair Matthew Higgs (Curator CCA Wattis Institute for Contemporary Arts)
1800 Melissa Bent from Rivington Arms gallery New York in conversation with
artist Dan Colan and Tobi Maier Anna Colin
1830 VOX pop recordings from the fair with Sharon Gal
1900 Resonance Radio Art Riot Sarah
Washington
The Resonance Radio Art Riot brings together some of the foremost radio artists
and thinkers from around the world The studio lab situation will feature round
table discussions live performances and streamed events
Tonight Radio Text
Events Live broadcast from Sonic Arts Network Resonance benefit featuring
Henri Chopin studio performances from Julia Lee Barclay and Aude Tournay plus
Special Features None present live concrete radiophonics - Planning For
Emergencies
Guests include Clive Graham Chris Weaver Richard Thomas Toby Clarkson
John Lovett Robin Warren and James Dunn
Topics The word as art Sound poetry text performances
At Midnight Tom Wallace present exclusive excerpts from radio art pioneer
Gregory Whitehead
website
000 Resonance Radio Art Riot Nights International
Radio Art
The Resonance Radio Art riot continues throughout the night with the finest of
international radio art Resonance FM programme makers and our international
guests have put together many special hours of classic and obscure radio
works
website
- EPenkerDocumentationpdf
-
- 2bAusstellungenPublicaSpaceEPenkerpdf
-
- 2cUntitled_InstrumentsKunsthausGrazEPenker
- 2bpoeticsKunsthaus GrazEPenker
-
- 4PresseEPenkerpdf
-
- 4Review_Seattle Weekly
-
11
Luicide List The museum as an imperial graveyard
C-Print
Colonial after effects of Luicide
Gips Metallkette Hose Schuh
12
No7
Mirror Split Representation Mirror framed and installed in the corner
Part 2 Room 6 and 8 Comparative Contemporary Art
4-channel sound installation
De-grammatical Listen to mp3 audio excerpts
13
Front
2 CT (shelfbenches) Acryl auf Pappelsperrholz
Back Pull Over Yukme Shirley Hall outside
14
Pull Over Yukme Shirley Hall inside
Fabric wall silk print by (Tlinglet Artist) Yukme Shirley Hall
Wo ist Elise Richter wo ist
id99149429 pdfMachine by Broadgun Software - a great PDF writer - a great PDF creator - httpwwwpdfmachinecom httpwwwbroadguncom
Im Arkadenhof der Universitaumlt Wien stehen 154 Buumlsten von bedeutenden Wissenschaftlern der
Universitaumlt Wien (1700-2005) Bedauerlicherweise findet sich unter ihnen keine einzige Frau Eine temporaumlre Buumlste einer anonymen Wissenschaftlerin soll die systematische Ausblendung von Frauen
aus der Universitaumltsgeschichte thematisieren Die offene Web- Plattform (wwweliserichterat) ermoumlglicht allen Benutzern aktiv an der Umschreibung der Universitaumltsgeschichte und an re-imaging Prozessen der Repraumlsentation dieser Buumlsten teilzunehmen Weiters wird die Verbindung von raceclassgender und einer akademischen Kariere in diesem Zusammenhang hinterfragt We can never really change any form of social organisation without challenging all that organisations forms of
language (Debord)
Within the patriarchal structures of the Arkadenhof at the University of Vienna stand 154 busts of important scientists (1700-2005) Unfortunately none of these busts are women Through the placement of a temporary bust of an anonymous female scientist it declares the absence of them within the history of the university As well the anonymous bust embodies the presence of important scientists who have not yet been given equal representation The open web-platform (wwweliserichterat) allows every user to participate in this discourse to re-write the history of the university and to re-image the representation of these busts through a wiki system
Skizze Buumlste einer anonymen Wissenschaftlerin
Mein Interesse besteht nicht darin zu recherchieren welche Buumlsten von Wissenschaftlerinnen im Arkadenhof fehlen sondern das Fehlen der Wissenschaftlerinnen im Zeitraum von 1700 bis 2005 aufzuzeigen und Strukturen fuumlr eine oumlffentliche Kommunikationsplattform zu schaffen In der Genderforschung besteht Konsens daruumlber dass Gender kein Merkmal von Individuen sondern das einer
Institution ist (Connell) zudem ein struktureller Bestandteil einer Gesellschaft ist und dass Gendernormen alle Organisationen durchdringen (Acker)
Grundriss Arkadenhof der Universitaumlt Wien Literatur Acker J (1990) Hierarchies Jobs Bodies A theory of gendered organizations In Gender and Society
Connell R (1998) Gender and Power Society the Person and Sexual Politics Stanford University Press Stanford CA Maisel T (1990) Die Denkmaumller im Arkadenhof der Universitaumlt Wien Biographische Skizzen Wien Quellen Denkmalsakten Archiv der Universitaumlt Wien
Veranstalter Open Mind Projekt Utopie Freiheit httpwwwopenmindat vereinopenmindat Projektautorin Elisabeth Penker elpenkergmxat Bronzeguss Walter Rom Wachsmodel Buumlste Elisabeth Penker Steinsockel Ausfuumlhrung Fa Zehmann Mario Jungbauer Mediendesign Gernot Tscherteu httpwwwrealitylabatwphome gtrealitylabat Techn Umsetzung Christian Langreiter Webpage wwweliserichterat
Elisabeth Penker- Franzengasse 13- 1050 Wien ++43 (0)699 197 193 53 elpenkergmxat
Elisabeth Penker Untitled instruments 1-3 2000-2012
Galerie Georg Kargl Wien Galerie Priestor Bratislava Kuumlnstlerhaus Wien Kibla New
Media Center Maribor HTTP Galerie London Secession Wien Mak Wien Roma
Contemporary Wien
Elisabeth Penker Untiled Instrument Galerie Georg Kargl Wien
Curated by Michael Hall
Elisabeth Penker Untitled instrument 2001 New Media Center Maribor
Elisabeth Penker Untitled instrument 2001 New Media Center Maribor
Elisabeth Penker Untitled instrument Kuumlnstlerhaus Wien curated by Ursula Maria Probst
Live Performance mit Celia Mare
Detail Die BILD_HAU_ER_IN Kuumlnstlerhaus Wien
Live Performance Flower Structure Wiener Festwochen
Elisabeth Penker (Untiled instrument) Van Angh (Cello) Tri Minh Electronics
Elisabeth Penker Live Performance Poetics of space Secession Wien
MAK Nail Structure GRizo Sweet Susie Elisabeth Penker
Elisabeth Penker HTTP Gallery London 2005 curated by Tobi Maier
Elisabeth Penker HTTP Gallery London Live Performance
Elisabeth Penker Untitled Instrument Sonic Structure Kunsthaus Graz curated by Adam Budak amp
Christine Peters
Videolinks
httpwwwyoutubecomusersoundart24
Interview with Video Festwochen
httpbturncom8753interview-elisabeth-penker
Kunsthaus Graz
Protections
Kuratoren Adam Budak und Christine Peters
Elisabeth Penker Poetics of Dead Space
For PROTECTIONS Elisabeth Penker developed a key-sound Poetics of Dead Space which is to a large extent a homage
to Gaston Bachelards seminal book Poetics of Space where the connections between the poetry and the spatial emotions
are analysed Penkers key-sound will guide the viewer through the exhibition mapping the overall identity of the show in
some way controlling the viewers (audio-narrative) route in the maze of art objects events situations but also spatial
voids and unused corners
Fuumlr PROTECTIONS entwickelte Elisabeth Penker einen leitmotivischen Key Sound Poetics of Dead Space der weitgehend
eine Hommage an Gaston Bachelards wegweisendes Buch Poetics of Space darstellt in dem die Verbindungen zwischen
Lyrik und raumlumlichen Emotionen analysiert werden Penkers Key Sound wird das Publikum durch die Ausstellung geleiten
die Identitaumlt der Schau in ihrer Gesamtheit erfassen und in gewisser Weise die (audio-narrative) Route des Publikums im
Labyrinth der Kunstgegenstaumlnde Ereignisse und Situationen aber auch raumlumlicher Leerstellen und ungenutzter Winkel
kontrollieren
A non linear composition 7 mono active speakers are placed through out the Kunsthaus Graz Speaker placement
1 outdoor (entrance) 2 (travelator) 3 (corner with column) 4 (corner with door) 5 (corner) 6 (travelator) 7 (corner with
window)
Poetics of Dead Space Let it grow again 28 51 sec mono
Source material for composition rain sound of dried beans dropping down wood sticks breathing hardly existing
id78338975 pdfMachine by Broadgun Software - a great PDF writer - a great PDF creator - httpwwwpdfmachinecom httpwwwbroadguncom
recording of extinct languages
Poetics of Dead Space Let it grow again 28 51 sec mono
Source material for composition rain sound of dried beans dropping down wood sticks existing recording of extinct
languages
Poetics of Dead Space travelator 1 1min 04 sec mono loop
Source material for composition staff falling down man falling down stairs rattern recording untitled instrument
Background existing recording of extinct languages
Poetics of Dead Space 496 1min 409 sec mono loop
Source material for composition recording untitled instrument Background existing recording of extinct languages
Poetics of Dead Space 129525 1min 4888 sec mono loop
Source material for composition recording untitled instrument Background existing recording of extinct languages
Poetics of Dead Space 129525 1min 4888 sec mono loop
Source material for composition keyboard recording untitled instrument Background existing recording of extinct
languages
Poetics of Dead Space travelator 2 1min 5209 sec mono loop
Source material for composition recording untitled instrument violin Background existing recording of extinct
languages
Poetics of Dead Space2152518125220 1min 3200 sec mono loop
Source material for composition recording untitled instrument Background existing recording of library of extinct
languages
Poetics of Dead Space travelator 1 1min 04 sec mono loop
viewing down from upstairs Source material for composition staff falling down man falling down stairs rattern
recording untitled instrument Background existing recording of extinct languages
Poetics of Dead Space Let it grow again 028 51 sec mono
Source material for composition rain sound of coins wood sticks existing recording of extinct languages
Elisabeth Penker is a Viennese artist and musician working with sound in a sculptural context In her (subjective) tour
Penker approaches the entire anti-exhibition PROTECTIONS from an angle of its position and significance in the context
of Sound Art as located on the crossway between visual arts language and music Starting from her own house turned
into First Nation Pavillion which amongst others aims at connecting the recent discourse on cultural translation with
early avant-garde phonetic experiments Penker maps the sonic structure of Kunsthaus Graz and its (live) architecture
which for PROTECTIONS hosts an array of interdisciplinary projects with a strong audio-quality from Herwig Weisers
Death Before Disco (a micro-architecture of hyper-technological and electronic pop) through a newly created choir of
security guards for Tim Etchells Wall of Sound down to a cacophonic layers of anonimous noise generated by the
space itself and the presence of audience
Die Wiener Kuumlnstlerin und Musikerin Elisabeth Penker arbeitet mit Klang im Zusammenhang mit Bildhauerei In ihrer
(subjektiven) Fuumlhrung naumlhert sie sich der Anti-Ausstellung PROTECTIONS aus einem Blickwinkel der die Position und
Bedeutung der Klangkunst an der Kreuzung zwischen bildender Kunst Sprache und Musik verortet Von ihrem eigenen
Haus ausgehend das sich in den First Nation Pavilion verwandelt hat der u a den aktuellen Diskurs uumlber kulturelle
Uumlbersetzung mit fruumlhen phonetischen Experimenten der Avantgarde verbinden soll entwirft Penker die klangliche
Struktur des Gutshauses und seiner (Live-)Architektur die fuumlr PROTECTIONS eine Reihe von interdisziplinaumlren Projekten
mit einer starken Affinitaumlt zum Klang beherbergt von Herwig Weisers Death Before Disco (eine Mikroarchitektur aus
hyper-technoidem und elektronischem Pop) uumlber einen neu formierten Chor bestehend aus Security Guards fuumlr Tim
Etchells Wall of Sound bis zu einer Kakophonie aus anonymen Geraumluschen die vom Raum selbst und der Anwesenheit
des Publikums erzeugt werden
052813
Local Warming ATHENS
052813
AFTER A YEARLONG HIATUS the eighteenth Art-Athina hit the ground running on the evening of Thursday May 16 and the former Olympic
ldquoTae Kwon Dordquo Pavilion was packed with enthusiastic party people The fair had a more national flavor than ever this year under its new
director Alexis Caniaris the son of recently deceased artist Vlassis Caniaris whose iconic modern work has recently found great success on the
international market Of the very few foreign galleries exhibiting most were Greek-owned The Breeder gallery was dealing with the perceived
drop in the market by selling fantastic multiples by artists like Stelios Faitakis Jannis Varelas and Andreas Angelidakis at crisis-appropriate
prices ldquoNobody wants to come here now but I have already met three interested billionaire collectors today And if Greeks like you they
introduce you to their billionaire friendsrdquo raved Cologne dealer Mirko Mayer a seven-time exhibitor ldquoThat is what nobody knows There are
at least one-hundred billionaires collecting hererdquo Most international collectors were delayed several hours due to a union strike a de r igueur
mode of arrival in contemporary Greece
It was impossible to miss the exuberant activities of the DaDa Da restaurant a Greek-Austrian collaboration where artist Albert Mayr was
waving a skillet and raving nonsense while Lucas Willmann tenderized pink fillets for Wiener schnitzel ldquoThis is Viennese Actionism lightrdquo
quipped critic Sotirios Bahtsetzis Artist Natasha Papadopoulos added ldquoBut here there are hungry Greeks waitingrdquo On a table with a rotating
Sacher tort by Heacutelegravene van Duijne a sign carried the overwhelming spirit FUCK ART LETrsquoS EAT SOUVLAKI An insistent electronic beat and
pulsating light emanated from the next booth the American College of Greecersquos ldquoAthensUrgentrdquo while hooded performer Manos Tsatiris
stood against the wall with his hands tied perhaps a metaphor for the current Athenian exigency ldquoThis is not the kind of art fair scene we are
used tordquo said the Economou Collectionrsquos Annie-Claire Geisinger watching the madness
Left Artists Elisabeth Penker Michela Pelusio Petros Touloudis Panos Papadopoulos and Nino Stelzl Right Collector Anne-Marie Ros
Down on the floor the dealers seemed pleased particularly given dismal expectations having already sold a great deal at the preview Young
Rotterdam-based gallery Joey Ramone had sold sculptures by Fotini Gouseti to English and Belgian collectors dealer Erik Mulier had also sold
some work to Belgians Marc Van den Hende said he had bought a triptych by Eirene Efstathiou and was considering a Vlassis Caniaris piece
from the 1970s ldquoI saw some surprisesmdashyoung Greek artists I did not knowmdashand great new galleries like Elika and CANrdquo Dutch collector
Anne-Marie Ros said By the end of the day Dimitra and Sofia Vamiali reported that they had not seen one Greek collector although another
reported a Dakis Joannou sighting mdash Cathryn Drake
SEARCH
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SEATTLE
WEEKLY
in the News
Columnist
Geov Parrish
is a regular
guest on
Mind Over
Matters on
KEXP-FM
(903)
Saturdays at
830 am and
provides news
commentary
on KBCS-FM
(913) Fridays
at 430 pm
Catch writers
Steve
Wiecking Tim
Appelo and
ARTS
March 30 - April 5 2005
Picking Up the Thread
Howard House ties together the best new conceptual art from Vienna
by Elise Richman
Franz Wests Mercury
(Howard House Contemporary Art)
Theres a German expression to lose the red thread which means losing
ones train of thought In its current show Howard House has found that
thread Julie Ryan a curator artist and writer organized The Red
Thread Glimpses of International Art in Vienna a two-part exhibition
featuring artists working and living at least part time in Austrias capital
Part one of the show is at Howard House the second half is currently on
display at the Educational Alliance Gallery in New York
Vienna has become a magnet for artists from all over the world including
the 15 individuals and artist teams that are part of The Red Thread
Excellent artist residency programs a low cost of living and living art
legends like Franz West are just a few of the reasons
An artistic collaboration with West took Ryan from New York to Vienna
She knows Billy Howard who runs Howard House from the University of
Washingtons School of Art And so the figurative string was strung
connecting the East and West coasts with artists from across the Atlantic
This is a complex exhibit whose emotional tenor ranges from cool
detachment to an almost urgent earnestness Unlike the formal richly
historical city that connects them artists in The Red Thread favor informal
approaches to art making use disposable materials and comment on
contemporary cultural themes
West has two formidable sculptures at Howard House The front room of the
gallery features Mercury (pictured) an ungainly behemoth composed of a
patchwork of fused metal Like many of Wests sculptures Mercury is
meant as an interactive structure that viewers can climb and sit on Bulbous
Gavin
Borchert
discussing
theater film
and music
regularly on
classical
KING-FM
(981)
Mark Fiore
Cartoons
Every
Thursday
nodules extend from its horizontal base and the seams of the dark maroon
metal look like scars rendering it at once vaguely obscene and absurdly
playful
Sisyphus the other West sculpture on display is a bulky conglomeration of
bits and wads of paper propped in the back room on a makeshift plinth (base
block) Though its as solid as the boulder its title references its surface is
like oozing skin partly coated with poured murky paint partly cloaked in
small clumps of newspaper detritus
The strenuous act of making each of these sculptures is eminently apparent
and central to the content of Wests work West considers creation a
symbolic act As you might expect he likens the artistic process to the plight
of Sisyphus the mythological figure who eternally rolled a boulder up a hill
only to have it come crashing back down For West art involves a
Sisyphean search for what he calls the absolute through the seemingly
senseless accumulation of materials However unlike Sisyphus futile quest
Wests process can lead to epiphany making sense of the senseless
Similarly Viennese artist Elisabeth Penkers art serves a facilitative
function easing the act of translation Penker uses Haida iconography in her
multimedia work because it provides potent visual symbols that
communicate single words and whole sentences simultaneously Her prints
at Howard House feature fragments of icons floating in the papers white
space They are spare visually arresting characters that employ an
iconographic language as encoded symbols of communication
Also featured in The Red Thread is Donald Baechler an internationally
known American painter who spends extended periods of time in Vienna
Baechler equalizes his imagery by painting it all in the same style For him
the source of an image doesnt matter whether its a drawing by Picasso or
graffiti on a bathroom wall What matters is the newfound context his
paintings provide
Victory by Default is part of Baechlers Skull series In this piece a painted
skull gapes from the dirty yet sensuous confines of a large canvas Terry
cloth and wrinkled rags provide literal texture and reference the world
outside the paintings boundaries Splatterings of color around the skull like
the self-conscious marks of Jasper Johns seem to express the language of
paintingmdashhue and gestural strokesmdashin a factual rather than illusional
manner
Another American painter Lisa Ruyter lives half-time in Vienna where she
runs an influential gallery She works from photographs projected onto
large-scale canvases tracing the contours of the projected imagery with
consistent black outlines In a way that seems arbitrary she paints the shapes
formed by her contour lines in flat designer colors Man of Means based on
a photo of fashion photographers looks like a scrambled color-by-numbers
painting I cant do justice to the unusually rich assortment of conceptual art
in The Red Thread Youll just have to see it for yourself Thomas
Baumans thrashing triangular foil blanket Walter Seidls slide show of
staged snapshots Markus Schinwalds photograph of a contortionist and the
other thoughtful works connected by The Red Thread
The Red Thread Glimpses of International Art in Vienna runs through
April 30 at Howard House 604 Second Ave 206- 256-6399 1030 amndash5
pm TuesndashSat Free
KUNSTFORUM
Parallelwelten fuumlr Parlamentarier Ausstellung
Von Brigitte Borchhardt-Birbaumer
Ende Oktober endet die Zusammenarbeit von Nationalratspraumlsident Andreas Khol und Peter Pakesch Direktor des Kunsthauses Graz am Joanneum Seit 2003
hatte Pakesch als Kurator mehrere Ausstellungen in den Sitzungssaumllen des Parlaments in Zusammenarbeit mit Galerien initiiert und namhafte Positionen
ausgewaumlhlt Kriterium fuumlr Praumlsentationen war die Praumlsenz durch eine Schau in einer der bekannten Kunstinstitutionen des Landes Nach Eva Schlegel Adriana
Czernin Maria Lassnig oder Esther Stocker sind dies nun bis April 2007 Josef Dabernig Daniel Hafner Ulrike Lienbacher Alois Mosbacher und Elisabeth
Penker
Das Parlament kann dabei durch die Margaretha-Lupac Stiftung immer eine Arbeit fuumlr die wachsende Sammlung des Hauses ankaufen Zuletzt war das ein
groszliges Oumll-Acryl-Gemaumllde der Georg-Eisler-Preistraumlgerin Maja Vukoje zuvor Johanna Kandl deren Temperabild derzeit an das Lentos in Linz geliehen wird
Einige Werke haumlngen schon als kuumlnstlerische Wegweiser in den Gaumlngen des Hauses und sind auch Blickfang fuumlr die 120000 Besucher die pro Jahr das
Parlament besuchen In die Architektur von Theophil Hansen mit ihrer zeitlosen Qualitaumlt fuumlgt sich die Gegenwartskunst kongenial
Hoffnung fuumlr spaumlter
Die derzeitige Zusammenstellung macht Hoffnung auf eine Fortsetzung unter der naumlchsten Praumlsidentschaft Fotografie Computerkunst Malerei Zeichnung
und Skulptur weisen auf die Vielfalt der Werkstoffe in der Gegenwartskunst Elisabeth Penker parallel im Kunsthaus Graz zu sehen baut schwarzweiszlige
Objekte aus bemaltem Holz die in ihrer seriellen und geometrischen Anordnung auf Bezuumlge zum Performativen und auf die Musik hinweisen
Noch juumlnger ist Daniel Hafner mit seinen am Computer komponierten digitalen Drucken Morphosentransformationen von 2006 Linienraster und
Raumkonstruktionen in subtiler Farbigkeit verbinden Tendenzen der fruumlhen Op-Art mit dem Cyber-Lab
Um konstruierte Realitaumlten geht es auch in den groszligformatigen Oumllbildern von Alois Mosbacher dem bekannten Vertreter der Neuen Wilden der
Achtzigerjahre in Oumlsterreich Wanderer in Wald und Wiese erzaumlhlen die Geschichten alternativer Welten die sich mancher in der Gesellschaft als Parallele
konstruiert
Zwei Fotofriese von Josef Dabernig bilden jeweils ein Panorama von oumlffentlichen Plaumltzen auf denen es zum einen um Fuszligball geht Zum anderen ist der
Rundblick in das Oval einer scheinbaren Arena auch eine Art Sehschule fuumlr die Betrachter Ein sozialer Befund ist die dritte Bedeutungsebene
Ulrike Lienbacher die heuer mit einer groszligen Schau im Innsbrucker Taxispalais ihre Karriere fortsetzt ist mit ihren feinlinigen Tuschezeichnungen den kleinen
oft unsichtbaren Zwaumlngen in unserer Gesellschaft auf der Spur Im Lokal II des Parlaments stellt sie zwar nicht ihre Objekte und Fotos aber einige
groszligformatige Blaumltter mit Frisurenvariationen neben teils fragmentierten Frauenkoumlrpern im Umgang mit Schmutz und Hygiene aber auch Fitnesskult aus
Disziplinierung und Kontrolle betreffen in der Oumlffentlichkeit besonders den weiblichen Koumlrper Sauberkeitsmechanismen weisen auch auf Vorstellungen von
wertvoll und minderwertig hin Ihre Transformationen enthalten wie die Themen der anderen subtile Kritik und sind daher vom Kurator uumlberlegt positioniert
Zeitgenoumlssische Kunst
im Parlament
Bis April 2007
Kurator Peter Pakesch
Konfrontationen
Dienstag 10 Oktober 2006
ltlt 2003 | 2004 Jan Feb Mar Apr May Jun Jul Aug Sep Oct Nov Dec 2004 | 2005 gtgt
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31
Sunday 17 October 2004
TIME
TITLE
NAME
700 Indymedia ESF breakfast show Indymedia London
Highlights news and views from the European Social Forum and the
autonomous spaces and initiatives taking place this week
website
800 Resonance Radio Art Riot Breakfast International
Radio Art
A five part special of the Harmon E Phraisyar show commissioned for
Kunstradio in Austria starts off the morning broadcast of international radio
art
website
1100 Resonance Live from the Frieze Art Fair Anna Colin amp
Tobi Maier
1100 Chris Weaver Resonance 1044FM live electronics set with James Dunn and
Robin Warren
1130 Michael Hall gallery Vienna presents audio works by artist Elisabeth Penker
1200 Maria Fusco presents latest the Bookworks commissions
1300 The Psychology of Collecting live broadcast of the frieze art fair panel
discussion
Is collecting an irrational act guided by compulsion and desire What are the use of
objects What are the motivations behind making collecting curating and
criticizing art A discussion of the psychology of collecting and the politics of taste
Hilary Rubenstein (Psychologist)
Eric Troncy (Art Critic and Director Le Consortium Dijon)
Haim Steinbach (Artist)
Chair Alice Rawsthorn (Director Design Museum)
1500 Portable live set and presentation of sudelectronic records London
1600 Where is Adventure What is Culture live broadcast of the frieze art fair
website
panel discussion
A discussion of the relationship of art to entertainment touching on the comedic
being popular and failing miserably
Trisha Donnelly (Artist)
Christian Jankowski (Artist)
David Robbins (Writer amp Artist)
Nancy Spector (Curator of Contemporary Art Solomon R Guggenheim Museum)
Chair Matthew Higgs (Curator CCA Wattis Institute for Contemporary Arts)
1800 Melissa Bent from Rivington Arms gallery New York in conversation with
artist Dan Colan and Tobi Maier Anna Colin
1830 VOX pop recordings from the fair with Sharon Gal
1900 Resonance Radio Art Riot Sarah
Washington
The Resonance Radio Art Riot brings together some of the foremost radio artists
and thinkers from around the world The studio lab situation will feature round
table discussions live performances and streamed events
Tonight Radio Text
Events Live broadcast from Sonic Arts Network Resonance benefit featuring
Henri Chopin studio performances from Julia Lee Barclay and Aude Tournay plus
Special Features None present live concrete radiophonics - Planning For
Emergencies
Guests include Clive Graham Chris Weaver Richard Thomas Toby Clarkson
John Lovett Robin Warren and James Dunn
Topics The word as art Sound poetry text performances
At Midnight Tom Wallace present exclusive excerpts from radio art pioneer
Gregory Whitehead
website
000 Resonance Radio Art Riot Nights International
Radio Art
The Resonance Radio Art riot continues throughout the night with the finest of
international radio art Resonance FM programme makers and our international
guests have put together many special hours of classic and obscure radio
works
website
- EPenkerDocumentationpdf
-
- 2bAusstellungenPublicaSpaceEPenkerpdf
-
- 2cUntitled_InstrumentsKunsthausGrazEPenker
- 2bpoeticsKunsthaus GrazEPenker
-
- 4PresseEPenkerpdf
-
- 4Review_Seattle Weekly
-
12
No7
Mirror Split Representation Mirror framed and installed in the corner
Part 2 Room 6 and 8 Comparative Contemporary Art
4-channel sound installation
De-grammatical Listen to mp3 audio excerpts
13
Front
2 CT (shelfbenches) Acryl auf Pappelsperrholz
Back Pull Over Yukme Shirley Hall outside
14
Pull Over Yukme Shirley Hall inside
Fabric wall silk print by (Tlinglet Artist) Yukme Shirley Hall
Wo ist Elise Richter wo ist
id99149429 pdfMachine by Broadgun Software - a great PDF writer - a great PDF creator - httpwwwpdfmachinecom httpwwwbroadguncom
Im Arkadenhof der Universitaumlt Wien stehen 154 Buumlsten von bedeutenden Wissenschaftlern der
Universitaumlt Wien (1700-2005) Bedauerlicherweise findet sich unter ihnen keine einzige Frau Eine temporaumlre Buumlste einer anonymen Wissenschaftlerin soll die systematische Ausblendung von Frauen
aus der Universitaumltsgeschichte thematisieren Die offene Web- Plattform (wwweliserichterat) ermoumlglicht allen Benutzern aktiv an der Umschreibung der Universitaumltsgeschichte und an re-imaging Prozessen der Repraumlsentation dieser Buumlsten teilzunehmen Weiters wird die Verbindung von raceclassgender und einer akademischen Kariere in diesem Zusammenhang hinterfragt We can never really change any form of social organisation without challenging all that organisations forms of
language (Debord)
Within the patriarchal structures of the Arkadenhof at the University of Vienna stand 154 busts of important scientists (1700-2005) Unfortunately none of these busts are women Through the placement of a temporary bust of an anonymous female scientist it declares the absence of them within the history of the university As well the anonymous bust embodies the presence of important scientists who have not yet been given equal representation The open web-platform (wwweliserichterat) allows every user to participate in this discourse to re-write the history of the university and to re-image the representation of these busts through a wiki system
Skizze Buumlste einer anonymen Wissenschaftlerin
Mein Interesse besteht nicht darin zu recherchieren welche Buumlsten von Wissenschaftlerinnen im Arkadenhof fehlen sondern das Fehlen der Wissenschaftlerinnen im Zeitraum von 1700 bis 2005 aufzuzeigen und Strukturen fuumlr eine oumlffentliche Kommunikationsplattform zu schaffen In der Genderforschung besteht Konsens daruumlber dass Gender kein Merkmal von Individuen sondern das einer
Institution ist (Connell) zudem ein struktureller Bestandteil einer Gesellschaft ist und dass Gendernormen alle Organisationen durchdringen (Acker)
Grundriss Arkadenhof der Universitaumlt Wien Literatur Acker J (1990) Hierarchies Jobs Bodies A theory of gendered organizations In Gender and Society
Connell R (1998) Gender and Power Society the Person and Sexual Politics Stanford University Press Stanford CA Maisel T (1990) Die Denkmaumller im Arkadenhof der Universitaumlt Wien Biographische Skizzen Wien Quellen Denkmalsakten Archiv der Universitaumlt Wien
Veranstalter Open Mind Projekt Utopie Freiheit httpwwwopenmindat vereinopenmindat Projektautorin Elisabeth Penker elpenkergmxat Bronzeguss Walter Rom Wachsmodel Buumlste Elisabeth Penker Steinsockel Ausfuumlhrung Fa Zehmann Mario Jungbauer Mediendesign Gernot Tscherteu httpwwwrealitylabatwphome gtrealitylabat Techn Umsetzung Christian Langreiter Webpage wwweliserichterat
Elisabeth Penker- Franzengasse 13- 1050 Wien ++43 (0)699 197 193 53 elpenkergmxat
Elisabeth Penker Untitled instruments 1-3 2000-2012
Galerie Georg Kargl Wien Galerie Priestor Bratislava Kuumlnstlerhaus Wien Kibla New
Media Center Maribor HTTP Galerie London Secession Wien Mak Wien Roma
Contemporary Wien
Elisabeth Penker Untiled Instrument Galerie Georg Kargl Wien
Curated by Michael Hall
Elisabeth Penker Untitled instrument 2001 New Media Center Maribor
Elisabeth Penker Untitled instrument 2001 New Media Center Maribor
Elisabeth Penker Untitled instrument Kuumlnstlerhaus Wien curated by Ursula Maria Probst
Live Performance mit Celia Mare
Detail Die BILD_HAU_ER_IN Kuumlnstlerhaus Wien
Live Performance Flower Structure Wiener Festwochen
Elisabeth Penker (Untiled instrument) Van Angh (Cello) Tri Minh Electronics
Elisabeth Penker Live Performance Poetics of space Secession Wien
MAK Nail Structure GRizo Sweet Susie Elisabeth Penker
Elisabeth Penker HTTP Gallery London 2005 curated by Tobi Maier
Elisabeth Penker HTTP Gallery London Live Performance
Elisabeth Penker Untitled Instrument Sonic Structure Kunsthaus Graz curated by Adam Budak amp
Christine Peters
Videolinks
httpwwwyoutubecomusersoundart24
Interview with Video Festwochen
httpbturncom8753interview-elisabeth-penker
Kunsthaus Graz
Protections
Kuratoren Adam Budak und Christine Peters
Elisabeth Penker Poetics of Dead Space
For PROTECTIONS Elisabeth Penker developed a key-sound Poetics of Dead Space which is to a large extent a homage
to Gaston Bachelards seminal book Poetics of Space where the connections between the poetry and the spatial emotions
are analysed Penkers key-sound will guide the viewer through the exhibition mapping the overall identity of the show in
some way controlling the viewers (audio-narrative) route in the maze of art objects events situations but also spatial
voids and unused corners
Fuumlr PROTECTIONS entwickelte Elisabeth Penker einen leitmotivischen Key Sound Poetics of Dead Space der weitgehend
eine Hommage an Gaston Bachelards wegweisendes Buch Poetics of Space darstellt in dem die Verbindungen zwischen
Lyrik und raumlumlichen Emotionen analysiert werden Penkers Key Sound wird das Publikum durch die Ausstellung geleiten
die Identitaumlt der Schau in ihrer Gesamtheit erfassen und in gewisser Weise die (audio-narrative) Route des Publikums im
Labyrinth der Kunstgegenstaumlnde Ereignisse und Situationen aber auch raumlumlicher Leerstellen und ungenutzter Winkel
kontrollieren
A non linear composition 7 mono active speakers are placed through out the Kunsthaus Graz Speaker placement
1 outdoor (entrance) 2 (travelator) 3 (corner with column) 4 (corner with door) 5 (corner) 6 (travelator) 7 (corner with
window)
Poetics of Dead Space Let it grow again 28 51 sec mono
Source material for composition rain sound of dried beans dropping down wood sticks breathing hardly existing
id78338975 pdfMachine by Broadgun Software - a great PDF writer - a great PDF creator - httpwwwpdfmachinecom httpwwwbroadguncom
recording of extinct languages
Poetics of Dead Space Let it grow again 28 51 sec mono
Source material for composition rain sound of dried beans dropping down wood sticks existing recording of extinct
languages
Poetics of Dead Space travelator 1 1min 04 sec mono loop
Source material for composition staff falling down man falling down stairs rattern recording untitled instrument
Background existing recording of extinct languages
Poetics of Dead Space 496 1min 409 sec mono loop
Source material for composition recording untitled instrument Background existing recording of extinct languages
Poetics of Dead Space 129525 1min 4888 sec mono loop
Source material for composition recording untitled instrument Background existing recording of extinct languages
Poetics of Dead Space 129525 1min 4888 sec mono loop
Source material for composition keyboard recording untitled instrument Background existing recording of extinct
languages
Poetics of Dead Space travelator 2 1min 5209 sec mono loop
Source material for composition recording untitled instrument violin Background existing recording of extinct
languages
Poetics of Dead Space2152518125220 1min 3200 sec mono loop
Source material for composition recording untitled instrument Background existing recording of library of extinct
languages
Poetics of Dead Space travelator 1 1min 04 sec mono loop
viewing down from upstairs Source material for composition staff falling down man falling down stairs rattern
recording untitled instrument Background existing recording of extinct languages
Poetics of Dead Space Let it grow again 028 51 sec mono
Source material for composition rain sound of coins wood sticks existing recording of extinct languages
Elisabeth Penker is a Viennese artist and musician working with sound in a sculptural context In her (subjective) tour
Penker approaches the entire anti-exhibition PROTECTIONS from an angle of its position and significance in the context
of Sound Art as located on the crossway between visual arts language and music Starting from her own house turned
into First Nation Pavillion which amongst others aims at connecting the recent discourse on cultural translation with
early avant-garde phonetic experiments Penker maps the sonic structure of Kunsthaus Graz and its (live) architecture
which for PROTECTIONS hosts an array of interdisciplinary projects with a strong audio-quality from Herwig Weisers
Death Before Disco (a micro-architecture of hyper-technological and electronic pop) through a newly created choir of
security guards for Tim Etchells Wall of Sound down to a cacophonic layers of anonimous noise generated by the
space itself and the presence of audience
Die Wiener Kuumlnstlerin und Musikerin Elisabeth Penker arbeitet mit Klang im Zusammenhang mit Bildhauerei In ihrer
(subjektiven) Fuumlhrung naumlhert sie sich der Anti-Ausstellung PROTECTIONS aus einem Blickwinkel der die Position und
Bedeutung der Klangkunst an der Kreuzung zwischen bildender Kunst Sprache und Musik verortet Von ihrem eigenen
Haus ausgehend das sich in den First Nation Pavilion verwandelt hat der u a den aktuellen Diskurs uumlber kulturelle
Uumlbersetzung mit fruumlhen phonetischen Experimenten der Avantgarde verbinden soll entwirft Penker die klangliche
Struktur des Gutshauses und seiner (Live-)Architektur die fuumlr PROTECTIONS eine Reihe von interdisziplinaumlren Projekten
mit einer starken Affinitaumlt zum Klang beherbergt von Herwig Weisers Death Before Disco (eine Mikroarchitektur aus
hyper-technoidem und elektronischem Pop) uumlber einen neu formierten Chor bestehend aus Security Guards fuumlr Tim
Etchells Wall of Sound bis zu einer Kakophonie aus anonymen Geraumluschen die vom Raum selbst und der Anwesenheit
des Publikums erzeugt werden
052813
Local Warming ATHENS
052813
AFTER A YEARLONG HIATUS the eighteenth Art-Athina hit the ground running on the evening of Thursday May 16 and the former Olympic
ldquoTae Kwon Dordquo Pavilion was packed with enthusiastic party people The fair had a more national flavor than ever this year under its new
director Alexis Caniaris the son of recently deceased artist Vlassis Caniaris whose iconic modern work has recently found great success on the
international market Of the very few foreign galleries exhibiting most were Greek-owned The Breeder gallery was dealing with the perceived
drop in the market by selling fantastic multiples by artists like Stelios Faitakis Jannis Varelas and Andreas Angelidakis at crisis-appropriate
prices ldquoNobody wants to come here now but I have already met three interested billionaire collectors today And if Greeks like you they
introduce you to their billionaire friendsrdquo raved Cologne dealer Mirko Mayer a seven-time exhibitor ldquoThat is what nobody knows There are
at least one-hundred billionaires collecting hererdquo Most international collectors were delayed several hours due to a union strike a de r igueur
mode of arrival in contemporary Greece
It was impossible to miss the exuberant activities of the DaDa Da restaurant a Greek-Austrian collaboration where artist Albert Mayr was
waving a skillet and raving nonsense while Lucas Willmann tenderized pink fillets for Wiener schnitzel ldquoThis is Viennese Actionism lightrdquo
quipped critic Sotirios Bahtsetzis Artist Natasha Papadopoulos added ldquoBut here there are hungry Greeks waitingrdquo On a table with a rotating
Sacher tort by Heacutelegravene van Duijne a sign carried the overwhelming spirit FUCK ART LETrsquoS EAT SOUVLAKI An insistent electronic beat and
pulsating light emanated from the next booth the American College of Greecersquos ldquoAthensUrgentrdquo while hooded performer Manos Tsatiris
stood against the wall with his hands tied perhaps a metaphor for the current Athenian exigency ldquoThis is not the kind of art fair scene we are
used tordquo said the Economou Collectionrsquos Annie-Claire Geisinger watching the madness
Left Artists Elisabeth Penker Michela Pelusio Petros Touloudis Panos Papadopoulos and Nino Stelzl Right Collector Anne-Marie Ros
Down on the floor the dealers seemed pleased particularly given dismal expectations having already sold a great deal at the preview Young
Rotterdam-based gallery Joey Ramone had sold sculptures by Fotini Gouseti to English and Belgian collectors dealer Erik Mulier had also sold
some work to Belgians Marc Van den Hende said he had bought a triptych by Eirene Efstathiou and was considering a Vlassis Caniaris piece
from the 1970s ldquoI saw some surprisesmdashyoung Greek artists I did not knowmdashand great new galleries like Elika and CANrdquo Dutch collector
Anne-Marie Ros said By the end of the day Dimitra and Sofia Vamiali reported that they had not seen one Greek collector although another
reported a Dakis Joannou sighting mdash Cathryn Drake
SEARCH
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SEATTLE
WEEKLY
in the News
Columnist
Geov Parrish
is a regular
guest on
Mind Over
Matters on
KEXP-FM
(903)
Saturdays at
830 am and
provides news
commentary
on KBCS-FM
(913) Fridays
at 430 pm
Catch writers
Steve
Wiecking Tim
Appelo and
ARTS
March 30 - April 5 2005
Picking Up the Thread
Howard House ties together the best new conceptual art from Vienna
by Elise Richman
Franz Wests Mercury
(Howard House Contemporary Art)
Theres a German expression to lose the red thread which means losing
ones train of thought In its current show Howard House has found that
thread Julie Ryan a curator artist and writer organized The Red
Thread Glimpses of International Art in Vienna a two-part exhibition
featuring artists working and living at least part time in Austrias capital
Part one of the show is at Howard House the second half is currently on
display at the Educational Alliance Gallery in New York
Vienna has become a magnet for artists from all over the world including
the 15 individuals and artist teams that are part of The Red Thread
Excellent artist residency programs a low cost of living and living art
legends like Franz West are just a few of the reasons
An artistic collaboration with West took Ryan from New York to Vienna
She knows Billy Howard who runs Howard House from the University of
Washingtons School of Art And so the figurative string was strung
connecting the East and West coasts with artists from across the Atlantic
This is a complex exhibit whose emotional tenor ranges from cool
detachment to an almost urgent earnestness Unlike the formal richly
historical city that connects them artists in The Red Thread favor informal
approaches to art making use disposable materials and comment on
contemporary cultural themes
West has two formidable sculptures at Howard House The front room of the
gallery features Mercury (pictured) an ungainly behemoth composed of a
patchwork of fused metal Like many of Wests sculptures Mercury is
meant as an interactive structure that viewers can climb and sit on Bulbous
Gavin
Borchert
discussing
theater film
and music
regularly on
classical
KING-FM
(981)
Mark Fiore
Cartoons
Every
Thursday
nodules extend from its horizontal base and the seams of the dark maroon
metal look like scars rendering it at once vaguely obscene and absurdly
playful
Sisyphus the other West sculpture on display is a bulky conglomeration of
bits and wads of paper propped in the back room on a makeshift plinth (base
block) Though its as solid as the boulder its title references its surface is
like oozing skin partly coated with poured murky paint partly cloaked in
small clumps of newspaper detritus
The strenuous act of making each of these sculptures is eminently apparent
and central to the content of Wests work West considers creation a
symbolic act As you might expect he likens the artistic process to the plight
of Sisyphus the mythological figure who eternally rolled a boulder up a hill
only to have it come crashing back down For West art involves a
Sisyphean search for what he calls the absolute through the seemingly
senseless accumulation of materials However unlike Sisyphus futile quest
Wests process can lead to epiphany making sense of the senseless
Similarly Viennese artist Elisabeth Penkers art serves a facilitative
function easing the act of translation Penker uses Haida iconography in her
multimedia work because it provides potent visual symbols that
communicate single words and whole sentences simultaneously Her prints
at Howard House feature fragments of icons floating in the papers white
space They are spare visually arresting characters that employ an
iconographic language as encoded symbols of communication
Also featured in The Red Thread is Donald Baechler an internationally
known American painter who spends extended periods of time in Vienna
Baechler equalizes his imagery by painting it all in the same style For him
the source of an image doesnt matter whether its a drawing by Picasso or
graffiti on a bathroom wall What matters is the newfound context his
paintings provide
Victory by Default is part of Baechlers Skull series In this piece a painted
skull gapes from the dirty yet sensuous confines of a large canvas Terry
cloth and wrinkled rags provide literal texture and reference the world
outside the paintings boundaries Splatterings of color around the skull like
the self-conscious marks of Jasper Johns seem to express the language of
paintingmdashhue and gestural strokesmdashin a factual rather than illusional
manner
Another American painter Lisa Ruyter lives half-time in Vienna where she
runs an influential gallery She works from photographs projected onto
large-scale canvases tracing the contours of the projected imagery with
consistent black outlines In a way that seems arbitrary she paints the shapes
formed by her contour lines in flat designer colors Man of Means based on
a photo of fashion photographers looks like a scrambled color-by-numbers
painting I cant do justice to the unusually rich assortment of conceptual art
in The Red Thread Youll just have to see it for yourself Thomas
Baumans thrashing triangular foil blanket Walter Seidls slide show of
staged snapshots Markus Schinwalds photograph of a contortionist and the
other thoughtful works connected by The Red Thread
The Red Thread Glimpses of International Art in Vienna runs through
April 30 at Howard House 604 Second Ave 206- 256-6399 1030 amndash5
pm TuesndashSat Free
KUNSTFORUM
Parallelwelten fuumlr Parlamentarier Ausstellung
Von Brigitte Borchhardt-Birbaumer
Ende Oktober endet die Zusammenarbeit von Nationalratspraumlsident Andreas Khol und Peter Pakesch Direktor des Kunsthauses Graz am Joanneum Seit 2003
hatte Pakesch als Kurator mehrere Ausstellungen in den Sitzungssaumllen des Parlaments in Zusammenarbeit mit Galerien initiiert und namhafte Positionen
ausgewaumlhlt Kriterium fuumlr Praumlsentationen war die Praumlsenz durch eine Schau in einer der bekannten Kunstinstitutionen des Landes Nach Eva Schlegel Adriana
Czernin Maria Lassnig oder Esther Stocker sind dies nun bis April 2007 Josef Dabernig Daniel Hafner Ulrike Lienbacher Alois Mosbacher und Elisabeth
Penker
Das Parlament kann dabei durch die Margaretha-Lupac Stiftung immer eine Arbeit fuumlr die wachsende Sammlung des Hauses ankaufen Zuletzt war das ein
groszliges Oumll-Acryl-Gemaumllde der Georg-Eisler-Preistraumlgerin Maja Vukoje zuvor Johanna Kandl deren Temperabild derzeit an das Lentos in Linz geliehen wird
Einige Werke haumlngen schon als kuumlnstlerische Wegweiser in den Gaumlngen des Hauses und sind auch Blickfang fuumlr die 120000 Besucher die pro Jahr das
Parlament besuchen In die Architektur von Theophil Hansen mit ihrer zeitlosen Qualitaumlt fuumlgt sich die Gegenwartskunst kongenial
Hoffnung fuumlr spaumlter
Die derzeitige Zusammenstellung macht Hoffnung auf eine Fortsetzung unter der naumlchsten Praumlsidentschaft Fotografie Computerkunst Malerei Zeichnung
und Skulptur weisen auf die Vielfalt der Werkstoffe in der Gegenwartskunst Elisabeth Penker parallel im Kunsthaus Graz zu sehen baut schwarzweiszlige
Objekte aus bemaltem Holz die in ihrer seriellen und geometrischen Anordnung auf Bezuumlge zum Performativen und auf die Musik hinweisen
Noch juumlnger ist Daniel Hafner mit seinen am Computer komponierten digitalen Drucken Morphosentransformationen von 2006 Linienraster und
Raumkonstruktionen in subtiler Farbigkeit verbinden Tendenzen der fruumlhen Op-Art mit dem Cyber-Lab
Um konstruierte Realitaumlten geht es auch in den groszligformatigen Oumllbildern von Alois Mosbacher dem bekannten Vertreter der Neuen Wilden der
Achtzigerjahre in Oumlsterreich Wanderer in Wald und Wiese erzaumlhlen die Geschichten alternativer Welten die sich mancher in der Gesellschaft als Parallele
konstruiert
Zwei Fotofriese von Josef Dabernig bilden jeweils ein Panorama von oumlffentlichen Plaumltzen auf denen es zum einen um Fuszligball geht Zum anderen ist der
Rundblick in das Oval einer scheinbaren Arena auch eine Art Sehschule fuumlr die Betrachter Ein sozialer Befund ist die dritte Bedeutungsebene
Ulrike Lienbacher die heuer mit einer groszligen Schau im Innsbrucker Taxispalais ihre Karriere fortsetzt ist mit ihren feinlinigen Tuschezeichnungen den kleinen
oft unsichtbaren Zwaumlngen in unserer Gesellschaft auf der Spur Im Lokal II des Parlaments stellt sie zwar nicht ihre Objekte und Fotos aber einige
groszligformatige Blaumltter mit Frisurenvariationen neben teils fragmentierten Frauenkoumlrpern im Umgang mit Schmutz und Hygiene aber auch Fitnesskult aus
Disziplinierung und Kontrolle betreffen in der Oumlffentlichkeit besonders den weiblichen Koumlrper Sauberkeitsmechanismen weisen auch auf Vorstellungen von
wertvoll und minderwertig hin Ihre Transformationen enthalten wie die Themen der anderen subtile Kritik und sind daher vom Kurator uumlberlegt positioniert
Zeitgenoumlssische Kunst
im Parlament
Bis April 2007
Kurator Peter Pakesch
Konfrontationen
Dienstag 10 Oktober 2006
ltlt 2003 | 2004 Jan Feb Mar Apr May Jun Jul Aug Sep Oct Nov Dec 2004 | 2005 gtgt
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31
Sunday 17 October 2004
TIME
TITLE
NAME
700 Indymedia ESF breakfast show Indymedia London
Highlights news and views from the European Social Forum and the
autonomous spaces and initiatives taking place this week
website
800 Resonance Radio Art Riot Breakfast International
Radio Art
A five part special of the Harmon E Phraisyar show commissioned for
Kunstradio in Austria starts off the morning broadcast of international radio
art
website
1100 Resonance Live from the Frieze Art Fair Anna Colin amp
Tobi Maier
1100 Chris Weaver Resonance 1044FM live electronics set with James Dunn and
Robin Warren
1130 Michael Hall gallery Vienna presents audio works by artist Elisabeth Penker
1200 Maria Fusco presents latest the Bookworks commissions
1300 The Psychology of Collecting live broadcast of the frieze art fair panel
discussion
Is collecting an irrational act guided by compulsion and desire What are the use of
objects What are the motivations behind making collecting curating and
criticizing art A discussion of the psychology of collecting and the politics of taste
Hilary Rubenstein (Psychologist)
Eric Troncy (Art Critic and Director Le Consortium Dijon)
Haim Steinbach (Artist)
Chair Alice Rawsthorn (Director Design Museum)
1500 Portable live set and presentation of sudelectronic records London
1600 Where is Adventure What is Culture live broadcast of the frieze art fair
website
panel discussion
A discussion of the relationship of art to entertainment touching on the comedic
being popular and failing miserably
Trisha Donnelly (Artist)
Christian Jankowski (Artist)
David Robbins (Writer amp Artist)
Nancy Spector (Curator of Contemporary Art Solomon R Guggenheim Museum)
Chair Matthew Higgs (Curator CCA Wattis Institute for Contemporary Arts)
1800 Melissa Bent from Rivington Arms gallery New York in conversation with
artist Dan Colan and Tobi Maier Anna Colin
1830 VOX pop recordings from the fair with Sharon Gal
1900 Resonance Radio Art Riot Sarah
Washington
The Resonance Radio Art Riot brings together some of the foremost radio artists
and thinkers from around the world The studio lab situation will feature round
table discussions live performances and streamed events
Tonight Radio Text
Events Live broadcast from Sonic Arts Network Resonance benefit featuring
Henri Chopin studio performances from Julia Lee Barclay and Aude Tournay plus
Special Features None present live concrete radiophonics - Planning For
Emergencies
Guests include Clive Graham Chris Weaver Richard Thomas Toby Clarkson
John Lovett Robin Warren and James Dunn
Topics The word as art Sound poetry text performances
At Midnight Tom Wallace present exclusive excerpts from radio art pioneer
Gregory Whitehead
website
000 Resonance Radio Art Riot Nights International
Radio Art
The Resonance Radio Art riot continues throughout the night with the finest of
international radio art Resonance FM programme makers and our international
guests have put together many special hours of classic and obscure radio
works
website
- EPenkerDocumentationpdf
-
- 2bAusstellungenPublicaSpaceEPenkerpdf
-
- 2cUntitled_InstrumentsKunsthausGrazEPenker
- 2bpoeticsKunsthaus GrazEPenker
-
- 4PresseEPenkerpdf
-
- 4Review_Seattle Weekly
-
13
Front
2 CT (shelfbenches) Acryl auf Pappelsperrholz
Back Pull Over Yukme Shirley Hall outside
14
Pull Over Yukme Shirley Hall inside
Fabric wall silk print by (Tlinglet Artist) Yukme Shirley Hall
Wo ist Elise Richter wo ist
id99149429 pdfMachine by Broadgun Software - a great PDF writer - a great PDF creator - httpwwwpdfmachinecom httpwwwbroadguncom
Im Arkadenhof der Universitaumlt Wien stehen 154 Buumlsten von bedeutenden Wissenschaftlern der
Universitaumlt Wien (1700-2005) Bedauerlicherweise findet sich unter ihnen keine einzige Frau Eine temporaumlre Buumlste einer anonymen Wissenschaftlerin soll die systematische Ausblendung von Frauen
aus der Universitaumltsgeschichte thematisieren Die offene Web- Plattform (wwweliserichterat) ermoumlglicht allen Benutzern aktiv an der Umschreibung der Universitaumltsgeschichte und an re-imaging Prozessen der Repraumlsentation dieser Buumlsten teilzunehmen Weiters wird die Verbindung von raceclassgender und einer akademischen Kariere in diesem Zusammenhang hinterfragt We can never really change any form of social organisation without challenging all that organisations forms of
language (Debord)
Within the patriarchal structures of the Arkadenhof at the University of Vienna stand 154 busts of important scientists (1700-2005) Unfortunately none of these busts are women Through the placement of a temporary bust of an anonymous female scientist it declares the absence of them within the history of the university As well the anonymous bust embodies the presence of important scientists who have not yet been given equal representation The open web-platform (wwweliserichterat) allows every user to participate in this discourse to re-write the history of the university and to re-image the representation of these busts through a wiki system
Skizze Buumlste einer anonymen Wissenschaftlerin
Mein Interesse besteht nicht darin zu recherchieren welche Buumlsten von Wissenschaftlerinnen im Arkadenhof fehlen sondern das Fehlen der Wissenschaftlerinnen im Zeitraum von 1700 bis 2005 aufzuzeigen und Strukturen fuumlr eine oumlffentliche Kommunikationsplattform zu schaffen In der Genderforschung besteht Konsens daruumlber dass Gender kein Merkmal von Individuen sondern das einer
Institution ist (Connell) zudem ein struktureller Bestandteil einer Gesellschaft ist und dass Gendernormen alle Organisationen durchdringen (Acker)
Grundriss Arkadenhof der Universitaumlt Wien Literatur Acker J (1990) Hierarchies Jobs Bodies A theory of gendered organizations In Gender and Society
Connell R (1998) Gender and Power Society the Person and Sexual Politics Stanford University Press Stanford CA Maisel T (1990) Die Denkmaumller im Arkadenhof der Universitaumlt Wien Biographische Skizzen Wien Quellen Denkmalsakten Archiv der Universitaumlt Wien
Veranstalter Open Mind Projekt Utopie Freiheit httpwwwopenmindat vereinopenmindat Projektautorin Elisabeth Penker elpenkergmxat Bronzeguss Walter Rom Wachsmodel Buumlste Elisabeth Penker Steinsockel Ausfuumlhrung Fa Zehmann Mario Jungbauer Mediendesign Gernot Tscherteu httpwwwrealitylabatwphome gtrealitylabat Techn Umsetzung Christian Langreiter Webpage wwweliserichterat
Elisabeth Penker- Franzengasse 13- 1050 Wien ++43 (0)699 197 193 53 elpenkergmxat
Elisabeth Penker Untitled instruments 1-3 2000-2012
Galerie Georg Kargl Wien Galerie Priestor Bratislava Kuumlnstlerhaus Wien Kibla New
Media Center Maribor HTTP Galerie London Secession Wien Mak Wien Roma
Contemporary Wien
Elisabeth Penker Untiled Instrument Galerie Georg Kargl Wien
Curated by Michael Hall
Elisabeth Penker Untitled instrument 2001 New Media Center Maribor
Elisabeth Penker Untitled instrument 2001 New Media Center Maribor
Elisabeth Penker Untitled instrument Kuumlnstlerhaus Wien curated by Ursula Maria Probst
Live Performance mit Celia Mare
Detail Die BILD_HAU_ER_IN Kuumlnstlerhaus Wien
Live Performance Flower Structure Wiener Festwochen
Elisabeth Penker (Untiled instrument) Van Angh (Cello) Tri Minh Electronics
Elisabeth Penker Live Performance Poetics of space Secession Wien
MAK Nail Structure GRizo Sweet Susie Elisabeth Penker
Elisabeth Penker HTTP Gallery London 2005 curated by Tobi Maier
Elisabeth Penker HTTP Gallery London Live Performance
Elisabeth Penker Untitled Instrument Sonic Structure Kunsthaus Graz curated by Adam Budak amp
Christine Peters
Videolinks
httpwwwyoutubecomusersoundart24
Interview with Video Festwochen
httpbturncom8753interview-elisabeth-penker
Kunsthaus Graz
Protections
Kuratoren Adam Budak und Christine Peters
Elisabeth Penker Poetics of Dead Space
For PROTECTIONS Elisabeth Penker developed a key-sound Poetics of Dead Space which is to a large extent a homage
to Gaston Bachelards seminal book Poetics of Space where the connections between the poetry and the spatial emotions
are analysed Penkers key-sound will guide the viewer through the exhibition mapping the overall identity of the show in
some way controlling the viewers (audio-narrative) route in the maze of art objects events situations but also spatial
voids and unused corners
Fuumlr PROTECTIONS entwickelte Elisabeth Penker einen leitmotivischen Key Sound Poetics of Dead Space der weitgehend
eine Hommage an Gaston Bachelards wegweisendes Buch Poetics of Space darstellt in dem die Verbindungen zwischen
Lyrik und raumlumlichen Emotionen analysiert werden Penkers Key Sound wird das Publikum durch die Ausstellung geleiten
die Identitaumlt der Schau in ihrer Gesamtheit erfassen und in gewisser Weise die (audio-narrative) Route des Publikums im
Labyrinth der Kunstgegenstaumlnde Ereignisse und Situationen aber auch raumlumlicher Leerstellen und ungenutzter Winkel
kontrollieren
A non linear composition 7 mono active speakers are placed through out the Kunsthaus Graz Speaker placement
1 outdoor (entrance) 2 (travelator) 3 (corner with column) 4 (corner with door) 5 (corner) 6 (travelator) 7 (corner with
window)
Poetics of Dead Space Let it grow again 28 51 sec mono
Source material for composition rain sound of dried beans dropping down wood sticks breathing hardly existing
id78338975 pdfMachine by Broadgun Software - a great PDF writer - a great PDF creator - httpwwwpdfmachinecom httpwwwbroadguncom
recording of extinct languages
Poetics of Dead Space Let it grow again 28 51 sec mono
Source material for composition rain sound of dried beans dropping down wood sticks existing recording of extinct
languages
Poetics of Dead Space travelator 1 1min 04 sec mono loop
Source material for composition staff falling down man falling down stairs rattern recording untitled instrument
Background existing recording of extinct languages
Poetics of Dead Space 496 1min 409 sec mono loop
Source material for composition recording untitled instrument Background existing recording of extinct languages
Poetics of Dead Space 129525 1min 4888 sec mono loop
Source material for composition recording untitled instrument Background existing recording of extinct languages
Poetics of Dead Space 129525 1min 4888 sec mono loop
Source material for composition keyboard recording untitled instrument Background existing recording of extinct
languages
Poetics of Dead Space travelator 2 1min 5209 sec mono loop
Source material for composition recording untitled instrument violin Background existing recording of extinct
languages
Poetics of Dead Space2152518125220 1min 3200 sec mono loop
Source material for composition recording untitled instrument Background existing recording of library of extinct
languages
Poetics of Dead Space travelator 1 1min 04 sec mono loop
viewing down from upstairs Source material for composition staff falling down man falling down stairs rattern
recording untitled instrument Background existing recording of extinct languages
Poetics of Dead Space Let it grow again 028 51 sec mono
Source material for composition rain sound of coins wood sticks existing recording of extinct languages
Elisabeth Penker is a Viennese artist and musician working with sound in a sculptural context In her (subjective) tour
Penker approaches the entire anti-exhibition PROTECTIONS from an angle of its position and significance in the context
of Sound Art as located on the crossway between visual arts language and music Starting from her own house turned
into First Nation Pavillion which amongst others aims at connecting the recent discourse on cultural translation with
early avant-garde phonetic experiments Penker maps the sonic structure of Kunsthaus Graz and its (live) architecture
which for PROTECTIONS hosts an array of interdisciplinary projects with a strong audio-quality from Herwig Weisers
Death Before Disco (a micro-architecture of hyper-technological and electronic pop) through a newly created choir of
security guards for Tim Etchells Wall of Sound down to a cacophonic layers of anonimous noise generated by the
space itself and the presence of audience
Die Wiener Kuumlnstlerin und Musikerin Elisabeth Penker arbeitet mit Klang im Zusammenhang mit Bildhauerei In ihrer
(subjektiven) Fuumlhrung naumlhert sie sich der Anti-Ausstellung PROTECTIONS aus einem Blickwinkel der die Position und
Bedeutung der Klangkunst an der Kreuzung zwischen bildender Kunst Sprache und Musik verortet Von ihrem eigenen
Haus ausgehend das sich in den First Nation Pavilion verwandelt hat der u a den aktuellen Diskurs uumlber kulturelle
Uumlbersetzung mit fruumlhen phonetischen Experimenten der Avantgarde verbinden soll entwirft Penker die klangliche
Struktur des Gutshauses und seiner (Live-)Architektur die fuumlr PROTECTIONS eine Reihe von interdisziplinaumlren Projekten
mit einer starken Affinitaumlt zum Klang beherbergt von Herwig Weisers Death Before Disco (eine Mikroarchitektur aus
hyper-technoidem und elektronischem Pop) uumlber einen neu formierten Chor bestehend aus Security Guards fuumlr Tim
Etchells Wall of Sound bis zu einer Kakophonie aus anonymen Geraumluschen die vom Raum selbst und der Anwesenheit
des Publikums erzeugt werden
052813
Local Warming ATHENS
052813
AFTER A YEARLONG HIATUS the eighteenth Art-Athina hit the ground running on the evening of Thursday May 16 and the former Olympic
ldquoTae Kwon Dordquo Pavilion was packed with enthusiastic party people The fair had a more national flavor than ever this year under its new
director Alexis Caniaris the son of recently deceased artist Vlassis Caniaris whose iconic modern work has recently found great success on the
international market Of the very few foreign galleries exhibiting most were Greek-owned The Breeder gallery was dealing with the perceived
drop in the market by selling fantastic multiples by artists like Stelios Faitakis Jannis Varelas and Andreas Angelidakis at crisis-appropriate
prices ldquoNobody wants to come here now but I have already met three interested billionaire collectors today And if Greeks like you they
introduce you to their billionaire friendsrdquo raved Cologne dealer Mirko Mayer a seven-time exhibitor ldquoThat is what nobody knows There are
at least one-hundred billionaires collecting hererdquo Most international collectors were delayed several hours due to a union strike a de r igueur
mode of arrival in contemporary Greece
It was impossible to miss the exuberant activities of the DaDa Da restaurant a Greek-Austrian collaboration where artist Albert Mayr was
waving a skillet and raving nonsense while Lucas Willmann tenderized pink fillets for Wiener schnitzel ldquoThis is Viennese Actionism lightrdquo
quipped critic Sotirios Bahtsetzis Artist Natasha Papadopoulos added ldquoBut here there are hungry Greeks waitingrdquo On a table with a rotating
Sacher tort by Heacutelegravene van Duijne a sign carried the overwhelming spirit FUCK ART LETrsquoS EAT SOUVLAKI An insistent electronic beat and
pulsating light emanated from the next booth the American College of Greecersquos ldquoAthensUrgentrdquo while hooded performer Manos Tsatiris
stood against the wall with his hands tied perhaps a metaphor for the current Athenian exigency ldquoThis is not the kind of art fair scene we are
used tordquo said the Economou Collectionrsquos Annie-Claire Geisinger watching the madness
Left Artists Elisabeth Penker Michela Pelusio Petros Touloudis Panos Papadopoulos and Nino Stelzl Right Collector Anne-Marie Ros
Down on the floor the dealers seemed pleased particularly given dismal expectations having already sold a great deal at the preview Young
Rotterdam-based gallery Joey Ramone had sold sculptures by Fotini Gouseti to English and Belgian collectors dealer Erik Mulier had also sold
some work to Belgians Marc Van den Hende said he had bought a triptych by Eirene Efstathiou and was considering a Vlassis Caniaris piece
from the 1970s ldquoI saw some surprisesmdashyoung Greek artists I did not knowmdashand great new galleries like Elika and CANrdquo Dutch collector
Anne-Marie Ros said By the end of the day Dimitra and Sofia Vamiali reported that they had not seen one Greek collector although another
reported a Dakis Joannou sighting mdash Cathryn Drake
SEARCH
ARTICLES
GO
Home
News
War Dead
Music
Film
Arts
Food
Diversions
Best of Seattle
About Us
Search
Classifieds
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Special Offers
Personals
Contests
Images this
Week
Newsletter
Signup
SEATTLE
WEEKLY
in the News
Columnist
Geov Parrish
is a regular
guest on
Mind Over
Matters on
KEXP-FM
(903)
Saturdays at
830 am and
provides news
commentary
on KBCS-FM
(913) Fridays
at 430 pm
Catch writers
Steve
Wiecking Tim
Appelo and
ARTS
March 30 - April 5 2005
Picking Up the Thread
Howard House ties together the best new conceptual art from Vienna
by Elise Richman
Franz Wests Mercury
(Howard House Contemporary Art)
Theres a German expression to lose the red thread which means losing
ones train of thought In its current show Howard House has found that
thread Julie Ryan a curator artist and writer organized The Red
Thread Glimpses of International Art in Vienna a two-part exhibition
featuring artists working and living at least part time in Austrias capital
Part one of the show is at Howard House the second half is currently on
display at the Educational Alliance Gallery in New York
Vienna has become a magnet for artists from all over the world including
the 15 individuals and artist teams that are part of The Red Thread
Excellent artist residency programs a low cost of living and living art
legends like Franz West are just a few of the reasons
An artistic collaboration with West took Ryan from New York to Vienna
She knows Billy Howard who runs Howard House from the University of
Washingtons School of Art And so the figurative string was strung
connecting the East and West coasts with artists from across the Atlantic
This is a complex exhibit whose emotional tenor ranges from cool
detachment to an almost urgent earnestness Unlike the formal richly
historical city that connects them artists in The Red Thread favor informal
approaches to art making use disposable materials and comment on
contemporary cultural themes
West has two formidable sculptures at Howard House The front room of the
gallery features Mercury (pictured) an ungainly behemoth composed of a
patchwork of fused metal Like many of Wests sculptures Mercury is
meant as an interactive structure that viewers can climb and sit on Bulbous
Gavin
Borchert
discussing
theater film
and music
regularly on
classical
KING-FM
(981)
Mark Fiore
Cartoons
Every
Thursday
nodules extend from its horizontal base and the seams of the dark maroon
metal look like scars rendering it at once vaguely obscene and absurdly
playful
Sisyphus the other West sculpture on display is a bulky conglomeration of
bits and wads of paper propped in the back room on a makeshift plinth (base
block) Though its as solid as the boulder its title references its surface is
like oozing skin partly coated with poured murky paint partly cloaked in
small clumps of newspaper detritus
The strenuous act of making each of these sculptures is eminently apparent
and central to the content of Wests work West considers creation a
symbolic act As you might expect he likens the artistic process to the plight
of Sisyphus the mythological figure who eternally rolled a boulder up a hill
only to have it come crashing back down For West art involves a
Sisyphean search for what he calls the absolute through the seemingly
senseless accumulation of materials However unlike Sisyphus futile quest
Wests process can lead to epiphany making sense of the senseless
Similarly Viennese artist Elisabeth Penkers art serves a facilitative
function easing the act of translation Penker uses Haida iconography in her
multimedia work because it provides potent visual symbols that
communicate single words and whole sentences simultaneously Her prints
at Howard House feature fragments of icons floating in the papers white
space They are spare visually arresting characters that employ an
iconographic language as encoded symbols of communication
Also featured in The Red Thread is Donald Baechler an internationally
known American painter who spends extended periods of time in Vienna
Baechler equalizes his imagery by painting it all in the same style For him
the source of an image doesnt matter whether its a drawing by Picasso or
graffiti on a bathroom wall What matters is the newfound context his
paintings provide
Victory by Default is part of Baechlers Skull series In this piece a painted
skull gapes from the dirty yet sensuous confines of a large canvas Terry
cloth and wrinkled rags provide literal texture and reference the world
outside the paintings boundaries Splatterings of color around the skull like
the self-conscious marks of Jasper Johns seem to express the language of
paintingmdashhue and gestural strokesmdashin a factual rather than illusional
manner
Another American painter Lisa Ruyter lives half-time in Vienna where she
runs an influential gallery She works from photographs projected onto
large-scale canvases tracing the contours of the projected imagery with
consistent black outlines In a way that seems arbitrary she paints the shapes
formed by her contour lines in flat designer colors Man of Means based on
a photo of fashion photographers looks like a scrambled color-by-numbers
painting I cant do justice to the unusually rich assortment of conceptual art
in The Red Thread Youll just have to see it for yourself Thomas
Baumans thrashing triangular foil blanket Walter Seidls slide show of
staged snapshots Markus Schinwalds photograph of a contortionist and the
other thoughtful works connected by The Red Thread
The Red Thread Glimpses of International Art in Vienna runs through
April 30 at Howard House 604 Second Ave 206- 256-6399 1030 amndash5
pm TuesndashSat Free
KUNSTFORUM
Parallelwelten fuumlr Parlamentarier Ausstellung
Von Brigitte Borchhardt-Birbaumer
Ende Oktober endet die Zusammenarbeit von Nationalratspraumlsident Andreas Khol und Peter Pakesch Direktor des Kunsthauses Graz am Joanneum Seit 2003
hatte Pakesch als Kurator mehrere Ausstellungen in den Sitzungssaumllen des Parlaments in Zusammenarbeit mit Galerien initiiert und namhafte Positionen
ausgewaumlhlt Kriterium fuumlr Praumlsentationen war die Praumlsenz durch eine Schau in einer der bekannten Kunstinstitutionen des Landes Nach Eva Schlegel Adriana
Czernin Maria Lassnig oder Esther Stocker sind dies nun bis April 2007 Josef Dabernig Daniel Hafner Ulrike Lienbacher Alois Mosbacher und Elisabeth
Penker
Das Parlament kann dabei durch die Margaretha-Lupac Stiftung immer eine Arbeit fuumlr die wachsende Sammlung des Hauses ankaufen Zuletzt war das ein
groszliges Oumll-Acryl-Gemaumllde der Georg-Eisler-Preistraumlgerin Maja Vukoje zuvor Johanna Kandl deren Temperabild derzeit an das Lentos in Linz geliehen wird
Einige Werke haumlngen schon als kuumlnstlerische Wegweiser in den Gaumlngen des Hauses und sind auch Blickfang fuumlr die 120000 Besucher die pro Jahr das
Parlament besuchen In die Architektur von Theophil Hansen mit ihrer zeitlosen Qualitaumlt fuumlgt sich die Gegenwartskunst kongenial
Hoffnung fuumlr spaumlter
Die derzeitige Zusammenstellung macht Hoffnung auf eine Fortsetzung unter der naumlchsten Praumlsidentschaft Fotografie Computerkunst Malerei Zeichnung
und Skulptur weisen auf die Vielfalt der Werkstoffe in der Gegenwartskunst Elisabeth Penker parallel im Kunsthaus Graz zu sehen baut schwarzweiszlige
Objekte aus bemaltem Holz die in ihrer seriellen und geometrischen Anordnung auf Bezuumlge zum Performativen und auf die Musik hinweisen
Noch juumlnger ist Daniel Hafner mit seinen am Computer komponierten digitalen Drucken Morphosentransformationen von 2006 Linienraster und
Raumkonstruktionen in subtiler Farbigkeit verbinden Tendenzen der fruumlhen Op-Art mit dem Cyber-Lab
Um konstruierte Realitaumlten geht es auch in den groszligformatigen Oumllbildern von Alois Mosbacher dem bekannten Vertreter der Neuen Wilden der
Achtzigerjahre in Oumlsterreich Wanderer in Wald und Wiese erzaumlhlen die Geschichten alternativer Welten die sich mancher in der Gesellschaft als Parallele
konstruiert
Zwei Fotofriese von Josef Dabernig bilden jeweils ein Panorama von oumlffentlichen Plaumltzen auf denen es zum einen um Fuszligball geht Zum anderen ist der
Rundblick in das Oval einer scheinbaren Arena auch eine Art Sehschule fuumlr die Betrachter Ein sozialer Befund ist die dritte Bedeutungsebene
Ulrike Lienbacher die heuer mit einer groszligen Schau im Innsbrucker Taxispalais ihre Karriere fortsetzt ist mit ihren feinlinigen Tuschezeichnungen den kleinen
oft unsichtbaren Zwaumlngen in unserer Gesellschaft auf der Spur Im Lokal II des Parlaments stellt sie zwar nicht ihre Objekte und Fotos aber einige
groszligformatige Blaumltter mit Frisurenvariationen neben teils fragmentierten Frauenkoumlrpern im Umgang mit Schmutz und Hygiene aber auch Fitnesskult aus
Disziplinierung und Kontrolle betreffen in der Oumlffentlichkeit besonders den weiblichen Koumlrper Sauberkeitsmechanismen weisen auch auf Vorstellungen von
wertvoll und minderwertig hin Ihre Transformationen enthalten wie die Themen der anderen subtile Kritik und sind daher vom Kurator uumlberlegt positioniert
Zeitgenoumlssische Kunst
im Parlament
Bis April 2007
Kurator Peter Pakesch
Konfrontationen
Dienstag 10 Oktober 2006
ltlt 2003 | 2004 Jan Feb Mar Apr May Jun Jul Aug Sep Oct Nov Dec 2004 | 2005 gtgt
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31
Sunday 17 October 2004
TIME
TITLE
NAME
700 Indymedia ESF breakfast show Indymedia London
Highlights news and views from the European Social Forum and the
autonomous spaces and initiatives taking place this week
website
800 Resonance Radio Art Riot Breakfast International
Radio Art
A five part special of the Harmon E Phraisyar show commissioned for
Kunstradio in Austria starts off the morning broadcast of international radio
art
website
1100 Resonance Live from the Frieze Art Fair Anna Colin amp
Tobi Maier
1100 Chris Weaver Resonance 1044FM live electronics set with James Dunn and
Robin Warren
1130 Michael Hall gallery Vienna presents audio works by artist Elisabeth Penker
1200 Maria Fusco presents latest the Bookworks commissions
1300 The Psychology of Collecting live broadcast of the frieze art fair panel
discussion
Is collecting an irrational act guided by compulsion and desire What are the use of
objects What are the motivations behind making collecting curating and
criticizing art A discussion of the psychology of collecting and the politics of taste
Hilary Rubenstein (Psychologist)
Eric Troncy (Art Critic and Director Le Consortium Dijon)
Haim Steinbach (Artist)
Chair Alice Rawsthorn (Director Design Museum)
1500 Portable live set and presentation of sudelectronic records London
1600 Where is Adventure What is Culture live broadcast of the frieze art fair
website
panel discussion
A discussion of the relationship of art to entertainment touching on the comedic
being popular and failing miserably
Trisha Donnelly (Artist)
Christian Jankowski (Artist)
David Robbins (Writer amp Artist)
Nancy Spector (Curator of Contemporary Art Solomon R Guggenheim Museum)
Chair Matthew Higgs (Curator CCA Wattis Institute for Contemporary Arts)
1800 Melissa Bent from Rivington Arms gallery New York in conversation with
artist Dan Colan and Tobi Maier Anna Colin
1830 VOX pop recordings from the fair with Sharon Gal
1900 Resonance Radio Art Riot Sarah
Washington
The Resonance Radio Art Riot brings together some of the foremost radio artists
and thinkers from around the world The studio lab situation will feature round
table discussions live performances and streamed events
Tonight Radio Text
Events Live broadcast from Sonic Arts Network Resonance benefit featuring
Henri Chopin studio performances from Julia Lee Barclay and Aude Tournay plus
Special Features None present live concrete radiophonics - Planning For
Emergencies
Guests include Clive Graham Chris Weaver Richard Thomas Toby Clarkson
John Lovett Robin Warren and James Dunn
Topics The word as art Sound poetry text performances
At Midnight Tom Wallace present exclusive excerpts from radio art pioneer
Gregory Whitehead
website
000 Resonance Radio Art Riot Nights International
Radio Art
The Resonance Radio Art riot continues throughout the night with the finest of
international radio art Resonance FM programme makers and our international
guests have put together many special hours of classic and obscure radio
works
website
- EPenkerDocumentationpdf
-
- 2bAusstellungenPublicaSpaceEPenkerpdf
-
- 2cUntitled_InstrumentsKunsthausGrazEPenker
- 2bpoeticsKunsthaus GrazEPenker
-
- 4PresseEPenkerpdf
-
- 4Review_Seattle Weekly
-
14
Pull Over Yukme Shirley Hall inside
Fabric wall silk print by (Tlinglet Artist) Yukme Shirley Hall
Wo ist Elise Richter wo ist
id99149429 pdfMachine by Broadgun Software - a great PDF writer - a great PDF creator - httpwwwpdfmachinecom httpwwwbroadguncom
Im Arkadenhof der Universitaumlt Wien stehen 154 Buumlsten von bedeutenden Wissenschaftlern der
Universitaumlt Wien (1700-2005) Bedauerlicherweise findet sich unter ihnen keine einzige Frau Eine temporaumlre Buumlste einer anonymen Wissenschaftlerin soll die systematische Ausblendung von Frauen
aus der Universitaumltsgeschichte thematisieren Die offene Web- Plattform (wwweliserichterat) ermoumlglicht allen Benutzern aktiv an der Umschreibung der Universitaumltsgeschichte und an re-imaging Prozessen der Repraumlsentation dieser Buumlsten teilzunehmen Weiters wird die Verbindung von raceclassgender und einer akademischen Kariere in diesem Zusammenhang hinterfragt We can never really change any form of social organisation without challenging all that organisations forms of
language (Debord)
Within the patriarchal structures of the Arkadenhof at the University of Vienna stand 154 busts of important scientists (1700-2005) Unfortunately none of these busts are women Through the placement of a temporary bust of an anonymous female scientist it declares the absence of them within the history of the university As well the anonymous bust embodies the presence of important scientists who have not yet been given equal representation The open web-platform (wwweliserichterat) allows every user to participate in this discourse to re-write the history of the university and to re-image the representation of these busts through a wiki system
Skizze Buumlste einer anonymen Wissenschaftlerin
Mein Interesse besteht nicht darin zu recherchieren welche Buumlsten von Wissenschaftlerinnen im Arkadenhof fehlen sondern das Fehlen der Wissenschaftlerinnen im Zeitraum von 1700 bis 2005 aufzuzeigen und Strukturen fuumlr eine oumlffentliche Kommunikationsplattform zu schaffen In der Genderforschung besteht Konsens daruumlber dass Gender kein Merkmal von Individuen sondern das einer
Institution ist (Connell) zudem ein struktureller Bestandteil einer Gesellschaft ist und dass Gendernormen alle Organisationen durchdringen (Acker)
Grundriss Arkadenhof der Universitaumlt Wien Literatur Acker J (1990) Hierarchies Jobs Bodies A theory of gendered organizations In Gender and Society
Connell R (1998) Gender and Power Society the Person and Sexual Politics Stanford University Press Stanford CA Maisel T (1990) Die Denkmaumller im Arkadenhof der Universitaumlt Wien Biographische Skizzen Wien Quellen Denkmalsakten Archiv der Universitaumlt Wien
Veranstalter Open Mind Projekt Utopie Freiheit httpwwwopenmindat vereinopenmindat Projektautorin Elisabeth Penker elpenkergmxat Bronzeguss Walter Rom Wachsmodel Buumlste Elisabeth Penker Steinsockel Ausfuumlhrung Fa Zehmann Mario Jungbauer Mediendesign Gernot Tscherteu httpwwwrealitylabatwphome gtrealitylabat Techn Umsetzung Christian Langreiter Webpage wwweliserichterat
Elisabeth Penker- Franzengasse 13- 1050 Wien ++43 (0)699 197 193 53 elpenkergmxat
Elisabeth Penker Untitled instruments 1-3 2000-2012
Galerie Georg Kargl Wien Galerie Priestor Bratislava Kuumlnstlerhaus Wien Kibla New
Media Center Maribor HTTP Galerie London Secession Wien Mak Wien Roma
Contemporary Wien
Elisabeth Penker Untiled Instrument Galerie Georg Kargl Wien
Curated by Michael Hall
Elisabeth Penker Untitled instrument 2001 New Media Center Maribor
Elisabeth Penker Untitled instrument 2001 New Media Center Maribor
Elisabeth Penker Untitled instrument Kuumlnstlerhaus Wien curated by Ursula Maria Probst
Live Performance mit Celia Mare
Detail Die BILD_HAU_ER_IN Kuumlnstlerhaus Wien
Live Performance Flower Structure Wiener Festwochen
Elisabeth Penker (Untiled instrument) Van Angh (Cello) Tri Minh Electronics
Elisabeth Penker Live Performance Poetics of space Secession Wien
MAK Nail Structure GRizo Sweet Susie Elisabeth Penker
Elisabeth Penker HTTP Gallery London 2005 curated by Tobi Maier
Elisabeth Penker HTTP Gallery London Live Performance
Elisabeth Penker Untitled Instrument Sonic Structure Kunsthaus Graz curated by Adam Budak amp
Christine Peters
Videolinks
httpwwwyoutubecomusersoundart24
Interview with Video Festwochen
httpbturncom8753interview-elisabeth-penker
Kunsthaus Graz
Protections
Kuratoren Adam Budak und Christine Peters
Elisabeth Penker Poetics of Dead Space
For PROTECTIONS Elisabeth Penker developed a key-sound Poetics of Dead Space which is to a large extent a homage
to Gaston Bachelards seminal book Poetics of Space where the connections between the poetry and the spatial emotions
are analysed Penkers key-sound will guide the viewer through the exhibition mapping the overall identity of the show in
some way controlling the viewers (audio-narrative) route in the maze of art objects events situations but also spatial
voids and unused corners
Fuumlr PROTECTIONS entwickelte Elisabeth Penker einen leitmotivischen Key Sound Poetics of Dead Space der weitgehend
eine Hommage an Gaston Bachelards wegweisendes Buch Poetics of Space darstellt in dem die Verbindungen zwischen
Lyrik und raumlumlichen Emotionen analysiert werden Penkers Key Sound wird das Publikum durch die Ausstellung geleiten
die Identitaumlt der Schau in ihrer Gesamtheit erfassen und in gewisser Weise die (audio-narrative) Route des Publikums im
Labyrinth der Kunstgegenstaumlnde Ereignisse und Situationen aber auch raumlumlicher Leerstellen und ungenutzter Winkel
kontrollieren
A non linear composition 7 mono active speakers are placed through out the Kunsthaus Graz Speaker placement
1 outdoor (entrance) 2 (travelator) 3 (corner with column) 4 (corner with door) 5 (corner) 6 (travelator) 7 (corner with
window)
Poetics of Dead Space Let it grow again 28 51 sec mono
Source material for composition rain sound of dried beans dropping down wood sticks breathing hardly existing
id78338975 pdfMachine by Broadgun Software - a great PDF writer - a great PDF creator - httpwwwpdfmachinecom httpwwwbroadguncom
recording of extinct languages
Poetics of Dead Space Let it grow again 28 51 sec mono
Source material for composition rain sound of dried beans dropping down wood sticks existing recording of extinct
languages
Poetics of Dead Space travelator 1 1min 04 sec mono loop
Source material for composition staff falling down man falling down stairs rattern recording untitled instrument
Background existing recording of extinct languages
Poetics of Dead Space 496 1min 409 sec mono loop
Source material for composition recording untitled instrument Background existing recording of extinct languages
Poetics of Dead Space 129525 1min 4888 sec mono loop
Source material for composition recording untitled instrument Background existing recording of extinct languages
Poetics of Dead Space 129525 1min 4888 sec mono loop
Source material for composition keyboard recording untitled instrument Background existing recording of extinct
languages
Poetics of Dead Space travelator 2 1min 5209 sec mono loop
Source material for composition recording untitled instrument violin Background existing recording of extinct
languages
Poetics of Dead Space2152518125220 1min 3200 sec mono loop
Source material for composition recording untitled instrument Background existing recording of library of extinct
languages
Poetics of Dead Space travelator 1 1min 04 sec mono loop
viewing down from upstairs Source material for composition staff falling down man falling down stairs rattern
recording untitled instrument Background existing recording of extinct languages
Poetics of Dead Space Let it grow again 028 51 sec mono
Source material for composition rain sound of coins wood sticks existing recording of extinct languages
Elisabeth Penker is a Viennese artist and musician working with sound in a sculptural context In her (subjective) tour
Penker approaches the entire anti-exhibition PROTECTIONS from an angle of its position and significance in the context
of Sound Art as located on the crossway between visual arts language and music Starting from her own house turned
into First Nation Pavillion which amongst others aims at connecting the recent discourse on cultural translation with
early avant-garde phonetic experiments Penker maps the sonic structure of Kunsthaus Graz and its (live) architecture
which for PROTECTIONS hosts an array of interdisciplinary projects with a strong audio-quality from Herwig Weisers
Death Before Disco (a micro-architecture of hyper-technological and electronic pop) through a newly created choir of
security guards for Tim Etchells Wall of Sound down to a cacophonic layers of anonimous noise generated by the
space itself and the presence of audience
Die Wiener Kuumlnstlerin und Musikerin Elisabeth Penker arbeitet mit Klang im Zusammenhang mit Bildhauerei In ihrer
(subjektiven) Fuumlhrung naumlhert sie sich der Anti-Ausstellung PROTECTIONS aus einem Blickwinkel der die Position und
Bedeutung der Klangkunst an der Kreuzung zwischen bildender Kunst Sprache und Musik verortet Von ihrem eigenen
Haus ausgehend das sich in den First Nation Pavilion verwandelt hat der u a den aktuellen Diskurs uumlber kulturelle
Uumlbersetzung mit fruumlhen phonetischen Experimenten der Avantgarde verbinden soll entwirft Penker die klangliche
Struktur des Gutshauses und seiner (Live-)Architektur die fuumlr PROTECTIONS eine Reihe von interdisziplinaumlren Projekten
mit einer starken Affinitaumlt zum Klang beherbergt von Herwig Weisers Death Before Disco (eine Mikroarchitektur aus
hyper-technoidem und elektronischem Pop) uumlber einen neu formierten Chor bestehend aus Security Guards fuumlr Tim
Etchells Wall of Sound bis zu einer Kakophonie aus anonymen Geraumluschen die vom Raum selbst und der Anwesenheit
des Publikums erzeugt werden
052813
Local Warming ATHENS
052813
AFTER A YEARLONG HIATUS the eighteenth Art-Athina hit the ground running on the evening of Thursday May 16 and the former Olympic
ldquoTae Kwon Dordquo Pavilion was packed with enthusiastic party people The fair had a more national flavor than ever this year under its new
director Alexis Caniaris the son of recently deceased artist Vlassis Caniaris whose iconic modern work has recently found great success on the
international market Of the very few foreign galleries exhibiting most were Greek-owned The Breeder gallery was dealing with the perceived
drop in the market by selling fantastic multiples by artists like Stelios Faitakis Jannis Varelas and Andreas Angelidakis at crisis-appropriate
prices ldquoNobody wants to come here now but I have already met three interested billionaire collectors today And if Greeks like you they
introduce you to their billionaire friendsrdquo raved Cologne dealer Mirko Mayer a seven-time exhibitor ldquoThat is what nobody knows There are
at least one-hundred billionaires collecting hererdquo Most international collectors were delayed several hours due to a union strike a de r igueur
mode of arrival in contemporary Greece
It was impossible to miss the exuberant activities of the DaDa Da restaurant a Greek-Austrian collaboration where artist Albert Mayr was
waving a skillet and raving nonsense while Lucas Willmann tenderized pink fillets for Wiener schnitzel ldquoThis is Viennese Actionism lightrdquo
quipped critic Sotirios Bahtsetzis Artist Natasha Papadopoulos added ldquoBut here there are hungry Greeks waitingrdquo On a table with a rotating
Sacher tort by Heacutelegravene van Duijne a sign carried the overwhelming spirit FUCK ART LETrsquoS EAT SOUVLAKI An insistent electronic beat and
pulsating light emanated from the next booth the American College of Greecersquos ldquoAthensUrgentrdquo while hooded performer Manos Tsatiris
stood against the wall with his hands tied perhaps a metaphor for the current Athenian exigency ldquoThis is not the kind of art fair scene we are
used tordquo said the Economou Collectionrsquos Annie-Claire Geisinger watching the madness
Left Artists Elisabeth Penker Michela Pelusio Petros Touloudis Panos Papadopoulos and Nino Stelzl Right Collector Anne-Marie Ros
Down on the floor the dealers seemed pleased particularly given dismal expectations having already sold a great deal at the preview Young
Rotterdam-based gallery Joey Ramone had sold sculptures by Fotini Gouseti to English and Belgian collectors dealer Erik Mulier had also sold
some work to Belgians Marc Van den Hende said he had bought a triptych by Eirene Efstathiou and was considering a Vlassis Caniaris piece
from the 1970s ldquoI saw some surprisesmdashyoung Greek artists I did not knowmdashand great new galleries like Elika and CANrdquo Dutch collector
Anne-Marie Ros said By the end of the day Dimitra and Sofia Vamiali reported that they had not seen one Greek collector although another
reported a Dakis Joannou sighting mdash Cathryn Drake
SEARCH
ARTICLES
GO
Home
News
War Dead
Music
Film
Arts
Food
Diversions
Best of Seattle
About Us
Search
Classifieds
Job Mall
Special Offers
Personals
Contests
Images this
Week
Newsletter
Signup
SEATTLE
WEEKLY
in the News
Columnist
Geov Parrish
is a regular
guest on
Mind Over
Matters on
KEXP-FM
(903)
Saturdays at
830 am and
provides news
commentary
on KBCS-FM
(913) Fridays
at 430 pm
Catch writers
Steve
Wiecking Tim
Appelo and
ARTS
March 30 - April 5 2005
Picking Up the Thread
Howard House ties together the best new conceptual art from Vienna
by Elise Richman
Franz Wests Mercury
(Howard House Contemporary Art)
Theres a German expression to lose the red thread which means losing
ones train of thought In its current show Howard House has found that
thread Julie Ryan a curator artist and writer organized The Red
Thread Glimpses of International Art in Vienna a two-part exhibition
featuring artists working and living at least part time in Austrias capital
Part one of the show is at Howard House the second half is currently on
display at the Educational Alliance Gallery in New York
Vienna has become a magnet for artists from all over the world including
the 15 individuals and artist teams that are part of The Red Thread
Excellent artist residency programs a low cost of living and living art
legends like Franz West are just a few of the reasons
An artistic collaboration with West took Ryan from New York to Vienna
She knows Billy Howard who runs Howard House from the University of
Washingtons School of Art And so the figurative string was strung
connecting the East and West coasts with artists from across the Atlantic
This is a complex exhibit whose emotional tenor ranges from cool
detachment to an almost urgent earnestness Unlike the formal richly
historical city that connects them artists in The Red Thread favor informal
approaches to art making use disposable materials and comment on
contemporary cultural themes
West has two formidable sculptures at Howard House The front room of the
gallery features Mercury (pictured) an ungainly behemoth composed of a
patchwork of fused metal Like many of Wests sculptures Mercury is
meant as an interactive structure that viewers can climb and sit on Bulbous
Gavin
Borchert
discussing
theater film
and music
regularly on
classical
KING-FM
(981)
Mark Fiore
Cartoons
Every
Thursday
nodules extend from its horizontal base and the seams of the dark maroon
metal look like scars rendering it at once vaguely obscene and absurdly
playful
Sisyphus the other West sculpture on display is a bulky conglomeration of
bits and wads of paper propped in the back room on a makeshift plinth (base
block) Though its as solid as the boulder its title references its surface is
like oozing skin partly coated with poured murky paint partly cloaked in
small clumps of newspaper detritus
The strenuous act of making each of these sculptures is eminently apparent
and central to the content of Wests work West considers creation a
symbolic act As you might expect he likens the artistic process to the plight
of Sisyphus the mythological figure who eternally rolled a boulder up a hill
only to have it come crashing back down For West art involves a
Sisyphean search for what he calls the absolute through the seemingly
senseless accumulation of materials However unlike Sisyphus futile quest
Wests process can lead to epiphany making sense of the senseless
Similarly Viennese artist Elisabeth Penkers art serves a facilitative
function easing the act of translation Penker uses Haida iconography in her
multimedia work because it provides potent visual symbols that
communicate single words and whole sentences simultaneously Her prints
at Howard House feature fragments of icons floating in the papers white
space They are spare visually arresting characters that employ an
iconographic language as encoded symbols of communication
Also featured in The Red Thread is Donald Baechler an internationally
known American painter who spends extended periods of time in Vienna
Baechler equalizes his imagery by painting it all in the same style For him
the source of an image doesnt matter whether its a drawing by Picasso or
graffiti on a bathroom wall What matters is the newfound context his
paintings provide
Victory by Default is part of Baechlers Skull series In this piece a painted
skull gapes from the dirty yet sensuous confines of a large canvas Terry
cloth and wrinkled rags provide literal texture and reference the world
outside the paintings boundaries Splatterings of color around the skull like
the self-conscious marks of Jasper Johns seem to express the language of
paintingmdashhue and gestural strokesmdashin a factual rather than illusional
manner
Another American painter Lisa Ruyter lives half-time in Vienna where she
runs an influential gallery She works from photographs projected onto
large-scale canvases tracing the contours of the projected imagery with
consistent black outlines In a way that seems arbitrary she paints the shapes
formed by her contour lines in flat designer colors Man of Means based on
a photo of fashion photographers looks like a scrambled color-by-numbers
painting I cant do justice to the unusually rich assortment of conceptual art
in The Red Thread Youll just have to see it for yourself Thomas
Baumans thrashing triangular foil blanket Walter Seidls slide show of
staged snapshots Markus Schinwalds photograph of a contortionist and the
other thoughtful works connected by The Red Thread
The Red Thread Glimpses of International Art in Vienna runs through
April 30 at Howard House 604 Second Ave 206- 256-6399 1030 amndash5
pm TuesndashSat Free
KUNSTFORUM
Parallelwelten fuumlr Parlamentarier Ausstellung
Von Brigitte Borchhardt-Birbaumer
Ende Oktober endet die Zusammenarbeit von Nationalratspraumlsident Andreas Khol und Peter Pakesch Direktor des Kunsthauses Graz am Joanneum Seit 2003
hatte Pakesch als Kurator mehrere Ausstellungen in den Sitzungssaumllen des Parlaments in Zusammenarbeit mit Galerien initiiert und namhafte Positionen
ausgewaumlhlt Kriterium fuumlr Praumlsentationen war die Praumlsenz durch eine Schau in einer der bekannten Kunstinstitutionen des Landes Nach Eva Schlegel Adriana
Czernin Maria Lassnig oder Esther Stocker sind dies nun bis April 2007 Josef Dabernig Daniel Hafner Ulrike Lienbacher Alois Mosbacher und Elisabeth
Penker
Das Parlament kann dabei durch die Margaretha-Lupac Stiftung immer eine Arbeit fuumlr die wachsende Sammlung des Hauses ankaufen Zuletzt war das ein
groszliges Oumll-Acryl-Gemaumllde der Georg-Eisler-Preistraumlgerin Maja Vukoje zuvor Johanna Kandl deren Temperabild derzeit an das Lentos in Linz geliehen wird
Einige Werke haumlngen schon als kuumlnstlerische Wegweiser in den Gaumlngen des Hauses und sind auch Blickfang fuumlr die 120000 Besucher die pro Jahr das
Parlament besuchen In die Architektur von Theophil Hansen mit ihrer zeitlosen Qualitaumlt fuumlgt sich die Gegenwartskunst kongenial
Hoffnung fuumlr spaumlter
Die derzeitige Zusammenstellung macht Hoffnung auf eine Fortsetzung unter der naumlchsten Praumlsidentschaft Fotografie Computerkunst Malerei Zeichnung
und Skulptur weisen auf die Vielfalt der Werkstoffe in der Gegenwartskunst Elisabeth Penker parallel im Kunsthaus Graz zu sehen baut schwarzweiszlige
Objekte aus bemaltem Holz die in ihrer seriellen und geometrischen Anordnung auf Bezuumlge zum Performativen und auf die Musik hinweisen
Noch juumlnger ist Daniel Hafner mit seinen am Computer komponierten digitalen Drucken Morphosentransformationen von 2006 Linienraster und
Raumkonstruktionen in subtiler Farbigkeit verbinden Tendenzen der fruumlhen Op-Art mit dem Cyber-Lab
Um konstruierte Realitaumlten geht es auch in den groszligformatigen Oumllbildern von Alois Mosbacher dem bekannten Vertreter der Neuen Wilden der
Achtzigerjahre in Oumlsterreich Wanderer in Wald und Wiese erzaumlhlen die Geschichten alternativer Welten die sich mancher in der Gesellschaft als Parallele
konstruiert
Zwei Fotofriese von Josef Dabernig bilden jeweils ein Panorama von oumlffentlichen Plaumltzen auf denen es zum einen um Fuszligball geht Zum anderen ist der
Rundblick in das Oval einer scheinbaren Arena auch eine Art Sehschule fuumlr die Betrachter Ein sozialer Befund ist die dritte Bedeutungsebene
Ulrike Lienbacher die heuer mit einer groszligen Schau im Innsbrucker Taxispalais ihre Karriere fortsetzt ist mit ihren feinlinigen Tuschezeichnungen den kleinen
oft unsichtbaren Zwaumlngen in unserer Gesellschaft auf der Spur Im Lokal II des Parlaments stellt sie zwar nicht ihre Objekte und Fotos aber einige
groszligformatige Blaumltter mit Frisurenvariationen neben teils fragmentierten Frauenkoumlrpern im Umgang mit Schmutz und Hygiene aber auch Fitnesskult aus
Disziplinierung und Kontrolle betreffen in der Oumlffentlichkeit besonders den weiblichen Koumlrper Sauberkeitsmechanismen weisen auch auf Vorstellungen von
wertvoll und minderwertig hin Ihre Transformationen enthalten wie die Themen der anderen subtile Kritik und sind daher vom Kurator uumlberlegt positioniert
Zeitgenoumlssische Kunst
im Parlament
Bis April 2007
Kurator Peter Pakesch
Konfrontationen
Dienstag 10 Oktober 2006
ltlt 2003 | 2004 Jan Feb Mar Apr May Jun Jul Aug Sep Oct Nov Dec 2004 | 2005 gtgt
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31
Sunday 17 October 2004
TIME
TITLE
NAME
700 Indymedia ESF breakfast show Indymedia London
Highlights news and views from the European Social Forum and the
autonomous spaces and initiatives taking place this week
website
800 Resonance Radio Art Riot Breakfast International
Radio Art
A five part special of the Harmon E Phraisyar show commissioned for
Kunstradio in Austria starts off the morning broadcast of international radio
art
website
1100 Resonance Live from the Frieze Art Fair Anna Colin amp
Tobi Maier
1100 Chris Weaver Resonance 1044FM live electronics set with James Dunn and
Robin Warren
1130 Michael Hall gallery Vienna presents audio works by artist Elisabeth Penker
1200 Maria Fusco presents latest the Bookworks commissions
1300 The Psychology of Collecting live broadcast of the frieze art fair panel
discussion
Is collecting an irrational act guided by compulsion and desire What are the use of
objects What are the motivations behind making collecting curating and
criticizing art A discussion of the psychology of collecting and the politics of taste
Hilary Rubenstein (Psychologist)
Eric Troncy (Art Critic and Director Le Consortium Dijon)
Haim Steinbach (Artist)
Chair Alice Rawsthorn (Director Design Museum)
1500 Portable live set and presentation of sudelectronic records London
1600 Where is Adventure What is Culture live broadcast of the frieze art fair
website
panel discussion
A discussion of the relationship of art to entertainment touching on the comedic
being popular and failing miserably
Trisha Donnelly (Artist)
Christian Jankowski (Artist)
David Robbins (Writer amp Artist)
Nancy Spector (Curator of Contemporary Art Solomon R Guggenheim Museum)
Chair Matthew Higgs (Curator CCA Wattis Institute for Contemporary Arts)
1800 Melissa Bent from Rivington Arms gallery New York in conversation with
artist Dan Colan and Tobi Maier Anna Colin
1830 VOX pop recordings from the fair with Sharon Gal
1900 Resonance Radio Art Riot Sarah
Washington
The Resonance Radio Art Riot brings together some of the foremost radio artists
and thinkers from around the world The studio lab situation will feature round
table discussions live performances and streamed events
Tonight Radio Text
Events Live broadcast from Sonic Arts Network Resonance benefit featuring
Henri Chopin studio performances from Julia Lee Barclay and Aude Tournay plus
Special Features None present live concrete radiophonics - Planning For
Emergencies
Guests include Clive Graham Chris Weaver Richard Thomas Toby Clarkson
John Lovett Robin Warren and James Dunn
Topics The word as art Sound poetry text performances
At Midnight Tom Wallace present exclusive excerpts from radio art pioneer
Gregory Whitehead
website
000 Resonance Radio Art Riot Nights International
Radio Art
The Resonance Radio Art riot continues throughout the night with the finest of
international radio art Resonance FM programme makers and our international
guests have put together many special hours of classic and obscure radio
works
website
- EPenkerDocumentationpdf
-
- 2bAusstellungenPublicaSpaceEPenkerpdf
-
- 2cUntitled_InstrumentsKunsthausGrazEPenker
- 2bpoeticsKunsthaus GrazEPenker
-
- 4PresseEPenkerpdf
-
- 4Review_Seattle Weekly
-
Wo ist Elise Richter wo ist
id99149429 pdfMachine by Broadgun Software - a great PDF writer - a great PDF creator - httpwwwpdfmachinecom httpwwwbroadguncom
Im Arkadenhof der Universitaumlt Wien stehen 154 Buumlsten von bedeutenden Wissenschaftlern der
Universitaumlt Wien (1700-2005) Bedauerlicherweise findet sich unter ihnen keine einzige Frau Eine temporaumlre Buumlste einer anonymen Wissenschaftlerin soll die systematische Ausblendung von Frauen
aus der Universitaumltsgeschichte thematisieren Die offene Web- Plattform (wwweliserichterat) ermoumlglicht allen Benutzern aktiv an der Umschreibung der Universitaumltsgeschichte und an re-imaging Prozessen der Repraumlsentation dieser Buumlsten teilzunehmen Weiters wird die Verbindung von raceclassgender und einer akademischen Kariere in diesem Zusammenhang hinterfragt We can never really change any form of social organisation without challenging all that organisations forms of
language (Debord)
Within the patriarchal structures of the Arkadenhof at the University of Vienna stand 154 busts of important scientists (1700-2005) Unfortunately none of these busts are women Through the placement of a temporary bust of an anonymous female scientist it declares the absence of them within the history of the university As well the anonymous bust embodies the presence of important scientists who have not yet been given equal representation The open web-platform (wwweliserichterat) allows every user to participate in this discourse to re-write the history of the university and to re-image the representation of these busts through a wiki system
Skizze Buumlste einer anonymen Wissenschaftlerin
Mein Interesse besteht nicht darin zu recherchieren welche Buumlsten von Wissenschaftlerinnen im Arkadenhof fehlen sondern das Fehlen der Wissenschaftlerinnen im Zeitraum von 1700 bis 2005 aufzuzeigen und Strukturen fuumlr eine oumlffentliche Kommunikationsplattform zu schaffen In der Genderforschung besteht Konsens daruumlber dass Gender kein Merkmal von Individuen sondern das einer
Institution ist (Connell) zudem ein struktureller Bestandteil einer Gesellschaft ist und dass Gendernormen alle Organisationen durchdringen (Acker)
Grundriss Arkadenhof der Universitaumlt Wien Literatur Acker J (1990) Hierarchies Jobs Bodies A theory of gendered organizations In Gender and Society
Connell R (1998) Gender and Power Society the Person and Sexual Politics Stanford University Press Stanford CA Maisel T (1990) Die Denkmaumller im Arkadenhof der Universitaumlt Wien Biographische Skizzen Wien Quellen Denkmalsakten Archiv der Universitaumlt Wien
Veranstalter Open Mind Projekt Utopie Freiheit httpwwwopenmindat vereinopenmindat Projektautorin Elisabeth Penker elpenkergmxat Bronzeguss Walter Rom Wachsmodel Buumlste Elisabeth Penker Steinsockel Ausfuumlhrung Fa Zehmann Mario Jungbauer Mediendesign Gernot Tscherteu httpwwwrealitylabatwphome gtrealitylabat Techn Umsetzung Christian Langreiter Webpage wwweliserichterat
Elisabeth Penker- Franzengasse 13- 1050 Wien ++43 (0)699 197 193 53 elpenkergmxat
Elisabeth Penker Untitled instruments 1-3 2000-2012
Galerie Georg Kargl Wien Galerie Priestor Bratislava Kuumlnstlerhaus Wien Kibla New
Media Center Maribor HTTP Galerie London Secession Wien Mak Wien Roma
Contemporary Wien
Elisabeth Penker Untiled Instrument Galerie Georg Kargl Wien
Curated by Michael Hall
Elisabeth Penker Untitled instrument 2001 New Media Center Maribor
Elisabeth Penker Untitled instrument 2001 New Media Center Maribor
Elisabeth Penker Untitled instrument Kuumlnstlerhaus Wien curated by Ursula Maria Probst
Live Performance mit Celia Mare
Detail Die BILD_HAU_ER_IN Kuumlnstlerhaus Wien
Live Performance Flower Structure Wiener Festwochen
Elisabeth Penker (Untiled instrument) Van Angh (Cello) Tri Minh Electronics
Elisabeth Penker Live Performance Poetics of space Secession Wien
MAK Nail Structure GRizo Sweet Susie Elisabeth Penker
Elisabeth Penker HTTP Gallery London 2005 curated by Tobi Maier
Elisabeth Penker HTTP Gallery London Live Performance
Elisabeth Penker Untitled Instrument Sonic Structure Kunsthaus Graz curated by Adam Budak amp
Christine Peters
Videolinks
httpwwwyoutubecomusersoundart24
Interview with Video Festwochen
httpbturncom8753interview-elisabeth-penker
Kunsthaus Graz
Protections
Kuratoren Adam Budak und Christine Peters
Elisabeth Penker Poetics of Dead Space
For PROTECTIONS Elisabeth Penker developed a key-sound Poetics of Dead Space which is to a large extent a homage
to Gaston Bachelards seminal book Poetics of Space where the connections between the poetry and the spatial emotions
are analysed Penkers key-sound will guide the viewer through the exhibition mapping the overall identity of the show in
some way controlling the viewers (audio-narrative) route in the maze of art objects events situations but also spatial
voids and unused corners
Fuumlr PROTECTIONS entwickelte Elisabeth Penker einen leitmotivischen Key Sound Poetics of Dead Space der weitgehend
eine Hommage an Gaston Bachelards wegweisendes Buch Poetics of Space darstellt in dem die Verbindungen zwischen
Lyrik und raumlumlichen Emotionen analysiert werden Penkers Key Sound wird das Publikum durch die Ausstellung geleiten
die Identitaumlt der Schau in ihrer Gesamtheit erfassen und in gewisser Weise die (audio-narrative) Route des Publikums im
Labyrinth der Kunstgegenstaumlnde Ereignisse und Situationen aber auch raumlumlicher Leerstellen und ungenutzter Winkel
kontrollieren
A non linear composition 7 mono active speakers are placed through out the Kunsthaus Graz Speaker placement
1 outdoor (entrance) 2 (travelator) 3 (corner with column) 4 (corner with door) 5 (corner) 6 (travelator) 7 (corner with
window)
Poetics of Dead Space Let it grow again 28 51 sec mono
Source material for composition rain sound of dried beans dropping down wood sticks breathing hardly existing
id78338975 pdfMachine by Broadgun Software - a great PDF writer - a great PDF creator - httpwwwpdfmachinecom httpwwwbroadguncom
recording of extinct languages
Poetics of Dead Space Let it grow again 28 51 sec mono
Source material for composition rain sound of dried beans dropping down wood sticks existing recording of extinct
languages
Poetics of Dead Space travelator 1 1min 04 sec mono loop
Source material for composition staff falling down man falling down stairs rattern recording untitled instrument
Background existing recording of extinct languages
Poetics of Dead Space 496 1min 409 sec mono loop
Source material for composition recording untitled instrument Background existing recording of extinct languages
Poetics of Dead Space 129525 1min 4888 sec mono loop
Source material for composition recording untitled instrument Background existing recording of extinct languages
Poetics of Dead Space 129525 1min 4888 sec mono loop
Source material for composition keyboard recording untitled instrument Background existing recording of extinct
languages
Poetics of Dead Space travelator 2 1min 5209 sec mono loop
Source material for composition recording untitled instrument violin Background existing recording of extinct
languages
Poetics of Dead Space2152518125220 1min 3200 sec mono loop
Source material for composition recording untitled instrument Background existing recording of library of extinct
languages
Poetics of Dead Space travelator 1 1min 04 sec mono loop
viewing down from upstairs Source material for composition staff falling down man falling down stairs rattern
recording untitled instrument Background existing recording of extinct languages
Poetics of Dead Space Let it grow again 028 51 sec mono
Source material for composition rain sound of coins wood sticks existing recording of extinct languages
Elisabeth Penker is a Viennese artist and musician working with sound in a sculptural context In her (subjective) tour
Penker approaches the entire anti-exhibition PROTECTIONS from an angle of its position and significance in the context
of Sound Art as located on the crossway between visual arts language and music Starting from her own house turned
into First Nation Pavillion which amongst others aims at connecting the recent discourse on cultural translation with
early avant-garde phonetic experiments Penker maps the sonic structure of Kunsthaus Graz and its (live) architecture
which for PROTECTIONS hosts an array of interdisciplinary projects with a strong audio-quality from Herwig Weisers
Death Before Disco (a micro-architecture of hyper-technological and electronic pop) through a newly created choir of
security guards for Tim Etchells Wall of Sound down to a cacophonic layers of anonimous noise generated by the
space itself and the presence of audience
Die Wiener Kuumlnstlerin und Musikerin Elisabeth Penker arbeitet mit Klang im Zusammenhang mit Bildhauerei In ihrer
(subjektiven) Fuumlhrung naumlhert sie sich der Anti-Ausstellung PROTECTIONS aus einem Blickwinkel der die Position und
Bedeutung der Klangkunst an der Kreuzung zwischen bildender Kunst Sprache und Musik verortet Von ihrem eigenen
Haus ausgehend das sich in den First Nation Pavilion verwandelt hat der u a den aktuellen Diskurs uumlber kulturelle
Uumlbersetzung mit fruumlhen phonetischen Experimenten der Avantgarde verbinden soll entwirft Penker die klangliche
Struktur des Gutshauses und seiner (Live-)Architektur die fuumlr PROTECTIONS eine Reihe von interdisziplinaumlren Projekten
mit einer starken Affinitaumlt zum Klang beherbergt von Herwig Weisers Death Before Disco (eine Mikroarchitektur aus
hyper-technoidem und elektronischem Pop) uumlber einen neu formierten Chor bestehend aus Security Guards fuumlr Tim
Etchells Wall of Sound bis zu einer Kakophonie aus anonymen Geraumluschen die vom Raum selbst und der Anwesenheit
des Publikums erzeugt werden
052813
Local Warming ATHENS
052813
AFTER A YEARLONG HIATUS the eighteenth Art-Athina hit the ground running on the evening of Thursday May 16 and the former Olympic
ldquoTae Kwon Dordquo Pavilion was packed with enthusiastic party people The fair had a more national flavor than ever this year under its new
director Alexis Caniaris the son of recently deceased artist Vlassis Caniaris whose iconic modern work has recently found great success on the
international market Of the very few foreign galleries exhibiting most were Greek-owned The Breeder gallery was dealing with the perceived
drop in the market by selling fantastic multiples by artists like Stelios Faitakis Jannis Varelas and Andreas Angelidakis at crisis-appropriate
prices ldquoNobody wants to come here now but I have already met three interested billionaire collectors today And if Greeks like you they
introduce you to their billionaire friendsrdquo raved Cologne dealer Mirko Mayer a seven-time exhibitor ldquoThat is what nobody knows There are
at least one-hundred billionaires collecting hererdquo Most international collectors were delayed several hours due to a union strike a de r igueur
mode of arrival in contemporary Greece
It was impossible to miss the exuberant activities of the DaDa Da restaurant a Greek-Austrian collaboration where artist Albert Mayr was
waving a skillet and raving nonsense while Lucas Willmann tenderized pink fillets for Wiener schnitzel ldquoThis is Viennese Actionism lightrdquo
quipped critic Sotirios Bahtsetzis Artist Natasha Papadopoulos added ldquoBut here there are hungry Greeks waitingrdquo On a table with a rotating
Sacher tort by Heacutelegravene van Duijne a sign carried the overwhelming spirit FUCK ART LETrsquoS EAT SOUVLAKI An insistent electronic beat and
pulsating light emanated from the next booth the American College of Greecersquos ldquoAthensUrgentrdquo while hooded performer Manos Tsatiris
stood against the wall with his hands tied perhaps a metaphor for the current Athenian exigency ldquoThis is not the kind of art fair scene we are
used tordquo said the Economou Collectionrsquos Annie-Claire Geisinger watching the madness
Left Artists Elisabeth Penker Michela Pelusio Petros Touloudis Panos Papadopoulos and Nino Stelzl Right Collector Anne-Marie Ros
Down on the floor the dealers seemed pleased particularly given dismal expectations having already sold a great deal at the preview Young
Rotterdam-based gallery Joey Ramone had sold sculptures by Fotini Gouseti to English and Belgian collectors dealer Erik Mulier had also sold
some work to Belgians Marc Van den Hende said he had bought a triptych by Eirene Efstathiou and was considering a Vlassis Caniaris piece
from the 1970s ldquoI saw some surprisesmdashyoung Greek artists I did not knowmdashand great new galleries like Elika and CANrdquo Dutch collector
Anne-Marie Ros said By the end of the day Dimitra and Sofia Vamiali reported that they had not seen one Greek collector although another
reported a Dakis Joannou sighting mdash Cathryn Drake
SEARCH
ARTICLES
GO
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Week
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SEATTLE
WEEKLY
in the News
Columnist
Geov Parrish
is a regular
guest on
Mind Over
Matters on
KEXP-FM
(903)
Saturdays at
830 am and
provides news
commentary
on KBCS-FM
(913) Fridays
at 430 pm
Catch writers
Steve
Wiecking Tim
Appelo and
ARTS
March 30 - April 5 2005
Picking Up the Thread
Howard House ties together the best new conceptual art from Vienna
by Elise Richman
Franz Wests Mercury
(Howard House Contemporary Art)
Theres a German expression to lose the red thread which means losing
ones train of thought In its current show Howard House has found that
thread Julie Ryan a curator artist and writer organized The Red
Thread Glimpses of International Art in Vienna a two-part exhibition
featuring artists working and living at least part time in Austrias capital
Part one of the show is at Howard House the second half is currently on
display at the Educational Alliance Gallery in New York
Vienna has become a magnet for artists from all over the world including
the 15 individuals and artist teams that are part of The Red Thread
Excellent artist residency programs a low cost of living and living art
legends like Franz West are just a few of the reasons
An artistic collaboration with West took Ryan from New York to Vienna
She knows Billy Howard who runs Howard House from the University of
Washingtons School of Art And so the figurative string was strung
connecting the East and West coasts with artists from across the Atlantic
This is a complex exhibit whose emotional tenor ranges from cool
detachment to an almost urgent earnestness Unlike the formal richly
historical city that connects them artists in The Red Thread favor informal
approaches to art making use disposable materials and comment on
contemporary cultural themes
West has two formidable sculptures at Howard House The front room of the
gallery features Mercury (pictured) an ungainly behemoth composed of a
patchwork of fused metal Like many of Wests sculptures Mercury is
meant as an interactive structure that viewers can climb and sit on Bulbous
Gavin
Borchert
discussing
theater film
and music
regularly on
classical
KING-FM
(981)
Mark Fiore
Cartoons
Every
Thursday
nodules extend from its horizontal base and the seams of the dark maroon
metal look like scars rendering it at once vaguely obscene and absurdly
playful
Sisyphus the other West sculpture on display is a bulky conglomeration of
bits and wads of paper propped in the back room on a makeshift plinth (base
block) Though its as solid as the boulder its title references its surface is
like oozing skin partly coated with poured murky paint partly cloaked in
small clumps of newspaper detritus
The strenuous act of making each of these sculptures is eminently apparent
and central to the content of Wests work West considers creation a
symbolic act As you might expect he likens the artistic process to the plight
of Sisyphus the mythological figure who eternally rolled a boulder up a hill
only to have it come crashing back down For West art involves a
Sisyphean search for what he calls the absolute through the seemingly
senseless accumulation of materials However unlike Sisyphus futile quest
Wests process can lead to epiphany making sense of the senseless
Similarly Viennese artist Elisabeth Penkers art serves a facilitative
function easing the act of translation Penker uses Haida iconography in her
multimedia work because it provides potent visual symbols that
communicate single words and whole sentences simultaneously Her prints
at Howard House feature fragments of icons floating in the papers white
space They are spare visually arresting characters that employ an
iconographic language as encoded symbols of communication
Also featured in The Red Thread is Donald Baechler an internationally
known American painter who spends extended periods of time in Vienna
Baechler equalizes his imagery by painting it all in the same style For him
the source of an image doesnt matter whether its a drawing by Picasso or
graffiti on a bathroom wall What matters is the newfound context his
paintings provide
Victory by Default is part of Baechlers Skull series In this piece a painted
skull gapes from the dirty yet sensuous confines of a large canvas Terry
cloth and wrinkled rags provide literal texture and reference the world
outside the paintings boundaries Splatterings of color around the skull like
the self-conscious marks of Jasper Johns seem to express the language of
paintingmdashhue and gestural strokesmdashin a factual rather than illusional
manner
Another American painter Lisa Ruyter lives half-time in Vienna where she
runs an influential gallery She works from photographs projected onto
large-scale canvases tracing the contours of the projected imagery with
consistent black outlines In a way that seems arbitrary she paints the shapes
formed by her contour lines in flat designer colors Man of Means based on
a photo of fashion photographers looks like a scrambled color-by-numbers
painting I cant do justice to the unusually rich assortment of conceptual art
in The Red Thread Youll just have to see it for yourself Thomas
Baumans thrashing triangular foil blanket Walter Seidls slide show of
staged snapshots Markus Schinwalds photograph of a contortionist and the
other thoughtful works connected by The Red Thread
The Red Thread Glimpses of International Art in Vienna runs through
April 30 at Howard House 604 Second Ave 206- 256-6399 1030 amndash5
pm TuesndashSat Free
KUNSTFORUM
Parallelwelten fuumlr Parlamentarier Ausstellung
Von Brigitte Borchhardt-Birbaumer
Ende Oktober endet die Zusammenarbeit von Nationalratspraumlsident Andreas Khol und Peter Pakesch Direktor des Kunsthauses Graz am Joanneum Seit 2003
hatte Pakesch als Kurator mehrere Ausstellungen in den Sitzungssaumllen des Parlaments in Zusammenarbeit mit Galerien initiiert und namhafte Positionen
ausgewaumlhlt Kriterium fuumlr Praumlsentationen war die Praumlsenz durch eine Schau in einer der bekannten Kunstinstitutionen des Landes Nach Eva Schlegel Adriana
Czernin Maria Lassnig oder Esther Stocker sind dies nun bis April 2007 Josef Dabernig Daniel Hafner Ulrike Lienbacher Alois Mosbacher und Elisabeth
Penker
Das Parlament kann dabei durch die Margaretha-Lupac Stiftung immer eine Arbeit fuumlr die wachsende Sammlung des Hauses ankaufen Zuletzt war das ein
groszliges Oumll-Acryl-Gemaumllde der Georg-Eisler-Preistraumlgerin Maja Vukoje zuvor Johanna Kandl deren Temperabild derzeit an das Lentos in Linz geliehen wird
Einige Werke haumlngen schon als kuumlnstlerische Wegweiser in den Gaumlngen des Hauses und sind auch Blickfang fuumlr die 120000 Besucher die pro Jahr das
Parlament besuchen In die Architektur von Theophil Hansen mit ihrer zeitlosen Qualitaumlt fuumlgt sich die Gegenwartskunst kongenial
Hoffnung fuumlr spaumlter
Die derzeitige Zusammenstellung macht Hoffnung auf eine Fortsetzung unter der naumlchsten Praumlsidentschaft Fotografie Computerkunst Malerei Zeichnung
und Skulptur weisen auf die Vielfalt der Werkstoffe in der Gegenwartskunst Elisabeth Penker parallel im Kunsthaus Graz zu sehen baut schwarzweiszlige
Objekte aus bemaltem Holz die in ihrer seriellen und geometrischen Anordnung auf Bezuumlge zum Performativen und auf die Musik hinweisen
Noch juumlnger ist Daniel Hafner mit seinen am Computer komponierten digitalen Drucken Morphosentransformationen von 2006 Linienraster und
Raumkonstruktionen in subtiler Farbigkeit verbinden Tendenzen der fruumlhen Op-Art mit dem Cyber-Lab
Um konstruierte Realitaumlten geht es auch in den groszligformatigen Oumllbildern von Alois Mosbacher dem bekannten Vertreter der Neuen Wilden der
Achtzigerjahre in Oumlsterreich Wanderer in Wald und Wiese erzaumlhlen die Geschichten alternativer Welten die sich mancher in der Gesellschaft als Parallele
konstruiert
Zwei Fotofriese von Josef Dabernig bilden jeweils ein Panorama von oumlffentlichen Plaumltzen auf denen es zum einen um Fuszligball geht Zum anderen ist der
Rundblick in das Oval einer scheinbaren Arena auch eine Art Sehschule fuumlr die Betrachter Ein sozialer Befund ist die dritte Bedeutungsebene
Ulrike Lienbacher die heuer mit einer groszligen Schau im Innsbrucker Taxispalais ihre Karriere fortsetzt ist mit ihren feinlinigen Tuschezeichnungen den kleinen
oft unsichtbaren Zwaumlngen in unserer Gesellschaft auf der Spur Im Lokal II des Parlaments stellt sie zwar nicht ihre Objekte und Fotos aber einige
groszligformatige Blaumltter mit Frisurenvariationen neben teils fragmentierten Frauenkoumlrpern im Umgang mit Schmutz und Hygiene aber auch Fitnesskult aus
Disziplinierung und Kontrolle betreffen in der Oumlffentlichkeit besonders den weiblichen Koumlrper Sauberkeitsmechanismen weisen auch auf Vorstellungen von
wertvoll und minderwertig hin Ihre Transformationen enthalten wie die Themen der anderen subtile Kritik und sind daher vom Kurator uumlberlegt positioniert
Zeitgenoumlssische Kunst
im Parlament
Bis April 2007
Kurator Peter Pakesch
Konfrontationen
Dienstag 10 Oktober 2006
ltlt 2003 | 2004 Jan Feb Mar Apr May Jun Jul Aug Sep Oct Nov Dec 2004 | 2005 gtgt
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31
Sunday 17 October 2004
TIME
TITLE
NAME
700 Indymedia ESF breakfast show Indymedia London
Highlights news and views from the European Social Forum and the
autonomous spaces and initiatives taking place this week
website
800 Resonance Radio Art Riot Breakfast International
Radio Art
A five part special of the Harmon E Phraisyar show commissioned for
Kunstradio in Austria starts off the morning broadcast of international radio
art
website
1100 Resonance Live from the Frieze Art Fair Anna Colin amp
Tobi Maier
1100 Chris Weaver Resonance 1044FM live electronics set with James Dunn and
Robin Warren
1130 Michael Hall gallery Vienna presents audio works by artist Elisabeth Penker
1200 Maria Fusco presents latest the Bookworks commissions
1300 The Psychology of Collecting live broadcast of the frieze art fair panel
discussion
Is collecting an irrational act guided by compulsion and desire What are the use of
objects What are the motivations behind making collecting curating and
criticizing art A discussion of the psychology of collecting and the politics of taste
Hilary Rubenstein (Psychologist)
Eric Troncy (Art Critic and Director Le Consortium Dijon)
Haim Steinbach (Artist)
Chair Alice Rawsthorn (Director Design Museum)
1500 Portable live set and presentation of sudelectronic records London
1600 Where is Adventure What is Culture live broadcast of the frieze art fair
website
panel discussion
A discussion of the relationship of art to entertainment touching on the comedic
being popular and failing miserably
Trisha Donnelly (Artist)
Christian Jankowski (Artist)
David Robbins (Writer amp Artist)
Nancy Spector (Curator of Contemporary Art Solomon R Guggenheim Museum)
Chair Matthew Higgs (Curator CCA Wattis Institute for Contemporary Arts)
1800 Melissa Bent from Rivington Arms gallery New York in conversation with
artist Dan Colan and Tobi Maier Anna Colin
1830 VOX pop recordings from the fair with Sharon Gal
1900 Resonance Radio Art Riot Sarah
Washington
The Resonance Radio Art Riot brings together some of the foremost radio artists
and thinkers from around the world The studio lab situation will feature round
table discussions live performances and streamed events
Tonight Radio Text
Events Live broadcast from Sonic Arts Network Resonance benefit featuring
Henri Chopin studio performances from Julia Lee Barclay and Aude Tournay plus
Special Features None present live concrete radiophonics - Planning For
Emergencies
Guests include Clive Graham Chris Weaver Richard Thomas Toby Clarkson
John Lovett Robin Warren and James Dunn
Topics The word as art Sound poetry text performances
At Midnight Tom Wallace present exclusive excerpts from radio art pioneer
Gregory Whitehead
website
000 Resonance Radio Art Riot Nights International
Radio Art
The Resonance Radio Art riot continues throughout the night with the finest of
international radio art Resonance FM programme makers and our international
guests have put together many special hours of classic and obscure radio
works
website
- EPenkerDocumentationpdf
-
- 2bAusstellungenPublicaSpaceEPenkerpdf
-
- 2cUntitled_InstrumentsKunsthausGrazEPenker
- 2bpoeticsKunsthaus GrazEPenker
-
- 4PresseEPenkerpdf
-
- 4Review_Seattle Weekly
-
Im Arkadenhof der Universitaumlt Wien stehen 154 Buumlsten von bedeutenden Wissenschaftlern der
Universitaumlt Wien (1700-2005) Bedauerlicherweise findet sich unter ihnen keine einzige Frau Eine temporaumlre Buumlste einer anonymen Wissenschaftlerin soll die systematische Ausblendung von Frauen
aus der Universitaumltsgeschichte thematisieren Die offene Web- Plattform (wwweliserichterat) ermoumlglicht allen Benutzern aktiv an der Umschreibung der Universitaumltsgeschichte und an re-imaging Prozessen der Repraumlsentation dieser Buumlsten teilzunehmen Weiters wird die Verbindung von raceclassgender und einer akademischen Kariere in diesem Zusammenhang hinterfragt We can never really change any form of social organisation without challenging all that organisations forms of
language (Debord)
Within the patriarchal structures of the Arkadenhof at the University of Vienna stand 154 busts of important scientists (1700-2005) Unfortunately none of these busts are women Through the placement of a temporary bust of an anonymous female scientist it declares the absence of them within the history of the university As well the anonymous bust embodies the presence of important scientists who have not yet been given equal representation The open web-platform (wwweliserichterat) allows every user to participate in this discourse to re-write the history of the university and to re-image the representation of these busts through a wiki system
Skizze Buumlste einer anonymen Wissenschaftlerin
Mein Interesse besteht nicht darin zu recherchieren welche Buumlsten von Wissenschaftlerinnen im Arkadenhof fehlen sondern das Fehlen der Wissenschaftlerinnen im Zeitraum von 1700 bis 2005 aufzuzeigen und Strukturen fuumlr eine oumlffentliche Kommunikationsplattform zu schaffen In der Genderforschung besteht Konsens daruumlber dass Gender kein Merkmal von Individuen sondern das einer
Institution ist (Connell) zudem ein struktureller Bestandteil einer Gesellschaft ist und dass Gendernormen alle Organisationen durchdringen (Acker)
Grundriss Arkadenhof der Universitaumlt Wien Literatur Acker J (1990) Hierarchies Jobs Bodies A theory of gendered organizations In Gender and Society
Connell R (1998) Gender and Power Society the Person and Sexual Politics Stanford University Press Stanford CA Maisel T (1990) Die Denkmaumller im Arkadenhof der Universitaumlt Wien Biographische Skizzen Wien Quellen Denkmalsakten Archiv der Universitaumlt Wien
Veranstalter Open Mind Projekt Utopie Freiheit httpwwwopenmindat vereinopenmindat Projektautorin Elisabeth Penker elpenkergmxat Bronzeguss Walter Rom Wachsmodel Buumlste Elisabeth Penker Steinsockel Ausfuumlhrung Fa Zehmann Mario Jungbauer Mediendesign Gernot Tscherteu httpwwwrealitylabatwphome gtrealitylabat Techn Umsetzung Christian Langreiter Webpage wwweliserichterat
Elisabeth Penker- Franzengasse 13- 1050 Wien ++43 (0)699 197 193 53 elpenkergmxat
Elisabeth Penker Untitled instruments 1-3 2000-2012
Galerie Georg Kargl Wien Galerie Priestor Bratislava Kuumlnstlerhaus Wien Kibla New
Media Center Maribor HTTP Galerie London Secession Wien Mak Wien Roma
Contemporary Wien
Elisabeth Penker Untiled Instrument Galerie Georg Kargl Wien
Curated by Michael Hall
Elisabeth Penker Untitled instrument 2001 New Media Center Maribor
Elisabeth Penker Untitled instrument 2001 New Media Center Maribor
Elisabeth Penker Untitled instrument Kuumlnstlerhaus Wien curated by Ursula Maria Probst
Live Performance mit Celia Mare
Detail Die BILD_HAU_ER_IN Kuumlnstlerhaus Wien
Live Performance Flower Structure Wiener Festwochen
Elisabeth Penker (Untiled instrument) Van Angh (Cello) Tri Minh Electronics
Elisabeth Penker Live Performance Poetics of space Secession Wien
MAK Nail Structure GRizo Sweet Susie Elisabeth Penker
Elisabeth Penker HTTP Gallery London 2005 curated by Tobi Maier
Elisabeth Penker HTTP Gallery London Live Performance
Elisabeth Penker Untitled Instrument Sonic Structure Kunsthaus Graz curated by Adam Budak amp
Christine Peters
Videolinks
httpwwwyoutubecomusersoundart24
Interview with Video Festwochen
httpbturncom8753interview-elisabeth-penker
Kunsthaus Graz
Protections
Kuratoren Adam Budak und Christine Peters
Elisabeth Penker Poetics of Dead Space
For PROTECTIONS Elisabeth Penker developed a key-sound Poetics of Dead Space which is to a large extent a homage
to Gaston Bachelards seminal book Poetics of Space where the connections between the poetry and the spatial emotions
are analysed Penkers key-sound will guide the viewer through the exhibition mapping the overall identity of the show in
some way controlling the viewers (audio-narrative) route in the maze of art objects events situations but also spatial
voids and unused corners
Fuumlr PROTECTIONS entwickelte Elisabeth Penker einen leitmotivischen Key Sound Poetics of Dead Space der weitgehend
eine Hommage an Gaston Bachelards wegweisendes Buch Poetics of Space darstellt in dem die Verbindungen zwischen
Lyrik und raumlumlichen Emotionen analysiert werden Penkers Key Sound wird das Publikum durch die Ausstellung geleiten
die Identitaumlt der Schau in ihrer Gesamtheit erfassen und in gewisser Weise die (audio-narrative) Route des Publikums im
Labyrinth der Kunstgegenstaumlnde Ereignisse und Situationen aber auch raumlumlicher Leerstellen und ungenutzter Winkel
kontrollieren
A non linear composition 7 mono active speakers are placed through out the Kunsthaus Graz Speaker placement
1 outdoor (entrance) 2 (travelator) 3 (corner with column) 4 (corner with door) 5 (corner) 6 (travelator) 7 (corner with
window)
Poetics of Dead Space Let it grow again 28 51 sec mono
Source material for composition rain sound of dried beans dropping down wood sticks breathing hardly existing
id78338975 pdfMachine by Broadgun Software - a great PDF writer - a great PDF creator - httpwwwpdfmachinecom httpwwwbroadguncom
recording of extinct languages
Poetics of Dead Space Let it grow again 28 51 sec mono
Source material for composition rain sound of dried beans dropping down wood sticks existing recording of extinct
languages
Poetics of Dead Space travelator 1 1min 04 sec mono loop
Source material for composition staff falling down man falling down stairs rattern recording untitled instrument
Background existing recording of extinct languages
Poetics of Dead Space 496 1min 409 sec mono loop
Source material for composition recording untitled instrument Background existing recording of extinct languages
Poetics of Dead Space 129525 1min 4888 sec mono loop
Source material for composition recording untitled instrument Background existing recording of extinct languages
Poetics of Dead Space 129525 1min 4888 sec mono loop
Source material for composition keyboard recording untitled instrument Background existing recording of extinct
languages
Poetics of Dead Space travelator 2 1min 5209 sec mono loop
Source material for composition recording untitled instrument violin Background existing recording of extinct
languages
Poetics of Dead Space2152518125220 1min 3200 sec mono loop
Source material for composition recording untitled instrument Background existing recording of library of extinct
languages
Poetics of Dead Space travelator 1 1min 04 sec mono loop
viewing down from upstairs Source material for composition staff falling down man falling down stairs rattern
recording untitled instrument Background existing recording of extinct languages
Poetics of Dead Space Let it grow again 028 51 sec mono
Source material for composition rain sound of coins wood sticks existing recording of extinct languages
Elisabeth Penker is a Viennese artist and musician working with sound in a sculptural context In her (subjective) tour
Penker approaches the entire anti-exhibition PROTECTIONS from an angle of its position and significance in the context
of Sound Art as located on the crossway between visual arts language and music Starting from her own house turned
into First Nation Pavillion which amongst others aims at connecting the recent discourse on cultural translation with
early avant-garde phonetic experiments Penker maps the sonic structure of Kunsthaus Graz and its (live) architecture
which for PROTECTIONS hosts an array of interdisciplinary projects with a strong audio-quality from Herwig Weisers
Death Before Disco (a micro-architecture of hyper-technological and electronic pop) through a newly created choir of
security guards for Tim Etchells Wall of Sound down to a cacophonic layers of anonimous noise generated by the
space itself and the presence of audience
Die Wiener Kuumlnstlerin und Musikerin Elisabeth Penker arbeitet mit Klang im Zusammenhang mit Bildhauerei In ihrer
(subjektiven) Fuumlhrung naumlhert sie sich der Anti-Ausstellung PROTECTIONS aus einem Blickwinkel der die Position und
Bedeutung der Klangkunst an der Kreuzung zwischen bildender Kunst Sprache und Musik verortet Von ihrem eigenen
Haus ausgehend das sich in den First Nation Pavilion verwandelt hat der u a den aktuellen Diskurs uumlber kulturelle
Uumlbersetzung mit fruumlhen phonetischen Experimenten der Avantgarde verbinden soll entwirft Penker die klangliche
Struktur des Gutshauses und seiner (Live-)Architektur die fuumlr PROTECTIONS eine Reihe von interdisziplinaumlren Projekten
mit einer starken Affinitaumlt zum Klang beherbergt von Herwig Weisers Death Before Disco (eine Mikroarchitektur aus
hyper-technoidem und elektronischem Pop) uumlber einen neu formierten Chor bestehend aus Security Guards fuumlr Tim
Etchells Wall of Sound bis zu einer Kakophonie aus anonymen Geraumluschen die vom Raum selbst und der Anwesenheit
des Publikums erzeugt werden
052813
Local Warming ATHENS
052813
AFTER A YEARLONG HIATUS the eighteenth Art-Athina hit the ground running on the evening of Thursday May 16 and the former Olympic
ldquoTae Kwon Dordquo Pavilion was packed with enthusiastic party people The fair had a more national flavor than ever this year under its new
director Alexis Caniaris the son of recently deceased artist Vlassis Caniaris whose iconic modern work has recently found great success on the
international market Of the very few foreign galleries exhibiting most were Greek-owned The Breeder gallery was dealing with the perceived
drop in the market by selling fantastic multiples by artists like Stelios Faitakis Jannis Varelas and Andreas Angelidakis at crisis-appropriate
prices ldquoNobody wants to come here now but I have already met three interested billionaire collectors today And if Greeks like you they
introduce you to their billionaire friendsrdquo raved Cologne dealer Mirko Mayer a seven-time exhibitor ldquoThat is what nobody knows There are
at least one-hundred billionaires collecting hererdquo Most international collectors were delayed several hours due to a union strike a de r igueur
mode of arrival in contemporary Greece
It was impossible to miss the exuberant activities of the DaDa Da restaurant a Greek-Austrian collaboration where artist Albert Mayr was
waving a skillet and raving nonsense while Lucas Willmann tenderized pink fillets for Wiener schnitzel ldquoThis is Viennese Actionism lightrdquo
quipped critic Sotirios Bahtsetzis Artist Natasha Papadopoulos added ldquoBut here there are hungry Greeks waitingrdquo On a table with a rotating
Sacher tort by Heacutelegravene van Duijne a sign carried the overwhelming spirit FUCK ART LETrsquoS EAT SOUVLAKI An insistent electronic beat and
pulsating light emanated from the next booth the American College of Greecersquos ldquoAthensUrgentrdquo while hooded performer Manos Tsatiris
stood against the wall with his hands tied perhaps a metaphor for the current Athenian exigency ldquoThis is not the kind of art fair scene we are
used tordquo said the Economou Collectionrsquos Annie-Claire Geisinger watching the madness
Left Artists Elisabeth Penker Michela Pelusio Petros Touloudis Panos Papadopoulos and Nino Stelzl Right Collector Anne-Marie Ros
Down on the floor the dealers seemed pleased particularly given dismal expectations having already sold a great deal at the preview Young
Rotterdam-based gallery Joey Ramone had sold sculptures by Fotini Gouseti to English and Belgian collectors dealer Erik Mulier had also sold
some work to Belgians Marc Van den Hende said he had bought a triptych by Eirene Efstathiou and was considering a Vlassis Caniaris piece
from the 1970s ldquoI saw some surprisesmdashyoung Greek artists I did not knowmdashand great new galleries like Elika and CANrdquo Dutch collector
Anne-Marie Ros said By the end of the day Dimitra and Sofia Vamiali reported that they had not seen one Greek collector although another
reported a Dakis Joannou sighting mdash Cathryn Drake
SEARCH
ARTICLES
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SEATTLE
WEEKLY
in the News
Columnist
Geov Parrish
is a regular
guest on
Mind Over
Matters on
KEXP-FM
(903)
Saturdays at
830 am and
provides news
commentary
on KBCS-FM
(913) Fridays
at 430 pm
Catch writers
Steve
Wiecking Tim
Appelo and
ARTS
March 30 - April 5 2005
Picking Up the Thread
Howard House ties together the best new conceptual art from Vienna
by Elise Richman
Franz Wests Mercury
(Howard House Contemporary Art)
Theres a German expression to lose the red thread which means losing
ones train of thought In its current show Howard House has found that
thread Julie Ryan a curator artist and writer organized The Red
Thread Glimpses of International Art in Vienna a two-part exhibition
featuring artists working and living at least part time in Austrias capital
Part one of the show is at Howard House the second half is currently on
display at the Educational Alliance Gallery in New York
Vienna has become a magnet for artists from all over the world including
the 15 individuals and artist teams that are part of The Red Thread
Excellent artist residency programs a low cost of living and living art
legends like Franz West are just a few of the reasons
An artistic collaboration with West took Ryan from New York to Vienna
She knows Billy Howard who runs Howard House from the University of
Washingtons School of Art And so the figurative string was strung
connecting the East and West coasts with artists from across the Atlantic
This is a complex exhibit whose emotional tenor ranges from cool
detachment to an almost urgent earnestness Unlike the formal richly
historical city that connects them artists in The Red Thread favor informal
approaches to art making use disposable materials and comment on
contemporary cultural themes
West has two formidable sculptures at Howard House The front room of the
gallery features Mercury (pictured) an ungainly behemoth composed of a
patchwork of fused metal Like many of Wests sculptures Mercury is
meant as an interactive structure that viewers can climb and sit on Bulbous
Gavin
Borchert
discussing
theater film
and music
regularly on
classical
KING-FM
(981)
Mark Fiore
Cartoons
Every
Thursday
nodules extend from its horizontal base and the seams of the dark maroon
metal look like scars rendering it at once vaguely obscene and absurdly
playful
Sisyphus the other West sculpture on display is a bulky conglomeration of
bits and wads of paper propped in the back room on a makeshift plinth (base
block) Though its as solid as the boulder its title references its surface is
like oozing skin partly coated with poured murky paint partly cloaked in
small clumps of newspaper detritus
The strenuous act of making each of these sculptures is eminently apparent
and central to the content of Wests work West considers creation a
symbolic act As you might expect he likens the artistic process to the plight
of Sisyphus the mythological figure who eternally rolled a boulder up a hill
only to have it come crashing back down For West art involves a
Sisyphean search for what he calls the absolute through the seemingly
senseless accumulation of materials However unlike Sisyphus futile quest
Wests process can lead to epiphany making sense of the senseless
Similarly Viennese artist Elisabeth Penkers art serves a facilitative
function easing the act of translation Penker uses Haida iconography in her
multimedia work because it provides potent visual symbols that
communicate single words and whole sentences simultaneously Her prints
at Howard House feature fragments of icons floating in the papers white
space They are spare visually arresting characters that employ an
iconographic language as encoded symbols of communication
Also featured in The Red Thread is Donald Baechler an internationally
known American painter who spends extended periods of time in Vienna
Baechler equalizes his imagery by painting it all in the same style For him
the source of an image doesnt matter whether its a drawing by Picasso or
graffiti on a bathroom wall What matters is the newfound context his
paintings provide
Victory by Default is part of Baechlers Skull series In this piece a painted
skull gapes from the dirty yet sensuous confines of a large canvas Terry
cloth and wrinkled rags provide literal texture and reference the world
outside the paintings boundaries Splatterings of color around the skull like
the self-conscious marks of Jasper Johns seem to express the language of
paintingmdashhue and gestural strokesmdashin a factual rather than illusional
manner
Another American painter Lisa Ruyter lives half-time in Vienna where she
runs an influential gallery She works from photographs projected onto
large-scale canvases tracing the contours of the projected imagery with
consistent black outlines In a way that seems arbitrary she paints the shapes
formed by her contour lines in flat designer colors Man of Means based on
a photo of fashion photographers looks like a scrambled color-by-numbers
painting I cant do justice to the unusually rich assortment of conceptual art
in The Red Thread Youll just have to see it for yourself Thomas
Baumans thrashing triangular foil blanket Walter Seidls slide show of
staged snapshots Markus Schinwalds photograph of a contortionist and the
other thoughtful works connected by The Red Thread
The Red Thread Glimpses of International Art in Vienna runs through
April 30 at Howard House 604 Second Ave 206- 256-6399 1030 amndash5
pm TuesndashSat Free
KUNSTFORUM
Parallelwelten fuumlr Parlamentarier Ausstellung
Von Brigitte Borchhardt-Birbaumer
Ende Oktober endet die Zusammenarbeit von Nationalratspraumlsident Andreas Khol und Peter Pakesch Direktor des Kunsthauses Graz am Joanneum Seit 2003
hatte Pakesch als Kurator mehrere Ausstellungen in den Sitzungssaumllen des Parlaments in Zusammenarbeit mit Galerien initiiert und namhafte Positionen
ausgewaumlhlt Kriterium fuumlr Praumlsentationen war die Praumlsenz durch eine Schau in einer der bekannten Kunstinstitutionen des Landes Nach Eva Schlegel Adriana
Czernin Maria Lassnig oder Esther Stocker sind dies nun bis April 2007 Josef Dabernig Daniel Hafner Ulrike Lienbacher Alois Mosbacher und Elisabeth
Penker
Das Parlament kann dabei durch die Margaretha-Lupac Stiftung immer eine Arbeit fuumlr die wachsende Sammlung des Hauses ankaufen Zuletzt war das ein
groszliges Oumll-Acryl-Gemaumllde der Georg-Eisler-Preistraumlgerin Maja Vukoje zuvor Johanna Kandl deren Temperabild derzeit an das Lentos in Linz geliehen wird
Einige Werke haumlngen schon als kuumlnstlerische Wegweiser in den Gaumlngen des Hauses und sind auch Blickfang fuumlr die 120000 Besucher die pro Jahr das
Parlament besuchen In die Architektur von Theophil Hansen mit ihrer zeitlosen Qualitaumlt fuumlgt sich die Gegenwartskunst kongenial
Hoffnung fuumlr spaumlter
Die derzeitige Zusammenstellung macht Hoffnung auf eine Fortsetzung unter der naumlchsten Praumlsidentschaft Fotografie Computerkunst Malerei Zeichnung
und Skulptur weisen auf die Vielfalt der Werkstoffe in der Gegenwartskunst Elisabeth Penker parallel im Kunsthaus Graz zu sehen baut schwarzweiszlige
Objekte aus bemaltem Holz die in ihrer seriellen und geometrischen Anordnung auf Bezuumlge zum Performativen und auf die Musik hinweisen
Noch juumlnger ist Daniel Hafner mit seinen am Computer komponierten digitalen Drucken Morphosentransformationen von 2006 Linienraster und
Raumkonstruktionen in subtiler Farbigkeit verbinden Tendenzen der fruumlhen Op-Art mit dem Cyber-Lab
Um konstruierte Realitaumlten geht es auch in den groszligformatigen Oumllbildern von Alois Mosbacher dem bekannten Vertreter der Neuen Wilden der
Achtzigerjahre in Oumlsterreich Wanderer in Wald und Wiese erzaumlhlen die Geschichten alternativer Welten die sich mancher in der Gesellschaft als Parallele
konstruiert
Zwei Fotofriese von Josef Dabernig bilden jeweils ein Panorama von oumlffentlichen Plaumltzen auf denen es zum einen um Fuszligball geht Zum anderen ist der
Rundblick in das Oval einer scheinbaren Arena auch eine Art Sehschule fuumlr die Betrachter Ein sozialer Befund ist die dritte Bedeutungsebene
Ulrike Lienbacher die heuer mit einer groszligen Schau im Innsbrucker Taxispalais ihre Karriere fortsetzt ist mit ihren feinlinigen Tuschezeichnungen den kleinen
oft unsichtbaren Zwaumlngen in unserer Gesellschaft auf der Spur Im Lokal II des Parlaments stellt sie zwar nicht ihre Objekte und Fotos aber einige
groszligformatige Blaumltter mit Frisurenvariationen neben teils fragmentierten Frauenkoumlrpern im Umgang mit Schmutz und Hygiene aber auch Fitnesskult aus
Disziplinierung und Kontrolle betreffen in der Oumlffentlichkeit besonders den weiblichen Koumlrper Sauberkeitsmechanismen weisen auch auf Vorstellungen von
wertvoll und minderwertig hin Ihre Transformationen enthalten wie die Themen der anderen subtile Kritik und sind daher vom Kurator uumlberlegt positioniert
Zeitgenoumlssische Kunst
im Parlament
Bis April 2007
Kurator Peter Pakesch
Konfrontationen
Dienstag 10 Oktober 2006
ltlt 2003 | 2004 Jan Feb Mar Apr May Jun Jul Aug Sep Oct Nov Dec 2004 | 2005 gtgt
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31
Sunday 17 October 2004
TIME
TITLE
NAME
700 Indymedia ESF breakfast show Indymedia London
Highlights news and views from the European Social Forum and the
autonomous spaces and initiatives taking place this week
website
800 Resonance Radio Art Riot Breakfast International
Radio Art
A five part special of the Harmon E Phraisyar show commissioned for
Kunstradio in Austria starts off the morning broadcast of international radio
art
website
1100 Resonance Live from the Frieze Art Fair Anna Colin amp
Tobi Maier
1100 Chris Weaver Resonance 1044FM live electronics set with James Dunn and
Robin Warren
1130 Michael Hall gallery Vienna presents audio works by artist Elisabeth Penker
1200 Maria Fusco presents latest the Bookworks commissions
1300 The Psychology of Collecting live broadcast of the frieze art fair panel
discussion
Is collecting an irrational act guided by compulsion and desire What are the use of
objects What are the motivations behind making collecting curating and
criticizing art A discussion of the psychology of collecting and the politics of taste
Hilary Rubenstein (Psychologist)
Eric Troncy (Art Critic and Director Le Consortium Dijon)
Haim Steinbach (Artist)
Chair Alice Rawsthorn (Director Design Museum)
1500 Portable live set and presentation of sudelectronic records London
1600 Where is Adventure What is Culture live broadcast of the frieze art fair
website
panel discussion
A discussion of the relationship of art to entertainment touching on the comedic
being popular and failing miserably
Trisha Donnelly (Artist)
Christian Jankowski (Artist)
David Robbins (Writer amp Artist)
Nancy Spector (Curator of Contemporary Art Solomon R Guggenheim Museum)
Chair Matthew Higgs (Curator CCA Wattis Institute for Contemporary Arts)
1800 Melissa Bent from Rivington Arms gallery New York in conversation with
artist Dan Colan and Tobi Maier Anna Colin
1830 VOX pop recordings from the fair with Sharon Gal
1900 Resonance Radio Art Riot Sarah
Washington
The Resonance Radio Art Riot brings together some of the foremost radio artists
and thinkers from around the world The studio lab situation will feature round
table discussions live performances and streamed events
Tonight Radio Text
Events Live broadcast from Sonic Arts Network Resonance benefit featuring
Henri Chopin studio performances from Julia Lee Barclay and Aude Tournay plus
Special Features None present live concrete radiophonics - Planning For
Emergencies
Guests include Clive Graham Chris Weaver Richard Thomas Toby Clarkson
John Lovett Robin Warren and James Dunn
Topics The word as art Sound poetry text performances
At Midnight Tom Wallace present exclusive excerpts from radio art pioneer
Gregory Whitehead
website
000 Resonance Radio Art Riot Nights International
Radio Art
The Resonance Radio Art riot continues throughout the night with the finest of
international radio art Resonance FM programme makers and our international
guests have put together many special hours of classic and obscure radio
works
website
- EPenkerDocumentationpdf
-
- 2bAusstellungenPublicaSpaceEPenkerpdf
-
- 2cUntitled_InstrumentsKunsthausGrazEPenker
- 2bpoeticsKunsthaus GrazEPenker
-
- 4PresseEPenkerpdf
-
- 4Review_Seattle Weekly
-
aus der Universitaumltsgeschichte thematisieren Die offene Web- Plattform (wwweliserichterat) ermoumlglicht allen Benutzern aktiv an der Umschreibung der Universitaumltsgeschichte und an re-imaging Prozessen der Repraumlsentation dieser Buumlsten teilzunehmen Weiters wird die Verbindung von raceclassgender und einer akademischen Kariere in diesem Zusammenhang hinterfragt We can never really change any form of social organisation without challenging all that organisations forms of
language (Debord)
Within the patriarchal structures of the Arkadenhof at the University of Vienna stand 154 busts of important scientists (1700-2005) Unfortunately none of these busts are women Through the placement of a temporary bust of an anonymous female scientist it declares the absence of them within the history of the university As well the anonymous bust embodies the presence of important scientists who have not yet been given equal representation The open web-platform (wwweliserichterat) allows every user to participate in this discourse to re-write the history of the university and to re-image the representation of these busts through a wiki system
Skizze Buumlste einer anonymen Wissenschaftlerin
Mein Interesse besteht nicht darin zu recherchieren welche Buumlsten von Wissenschaftlerinnen im Arkadenhof fehlen sondern das Fehlen der Wissenschaftlerinnen im Zeitraum von 1700 bis 2005 aufzuzeigen und Strukturen fuumlr eine oumlffentliche Kommunikationsplattform zu schaffen In der Genderforschung besteht Konsens daruumlber dass Gender kein Merkmal von Individuen sondern das einer
Institution ist (Connell) zudem ein struktureller Bestandteil einer Gesellschaft ist und dass Gendernormen alle Organisationen durchdringen (Acker)
Grundriss Arkadenhof der Universitaumlt Wien Literatur Acker J (1990) Hierarchies Jobs Bodies A theory of gendered organizations In Gender and Society
Connell R (1998) Gender and Power Society the Person and Sexual Politics Stanford University Press Stanford CA Maisel T (1990) Die Denkmaumller im Arkadenhof der Universitaumlt Wien Biographische Skizzen Wien Quellen Denkmalsakten Archiv der Universitaumlt Wien
Veranstalter Open Mind Projekt Utopie Freiheit httpwwwopenmindat vereinopenmindat Projektautorin Elisabeth Penker elpenkergmxat Bronzeguss Walter Rom Wachsmodel Buumlste Elisabeth Penker Steinsockel Ausfuumlhrung Fa Zehmann Mario Jungbauer Mediendesign Gernot Tscherteu httpwwwrealitylabatwphome gtrealitylabat Techn Umsetzung Christian Langreiter Webpage wwweliserichterat
Elisabeth Penker- Franzengasse 13- 1050 Wien ++43 (0)699 197 193 53 elpenkergmxat
Elisabeth Penker Untitled instruments 1-3 2000-2012
Galerie Georg Kargl Wien Galerie Priestor Bratislava Kuumlnstlerhaus Wien Kibla New
Media Center Maribor HTTP Galerie London Secession Wien Mak Wien Roma
Contemporary Wien
Elisabeth Penker Untiled Instrument Galerie Georg Kargl Wien
Curated by Michael Hall
Elisabeth Penker Untitled instrument 2001 New Media Center Maribor
Elisabeth Penker Untitled instrument 2001 New Media Center Maribor
Elisabeth Penker Untitled instrument Kuumlnstlerhaus Wien curated by Ursula Maria Probst
Live Performance mit Celia Mare
Detail Die BILD_HAU_ER_IN Kuumlnstlerhaus Wien
Live Performance Flower Structure Wiener Festwochen
Elisabeth Penker (Untiled instrument) Van Angh (Cello) Tri Minh Electronics
Elisabeth Penker Live Performance Poetics of space Secession Wien
MAK Nail Structure GRizo Sweet Susie Elisabeth Penker
Elisabeth Penker HTTP Gallery London 2005 curated by Tobi Maier
Elisabeth Penker HTTP Gallery London Live Performance
Elisabeth Penker Untitled Instrument Sonic Structure Kunsthaus Graz curated by Adam Budak amp
Christine Peters
Videolinks
httpwwwyoutubecomusersoundart24
Interview with Video Festwochen
httpbturncom8753interview-elisabeth-penker
Kunsthaus Graz
Protections
Kuratoren Adam Budak und Christine Peters
Elisabeth Penker Poetics of Dead Space
For PROTECTIONS Elisabeth Penker developed a key-sound Poetics of Dead Space which is to a large extent a homage
to Gaston Bachelards seminal book Poetics of Space where the connections between the poetry and the spatial emotions
are analysed Penkers key-sound will guide the viewer through the exhibition mapping the overall identity of the show in
some way controlling the viewers (audio-narrative) route in the maze of art objects events situations but also spatial
voids and unused corners
Fuumlr PROTECTIONS entwickelte Elisabeth Penker einen leitmotivischen Key Sound Poetics of Dead Space der weitgehend
eine Hommage an Gaston Bachelards wegweisendes Buch Poetics of Space darstellt in dem die Verbindungen zwischen
Lyrik und raumlumlichen Emotionen analysiert werden Penkers Key Sound wird das Publikum durch die Ausstellung geleiten
die Identitaumlt der Schau in ihrer Gesamtheit erfassen und in gewisser Weise die (audio-narrative) Route des Publikums im
Labyrinth der Kunstgegenstaumlnde Ereignisse und Situationen aber auch raumlumlicher Leerstellen und ungenutzter Winkel
kontrollieren
A non linear composition 7 mono active speakers are placed through out the Kunsthaus Graz Speaker placement
1 outdoor (entrance) 2 (travelator) 3 (corner with column) 4 (corner with door) 5 (corner) 6 (travelator) 7 (corner with
window)
Poetics of Dead Space Let it grow again 28 51 sec mono
Source material for composition rain sound of dried beans dropping down wood sticks breathing hardly existing
id78338975 pdfMachine by Broadgun Software - a great PDF writer - a great PDF creator - httpwwwpdfmachinecom httpwwwbroadguncom
recording of extinct languages
Poetics of Dead Space Let it grow again 28 51 sec mono
Source material for composition rain sound of dried beans dropping down wood sticks existing recording of extinct
languages
Poetics of Dead Space travelator 1 1min 04 sec mono loop
Source material for composition staff falling down man falling down stairs rattern recording untitled instrument
Background existing recording of extinct languages
Poetics of Dead Space 496 1min 409 sec mono loop
Source material for composition recording untitled instrument Background existing recording of extinct languages
Poetics of Dead Space 129525 1min 4888 sec mono loop
Source material for composition recording untitled instrument Background existing recording of extinct languages
Poetics of Dead Space 129525 1min 4888 sec mono loop
Source material for composition keyboard recording untitled instrument Background existing recording of extinct
languages
Poetics of Dead Space travelator 2 1min 5209 sec mono loop
Source material for composition recording untitled instrument violin Background existing recording of extinct
languages
Poetics of Dead Space2152518125220 1min 3200 sec mono loop
Source material for composition recording untitled instrument Background existing recording of library of extinct
languages
Poetics of Dead Space travelator 1 1min 04 sec mono loop
viewing down from upstairs Source material for composition staff falling down man falling down stairs rattern
recording untitled instrument Background existing recording of extinct languages
Poetics of Dead Space Let it grow again 028 51 sec mono
Source material for composition rain sound of coins wood sticks existing recording of extinct languages
Elisabeth Penker is a Viennese artist and musician working with sound in a sculptural context In her (subjective) tour
Penker approaches the entire anti-exhibition PROTECTIONS from an angle of its position and significance in the context
of Sound Art as located on the crossway between visual arts language and music Starting from her own house turned
into First Nation Pavillion which amongst others aims at connecting the recent discourse on cultural translation with
early avant-garde phonetic experiments Penker maps the sonic structure of Kunsthaus Graz and its (live) architecture
which for PROTECTIONS hosts an array of interdisciplinary projects with a strong audio-quality from Herwig Weisers
Death Before Disco (a micro-architecture of hyper-technological and electronic pop) through a newly created choir of
security guards for Tim Etchells Wall of Sound down to a cacophonic layers of anonimous noise generated by the
space itself and the presence of audience
Die Wiener Kuumlnstlerin und Musikerin Elisabeth Penker arbeitet mit Klang im Zusammenhang mit Bildhauerei In ihrer
(subjektiven) Fuumlhrung naumlhert sie sich der Anti-Ausstellung PROTECTIONS aus einem Blickwinkel der die Position und
Bedeutung der Klangkunst an der Kreuzung zwischen bildender Kunst Sprache und Musik verortet Von ihrem eigenen
Haus ausgehend das sich in den First Nation Pavilion verwandelt hat der u a den aktuellen Diskurs uumlber kulturelle
Uumlbersetzung mit fruumlhen phonetischen Experimenten der Avantgarde verbinden soll entwirft Penker die klangliche
Struktur des Gutshauses und seiner (Live-)Architektur die fuumlr PROTECTIONS eine Reihe von interdisziplinaumlren Projekten
mit einer starken Affinitaumlt zum Klang beherbergt von Herwig Weisers Death Before Disco (eine Mikroarchitektur aus
hyper-technoidem und elektronischem Pop) uumlber einen neu formierten Chor bestehend aus Security Guards fuumlr Tim
Etchells Wall of Sound bis zu einer Kakophonie aus anonymen Geraumluschen die vom Raum selbst und der Anwesenheit
des Publikums erzeugt werden
052813
Local Warming ATHENS
052813
AFTER A YEARLONG HIATUS the eighteenth Art-Athina hit the ground running on the evening of Thursday May 16 and the former Olympic
ldquoTae Kwon Dordquo Pavilion was packed with enthusiastic party people The fair had a more national flavor than ever this year under its new
director Alexis Caniaris the son of recently deceased artist Vlassis Caniaris whose iconic modern work has recently found great success on the
international market Of the very few foreign galleries exhibiting most were Greek-owned The Breeder gallery was dealing with the perceived
drop in the market by selling fantastic multiples by artists like Stelios Faitakis Jannis Varelas and Andreas Angelidakis at crisis-appropriate
prices ldquoNobody wants to come here now but I have already met three interested billionaire collectors today And if Greeks like you they
introduce you to their billionaire friendsrdquo raved Cologne dealer Mirko Mayer a seven-time exhibitor ldquoThat is what nobody knows There are
at least one-hundred billionaires collecting hererdquo Most international collectors were delayed several hours due to a union strike a de r igueur
mode of arrival in contemporary Greece
It was impossible to miss the exuberant activities of the DaDa Da restaurant a Greek-Austrian collaboration where artist Albert Mayr was
waving a skillet and raving nonsense while Lucas Willmann tenderized pink fillets for Wiener schnitzel ldquoThis is Viennese Actionism lightrdquo
quipped critic Sotirios Bahtsetzis Artist Natasha Papadopoulos added ldquoBut here there are hungry Greeks waitingrdquo On a table with a rotating
Sacher tort by Heacutelegravene van Duijne a sign carried the overwhelming spirit FUCK ART LETrsquoS EAT SOUVLAKI An insistent electronic beat and
pulsating light emanated from the next booth the American College of Greecersquos ldquoAthensUrgentrdquo while hooded performer Manos Tsatiris
stood against the wall with his hands tied perhaps a metaphor for the current Athenian exigency ldquoThis is not the kind of art fair scene we are
used tordquo said the Economou Collectionrsquos Annie-Claire Geisinger watching the madness
Left Artists Elisabeth Penker Michela Pelusio Petros Touloudis Panos Papadopoulos and Nino Stelzl Right Collector Anne-Marie Ros
Down on the floor the dealers seemed pleased particularly given dismal expectations having already sold a great deal at the preview Young
Rotterdam-based gallery Joey Ramone had sold sculptures by Fotini Gouseti to English and Belgian collectors dealer Erik Mulier had also sold
some work to Belgians Marc Van den Hende said he had bought a triptych by Eirene Efstathiou and was considering a Vlassis Caniaris piece
from the 1970s ldquoI saw some surprisesmdashyoung Greek artists I did not knowmdashand great new galleries like Elika and CANrdquo Dutch collector
Anne-Marie Ros said By the end of the day Dimitra and Sofia Vamiali reported that they had not seen one Greek collector although another
reported a Dakis Joannou sighting mdash Cathryn Drake
SEARCH
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SEATTLE
WEEKLY
in the News
Columnist
Geov Parrish
is a regular
guest on
Mind Over
Matters on
KEXP-FM
(903)
Saturdays at
830 am and
provides news
commentary
on KBCS-FM
(913) Fridays
at 430 pm
Catch writers
Steve
Wiecking Tim
Appelo and
ARTS
March 30 - April 5 2005
Picking Up the Thread
Howard House ties together the best new conceptual art from Vienna
by Elise Richman
Franz Wests Mercury
(Howard House Contemporary Art)
Theres a German expression to lose the red thread which means losing
ones train of thought In its current show Howard House has found that
thread Julie Ryan a curator artist and writer organized The Red
Thread Glimpses of International Art in Vienna a two-part exhibition
featuring artists working and living at least part time in Austrias capital
Part one of the show is at Howard House the second half is currently on
display at the Educational Alliance Gallery in New York
Vienna has become a magnet for artists from all over the world including
the 15 individuals and artist teams that are part of The Red Thread
Excellent artist residency programs a low cost of living and living art
legends like Franz West are just a few of the reasons
An artistic collaboration with West took Ryan from New York to Vienna
She knows Billy Howard who runs Howard House from the University of
Washingtons School of Art And so the figurative string was strung
connecting the East and West coasts with artists from across the Atlantic
This is a complex exhibit whose emotional tenor ranges from cool
detachment to an almost urgent earnestness Unlike the formal richly
historical city that connects them artists in The Red Thread favor informal
approaches to art making use disposable materials and comment on
contemporary cultural themes
West has two formidable sculptures at Howard House The front room of the
gallery features Mercury (pictured) an ungainly behemoth composed of a
patchwork of fused metal Like many of Wests sculptures Mercury is
meant as an interactive structure that viewers can climb and sit on Bulbous
Gavin
Borchert
discussing
theater film
and music
regularly on
classical
KING-FM
(981)
Mark Fiore
Cartoons
Every
Thursday
nodules extend from its horizontal base and the seams of the dark maroon
metal look like scars rendering it at once vaguely obscene and absurdly
playful
Sisyphus the other West sculpture on display is a bulky conglomeration of
bits and wads of paper propped in the back room on a makeshift plinth (base
block) Though its as solid as the boulder its title references its surface is
like oozing skin partly coated with poured murky paint partly cloaked in
small clumps of newspaper detritus
The strenuous act of making each of these sculptures is eminently apparent
and central to the content of Wests work West considers creation a
symbolic act As you might expect he likens the artistic process to the plight
of Sisyphus the mythological figure who eternally rolled a boulder up a hill
only to have it come crashing back down For West art involves a
Sisyphean search for what he calls the absolute through the seemingly
senseless accumulation of materials However unlike Sisyphus futile quest
Wests process can lead to epiphany making sense of the senseless
Similarly Viennese artist Elisabeth Penkers art serves a facilitative
function easing the act of translation Penker uses Haida iconography in her
multimedia work because it provides potent visual symbols that
communicate single words and whole sentences simultaneously Her prints
at Howard House feature fragments of icons floating in the papers white
space They are spare visually arresting characters that employ an
iconographic language as encoded symbols of communication
Also featured in The Red Thread is Donald Baechler an internationally
known American painter who spends extended periods of time in Vienna
Baechler equalizes his imagery by painting it all in the same style For him
the source of an image doesnt matter whether its a drawing by Picasso or
graffiti on a bathroom wall What matters is the newfound context his
paintings provide
Victory by Default is part of Baechlers Skull series In this piece a painted
skull gapes from the dirty yet sensuous confines of a large canvas Terry
cloth and wrinkled rags provide literal texture and reference the world
outside the paintings boundaries Splatterings of color around the skull like
the self-conscious marks of Jasper Johns seem to express the language of
paintingmdashhue and gestural strokesmdashin a factual rather than illusional
manner
Another American painter Lisa Ruyter lives half-time in Vienna where she
runs an influential gallery She works from photographs projected onto
large-scale canvases tracing the contours of the projected imagery with
consistent black outlines In a way that seems arbitrary she paints the shapes
formed by her contour lines in flat designer colors Man of Means based on
a photo of fashion photographers looks like a scrambled color-by-numbers
painting I cant do justice to the unusually rich assortment of conceptual art
in The Red Thread Youll just have to see it for yourself Thomas
Baumans thrashing triangular foil blanket Walter Seidls slide show of
staged snapshots Markus Schinwalds photograph of a contortionist and the
other thoughtful works connected by The Red Thread
The Red Thread Glimpses of International Art in Vienna runs through
April 30 at Howard House 604 Second Ave 206- 256-6399 1030 amndash5
pm TuesndashSat Free
KUNSTFORUM
Parallelwelten fuumlr Parlamentarier Ausstellung
Von Brigitte Borchhardt-Birbaumer
Ende Oktober endet die Zusammenarbeit von Nationalratspraumlsident Andreas Khol und Peter Pakesch Direktor des Kunsthauses Graz am Joanneum Seit 2003
hatte Pakesch als Kurator mehrere Ausstellungen in den Sitzungssaumllen des Parlaments in Zusammenarbeit mit Galerien initiiert und namhafte Positionen
ausgewaumlhlt Kriterium fuumlr Praumlsentationen war die Praumlsenz durch eine Schau in einer der bekannten Kunstinstitutionen des Landes Nach Eva Schlegel Adriana
Czernin Maria Lassnig oder Esther Stocker sind dies nun bis April 2007 Josef Dabernig Daniel Hafner Ulrike Lienbacher Alois Mosbacher und Elisabeth
Penker
Das Parlament kann dabei durch die Margaretha-Lupac Stiftung immer eine Arbeit fuumlr die wachsende Sammlung des Hauses ankaufen Zuletzt war das ein
groszliges Oumll-Acryl-Gemaumllde der Georg-Eisler-Preistraumlgerin Maja Vukoje zuvor Johanna Kandl deren Temperabild derzeit an das Lentos in Linz geliehen wird
Einige Werke haumlngen schon als kuumlnstlerische Wegweiser in den Gaumlngen des Hauses und sind auch Blickfang fuumlr die 120000 Besucher die pro Jahr das
Parlament besuchen In die Architektur von Theophil Hansen mit ihrer zeitlosen Qualitaumlt fuumlgt sich die Gegenwartskunst kongenial
Hoffnung fuumlr spaumlter
Die derzeitige Zusammenstellung macht Hoffnung auf eine Fortsetzung unter der naumlchsten Praumlsidentschaft Fotografie Computerkunst Malerei Zeichnung
und Skulptur weisen auf die Vielfalt der Werkstoffe in der Gegenwartskunst Elisabeth Penker parallel im Kunsthaus Graz zu sehen baut schwarzweiszlige
Objekte aus bemaltem Holz die in ihrer seriellen und geometrischen Anordnung auf Bezuumlge zum Performativen und auf die Musik hinweisen
Noch juumlnger ist Daniel Hafner mit seinen am Computer komponierten digitalen Drucken Morphosentransformationen von 2006 Linienraster und
Raumkonstruktionen in subtiler Farbigkeit verbinden Tendenzen der fruumlhen Op-Art mit dem Cyber-Lab
Um konstruierte Realitaumlten geht es auch in den groszligformatigen Oumllbildern von Alois Mosbacher dem bekannten Vertreter der Neuen Wilden der
Achtzigerjahre in Oumlsterreich Wanderer in Wald und Wiese erzaumlhlen die Geschichten alternativer Welten die sich mancher in der Gesellschaft als Parallele
konstruiert
Zwei Fotofriese von Josef Dabernig bilden jeweils ein Panorama von oumlffentlichen Plaumltzen auf denen es zum einen um Fuszligball geht Zum anderen ist der
Rundblick in das Oval einer scheinbaren Arena auch eine Art Sehschule fuumlr die Betrachter Ein sozialer Befund ist die dritte Bedeutungsebene
Ulrike Lienbacher die heuer mit einer groszligen Schau im Innsbrucker Taxispalais ihre Karriere fortsetzt ist mit ihren feinlinigen Tuschezeichnungen den kleinen
oft unsichtbaren Zwaumlngen in unserer Gesellschaft auf der Spur Im Lokal II des Parlaments stellt sie zwar nicht ihre Objekte und Fotos aber einige
groszligformatige Blaumltter mit Frisurenvariationen neben teils fragmentierten Frauenkoumlrpern im Umgang mit Schmutz und Hygiene aber auch Fitnesskult aus
Disziplinierung und Kontrolle betreffen in der Oumlffentlichkeit besonders den weiblichen Koumlrper Sauberkeitsmechanismen weisen auch auf Vorstellungen von
wertvoll und minderwertig hin Ihre Transformationen enthalten wie die Themen der anderen subtile Kritik und sind daher vom Kurator uumlberlegt positioniert
Zeitgenoumlssische Kunst
im Parlament
Bis April 2007
Kurator Peter Pakesch
Konfrontationen
Dienstag 10 Oktober 2006
ltlt 2003 | 2004 Jan Feb Mar Apr May Jun Jul Aug Sep Oct Nov Dec 2004 | 2005 gtgt
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31
Sunday 17 October 2004
TIME
TITLE
NAME
700 Indymedia ESF breakfast show Indymedia London
Highlights news and views from the European Social Forum and the
autonomous spaces and initiatives taking place this week
website
800 Resonance Radio Art Riot Breakfast International
Radio Art
A five part special of the Harmon E Phraisyar show commissioned for
Kunstradio in Austria starts off the morning broadcast of international radio
art
website
1100 Resonance Live from the Frieze Art Fair Anna Colin amp
Tobi Maier
1100 Chris Weaver Resonance 1044FM live electronics set with James Dunn and
Robin Warren
1130 Michael Hall gallery Vienna presents audio works by artist Elisabeth Penker
1200 Maria Fusco presents latest the Bookworks commissions
1300 The Psychology of Collecting live broadcast of the frieze art fair panel
discussion
Is collecting an irrational act guided by compulsion and desire What are the use of
objects What are the motivations behind making collecting curating and
criticizing art A discussion of the psychology of collecting and the politics of taste
Hilary Rubenstein (Psychologist)
Eric Troncy (Art Critic and Director Le Consortium Dijon)
Haim Steinbach (Artist)
Chair Alice Rawsthorn (Director Design Museum)
1500 Portable live set and presentation of sudelectronic records London
1600 Where is Adventure What is Culture live broadcast of the frieze art fair
website
panel discussion
A discussion of the relationship of art to entertainment touching on the comedic
being popular and failing miserably
Trisha Donnelly (Artist)
Christian Jankowski (Artist)
David Robbins (Writer amp Artist)
Nancy Spector (Curator of Contemporary Art Solomon R Guggenheim Museum)
Chair Matthew Higgs (Curator CCA Wattis Institute for Contemporary Arts)
1800 Melissa Bent from Rivington Arms gallery New York in conversation with
artist Dan Colan and Tobi Maier Anna Colin
1830 VOX pop recordings from the fair with Sharon Gal
1900 Resonance Radio Art Riot Sarah
Washington
The Resonance Radio Art Riot brings together some of the foremost radio artists
and thinkers from around the world The studio lab situation will feature round
table discussions live performances and streamed events
Tonight Radio Text
Events Live broadcast from Sonic Arts Network Resonance benefit featuring
Henri Chopin studio performances from Julia Lee Barclay and Aude Tournay plus
Special Features None present live concrete radiophonics - Planning For
Emergencies
Guests include Clive Graham Chris Weaver Richard Thomas Toby Clarkson
John Lovett Robin Warren and James Dunn
Topics The word as art Sound poetry text performances
At Midnight Tom Wallace present exclusive excerpts from radio art pioneer
Gregory Whitehead
website
000 Resonance Radio Art Riot Nights International
Radio Art
The Resonance Radio Art riot continues throughout the night with the finest of
international radio art Resonance FM programme makers and our international
guests have put together many special hours of classic and obscure radio
works
website
- EPenkerDocumentationpdf
-
- 2bAusstellungenPublicaSpaceEPenkerpdf
-
- 2cUntitled_InstrumentsKunsthausGrazEPenker
- 2bpoeticsKunsthaus GrazEPenker
-
- 4PresseEPenkerpdf
-
- 4Review_Seattle Weekly
-
Grundriss Arkadenhof der Universitaumlt Wien Literatur Acker J (1990) Hierarchies Jobs Bodies A theory of gendered organizations In Gender and Society
Connell R (1998) Gender and Power Society the Person and Sexual Politics Stanford University Press Stanford CA Maisel T (1990) Die Denkmaumller im Arkadenhof der Universitaumlt Wien Biographische Skizzen Wien Quellen Denkmalsakten Archiv der Universitaumlt Wien
Veranstalter Open Mind Projekt Utopie Freiheit httpwwwopenmindat vereinopenmindat Projektautorin Elisabeth Penker elpenkergmxat Bronzeguss Walter Rom Wachsmodel Buumlste Elisabeth Penker Steinsockel Ausfuumlhrung Fa Zehmann Mario Jungbauer Mediendesign Gernot Tscherteu httpwwwrealitylabatwphome gtrealitylabat Techn Umsetzung Christian Langreiter Webpage wwweliserichterat
Elisabeth Penker- Franzengasse 13- 1050 Wien ++43 (0)699 197 193 53 elpenkergmxat
Elisabeth Penker Untitled instruments 1-3 2000-2012
Galerie Georg Kargl Wien Galerie Priestor Bratislava Kuumlnstlerhaus Wien Kibla New
Media Center Maribor HTTP Galerie London Secession Wien Mak Wien Roma
Contemporary Wien
Elisabeth Penker Untiled Instrument Galerie Georg Kargl Wien
Curated by Michael Hall
Elisabeth Penker Untitled instrument 2001 New Media Center Maribor
Elisabeth Penker Untitled instrument 2001 New Media Center Maribor
Elisabeth Penker Untitled instrument Kuumlnstlerhaus Wien curated by Ursula Maria Probst
Live Performance mit Celia Mare
Detail Die BILD_HAU_ER_IN Kuumlnstlerhaus Wien
Live Performance Flower Structure Wiener Festwochen
Elisabeth Penker (Untiled instrument) Van Angh (Cello) Tri Minh Electronics
Elisabeth Penker Live Performance Poetics of space Secession Wien
MAK Nail Structure GRizo Sweet Susie Elisabeth Penker
Elisabeth Penker HTTP Gallery London 2005 curated by Tobi Maier
Elisabeth Penker HTTP Gallery London Live Performance
Elisabeth Penker Untitled Instrument Sonic Structure Kunsthaus Graz curated by Adam Budak amp
Christine Peters
Videolinks
httpwwwyoutubecomusersoundart24
Interview with Video Festwochen
httpbturncom8753interview-elisabeth-penker
Kunsthaus Graz
Protections
Kuratoren Adam Budak und Christine Peters
Elisabeth Penker Poetics of Dead Space
For PROTECTIONS Elisabeth Penker developed a key-sound Poetics of Dead Space which is to a large extent a homage
to Gaston Bachelards seminal book Poetics of Space where the connections between the poetry and the spatial emotions
are analysed Penkers key-sound will guide the viewer through the exhibition mapping the overall identity of the show in
some way controlling the viewers (audio-narrative) route in the maze of art objects events situations but also spatial
voids and unused corners
Fuumlr PROTECTIONS entwickelte Elisabeth Penker einen leitmotivischen Key Sound Poetics of Dead Space der weitgehend
eine Hommage an Gaston Bachelards wegweisendes Buch Poetics of Space darstellt in dem die Verbindungen zwischen
Lyrik und raumlumlichen Emotionen analysiert werden Penkers Key Sound wird das Publikum durch die Ausstellung geleiten
die Identitaumlt der Schau in ihrer Gesamtheit erfassen und in gewisser Weise die (audio-narrative) Route des Publikums im
Labyrinth der Kunstgegenstaumlnde Ereignisse und Situationen aber auch raumlumlicher Leerstellen und ungenutzter Winkel
kontrollieren
A non linear composition 7 mono active speakers are placed through out the Kunsthaus Graz Speaker placement
1 outdoor (entrance) 2 (travelator) 3 (corner with column) 4 (corner with door) 5 (corner) 6 (travelator) 7 (corner with
window)
Poetics of Dead Space Let it grow again 28 51 sec mono
Source material for composition rain sound of dried beans dropping down wood sticks breathing hardly existing
id78338975 pdfMachine by Broadgun Software - a great PDF writer - a great PDF creator - httpwwwpdfmachinecom httpwwwbroadguncom
recording of extinct languages
Poetics of Dead Space Let it grow again 28 51 sec mono
Source material for composition rain sound of dried beans dropping down wood sticks existing recording of extinct
languages
Poetics of Dead Space travelator 1 1min 04 sec mono loop
Source material for composition staff falling down man falling down stairs rattern recording untitled instrument
Background existing recording of extinct languages
Poetics of Dead Space 496 1min 409 sec mono loop
Source material for composition recording untitled instrument Background existing recording of extinct languages
Poetics of Dead Space 129525 1min 4888 sec mono loop
Source material for composition recording untitled instrument Background existing recording of extinct languages
Poetics of Dead Space 129525 1min 4888 sec mono loop
Source material for composition keyboard recording untitled instrument Background existing recording of extinct
languages
Poetics of Dead Space travelator 2 1min 5209 sec mono loop
Source material for composition recording untitled instrument violin Background existing recording of extinct
languages
Poetics of Dead Space2152518125220 1min 3200 sec mono loop
Source material for composition recording untitled instrument Background existing recording of library of extinct
languages
Poetics of Dead Space travelator 1 1min 04 sec mono loop
viewing down from upstairs Source material for composition staff falling down man falling down stairs rattern
recording untitled instrument Background existing recording of extinct languages
Poetics of Dead Space Let it grow again 028 51 sec mono
Source material for composition rain sound of coins wood sticks existing recording of extinct languages
Elisabeth Penker is a Viennese artist and musician working with sound in a sculptural context In her (subjective) tour
Penker approaches the entire anti-exhibition PROTECTIONS from an angle of its position and significance in the context
of Sound Art as located on the crossway between visual arts language and music Starting from her own house turned
into First Nation Pavillion which amongst others aims at connecting the recent discourse on cultural translation with
early avant-garde phonetic experiments Penker maps the sonic structure of Kunsthaus Graz and its (live) architecture
which for PROTECTIONS hosts an array of interdisciplinary projects with a strong audio-quality from Herwig Weisers
Death Before Disco (a micro-architecture of hyper-technological and electronic pop) through a newly created choir of
security guards for Tim Etchells Wall of Sound down to a cacophonic layers of anonimous noise generated by the
space itself and the presence of audience
Die Wiener Kuumlnstlerin und Musikerin Elisabeth Penker arbeitet mit Klang im Zusammenhang mit Bildhauerei In ihrer
(subjektiven) Fuumlhrung naumlhert sie sich der Anti-Ausstellung PROTECTIONS aus einem Blickwinkel der die Position und
Bedeutung der Klangkunst an der Kreuzung zwischen bildender Kunst Sprache und Musik verortet Von ihrem eigenen
Haus ausgehend das sich in den First Nation Pavilion verwandelt hat der u a den aktuellen Diskurs uumlber kulturelle
Uumlbersetzung mit fruumlhen phonetischen Experimenten der Avantgarde verbinden soll entwirft Penker die klangliche
Struktur des Gutshauses und seiner (Live-)Architektur die fuumlr PROTECTIONS eine Reihe von interdisziplinaumlren Projekten
mit einer starken Affinitaumlt zum Klang beherbergt von Herwig Weisers Death Before Disco (eine Mikroarchitektur aus
hyper-technoidem und elektronischem Pop) uumlber einen neu formierten Chor bestehend aus Security Guards fuumlr Tim
Etchells Wall of Sound bis zu einer Kakophonie aus anonymen Geraumluschen die vom Raum selbst und der Anwesenheit
des Publikums erzeugt werden
052813
Local Warming ATHENS
052813
AFTER A YEARLONG HIATUS the eighteenth Art-Athina hit the ground running on the evening of Thursday May 16 and the former Olympic
ldquoTae Kwon Dordquo Pavilion was packed with enthusiastic party people The fair had a more national flavor than ever this year under its new
director Alexis Caniaris the son of recently deceased artist Vlassis Caniaris whose iconic modern work has recently found great success on the
international market Of the very few foreign galleries exhibiting most were Greek-owned The Breeder gallery was dealing with the perceived
drop in the market by selling fantastic multiples by artists like Stelios Faitakis Jannis Varelas and Andreas Angelidakis at crisis-appropriate
prices ldquoNobody wants to come here now but I have already met three interested billionaire collectors today And if Greeks like you they
introduce you to their billionaire friendsrdquo raved Cologne dealer Mirko Mayer a seven-time exhibitor ldquoThat is what nobody knows There are
at least one-hundred billionaires collecting hererdquo Most international collectors were delayed several hours due to a union strike a de r igueur
mode of arrival in contemporary Greece
It was impossible to miss the exuberant activities of the DaDa Da restaurant a Greek-Austrian collaboration where artist Albert Mayr was
waving a skillet and raving nonsense while Lucas Willmann tenderized pink fillets for Wiener schnitzel ldquoThis is Viennese Actionism lightrdquo
quipped critic Sotirios Bahtsetzis Artist Natasha Papadopoulos added ldquoBut here there are hungry Greeks waitingrdquo On a table with a rotating
Sacher tort by Heacutelegravene van Duijne a sign carried the overwhelming spirit FUCK ART LETrsquoS EAT SOUVLAKI An insistent electronic beat and
pulsating light emanated from the next booth the American College of Greecersquos ldquoAthensUrgentrdquo while hooded performer Manos Tsatiris
stood against the wall with his hands tied perhaps a metaphor for the current Athenian exigency ldquoThis is not the kind of art fair scene we are
used tordquo said the Economou Collectionrsquos Annie-Claire Geisinger watching the madness
Left Artists Elisabeth Penker Michela Pelusio Petros Touloudis Panos Papadopoulos and Nino Stelzl Right Collector Anne-Marie Ros
Down on the floor the dealers seemed pleased particularly given dismal expectations having already sold a great deal at the preview Young
Rotterdam-based gallery Joey Ramone had sold sculptures by Fotini Gouseti to English and Belgian collectors dealer Erik Mulier had also sold
some work to Belgians Marc Van den Hende said he had bought a triptych by Eirene Efstathiou and was considering a Vlassis Caniaris piece
from the 1970s ldquoI saw some surprisesmdashyoung Greek artists I did not knowmdashand great new galleries like Elika and CANrdquo Dutch collector
Anne-Marie Ros said By the end of the day Dimitra and Sofia Vamiali reported that they had not seen one Greek collector although another
reported a Dakis Joannou sighting mdash Cathryn Drake
SEARCH
ARTICLES
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Week
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SEATTLE
WEEKLY
in the News
Columnist
Geov Parrish
is a regular
guest on
Mind Over
Matters on
KEXP-FM
(903)
Saturdays at
830 am and
provides news
commentary
on KBCS-FM
(913) Fridays
at 430 pm
Catch writers
Steve
Wiecking Tim
Appelo and
ARTS
March 30 - April 5 2005
Picking Up the Thread
Howard House ties together the best new conceptual art from Vienna
by Elise Richman
Franz Wests Mercury
(Howard House Contemporary Art)
Theres a German expression to lose the red thread which means losing
ones train of thought In its current show Howard House has found that
thread Julie Ryan a curator artist and writer organized The Red
Thread Glimpses of International Art in Vienna a two-part exhibition
featuring artists working and living at least part time in Austrias capital
Part one of the show is at Howard House the second half is currently on
display at the Educational Alliance Gallery in New York
Vienna has become a magnet for artists from all over the world including
the 15 individuals and artist teams that are part of The Red Thread
Excellent artist residency programs a low cost of living and living art
legends like Franz West are just a few of the reasons
An artistic collaboration with West took Ryan from New York to Vienna
She knows Billy Howard who runs Howard House from the University of
Washingtons School of Art And so the figurative string was strung
connecting the East and West coasts with artists from across the Atlantic
This is a complex exhibit whose emotional tenor ranges from cool
detachment to an almost urgent earnestness Unlike the formal richly
historical city that connects them artists in The Red Thread favor informal
approaches to art making use disposable materials and comment on
contemporary cultural themes
West has two formidable sculptures at Howard House The front room of the
gallery features Mercury (pictured) an ungainly behemoth composed of a
patchwork of fused metal Like many of Wests sculptures Mercury is
meant as an interactive structure that viewers can climb and sit on Bulbous
Gavin
Borchert
discussing
theater film
and music
regularly on
classical
KING-FM
(981)
Mark Fiore
Cartoons
Every
Thursday
nodules extend from its horizontal base and the seams of the dark maroon
metal look like scars rendering it at once vaguely obscene and absurdly
playful
Sisyphus the other West sculpture on display is a bulky conglomeration of
bits and wads of paper propped in the back room on a makeshift plinth (base
block) Though its as solid as the boulder its title references its surface is
like oozing skin partly coated with poured murky paint partly cloaked in
small clumps of newspaper detritus
The strenuous act of making each of these sculptures is eminently apparent
and central to the content of Wests work West considers creation a
symbolic act As you might expect he likens the artistic process to the plight
of Sisyphus the mythological figure who eternally rolled a boulder up a hill
only to have it come crashing back down For West art involves a
Sisyphean search for what he calls the absolute through the seemingly
senseless accumulation of materials However unlike Sisyphus futile quest
Wests process can lead to epiphany making sense of the senseless
Similarly Viennese artist Elisabeth Penkers art serves a facilitative
function easing the act of translation Penker uses Haida iconography in her
multimedia work because it provides potent visual symbols that
communicate single words and whole sentences simultaneously Her prints
at Howard House feature fragments of icons floating in the papers white
space They are spare visually arresting characters that employ an
iconographic language as encoded symbols of communication
Also featured in The Red Thread is Donald Baechler an internationally
known American painter who spends extended periods of time in Vienna
Baechler equalizes his imagery by painting it all in the same style For him
the source of an image doesnt matter whether its a drawing by Picasso or
graffiti on a bathroom wall What matters is the newfound context his
paintings provide
Victory by Default is part of Baechlers Skull series In this piece a painted
skull gapes from the dirty yet sensuous confines of a large canvas Terry
cloth and wrinkled rags provide literal texture and reference the world
outside the paintings boundaries Splatterings of color around the skull like
the self-conscious marks of Jasper Johns seem to express the language of
paintingmdashhue and gestural strokesmdashin a factual rather than illusional
manner
Another American painter Lisa Ruyter lives half-time in Vienna where she
runs an influential gallery She works from photographs projected onto
large-scale canvases tracing the contours of the projected imagery with
consistent black outlines In a way that seems arbitrary she paints the shapes
formed by her contour lines in flat designer colors Man of Means based on
a photo of fashion photographers looks like a scrambled color-by-numbers
painting I cant do justice to the unusually rich assortment of conceptual art
in The Red Thread Youll just have to see it for yourself Thomas
Baumans thrashing triangular foil blanket Walter Seidls slide show of
staged snapshots Markus Schinwalds photograph of a contortionist and the
other thoughtful works connected by The Red Thread
The Red Thread Glimpses of International Art in Vienna runs through
April 30 at Howard House 604 Second Ave 206- 256-6399 1030 amndash5
pm TuesndashSat Free
KUNSTFORUM
Parallelwelten fuumlr Parlamentarier Ausstellung
Von Brigitte Borchhardt-Birbaumer
Ende Oktober endet die Zusammenarbeit von Nationalratspraumlsident Andreas Khol und Peter Pakesch Direktor des Kunsthauses Graz am Joanneum Seit 2003
hatte Pakesch als Kurator mehrere Ausstellungen in den Sitzungssaumllen des Parlaments in Zusammenarbeit mit Galerien initiiert und namhafte Positionen
ausgewaumlhlt Kriterium fuumlr Praumlsentationen war die Praumlsenz durch eine Schau in einer der bekannten Kunstinstitutionen des Landes Nach Eva Schlegel Adriana
Czernin Maria Lassnig oder Esther Stocker sind dies nun bis April 2007 Josef Dabernig Daniel Hafner Ulrike Lienbacher Alois Mosbacher und Elisabeth
Penker
Das Parlament kann dabei durch die Margaretha-Lupac Stiftung immer eine Arbeit fuumlr die wachsende Sammlung des Hauses ankaufen Zuletzt war das ein
groszliges Oumll-Acryl-Gemaumllde der Georg-Eisler-Preistraumlgerin Maja Vukoje zuvor Johanna Kandl deren Temperabild derzeit an das Lentos in Linz geliehen wird
Einige Werke haumlngen schon als kuumlnstlerische Wegweiser in den Gaumlngen des Hauses und sind auch Blickfang fuumlr die 120000 Besucher die pro Jahr das
Parlament besuchen In die Architektur von Theophil Hansen mit ihrer zeitlosen Qualitaumlt fuumlgt sich die Gegenwartskunst kongenial
Hoffnung fuumlr spaumlter
Die derzeitige Zusammenstellung macht Hoffnung auf eine Fortsetzung unter der naumlchsten Praumlsidentschaft Fotografie Computerkunst Malerei Zeichnung
und Skulptur weisen auf die Vielfalt der Werkstoffe in der Gegenwartskunst Elisabeth Penker parallel im Kunsthaus Graz zu sehen baut schwarzweiszlige
Objekte aus bemaltem Holz die in ihrer seriellen und geometrischen Anordnung auf Bezuumlge zum Performativen und auf die Musik hinweisen
Noch juumlnger ist Daniel Hafner mit seinen am Computer komponierten digitalen Drucken Morphosentransformationen von 2006 Linienraster und
Raumkonstruktionen in subtiler Farbigkeit verbinden Tendenzen der fruumlhen Op-Art mit dem Cyber-Lab
Um konstruierte Realitaumlten geht es auch in den groszligformatigen Oumllbildern von Alois Mosbacher dem bekannten Vertreter der Neuen Wilden der
Achtzigerjahre in Oumlsterreich Wanderer in Wald und Wiese erzaumlhlen die Geschichten alternativer Welten die sich mancher in der Gesellschaft als Parallele
konstruiert
Zwei Fotofriese von Josef Dabernig bilden jeweils ein Panorama von oumlffentlichen Plaumltzen auf denen es zum einen um Fuszligball geht Zum anderen ist der
Rundblick in das Oval einer scheinbaren Arena auch eine Art Sehschule fuumlr die Betrachter Ein sozialer Befund ist die dritte Bedeutungsebene
Ulrike Lienbacher die heuer mit einer groszligen Schau im Innsbrucker Taxispalais ihre Karriere fortsetzt ist mit ihren feinlinigen Tuschezeichnungen den kleinen
oft unsichtbaren Zwaumlngen in unserer Gesellschaft auf der Spur Im Lokal II des Parlaments stellt sie zwar nicht ihre Objekte und Fotos aber einige
groszligformatige Blaumltter mit Frisurenvariationen neben teils fragmentierten Frauenkoumlrpern im Umgang mit Schmutz und Hygiene aber auch Fitnesskult aus
Disziplinierung und Kontrolle betreffen in der Oumlffentlichkeit besonders den weiblichen Koumlrper Sauberkeitsmechanismen weisen auch auf Vorstellungen von
wertvoll und minderwertig hin Ihre Transformationen enthalten wie die Themen der anderen subtile Kritik und sind daher vom Kurator uumlberlegt positioniert
Zeitgenoumlssische Kunst
im Parlament
Bis April 2007
Kurator Peter Pakesch
Konfrontationen
Dienstag 10 Oktober 2006
ltlt 2003 | 2004 Jan Feb Mar Apr May Jun Jul Aug Sep Oct Nov Dec 2004 | 2005 gtgt
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31
Sunday 17 October 2004
TIME
TITLE
NAME
700 Indymedia ESF breakfast show Indymedia London
Highlights news and views from the European Social Forum and the
autonomous spaces and initiatives taking place this week
website
800 Resonance Radio Art Riot Breakfast International
Radio Art
A five part special of the Harmon E Phraisyar show commissioned for
Kunstradio in Austria starts off the morning broadcast of international radio
art
website
1100 Resonance Live from the Frieze Art Fair Anna Colin amp
Tobi Maier
1100 Chris Weaver Resonance 1044FM live electronics set with James Dunn and
Robin Warren
1130 Michael Hall gallery Vienna presents audio works by artist Elisabeth Penker
1200 Maria Fusco presents latest the Bookworks commissions
1300 The Psychology of Collecting live broadcast of the frieze art fair panel
discussion
Is collecting an irrational act guided by compulsion and desire What are the use of
objects What are the motivations behind making collecting curating and
criticizing art A discussion of the psychology of collecting and the politics of taste
Hilary Rubenstein (Psychologist)
Eric Troncy (Art Critic and Director Le Consortium Dijon)
Haim Steinbach (Artist)
Chair Alice Rawsthorn (Director Design Museum)
1500 Portable live set and presentation of sudelectronic records London
1600 Where is Adventure What is Culture live broadcast of the frieze art fair
website
panel discussion
A discussion of the relationship of art to entertainment touching on the comedic
being popular and failing miserably
Trisha Donnelly (Artist)
Christian Jankowski (Artist)
David Robbins (Writer amp Artist)
Nancy Spector (Curator of Contemporary Art Solomon R Guggenheim Museum)
Chair Matthew Higgs (Curator CCA Wattis Institute for Contemporary Arts)
1800 Melissa Bent from Rivington Arms gallery New York in conversation with
artist Dan Colan and Tobi Maier Anna Colin
1830 VOX pop recordings from the fair with Sharon Gal
1900 Resonance Radio Art Riot Sarah
Washington
The Resonance Radio Art Riot brings together some of the foremost radio artists
and thinkers from around the world The studio lab situation will feature round
table discussions live performances and streamed events
Tonight Radio Text
Events Live broadcast from Sonic Arts Network Resonance benefit featuring
Henri Chopin studio performances from Julia Lee Barclay and Aude Tournay plus
Special Features None present live concrete radiophonics - Planning For
Emergencies
Guests include Clive Graham Chris Weaver Richard Thomas Toby Clarkson
John Lovett Robin Warren and James Dunn
Topics The word as art Sound poetry text performances
At Midnight Tom Wallace present exclusive excerpts from radio art pioneer
Gregory Whitehead
website
000 Resonance Radio Art Riot Nights International
Radio Art
The Resonance Radio Art riot continues throughout the night with the finest of
international radio art Resonance FM programme makers and our international
guests have put together many special hours of classic and obscure radio
works
website
- EPenkerDocumentationpdf
-
- 2bAusstellungenPublicaSpaceEPenkerpdf
-
- 2cUntitled_InstrumentsKunsthausGrazEPenker
- 2bpoeticsKunsthaus GrazEPenker
-
- 4PresseEPenkerpdf
-
- 4Review_Seattle Weekly
-
Elisabeth Penker Untitled instruments 1-3 2000-2012
Galerie Georg Kargl Wien Galerie Priestor Bratislava Kuumlnstlerhaus Wien Kibla New
Media Center Maribor HTTP Galerie London Secession Wien Mak Wien Roma
Contemporary Wien
Elisabeth Penker Untiled Instrument Galerie Georg Kargl Wien
Curated by Michael Hall
Elisabeth Penker Untitled instrument 2001 New Media Center Maribor
Elisabeth Penker Untitled instrument 2001 New Media Center Maribor
Elisabeth Penker Untitled instrument Kuumlnstlerhaus Wien curated by Ursula Maria Probst
Live Performance mit Celia Mare
Detail Die BILD_HAU_ER_IN Kuumlnstlerhaus Wien
Live Performance Flower Structure Wiener Festwochen
Elisabeth Penker (Untiled instrument) Van Angh (Cello) Tri Minh Electronics
Elisabeth Penker Live Performance Poetics of space Secession Wien
MAK Nail Structure GRizo Sweet Susie Elisabeth Penker
Elisabeth Penker HTTP Gallery London 2005 curated by Tobi Maier
Elisabeth Penker HTTP Gallery London Live Performance
Elisabeth Penker Untitled Instrument Sonic Structure Kunsthaus Graz curated by Adam Budak amp
Christine Peters
Videolinks
httpwwwyoutubecomusersoundart24
Interview with Video Festwochen
httpbturncom8753interview-elisabeth-penker
Kunsthaus Graz
Protections
Kuratoren Adam Budak und Christine Peters
Elisabeth Penker Poetics of Dead Space
For PROTECTIONS Elisabeth Penker developed a key-sound Poetics of Dead Space which is to a large extent a homage
to Gaston Bachelards seminal book Poetics of Space where the connections between the poetry and the spatial emotions
are analysed Penkers key-sound will guide the viewer through the exhibition mapping the overall identity of the show in
some way controlling the viewers (audio-narrative) route in the maze of art objects events situations but also spatial
voids and unused corners
Fuumlr PROTECTIONS entwickelte Elisabeth Penker einen leitmotivischen Key Sound Poetics of Dead Space der weitgehend
eine Hommage an Gaston Bachelards wegweisendes Buch Poetics of Space darstellt in dem die Verbindungen zwischen
Lyrik und raumlumlichen Emotionen analysiert werden Penkers Key Sound wird das Publikum durch die Ausstellung geleiten
die Identitaumlt der Schau in ihrer Gesamtheit erfassen und in gewisser Weise die (audio-narrative) Route des Publikums im
Labyrinth der Kunstgegenstaumlnde Ereignisse und Situationen aber auch raumlumlicher Leerstellen und ungenutzter Winkel
kontrollieren
A non linear composition 7 mono active speakers are placed through out the Kunsthaus Graz Speaker placement
1 outdoor (entrance) 2 (travelator) 3 (corner with column) 4 (corner with door) 5 (corner) 6 (travelator) 7 (corner with
window)
Poetics of Dead Space Let it grow again 28 51 sec mono
Source material for composition rain sound of dried beans dropping down wood sticks breathing hardly existing
id78338975 pdfMachine by Broadgun Software - a great PDF writer - a great PDF creator - httpwwwpdfmachinecom httpwwwbroadguncom
recording of extinct languages
Poetics of Dead Space Let it grow again 28 51 sec mono
Source material for composition rain sound of dried beans dropping down wood sticks existing recording of extinct
languages
Poetics of Dead Space travelator 1 1min 04 sec mono loop
Source material for composition staff falling down man falling down stairs rattern recording untitled instrument
Background existing recording of extinct languages
Poetics of Dead Space 496 1min 409 sec mono loop
Source material for composition recording untitled instrument Background existing recording of extinct languages
Poetics of Dead Space 129525 1min 4888 sec mono loop
Source material for composition recording untitled instrument Background existing recording of extinct languages
Poetics of Dead Space 129525 1min 4888 sec mono loop
Source material for composition keyboard recording untitled instrument Background existing recording of extinct
languages
Poetics of Dead Space travelator 2 1min 5209 sec mono loop
Source material for composition recording untitled instrument violin Background existing recording of extinct
languages
Poetics of Dead Space2152518125220 1min 3200 sec mono loop
Source material for composition recording untitled instrument Background existing recording of library of extinct
languages
Poetics of Dead Space travelator 1 1min 04 sec mono loop
viewing down from upstairs Source material for composition staff falling down man falling down stairs rattern
recording untitled instrument Background existing recording of extinct languages
Poetics of Dead Space Let it grow again 028 51 sec mono
Source material for composition rain sound of coins wood sticks existing recording of extinct languages
Elisabeth Penker is a Viennese artist and musician working with sound in a sculptural context In her (subjective) tour
Penker approaches the entire anti-exhibition PROTECTIONS from an angle of its position and significance in the context
of Sound Art as located on the crossway between visual arts language and music Starting from her own house turned
into First Nation Pavillion which amongst others aims at connecting the recent discourse on cultural translation with
early avant-garde phonetic experiments Penker maps the sonic structure of Kunsthaus Graz and its (live) architecture
which for PROTECTIONS hosts an array of interdisciplinary projects with a strong audio-quality from Herwig Weisers
Death Before Disco (a micro-architecture of hyper-technological and electronic pop) through a newly created choir of
security guards for Tim Etchells Wall of Sound down to a cacophonic layers of anonimous noise generated by the
space itself and the presence of audience
Die Wiener Kuumlnstlerin und Musikerin Elisabeth Penker arbeitet mit Klang im Zusammenhang mit Bildhauerei In ihrer
(subjektiven) Fuumlhrung naumlhert sie sich der Anti-Ausstellung PROTECTIONS aus einem Blickwinkel der die Position und
Bedeutung der Klangkunst an der Kreuzung zwischen bildender Kunst Sprache und Musik verortet Von ihrem eigenen
Haus ausgehend das sich in den First Nation Pavilion verwandelt hat der u a den aktuellen Diskurs uumlber kulturelle
Uumlbersetzung mit fruumlhen phonetischen Experimenten der Avantgarde verbinden soll entwirft Penker die klangliche
Struktur des Gutshauses und seiner (Live-)Architektur die fuumlr PROTECTIONS eine Reihe von interdisziplinaumlren Projekten
mit einer starken Affinitaumlt zum Klang beherbergt von Herwig Weisers Death Before Disco (eine Mikroarchitektur aus
hyper-technoidem und elektronischem Pop) uumlber einen neu formierten Chor bestehend aus Security Guards fuumlr Tim
Etchells Wall of Sound bis zu einer Kakophonie aus anonymen Geraumluschen die vom Raum selbst und der Anwesenheit
des Publikums erzeugt werden
052813
Local Warming ATHENS
052813
AFTER A YEARLONG HIATUS the eighteenth Art-Athina hit the ground running on the evening of Thursday May 16 and the former Olympic
ldquoTae Kwon Dordquo Pavilion was packed with enthusiastic party people The fair had a more national flavor than ever this year under its new
director Alexis Caniaris the son of recently deceased artist Vlassis Caniaris whose iconic modern work has recently found great success on the
international market Of the very few foreign galleries exhibiting most were Greek-owned The Breeder gallery was dealing with the perceived
drop in the market by selling fantastic multiples by artists like Stelios Faitakis Jannis Varelas and Andreas Angelidakis at crisis-appropriate
prices ldquoNobody wants to come here now but I have already met three interested billionaire collectors today And if Greeks like you they
introduce you to their billionaire friendsrdquo raved Cologne dealer Mirko Mayer a seven-time exhibitor ldquoThat is what nobody knows There are
at least one-hundred billionaires collecting hererdquo Most international collectors were delayed several hours due to a union strike a de r igueur
mode of arrival in contemporary Greece
It was impossible to miss the exuberant activities of the DaDa Da restaurant a Greek-Austrian collaboration where artist Albert Mayr was
waving a skillet and raving nonsense while Lucas Willmann tenderized pink fillets for Wiener schnitzel ldquoThis is Viennese Actionism lightrdquo
quipped critic Sotirios Bahtsetzis Artist Natasha Papadopoulos added ldquoBut here there are hungry Greeks waitingrdquo On a table with a rotating
Sacher tort by Heacutelegravene van Duijne a sign carried the overwhelming spirit FUCK ART LETrsquoS EAT SOUVLAKI An insistent electronic beat and
pulsating light emanated from the next booth the American College of Greecersquos ldquoAthensUrgentrdquo while hooded performer Manos Tsatiris
stood against the wall with his hands tied perhaps a metaphor for the current Athenian exigency ldquoThis is not the kind of art fair scene we are
used tordquo said the Economou Collectionrsquos Annie-Claire Geisinger watching the madness
Left Artists Elisabeth Penker Michela Pelusio Petros Touloudis Panos Papadopoulos and Nino Stelzl Right Collector Anne-Marie Ros
Down on the floor the dealers seemed pleased particularly given dismal expectations having already sold a great deal at the preview Young
Rotterdam-based gallery Joey Ramone had sold sculptures by Fotini Gouseti to English and Belgian collectors dealer Erik Mulier had also sold
some work to Belgians Marc Van den Hende said he had bought a triptych by Eirene Efstathiou and was considering a Vlassis Caniaris piece
from the 1970s ldquoI saw some surprisesmdashyoung Greek artists I did not knowmdashand great new galleries like Elika and CANrdquo Dutch collector
Anne-Marie Ros said By the end of the day Dimitra and Sofia Vamiali reported that they had not seen one Greek collector although another
reported a Dakis Joannou sighting mdash Cathryn Drake
SEARCH
ARTICLES
GO
Home
News
War Dead
Music
Film
Arts
Food
Diversions
Best of Seattle
About Us
Search
Classifieds
Job Mall
Special Offers
Personals
Contests
Images this
Week
Newsletter
Signup
SEATTLE
WEEKLY
in the News
Columnist
Geov Parrish
is a regular
guest on
Mind Over
Matters on
KEXP-FM
(903)
Saturdays at
830 am and
provides news
commentary
on KBCS-FM
(913) Fridays
at 430 pm
Catch writers
Steve
Wiecking Tim
Appelo and
ARTS
March 30 - April 5 2005
Picking Up the Thread
Howard House ties together the best new conceptual art from Vienna
by Elise Richman
Franz Wests Mercury
(Howard House Contemporary Art)
Theres a German expression to lose the red thread which means losing
ones train of thought In its current show Howard House has found that
thread Julie Ryan a curator artist and writer organized The Red
Thread Glimpses of International Art in Vienna a two-part exhibition
featuring artists working and living at least part time in Austrias capital
Part one of the show is at Howard House the second half is currently on
display at the Educational Alliance Gallery in New York
Vienna has become a magnet for artists from all over the world including
the 15 individuals and artist teams that are part of The Red Thread
Excellent artist residency programs a low cost of living and living art
legends like Franz West are just a few of the reasons
An artistic collaboration with West took Ryan from New York to Vienna
She knows Billy Howard who runs Howard House from the University of
Washingtons School of Art And so the figurative string was strung
connecting the East and West coasts with artists from across the Atlantic
This is a complex exhibit whose emotional tenor ranges from cool
detachment to an almost urgent earnestness Unlike the formal richly
historical city that connects them artists in The Red Thread favor informal
approaches to art making use disposable materials and comment on
contemporary cultural themes
West has two formidable sculptures at Howard House The front room of the
gallery features Mercury (pictured) an ungainly behemoth composed of a
patchwork of fused metal Like many of Wests sculptures Mercury is
meant as an interactive structure that viewers can climb and sit on Bulbous
Gavin
Borchert
discussing
theater film
and music
regularly on
classical
KING-FM
(981)
Mark Fiore
Cartoons
Every
Thursday
nodules extend from its horizontal base and the seams of the dark maroon
metal look like scars rendering it at once vaguely obscene and absurdly
playful
Sisyphus the other West sculpture on display is a bulky conglomeration of
bits and wads of paper propped in the back room on a makeshift plinth (base
block) Though its as solid as the boulder its title references its surface is
like oozing skin partly coated with poured murky paint partly cloaked in
small clumps of newspaper detritus
The strenuous act of making each of these sculptures is eminently apparent
and central to the content of Wests work West considers creation a
symbolic act As you might expect he likens the artistic process to the plight
of Sisyphus the mythological figure who eternally rolled a boulder up a hill
only to have it come crashing back down For West art involves a
Sisyphean search for what he calls the absolute through the seemingly
senseless accumulation of materials However unlike Sisyphus futile quest
Wests process can lead to epiphany making sense of the senseless
Similarly Viennese artist Elisabeth Penkers art serves a facilitative
function easing the act of translation Penker uses Haida iconography in her
multimedia work because it provides potent visual symbols that
communicate single words and whole sentences simultaneously Her prints
at Howard House feature fragments of icons floating in the papers white
space They are spare visually arresting characters that employ an
iconographic language as encoded symbols of communication
Also featured in The Red Thread is Donald Baechler an internationally
known American painter who spends extended periods of time in Vienna
Baechler equalizes his imagery by painting it all in the same style For him
the source of an image doesnt matter whether its a drawing by Picasso or
graffiti on a bathroom wall What matters is the newfound context his
paintings provide
Victory by Default is part of Baechlers Skull series In this piece a painted
skull gapes from the dirty yet sensuous confines of a large canvas Terry
cloth and wrinkled rags provide literal texture and reference the world
outside the paintings boundaries Splatterings of color around the skull like
the self-conscious marks of Jasper Johns seem to express the language of
paintingmdashhue and gestural strokesmdashin a factual rather than illusional
manner
Another American painter Lisa Ruyter lives half-time in Vienna where she
runs an influential gallery She works from photographs projected onto
large-scale canvases tracing the contours of the projected imagery with
consistent black outlines In a way that seems arbitrary she paints the shapes
formed by her contour lines in flat designer colors Man of Means based on
a photo of fashion photographers looks like a scrambled color-by-numbers
painting I cant do justice to the unusually rich assortment of conceptual art
in The Red Thread Youll just have to see it for yourself Thomas
Baumans thrashing triangular foil blanket Walter Seidls slide show of
staged snapshots Markus Schinwalds photograph of a contortionist and the
other thoughtful works connected by The Red Thread
The Red Thread Glimpses of International Art in Vienna runs through
April 30 at Howard House 604 Second Ave 206- 256-6399 1030 amndash5
pm TuesndashSat Free
KUNSTFORUM
Parallelwelten fuumlr Parlamentarier Ausstellung
Von Brigitte Borchhardt-Birbaumer
Ende Oktober endet die Zusammenarbeit von Nationalratspraumlsident Andreas Khol und Peter Pakesch Direktor des Kunsthauses Graz am Joanneum Seit 2003
hatte Pakesch als Kurator mehrere Ausstellungen in den Sitzungssaumllen des Parlaments in Zusammenarbeit mit Galerien initiiert und namhafte Positionen
ausgewaumlhlt Kriterium fuumlr Praumlsentationen war die Praumlsenz durch eine Schau in einer der bekannten Kunstinstitutionen des Landes Nach Eva Schlegel Adriana
Czernin Maria Lassnig oder Esther Stocker sind dies nun bis April 2007 Josef Dabernig Daniel Hafner Ulrike Lienbacher Alois Mosbacher und Elisabeth
Penker
Das Parlament kann dabei durch die Margaretha-Lupac Stiftung immer eine Arbeit fuumlr die wachsende Sammlung des Hauses ankaufen Zuletzt war das ein
groszliges Oumll-Acryl-Gemaumllde der Georg-Eisler-Preistraumlgerin Maja Vukoje zuvor Johanna Kandl deren Temperabild derzeit an das Lentos in Linz geliehen wird
Einige Werke haumlngen schon als kuumlnstlerische Wegweiser in den Gaumlngen des Hauses und sind auch Blickfang fuumlr die 120000 Besucher die pro Jahr das
Parlament besuchen In die Architektur von Theophil Hansen mit ihrer zeitlosen Qualitaumlt fuumlgt sich die Gegenwartskunst kongenial
Hoffnung fuumlr spaumlter
Die derzeitige Zusammenstellung macht Hoffnung auf eine Fortsetzung unter der naumlchsten Praumlsidentschaft Fotografie Computerkunst Malerei Zeichnung
und Skulptur weisen auf die Vielfalt der Werkstoffe in der Gegenwartskunst Elisabeth Penker parallel im Kunsthaus Graz zu sehen baut schwarzweiszlige
Objekte aus bemaltem Holz die in ihrer seriellen und geometrischen Anordnung auf Bezuumlge zum Performativen und auf die Musik hinweisen
Noch juumlnger ist Daniel Hafner mit seinen am Computer komponierten digitalen Drucken Morphosentransformationen von 2006 Linienraster und
Raumkonstruktionen in subtiler Farbigkeit verbinden Tendenzen der fruumlhen Op-Art mit dem Cyber-Lab
Um konstruierte Realitaumlten geht es auch in den groszligformatigen Oumllbildern von Alois Mosbacher dem bekannten Vertreter der Neuen Wilden der
Achtzigerjahre in Oumlsterreich Wanderer in Wald und Wiese erzaumlhlen die Geschichten alternativer Welten die sich mancher in der Gesellschaft als Parallele
konstruiert
Zwei Fotofriese von Josef Dabernig bilden jeweils ein Panorama von oumlffentlichen Plaumltzen auf denen es zum einen um Fuszligball geht Zum anderen ist der
Rundblick in das Oval einer scheinbaren Arena auch eine Art Sehschule fuumlr die Betrachter Ein sozialer Befund ist die dritte Bedeutungsebene
Ulrike Lienbacher die heuer mit einer groszligen Schau im Innsbrucker Taxispalais ihre Karriere fortsetzt ist mit ihren feinlinigen Tuschezeichnungen den kleinen
oft unsichtbaren Zwaumlngen in unserer Gesellschaft auf der Spur Im Lokal II des Parlaments stellt sie zwar nicht ihre Objekte und Fotos aber einige
groszligformatige Blaumltter mit Frisurenvariationen neben teils fragmentierten Frauenkoumlrpern im Umgang mit Schmutz und Hygiene aber auch Fitnesskult aus
Disziplinierung und Kontrolle betreffen in der Oumlffentlichkeit besonders den weiblichen Koumlrper Sauberkeitsmechanismen weisen auch auf Vorstellungen von
wertvoll und minderwertig hin Ihre Transformationen enthalten wie die Themen der anderen subtile Kritik und sind daher vom Kurator uumlberlegt positioniert
Zeitgenoumlssische Kunst
im Parlament
Bis April 2007
Kurator Peter Pakesch
Konfrontationen
Dienstag 10 Oktober 2006
ltlt 2003 | 2004 Jan Feb Mar Apr May Jun Jul Aug Sep Oct Nov Dec 2004 | 2005 gtgt
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31
Sunday 17 October 2004
TIME
TITLE
NAME
700 Indymedia ESF breakfast show Indymedia London
Highlights news and views from the European Social Forum and the
autonomous spaces and initiatives taking place this week
website
800 Resonance Radio Art Riot Breakfast International
Radio Art
A five part special of the Harmon E Phraisyar show commissioned for
Kunstradio in Austria starts off the morning broadcast of international radio
art
website
1100 Resonance Live from the Frieze Art Fair Anna Colin amp
Tobi Maier
1100 Chris Weaver Resonance 1044FM live electronics set with James Dunn and
Robin Warren
1130 Michael Hall gallery Vienna presents audio works by artist Elisabeth Penker
1200 Maria Fusco presents latest the Bookworks commissions
1300 The Psychology of Collecting live broadcast of the frieze art fair panel
discussion
Is collecting an irrational act guided by compulsion and desire What are the use of
objects What are the motivations behind making collecting curating and
criticizing art A discussion of the psychology of collecting and the politics of taste
Hilary Rubenstein (Psychologist)
Eric Troncy (Art Critic and Director Le Consortium Dijon)
Haim Steinbach (Artist)
Chair Alice Rawsthorn (Director Design Museum)
1500 Portable live set and presentation of sudelectronic records London
1600 Where is Adventure What is Culture live broadcast of the frieze art fair
website
panel discussion
A discussion of the relationship of art to entertainment touching on the comedic
being popular and failing miserably
Trisha Donnelly (Artist)
Christian Jankowski (Artist)
David Robbins (Writer amp Artist)
Nancy Spector (Curator of Contemporary Art Solomon R Guggenheim Museum)
Chair Matthew Higgs (Curator CCA Wattis Institute for Contemporary Arts)
1800 Melissa Bent from Rivington Arms gallery New York in conversation with
artist Dan Colan and Tobi Maier Anna Colin
1830 VOX pop recordings from the fair with Sharon Gal
1900 Resonance Radio Art Riot Sarah
Washington
The Resonance Radio Art Riot brings together some of the foremost radio artists
and thinkers from around the world The studio lab situation will feature round
table discussions live performances and streamed events
Tonight Radio Text
Events Live broadcast from Sonic Arts Network Resonance benefit featuring
Henri Chopin studio performances from Julia Lee Barclay and Aude Tournay plus
Special Features None present live concrete radiophonics - Planning For
Emergencies
Guests include Clive Graham Chris Weaver Richard Thomas Toby Clarkson
John Lovett Robin Warren and James Dunn
Topics The word as art Sound poetry text performances
At Midnight Tom Wallace present exclusive excerpts from radio art pioneer
Gregory Whitehead
website
000 Resonance Radio Art Riot Nights International
Radio Art
The Resonance Radio Art riot continues throughout the night with the finest of
international radio art Resonance FM programme makers and our international
guests have put together many special hours of classic and obscure radio
works
website
- EPenkerDocumentationpdf
-
- 2bAusstellungenPublicaSpaceEPenkerpdf
-
- 2cUntitled_InstrumentsKunsthausGrazEPenker
- 2bpoeticsKunsthaus GrazEPenker
-
- 4PresseEPenkerpdf
-
- 4Review_Seattle Weekly
-
Elisabeth Penker Untitled instrument 2001 New Media Center Maribor
Elisabeth Penker Untitled instrument 2001 New Media Center Maribor
Elisabeth Penker Untitled instrument Kuumlnstlerhaus Wien curated by Ursula Maria Probst
Live Performance mit Celia Mare
Detail Die BILD_HAU_ER_IN Kuumlnstlerhaus Wien
Live Performance Flower Structure Wiener Festwochen
Elisabeth Penker (Untiled instrument) Van Angh (Cello) Tri Minh Electronics
Elisabeth Penker Live Performance Poetics of space Secession Wien
MAK Nail Structure GRizo Sweet Susie Elisabeth Penker
Elisabeth Penker HTTP Gallery London 2005 curated by Tobi Maier
Elisabeth Penker HTTP Gallery London Live Performance
Elisabeth Penker Untitled Instrument Sonic Structure Kunsthaus Graz curated by Adam Budak amp
Christine Peters
Videolinks
httpwwwyoutubecomusersoundart24
Interview with Video Festwochen
httpbturncom8753interview-elisabeth-penker
Kunsthaus Graz
Protections
Kuratoren Adam Budak und Christine Peters
Elisabeth Penker Poetics of Dead Space
For PROTECTIONS Elisabeth Penker developed a key-sound Poetics of Dead Space which is to a large extent a homage
to Gaston Bachelards seminal book Poetics of Space where the connections between the poetry and the spatial emotions
are analysed Penkers key-sound will guide the viewer through the exhibition mapping the overall identity of the show in
some way controlling the viewers (audio-narrative) route in the maze of art objects events situations but also spatial
voids and unused corners
Fuumlr PROTECTIONS entwickelte Elisabeth Penker einen leitmotivischen Key Sound Poetics of Dead Space der weitgehend
eine Hommage an Gaston Bachelards wegweisendes Buch Poetics of Space darstellt in dem die Verbindungen zwischen
Lyrik und raumlumlichen Emotionen analysiert werden Penkers Key Sound wird das Publikum durch die Ausstellung geleiten
die Identitaumlt der Schau in ihrer Gesamtheit erfassen und in gewisser Weise die (audio-narrative) Route des Publikums im
Labyrinth der Kunstgegenstaumlnde Ereignisse und Situationen aber auch raumlumlicher Leerstellen und ungenutzter Winkel
kontrollieren
A non linear composition 7 mono active speakers are placed through out the Kunsthaus Graz Speaker placement
1 outdoor (entrance) 2 (travelator) 3 (corner with column) 4 (corner with door) 5 (corner) 6 (travelator) 7 (corner with
window)
Poetics of Dead Space Let it grow again 28 51 sec mono
Source material for composition rain sound of dried beans dropping down wood sticks breathing hardly existing
id78338975 pdfMachine by Broadgun Software - a great PDF writer - a great PDF creator - httpwwwpdfmachinecom httpwwwbroadguncom
recording of extinct languages
Poetics of Dead Space Let it grow again 28 51 sec mono
Source material for composition rain sound of dried beans dropping down wood sticks existing recording of extinct
languages
Poetics of Dead Space travelator 1 1min 04 sec mono loop
Source material for composition staff falling down man falling down stairs rattern recording untitled instrument
Background existing recording of extinct languages
Poetics of Dead Space 496 1min 409 sec mono loop
Source material for composition recording untitled instrument Background existing recording of extinct languages
Poetics of Dead Space 129525 1min 4888 sec mono loop
Source material for composition recording untitled instrument Background existing recording of extinct languages
Poetics of Dead Space 129525 1min 4888 sec mono loop
Source material for composition keyboard recording untitled instrument Background existing recording of extinct
languages
Poetics of Dead Space travelator 2 1min 5209 sec mono loop
Source material for composition recording untitled instrument violin Background existing recording of extinct
languages
Poetics of Dead Space2152518125220 1min 3200 sec mono loop
Source material for composition recording untitled instrument Background existing recording of library of extinct
languages
Poetics of Dead Space travelator 1 1min 04 sec mono loop
viewing down from upstairs Source material for composition staff falling down man falling down stairs rattern
recording untitled instrument Background existing recording of extinct languages
Poetics of Dead Space Let it grow again 028 51 sec mono
Source material for composition rain sound of coins wood sticks existing recording of extinct languages
Elisabeth Penker is a Viennese artist and musician working with sound in a sculptural context In her (subjective) tour
Penker approaches the entire anti-exhibition PROTECTIONS from an angle of its position and significance in the context
of Sound Art as located on the crossway between visual arts language and music Starting from her own house turned
into First Nation Pavillion which amongst others aims at connecting the recent discourse on cultural translation with
early avant-garde phonetic experiments Penker maps the sonic structure of Kunsthaus Graz and its (live) architecture
which for PROTECTIONS hosts an array of interdisciplinary projects with a strong audio-quality from Herwig Weisers
Death Before Disco (a micro-architecture of hyper-technological and electronic pop) through a newly created choir of
security guards for Tim Etchells Wall of Sound down to a cacophonic layers of anonimous noise generated by the
space itself and the presence of audience
Die Wiener Kuumlnstlerin und Musikerin Elisabeth Penker arbeitet mit Klang im Zusammenhang mit Bildhauerei In ihrer
(subjektiven) Fuumlhrung naumlhert sie sich der Anti-Ausstellung PROTECTIONS aus einem Blickwinkel der die Position und
Bedeutung der Klangkunst an der Kreuzung zwischen bildender Kunst Sprache und Musik verortet Von ihrem eigenen
Haus ausgehend das sich in den First Nation Pavilion verwandelt hat der u a den aktuellen Diskurs uumlber kulturelle
Uumlbersetzung mit fruumlhen phonetischen Experimenten der Avantgarde verbinden soll entwirft Penker die klangliche
Struktur des Gutshauses und seiner (Live-)Architektur die fuumlr PROTECTIONS eine Reihe von interdisziplinaumlren Projekten
mit einer starken Affinitaumlt zum Klang beherbergt von Herwig Weisers Death Before Disco (eine Mikroarchitektur aus
hyper-technoidem und elektronischem Pop) uumlber einen neu formierten Chor bestehend aus Security Guards fuumlr Tim
Etchells Wall of Sound bis zu einer Kakophonie aus anonymen Geraumluschen die vom Raum selbst und der Anwesenheit
des Publikums erzeugt werden
052813
Local Warming ATHENS
052813
AFTER A YEARLONG HIATUS the eighteenth Art-Athina hit the ground running on the evening of Thursday May 16 and the former Olympic
ldquoTae Kwon Dordquo Pavilion was packed with enthusiastic party people The fair had a more national flavor than ever this year under its new
director Alexis Caniaris the son of recently deceased artist Vlassis Caniaris whose iconic modern work has recently found great success on the
international market Of the very few foreign galleries exhibiting most were Greek-owned The Breeder gallery was dealing with the perceived
drop in the market by selling fantastic multiples by artists like Stelios Faitakis Jannis Varelas and Andreas Angelidakis at crisis-appropriate
prices ldquoNobody wants to come here now but I have already met three interested billionaire collectors today And if Greeks like you they
introduce you to their billionaire friendsrdquo raved Cologne dealer Mirko Mayer a seven-time exhibitor ldquoThat is what nobody knows There are
at least one-hundred billionaires collecting hererdquo Most international collectors were delayed several hours due to a union strike a de r igueur
mode of arrival in contemporary Greece
It was impossible to miss the exuberant activities of the DaDa Da restaurant a Greek-Austrian collaboration where artist Albert Mayr was
waving a skillet and raving nonsense while Lucas Willmann tenderized pink fillets for Wiener schnitzel ldquoThis is Viennese Actionism lightrdquo
quipped critic Sotirios Bahtsetzis Artist Natasha Papadopoulos added ldquoBut here there are hungry Greeks waitingrdquo On a table with a rotating
Sacher tort by Heacutelegravene van Duijne a sign carried the overwhelming spirit FUCK ART LETrsquoS EAT SOUVLAKI An insistent electronic beat and
pulsating light emanated from the next booth the American College of Greecersquos ldquoAthensUrgentrdquo while hooded performer Manos Tsatiris
stood against the wall with his hands tied perhaps a metaphor for the current Athenian exigency ldquoThis is not the kind of art fair scene we are
used tordquo said the Economou Collectionrsquos Annie-Claire Geisinger watching the madness
Left Artists Elisabeth Penker Michela Pelusio Petros Touloudis Panos Papadopoulos and Nino Stelzl Right Collector Anne-Marie Ros
Down on the floor the dealers seemed pleased particularly given dismal expectations having already sold a great deal at the preview Young
Rotterdam-based gallery Joey Ramone had sold sculptures by Fotini Gouseti to English and Belgian collectors dealer Erik Mulier had also sold
some work to Belgians Marc Van den Hende said he had bought a triptych by Eirene Efstathiou and was considering a Vlassis Caniaris piece
from the 1970s ldquoI saw some surprisesmdashyoung Greek artists I did not knowmdashand great new galleries like Elika and CANrdquo Dutch collector
Anne-Marie Ros said By the end of the day Dimitra and Sofia Vamiali reported that they had not seen one Greek collector although another
reported a Dakis Joannou sighting mdash Cathryn Drake
SEARCH
ARTICLES
GO
Home
News
War Dead
Music
Film
Arts
Food
Diversions
Best of Seattle
About Us
Search
Classifieds
Job Mall
Special Offers
Personals
Contests
Images this
Week
Newsletter
Signup
SEATTLE
WEEKLY
in the News
Columnist
Geov Parrish
is a regular
guest on
Mind Over
Matters on
KEXP-FM
(903)
Saturdays at
830 am and
provides news
commentary
on KBCS-FM
(913) Fridays
at 430 pm
Catch writers
Steve
Wiecking Tim
Appelo and
ARTS
March 30 - April 5 2005
Picking Up the Thread
Howard House ties together the best new conceptual art from Vienna
by Elise Richman
Franz Wests Mercury
(Howard House Contemporary Art)
Theres a German expression to lose the red thread which means losing
ones train of thought In its current show Howard House has found that
thread Julie Ryan a curator artist and writer organized The Red
Thread Glimpses of International Art in Vienna a two-part exhibition
featuring artists working and living at least part time in Austrias capital
Part one of the show is at Howard House the second half is currently on
display at the Educational Alliance Gallery in New York
Vienna has become a magnet for artists from all over the world including
the 15 individuals and artist teams that are part of The Red Thread
Excellent artist residency programs a low cost of living and living art
legends like Franz West are just a few of the reasons
An artistic collaboration with West took Ryan from New York to Vienna
She knows Billy Howard who runs Howard House from the University of
Washingtons School of Art And so the figurative string was strung
connecting the East and West coasts with artists from across the Atlantic
This is a complex exhibit whose emotional tenor ranges from cool
detachment to an almost urgent earnestness Unlike the formal richly
historical city that connects them artists in The Red Thread favor informal
approaches to art making use disposable materials and comment on
contemporary cultural themes
West has two formidable sculptures at Howard House The front room of the
gallery features Mercury (pictured) an ungainly behemoth composed of a
patchwork of fused metal Like many of Wests sculptures Mercury is
meant as an interactive structure that viewers can climb and sit on Bulbous
Gavin
Borchert
discussing
theater film
and music
regularly on
classical
KING-FM
(981)
Mark Fiore
Cartoons
Every
Thursday
nodules extend from its horizontal base and the seams of the dark maroon
metal look like scars rendering it at once vaguely obscene and absurdly
playful
Sisyphus the other West sculpture on display is a bulky conglomeration of
bits and wads of paper propped in the back room on a makeshift plinth (base
block) Though its as solid as the boulder its title references its surface is
like oozing skin partly coated with poured murky paint partly cloaked in
small clumps of newspaper detritus
The strenuous act of making each of these sculptures is eminently apparent
and central to the content of Wests work West considers creation a
symbolic act As you might expect he likens the artistic process to the plight
of Sisyphus the mythological figure who eternally rolled a boulder up a hill
only to have it come crashing back down For West art involves a
Sisyphean search for what he calls the absolute through the seemingly
senseless accumulation of materials However unlike Sisyphus futile quest
Wests process can lead to epiphany making sense of the senseless
Similarly Viennese artist Elisabeth Penkers art serves a facilitative
function easing the act of translation Penker uses Haida iconography in her
multimedia work because it provides potent visual symbols that
communicate single words and whole sentences simultaneously Her prints
at Howard House feature fragments of icons floating in the papers white
space They are spare visually arresting characters that employ an
iconographic language as encoded symbols of communication
Also featured in The Red Thread is Donald Baechler an internationally
known American painter who spends extended periods of time in Vienna
Baechler equalizes his imagery by painting it all in the same style For him
the source of an image doesnt matter whether its a drawing by Picasso or
graffiti on a bathroom wall What matters is the newfound context his
paintings provide
Victory by Default is part of Baechlers Skull series In this piece a painted
skull gapes from the dirty yet sensuous confines of a large canvas Terry
cloth and wrinkled rags provide literal texture and reference the world
outside the paintings boundaries Splatterings of color around the skull like
the self-conscious marks of Jasper Johns seem to express the language of
paintingmdashhue and gestural strokesmdashin a factual rather than illusional
manner
Another American painter Lisa Ruyter lives half-time in Vienna where she
runs an influential gallery She works from photographs projected onto
large-scale canvases tracing the contours of the projected imagery with
consistent black outlines In a way that seems arbitrary she paints the shapes
formed by her contour lines in flat designer colors Man of Means based on
a photo of fashion photographers looks like a scrambled color-by-numbers
painting I cant do justice to the unusually rich assortment of conceptual art
in The Red Thread Youll just have to see it for yourself Thomas
Baumans thrashing triangular foil blanket Walter Seidls slide show of
staged snapshots Markus Schinwalds photograph of a contortionist and the
other thoughtful works connected by The Red Thread
The Red Thread Glimpses of International Art in Vienna runs through
April 30 at Howard House 604 Second Ave 206- 256-6399 1030 amndash5
pm TuesndashSat Free
KUNSTFORUM
Parallelwelten fuumlr Parlamentarier Ausstellung
Von Brigitte Borchhardt-Birbaumer
Ende Oktober endet die Zusammenarbeit von Nationalratspraumlsident Andreas Khol und Peter Pakesch Direktor des Kunsthauses Graz am Joanneum Seit 2003
hatte Pakesch als Kurator mehrere Ausstellungen in den Sitzungssaumllen des Parlaments in Zusammenarbeit mit Galerien initiiert und namhafte Positionen
ausgewaumlhlt Kriterium fuumlr Praumlsentationen war die Praumlsenz durch eine Schau in einer der bekannten Kunstinstitutionen des Landes Nach Eva Schlegel Adriana
Czernin Maria Lassnig oder Esther Stocker sind dies nun bis April 2007 Josef Dabernig Daniel Hafner Ulrike Lienbacher Alois Mosbacher und Elisabeth
Penker
Das Parlament kann dabei durch die Margaretha-Lupac Stiftung immer eine Arbeit fuumlr die wachsende Sammlung des Hauses ankaufen Zuletzt war das ein
groszliges Oumll-Acryl-Gemaumllde der Georg-Eisler-Preistraumlgerin Maja Vukoje zuvor Johanna Kandl deren Temperabild derzeit an das Lentos in Linz geliehen wird
Einige Werke haumlngen schon als kuumlnstlerische Wegweiser in den Gaumlngen des Hauses und sind auch Blickfang fuumlr die 120000 Besucher die pro Jahr das
Parlament besuchen In die Architektur von Theophil Hansen mit ihrer zeitlosen Qualitaumlt fuumlgt sich die Gegenwartskunst kongenial
Hoffnung fuumlr spaumlter
Die derzeitige Zusammenstellung macht Hoffnung auf eine Fortsetzung unter der naumlchsten Praumlsidentschaft Fotografie Computerkunst Malerei Zeichnung
und Skulptur weisen auf die Vielfalt der Werkstoffe in der Gegenwartskunst Elisabeth Penker parallel im Kunsthaus Graz zu sehen baut schwarzweiszlige
Objekte aus bemaltem Holz die in ihrer seriellen und geometrischen Anordnung auf Bezuumlge zum Performativen und auf die Musik hinweisen
Noch juumlnger ist Daniel Hafner mit seinen am Computer komponierten digitalen Drucken Morphosentransformationen von 2006 Linienraster und
Raumkonstruktionen in subtiler Farbigkeit verbinden Tendenzen der fruumlhen Op-Art mit dem Cyber-Lab
Um konstruierte Realitaumlten geht es auch in den groszligformatigen Oumllbildern von Alois Mosbacher dem bekannten Vertreter der Neuen Wilden der
Achtzigerjahre in Oumlsterreich Wanderer in Wald und Wiese erzaumlhlen die Geschichten alternativer Welten die sich mancher in der Gesellschaft als Parallele
konstruiert
Zwei Fotofriese von Josef Dabernig bilden jeweils ein Panorama von oumlffentlichen Plaumltzen auf denen es zum einen um Fuszligball geht Zum anderen ist der
Rundblick in das Oval einer scheinbaren Arena auch eine Art Sehschule fuumlr die Betrachter Ein sozialer Befund ist die dritte Bedeutungsebene
Ulrike Lienbacher die heuer mit einer groszligen Schau im Innsbrucker Taxispalais ihre Karriere fortsetzt ist mit ihren feinlinigen Tuschezeichnungen den kleinen
oft unsichtbaren Zwaumlngen in unserer Gesellschaft auf der Spur Im Lokal II des Parlaments stellt sie zwar nicht ihre Objekte und Fotos aber einige
groszligformatige Blaumltter mit Frisurenvariationen neben teils fragmentierten Frauenkoumlrpern im Umgang mit Schmutz und Hygiene aber auch Fitnesskult aus
Disziplinierung und Kontrolle betreffen in der Oumlffentlichkeit besonders den weiblichen Koumlrper Sauberkeitsmechanismen weisen auch auf Vorstellungen von
wertvoll und minderwertig hin Ihre Transformationen enthalten wie die Themen der anderen subtile Kritik und sind daher vom Kurator uumlberlegt positioniert
Zeitgenoumlssische Kunst
im Parlament
Bis April 2007
Kurator Peter Pakesch
Konfrontationen
Dienstag 10 Oktober 2006
ltlt 2003 | 2004 Jan Feb Mar Apr May Jun Jul Aug Sep Oct Nov Dec 2004 | 2005 gtgt
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31
Sunday 17 October 2004
TIME
TITLE
NAME
700 Indymedia ESF breakfast show Indymedia London
Highlights news and views from the European Social Forum and the
autonomous spaces and initiatives taking place this week
website
800 Resonance Radio Art Riot Breakfast International
Radio Art
A five part special of the Harmon E Phraisyar show commissioned for
Kunstradio in Austria starts off the morning broadcast of international radio
art
website
1100 Resonance Live from the Frieze Art Fair Anna Colin amp
Tobi Maier
1100 Chris Weaver Resonance 1044FM live electronics set with James Dunn and
Robin Warren
1130 Michael Hall gallery Vienna presents audio works by artist Elisabeth Penker
1200 Maria Fusco presents latest the Bookworks commissions
1300 The Psychology of Collecting live broadcast of the frieze art fair panel
discussion
Is collecting an irrational act guided by compulsion and desire What are the use of
objects What are the motivations behind making collecting curating and
criticizing art A discussion of the psychology of collecting and the politics of taste
Hilary Rubenstein (Psychologist)
Eric Troncy (Art Critic and Director Le Consortium Dijon)
Haim Steinbach (Artist)
Chair Alice Rawsthorn (Director Design Museum)
1500 Portable live set and presentation of sudelectronic records London
1600 Where is Adventure What is Culture live broadcast of the frieze art fair
website
panel discussion
A discussion of the relationship of art to entertainment touching on the comedic
being popular and failing miserably
Trisha Donnelly (Artist)
Christian Jankowski (Artist)
David Robbins (Writer amp Artist)
Nancy Spector (Curator of Contemporary Art Solomon R Guggenheim Museum)
Chair Matthew Higgs (Curator CCA Wattis Institute for Contemporary Arts)
1800 Melissa Bent from Rivington Arms gallery New York in conversation with
artist Dan Colan and Tobi Maier Anna Colin
1830 VOX pop recordings from the fair with Sharon Gal
1900 Resonance Radio Art Riot Sarah
Washington
The Resonance Radio Art Riot brings together some of the foremost radio artists
and thinkers from around the world The studio lab situation will feature round
table discussions live performances and streamed events
Tonight Radio Text
Events Live broadcast from Sonic Arts Network Resonance benefit featuring
Henri Chopin studio performances from Julia Lee Barclay and Aude Tournay plus
Special Features None present live concrete radiophonics - Planning For
Emergencies
Guests include Clive Graham Chris Weaver Richard Thomas Toby Clarkson
John Lovett Robin Warren and James Dunn
Topics The word as art Sound poetry text performances
At Midnight Tom Wallace present exclusive excerpts from radio art pioneer
Gregory Whitehead
website
000 Resonance Radio Art Riot Nights International
Radio Art
The Resonance Radio Art riot continues throughout the night with the finest of
international radio art Resonance FM programme makers and our international
guests have put together many special hours of classic and obscure radio
works
website
- EPenkerDocumentationpdf
-
- 2bAusstellungenPublicaSpaceEPenkerpdf
-
- 2cUntitled_InstrumentsKunsthausGrazEPenker
- 2bpoeticsKunsthaus GrazEPenker
-
- 4PresseEPenkerpdf
-
- 4Review_Seattle Weekly
-
Elisabeth Penker Untitled instrument 2001 New Media Center Maribor
Elisabeth Penker Untitled instrument Kuumlnstlerhaus Wien curated by Ursula Maria Probst
Live Performance mit Celia Mare
Detail Die BILD_HAU_ER_IN Kuumlnstlerhaus Wien
Live Performance Flower Structure Wiener Festwochen
Elisabeth Penker (Untiled instrument) Van Angh (Cello) Tri Minh Electronics
Elisabeth Penker Live Performance Poetics of space Secession Wien
MAK Nail Structure GRizo Sweet Susie Elisabeth Penker
Elisabeth Penker HTTP Gallery London 2005 curated by Tobi Maier
Elisabeth Penker HTTP Gallery London Live Performance
Elisabeth Penker Untitled Instrument Sonic Structure Kunsthaus Graz curated by Adam Budak amp
Christine Peters
Videolinks
httpwwwyoutubecomusersoundart24
Interview with Video Festwochen
httpbturncom8753interview-elisabeth-penker
Kunsthaus Graz
Protections
Kuratoren Adam Budak und Christine Peters
Elisabeth Penker Poetics of Dead Space
For PROTECTIONS Elisabeth Penker developed a key-sound Poetics of Dead Space which is to a large extent a homage
to Gaston Bachelards seminal book Poetics of Space where the connections between the poetry and the spatial emotions
are analysed Penkers key-sound will guide the viewer through the exhibition mapping the overall identity of the show in
some way controlling the viewers (audio-narrative) route in the maze of art objects events situations but also spatial
voids and unused corners
Fuumlr PROTECTIONS entwickelte Elisabeth Penker einen leitmotivischen Key Sound Poetics of Dead Space der weitgehend
eine Hommage an Gaston Bachelards wegweisendes Buch Poetics of Space darstellt in dem die Verbindungen zwischen
Lyrik und raumlumlichen Emotionen analysiert werden Penkers Key Sound wird das Publikum durch die Ausstellung geleiten
die Identitaumlt der Schau in ihrer Gesamtheit erfassen und in gewisser Weise die (audio-narrative) Route des Publikums im
Labyrinth der Kunstgegenstaumlnde Ereignisse und Situationen aber auch raumlumlicher Leerstellen und ungenutzter Winkel
kontrollieren
A non linear composition 7 mono active speakers are placed through out the Kunsthaus Graz Speaker placement
1 outdoor (entrance) 2 (travelator) 3 (corner with column) 4 (corner with door) 5 (corner) 6 (travelator) 7 (corner with
window)
Poetics of Dead Space Let it grow again 28 51 sec mono
Source material for composition rain sound of dried beans dropping down wood sticks breathing hardly existing
id78338975 pdfMachine by Broadgun Software - a great PDF writer - a great PDF creator - httpwwwpdfmachinecom httpwwwbroadguncom
recording of extinct languages
Poetics of Dead Space Let it grow again 28 51 sec mono
Source material for composition rain sound of dried beans dropping down wood sticks existing recording of extinct
languages
Poetics of Dead Space travelator 1 1min 04 sec mono loop
Source material for composition staff falling down man falling down stairs rattern recording untitled instrument
Background existing recording of extinct languages
Poetics of Dead Space 496 1min 409 sec mono loop
Source material for composition recording untitled instrument Background existing recording of extinct languages
Poetics of Dead Space 129525 1min 4888 sec mono loop
Source material for composition recording untitled instrument Background existing recording of extinct languages
Poetics of Dead Space 129525 1min 4888 sec mono loop
Source material for composition keyboard recording untitled instrument Background existing recording of extinct
languages
Poetics of Dead Space travelator 2 1min 5209 sec mono loop
Source material for composition recording untitled instrument violin Background existing recording of extinct
languages
Poetics of Dead Space2152518125220 1min 3200 sec mono loop
Source material for composition recording untitled instrument Background existing recording of library of extinct
languages
Poetics of Dead Space travelator 1 1min 04 sec mono loop
viewing down from upstairs Source material for composition staff falling down man falling down stairs rattern
recording untitled instrument Background existing recording of extinct languages
Poetics of Dead Space Let it grow again 028 51 sec mono
Source material for composition rain sound of coins wood sticks existing recording of extinct languages
Elisabeth Penker is a Viennese artist and musician working with sound in a sculptural context In her (subjective) tour
Penker approaches the entire anti-exhibition PROTECTIONS from an angle of its position and significance in the context
of Sound Art as located on the crossway between visual arts language and music Starting from her own house turned
into First Nation Pavillion which amongst others aims at connecting the recent discourse on cultural translation with
early avant-garde phonetic experiments Penker maps the sonic structure of Kunsthaus Graz and its (live) architecture
which for PROTECTIONS hosts an array of interdisciplinary projects with a strong audio-quality from Herwig Weisers
Death Before Disco (a micro-architecture of hyper-technological and electronic pop) through a newly created choir of
security guards for Tim Etchells Wall of Sound down to a cacophonic layers of anonimous noise generated by the
space itself and the presence of audience
Die Wiener Kuumlnstlerin und Musikerin Elisabeth Penker arbeitet mit Klang im Zusammenhang mit Bildhauerei In ihrer
(subjektiven) Fuumlhrung naumlhert sie sich der Anti-Ausstellung PROTECTIONS aus einem Blickwinkel der die Position und
Bedeutung der Klangkunst an der Kreuzung zwischen bildender Kunst Sprache und Musik verortet Von ihrem eigenen
Haus ausgehend das sich in den First Nation Pavilion verwandelt hat der u a den aktuellen Diskurs uumlber kulturelle
Uumlbersetzung mit fruumlhen phonetischen Experimenten der Avantgarde verbinden soll entwirft Penker die klangliche
Struktur des Gutshauses und seiner (Live-)Architektur die fuumlr PROTECTIONS eine Reihe von interdisziplinaumlren Projekten
mit einer starken Affinitaumlt zum Klang beherbergt von Herwig Weisers Death Before Disco (eine Mikroarchitektur aus
hyper-technoidem und elektronischem Pop) uumlber einen neu formierten Chor bestehend aus Security Guards fuumlr Tim
Etchells Wall of Sound bis zu einer Kakophonie aus anonymen Geraumluschen die vom Raum selbst und der Anwesenheit
des Publikums erzeugt werden
052813
Local Warming ATHENS
052813
AFTER A YEARLONG HIATUS the eighteenth Art-Athina hit the ground running on the evening of Thursday May 16 and the former Olympic
ldquoTae Kwon Dordquo Pavilion was packed with enthusiastic party people The fair had a more national flavor than ever this year under its new
director Alexis Caniaris the son of recently deceased artist Vlassis Caniaris whose iconic modern work has recently found great success on the
international market Of the very few foreign galleries exhibiting most were Greek-owned The Breeder gallery was dealing with the perceived
drop in the market by selling fantastic multiples by artists like Stelios Faitakis Jannis Varelas and Andreas Angelidakis at crisis-appropriate
prices ldquoNobody wants to come here now but I have already met three interested billionaire collectors today And if Greeks like you they
introduce you to their billionaire friendsrdquo raved Cologne dealer Mirko Mayer a seven-time exhibitor ldquoThat is what nobody knows There are
at least one-hundred billionaires collecting hererdquo Most international collectors were delayed several hours due to a union strike a de r igueur
mode of arrival in contemporary Greece
It was impossible to miss the exuberant activities of the DaDa Da restaurant a Greek-Austrian collaboration where artist Albert Mayr was
waving a skillet and raving nonsense while Lucas Willmann tenderized pink fillets for Wiener schnitzel ldquoThis is Viennese Actionism lightrdquo
quipped critic Sotirios Bahtsetzis Artist Natasha Papadopoulos added ldquoBut here there are hungry Greeks waitingrdquo On a table with a rotating
Sacher tort by Heacutelegravene van Duijne a sign carried the overwhelming spirit FUCK ART LETrsquoS EAT SOUVLAKI An insistent electronic beat and
pulsating light emanated from the next booth the American College of Greecersquos ldquoAthensUrgentrdquo while hooded performer Manos Tsatiris
stood against the wall with his hands tied perhaps a metaphor for the current Athenian exigency ldquoThis is not the kind of art fair scene we are
used tordquo said the Economou Collectionrsquos Annie-Claire Geisinger watching the madness
Left Artists Elisabeth Penker Michela Pelusio Petros Touloudis Panos Papadopoulos and Nino Stelzl Right Collector Anne-Marie Ros
Down on the floor the dealers seemed pleased particularly given dismal expectations having already sold a great deal at the preview Young
Rotterdam-based gallery Joey Ramone had sold sculptures by Fotini Gouseti to English and Belgian collectors dealer Erik Mulier had also sold
some work to Belgians Marc Van den Hende said he had bought a triptych by Eirene Efstathiou and was considering a Vlassis Caniaris piece
from the 1970s ldquoI saw some surprisesmdashyoung Greek artists I did not knowmdashand great new galleries like Elika and CANrdquo Dutch collector
Anne-Marie Ros said By the end of the day Dimitra and Sofia Vamiali reported that they had not seen one Greek collector although another
reported a Dakis Joannou sighting mdash Cathryn Drake
SEARCH
ARTICLES
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Week
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SEATTLE
WEEKLY
in the News
Columnist
Geov Parrish
is a regular
guest on
Mind Over
Matters on
KEXP-FM
(903)
Saturdays at
830 am and
provides news
commentary
on KBCS-FM
(913) Fridays
at 430 pm
Catch writers
Steve
Wiecking Tim
Appelo and
ARTS
March 30 - April 5 2005
Picking Up the Thread
Howard House ties together the best new conceptual art from Vienna
by Elise Richman
Franz Wests Mercury
(Howard House Contemporary Art)
Theres a German expression to lose the red thread which means losing
ones train of thought In its current show Howard House has found that
thread Julie Ryan a curator artist and writer organized The Red
Thread Glimpses of International Art in Vienna a two-part exhibition
featuring artists working and living at least part time in Austrias capital
Part one of the show is at Howard House the second half is currently on
display at the Educational Alliance Gallery in New York
Vienna has become a magnet for artists from all over the world including
the 15 individuals and artist teams that are part of The Red Thread
Excellent artist residency programs a low cost of living and living art
legends like Franz West are just a few of the reasons
An artistic collaboration with West took Ryan from New York to Vienna
She knows Billy Howard who runs Howard House from the University of
Washingtons School of Art And so the figurative string was strung
connecting the East and West coasts with artists from across the Atlantic
This is a complex exhibit whose emotional tenor ranges from cool
detachment to an almost urgent earnestness Unlike the formal richly
historical city that connects them artists in The Red Thread favor informal
approaches to art making use disposable materials and comment on
contemporary cultural themes
West has two formidable sculptures at Howard House The front room of the
gallery features Mercury (pictured) an ungainly behemoth composed of a
patchwork of fused metal Like many of Wests sculptures Mercury is
meant as an interactive structure that viewers can climb and sit on Bulbous
Gavin
Borchert
discussing
theater film
and music
regularly on
classical
KING-FM
(981)
Mark Fiore
Cartoons
Every
Thursday
nodules extend from its horizontal base and the seams of the dark maroon
metal look like scars rendering it at once vaguely obscene and absurdly
playful
Sisyphus the other West sculpture on display is a bulky conglomeration of
bits and wads of paper propped in the back room on a makeshift plinth (base
block) Though its as solid as the boulder its title references its surface is
like oozing skin partly coated with poured murky paint partly cloaked in
small clumps of newspaper detritus
The strenuous act of making each of these sculptures is eminently apparent
and central to the content of Wests work West considers creation a
symbolic act As you might expect he likens the artistic process to the plight
of Sisyphus the mythological figure who eternally rolled a boulder up a hill
only to have it come crashing back down For West art involves a
Sisyphean search for what he calls the absolute through the seemingly
senseless accumulation of materials However unlike Sisyphus futile quest
Wests process can lead to epiphany making sense of the senseless
Similarly Viennese artist Elisabeth Penkers art serves a facilitative
function easing the act of translation Penker uses Haida iconography in her
multimedia work because it provides potent visual symbols that
communicate single words and whole sentences simultaneously Her prints
at Howard House feature fragments of icons floating in the papers white
space They are spare visually arresting characters that employ an
iconographic language as encoded symbols of communication
Also featured in The Red Thread is Donald Baechler an internationally
known American painter who spends extended periods of time in Vienna
Baechler equalizes his imagery by painting it all in the same style For him
the source of an image doesnt matter whether its a drawing by Picasso or
graffiti on a bathroom wall What matters is the newfound context his
paintings provide
Victory by Default is part of Baechlers Skull series In this piece a painted
skull gapes from the dirty yet sensuous confines of a large canvas Terry
cloth and wrinkled rags provide literal texture and reference the world
outside the paintings boundaries Splatterings of color around the skull like
the self-conscious marks of Jasper Johns seem to express the language of
paintingmdashhue and gestural strokesmdashin a factual rather than illusional
manner
Another American painter Lisa Ruyter lives half-time in Vienna where she
runs an influential gallery She works from photographs projected onto
large-scale canvases tracing the contours of the projected imagery with
consistent black outlines In a way that seems arbitrary she paints the shapes
formed by her contour lines in flat designer colors Man of Means based on
a photo of fashion photographers looks like a scrambled color-by-numbers
painting I cant do justice to the unusually rich assortment of conceptual art
in The Red Thread Youll just have to see it for yourself Thomas
Baumans thrashing triangular foil blanket Walter Seidls slide show of
staged snapshots Markus Schinwalds photograph of a contortionist and the
other thoughtful works connected by The Red Thread
The Red Thread Glimpses of International Art in Vienna runs through
April 30 at Howard House 604 Second Ave 206- 256-6399 1030 amndash5
pm TuesndashSat Free
KUNSTFORUM
Parallelwelten fuumlr Parlamentarier Ausstellung
Von Brigitte Borchhardt-Birbaumer
Ende Oktober endet die Zusammenarbeit von Nationalratspraumlsident Andreas Khol und Peter Pakesch Direktor des Kunsthauses Graz am Joanneum Seit 2003
hatte Pakesch als Kurator mehrere Ausstellungen in den Sitzungssaumllen des Parlaments in Zusammenarbeit mit Galerien initiiert und namhafte Positionen
ausgewaumlhlt Kriterium fuumlr Praumlsentationen war die Praumlsenz durch eine Schau in einer der bekannten Kunstinstitutionen des Landes Nach Eva Schlegel Adriana
Czernin Maria Lassnig oder Esther Stocker sind dies nun bis April 2007 Josef Dabernig Daniel Hafner Ulrike Lienbacher Alois Mosbacher und Elisabeth
Penker
Das Parlament kann dabei durch die Margaretha-Lupac Stiftung immer eine Arbeit fuumlr die wachsende Sammlung des Hauses ankaufen Zuletzt war das ein
groszliges Oumll-Acryl-Gemaumllde der Georg-Eisler-Preistraumlgerin Maja Vukoje zuvor Johanna Kandl deren Temperabild derzeit an das Lentos in Linz geliehen wird
Einige Werke haumlngen schon als kuumlnstlerische Wegweiser in den Gaumlngen des Hauses und sind auch Blickfang fuumlr die 120000 Besucher die pro Jahr das
Parlament besuchen In die Architektur von Theophil Hansen mit ihrer zeitlosen Qualitaumlt fuumlgt sich die Gegenwartskunst kongenial
Hoffnung fuumlr spaumlter
Die derzeitige Zusammenstellung macht Hoffnung auf eine Fortsetzung unter der naumlchsten Praumlsidentschaft Fotografie Computerkunst Malerei Zeichnung
und Skulptur weisen auf die Vielfalt der Werkstoffe in der Gegenwartskunst Elisabeth Penker parallel im Kunsthaus Graz zu sehen baut schwarzweiszlige
Objekte aus bemaltem Holz die in ihrer seriellen und geometrischen Anordnung auf Bezuumlge zum Performativen und auf die Musik hinweisen
Noch juumlnger ist Daniel Hafner mit seinen am Computer komponierten digitalen Drucken Morphosentransformationen von 2006 Linienraster und
Raumkonstruktionen in subtiler Farbigkeit verbinden Tendenzen der fruumlhen Op-Art mit dem Cyber-Lab
Um konstruierte Realitaumlten geht es auch in den groszligformatigen Oumllbildern von Alois Mosbacher dem bekannten Vertreter der Neuen Wilden der
Achtzigerjahre in Oumlsterreich Wanderer in Wald und Wiese erzaumlhlen die Geschichten alternativer Welten die sich mancher in der Gesellschaft als Parallele
konstruiert
Zwei Fotofriese von Josef Dabernig bilden jeweils ein Panorama von oumlffentlichen Plaumltzen auf denen es zum einen um Fuszligball geht Zum anderen ist der
Rundblick in das Oval einer scheinbaren Arena auch eine Art Sehschule fuumlr die Betrachter Ein sozialer Befund ist die dritte Bedeutungsebene
Ulrike Lienbacher die heuer mit einer groszligen Schau im Innsbrucker Taxispalais ihre Karriere fortsetzt ist mit ihren feinlinigen Tuschezeichnungen den kleinen
oft unsichtbaren Zwaumlngen in unserer Gesellschaft auf der Spur Im Lokal II des Parlaments stellt sie zwar nicht ihre Objekte und Fotos aber einige
groszligformatige Blaumltter mit Frisurenvariationen neben teils fragmentierten Frauenkoumlrpern im Umgang mit Schmutz und Hygiene aber auch Fitnesskult aus
Disziplinierung und Kontrolle betreffen in der Oumlffentlichkeit besonders den weiblichen Koumlrper Sauberkeitsmechanismen weisen auch auf Vorstellungen von
wertvoll und minderwertig hin Ihre Transformationen enthalten wie die Themen der anderen subtile Kritik und sind daher vom Kurator uumlberlegt positioniert
Zeitgenoumlssische Kunst
im Parlament
Bis April 2007
Kurator Peter Pakesch
Konfrontationen
Dienstag 10 Oktober 2006
ltlt 2003 | 2004 Jan Feb Mar Apr May Jun Jul Aug Sep Oct Nov Dec 2004 | 2005 gtgt
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31
Sunday 17 October 2004
TIME
TITLE
NAME
700 Indymedia ESF breakfast show Indymedia London
Highlights news and views from the European Social Forum and the
autonomous spaces and initiatives taking place this week
website
800 Resonance Radio Art Riot Breakfast International
Radio Art
A five part special of the Harmon E Phraisyar show commissioned for
Kunstradio in Austria starts off the morning broadcast of international radio
art
website
1100 Resonance Live from the Frieze Art Fair Anna Colin amp
Tobi Maier
1100 Chris Weaver Resonance 1044FM live electronics set with James Dunn and
Robin Warren
1130 Michael Hall gallery Vienna presents audio works by artist Elisabeth Penker
1200 Maria Fusco presents latest the Bookworks commissions
1300 The Psychology of Collecting live broadcast of the frieze art fair panel
discussion
Is collecting an irrational act guided by compulsion and desire What are the use of
objects What are the motivations behind making collecting curating and
criticizing art A discussion of the psychology of collecting and the politics of taste
Hilary Rubenstein (Psychologist)
Eric Troncy (Art Critic and Director Le Consortium Dijon)
Haim Steinbach (Artist)
Chair Alice Rawsthorn (Director Design Museum)
1500 Portable live set and presentation of sudelectronic records London
1600 Where is Adventure What is Culture live broadcast of the frieze art fair
website
panel discussion
A discussion of the relationship of art to entertainment touching on the comedic
being popular and failing miserably
Trisha Donnelly (Artist)
Christian Jankowski (Artist)
David Robbins (Writer amp Artist)
Nancy Spector (Curator of Contemporary Art Solomon R Guggenheim Museum)
Chair Matthew Higgs (Curator CCA Wattis Institute for Contemporary Arts)
1800 Melissa Bent from Rivington Arms gallery New York in conversation with
artist Dan Colan and Tobi Maier Anna Colin
1830 VOX pop recordings from the fair with Sharon Gal
1900 Resonance Radio Art Riot Sarah
Washington
The Resonance Radio Art Riot brings together some of the foremost radio artists
and thinkers from around the world The studio lab situation will feature round
table discussions live performances and streamed events
Tonight Radio Text
Events Live broadcast from Sonic Arts Network Resonance benefit featuring
Henri Chopin studio performances from Julia Lee Barclay and Aude Tournay plus
Special Features None present live concrete radiophonics - Planning For
Emergencies
Guests include Clive Graham Chris Weaver Richard Thomas Toby Clarkson
John Lovett Robin Warren and James Dunn
Topics The word as art Sound poetry text performances
At Midnight Tom Wallace present exclusive excerpts from radio art pioneer
Gregory Whitehead
website
000 Resonance Radio Art Riot Nights International
Radio Art
The Resonance Radio Art riot continues throughout the night with the finest of
international radio art Resonance FM programme makers and our international
guests have put together many special hours of classic and obscure radio
works
website
- EPenkerDocumentationpdf
-
- 2bAusstellungenPublicaSpaceEPenkerpdf
-
- 2cUntitled_InstrumentsKunsthausGrazEPenker
- 2bpoeticsKunsthaus GrazEPenker
-
- 4PresseEPenkerpdf
-
- 4Review_Seattle Weekly
-
Detail Die BILD_HAU_ER_IN Kuumlnstlerhaus Wien
Live Performance Flower Structure Wiener Festwochen
Elisabeth Penker (Untiled instrument) Van Angh (Cello) Tri Minh Electronics
Elisabeth Penker Live Performance Poetics of space Secession Wien
MAK Nail Structure GRizo Sweet Susie Elisabeth Penker
Elisabeth Penker HTTP Gallery London 2005 curated by Tobi Maier
Elisabeth Penker HTTP Gallery London Live Performance
Elisabeth Penker Untitled Instrument Sonic Structure Kunsthaus Graz curated by Adam Budak amp
Christine Peters
Videolinks
httpwwwyoutubecomusersoundart24
Interview with Video Festwochen
httpbturncom8753interview-elisabeth-penker
Kunsthaus Graz
Protections
Kuratoren Adam Budak und Christine Peters
Elisabeth Penker Poetics of Dead Space
For PROTECTIONS Elisabeth Penker developed a key-sound Poetics of Dead Space which is to a large extent a homage
to Gaston Bachelards seminal book Poetics of Space where the connections between the poetry and the spatial emotions
are analysed Penkers key-sound will guide the viewer through the exhibition mapping the overall identity of the show in
some way controlling the viewers (audio-narrative) route in the maze of art objects events situations but also spatial
voids and unused corners
Fuumlr PROTECTIONS entwickelte Elisabeth Penker einen leitmotivischen Key Sound Poetics of Dead Space der weitgehend
eine Hommage an Gaston Bachelards wegweisendes Buch Poetics of Space darstellt in dem die Verbindungen zwischen
Lyrik und raumlumlichen Emotionen analysiert werden Penkers Key Sound wird das Publikum durch die Ausstellung geleiten
die Identitaumlt der Schau in ihrer Gesamtheit erfassen und in gewisser Weise die (audio-narrative) Route des Publikums im
Labyrinth der Kunstgegenstaumlnde Ereignisse und Situationen aber auch raumlumlicher Leerstellen und ungenutzter Winkel
kontrollieren
A non linear composition 7 mono active speakers are placed through out the Kunsthaus Graz Speaker placement
1 outdoor (entrance) 2 (travelator) 3 (corner with column) 4 (corner with door) 5 (corner) 6 (travelator) 7 (corner with
window)
Poetics of Dead Space Let it grow again 28 51 sec mono
Source material for composition rain sound of dried beans dropping down wood sticks breathing hardly existing
id78338975 pdfMachine by Broadgun Software - a great PDF writer - a great PDF creator - httpwwwpdfmachinecom httpwwwbroadguncom
recording of extinct languages
Poetics of Dead Space Let it grow again 28 51 sec mono
Source material for composition rain sound of dried beans dropping down wood sticks existing recording of extinct
languages
Poetics of Dead Space travelator 1 1min 04 sec mono loop
Source material for composition staff falling down man falling down stairs rattern recording untitled instrument
Background existing recording of extinct languages
Poetics of Dead Space 496 1min 409 sec mono loop
Source material for composition recording untitled instrument Background existing recording of extinct languages
Poetics of Dead Space 129525 1min 4888 sec mono loop
Source material for composition recording untitled instrument Background existing recording of extinct languages
Poetics of Dead Space 129525 1min 4888 sec mono loop
Source material for composition keyboard recording untitled instrument Background existing recording of extinct
languages
Poetics of Dead Space travelator 2 1min 5209 sec mono loop
Source material for composition recording untitled instrument violin Background existing recording of extinct
languages
Poetics of Dead Space2152518125220 1min 3200 sec mono loop
Source material for composition recording untitled instrument Background existing recording of library of extinct
languages
Poetics of Dead Space travelator 1 1min 04 sec mono loop
viewing down from upstairs Source material for composition staff falling down man falling down stairs rattern
recording untitled instrument Background existing recording of extinct languages
Poetics of Dead Space Let it grow again 028 51 sec mono
Source material for composition rain sound of coins wood sticks existing recording of extinct languages
Elisabeth Penker is a Viennese artist and musician working with sound in a sculptural context In her (subjective) tour
Penker approaches the entire anti-exhibition PROTECTIONS from an angle of its position and significance in the context
of Sound Art as located on the crossway between visual arts language and music Starting from her own house turned
into First Nation Pavillion which amongst others aims at connecting the recent discourse on cultural translation with
early avant-garde phonetic experiments Penker maps the sonic structure of Kunsthaus Graz and its (live) architecture
which for PROTECTIONS hosts an array of interdisciplinary projects with a strong audio-quality from Herwig Weisers
Death Before Disco (a micro-architecture of hyper-technological and electronic pop) through a newly created choir of
security guards for Tim Etchells Wall of Sound down to a cacophonic layers of anonimous noise generated by the
space itself and the presence of audience
Die Wiener Kuumlnstlerin und Musikerin Elisabeth Penker arbeitet mit Klang im Zusammenhang mit Bildhauerei In ihrer
(subjektiven) Fuumlhrung naumlhert sie sich der Anti-Ausstellung PROTECTIONS aus einem Blickwinkel der die Position und
Bedeutung der Klangkunst an der Kreuzung zwischen bildender Kunst Sprache und Musik verortet Von ihrem eigenen
Haus ausgehend das sich in den First Nation Pavilion verwandelt hat der u a den aktuellen Diskurs uumlber kulturelle
Uumlbersetzung mit fruumlhen phonetischen Experimenten der Avantgarde verbinden soll entwirft Penker die klangliche
Struktur des Gutshauses und seiner (Live-)Architektur die fuumlr PROTECTIONS eine Reihe von interdisziplinaumlren Projekten
mit einer starken Affinitaumlt zum Klang beherbergt von Herwig Weisers Death Before Disco (eine Mikroarchitektur aus
hyper-technoidem und elektronischem Pop) uumlber einen neu formierten Chor bestehend aus Security Guards fuumlr Tim
Etchells Wall of Sound bis zu einer Kakophonie aus anonymen Geraumluschen die vom Raum selbst und der Anwesenheit
des Publikums erzeugt werden
052813
Local Warming ATHENS
052813
AFTER A YEARLONG HIATUS the eighteenth Art-Athina hit the ground running on the evening of Thursday May 16 and the former Olympic
ldquoTae Kwon Dordquo Pavilion was packed with enthusiastic party people The fair had a more national flavor than ever this year under its new
director Alexis Caniaris the son of recently deceased artist Vlassis Caniaris whose iconic modern work has recently found great success on the
international market Of the very few foreign galleries exhibiting most were Greek-owned The Breeder gallery was dealing with the perceived
drop in the market by selling fantastic multiples by artists like Stelios Faitakis Jannis Varelas and Andreas Angelidakis at crisis-appropriate
prices ldquoNobody wants to come here now but I have already met three interested billionaire collectors today And if Greeks like you they
introduce you to their billionaire friendsrdquo raved Cologne dealer Mirko Mayer a seven-time exhibitor ldquoThat is what nobody knows There are
at least one-hundred billionaires collecting hererdquo Most international collectors were delayed several hours due to a union strike a de r igueur
mode of arrival in contemporary Greece
It was impossible to miss the exuberant activities of the DaDa Da restaurant a Greek-Austrian collaboration where artist Albert Mayr was
waving a skillet and raving nonsense while Lucas Willmann tenderized pink fillets for Wiener schnitzel ldquoThis is Viennese Actionism lightrdquo
quipped critic Sotirios Bahtsetzis Artist Natasha Papadopoulos added ldquoBut here there are hungry Greeks waitingrdquo On a table with a rotating
Sacher tort by Heacutelegravene van Duijne a sign carried the overwhelming spirit FUCK ART LETrsquoS EAT SOUVLAKI An insistent electronic beat and
pulsating light emanated from the next booth the American College of Greecersquos ldquoAthensUrgentrdquo while hooded performer Manos Tsatiris
stood against the wall with his hands tied perhaps a metaphor for the current Athenian exigency ldquoThis is not the kind of art fair scene we are
used tordquo said the Economou Collectionrsquos Annie-Claire Geisinger watching the madness
Left Artists Elisabeth Penker Michela Pelusio Petros Touloudis Panos Papadopoulos and Nino Stelzl Right Collector Anne-Marie Ros
Down on the floor the dealers seemed pleased particularly given dismal expectations having already sold a great deal at the preview Young
Rotterdam-based gallery Joey Ramone had sold sculptures by Fotini Gouseti to English and Belgian collectors dealer Erik Mulier had also sold
some work to Belgians Marc Van den Hende said he had bought a triptych by Eirene Efstathiou and was considering a Vlassis Caniaris piece
from the 1970s ldquoI saw some surprisesmdashyoung Greek artists I did not knowmdashand great new galleries like Elika and CANrdquo Dutch collector
Anne-Marie Ros said By the end of the day Dimitra and Sofia Vamiali reported that they had not seen one Greek collector although another
reported a Dakis Joannou sighting mdash Cathryn Drake
SEARCH
ARTICLES
GO
Home
News
War Dead
Music
Film
Arts
Food
Diversions
Best of Seattle
About Us
Search
Classifieds
Job Mall
Special Offers
Personals
Contests
Images this
Week
Newsletter
Signup
SEATTLE
WEEKLY
in the News
Columnist
Geov Parrish
is a regular
guest on
Mind Over
Matters on
KEXP-FM
(903)
Saturdays at
830 am and
provides news
commentary
on KBCS-FM
(913) Fridays
at 430 pm
Catch writers
Steve
Wiecking Tim
Appelo and
ARTS
March 30 - April 5 2005
Picking Up the Thread
Howard House ties together the best new conceptual art from Vienna
by Elise Richman
Franz Wests Mercury
(Howard House Contemporary Art)
Theres a German expression to lose the red thread which means losing
ones train of thought In its current show Howard House has found that
thread Julie Ryan a curator artist and writer organized The Red
Thread Glimpses of International Art in Vienna a two-part exhibition
featuring artists working and living at least part time in Austrias capital
Part one of the show is at Howard House the second half is currently on
display at the Educational Alliance Gallery in New York
Vienna has become a magnet for artists from all over the world including
the 15 individuals and artist teams that are part of The Red Thread
Excellent artist residency programs a low cost of living and living art
legends like Franz West are just a few of the reasons
An artistic collaboration with West took Ryan from New York to Vienna
She knows Billy Howard who runs Howard House from the University of
Washingtons School of Art And so the figurative string was strung
connecting the East and West coasts with artists from across the Atlantic
This is a complex exhibit whose emotional tenor ranges from cool
detachment to an almost urgent earnestness Unlike the formal richly
historical city that connects them artists in The Red Thread favor informal
approaches to art making use disposable materials and comment on
contemporary cultural themes
West has two formidable sculptures at Howard House The front room of the
gallery features Mercury (pictured) an ungainly behemoth composed of a
patchwork of fused metal Like many of Wests sculptures Mercury is
meant as an interactive structure that viewers can climb and sit on Bulbous
Gavin
Borchert
discussing
theater film
and music
regularly on
classical
KING-FM
(981)
Mark Fiore
Cartoons
Every
Thursday
nodules extend from its horizontal base and the seams of the dark maroon
metal look like scars rendering it at once vaguely obscene and absurdly
playful
Sisyphus the other West sculpture on display is a bulky conglomeration of
bits and wads of paper propped in the back room on a makeshift plinth (base
block) Though its as solid as the boulder its title references its surface is
like oozing skin partly coated with poured murky paint partly cloaked in
small clumps of newspaper detritus
The strenuous act of making each of these sculptures is eminently apparent
and central to the content of Wests work West considers creation a
symbolic act As you might expect he likens the artistic process to the plight
of Sisyphus the mythological figure who eternally rolled a boulder up a hill
only to have it come crashing back down For West art involves a
Sisyphean search for what he calls the absolute through the seemingly
senseless accumulation of materials However unlike Sisyphus futile quest
Wests process can lead to epiphany making sense of the senseless
Similarly Viennese artist Elisabeth Penkers art serves a facilitative
function easing the act of translation Penker uses Haida iconography in her
multimedia work because it provides potent visual symbols that
communicate single words and whole sentences simultaneously Her prints
at Howard House feature fragments of icons floating in the papers white
space They are spare visually arresting characters that employ an
iconographic language as encoded symbols of communication
Also featured in The Red Thread is Donald Baechler an internationally
known American painter who spends extended periods of time in Vienna
Baechler equalizes his imagery by painting it all in the same style For him
the source of an image doesnt matter whether its a drawing by Picasso or
graffiti on a bathroom wall What matters is the newfound context his
paintings provide
Victory by Default is part of Baechlers Skull series In this piece a painted
skull gapes from the dirty yet sensuous confines of a large canvas Terry
cloth and wrinkled rags provide literal texture and reference the world
outside the paintings boundaries Splatterings of color around the skull like
the self-conscious marks of Jasper Johns seem to express the language of
paintingmdashhue and gestural strokesmdashin a factual rather than illusional
manner
Another American painter Lisa Ruyter lives half-time in Vienna where she
runs an influential gallery She works from photographs projected onto
large-scale canvases tracing the contours of the projected imagery with
consistent black outlines In a way that seems arbitrary she paints the shapes
formed by her contour lines in flat designer colors Man of Means based on
a photo of fashion photographers looks like a scrambled color-by-numbers
painting I cant do justice to the unusually rich assortment of conceptual art
in The Red Thread Youll just have to see it for yourself Thomas
Baumans thrashing triangular foil blanket Walter Seidls slide show of
staged snapshots Markus Schinwalds photograph of a contortionist and the
other thoughtful works connected by The Red Thread
The Red Thread Glimpses of International Art in Vienna runs through
April 30 at Howard House 604 Second Ave 206- 256-6399 1030 amndash5
pm TuesndashSat Free
KUNSTFORUM
Parallelwelten fuumlr Parlamentarier Ausstellung
Von Brigitte Borchhardt-Birbaumer
Ende Oktober endet die Zusammenarbeit von Nationalratspraumlsident Andreas Khol und Peter Pakesch Direktor des Kunsthauses Graz am Joanneum Seit 2003
hatte Pakesch als Kurator mehrere Ausstellungen in den Sitzungssaumllen des Parlaments in Zusammenarbeit mit Galerien initiiert und namhafte Positionen
ausgewaumlhlt Kriterium fuumlr Praumlsentationen war die Praumlsenz durch eine Schau in einer der bekannten Kunstinstitutionen des Landes Nach Eva Schlegel Adriana
Czernin Maria Lassnig oder Esther Stocker sind dies nun bis April 2007 Josef Dabernig Daniel Hafner Ulrike Lienbacher Alois Mosbacher und Elisabeth
Penker
Das Parlament kann dabei durch die Margaretha-Lupac Stiftung immer eine Arbeit fuumlr die wachsende Sammlung des Hauses ankaufen Zuletzt war das ein
groszliges Oumll-Acryl-Gemaumllde der Georg-Eisler-Preistraumlgerin Maja Vukoje zuvor Johanna Kandl deren Temperabild derzeit an das Lentos in Linz geliehen wird
Einige Werke haumlngen schon als kuumlnstlerische Wegweiser in den Gaumlngen des Hauses und sind auch Blickfang fuumlr die 120000 Besucher die pro Jahr das
Parlament besuchen In die Architektur von Theophil Hansen mit ihrer zeitlosen Qualitaumlt fuumlgt sich die Gegenwartskunst kongenial
Hoffnung fuumlr spaumlter
Die derzeitige Zusammenstellung macht Hoffnung auf eine Fortsetzung unter der naumlchsten Praumlsidentschaft Fotografie Computerkunst Malerei Zeichnung
und Skulptur weisen auf die Vielfalt der Werkstoffe in der Gegenwartskunst Elisabeth Penker parallel im Kunsthaus Graz zu sehen baut schwarzweiszlige
Objekte aus bemaltem Holz die in ihrer seriellen und geometrischen Anordnung auf Bezuumlge zum Performativen und auf die Musik hinweisen
Noch juumlnger ist Daniel Hafner mit seinen am Computer komponierten digitalen Drucken Morphosentransformationen von 2006 Linienraster und
Raumkonstruktionen in subtiler Farbigkeit verbinden Tendenzen der fruumlhen Op-Art mit dem Cyber-Lab
Um konstruierte Realitaumlten geht es auch in den groszligformatigen Oumllbildern von Alois Mosbacher dem bekannten Vertreter der Neuen Wilden der
Achtzigerjahre in Oumlsterreich Wanderer in Wald und Wiese erzaumlhlen die Geschichten alternativer Welten die sich mancher in der Gesellschaft als Parallele
konstruiert
Zwei Fotofriese von Josef Dabernig bilden jeweils ein Panorama von oumlffentlichen Plaumltzen auf denen es zum einen um Fuszligball geht Zum anderen ist der
Rundblick in das Oval einer scheinbaren Arena auch eine Art Sehschule fuumlr die Betrachter Ein sozialer Befund ist die dritte Bedeutungsebene
Ulrike Lienbacher die heuer mit einer groszligen Schau im Innsbrucker Taxispalais ihre Karriere fortsetzt ist mit ihren feinlinigen Tuschezeichnungen den kleinen
oft unsichtbaren Zwaumlngen in unserer Gesellschaft auf der Spur Im Lokal II des Parlaments stellt sie zwar nicht ihre Objekte und Fotos aber einige
groszligformatige Blaumltter mit Frisurenvariationen neben teils fragmentierten Frauenkoumlrpern im Umgang mit Schmutz und Hygiene aber auch Fitnesskult aus
Disziplinierung und Kontrolle betreffen in der Oumlffentlichkeit besonders den weiblichen Koumlrper Sauberkeitsmechanismen weisen auch auf Vorstellungen von
wertvoll und minderwertig hin Ihre Transformationen enthalten wie die Themen der anderen subtile Kritik und sind daher vom Kurator uumlberlegt positioniert
Zeitgenoumlssische Kunst
im Parlament
Bis April 2007
Kurator Peter Pakesch
Konfrontationen
Dienstag 10 Oktober 2006
ltlt 2003 | 2004 Jan Feb Mar Apr May Jun Jul Aug Sep Oct Nov Dec 2004 | 2005 gtgt
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31
Sunday 17 October 2004
TIME
TITLE
NAME
700 Indymedia ESF breakfast show Indymedia London
Highlights news and views from the European Social Forum and the
autonomous spaces and initiatives taking place this week
website
800 Resonance Radio Art Riot Breakfast International
Radio Art
A five part special of the Harmon E Phraisyar show commissioned for
Kunstradio in Austria starts off the morning broadcast of international radio
art
website
1100 Resonance Live from the Frieze Art Fair Anna Colin amp
Tobi Maier
1100 Chris Weaver Resonance 1044FM live electronics set with James Dunn and
Robin Warren
1130 Michael Hall gallery Vienna presents audio works by artist Elisabeth Penker
1200 Maria Fusco presents latest the Bookworks commissions
1300 The Psychology of Collecting live broadcast of the frieze art fair panel
discussion
Is collecting an irrational act guided by compulsion and desire What are the use of
objects What are the motivations behind making collecting curating and
criticizing art A discussion of the psychology of collecting and the politics of taste
Hilary Rubenstein (Psychologist)
Eric Troncy (Art Critic and Director Le Consortium Dijon)
Haim Steinbach (Artist)
Chair Alice Rawsthorn (Director Design Museum)
1500 Portable live set and presentation of sudelectronic records London
1600 Where is Adventure What is Culture live broadcast of the frieze art fair
website
panel discussion
A discussion of the relationship of art to entertainment touching on the comedic
being popular and failing miserably
Trisha Donnelly (Artist)
Christian Jankowski (Artist)
David Robbins (Writer amp Artist)
Nancy Spector (Curator of Contemporary Art Solomon R Guggenheim Museum)
Chair Matthew Higgs (Curator CCA Wattis Institute for Contemporary Arts)
1800 Melissa Bent from Rivington Arms gallery New York in conversation with
artist Dan Colan and Tobi Maier Anna Colin
1830 VOX pop recordings from the fair with Sharon Gal
1900 Resonance Radio Art Riot Sarah
Washington
The Resonance Radio Art Riot brings together some of the foremost radio artists
and thinkers from around the world The studio lab situation will feature round
table discussions live performances and streamed events
Tonight Radio Text
Events Live broadcast from Sonic Arts Network Resonance benefit featuring
Henri Chopin studio performances from Julia Lee Barclay and Aude Tournay plus
Special Features None present live concrete radiophonics - Planning For
Emergencies
Guests include Clive Graham Chris Weaver Richard Thomas Toby Clarkson
John Lovett Robin Warren and James Dunn
Topics The word as art Sound poetry text performances
At Midnight Tom Wallace present exclusive excerpts from radio art pioneer
Gregory Whitehead
website
000 Resonance Radio Art Riot Nights International
Radio Art
The Resonance Radio Art riot continues throughout the night with the finest of
international radio art Resonance FM programme makers and our international
guests have put together many special hours of classic and obscure radio
works
website
- EPenkerDocumentationpdf
-
- 2bAusstellungenPublicaSpaceEPenkerpdf
-
- 2cUntitled_InstrumentsKunsthausGrazEPenker
- 2bpoeticsKunsthaus GrazEPenker
-
- 4PresseEPenkerpdf
-
- 4Review_Seattle Weekly
-
Live Performance Flower Structure Wiener Festwochen
Elisabeth Penker (Untiled instrument) Van Angh (Cello) Tri Minh Electronics
Elisabeth Penker Live Performance Poetics of space Secession Wien
MAK Nail Structure GRizo Sweet Susie Elisabeth Penker
Elisabeth Penker HTTP Gallery London 2005 curated by Tobi Maier
Elisabeth Penker HTTP Gallery London Live Performance
Elisabeth Penker Untitled Instrument Sonic Structure Kunsthaus Graz curated by Adam Budak amp
Christine Peters
Videolinks
httpwwwyoutubecomusersoundart24
Interview with Video Festwochen
httpbturncom8753interview-elisabeth-penker
Kunsthaus Graz
Protections
Kuratoren Adam Budak und Christine Peters
Elisabeth Penker Poetics of Dead Space
For PROTECTIONS Elisabeth Penker developed a key-sound Poetics of Dead Space which is to a large extent a homage
to Gaston Bachelards seminal book Poetics of Space where the connections between the poetry and the spatial emotions
are analysed Penkers key-sound will guide the viewer through the exhibition mapping the overall identity of the show in
some way controlling the viewers (audio-narrative) route in the maze of art objects events situations but also spatial
voids and unused corners
Fuumlr PROTECTIONS entwickelte Elisabeth Penker einen leitmotivischen Key Sound Poetics of Dead Space der weitgehend
eine Hommage an Gaston Bachelards wegweisendes Buch Poetics of Space darstellt in dem die Verbindungen zwischen
Lyrik und raumlumlichen Emotionen analysiert werden Penkers Key Sound wird das Publikum durch die Ausstellung geleiten
die Identitaumlt der Schau in ihrer Gesamtheit erfassen und in gewisser Weise die (audio-narrative) Route des Publikums im
Labyrinth der Kunstgegenstaumlnde Ereignisse und Situationen aber auch raumlumlicher Leerstellen und ungenutzter Winkel
kontrollieren
A non linear composition 7 mono active speakers are placed through out the Kunsthaus Graz Speaker placement
1 outdoor (entrance) 2 (travelator) 3 (corner with column) 4 (corner with door) 5 (corner) 6 (travelator) 7 (corner with
window)
Poetics of Dead Space Let it grow again 28 51 sec mono
Source material for composition rain sound of dried beans dropping down wood sticks breathing hardly existing
id78338975 pdfMachine by Broadgun Software - a great PDF writer - a great PDF creator - httpwwwpdfmachinecom httpwwwbroadguncom
recording of extinct languages
Poetics of Dead Space Let it grow again 28 51 sec mono
Source material for composition rain sound of dried beans dropping down wood sticks existing recording of extinct
languages
Poetics of Dead Space travelator 1 1min 04 sec mono loop
Source material for composition staff falling down man falling down stairs rattern recording untitled instrument
Background existing recording of extinct languages
Poetics of Dead Space 496 1min 409 sec mono loop
Source material for composition recording untitled instrument Background existing recording of extinct languages
Poetics of Dead Space 129525 1min 4888 sec mono loop
Source material for composition recording untitled instrument Background existing recording of extinct languages
Poetics of Dead Space 129525 1min 4888 sec mono loop
Source material for composition keyboard recording untitled instrument Background existing recording of extinct
languages
Poetics of Dead Space travelator 2 1min 5209 sec mono loop
Source material for composition recording untitled instrument violin Background existing recording of extinct
languages
Poetics of Dead Space2152518125220 1min 3200 sec mono loop
Source material for composition recording untitled instrument Background existing recording of library of extinct
languages
Poetics of Dead Space travelator 1 1min 04 sec mono loop
viewing down from upstairs Source material for composition staff falling down man falling down stairs rattern
recording untitled instrument Background existing recording of extinct languages
Poetics of Dead Space Let it grow again 028 51 sec mono
Source material for composition rain sound of coins wood sticks existing recording of extinct languages
Elisabeth Penker is a Viennese artist and musician working with sound in a sculptural context In her (subjective) tour
Penker approaches the entire anti-exhibition PROTECTIONS from an angle of its position and significance in the context
of Sound Art as located on the crossway between visual arts language and music Starting from her own house turned
into First Nation Pavillion which amongst others aims at connecting the recent discourse on cultural translation with
early avant-garde phonetic experiments Penker maps the sonic structure of Kunsthaus Graz and its (live) architecture
which for PROTECTIONS hosts an array of interdisciplinary projects with a strong audio-quality from Herwig Weisers
Death Before Disco (a micro-architecture of hyper-technological and electronic pop) through a newly created choir of
security guards for Tim Etchells Wall of Sound down to a cacophonic layers of anonimous noise generated by the
space itself and the presence of audience
Die Wiener Kuumlnstlerin und Musikerin Elisabeth Penker arbeitet mit Klang im Zusammenhang mit Bildhauerei In ihrer
(subjektiven) Fuumlhrung naumlhert sie sich der Anti-Ausstellung PROTECTIONS aus einem Blickwinkel der die Position und
Bedeutung der Klangkunst an der Kreuzung zwischen bildender Kunst Sprache und Musik verortet Von ihrem eigenen
Haus ausgehend das sich in den First Nation Pavilion verwandelt hat der u a den aktuellen Diskurs uumlber kulturelle
Uumlbersetzung mit fruumlhen phonetischen Experimenten der Avantgarde verbinden soll entwirft Penker die klangliche
Struktur des Gutshauses und seiner (Live-)Architektur die fuumlr PROTECTIONS eine Reihe von interdisziplinaumlren Projekten
mit einer starken Affinitaumlt zum Klang beherbergt von Herwig Weisers Death Before Disco (eine Mikroarchitektur aus
hyper-technoidem und elektronischem Pop) uumlber einen neu formierten Chor bestehend aus Security Guards fuumlr Tim
Etchells Wall of Sound bis zu einer Kakophonie aus anonymen Geraumluschen die vom Raum selbst und der Anwesenheit
des Publikums erzeugt werden
052813
Local Warming ATHENS
052813
AFTER A YEARLONG HIATUS the eighteenth Art-Athina hit the ground running on the evening of Thursday May 16 and the former Olympic
ldquoTae Kwon Dordquo Pavilion was packed with enthusiastic party people The fair had a more national flavor than ever this year under its new
director Alexis Caniaris the son of recently deceased artist Vlassis Caniaris whose iconic modern work has recently found great success on the
international market Of the very few foreign galleries exhibiting most were Greek-owned The Breeder gallery was dealing with the perceived
drop in the market by selling fantastic multiples by artists like Stelios Faitakis Jannis Varelas and Andreas Angelidakis at crisis-appropriate
prices ldquoNobody wants to come here now but I have already met three interested billionaire collectors today And if Greeks like you they
introduce you to their billionaire friendsrdquo raved Cologne dealer Mirko Mayer a seven-time exhibitor ldquoThat is what nobody knows There are
at least one-hundred billionaires collecting hererdquo Most international collectors were delayed several hours due to a union strike a de r igueur
mode of arrival in contemporary Greece
It was impossible to miss the exuberant activities of the DaDa Da restaurant a Greek-Austrian collaboration where artist Albert Mayr was
waving a skillet and raving nonsense while Lucas Willmann tenderized pink fillets for Wiener schnitzel ldquoThis is Viennese Actionism lightrdquo
quipped critic Sotirios Bahtsetzis Artist Natasha Papadopoulos added ldquoBut here there are hungry Greeks waitingrdquo On a table with a rotating
Sacher tort by Heacutelegravene van Duijne a sign carried the overwhelming spirit FUCK ART LETrsquoS EAT SOUVLAKI An insistent electronic beat and
pulsating light emanated from the next booth the American College of Greecersquos ldquoAthensUrgentrdquo while hooded performer Manos Tsatiris
stood against the wall with his hands tied perhaps a metaphor for the current Athenian exigency ldquoThis is not the kind of art fair scene we are
used tordquo said the Economou Collectionrsquos Annie-Claire Geisinger watching the madness
Left Artists Elisabeth Penker Michela Pelusio Petros Touloudis Panos Papadopoulos and Nino Stelzl Right Collector Anne-Marie Ros
Down on the floor the dealers seemed pleased particularly given dismal expectations having already sold a great deal at the preview Young
Rotterdam-based gallery Joey Ramone had sold sculptures by Fotini Gouseti to English and Belgian collectors dealer Erik Mulier had also sold
some work to Belgians Marc Van den Hende said he had bought a triptych by Eirene Efstathiou and was considering a Vlassis Caniaris piece
from the 1970s ldquoI saw some surprisesmdashyoung Greek artists I did not knowmdashand great new galleries like Elika and CANrdquo Dutch collector
Anne-Marie Ros said By the end of the day Dimitra and Sofia Vamiali reported that they had not seen one Greek collector although another
reported a Dakis Joannou sighting mdash Cathryn Drake
SEARCH
ARTICLES
GO
Home
News
War Dead
Music
Film
Arts
Food
Diversions
Best of Seattle
About Us
Search
Classifieds
Job Mall
Special Offers
Personals
Contests
Images this
Week
Newsletter
Signup
SEATTLE
WEEKLY
in the News
Columnist
Geov Parrish
is a regular
guest on
Mind Over
Matters on
KEXP-FM
(903)
Saturdays at
830 am and
provides news
commentary
on KBCS-FM
(913) Fridays
at 430 pm
Catch writers
Steve
Wiecking Tim
Appelo and
ARTS
March 30 - April 5 2005
Picking Up the Thread
Howard House ties together the best new conceptual art from Vienna
by Elise Richman
Franz Wests Mercury
(Howard House Contemporary Art)
Theres a German expression to lose the red thread which means losing
ones train of thought In its current show Howard House has found that
thread Julie Ryan a curator artist and writer organized The Red
Thread Glimpses of International Art in Vienna a two-part exhibition
featuring artists working and living at least part time in Austrias capital
Part one of the show is at Howard House the second half is currently on
display at the Educational Alliance Gallery in New York
Vienna has become a magnet for artists from all over the world including
the 15 individuals and artist teams that are part of The Red Thread
Excellent artist residency programs a low cost of living and living art
legends like Franz West are just a few of the reasons
An artistic collaboration with West took Ryan from New York to Vienna
She knows Billy Howard who runs Howard House from the University of
Washingtons School of Art And so the figurative string was strung
connecting the East and West coasts with artists from across the Atlantic
This is a complex exhibit whose emotional tenor ranges from cool
detachment to an almost urgent earnestness Unlike the formal richly
historical city that connects them artists in The Red Thread favor informal
approaches to art making use disposable materials and comment on
contemporary cultural themes
West has two formidable sculptures at Howard House The front room of the
gallery features Mercury (pictured) an ungainly behemoth composed of a
patchwork of fused metal Like many of Wests sculptures Mercury is
meant as an interactive structure that viewers can climb and sit on Bulbous
Gavin
Borchert
discussing
theater film
and music
regularly on
classical
KING-FM
(981)
Mark Fiore
Cartoons
Every
Thursday
nodules extend from its horizontal base and the seams of the dark maroon
metal look like scars rendering it at once vaguely obscene and absurdly
playful
Sisyphus the other West sculpture on display is a bulky conglomeration of
bits and wads of paper propped in the back room on a makeshift plinth (base
block) Though its as solid as the boulder its title references its surface is
like oozing skin partly coated with poured murky paint partly cloaked in
small clumps of newspaper detritus
The strenuous act of making each of these sculptures is eminently apparent
and central to the content of Wests work West considers creation a
symbolic act As you might expect he likens the artistic process to the plight
of Sisyphus the mythological figure who eternally rolled a boulder up a hill
only to have it come crashing back down For West art involves a
Sisyphean search for what he calls the absolute through the seemingly
senseless accumulation of materials However unlike Sisyphus futile quest
Wests process can lead to epiphany making sense of the senseless
Similarly Viennese artist Elisabeth Penkers art serves a facilitative
function easing the act of translation Penker uses Haida iconography in her
multimedia work because it provides potent visual symbols that
communicate single words and whole sentences simultaneously Her prints
at Howard House feature fragments of icons floating in the papers white
space They are spare visually arresting characters that employ an
iconographic language as encoded symbols of communication
Also featured in The Red Thread is Donald Baechler an internationally
known American painter who spends extended periods of time in Vienna
Baechler equalizes his imagery by painting it all in the same style For him
the source of an image doesnt matter whether its a drawing by Picasso or
graffiti on a bathroom wall What matters is the newfound context his
paintings provide
Victory by Default is part of Baechlers Skull series In this piece a painted
skull gapes from the dirty yet sensuous confines of a large canvas Terry
cloth and wrinkled rags provide literal texture and reference the world
outside the paintings boundaries Splatterings of color around the skull like
the self-conscious marks of Jasper Johns seem to express the language of
paintingmdashhue and gestural strokesmdashin a factual rather than illusional
manner
Another American painter Lisa Ruyter lives half-time in Vienna where she
runs an influential gallery She works from photographs projected onto
large-scale canvases tracing the contours of the projected imagery with
consistent black outlines In a way that seems arbitrary she paints the shapes
formed by her contour lines in flat designer colors Man of Means based on
a photo of fashion photographers looks like a scrambled color-by-numbers
painting I cant do justice to the unusually rich assortment of conceptual art
in The Red Thread Youll just have to see it for yourself Thomas
Baumans thrashing triangular foil blanket Walter Seidls slide show of
staged snapshots Markus Schinwalds photograph of a contortionist and the
other thoughtful works connected by The Red Thread
The Red Thread Glimpses of International Art in Vienna runs through
April 30 at Howard House 604 Second Ave 206- 256-6399 1030 amndash5
pm TuesndashSat Free
KUNSTFORUM
Parallelwelten fuumlr Parlamentarier Ausstellung
Von Brigitte Borchhardt-Birbaumer
Ende Oktober endet die Zusammenarbeit von Nationalratspraumlsident Andreas Khol und Peter Pakesch Direktor des Kunsthauses Graz am Joanneum Seit 2003
hatte Pakesch als Kurator mehrere Ausstellungen in den Sitzungssaumllen des Parlaments in Zusammenarbeit mit Galerien initiiert und namhafte Positionen
ausgewaumlhlt Kriterium fuumlr Praumlsentationen war die Praumlsenz durch eine Schau in einer der bekannten Kunstinstitutionen des Landes Nach Eva Schlegel Adriana
Czernin Maria Lassnig oder Esther Stocker sind dies nun bis April 2007 Josef Dabernig Daniel Hafner Ulrike Lienbacher Alois Mosbacher und Elisabeth
Penker
Das Parlament kann dabei durch die Margaretha-Lupac Stiftung immer eine Arbeit fuumlr die wachsende Sammlung des Hauses ankaufen Zuletzt war das ein
groszliges Oumll-Acryl-Gemaumllde der Georg-Eisler-Preistraumlgerin Maja Vukoje zuvor Johanna Kandl deren Temperabild derzeit an das Lentos in Linz geliehen wird
Einige Werke haumlngen schon als kuumlnstlerische Wegweiser in den Gaumlngen des Hauses und sind auch Blickfang fuumlr die 120000 Besucher die pro Jahr das
Parlament besuchen In die Architektur von Theophil Hansen mit ihrer zeitlosen Qualitaumlt fuumlgt sich die Gegenwartskunst kongenial
Hoffnung fuumlr spaumlter
Die derzeitige Zusammenstellung macht Hoffnung auf eine Fortsetzung unter der naumlchsten Praumlsidentschaft Fotografie Computerkunst Malerei Zeichnung
und Skulptur weisen auf die Vielfalt der Werkstoffe in der Gegenwartskunst Elisabeth Penker parallel im Kunsthaus Graz zu sehen baut schwarzweiszlige
Objekte aus bemaltem Holz die in ihrer seriellen und geometrischen Anordnung auf Bezuumlge zum Performativen und auf die Musik hinweisen
Noch juumlnger ist Daniel Hafner mit seinen am Computer komponierten digitalen Drucken Morphosentransformationen von 2006 Linienraster und
Raumkonstruktionen in subtiler Farbigkeit verbinden Tendenzen der fruumlhen Op-Art mit dem Cyber-Lab
Um konstruierte Realitaumlten geht es auch in den groszligformatigen Oumllbildern von Alois Mosbacher dem bekannten Vertreter der Neuen Wilden der
Achtzigerjahre in Oumlsterreich Wanderer in Wald und Wiese erzaumlhlen die Geschichten alternativer Welten die sich mancher in der Gesellschaft als Parallele
konstruiert
Zwei Fotofriese von Josef Dabernig bilden jeweils ein Panorama von oumlffentlichen Plaumltzen auf denen es zum einen um Fuszligball geht Zum anderen ist der
Rundblick in das Oval einer scheinbaren Arena auch eine Art Sehschule fuumlr die Betrachter Ein sozialer Befund ist die dritte Bedeutungsebene
Ulrike Lienbacher die heuer mit einer groszligen Schau im Innsbrucker Taxispalais ihre Karriere fortsetzt ist mit ihren feinlinigen Tuschezeichnungen den kleinen
oft unsichtbaren Zwaumlngen in unserer Gesellschaft auf der Spur Im Lokal II des Parlaments stellt sie zwar nicht ihre Objekte und Fotos aber einige
groszligformatige Blaumltter mit Frisurenvariationen neben teils fragmentierten Frauenkoumlrpern im Umgang mit Schmutz und Hygiene aber auch Fitnesskult aus
Disziplinierung und Kontrolle betreffen in der Oumlffentlichkeit besonders den weiblichen Koumlrper Sauberkeitsmechanismen weisen auch auf Vorstellungen von
wertvoll und minderwertig hin Ihre Transformationen enthalten wie die Themen der anderen subtile Kritik und sind daher vom Kurator uumlberlegt positioniert
Zeitgenoumlssische Kunst
im Parlament
Bis April 2007
Kurator Peter Pakesch
Konfrontationen
Dienstag 10 Oktober 2006
ltlt 2003 | 2004 Jan Feb Mar Apr May Jun Jul Aug Sep Oct Nov Dec 2004 | 2005 gtgt
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31
Sunday 17 October 2004
TIME
TITLE
NAME
700 Indymedia ESF breakfast show Indymedia London
Highlights news and views from the European Social Forum and the
autonomous spaces and initiatives taking place this week
website
800 Resonance Radio Art Riot Breakfast International
Radio Art
A five part special of the Harmon E Phraisyar show commissioned for
Kunstradio in Austria starts off the morning broadcast of international radio
art
website
1100 Resonance Live from the Frieze Art Fair Anna Colin amp
Tobi Maier
1100 Chris Weaver Resonance 1044FM live electronics set with James Dunn and
Robin Warren
1130 Michael Hall gallery Vienna presents audio works by artist Elisabeth Penker
1200 Maria Fusco presents latest the Bookworks commissions
1300 The Psychology of Collecting live broadcast of the frieze art fair panel
discussion
Is collecting an irrational act guided by compulsion and desire What are the use of
objects What are the motivations behind making collecting curating and
criticizing art A discussion of the psychology of collecting and the politics of taste
Hilary Rubenstein (Psychologist)
Eric Troncy (Art Critic and Director Le Consortium Dijon)
Haim Steinbach (Artist)
Chair Alice Rawsthorn (Director Design Museum)
1500 Portable live set and presentation of sudelectronic records London
1600 Where is Adventure What is Culture live broadcast of the frieze art fair
website
panel discussion
A discussion of the relationship of art to entertainment touching on the comedic
being popular and failing miserably
Trisha Donnelly (Artist)
Christian Jankowski (Artist)
David Robbins (Writer amp Artist)
Nancy Spector (Curator of Contemporary Art Solomon R Guggenheim Museum)
Chair Matthew Higgs (Curator CCA Wattis Institute for Contemporary Arts)
1800 Melissa Bent from Rivington Arms gallery New York in conversation with
artist Dan Colan and Tobi Maier Anna Colin
1830 VOX pop recordings from the fair with Sharon Gal
1900 Resonance Radio Art Riot Sarah
Washington
The Resonance Radio Art Riot brings together some of the foremost radio artists
and thinkers from around the world The studio lab situation will feature round
table discussions live performances and streamed events
Tonight Radio Text
Events Live broadcast from Sonic Arts Network Resonance benefit featuring
Henri Chopin studio performances from Julia Lee Barclay and Aude Tournay plus
Special Features None present live concrete radiophonics - Planning For
Emergencies
Guests include Clive Graham Chris Weaver Richard Thomas Toby Clarkson
John Lovett Robin Warren and James Dunn
Topics The word as art Sound poetry text performances
At Midnight Tom Wallace present exclusive excerpts from radio art pioneer
Gregory Whitehead
website
000 Resonance Radio Art Riot Nights International
Radio Art
The Resonance Radio Art riot continues throughout the night with the finest of
international radio art Resonance FM programme makers and our international
guests have put together many special hours of classic and obscure radio
works
website
- EPenkerDocumentationpdf
-
- 2bAusstellungenPublicaSpaceEPenkerpdf
-
- 2cUntitled_InstrumentsKunsthausGrazEPenker
- 2bpoeticsKunsthaus GrazEPenker
-
- 4PresseEPenkerpdf
-
- 4Review_Seattle Weekly
-
MAK Nail Structure GRizo Sweet Susie Elisabeth Penker
Elisabeth Penker HTTP Gallery London 2005 curated by Tobi Maier
Elisabeth Penker HTTP Gallery London Live Performance
Elisabeth Penker Untitled Instrument Sonic Structure Kunsthaus Graz curated by Adam Budak amp
Christine Peters
Videolinks
httpwwwyoutubecomusersoundart24
Interview with Video Festwochen
httpbturncom8753interview-elisabeth-penker
Kunsthaus Graz
Protections
Kuratoren Adam Budak und Christine Peters
Elisabeth Penker Poetics of Dead Space
For PROTECTIONS Elisabeth Penker developed a key-sound Poetics of Dead Space which is to a large extent a homage
to Gaston Bachelards seminal book Poetics of Space where the connections between the poetry and the spatial emotions
are analysed Penkers key-sound will guide the viewer through the exhibition mapping the overall identity of the show in
some way controlling the viewers (audio-narrative) route in the maze of art objects events situations but also spatial
voids and unused corners
Fuumlr PROTECTIONS entwickelte Elisabeth Penker einen leitmotivischen Key Sound Poetics of Dead Space der weitgehend
eine Hommage an Gaston Bachelards wegweisendes Buch Poetics of Space darstellt in dem die Verbindungen zwischen
Lyrik und raumlumlichen Emotionen analysiert werden Penkers Key Sound wird das Publikum durch die Ausstellung geleiten
die Identitaumlt der Schau in ihrer Gesamtheit erfassen und in gewisser Weise die (audio-narrative) Route des Publikums im
Labyrinth der Kunstgegenstaumlnde Ereignisse und Situationen aber auch raumlumlicher Leerstellen und ungenutzter Winkel
kontrollieren
A non linear composition 7 mono active speakers are placed through out the Kunsthaus Graz Speaker placement
1 outdoor (entrance) 2 (travelator) 3 (corner with column) 4 (corner with door) 5 (corner) 6 (travelator) 7 (corner with
window)
Poetics of Dead Space Let it grow again 28 51 sec mono
Source material for composition rain sound of dried beans dropping down wood sticks breathing hardly existing
id78338975 pdfMachine by Broadgun Software - a great PDF writer - a great PDF creator - httpwwwpdfmachinecom httpwwwbroadguncom
recording of extinct languages
Poetics of Dead Space Let it grow again 28 51 sec mono
Source material for composition rain sound of dried beans dropping down wood sticks existing recording of extinct
languages
Poetics of Dead Space travelator 1 1min 04 sec mono loop
Source material for composition staff falling down man falling down stairs rattern recording untitled instrument
Background existing recording of extinct languages
Poetics of Dead Space 496 1min 409 sec mono loop
Source material for composition recording untitled instrument Background existing recording of extinct languages
Poetics of Dead Space 129525 1min 4888 sec mono loop
Source material for composition recording untitled instrument Background existing recording of extinct languages
Poetics of Dead Space 129525 1min 4888 sec mono loop
Source material for composition keyboard recording untitled instrument Background existing recording of extinct
languages
Poetics of Dead Space travelator 2 1min 5209 sec mono loop
Source material for composition recording untitled instrument violin Background existing recording of extinct
languages
Poetics of Dead Space2152518125220 1min 3200 sec mono loop
Source material for composition recording untitled instrument Background existing recording of library of extinct
languages
Poetics of Dead Space travelator 1 1min 04 sec mono loop
viewing down from upstairs Source material for composition staff falling down man falling down stairs rattern
recording untitled instrument Background existing recording of extinct languages
Poetics of Dead Space Let it grow again 028 51 sec mono
Source material for composition rain sound of coins wood sticks existing recording of extinct languages
Elisabeth Penker is a Viennese artist and musician working with sound in a sculptural context In her (subjective) tour
Penker approaches the entire anti-exhibition PROTECTIONS from an angle of its position and significance in the context
of Sound Art as located on the crossway between visual arts language and music Starting from her own house turned
into First Nation Pavillion which amongst others aims at connecting the recent discourse on cultural translation with
early avant-garde phonetic experiments Penker maps the sonic structure of Kunsthaus Graz and its (live) architecture
which for PROTECTIONS hosts an array of interdisciplinary projects with a strong audio-quality from Herwig Weisers
Death Before Disco (a micro-architecture of hyper-technological and electronic pop) through a newly created choir of
security guards for Tim Etchells Wall of Sound down to a cacophonic layers of anonimous noise generated by the
space itself and the presence of audience
Die Wiener Kuumlnstlerin und Musikerin Elisabeth Penker arbeitet mit Klang im Zusammenhang mit Bildhauerei In ihrer
(subjektiven) Fuumlhrung naumlhert sie sich der Anti-Ausstellung PROTECTIONS aus einem Blickwinkel der die Position und
Bedeutung der Klangkunst an der Kreuzung zwischen bildender Kunst Sprache und Musik verortet Von ihrem eigenen
Haus ausgehend das sich in den First Nation Pavilion verwandelt hat der u a den aktuellen Diskurs uumlber kulturelle
Uumlbersetzung mit fruumlhen phonetischen Experimenten der Avantgarde verbinden soll entwirft Penker die klangliche
Struktur des Gutshauses und seiner (Live-)Architektur die fuumlr PROTECTIONS eine Reihe von interdisziplinaumlren Projekten
mit einer starken Affinitaumlt zum Klang beherbergt von Herwig Weisers Death Before Disco (eine Mikroarchitektur aus
hyper-technoidem und elektronischem Pop) uumlber einen neu formierten Chor bestehend aus Security Guards fuumlr Tim
Etchells Wall of Sound bis zu einer Kakophonie aus anonymen Geraumluschen die vom Raum selbst und der Anwesenheit
des Publikums erzeugt werden
052813
Local Warming ATHENS
052813
AFTER A YEARLONG HIATUS the eighteenth Art-Athina hit the ground running on the evening of Thursday May 16 and the former Olympic
ldquoTae Kwon Dordquo Pavilion was packed with enthusiastic party people The fair had a more national flavor than ever this year under its new
director Alexis Caniaris the son of recently deceased artist Vlassis Caniaris whose iconic modern work has recently found great success on the
international market Of the very few foreign galleries exhibiting most were Greek-owned The Breeder gallery was dealing with the perceived
drop in the market by selling fantastic multiples by artists like Stelios Faitakis Jannis Varelas and Andreas Angelidakis at crisis-appropriate
prices ldquoNobody wants to come here now but I have already met three interested billionaire collectors today And if Greeks like you they
introduce you to their billionaire friendsrdquo raved Cologne dealer Mirko Mayer a seven-time exhibitor ldquoThat is what nobody knows There are
at least one-hundred billionaires collecting hererdquo Most international collectors were delayed several hours due to a union strike a de r igueur
mode of arrival in contemporary Greece
It was impossible to miss the exuberant activities of the DaDa Da restaurant a Greek-Austrian collaboration where artist Albert Mayr was
waving a skillet and raving nonsense while Lucas Willmann tenderized pink fillets for Wiener schnitzel ldquoThis is Viennese Actionism lightrdquo
quipped critic Sotirios Bahtsetzis Artist Natasha Papadopoulos added ldquoBut here there are hungry Greeks waitingrdquo On a table with a rotating
Sacher tort by Heacutelegravene van Duijne a sign carried the overwhelming spirit FUCK ART LETrsquoS EAT SOUVLAKI An insistent electronic beat and
pulsating light emanated from the next booth the American College of Greecersquos ldquoAthensUrgentrdquo while hooded performer Manos Tsatiris
stood against the wall with his hands tied perhaps a metaphor for the current Athenian exigency ldquoThis is not the kind of art fair scene we are
used tordquo said the Economou Collectionrsquos Annie-Claire Geisinger watching the madness
Left Artists Elisabeth Penker Michela Pelusio Petros Touloudis Panos Papadopoulos and Nino Stelzl Right Collector Anne-Marie Ros
Down on the floor the dealers seemed pleased particularly given dismal expectations having already sold a great deal at the preview Young
Rotterdam-based gallery Joey Ramone had sold sculptures by Fotini Gouseti to English and Belgian collectors dealer Erik Mulier had also sold
some work to Belgians Marc Van den Hende said he had bought a triptych by Eirene Efstathiou and was considering a Vlassis Caniaris piece
from the 1970s ldquoI saw some surprisesmdashyoung Greek artists I did not knowmdashand great new galleries like Elika and CANrdquo Dutch collector
Anne-Marie Ros said By the end of the day Dimitra and Sofia Vamiali reported that they had not seen one Greek collector although another
reported a Dakis Joannou sighting mdash Cathryn Drake
SEARCH
ARTICLES
GO
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Week
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SEATTLE
WEEKLY
in the News
Columnist
Geov Parrish
is a regular
guest on
Mind Over
Matters on
KEXP-FM
(903)
Saturdays at
830 am and
provides news
commentary
on KBCS-FM
(913) Fridays
at 430 pm
Catch writers
Steve
Wiecking Tim
Appelo and
ARTS
March 30 - April 5 2005
Picking Up the Thread
Howard House ties together the best new conceptual art from Vienna
by Elise Richman
Franz Wests Mercury
(Howard House Contemporary Art)
Theres a German expression to lose the red thread which means losing
ones train of thought In its current show Howard House has found that
thread Julie Ryan a curator artist and writer organized The Red
Thread Glimpses of International Art in Vienna a two-part exhibition
featuring artists working and living at least part time in Austrias capital
Part one of the show is at Howard House the second half is currently on
display at the Educational Alliance Gallery in New York
Vienna has become a magnet for artists from all over the world including
the 15 individuals and artist teams that are part of The Red Thread
Excellent artist residency programs a low cost of living and living art
legends like Franz West are just a few of the reasons
An artistic collaboration with West took Ryan from New York to Vienna
She knows Billy Howard who runs Howard House from the University of
Washingtons School of Art And so the figurative string was strung
connecting the East and West coasts with artists from across the Atlantic
This is a complex exhibit whose emotional tenor ranges from cool
detachment to an almost urgent earnestness Unlike the formal richly
historical city that connects them artists in The Red Thread favor informal
approaches to art making use disposable materials and comment on
contemporary cultural themes
West has two formidable sculptures at Howard House The front room of the
gallery features Mercury (pictured) an ungainly behemoth composed of a
patchwork of fused metal Like many of Wests sculptures Mercury is
meant as an interactive structure that viewers can climb and sit on Bulbous
Gavin
Borchert
discussing
theater film
and music
regularly on
classical
KING-FM
(981)
Mark Fiore
Cartoons
Every
Thursday
nodules extend from its horizontal base and the seams of the dark maroon
metal look like scars rendering it at once vaguely obscene and absurdly
playful
Sisyphus the other West sculpture on display is a bulky conglomeration of
bits and wads of paper propped in the back room on a makeshift plinth (base
block) Though its as solid as the boulder its title references its surface is
like oozing skin partly coated with poured murky paint partly cloaked in
small clumps of newspaper detritus
The strenuous act of making each of these sculptures is eminently apparent
and central to the content of Wests work West considers creation a
symbolic act As you might expect he likens the artistic process to the plight
of Sisyphus the mythological figure who eternally rolled a boulder up a hill
only to have it come crashing back down For West art involves a
Sisyphean search for what he calls the absolute through the seemingly
senseless accumulation of materials However unlike Sisyphus futile quest
Wests process can lead to epiphany making sense of the senseless
Similarly Viennese artist Elisabeth Penkers art serves a facilitative
function easing the act of translation Penker uses Haida iconography in her
multimedia work because it provides potent visual symbols that
communicate single words and whole sentences simultaneously Her prints
at Howard House feature fragments of icons floating in the papers white
space They are spare visually arresting characters that employ an
iconographic language as encoded symbols of communication
Also featured in The Red Thread is Donald Baechler an internationally
known American painter who spends extended periods of time in Vienna
Baechler equalizes his imagery by painting it all in the same style For him
the source of an image doesnt matter whether its a drawing by Picasso or
graffiti on a bathroom wall What matters is the newfound context his
paintings provide
Victory by Default is part of Baechlers Skull series In this piece a painted
skull gapes from the dirty yet sensuous confines of a large canvas Terry
cloth and wrinkled rags provide literal texture and reference the world
outside the paintings boundaries Splatterings of color around the skull like
the self-conscious marks of Jasper Johns seem to express the language of
paintingmdashhue and gestural strokesmdashin a factual rather than illusional
manner
Another American painter Lisa Ruyter lives half-time in Vienna where she
runs an influential gallery She works from photographs projected onto
large-scale canvases tracing the contours of the projected imagery with
consistent black outlines In a way that seems arbitrary she paints the shapes
formed by her contour lines in flat designer colors Man of Means based on
a photo of fashion photographers looks like a scrambled color-by-numbers
painting I cant do justice to the unusually rich assortment of conceptual art
in The Red Thread Youll just have to see it for yourself Thomas
Baumans thrashing triangular foil blanket Walter Seidls slide show of
staged snapshots Markus Schinwalds photograph of a contortionist and the
other thoughtful works connected by The Red Thread
The Red Thread Glimpses of International Art in Vienna runs through
April 30 at Howard House 604 Second Ave 206- 256-6399 1030 amndash5
pm TuesndashSat Free
KUNSTFORUM
Parallelwelten fuumlr Parlamentarier Ausstellung
Von Brigitte Borchhardt-Birbaumer
Ende Oktober endet die Zusammenarbeit von Nationalratspraumlsident Andreas Khol und Peter Pakesch Direktor des Kunsthauses Graz am Joanneum Seit 2003
hatte Pakesch als Kurator mehrere Ausstellungen in den Sitzungssaumllen des Parlaments in Zusammenarbeit mit Galerien initiiert und namhafte Positionen
ausgewaumlhlt Kriterium fuumlr Praumlsentationen war die Praumlsenz durch eine Schau in einer der bekannten Kunstinstitutionen des Landes Nach Eva Schlegel Adriana
Czernin Maria Lassnig oder Esther Stocker sind dies nun bis April 2007 Josef Dabernig Daniel Hafner Ulrike Lienbacher Alois Mosbacher und Elisabeth
Penker
Das Parlament kann dabei durch die Margaretha-Lupac Stiftung immer eine Arbeit fuumlr die wachsende Sammlung des Hauses ankaufen Zuletzt war das ein
groszliges Oumll-Acryl-Gemaumllde der Georg-Eisler-Preistraumlgerin Maja Vukoje zuvor Johanna Kandl deren Temperabild derzeit an das Lentos in Linz geliehen wird
Einige Werke haumlngen schon als kuumlnstlerische Wegweiser in den Gaumlngen des Hauses und sind auch Blickfang fuumlr die 120000 Besucher die pro Jahr das
Parlament besuchen In die Architektur von Theophil Hansen mit ihrer zeitlosen Qualitaumlt fuumlgt sich die Gegenwartskunst kongenial
Hoffnung fuumlr spaumlter
Die derzeitige Zusammenstellung macht Hoffnung auf eine Fortsetzung unter der naumlchsten Praumlsidentschaft Fotografie Computerkunst Malerei Zeichnung
und Skulptur weisen auf die Vielfalt der Werkstoffe in der Gegenwartskunst Elisabeth Penker parallel im Kunsthaus Graz zu sehen baut schwarzweiszlige
Objekte aus bemaltem Holz die in ihrer seriellen und geometrischen Anordnung auf Bezuumlge zum Performativen und auf die Musik hinweisen
Noch juumlnger ist Daniel Hafner mit seinen am Computer komponierten digitalen Drucken Morphosentransformationen von 2006 Linienraster und
Raumkonstruktionen in subtiler Farbigkeit verbinden Tendenzen der fruumlhen Op-Art mit dem Cyber-Lab
Um konstruierte Realitaumlten geht es auch in den groszligformatigen Oumllbildern von Alois Mosbacher dem bekannten Vertreter der Neuen Wilden der
Achtzigerjahre in Oumlsterreich Wanderer in Wald und Wiese erzaumlhlen die Geschichten alternativer Welten die sich mancher in der Gesellschaft als Parallele
konstruiert
Zwei Fotofriese von Josef Dabernig bilden jeweils ein Panorama von oumlffentlichen Plaumltzen auf denen es zum einen um Fuszligball geht Zum anderen ist der
Rundblick in das Oval einer scheinbaren Arena auch eine Art Sehschule fuumlr die Betrachter Ein sozialer Befund ist die dritte Bedeutungsebene
Ulrike Lienbacher die heuer mit einer groszligen Schau im Innsbrucker Taxispalais ihre Karriere fortsetzt ist mit ihren feinlinigen Tuschezeichnungen den kleinen
oft unsichtbaren Zwaumlngen in unserer Gesellschaft auf der Spur Im Lokal II des Parlaments stellt sie zwar nicht ihre Objekte und Fotos aber einige
groszligformatige Blaumltter mit Frisurenvariationen neben teils fragmentierten Frauenkoumlrpern im Umgang mit Schmutz und Hygiene aber auch Fitnesskult aus
Disziplinierung und Kontrolle betreffen in der Oumlffentlichkeit besonders den weiblichen Koumlrper Sauberkeitsmechanismen weisen auch auf Vorstellungen von
wertvoll und minderwertig hin Ihre Transformationen enthalten wie die Themen der anderen subtile Kritik und sind daher vom Kurator uumlberlegt positioniert
Zeitgenoumlssische Kunst
im Parlament
Bis April 2007
Kurator Peter Pakesch
Konfrontationen
Dienstag 10 Oktober 2006
ltlt 2003 | 2004 Jan Feb Mar Apr May Jun Jul Aug Sep Oct Nov Dec 2004 | 2005 gtgt
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31
Sunday 17 October 2004
TIME
TITLE
NAME
700 Indymedia ESF breakfast show Indymedia London
Highlights news and views from the European Social Forum and the
autonomous spaces and initiatives taking place this week
website
800 Resonance Radio Art Riot Breakfast International
Radio Art
A five part special of the Harmon E Phraisyar show commissioned for
Kunstradio in Austria starts off the morning broadcast of international radio
art
website
1100 Resonance Live from the Frieze Art Fair Anna Colin amp
Tobi Maier
1100 Chris Weaver Resonance 1044FM live electronics set with James Dunn and
Robin Warren
1130 Michael Hall gallery Vienna presents audio works by artist Elisabeth Penker
1200 Maria Fusco presents latest the Bookworks commissions
1300 The Psychology of Collecting live broadcast of the frieze art fair panel
discussion
Is collecting an irrational act guided by compulsion and desire What are the use of
objects What are the motivations behind making collecting curating and
criticizing art A discussion of the psychology of collecting and the politics of taste
Hilary Rubenstein (Psychologist)
Eric Troncy (Art Critic and Director Le Consortium Dijon)
Haim Steinbach (Artist)
Chair Alice Rawsthorn (Director Design Museum)
1500 Portable live set and presentation of sudelectronic records London
1600 Where is Adventure What is Culture live broadcast of the frieze art fair
website
panel discussion
A discussion of the relationship of art to entertainment touching on the comedic
being popular and failing miserably
Trisha Donnelly (Artist)
Christian Jankowski (Artist)
David Robbins (Writer amp Artist)
Nancy Spector (Curator of Contemporary Art Solomon R Guggenheim Museum)
Chair Matthew Higgs (Curator CCA Wattis Institute for Contemporary Arts)
1800 Melissa Bent from Rivington Arms gallery New York in conversation with
artist Dan Colan and Tobi Maier Anna Colin
1830 VOX pop recordings from the fair with Sharon Gal
1900 Resonance Radio Art Riot Sarah
Washington
The Resonance Radio Art Riot brings together some of the foremost radio artists
and thinkers from around the world The studio lab situation will feature round
table discussions live performances and streamed events
Tonight Radio Text
Events Live broadcast from Sonic Arts Network Resonance benefit featuring
Henri Chopin studio performances from Julia Lee Barclay and Aude Tournay plus
Special Features None present live concrete radiophonics - Planning For
Emergencies
Guests include Clive Graham Chris Weaver Richard Thomas Toby Clarkson
John Lovett Robin Warren and James Dunn
Topics The word as art Sound poetry text performances
At Midnight Tom Wallace present exclusive excerpts from radio art pioneer
Gregory Whitehead
website
000 Resonance Radio Art Riot Nights International
Radio Art
The Resonance Radio Art riot continues throughout the night with the finest of
international radio art Resonance FM programme makers and our international
guests have put together many special hours of classic and obscure radio
works
website
- EPenkerDocumentationpdf
-
- 2bAusstellungenPublicaSpaceEPenkerpdf
-
- 2cUntitled_InstrumentsKunsthausGrazEPenker
- 2bpoeticsKunsthaus GrazEPenker
-
- 4PresseEPenkerpdf
-
- 4Review_Seattle Weekly
-
Elisabeth Penker HTTP Gallery London Live Performance
Elisabeth Penker Untitled Instrument Sonic Structure Kunsthaus Graz curated by Adam Budak amp
Christine Peters
Videolinks
httpwwwyoutubecomusersoundart24
Interview with Video Festwochen
httpbturncom8753interview-elisabeth-penker
Kunsthaus Graz
Protections
Kuratoren Adam Budak und Christine Peters
Elisabeth Penker Poetics of Dead Space
For PROTECTIONS Elisabeth Penker developed a key-sound Poetics of Dead Space which is to a large extent a homage
to Gaston Bachelards seminal book Poetics of Space where the connections between the poetry and the spatial emotions
are analysed Penkers key-sound will guide the viewer through the exhibition mapping the overall identity of the show in
some way controlling the viewers (audio-narrative) route in the maze of art objects events situations but also spatial
voids and unused corners
Fuumlr PROTECTIONS entwickelte Elisabeth Penker einen leitmotivischen Key Sound Poetics of Dead Space der weitgehend
eine Hommage an Gaston Bachelards wegweisendes Buch Poetics of Space darstellt in dem die Verbindungen zwischen
Lyrik und raumlumlichen Emotionen analysiert werden Penkers Key Sound wird das Publikum durch die Ausstellung geleiten
die Identitaumlt der Schau in ihrer Gesamtheit erfassen und in gewisser Weise die (audio-narrative) Route des Publikums im
Labyrinth der Kunstgegenstaumlnde Ereignisse und Situationen aber auch raumlumlicher Leerstellen und ungenutzter Winkel
kontrollieren
A non linear composition 7 mono active speakers are placed through out the Kunsthaus Graz Speaker placement
1 outdoor (entrance) 2 (travelator) 3 (corner with column) 4 (corner with door) 5 (corner) 6 (travelator) 7 (corner with
window)
Poetics of Dead Space Let it grow again 28 51 sec mono
Source material for composition rain sound of dried beans dropping down wood sticks breathing hardly existing
id78338975 pdfMachine by Broadgun Software - a great PDF writer - a great PDF creator - httpwwwpdfmachinecom httpwwwbroadguncom
recording of extinct languages
Poetics of Dead Space Let it grow again 28 51 sec mono
Source material for composition rain sound of dried beans dropping down wood sticks existing recording of extinct
languages
Poetics of Dead Space travelator 1 1min 04 sec mono loop
Source material for composition staff falling down man falling down stairs rattern recording untitled instrument
Background existing recording of extinct languages
Poetics of Dead Space 496 1min 409 sec mono loop
Source material for composition recording untitled instrument Background existing recording of extinct languages
Poetics of Dead Space 129525 1min 4888 sec mono loop
Source material for composition recording untitled instrument Background existing recording of extinct languages
Poetics of Dead Space 129525 1min 4888 sec mono loop
Source material for composition keyboard recording untitled instrument Background existing recording of extinct
languages
Poetics of Dead Space travelator 2 1min 5209 sec mono loop
Source material for composition recording untitled instrument violin Background existing recording of extinct
languages
Poetics of Dead Space2152518125220 1min 3200 sec mono loop
Source material for composition recording untitled instrument Background existing recording of library of extinct
languages
Poetics of Dead Space travelator 1 1min 04 sec mono loop
viewing down from upstairs Source material for composition staff falling down man falling down stairs rattern
recording untitled instrument Background existing recording of extinct languages
Poetics of Dead Space Let it grow again 028 51 sec mono
Source material for composition rain sound of coins wood sticks existing recording of extinct languages
Elisabeth Penker is a Viennese artist and musician working with sound in a sculptural context In her (subjective) tour
Penker approaches the entire anti-exhibition PROTECTIONS from an angle of its position and significance in the context
of Sound Art as located on the crossway between visual arts language and music Starting from her own house turned
into First Nation Pavillion which amongst others aims at connecting the recent discourse on cultural translation with
early avant-garde phonetic experiments Penker maps the sonic structure of Kunsthaus Graz and its (live) architecture
which for PROTECTIONS hosts an array of interdisciplinary projects with a strong audio-quality from Herwig Weisers
Death Before Disco (a micro-architecture of hyper-technological and electronic pop) through a newly created choir of
security guards for Tim Etchells Wall of Sound down to a cacophonic layers of anonimous noise generated by the
space itself and the presence of audience
Die Wiener Kuumlnstlerin und Musikerin Elisabeth Penker arbeitet mit Klang im Zusammenhang mit Bildhauerei In ihrer
(subjektiven) Fuumlhrung naumlhert sie sich der Anti-Ausstellung PROTECTIONS aus einem Blickwinkel der die Position und
Bedeutung der Klangkunst an der Kreuzung zwischen bildender Kunst Sprache und Musik verortet Von ihrem eigenen
Haus ausgehend das sich in den First Nation Pavilion verwandelt hat der u a den aktuellen Diskurs uumlber kulturelle
Uumlbersetzung mit fruumlhen phonetischen Experimenten der Avantgarde verbinden soll entwirft Penker die klangliche
Struktur des Gutshauses und seiner (Live-)Architektur die fuumlr PROTECTIONS eine Reihe von interdisziplinaumlren Projekten
mit einer starken Affinitaumlt zum Klang beherbergt von Herwig Weisers Death Before Disco (eine Mikroarchitektur aus
hyper-technoidem und elektronischem Pop) uumlber einen neu formierten Chor bestehend aus Security Guards fuumlr Tim
Etchells Wall of Sound bis zu einer Kakophonie aus anonymen Geraumluschen die vom Raum selbst und der Anwesenheit
des Publikums erzeugt werden
052813
Local Warming ATHENS
052813
AFTER A YEARLONG HIATUS the eighteenth Art-Athina hit the ground running on the evening of Thursday May 16 and the former Olympic
ldquoTae Kwon Dordquo Pavilion was packed with enthusiastic party people The fair had a more national flavor than ever this year under its new
director Alexis Caniaris the son of recently deceased artist Vlassis Caniaris whose iconic modern work has recently found great success on the
international market Of the very few foreign galleries exhibiting most were Greek-owned The Breeder gallery was dealing with the perceived
drop in the market by selling fantastic multiples by artists like Stelios Faitakis Jannis Varelas and Andreas Angelidakis at crisis-appropriate
prices ldquoNobody wants to come here now but I have already met three interested billionaire collectors today And if Greeks like you they
introduce you to their billionaire friendsrdquo raved Cologne dealer Mirko Mayer a seven-time exhibitor ldquoThat is what nobody knows There are
at least one-hundred billionaires collecting hererdquo Most international collectors were delayed several hours due to a union strike a de r igueur
mode of arrival in contemporary Greece
It was impossible to miss the exuberant activities of the DaDa Da restaurant a Greek-Austrian collaboration where artist Albert Mayr was
waving a skillet and raving nonsense while Lucas Willmann tenderized pink fillets for Wiener schnitzel ldquoThis is Viennese Actionism lightrdquo
quipped critic Sotirios Bahtsetzis Artist Natasha Papadopoulos added ldquoBut here there are hungry Greeks waitingrdquo On a table with a rotating
Sacher tort by Heacutelegravene van Duijne a sign carried the overwhelming spirit FUCK ART LETrsquoS EAT SOUVLAKI An insistent electronic beat and
pulsating light emanated from the next booth the American College of Greecersquos ldquoAthensUrgentrdquo while hooded performer Manos Tsatiris
stood against the wall with his hands tied perhaps a metaphor for the current Athenian exigency ldquoThis is not the kind of art fair scene we are
used tordquo said the Economou Collectionrsquos Annie-Claire Geisinger watching the madness
Left Artists Elisabeth Penker Michela Pelusio Petros Touloudis Panos Papadopoulos and Nino Stelzl Right Collector Anne-Marie Ros
Down on the floor the dealers seemed pleased particularly given dismal expectations having already sold a great deal at the preview Young
Rotterdam-based gallery Joey Ramone had sold sculptures by Fotini Gouseti to English and Belgian collectors dealer Erik Mulier had also sold
some work to Belgians Marc Van den Hende said he had bought a triptych by Eirene Efstathiou and was considering a Vlassis Caniaris piece
from the 1970s ldquoI saw some surprisesmdashyoung Greek artists I did not knowmdashand great new galleries like Elika and CANrdquo Dutch collector
Anne-Marie Ros said By the end of the day Dimitra and Sofia Vamiali reported that they had not seen one Greek collector although another
reported a Dakis Joannou sighting mdash Cathryn Drake
SEARCH
ARTICLES
GO
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Week
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SEATTLE
WEEKLY
in the News
Columnist
Geov Parrish
is a regular
guest on
Mind Over
Matters on
KEXP-FM
(903)
Saturdays at
830 am and
provides news
commentary
on KBCS-FM
(913) Fridays
at 430 pm
Catch writers
Steve
Wiecking Tim
Appelo and
ARTS
March 30 - April 5 2005
Picking Up the Thread
Howard House ties together the best new conceptual art from Vienna
by Elise Richman
Franz Wests Mercury
(Howard House Contemporary Art)
Theres a German expression to lose the red thread which means losing
ones train of thought In its current show Howard House has found that
thread Julie Ryan a curator artist and writer organized The Red
Thread Glimpses of International Art in Vienna a two-part exhibition
featuring artists working and living at least part time in Austrias capital
Part one of the show is at Howard House the second half is currently on
display at the Educational Alliance Gallery in New York
Vienna has become a magnet for artists from all over the world including
the 15 individuals and artist teams that are part of The Red Thread
Excellent artist residency programs a low cost of living and living art
legends like Franz West are just a few of the reasons
An artistic collaboration with West took Ryan from New York to Vienna
She knows Billy Howard who runs Howard House from the University of
Washingtons School of Art And so the figurative string was strung
connecting the East and West coasts with artists from across the Atlantic
This is a complex exhibit whose emotional tenor ranges from cool
detachment to an almost urgent earnestness Unlike the formal richly
historical city that connects them artists in The Red Thread favor informal
approaches to art making use disposable materials and comment on
contemporary cultural themes
West has two formidable sculptures at Howard House The front room of the
gallery features Mercury (pictured) an ungainly behemoth composed of a
patchwork of fused metal Like many of Wests sculptures Mercury is
meant as an interactive structure that viewers can climb and sit on Bulbous
Gavin
Borchert
discussing
theater film
and music
regularly on
classical
KING-FM
(981)
Mark Fiore
Cartoons
Every
Thursday
nodules extend from its horizontal base and the seams of the dark maroon
metal look like scars rendering it at once vaguely obscene and absurdly
playful
Sisyphus the other West sculpture on display is a bulky conglomeration of
bits and wads of paper propped in the back room on a makeshift plinth (base
block) Though its as solid as the boulder its title references its surface is
like oozing skin partly coated with poured murky paint partly cloaked in
small clumps of newspaper detritus
The strenuous act of making each of these sculptures is eminently apparent
and central to the content of Wests work West considers creation a
symbolic act As you might expect he likens the artistic process to the plight
of Sisyphus the mythological figure who eternally rolled a boulder up a hill
only to have it come crashing back down For West art involves a
Sisyphean search for what he calls the absolute through the seemingly
senseless accumulation of materials However unlike Sisyphus futile quest
Wests process can lead to epiphany making sense of the senseless
Similarly Viennese artist Elisabeth Penkers art serves a facilitative
function easing the act of translation Penker uses Haida iconography in her
multimedia work because it provides potent visual symbols that
communicate single words and whole sentences simultaneously Her prints
at Howard House feature fragments of icons floating in the papers white
space They are spare visually arresting characters that employ an
iconographic language as encoded symbols of communication
Also featured in The Red Thread is Donald Baechler an internationally
known American painter who spends extended periods of time in Vienna
Baechler equalizes his imagery by painting it all in the same style For him
the source of an image doesnt matter whether its a drawing by Picasso or
graffiti on a bathroom wall What matters is the newfound context his
paintings provide
Victory by Default is part of Baechlers Skull series In this piece a painted
skull gapes from the dirty yet sensuous confines of a large canvas Terry
cloth and wrinkled rags provide literal texture and reference the world
outside the paintings boundaries Splatterings of color around the skull like
the self-conscious marks of Jasper Johns seem to express the language of
paintingmdashhue and gestural strokesmdashin a factual rather than illusional
manner
Another American painter Lisa Ruyter lives half-time in Vienna where she
runs an influential gallery She works from photographs projected onto
large-scale canvases tracing the contours of the projected imagery with
consistent black outlines In a way that seems arbitrary she paints the shapes
formed by her contour lines in flat designer colors Man of Means based on
a photo of fashion photographers looks like a scrambled color-by-numbers
painting I cant do justice to the unusually rich assortment of conceptual art
in The Red Thread Youll just have to see it for yourself Thomas
Baumans thrashing triangular foil blanket Walter Seidls slide show of
staged snapshots Markus Schinwalds photograph of a contortionist and the
other thoughtful works connected by The Red Thread
The Red Thread Glimpses of International Art in Vienna runs through
April 30 at Howard House 604 Second Ave 206- 256-6399 1030 amndash5
pm TuesndashSat Free
KUNSTFORUM
Parallelwelten fuumlr Parlamentarier Ausstellung
Von Brigitte Borchhardt-Birbaumer
Ende Oktober endet die Zusammenarbeit von Nationalratspraumlsident Andreas Khol und Peter Pakesch Direktor des Kunsthauses Graz am Joanneum Seit 2003
hatte Pakesch als Kurator mehrere Ausstellungen in den Sitzungssaumllen des Parlaments in Zusammenarbeit mit Galerien initiiert und namhafte Positionen
ausgewaumlhlt Kriterium fuumlr Praumlsentationen war die Praumlsenz durch eine Schau in einer der bekannten Kunstinstitutionen des Landes Nach Eva Schlegel Adriana
Czernin Maria Lassnig oder Esther Stocker sind dies nun bis April 2007 Josef Dabernig Daniel Hafner Ulrike Lienbacher Alois Mosbacher und Elisabeth
Penker
Das Parlament kann dabei durch die Margaretha-Lupac Stiftung immer eine Arbeit fuumlr die wachsende Sammlung des Hauses ankaufen Zuletzt war das ein
groszliges Oumll-Acryl-Gemaumllde der Georg-Eisler-Preistraumlgerin Maja Vukoje zuvor Johanna Kandl deren Temperabild derzeit an das Lentos in Linz geliehen wird
Einige Werke haumlngen schon als kuumlnstlerische Wegweiser in den Gaumlngen des Hauses und sind auch Blickfang fuumlr die 120000 Besucher die pro Jahr das
Parlament besuchen In die Architektur von Theophil Hansen mit ihrer zeitlosen Qualitaumlt fuumlgt sich die Gegenwartskunst kongenial
Hoffnung fuumlr spaumlter
Die derzeitige Zusammenstellung macht Hoffnung auf eine Fortsetzung unter der naumlchsten Praumlsidentschaft Fotografie Computerkunst Malerei Zeichnung
und Skulptur weisen auf die Vielfalt der Werkstoffe in der Gegenwartskunst Elisabeth Penker parallel im Kunsthaus Graz zu sehen baut schwarzweiszlige
Objekte aus bemaltem Holz die in ihrer seriellen und geometrischen Anordnung auf Bezuumlge zum Performativen und auf die Musik hinweisen
Noch juumlnger ist Daniel Hafner mit seinen am Computer komponierten digitalen Drucken Morphosentransformationen von 2006 Linienraster und
Raumkonstruktionen in subtiler Farbigkeit verbinden Tendenzen der fruumlhen Op-Art mit dem Cyber-Lab
Um konstruierte Realitaumlten geht es auch in den groszligformatigen Oumllbildern von Alois Mosbacher dem bekannten Vertreter der Neuen Wilden der
Achtzigerjahre in Oumlsterreich Wanderer in Wald und Wiese erzaumlhlen die Geschichten alternativer Welten die sich mancher in der Gesellschaft als Parallele
konstruiert
Zwei Fotofriese von Josef Dabernig bilden jeweils ein Panorama von oumlffentlichen Plaumltzen auf denen es zum einen um Fuszligball geht Zum anderen ist der
Rundblick in das Oval einer scheinbaren Arena auch eine Art Sehschule fuumlr die Betrachter Ein sozialer Befund ist die dritte Bedeutungsebene
Ulrike Lienbacher die heuer mit einer groszligen Schau im Innsbrucker Taxispalais ihre Karriere fortsetzt ist mit ihren feinlinigen Tuschezeichnungen den kleinen
oft unsichtbaren Zwaumlngen in unserer Gesellschaft auf der Spur Im Lokal II des Parlaments stellt sie zwar nicht ihre Objekte und Fotos aber einige
groszligformatige Blaumltter mit Frisurenvariationen neben teils fragmentierten Frauenkoumlrpern im Umgang mit Schmutz und Hygiene aber auch Fitnesskult aus
Disziplinierung und Kontrolle betreffen in der Oumlffentlichkeit besonders den weiblichen Koumlrper Sauberkeitsmechanismen weisen auch auf Vorstellungen von
wertvoll und minderwertig hin Ihre Transformationen enthalten wie die Themen der anderen subtile Kritik und sind daher vom Kurator uumlberlegt positioniert
Zeitgenoumlssische Kunst
im Parlament
Bis April 2007
Kurator Peter Pakesch
Konfrontationen
Dienstag 10 Oktober 2006
ltlt 2003 | 2004 Jan Feb Mar Apr May Jun Jul Aug Sep Oct Nov Dec 2004 | 2005 gtgt
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31
Sunday 17 October 2004
TIME
TITLE
NAME
700 Indymedia ESF breakfast show Indymedia London
Highlights news and views from the European Social Forum and the
autonomous spaces and initiatives taking place this week
website
800 Resonance Radio Art Riot Breakfast International
Radio Art
A five part special of the Harmon E Phraisyar show commissioned for
Kunstradio in Austria starts off the morning broadcast of international radio
art
website
1100 Resonance Live from the Frieze Art Fair Anna Colin amp
Tobi Maier
1100 Chris Weaver Resonance 1044FM live electronics set with James Dunn and
Robin Warren
1130 Michael Hall gallery Vienna presents audio works by artist Elisabeth Penker
1200 Maria Fusco presents latest the Bookworks commissions
1300 The Psychology of Collecting live broadcast of the frieze art fair panel
discussion
Is collecting an irrational act guided by compulsion and desire What are the use of
objects What are the motivations behind making collecting curating and
criticizing art A discussion of the psychology of collecting and the politics of taste
Hilary Rubenstein (Psychologist)
Eric Troncy (Art Critic and Director Le Consortium Dijon)
Haim Steinbach (Artist)
Chair Alice Rawsthorn (Director Design Museum)
1500 Portable live set and presentation of sudelectronic records London
1600 Where is Adventure What is Culture live broadcast of the frieze art fair
website
panel discussion
A discussion of the relationship of art to entertainment touching on the comedic
being popular and failing miserably
Trisha Donnelly (Artist)
Christian Jankowski (Artist)
David Robbins (Writer amp Artist)
Nancy Spector (Curator of Contemporary Art Solomon R Guggenheim Museum)
Chair Matthew Higgs (Curator CCA Wattis Institute for Contemporary Arts)
1800 Melissa Bent from Rivington Arms gallery New York in conversation with
artist Dan Colan and Tobi Maier Anna Colin
1830 VOX pop recordings from the fair with Sharon Gal
1900 Resonance Radio Art Riot Sarah
Washington
The Resonance Radio Art Riot brings together some of the foremost radio artists
and thinkers from around the world The studio lab situation will feature round
table discussions live performances and streamed events
Tonight Radio Text
Events Live broadcast from Sonic Arts Network Resonance benefit featuring
Henri Chopin studio performances from Julia Lee Barclay and Aude Tournay plus
Special Features None present live concrete radiophonics - Planning For
Emergencies
Guests include Clive Graham Chris Weaver Richard Thomas Toby Clarkson
John Lovett Robin Warren and James Dunn
Topics The word as art Sound poetry text performances
At Midnight Tom Wallace present exclusive excerpts from radio art pioneer
Gregory Whitehead
website
000 Resonance Radio Art Riot Nights International
Radio Art
The Resonance Radio Art riot continues throughout the night with the finest of
international radio art Resonance FM programme makers and our international
guests have put together many special hours of classic and obscure radio
works
website
- EPenkerDocumentationpdf
-
- 2bAusstellungenPublicaSpaceEPenkerpdf
-
- 2cUntitled_InstrumentsKunsthausGrazEPenker
- 2bpoeticsKunsthaus GrazEPenker
-
- 4PresseEPenkerpdf
-
- 4Review_Seattle Weekly
-
Elisabeth Penker Untitled Instrument Sonic Structure Kunsthaus Graz curated by Adam Budak amp
Christine Peters
Videolinks
httpwwwyoutubecomusersoundart24
Interview with Video Festwochen
httpbturncom8753interview-elisabeth-penker
Kunsthaus Graz
Protections
Kuratoren Adam Budak und Christine Peters
Elisabeth Penker Poetics of Dead Space
For PROTECTIONS Elisabeth Penker developed a key-sound Poetics of Dead Space which is to a large extent a homage
to Gaston Bachelards seminal book Poetics of Space where the connections between the poetry and the spatial emotions
are analysed Penkers key-sound will guide the viewer through the exhibition mapping the overall identity of the show in
some way controlling the viewers (audio-narrative) route in the maze of art objects events situations but also spatial
voids and unused corners
Fuumlr PROTECTIONS entwickelte Elisabeth Penker einen leitmotivischen Key Sound Poetics of Dead Space der weitgehend
eine Hommage an Gaston Bachelards wegweisendes Buch Poetics of Space darstellt in dem die Verbindungen zwischen
Lyrik und raumlumlichen Emotionen analysiert werden Penkers Key Sound wird das Publikum durch die Ausstellung geleiten
die Identitaumlt der Schau in ihrer Gesamtheit erfassen und in gewisser Weise die (audio-narrative) Route des Publikums im
Labyrinth der Kunstgegenstaumlnde Ereignisse und Situationen aber auch raumlumlicher Leerstellen und ungenutzter Winkel
kontrollieren
A non linear composition 7 mono active speakers are placed through out the Kunsthaus Graz Speaker placement
1 outdoor (entrance) 2 (travelator) 3 (corner with column) 4 (corner with door) 5 (corner) 6 (travelator) 7 (corner with
window)
Poetics of Dead Space Let it grow again 28 51 sec mono
Source material for composition rain sound of dried beans dropping down wood sticks breathing hardly existing
id78338975 pdfMachine by Broadgun Software - a great PDF writer - a great PDF creator - httpwwwpdfmachinecom httpwwwbroadguncom
recording of extinct languages
Poetics of Dead Space Let it grow again 28 51 sec mono
Source material for composition rain sound of dried beans dropping down wood sticks existing recording of extinct
languages
Poetics of Dead Space travelator 1 1min 04 sec mono loop
Source material for composition staff falling down man falling down stairs rattern recording untitled instrument
Background existing recording of extinct languages
Poetics of Dead Space 496 1min 409 sec mono loop
Source material for composition recording untitled instrument Background existing recording of extinct languages
Poetics of Dead Space 129525 1min 4888 sec mono loop
Source material for composition recording untitled instrument Background existing recording of extinct languages
Poetics of Dead Space 129525 1min 4888 sec mono loop
Source material for composition keyboard recording untitled instrument Background existing recording of extinct
languages
Poetics of Dead Space travelator 2 1min 5209 sec mono loop
Source material for composition recording untitled instrument violin Background existing recording of extinct
languages
Poetics of Dead Space2152518125220 1min 3200 sec mono loop
Source material for composition recording untitled instrument Background existing recording of library of extinct
languages
Poetics of Dead Space travelator 1 1min 04 sec mono loop
viewing down from upstairs Source material for composition staff falling down man falling down stairs rattern
recording untitled instrument Background existing recording of extinct languages
Poetics of Dead Space Let it grow again 028 51 sec mono
Source material for composition rain sound of coins wood sticks existing recording of extinct languages
Elisabeth Penker is a Viennese artist and musician working with sound in a sculptural context In her (subjective) tour
Penker approaches the entire anti-exhibition PROTECTIONS from an angle of its position and significance in the context
of Sound Art as located on the crossway between visual arts language and music Starting from her own house turned
into First Nation Pavillion which amongst others aims at connecting the recent discourse on cultural translation with
early avant-garde phonetic experiments Penker maps the sonic structure of Kunsthaus Graz and its (live) architecture
which for PROTECTIONS hosts an array of interdisciplinary projects with a strong audio-quality from Herwig Weisers
Death Before Disco (a micro-architecture of hyper-technological and electronic pop) through a newly created choir of
security guards for Tim Etchells Wall of Sound down to a cacophonic layers of anonimous noise generated by the
space itself and the presence of audience
Die Wiener Kuumlnstlerin und Musikerin Elisabeth Penker arbeitet mit Klang im Zusammenhang mit Bildhauerei In ihrer
(subjektiven) Fuumlhrung naumlhert sie sich der Anti-Ausstellung PROTECTIONS aus einem Blickwinkel der die Position und
Bedeutung der Klangkunst an der Kreuzung zwischen bildender Kunst Sprache und Musik verortet Von ihrem eigenen
Haus ausgehend das sich in den First Nation Pavilion verwandelt hat der u a den aktuellen Diskurs uumlber kulturelle
Uumlbersetzung mit fruumlhen phonetischen Experimenten der Avantgarde verbinden soll entwirft Penker die klangliche
Struktur des Gutshauses und seiner (Live-)Architektur die fuumlr PROTECTIONS eine Reihe von interdisziplinaumlren Projekten
mit einer starken Affinitaumlt zum Klang beherbergt von Herwig Weisers Death Before Disco (eine Mikroarchitektur aus
hyper-technoidem und elektronischem Pop) uumlber einen neu formierten Chor bestehend aus Security Guards fuumlr Tim
Etchells Wall of Sound bis zu einer Kakophonie aus anonymen Geraumluschen die vom Raum selbst und der Anwesenheit
des Publikums erzeugt werden
052813
Local Warming ATHENS
052813
AFTER A YEARLONG HIATUS the eighteenth Art-Athina hit the ground running on the evening of Thursday May 16 and the former Olympic
ldquoTae Kwon Dordquo Pavilion was packed with enthusiastic party people The fair had a more national flavor than ever this year under its new
director Alexis Caniaris the son of recently deceased artist Vlassis Caniaris whose iconic modern work has recently found great success on the
international market Of the very few foreign galleries exhibiting most were Greek-owned The Breeder gallery was dealing with the perceived
drop in the market by selling fantastic multiples by artists like Stelios Faitakis Jannis Varelas and Andreas Angelidakis at crisis-appropriate
prices ldquoNobody wants to come here now but I have already met three interested billionaire collectors today And if Greeks like you they
introduce you to their billionaire friendsrdquo raved Cologne dealer Mirko Mayer a seven-time exhibitor ldquoThat is what nobody knows There are
at least one-hundred billionaires collecting hererdquo Most international collectors were delayed several hours due to a union strike a de r igueur
mode of arrival in contemporary Greece
It was impossible to miss the exuberant activities of the DaDa Da restaurant a Greek-Austrian collaboration where artist Albert Mayr was
waving a skillet and raving nonsense while Lucas Willmann tenderized pink fillets for Wiener schnitzel ldquoThis is Viennese Actionism lightrdquo
quipped critic Sotirios Bahtsetzis Artist Natasha Papadopoulos added ldquoBut here there are hungry Greeks waitingrdquo On a table with a rotating
Sacher tort by Heacutelegravene van Duijne a sign carried the overwhelming spirit FUCK ART LETrsquoS EAT SOUVLAKI An insistent electronic beat and
pulsating light emanated from the next booth the American College of Greecersquos ldquoAthensUrgentrdquo while hooded performer Manos Tsatiris
stood against the wall with his hands tied perhaps a metaphor for the current Athenian exigency ldquoThis is not the kind of art fair scene we are
used tordquo said the Economou Collectionrsquos Annie-Claire Geisinger watching the madness
Left Artists Elisabeth Penker Michela Pelusio Petros Touloudis Panos Papadopoulos and Nino Stelzl Right Collector Anne-Marie Ros
Down on the floor the dealers seemed pleased particularly given dismal expectations having already sold a great deal at the preview Young
Rotterdam-based gallery Joey Ramone had sold sculptures by Fotini Gouseti to English and Belgian collectors dealer Erik Mulier had also sold
some work to Belgians Marc Van den Hende said he had bought a triptych by Eirene Efstathiou and was considering a Vlassis Caniaris piece
from the 1970s ldquoI saw some surprisesmdashyoung Greek artists I did not knowmdashand great new galleries like Elika and CANrdquo Dutch collector
Anne-Marie Ros said By the end of the day Dimitra and Sofia Vamiali reported that they had not seen one Greek collector although another
reported a Dakis Joannou sighting mdash Cathryn Drake
SEARCH
ARTICLES
GO
Home
News
War Dead
Music
Film
Arts
Food
Diversions
Best of Seattle
About Us
Search
Classifieds
Job Mall
Special Offers
Personals
Contests
Images this
Week
Newsletter
Signup
SEATTLE
WEEKLY
in the News
Columnist
Geov Parrish
is a regular
guest on
Mind Over
Matters on
KEXP-FM
(903)
Saturdays at
830 am and
provides news
commentary
on KBCS-FM
(913) Fridays
at 430 pm
Catch writers
Steve
Wiecking Tim
Appelo and
ARTS
March 30 - April 5 2005
Picking Up the Thread
Howard House ties together the best new conceptual art from Vienna
by Elise Richman
Franz Wests Mercury
(Howard House Contemporary Art)
Theres a German expression to lose the red thread which means losing
ones train of thought In its current show Howard House has found that
thread Julie Ryan a curator artist and writer organized The Red
Thread Glimpses of International Art in Vienna a two-part exhibition
featuring artists working and living at least part time in Austrias capital
Part one of the show is at Howard House the second half is currently on
display at the Educational Alliance Gallery in New York
Vienna has become a magnet for artists from all over the world including
the 15 individuals and artist teams that are part of The Red Thread
Excellent artist residency programs a low cost of living and living art
legends like Franz West are just a few of the reasons
An artistic collaboration with West took Ryan from New York to Vienna
She knows Billy Howard who runs Howard House from the University of
Washingtons School of Art And so the figurative string was strung
connecting the East and West coasts with artists from across the Atlantic
This is a complex exhibit whose emotional tenor ranges from cool
detachment to an almost urgent earnestness Unlike the formal richly
historical city that connects them artists in The Red Thread favor informal
approaches to art making use disposable materials and comment on
contemporary cultural themes
West has two formidable sculptures at Howard House The front room of the
gallery features Mercury (pictured) an ungainly behemoth composed of a
patchwork of fused metal Like many of Wests sculptures Mercury is
meant as an interactive structure that viewers can climb and sit on Bulbous
Gavin
Borchert
discussing
theater film
and music
regularly on
classical
KING-FM
(981)
Mark Fiore
Cartoons
Every
Thursday
nodules extend from its horizontal base and the seams of the dark maroon
metal look like scars rendering it at once vaguely obscene and absurdly
playful
Sisyphus the other West sculpture on display is a bulky conglomeration of
bits and wads of paper propped in the back room on a makeshift plinth (base
block) Though its as solid as the boulder its title references its surface is
like oozing skin partly coated with poured murky paint partly cloaked in
small clumps of newspaper detritus
The strenuous act of making each of these sculptures is eminently apparent
and central to the content of Wests work West considers creation a
symbolic act As you might expect he likens the artistic process to the plight
of Sisyphus the mythological figure who eternally rolled a boulder up a hill
only to have it come crashing back down For West art involves a
Sisyphean search for what he calls the absolute through the seemingly
senseless accumulation of materials However unlike Sisyphus futile quest
Wests process can lead to epiphany making sense of the senseless
Similarly Viennese artist Elisabeth Penkers art serves a facilitative
function easing the act of translation Penker uses Haida iconography in her
multimedia work because it provides potent visual symbols that
communicate single words and whole sentences simultaneously Her prints
at Howard House feature fragments of icons floating in the papers white
space They are spare visually arresting characters that employ an
iconographic language as encoded symbols of communication
Also featured in The Red Thread is Donald Baechler an internationally
known American painter who spends extended periods of time in Vienna
Baechler equalizes his imagery by painting it all in the same style For him
the source of an image doesnt matter whether its a drawing by Picasso or
graffiti on a bathroom wall What matters is the newfound context his
paintings provide
Victory by Default is part of Baechlers Skull series In this piece a painted
skull gapes from the dirty yet sensuous confines of a large canvas Terry
cloth and wrinkled rags provide literal texture and reference the world
outside the paintings boundaries Splatterings of color around the skull like
the self-conscious marks of Jasper Johns seem to express the language of
paintingmdashhue and gestural strokesmdashin a factual rather than illusional
manner
Another American painter Lisa Ruyter lives half-time in Vienna where she
runs an influential gallery She works from photographs projected onto
large-scale canvases tracing the contours of the projected imagery with
consistent black outlines In a way that seems arbitrary she paints the shapes
formed by her contour lines in flat designer colors Man of Means based on
a photo of fashion photographers looks like a scrambled color-by-numbers
painting I cant do justice to the unusually rich assortment of conceptual art
in The Red Thread Youll just have to see it for yourself Thomas
Baumans thrashing triangular foil blanket Walter Seidls slide show of
staged snapshots Markus Schinwalds photograph of a contortionist and the
other thoughtful works connected by The Red Thread
The Red Thread Glimpses of International Art in Vienna runs through
April 30 at Howard House 604 Second Ave 206- 256-6399 1030 amndash5
pm TuesndashSat Free
KUNSTFORUM
Parallelwelten fuumlr Parlamentarier Ausstellung
Von Brigitte Borchhardt-Birbaumer
Ende Oktober endet die Zusammenarbeit von Nationalratspraumlsident Andreas Khol und Peter Pakesch Direktor des Kunsthauses Graz am Joanneum Seit 2003
hatte Pakesch als Kurator mehrere Ausstellungen in den Sitzungssaumllen des Parlaments in Zusammenarbeit mit Galerien initiiert und namhafte Positionen
ausgewaumlhlt Kriterium fuumlr Praumlsentationen war die Praumlsenz durch eine Schau in einer der bekannten Kunstinstitutionen des Landes Nach Eva Schlegel Adriana
Czernin Maria Lassnig oder Esther Stocker sind dies nun bis April 2007 Josef Dabernig Daniel Hafner Ulrike Lienbacher Alois Mosbacher und Elisabeth
Penker
Das Parlament kann dabei durch die Margaretha-Lupac Stiftung immer eine Arbeit fuumlr die wachsende Sammlung des Hauses ankaufen Zuletzt war das ein
groszliges Oumll-Acryl-Gemaumllde der Georg-Eisler-Preistraumlgerin Maja Vukoje zuvor Johanna Kandl deren Temperabild derzeit an das Lentos in Linz geliehen wird
Einige Werke haumlngen schon als kuumlnstlerische Wegweiser in den Gaumlngen des Hauses und sind auch Blickfang fuumlr die 120000 Besucher die pro Jahr das
Parlament besuchen In die Architektur von Theophil Hansen mit ihrer zeitlosen Qualitaumlt fuumlgt sich die Gegenwartskunst kongenial
Hoffnung fuumlr spaumlter
Die derzeitige Zusammenstellung macht Hoffnung auf eine Fortsetzung unter der naumlchsten Praumlsidentschaft Fotografie Computerkunst Malerei Zeichnung
und Skulptur weisen auf die Vielfalt der Werkstoffe in der Gegenwartskunst Elisabeth Penker parallel im Kunsthaus Graz zu sehen baut schwarzweiszlige
Objekte aus bemaltem Holz die in ihrer seriellen und geometrischen Anordnung auf Bezuumlge zum Performativen und auf die Musik hinweisen
Noch juumlnger ist Daniel Hafner mit seinen am Computer komponierten digitalen Drucken Morphosentransformationen von 2006 Linienraster und
Raumkonstruktionen in subtiler Farbigkeit verbinden Tendenzen der fruumlhen Op-Art mit dem Cyber-Lab
Um konstruierte Realitaumlten geht es auch in den groszligformatigen Oumllbildern von Alois Mosbacher dem bekannten Vertreter der Neuen Wilden der
Achtzigerjahre in Oumlsterreich Wanderer in Wald und Wiese erzaumlhlen die Geschichten alternativer Welten die sich mancher in der Gesellschaft als Parallele
konstruiert
Zwei Fotofriese von Josef Dabernig bilden jeweils ein Panorama von oumlffentlichen Plaumltzen auf denen es zum einen um Fuszligball geht Zum anderen ist der
Rundblick in das Oval einer scheinbaren Arena auch eine Art Sehschule fuumlr die Betrachter Ein sozialer Befund ist die dritte Bedeutungsebene
Ulrike Lienbacher die heuer mit einer groszligen Schau im Innsbrucker Taxispalais ihre Karriere fortsetzt ist mit ihren feinlinigen Tuschezeichnungen den kleinen
oft unsichtbaren Zwaumlngen in unserer Gesellschaft auf der Spur Im Lokal II des Parlaments stellt sie zwar nicht ihre Objekte und Fotos aber einige
groszligformatige Blaumltter mit Frisurenvariationen neben teils fragmentierten Frauenkoumlrpern im Umgang mit Schmutz und Hygiene aber auch Fitnesskult aus
Disziplinierung und Kontrolle betreffen in der Oumlffentlichkeit besonders den weiblichen Koumlrper Sauberkeitsmechanismen weisen auch auf Vorstellungen von
wertvoll und minderwertig hin Ihre Transformationen enthalten wie die Themen der anderen subtile Kritik und sind daher vom Kurator uumlberlegt positioniert
Zeitgenoumlssische Kunst
im Parlament
Bis April 2007
Kurator Peter Pakesch
Konfrontationen
Dienstag 10 Oktober 2006
ltlt 2003 | 2004 Jan Feb Mar Apr May Jun Jul Aug Sep Oct Nov Dec 2004 | 2005 gtgt
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31
Sunday 17 October 2004
TIME
TITLE
NAME
700 Indymedia ESF breakfast show Indymedia London
Highlights news and views from the European Social Forum and the
autonomous spaces and initiatives taking place this week
website
800 Resonance Radio Art Riot Breakfast International
Radio Art
A five part special of the Harmon E Phraisyar show commissioned for
Kunstradio in Austria starts off the morning broadcast of international radio
art
website
1100 Resonance Live from the Frieze Art Fair Anna Colin amp
Tobi Maier
1100 Chris Weaver Resonance 1044FM live electronics set with James Dunn and
Robin Warren
1130 Michael Hall gallery Vienna presents audio works by artist Elisabeth Penker
1200 Maria Fusco presents latest the Bookworks commissions
1300 The Psychology of Collecting live broadcast of the frieze art fair panel
discussion
Is collecting an irrational act guided by compulsion and desire What are the use of
objects What are the motivations behind making collecting curating and
criticizing art A discussion of the psychology of collecting and the politics of taste
Hilary Rubenstein (Psychologist)
Eric Troncy (Art Critic and Director Le Consortium Dijon)
Haim Steinbach (Artist)
Chair Alice Rawsthorn (Director Design Museum)
1500 Portable live set and presentation of sudelectronic records London
1600 Where is Adventure What is Culture live broadcast of the frieze art fair
website
panel discussion
A discussion of the relationship of art to entertainment touching on the comedic
being popular and failing miserably
Trisha Donnelly (Artist)
Christian Jankowski (Artist)
David Robbins (Writer amp Artist)
Nancy Spector (Curator of Contemporary Art Solomon R Guggenheim Museum)
Chair Matthew Higgs (Curator CCA Wattis Institute for Contemporary Arts)
1800 Melissa Bent from Rivington Arms gallery New York in conversation with
artist Dan Colan and Tobi Maier Anna Colin
1830 VOX pop recordings from the fair with Sharon Gal
1900 Resonance Radio Art Riot Sarah
Washington
The Resonance Radio Art Riot brings together some of the foremost radio artists
and thinkers from around the world The studio lab situation will feature round
table discussions live performances and streamed events
Tonight Radio Text
Events Live broadcast from Sonic Arts Network Resonance benefit featuring
Henri Chopin studio performances from Julia Lee Barclay and Aude Tournay plus
Special Features None present live concrete radiophonics - Planning For
Emergencies
Guests include Clive Graham Chris Weaver Richard Thomas Toby Clarkson
John Lovett Robin Warren and James Dunn
Topics The word as art Sound poetry text performances
At Midnight Tom Wallace present exclusive excerpts from radio art pioneer
Gregory Whitehead
website
000 Resonance Radio Art Riot Nights International
Radio Art
The Resonance Radio Art riot continues throughout the night with the finest of
international radio art Resonance FM programme makers and our international
guests have put together many special hours of classic and obscure radio
works
website
- EPenkerDocumentationpdf
-
- 2bAusstellungenPublicaSpaceEPenkerpdf
-
- 2cUntitled_InstrumentsKunsthausGrazEPenker
- 2bpoeticsKunsthaus GrazEPenker
-
- 4PresseEPenkerpdf
-
- 4Review_Seattle Weekly
-
Kunsthaus Graz
Protections
Kuratoren Adam Budak und Christine Peters
Elisabeth Penker Poetics of Dead Space
For PROTECTIONS Elisabeth Penker developed a key-sound Poetics of Dead Space which is to a large extent a homage
to Gaston Bachelards seminal book Poetics of Space where the connections between the poetry and the spatial emotions
are analysed Penkers key-sound will guide the viewer through the exhibition mapping the overall identity of the show in
some way controlling the viewers (audio-narrative) route in the maze of art objects events situations but also spatial
voids and unused corners
Fuumlr PROTECTIONS entwickelte Elisabeth Penker einen leitmotivischen Key Sound Poetics of Dead Space der weitgehend
eine Hommage an Gaston Bachelards wegweisendes Buch Poetics of Space darstellt in dem die Verbindungen zwischen
Lyrik und raumlumlichen Emotionen analysiert werden Penkers Key Sound wird das Publikum durch die Ausstellung geleiten
die Identitaumlt der Schau in ihrer Gesamtheit erfassen und in gewisser Weise die (audio-narrative) Route des Publikums im
Labyrinth der Kunstgegenstaumlnde Ereignisse und Situationen aber auch raumlumlicher Leerstellen und ungenutzter Winkel
kontrollieren
A non linear composition 7 mono active speakers are placed through out the Kunsthaus Graz Speaker placement
1 outdoor (entrance) 2 (travelator) 3 (corner with column) 4 (corner with door) 5 (corner) 6 (travelator) 7 (corner with
window)
Poetics of Dead Space Let it grow again 28 51 sec mono
Source material for composition rain sound of dried beans dropping down wood sticks breathing hardly existing
id78338975 pdfMachine by Broadgun Software - a great PDF writer - a great PDF creator - httpwwwpdfmachinecom httpwwwbroadguncom
recording of extinct languages
Poetics of Dead Space Let it grow again 28 51 sec mono
Source material for composition rain sound of dried beans dropping down wood sticks existing recording of extinct
languages
Poetics of Dead Space travelator 1 1min 04 sec mono loop
Source material for composition staff falling down man falling down stairs rattern recording untitled instrument
Background existing recording of extinct languages
Poetics of Dead Space 496 1min 409 sec mono loop
Source material for composition recording untitled instrument Background existing recording of extinct languages
Poetics of Dead Space 129525 1min 4888 sec mono loop
Source material for composition recording untitled instrument Background existing recording of extinct languages
Poetics of Dead Space 129525 1min 4888 sec mono loop
Source material for composition keyboard recording untitled instrument Background existing recording of extinct
languages
Poetics of Dead Space travelator 2 1min 5209 sec mono loop
Source material for composition recording untitled instrument violin Background existing recording of extinct
languages
Poetics of Dead Space2152518125220 1min 3200 sec mono loop
Source material for composition recording untitled instrument Background existing recording of library of extinct
languages
Poetics of Dead Space travelator 1 1min 04 sec mono loop
viewing down from upstairs Source material for composition staff falling down man falling down stairs rattern
recording untitled instrument Background existing recording of extinct languages
Poetics of Dead Space Let it grow again 028 51 sec mono
Source material for composition rain sound of coins wood sticks existing recording of extinct languages
Elisabeth Penker is a Viennese artist and musician working with sound in a sculptural context In her (subjective) tour
Penker approaches the entire anti-exhibition PROTECTIONS from an angle of its position and significance in the context
of Sound Art as located on the crossway between visual arts language and music Starting from her own house turned
into First Nation Pavillion which amongst others aims at connecting the recent discourse on cultural translation with
early avant-garde phonetic experiments Penker maps the sonic structure of Kunsthaus Graz and its (live) architecture
which for PROTECTIONS hosts an array of interdisciplinary projects with a strong audio-quality from Herwig Weisers
Death Before Disco (a micro-architecture of hyper-technological and electronic pop) through a newly created choir of
security guards for Tim Etchells Wall of Sound down to a cacophonic layers of anonimous noise generated by the
space itself and the presence of audience
Die Wiener Kuumlnstlerin und Musikerin Elisabeth Penker arbeitet mit Klang im Zusammenhang mit Bildhauerei In ihrer
(subjektiven) Fuumlhrung naumlhert sie sich der Anti-Ausstellung PROTECTIONS aus einem Blickwinkel der die Position und
Bedeutung der Klangkunst an der Kreuzung zwischen bildender Kunst Sprache und Musik verortet Von ihrem eigenen
Haus ausgehend das sich in den First Nation Pavilion verwandelt hat der u a den aktuellen Diskurs uumlber kulturelle
Uumlbersetzung mit fruumlhen phonetischen Experimenten der Avantgarde verbinden soll entwirft Penker die klangliche
Struktur des Gutshauses und seiner (Live-)Architektur die fuumlr PROTECTIONS eine Reihe von interdisziplinaumlren Projekten
mit einer starken Affinitaumlt zum Klang beherbergt von Herwig Weisers Death Before Disco (eine Mikroarchitektur aus
hyper-technoidem und elektronischem Pop) uumlber einen neu formierten Chor bestehend aus Security Guards fuumlr Tim
Etchells Wall of Sound bis zu einer Kakophonie aus anonymen Geraumluschen die vom Raum selbst und der Anwesenheit
des Publikums erzeugt werden
052813
Local Warming ATHENS
052813
AFTER A YEARLONG HIATUS the eighteenth Art-Athina hit the ground running on the evening of Thursday May 16 and the former Olympic
ldquoTae Kwon Dordquo Pavilion was packed with enthusiastic party people The fair had a more national flavor than ever this year under its new
director Alexis Caniaris the son of recently deceased artist Vlassis Caniaris whose iconic modern work has recently found great success on the
international market Of the very few foreign galleries exhibiting most were Greek-owned The Breeder gallery was dealing with the perceived
drop in the market by selling fantastic multiples by artists like Stelios Faitakis Jannis Varelas and Andreas Angelidakis at crisis-appropriate
prices ldquoNobody wants to come here now but I have already met three interested billionaire collectors today And if Greeks like you they
introduce you to their billionaire friendsrdquo raved Cologne dealer Mirko Mayer a seven-time exhibitor ldquoThat is what nobody knows There are
at least one-hundred billionaires collecting hererdquo Most international collectors were delayed several hours due to a union strike a de r igueur
mode of arrival in contemporary Greece
It was impossible to miss the exuberant activities of the DaDa Da restaurant a Greek-Austrian collaboration where artist Albert Mayr was
waving a skillet and raving nonsense while Lucas Willmann tenderized pink fillets for Wiener schnitzel ldquoThis is Viennese Actionism lightrdquo
quipped critic Sotirios Bahtsetzis Artist Natasha Papadopoulos added ldquoBut here there are hungry Greeks waitingrdquo On a table with a rotating
Sacher tort by Heacutelegravene van Duijne a sign carried the overwhelming spirit FUCK ART LETrsquoS EAT SOUVLAKI An insistent electronic beat and
pulsating light emanated from the next booth the American College of Greecersquos ldquoAthensUrgentrdquo while hooded performer Manos Tsatiris
stood against the wall with his hands tied perhaps a metaphor for the current Athenian exigency ldquoThis is not the kind of art fair scene we are
used tordquo said the Economou Collectionrsquos Annie-Claire Geisinger watching the madness
Left Artists Elisabeth Penker Michela Pelusio Petros Touloudis Panos Papadopoulos and Nino Stelzl Right Collector Anne-Marie Ros
Down on the floor the dealers seemed pleased particularly given dismal expectations having already sold a great deal at the preview Young
Rotterdam-based gallery Joey Ramone had sold sculptures by Fotini Gouseti to English and Belgian collectors dealer Erik Mulier had also sold
some work to Belgians Marc Van den Hende said he had bought a triptych by Eirene Efstathiou and was considering a Vlassis Caniaris piece
from the 1970s ldquoI saw some surprisesmdashyoung Greek artists I did not knowmdashand great new galleries like Elika and CANrdquo Dutch collector
Anne-Marie Ros said By the end of the day Dimitra and Sofia Vamiali reported that they had not seen one Greek collector although another
reported a Dakis Joannou sighting mdash Cathryn Drake
SEARCH
ARTICLES
GO
Home
News
War Dead
Music
Film
Arts
Food
Diversions
Best of Seattle
About Us
Search
Classifieds
Job Mall
Special Offers
Personals
Contests
Images this
Week
Newsletter
Signup
SEATTLE
WEEKLY
in the News
Columnist
Geov Parrish
is a regular
guest on
Mind Over
Matters on
KEXP-FM
(903)
Saturdays at
830 am and
provides news
commentary
on KBCS-FM
(913) Fridays
at 430 pm
Catch writers
Steve
Wiecking Tim
Appelo and
ARTS
March 30 - April 5 2005
Picking Up the Thread
Howard House ties together the best new conceptual art from Vienna
by Elise Richman
Franz Wests Mercury
(Howard House Contemporary Art)
Theres a German expression to lose the red thread which means losing
ones train of thought In its current show Howard House has found that
thread Julie Ryan a curator artist and writer organized The Red
Thread Glimpses of International Art in Vienna a two-part exhibition
featuring artists working and living at least part time in Austrias capital
Part one of the show is at Howard House the second half is currently on
display at the Educational Alliance Gallery in New York
Vienna has become a magnet for artists from all over the world including
the 15 individuals and artist teams that are part of The Red Thread
Excellent artist residency programs a low cost of living and living art
legends like Franz West are just a few of the reasons
An artistic collaboration with West took Ryan from New York to Vienna
She knows Billy Howard who runs Howard House from the University of
Washingtons School of Art And so the figurative string was strung
connecting the East and West coasts with artists from across the Atlantic
This is a complex exhibit whose emotional tenor ranges from cool
detachment to an almost urgent earnestness Unlike the formal richly
historical city that connects them artists in The Red Thread favor informal
approaches to art making use disposable materials and comment on
contemporary cultural themes
West has two formidable sculptures at Howard House The front room of the
gallery features Mercury (pictured) an ungainly behemoth composed of a
patchwork of fused metal Like many of Wests sculptures Mercury is
meant as an interactive structure that viewers can climb and sit on Bulbous
Gavin
Borchert
discussing
theater film
and music
regularly on
classical
KING-FM
(981)
Mark Fiore
Cartoons
Every
Thursday
nodules extend from its horizontal base and the seams of the dark maroon
metal look like scars rendering it at once vaguely obscene and absurdly
playful
Sisyphus the other West sculpture on display is a bulky conglomeration of
bits and wads of paper propped in the back room on a makeshift plinth (base
block) Though its as solid as the boulder its title references its surface is
like oozing skin partly coated with poured murky paint partly cloaked in
small clumps of newspaper detritus
The strenuous act of making each of these sculptures is eminently apparent
and central to the content of Wests work West considers creation a
symbolic act As you might expect he likens the artistic process to the plight
of Sisyphus the mythological figure who eternally rolled a boulder up a hill
only to have it come crashing back down For West art involves a
Sisyphean search for what he calls the absolute through the seemingly
senseless accumulation of materials However unlike Sisyphus futile quest
Wests process can lead to epiphany making sense of the senseless
Similarly Viennese artist Elisabeth Penkers art serves a facilitative
function easing the act of translation Penker uses Haida iconography in her
multimedia work because it provides potent visual symbols that
communicate single words and whole sentences simultaneously Her prints
at Howard House feature fragments of icons floating in the papers white
space They are spare visually arresting characters that employ an
iconographic language as encoded symbols of communication
Also featured in The Red Thread is Donald Baechler an internationally
known American painter who spends extended periods of time in Vienna
Baechler equalizes his imagery by painting it all in the same style For him
the source of an image doesnt matter whether its a drawing by Picasso or
graffiti on a bathroom wall What matters is the newfound context his
paintings provide
Victory by Default is part of Baechlers Skull series In this piece a painted
skull gapes from the dirty yet sensuous confines of a large canvas Terry
cloth and wrinkled rags provide literal texture and reference the world
outside the paintings boundaries Splatterings of color around the skull like
the self-conscious marks of Jasper Johns seem to express the language of
paintingmdashhue and gestural strokesmdashin a factual rather than illusional
manner
Another American painter Lisa Ruyter lives half-time in Vienna where she
runs an influential gallery She works from photographs projected onto
large-scale canvases tracing the contours of the projected imagery with
consistent black outlines In a way that seems arbitrary she paints the shapes
formed by her contour lines in flat designer colors Man of Means based on
a photo of fashion photographers looks like a scrambled color-by-numbers
painting I cant do justice to the unusually rich assortment of conceptual art
in The Red Thread Youll just have to see it for yourself Thomas
Baumans thrashing triangular foil blanket Walter Seidls slide show of
staged snapshots Markus Schinwalds photograph of a contortionist and the
other thoughtful works connected by The Red Thread
The Red Thread Glimpses of International Art in Vienna runs through
April 30 at Howard House 604 Second Ave 206- 256-6399 1030 amndash5
pm TuesndashSat Free
KUNSTFORUM
Parallelwelten fuumlr Parlamentarier Ausstellung
Von Brigitte Borchhardt-Birbaumer
Ende Oktober endet die Zusammenarbeit von Nationalratspraumlsident Andreas Khol und Peter Pakesch Direktor des Kunsthauses Graz am Joanneum Seit 2003
hatte Pakesch als Kurator mehrere Ausstellungen in den Sitzungssaumllen des Parlaments in Zusammenarbeit mit Galerien initiiert und namhafte Positionen
ausgewaumlhlt Kriterium fuumlr Praumlsentationen war die Praumlsenz durch eine Schau in einer der bekannten Kunstinstitutionen des Landes Nach Eva Schlegel Adriana
Czernin Maria Lassnig oder Esther Stocker sind dies nun bis April 2007 Josef Dabernig Daniel Hafner Ulrike Lienbacher Alois Mosbacher und Elisabeth
Penker
Das Parlament kann dabei durch die Margaretha-Lupac Stiftung immer eine Arbeit fuumlr die wachsende Sammlung des Hauses ankaufen Zuletzt war das ein
groszliges Oumll-Acryl-Gemaumllde der Georg-Eisler-Preistraumlgerin Maja Vukoje zuvor Johanna Kandl deren Temperabild derzeit an das Lentos in Linz geliehen wird
Einige Werke haumlngen schon als kuumlnstlerische Wegweiser in den Gaumlngen des Hauses und sind auch Blickfang fuumlr die 120000 Besucher die pro Jahr das
Parlament besuchen In die Architektur von Theophil Hansen mit ihrer zeitlosen Qualitaumlt fuumlgt sich die Gegenwartskunst kongenial
Hoffnung fuumlr spaumlter
Die derzeitige Zusammenstellung macht Hoffnung auf eine Fortsetzung unter der naumlchsten Praumlsidentschaft Fotografie Computerkunst Malerei Zeichnung
und Skulptur weisen auf die Vielfalt der Werkstoffe in der Gegenwartskunst Elisabeth Penker parallel im Kunsthaus Graz zu sehen baut schwarzweiszlige
Objekte aus bemaltem Holz die in ihrer seriellen und geometrischen Anordnung auf Bezuumlge zum Performativen und auf die Musik hinweisen
Noch juumlnger ist Daniel Hafner mit seinen am Computer komponierten digitalen Drucken Morphosentransformationen von 2006 Linienraster und
Raumkonstruktionen in subtiler Farbigkeit verbinden Tendenzen der fruumlhen Op-Art mit dem Cyber-Lab
Um konstruierte Realitaumlten geht es auch in den groszligformatigen Oumllbildern von Alois Mosbacher dem bekannten Vertreter der Neuen Wilden der
Achtzigerjahre in Oumlsterreich Wanderer in Wald und Wiese erzaumlhlen die Geschichten alternativer Welten die sich mancher in der Gesellschaft als Parallele
konstruiert
Zwei Fotofriese von Josef Dabernig bilden jeweils ein Panorama von oumlffentlichen Plaumltzen auf denen es zum einen um Fuszligball geht Zum anderen ist der
Rundblick in das Oval einer scheinbaren Arena auch eine Art Sehschule fuumlr die Betrachter Ein sozialer Befund ist die dritte Bedeutungsebene
Ulrike Lienbacher die heuer mit einer groszligen Schau im Innsbrucker Taxispalais ihre Karriere fortsetzt ist mit ihren feinlinigen Tuschezeichnungen den kleinen
oft unsichtbaren Zwaumlngen in unserer Gesellschaft auf der Spur Im Lokal II des Parlaments stellt sie zwar nicht ihre Objekte und Fotos aber einige
groszligformatige Blaumltter mit Frisurenvariationen neben teils fragmentierten Frauenkoumlrpern im Umgang mit Schmutz und Hygiene aber auch Fitnesskult aus
Disziplinierung und Kontrolle betreffen in der Oumlffentlichkeit besonders den weiblichen Koumlrper Sauberkeitsmechanismen weisen auch auf Vorstellungen von
wertvoll und minderwertig hin Ihre Transformationen enthalten wie die Themen der anderen subtile Kritik und sind daher vom Kurator uumlberlegt positioniert
Zeitgenoumlssische Kunst
im Parlament
Bis April 2007
Kurator Peter Pakesch
Konfrontationen
Dienstag 10 Oktober 2006
ltlt 2003 | 2004 Jan Feb Mar Apr May Jun Jul Aug Sep Oct Nov Dec 2004 | 2005 gtgt
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31
Sunday 17 October 2004
TIME
TITLE
NAME
700 Indymedia ESF breakfast show Indymedia London
Highlights news and views from the European Social Forum and the
autonomous spaces and initiatives taking place this week
website
800 Resonance Radio Art Riot Breakfast International
Radio Art
A five part special of the Harmon E Phraisyar show commissioned for
Kunstradio in Austria starts off the morning broadcast of international radio
art
website
1100 Resonance Live from the Frieze Art Fair Anna Colin amp
Tobi Maier
1100 Chris Weaver Resonance 1044FM live electronics set with James Dunn and
Robin Warren
1130 Michael Hall gallery Vienna presents audio works by artist Elisabeth Penker
1200 Maria Fusco presents latest the Bookworks commissions
1300 The Psychology of Collecting live broadcast of the frieze art fair panel
discussion
Is collecting an irrational act guided by compulsion and desire What are the use of
objects What are the motivations behind making collecting curating and
criticizing art A discussion of the psychology of collecting and the politics of taste
Hilary Rubenstein (Psychologist)
Eric Troncy (Art Critic and Director Le Consortium Dijon)
Haim Steinbach (Artist)
Chair Alice Rawsthorn (Director Design Museum)
1500 Portable live set and presentation of sudelectronic records London
1600 Where is Adventure What is Culture live broadcast of the frieze art fair
website
panel discussion
A discussion of the relationship of art to entertainment touching on the comedic
being popular and failing miserably
Trisha Donnelly (Artist)
Christian Jankowski (Artist)
David Robbins (Writer amp Artist)
Nancy Spector (Curator of Contemporary Art Solomon R Guggenheim Museum)
Chair Matthew Higgs (Curator CCA Wattis Institute for Contemporary Arts)
1800 Melissa Bent from Rivington Arms gallery New York in conversation with
artist Dan Colan and Tobi Maier Anna Colin
1830 VOX pop recordings from the fair with Sharon Gal
1900 Resonance Radio Art Riot Sarah
Washington
The Resonance Radio Art Riot brings together some of the foremost radio artists
and thinkers from around the world The studio lab situation will feature round
table discussions live performances and streamed events
Tonight Radio Text
Events Live broadcast from Sonic Arts Network Resonance benefit featuring
Henri Chopin studio performances from Julia Lee Barclay and Aude Tournay plus
Special Features None present live concrete radiophonics - Planning For
Emergencies
Guests include Clive Graham Chris Weaver Richard Thomas Toby Clarkson
John Lovett Robin Warren and James Dunn
Topics The word as art Sound poetry text performances
At Midnight Tom Wallace present exclusive excerpts from radio art pioneer
Gregory Whitehead
website
000 Resonance Radio Art Riot Nights International
Radio Art
The Resonance Radio Art riot continues throughout the night with the finest of
international radio art Resonance FM programme makers and our international
guests have put together many special hours of classic and obscure radio
works
website
- EPenkerDocumentationpdf
-
- 2bAusstellungenPublicaSpaceEPenkerpdf
-
- 2cUntitled_InstrumentsKunsthausGrazEPenker
- 2bpoeticsKunsthaus GrazEPenker
-
- 4PresseEPenkerpdf
-
- 4Review_Seattle Weekly
-
recording of extinct languages
Poetics of Dead Space Let it grow again 28 51 sec mono
Source material for composition rain sound of dried beans dropping down wood sticks existing recording of extinct
languages
Poetics of Dead Space travelator 1 1min 04 sec mono loop
Source material for composition staff falling down man falling down stairs rattern recording untitled instrument
Background existing recording of extinct languages
Poetics of Dead Space 496 1min 409 sec mono loop
Source material for composition recording untitled instrument Background existing recording of extinct languages
Poetics of Dead Space 129525 1min 4888 sec mono loop
Source material for composition recording untitled instrument Background existing recording of extinct languages
Poetics of Dead Space 129525 1min 4888 sec mono loop
Source material for composition keyboard recording untitled instrument Background existing recording of extinct
languages
Poetics of Dead Space travelator 2 1min 5209 sec mono loop
Source material for composition recording untitled instrument violin Background existing recording of extinct
languages
Poetics of Dead Space2152518125220 1min 3200 sec mono loop
Source material for composition recording untitled instrument Background existing recording of library of extinct
languages
Poetics of Dead Space travelator 1 1min 04 sec mono loop
viewing down from upstairs Source material for composition staff falling down man falling down stairs rattern
recording untitled instrument Background existing recording of extinct languages
Poetics of Dead Space Let it grow again 028 51 sec mono
Source material for composition rain sound of coins wood sticks existing recording of extinct languages
Elisabeth Penker is a Viennese artist and musician working with sound in a sculptural context In her (subjective) tour
Penker approaches the entire anti-exhibition PROTECTIONS from an angle of its position and significance in the context
of Sound Art as located on the crossway between visual arts language and music Starting from her own house turned
into First Nation Pavillion which amongst others aims at connecting the recent discourse on cultural translation with
early avant-garde phonetic experiments Penker maps the sonic structure of Kunsthaus Graz and its (live) architecture
which for PROTECTIONS hosts an array of interdisciplinary projects with a strong audio-quality from Herwig Weisers
Death Before Disco (a micro-architecture of hyper-technological and electronic pop) through a newly created choir of
security guards for Tim Etchells Wall of Sound down to a cacophonic layers of anonimous noise generated by the
space itself and the presence of audience
Die Wiener Kuumlnstlerin und Musikerin Elisabeth Penker arbeitet mit Klang im Zusammenhang mit Bildhauerei In ihrer
(subjektiven) Fuumlhrung naumlhert sie sich der Anti-Ausstellung PROTECTIONS aus einem Blickwinkel der die Position und
Bedeutung der Klangkunst an der Kreuzung zwischen bildender Kunst Sprache und Musik verortet Von ihrem eigenen
Haus ausgehend das sich in den First Nation Pavilion verwandelt hat der u a den aktuellen Diskurs uumlber kulturelle
Uumlbersetzung mit fruumlhen phonetischen Experimenten der Avantgarde verbinden soll entwirft Penker die klangliche
Struktur des Gutshauses und seiner (Live-)Architektur die fuumlr PROTECTIONS eine Reihe von interdisziplinaumlren Projekten
mit einer starken Affinitaumlt zum Klang beherbergt von Herwig Weisers Death Before Disco (eine Mikroarchitektur aus
hyper-technoidem und elektronischem Pop) uumlber einen neu formierten Chor bestehend aus Security Guards fuumlr Tim
Etchells Wall of Sound bis zu einer Kakophonie aus anonymen Geraumluschen die vom Raum selbst und der Anwesenheit
des Publikums erzeugt werden
052813
Local Warming ATHENS
052813
AFTER A YEARLONG HIATUS the eighteenth Art-Athina hit the ground running on the evening of Thursday May 16 and the former Olympic
ldquoTae Kwon Dordquo Pavilion was packed with enthusiastic party people The fair had a more national flavor than ever this year under its new
director Alexis Caniaris the son of recently deceased artist Vlassis Caniaris whose iconic modern work has recently found great success on the
international market Of the very few foreign galleries exhibiting most were Greek-owned The Breeder gallery was dealing with the perceived
drop in the market by selling fantastic multiples by artists like Stelios Faitakis Jannis Varelas and Andreas Angelidakis at crisis-appropriate
prices ldquoNobody wants to come here now but I have already met three interested billionaire collectors today And if Greeks like you they
introduce you to their billionaire friendsrdquo raved Cologne dealer Mirko Mayer a seven-time exhibitor ldquoThat is what nobody knows There are
at least one-hundred billionaires collecting hererdquo Most international collectors were delayed several hours due to a union strike a de r igueur
mode of arrival in contemporary Greece
It was impossible to miss the exuberant activities of the DaDa Da restaurant a Greek-Austrian collaboration where artist Albert Mayr was
waving a skillet and raving nonsense while Lucas Willmann tenderized pink fillets for Wiener schnitzel ldquoThis is Viennese Actionism lightrdquo
quipped critic Sotirios Bahtsetzis Artist Natasha Papadopoulos added ldquoBut here there are hungry Greeks waitingrdquo On a table with a rotating
Sacher tort by Heacutelegravene van Duijne a sign carried the overwhelming spirit FUCK ART LETrsquoS EAT SOUVLAKI An insistent electronic beat and
pulsating light emanated from the next booth the American College of Greecersquos ldquoAthensUrgentrdquo while hooded performer Manos Tsatiris
stood against the wall with his hands tied perhaps a metaphor for the current Athenian exigency ldquoThis is not the kind of art fair scene we are
used tordquo said the Economou Collectionrsquos Annie-Claire Geisinger watching the madness
Left Artists Elisabeth Penker Michela Pelusio Petros Touloudis Panos Papadopoulos and Nino Stelzl Right Collector Anne-Marie Ros
Down on the floor the dealers seemed pleased particularly given dismal expectations having already sold a great deal at the preview Young
Rotterdam-based gallery Joey Ramone had sold sculptures by Fotini Gouseti to English and Belgian collectors dealer Erik Mulier had also sold
some work to Belgians Marc Van den Hende said he had bought a triptych by Eirene Efstathiou and was considering a Vlassis Caniaris piece
from the 1970s ldquoI saw some surprisesmdashyoung Greek artists I did not knowmdashand great new galleries like Elika and CANrdquo Dutch collector
Anne-Marie Ros said By the end of the day Dimitra and Sofia Vamiali reported that they had not seen one Greek collector although another
reported a Dakis Joannou sighting mdash Cathryn Drake
SEARCH
ARTICLES
GO
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Week
Newsletter
Signup
SEATTLE
WEEKLY
in the News
Columnist
Geov Parrish
is a regular
guest on
Mind Over
Matters on
KEXP-FM
(903)
Saturdays at
830 am and
provides news
commentary
on KBCS-FM
(913) Fridays
at 430 pm
Catch writers
Steve
Wiecking Tim
Appelo and
ARTS
March 30 - April 5 2005
Picking Up the Thread
Howard House ties together the best new conceptual art from Vienna
by Elise Richman
Franz Wests Mercury
(Howard House Contemporary Art)
Theres a German expression to lose the red thread which means losing
ones train of thought In its current show Howard House has found that
thread Julie Ryan a curator artist and writer organized The Red
Thread Glimpses of International Art in Vienna a two-part exhibition
featuring artists working and living at least part time in Austrias capital
Part one of the show is at Howard House the second half is currently on
display at the Educational Alliance Gallery in New York
Vienna has become a magnet for artists from all over the world including
the 15 individuals and artist teams that are part of The Red Thread
Excellent artist residency programs a low cost of living and living art
legends like Franz West are just a few of the reasons
An artistic collaboration with West took Ryan from New York to Vienna
She knows Billy Howard who runs Howard House from the University of
Washingtons School of Art And so the figurative string was strung
connecting the East and West coasts with artists from across the Atlantic
This is a complex exhibit whose emotional tenor ranges from cool
detachment to an almost urgent earnestness Unlike the formal richly
historical city that connects them artists in The Red Thread favor informal
approaches to art making use disposable materials and comment on
contemporary cultural themes
West has two formidable sculptures at Howard House The front room of the
gallery features Mercury (pictured) an ungainly behemoth composed of a
patchwork of fused metal Like many of Wests sculptures Mercury is
meant as an interactive structure that viewers can climb and sit on Bulbous
Gavin
Borchert
discussing
theater film
and music
regularly on
classical
KING-FM
(981)
Mark Fiore
Cartoons
Every
Thursday
nodules extend from its horizontal base and the seams of the dark maroon
metal look like scars rendering it at once vaguely obscene and absurdly
playful
Sisyphus the other West sculpture on display is a bulky conglomeration of
bits and wads of paper propped in the back room on a makeshift plinth (base
block) Though its as solid as the boulder its title references its surface is
like oozing skin partly coated with poured murky paint partly cloaked in
small clumps of newspaper detritus
The strenuous act of making each of these sculptures is eminently apparent
and central to the content of Wests work West considers creation a
symbolic act As you might expect he likens the artistic process to the plight
of Sisyphus the mythological figure who eternally rolled a boulder up a hill
only to have it come crashing back down For West art involves a
Sisyphean search for what he calls the absolute through the seemingly
senseless accumulation of materials However unlike Sisyphus futile quest
Wests process can lead to epiphany making sense of the senseless
Similarly Viennese artist Elisabeth Penkers art serves a facilitative
function easing the act of translation Penker uses Haida iconography in her
multimedia work because it provides potent visual symbols that
communicate single words and whole sentences simultaneously Her prints
at Howard House feature fragments of icons floating in the papers white
space They are spare visually arresting characters that employ an
iconographic language as encoded symbols of communication
Also featured in The Red Thread is Donald Baechler an internationally
known American painter who spends extended periods of time in Vienna
Baechler equalizes his imagery by painting it all in the same style For him
the source of an image doesnt matter whether its a drawing by Picasso or
graffiti on a bathroom wall What matters is the newfound context his
paintings provide
Victory by Default is part of Baechlers Skull series In this piece a painted
skull gapes from the dirty yet sensuous confines of a large canvas Terry
cloth and wrinkled rags provide literal texture and reference the world
outside the paintings boundaries Splatterings of color around the skull like
the self-conscious marks of Jasper Johns seem to express the language of
paintingmdashhue and gestural strokesmdashin a factual rather than illusional
manner
Another American painter Lisa Ruyter lives half-time in Vienna where she
runs an influential gallery She works from photographs projected onto
large-scale canvases tracing the contours of the projected imagery with
consistent black outlines In a way that seems arbitrary she paints the shapes
formed by her contour lines in flat designer colors Man of Means based on
a photo of fashion photographers looks like a scrambled color-by-numbers
painting I cant do justice to the unusually rich assortment of conceptual art
in The Red Thread Youll just have to see it for yourself Thomas
Baumans thrashing triangular foil blanket Walter Seidls slide show of
staged snapshots Markus Schinwalds photograph of a contortionist and the
other thoughtful works connected by The Red Thread
The Red Thread Glimpses of International Art in Vienna runs through
April 30 at Howard House 604 Second Ave 206- 256-6399 1030 amndash5
pm TuesndashSat Free
KUNSTFORUM
Parallelwelten fuumlr Parlamentarier Ausstellung
Von Brigitte Borchhardt-Birbaumer
Ende Oktober endet die Zusammenarbeit von Nationalratspraumlsident Andreas Khol und Peter Pakesch Direktor des Kunsthauses Graz am Joanneum Seit 2003
hatte Pakesch als Kurator mehrere Ausstellungen in den Sitzungssaumllen des Parlaments in Zusammenarbeit mit Galerien initiiert und namhafte Positionen
ausgewaumlhlt Kriterium fuumlr Praumlsentationen war die Praumlsenz durch eine Schau in einer der bekannten Kunstinstitutionen des Landes Nach Eva Schlegel Adriana
Czernin Maria Lassnig oder Esther Stocker sind dies nun bis April 2007 Josef Dabernig Daniel Hafner Ulrike Lienbacher Alois Mosbacher und Elisabeth
Penker
Das Parlament kann dabei durch die Margaretha-Lupac Stiftung immer eine Arbeit fuumlr die wachsende Sammlung des Hauses ankaufen Zuletzt war das ein
groszliges Oumll-Acryl-Gemaumllde der Georg-Eisler-Preistraumlgerin Maja Vukoje zuvor Johanna Kandl deren Temperabild derzeit an das Lentos in Linz geliehen wird
Einige Werke haumlngen schon als kuumlnstlerische Wegweiser in den Gaumlngen des Hauses und sind auch Blickfang fuumlr die 120000 Besucher die pro Jahr das
Parlament besuchen In die Architektur von Theophil Hansen mit ihrer zeitlosen Qualitaumlt fuumlgt sich die Gegenwartskunst kongenial
Hoffnung fuumlr spaumlter
Die derzeitige Zusammenstellung macht Hoffnung auf eine Fortsetzung unter der naumlchsten Praumlsidentschaft Fotografie Computerkunst Malerei Zeichnung
und Skulptur weisen auf die Vielfalt der Werkstoffe in der Gegenwartskunst Elisabeth Penker parallel im Kunsthaus Graz zu sehen baut schwarzweiszlige
Objekte aus bemaltem Holz die in ihrer seriellen und geometrischen Anordnung auf Bezuumlge zum Performativen und auf die Musik hinweisen
Noch juumlnger ist Daniel Hafner mit seinen am Computer komponierten digitalen Drucken Morphosentransformationen von 2006 Linienraster und
Raumkonstruktionen in subtiler Farbigkeit verbinden Tendenzen der fruumlhen Op-Art mit dem Cyber-Lab
Um konstruierte Realitaumlten geht es auch in den groszligformatigen Oumllbildern von Alois Mosbacher dem bekannten Vertreter der Neuen Wilden der
Achtzigerjahre in Oumlsterreich Wanderer in Wald und Wiese erzaumlhlen die Geschichten alternativer Welten die sich mancher in der Gesellschaft als Parallele
konstruiert
Zwei Fotofriese von Josef Dabernig bilden jeweils ein Panorama von oumlffentlichen Plaumltzen auf denen es zum einen um Fuszligball geht Zum anderen ist der
Rundblick in das Oval einer scheinbaren Arena auch eine Art Sehschule fuumlr die Betrachter Ein sozialer Befund ist die dritte Bedeutungsebene
Ulrike Lienbacher die heuer mit einer groszligen Schau im Innsbrucker Taxispalais ihre Karriere fortsetzt ist mit ihren feinlinigen Tuschezeichnungen den kleinen
oft unsichtbaren Zwaumlngen in unserer Gesellschaft auf der Spur Im Lokal II des Parlaments stellt sie zwar nicht ihre Objekte und Fotos aber einige
groszligformatige Blaumltter mit Frisurenvariationen neben teils fragmentierten Frauenkoumlrpern im Umgang mit Schmutz und Hygiene aber auch Fitnesskult aus
Disziplinierung und Kontrolle betreffen in der Oumlffentlichkeit besonders den weiblichen Koumlrper Sauberkeitsmechanismen weisen auch auf Vorstellungen von
wertvoll und minderwertig hin Ihre Transformationen enthalten wie die Themen der anderen subtile Kritik und sind daher vom Kurator uumlberlegt positioniert
Zeitgenoumlssische Kunst
im Parlament
Bis April 2007
Kurator Peter Pakesch
Konfrontationen
Dienstag 10 Oktober 2006
ltlt 2003 | 2004 Jan Feb Mar Apr May Jun Jul Aug Sep Oct Nov Dec 2004 | 2005 gtgt
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31
Sunday 17 October 2004
TIME
TITLE
NAME
700 Indymedia ESF breakfast show Indymedia London
Highlights news and views from the European Social Forum and the
autonomous spaces and initiatives taking place this week
website
800 Resonance Radio Art Riot Breakfast International
Radio Art
A five part special of the Harmon E Phraisyar show commissioned for
Kunstradio in Austria starts off the morning broadcast of international radio
art
website
1100 Resonance Live from the Frieze Art Fair Anna Colin amp
Tobi Maier
1100 Chris Weaver Resonance 1044FM live electronics set with James Dunn and
Robin Warren
1130 Michael Hall gallery Vienna presents audio works by artist Elisabeth Penker
1200 Maria Fusco presents latest the Bookworks commissions
1300 The Psychology of Collecting live broadcast of the frieze art fair panel
discussion
Is collecting an irrational act guided by compulsion and desire What are the use of
objects What are the motivations behind making collecting curating and
criticizing art A discussion of the psychology of collecting and the politics of taste
Hilary Rubenstein (Psychologist)
Eric Troncy (Art Critic and Director Le Consortium Dijon)
Haim Steinbach (Artist)
Chair Alice Rawsthorn (Director Design Museum)
1500 Portable live set and presentation of sudelectronic records London
1600 Where is Adventure What is Culture live broadcast of the frieze art fair
website
panel discussion
A discussion of the relationship of art to entertainment touching on the comedic
being popular and failing miserably
Trisha Donnelly (Artist)
Christian Jankowski (Artist)
David Robbins (Writer amp Artist)
Nancy Spector (Curator of Contemporary Art Solomon R Guggenheim Museum)
Chair Matthew Higgs (Curator CCA Wattis Institute for Contemporary Arts)
1800 Melissa Bent from Rivington Arms gallery New York in conversation with
artist Dan Colan and Tobi Maier Anna Colin
1830 VOX pop recordings from the fair with Sharon Gal
1900 Resonance Radio Art Riot Sarah
Washington
The Resonance Radio Art Riot brings together some of the foremost radio artists
and thinkers from around the world The studio lab situation will feature round
table discussions live performances and streamed events
Tonight Radio Text
Events Live broadcast from Sonic Arts Network Resonance benefit featuring
Henri Chopin studio performances from Julia Lee Barclay and Aude Tournay plus
Special Features None present live concrete radiophonics - Planning For
Emergencies
Guests include Clive Graham Chris Weaver Richard Thomas Toby Clarkson
John Lovett Robin Warren and James Dunn
Topics The word as art Sound poetry text performances
At Midnight Tom Wallace present exclusive excerpts from radio art pioneer
Gregory Whitehead
website
000 Resonance Radio Art Riot Nights International
Radio Art
The Resonance Radio Art riot continues throughout the night with the finest of
international radio art Resonance FM programme makers and our international
guests have put together many special hours of classic and obscure radio
works
website
- EPenkerDocumentationpdf
-
- 2bAusstellungenPublicaSpaceEPenkerpdf
-
- 2cUntitled_InstrumentsKunsthausGrazEPenker
- 2bpoeticsKunsthaus GrazEPenker
-
- 4PresseEPenkerpdf
-
- 4Review_Seattle Weekly
-
Poetics of Dead Space travelator 1 1min 04 sec mono loop
Source material for composition staff falling down man falling down stairs rattern recording untitled instrument
Background existing recording of extinct languages
Poetics of Dead Space 496 1min 409 sec mono loop
Source material for composition recording untitled instrument Background existing recording of extinct languages
Poetics of Dead Space 129525 1min 4888 sec mono loop
Source material for composition recording untitled instrument Background existing recording of extinct languages
Poetics of Dead Space 129525 1min 4888 sec mono loop
Source material for composition keyboard recording untitled instrument Background existing recording of extinct
languages
Poetics of Dead Space travelator 2 1min 5209 sec mono loop
Source material for composition recording untitled instrument violin Background existing recording of extinct
languages
Poetics of Dead Space2152518125220 1min 3200 sec mono loop
Source material for composition recording untitled instrument Background existing recording of library of extinct
languages
Poetics of Dead Space travelator 1 1min 04 sec mono loop
viewing down from upstairs Source material for composition staff falling down man falling down stairs rattern
recording untitled instrument Background existing recording of extinct languages
Poetics of Dead Space Let it grow again 028 51 sec mono
Source material for composition rain sound of coins wood sticks existing recording of extinct languages
Elisabeth Penker is a Viennese artist and musician working with sound in a sculptural context In her (subjective) tour
Penker approaches the entire anti-exhibition PROTECTIONS from an angle of its position and significance in the context
of Sound Art as located on the crossway between visual arts language and music Starting from her own house turned
into First Nation Pavillion which amongst others aims at connecting the recent discourse on cultural translation with
early avant-garde phonetic experiments Penker maps the sonic structure of Kunsthaus Graz and its (live) architecture
which for PROTECTIONS hosts an array of interdisciplinary projects with a strong audio-quality from Herwig Weisers
Death Before Disco (a micro-architecture of hyper-technological and electronic pop) through a newly created choir of
security guards for Tim Etchells Wall of Sound down to a cacophonic layers of anonimous noise generated by the
space itself and the presence of audience
Die Wiener Kuumlnstlerin und Musikerin Elisabeth Penker arbeitet mit Klang im Zusammenhang mit Bildhauerei In ihrer
(subjektiven) Fuumlhrung naumlhert sie sich der Anti-Ausstellung PROTECTIONS aus einem Blickwinkel der die Position und
Bedeutung der Klangkunst an der Kreuzung zwischen bildender Kunst Sprache und Musik verortet Von ihrem eigenen
Haus ausgehend das sich in den First Nation Pavilion verwandelt hat der u a den aktuellen Diskurs uumlber kulturelle
Uumlbersetzung mit fruumlhen phonetischen Experimenten der Avantgarde verbinden soll entwirft Penker die klangliche
Struktur des Gutshauses und seiner (Live-)Architektur die fuumlr PROTECTIONS eine Reihe von interdisziplinaumlren Projekten
mit einer starken Affinitaumlt zum Klang beherbergt von Herwig Weisers Death Before Disco (eine Mikroarchitektur aus
hyper-technoidem und elektronischem Pop) uumlber einen neu formierten Chor bestehend aus Security Guards fuumlr Tim
Etchells Wall of Sound bis zu einer Kakophonie aus anonymen Geraumluschen die vom Raum selbst und der Anwesenheit
des Publikums erzeugt werden
052813
Local Warming ATHENS
052813
AFTER A YEARLONG HIATUS the eighteenth Art-Athina hit the ground running on the evening of Thursday May 16 and the former Olympic
ldquoTae Kwon Dordquo Pavilion was packed with enthusiastic party people The fair had a more national flavor than ever this year under its new
director Alexis Caniaris the son of recently deceased artist Vlassis Caniaris whose iconic modern work has recently found great success on the
international market Of the very few foreign galleries exhibiting most were Greek-owned The Breeder gallery was dealing with the perceived
drop in the market by selling fantastic multiples by artists like Stelios Faitakis Jannis Varelas and Andreas Angelidakis at crisis-appropriate
prices ldquoNobody wants to come here now but I have already met three interested billionaire collectors today And if Greeks like you they
introduce you to their billionaire friendsrdquo raved Cologne dealer Mirko Mayer a seven-time exhibitor ldquoThat is what nobody knows There are
at least one-hundred billionaires collecting hererdquo Most international collectors were delayed several hours due to a union strike a de r igueur
mode of arrival in contemporary Greece
It was impossible to miss the exuberant activities of the DaDa Da restaurant a Greek-Austrian collaboration where artist Albert Mayr was
waving a skillet and raving nonsense while Lucas Willmann tenderized pink fillets for Wiener schnitzel ldquoThis is Viennese Actionism lightrdquo
quipped critic Sotirios Bahtsetzis Artist Natasha Papadopoulos added ldquoBut here there are hungry Greeks waitingrdquo On a table with a rotating
Sacher tort by Heacutelegravene van Duijne a sign carried the overwhelming spirit FUCK ART LETrsquoS EAT SOUVLAKI An insistent electronic beat and
pulsating light emanated from the next booth the American College of Greecersquos ldquoAthensUrgentrdquo while hooded performer Manos Tsatiris
stood against the wall with his hands tied perhaps a metaphor for the current Athenian exigency ldquoThis is not the kind of art fair scene we are
used tordquo said the Economou Collectionrsquos Annie-Claire Geisinger watching the madness
Left Artists Elisabeth Penker Michela Pelusio Petros Touloudis Panos Papadopoulos and Nino Stelzl Right Collector Anne-Marie Ros
Down on the floor the dealers seemed pleased particularly given dismal expectations having already sold a great deal at the preview Young
Rotterdam-based gallery Joey Ramone had sold sculptures by Fotini Gouseti to English and Belgian collectors dealer Erik Mulier had also sold
some work to Belgians Marc Van den Hende said he had bought a triptych by Eirene Efstathiou and was considering a Vlassis Caniaris piece
from the 1970s ldquoI saw some surprisesmdashyoung Greek artists I did not knowmdashand great new galleries like Elika and CANrdquo Dutch collector
Anne-Marie Ros said By the end of the day Dimitra and Sofia Vamiali reported that they had not seen one Greek collector although another
reported a Dakis Joannou sighting mdash Cathryn Drake
SEARCH
ARTICLES
GO
Home
News
War Dead
Music
Film
Arts
Food
Diversions
Best of Seattle
About Us
Search
Classifieds
Job Mall
Special Offers
Personals
Contests
Images this
Week
Newsletter
Signup
SEATTLE
WEEKLY
in the News
Columnist
Geov Parrish
is a regular
guest on
Mind Over
Matters on
KEXP-FM
(903)
Saturdays at
830 am and
provides news
commentary
on KBCS-FM
(913) Fridays
at 430 pm
Catch writers
Steve
Wiecking Tim
Appelo and
ARTS
March 30 - April 5 2005
Picking Up the Thread
Howard House ties together the best new conceptual art from Vienna
by Elise Richman
Franz Wests Mercury
(Howard House Contemporary Art)
Theres a German expression to lose the red thread which means losing
ones train of thought In its current show Howard House has found that
thread Julie Ryan a curator artist and writer organized The Red
Thread Glimpses of International Art in Vienna a two-part exhibition
featuring artists working and living at least part time in Austrias capital
Part one of the show is at Howard House the second half is currently on
display at the Educational Alliance Gallery in New York
Vienna has become a magnet for artists from all over the world including
the 15 individuals and artist teams that are part of The Red Thread
Excellent artist residency programs a low cost of living and living art
legends like Franz West are just a few of the reasons
An artistic collaboration with West took Ryan from New York to Vienna
She knows Billy Howard who runs Howard House from the University of
Washingtons School of Art And so the figurative string was strung
connecting the East and West coasts with artists from across the Atlantic
This is a complex exhibit whose emotional tenor ranges from cool
detachment to an almost urgent earnestness Unlike the formal richly
historical city that connects them artists in The Red Thread favor informal
approaches to art making use disposable materials and comment on
contemporary cultural themes
West has two formidable sculptures at Howard House The front room of the
gallery features Mercury (pictured) an ungainly behemoth composed of a
patchwork of fused metal Like many of Wests sculptures Mercury is
meant as an interactive structure that viewers can climb and sit on Bulbous
Gavin
Borchert
discussing
theater film
and music
regularly on
classical
KING-FM
(981)
Mark Fiore
Cartoons
Every
Thursday
nodules extend from its horizontal base and the seams of the dark maroon
metal look like scars rendering it at once vaguely obscene and absurdly
playful
Sisyphus the other West sculpture on display is a bulky conglomeration of
bits and wads of paper propped in the back room on a makeshift plinth (base
block) Though its as solid as the boulder its title references its surface is
like oozing skin partly coated with poured murky paint partly cloaked in
small clumps of newspaper detritus
The strenuous act of making each of these sculptures is eminently apparent
and central to the content of Wests work West considers creation a
symbolic act As you might expect he likens the artistic process to the plight
of Sisyphus the mythological figure who eternally rolled a boulder up a hill
only to have it come crashing back down For West art involves a
Sisyphean search for what he calls the absolute through the seemingly
senseless accumulation of materials However unlike Sisyphus futile quest
Wests process can lead to epiphany making sense of the senseless
Similarly Viennese artist Elisabeth Penkers art serves a facilitative
function easing the act of translation Penker uses Haida iconography in her
multimedia work because it provides potent visual symbols that
communicate single words and whole sentences simultaneously Her prints
at Howard House feature fragments of icons floating in the papers white
space They are spare visually arresting characters that employ an
iconographic language as encoded symbols of communication
Also featured in The Red Thread is Donald Baechler an internationally
known American painter who spends extended periods of time in Vienna
Baechler equalizes his imagery by painting it all in the same style For him
the source of an image doesnt matter whether its a drawing by Picasso or
graffiti on a bathroom wall What matters is the newfound context his
paintings provide
Victory by Default is part of Baechlers Skull series In this piece a painted
skull gapes from the dirty yet sensuous confines of a large canvas Terry
cloth and wrinkled rags provide literal texture and reference the world
outside the paintings boundaries Splatterings of color around the skull like
the self-conscious marks of Jasper Johns seem to express the language of
paintingmdashhue and gestural strokesmdashin a factual rather than illusional
manner
Another American painter Lisa Ruyter lives half-time in Vienna where she
runs an influential gallery She works from photographs projected onto
large-scale canvases tracing the contours of the projected imagery with
consistent black outlines In a way that seems arbitrary she paints the shapes
formed by her contour lines in flat designer colors Man of Means based on
a photo of fashion photographers looks like a scrambled color-by-numbers
painting I cant do justice to the unusually rich assortment of conceptual art
in The Red Thread Youll just have to see it for yourself Thomas
Baumans thrashing triangular foil blanket Walter Seidls slide show of
staged snapshots Markus Schinwalds photograph of a contortionist and the
other thoughtful works connected by The Red Thread
The Red Thread Glimpses of International Art in Vienna runs through
April 30 at Howard House 604 Second Ave 206- 256-6399 1030 amndash5
pm TuesndashSat Free
KUNSTFORUM
Parallelwelten fuumlr Parlamentarier Ausstellung
Von Brigitte Borchhardt-Birbaumer
Ende Oktober endet die Zusammenarbeit von Nationalratspraumlsident Andreas Khol und Peter Pakesch Direktor des Kunsthauses Graz am Joanneum Seit 2003
hatte Pakesch als Kurator mehrere Ausstellungen in den Sitzungssaumllen des Parlaments in Zusammenarbeit mit Galerien initiiert und namhafte Positionen
ausgewaumlhlt Kriterium fuumlr Praumlsentationen war die Praumlsenz durch eine Schau in einer der bekannten Kunstinstitutionen des Landes Nach Eva Schlegel Adriana
Czernin Maria Lassnig oder Esther Stocker sind dies nun bis April 2007 Josef Dabernig Daniel Hafner Ulrike Lienbacher Alois Mosbacher und Elisabeth
Penker
Das Parlament kann dabei durch die Margaretha-Lupac Stiftung immer eine Arbeit fuumlr die wachsende Sammlung des Hauses ankaufen Zuletzt war das ein
groszliges Oumll-Acryl-Gemaumllde der Georg-Eisler-Preistraumlgerin Maja Vukoje zuvor Johanna Kandl deren Temperabild derzeit an das Lentos in Linz geliehen wird
Einige Werke haumlngen schon als kuumlnstlerische Wegweiser in den Gaumlngen des Hauses und sind auch Blickfang fuumlr die 120000 Besucher die pro Jahr das
Parlament besuchen In die Architektur von Theophil Hansen mit ihrer zeitlosen Qualitaumlt fuumlgt sich die Gegenwartskunst kongenial
Hoffnung fuumlr spaumlter
Die derzeitige Zusammenstellung macht Hoffnung auf eine Fortsetzung unter der naumlchsten Praumlsidentschaft Fotografie Computerkunst Malerei Zeichnung
und Skulptur weisen auf die Vielfalt der Werkstoffe in der Gegenwartskunst Elisabeth Penker parallel im Kunsthaus Graz zu sehen baut schwarzweiszlige
Objekte aus bemaltem Holz die in ihrer seriellen und geometrischen Anordnung auf Bezuumlge zum Performativen und auf die Musik hinweisen
Noch juumlnger ist Daniel Hafner mit seinen am Computer komponierten digitalen Drucken Morphosentransformationen von 2006 Linienraster und
Raumkonstruktionen in subtiler Farbigkeit verbinden Tendenzen der fruumlhen Op-Art mit dem Cyber-Lab
Um konstruierte Realitaumlten geht es auch in den groszligformatigen Oumllbildern von Alois Mosbacher dem bekannten Vertreter der Neuen Wilden der
Achtzigerjahre in Oumlsterreich Wanderer in Wald und Wiese erzaumlhlen die Geschichten alternativer Welten die sich mancher in der Gesellschaft als Parallele
konstruiert
Zwei Fotofriese von Josef Dabernig bilden jeweils ein Panorama von oumlffentlichen Plaumltzen auf denen es zum einen um Fuszligball geht Zum anderen ist der
Rundblick in das Oval einer scheinbaren Arena auch eine Art Sehschule fuumlr die Betrachter Ein sozialer Befund ist die dritte Bedeutungsebene
Ulrike Lienbacher die heuer mit einer groszligen Schau im Innsbrucker Taxispalais ihre Karriere fortsetzt ist mit ihren feinlinigen Tuschezeichnungen den kleinen
oft unsichtbaren Zwaumlngen in unserer Gesellschaft auf der Spur Im Lokal II des Parlaments stellt sie zwar nicht ihre Objekte und Fotos aber einige
groszligformatige Blaumltter mit Frisurenvariationen neben teils fragmentierten Frauenkoumlrpern im Umgang mit Schmutz und Hygiene aber auch Fitnesskult aus
Disziplinierung und Kontrolle betreffen in der Oumlffentlichkeit besonders den weiblichen Koumlrper Sauberkeitsmechanismen weisen auch auf Vorstellungen von
wertvoll und minderwertig hin Ihre Transformationen enthalten wie die Themen der anderen subtile Kritik und sind daher vom Kurator uumlberlegt positioniert
Zeitgenoumlssische Kunst
im Parlament
Bis April 2007
Kurator Peter Pakesch
Konfrontationen
Dienstag 10 Oktober 2006
ltlt 2003 | 2004 Jan Feb Mar Apr May Jun Jul Aug Sep Oct Nov Dec 2004 | 2005 gtgt
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31
Sunday 17 October 2004
TIME
TITLE
NAME
700 Indymedia ESF breakfast show Indymedia London
Highlights news and views from the European Social Forum and the
autonomous spaces and initiatives taking place this week
website
800 Resonance Radio Art Riot Breakfast International
Radio Art
A five part special of the Harmon E Phraisyar show commissioned for
Kunstradio in Austria starts off the morning broadcast of international radio
art
website
1100 Resonance Live from the Frieze Art Fair Anna Colin amp
Tobi Maier
1100 Chris Weaver Resonance 1044FM live electronics set with James Dunn and
Robin Warren
1130 Michael Hall gallery Vienna presents audio works by artist Elisabeth Penker
1200 Maria Fusco presents latest the Bookworks commissions
1300 The Psychology of Collecting live broadcast of the frieze art fair panel
discussion
Is collecting an irrational act guided by compulsion and desire What are the use of
objects What are the motivations behind making collecting curating and
criticizing art A discussion of the psychology of collecting and the politics of taste
Hilary Rubenstein (Psychologist)
Eric Troncy (Art Critic and Director Le Consortium Dijon)
Haim Steinbach (Artist)
Chair Alice Rawsthorn (Director Design Museum)
1500 Portable live set and presentation of sudelectronic records London
1600 Where is Adventure What is Culture live broadcast of the frieze art fair
website
panel discussion
A discussion of the relationship of art to entertainment touching on the comedic
being popular and failing miserably
Trisha Donnelly (Artist)
Christian Jankowski (Artist)
David Robbins (Writer amp Artist)
Nancy Spector (Curator of Contemporary Art Solomon R Guggenheim Museum)
Chair Matthew Higgs (Curator CCA Wattis Institute for Contemporary Arts)
1800 Melissa Bent from Rivington Arms gallery New York in conversation with
artist Dan Colan and Tobi Maier Anna Colin
1830 VOX pop recordings from the fair with Sharon Gal
1900 Resonance Radio Art Riot Sarah
Washington
The Resonance Radio Art Riot brings together some of the foremost radio artists
and thinkers from around the world The studio lab situation will feature round
table discussions live performances and streamed events
Tonight Radio Text
Events Live broadcast from Sonic Arts Network Resonance benefit featuring
Henri Chopin studio performances from Julia Lee Barclay and Aude Tournay plus
Special Features None present live concrete radiophonics - Planning For
Emergencies
Guests include Clive Graham Chris Weaver Richard Thomas Toby Clarkson
John Lovett Robin Warren and James Dunn
Topics The word as art Sound poetry text performances
At Midnight Tom Wallace present exclusive excerpts from radio art pioneer
Gregory Whitehead
website
000 Resonance Radio Art Riot Nights International
Radio Art
The Resonance Radio Art riot continues throughout the night with the finest of
international radio art Resonance FM programme makers and our international
guests have put together many special hours of classic and obscure radio
works
website
- EPenkerDocumentationpdf
-
- 2bAusstellungenPublicaSpaceEPenkerpdf
-
- 2cUntitled_InstrumentsKunsthausGrazEPenker
- 2bpoeticsKunsthaus GrazEPenker
-
- 4PresseEPenkerpdf
-
- 4Review_Seattle Weekly
-
Poetics of Dead Space 496 1min 409 sec mono loop
Source material for composition recording untitled instrument Background existing recording of extinct languages
Poetics of Dead Space 129525 1min 4888 sec mono loop
Source material for composition recording untitled instrument Background existing recording of extinct languages
Poetics of Dead Space 129525 1min 4888 sec mono loop
Source material for composition keyboard recording untitled instrument Background existing recording of extinct
languages
Poetics of Dead Space travelator 2 1min 5209 sec mono loop
Source material for composition recording untitled instrument violin Background existing recording of extinct
languages
Poetics of Dead Space2152518125220 1min 3200 sec mono loop
Source material for composition recording untitled instrument Background existing recording of library of extinct
languages
Poetics of Dead Space travelator 1 1min 04 sec mono loop
viewing down from upstairs Source material for composition staff falling down man falling down stairs rattern
recording untitled instrument Background existing recording of extinct languages
Poetics of Dead Space Let it grow again 028 51 sec mono
Source material for composition rain sound of coins wood sticks existing recording of extinct languages
Elisabeth Penker is a Viennese artist and musician working with sound in a sculptural context In her (subjective) tour
Penker approaches the entire anti-exhibition PROTECTIONS from an angle of its position and significance in the context
of Sound Art as located on the crossway between visual arts language and music Starting from her own house turned
into First Nation Pavillion which amongst others aims at connecting the recent discourse on cultural translation with
early avant-garde phonetic experiments Penker maps the sonic structure of Kunsthaus Graz and its (live) architecture
which for PROTECTIONS hosts an array of interdisciplinary projects with a strong audio-quality from Herwig Weisers
Death Before Disco (a micro-architecture of hyper-technological and electronic pop) through a newly created choir of
security guards for Tim Etchells Wall of Sound down to a cacophonic layers of anonimous noise generated by the
space itself and the presence of audience
Die Wiener Kuumlnstlerin und Musikerin Elisabeth Penker arbeitet mit Klang im Zusammenhang mit Bildhauerei In ihrer
(subjektiven) Fuumlhrung naumlhert sie sich der Anti-Ausstellung PROTECTIONS aus einem Blickwinkel der die Position und
Bedeutung der Klangkunst an der Kreuzung zwischen bildender Kunst Sprache und Musik verortet Von ihrem eigenen
Haus ausgehend das sich in den First Nation Pavilion verwandelt hat der u a den aktuellen Diskurs uumlber kulturelle
Uumlbersetzung mit fruumlhen phonetischen Experimenten der Avantgarde verbinden soll entwirft Penker die klangliche
Struktur des Gutshauses und seiner (Live-)Architektur die fuumlr PROTECTIONS eine Reihe von interdisziplinaumlren Projekten
mit einer starken Affinitaumlt zum Klang beherbergt von Herwig Weisers Death Before Disco (eine Mikroarchitektur aus
hyper-technoidem und elektronischem Pop) uumlber einen neu formierten Chor bestehend aus Security Guards fuumlr Tim
Etchells Wall of Sound bis zu einer Kakophonie aus anonymen Geraumluschen die vom Raum selbst und der Anwesenheit
des Publikums erzeugt werden
052813
Local Warming ATHENS
052813
AFTER A YEARLONG HIATUS the eighteenth Art-Athina hit the ground running on the evening of Thursday May 16 and the former Olympic
ldquoTae Kwon Dordquo Pavilion was packed with enthusiastic party people The fair had a more national flavor than ever this year under its new
director Alexis Caniaris the son of recently deceased artist Vlassis Caniaris whose iconic modern work has recently found great success on the
international market Of the very few foreign galleries exhibiting most were Greek-owned The Breeder gallery was dealing with the perceived
drop in the market by selling fantastic multiples by artists like Stelios Faitakis Jannis Varelas and Andreas Angelidakis at crisis-appropriate
prices ldquoNobody wants to come here now but I have already met three interested billionaire collectors today And if Greeks like you they
introduce you to their billionaire friendsrdquo raved Cologne dealer Mirko Mayer a seven-time exhibitor ldquoThat is what nobody knows There are
at least one-hundred billionaires collecting hererdquo Most international collectors were delayed several hours due to a union strike a de r igueur
mode of arrival in contemporary Greece
It was impossible to miss the exuberant activities of the DaDa Da restaurant a Greek-Austrian collaboration where artist Albert Mayr was
waving a skillet and raving nonsense while Lucas Willmann tenderized pink fillets for Wiener schnitzel ldquoThis is Viennese Actionism lightrdquo
quipped critic Sotirios Bahtsetzis Artist Natasha Papadopoulos added ldquoBut here there are hungry Greeks waitingrdquo On a table with a rotating
Sacher tort by Heacutelegravene van Duijne a sign carried the overwhelming spirit FUCK ART LETrsquoS EAT SOUVLAKI An insistent electronic beat and
pulsating light emanated from the next booth the American College of Greecersquos ldquoAthensUrgentrdquo while hooded performer Manos Tsatiris
stood against the wall with his hands tied perhaps a metaphor for the current Athenian exigency ldquoThis is not the kind of art fair scene we are
used tordquo said the Economou Collectionrsquos Annie-Claire Geisinger watching the madness
Left Artists Elisabeth Penker Michela Pelusio Petros Touloudis Panos Papadopoulos and Nino Stelzl Right Collector Anne-Marie Ros
Down on the floor the dealers seemed pleased particularly given dismal expectations having already sold a great deal at the preview Young
Rotterdam-based gallery Joey Ramone had sold sculptures by Fotini Gouseti to English and Belgian collectors dealer Erik Mulier had also sold
some work to Belgians Marc Van den Hende said he had bought a triptych by Eirene Efstathiou and was considering a Vlassis Caniaris piece
from the 1970s ldquoI saw some surprisesmdashyoung Greek artists I did not knowmdashand great new galleries like Elika and CANrdquo Dutch collector
Anne-Marie Ros said By the end of the day Dimitra and Sofia Vamiali reported that they had not seen one Greek collector although another
reported a Dakis Joannou sighting mdash Cathryn Drake
SEARCH
ARTICLES
GO
Home
News
War Dead
Music
Film
Arts
Food
Diversions
Best of Seattle
About Us
Search
Classifieds
Job Mall
Special Offers
Personals
Contests
Images this
Week
Newsletter
Signup
SEATTLE
WEEKLY
in the News
Columnist
Geov Parrish
is a regular
guest on
Mind Over
Matters on
KEXP-FM
(903)
Saturdays at
830 am and
provides news
commentary
on KBCS-FM
(913) Fridays
at 430 pm
Catch writers
Steve
Wiecking Tim
Appelo and
ARTS
March 30 - April 5 2005
Picking Up the Thread
Howard House ties together the best new conceptual art from Vienna
by Elise Richman
Franz Wests Mercury
(Howard House Contemporary Art)
Theres a German expression to lose the red thread which means losing
ones train of thought In its current show Howard House has found that
thread Julie Ryan a curator artist and writer organized The Red
Thread Glimpses of International Art in Vienna a two-part exhibition
featuring artists working and living at least part time in Austrias capital
Part one of the show is at Howard House the second half is currently on
display at the Educational Alliance Gallery in New York
Vienna has become a magnet for artists from all over the world including
the 15 individuals and artist teams that are part of The Red Thread
Excellent artist residency programs a low cost of living and living art
legends like Franz West are just a few of the reasons
An artistic collaboration with West took Ryan from New York to Vienna
She knows Billy Howard who runs Howard House from the University of
Washingtons School of Art And so the figurative string was strung
connecting the East and West coasts with artists from across the Atlantic
This is a complex exhibit whose emotional tenor ranges from cool
detachment to an almost urgent earnestness Unlike the formal richly
historical city that connects them artists in The Red Thread favor informal
approaches to art making use disposable materials and comment on
contemporary cultural themes
West has two formidable sculptures at Howard House The front room of the
gallery features Mercury (pictured) an ungainly behemoth composed of a
patchwork of fused metal Like many of Wests sculptures Mercury is
meant as an interactive structure that viewers can climb and sit on Bulbous
Gavin
Borchert
discussing
theater film
and music
regularly on
classical
KING-FM
(981)
Mark Fiore
Cartoons
Every
Thursday
nodules extend from its horizontal base and the seams of the dark maroon
metal look like scars rendering it at once vaguely obscene and absurdly
playful
Sisyphus the other West sculpture on display is a bulky conglomeration of
bits and wads of paper propped in the back room on a makeshift plinth (base
block) Though its as solid as the boulder its title references its surface is
like oozing skin partly coated with poured murky paint partly cloaked in
small clumps of newspaper detritus
The strenuous act of making each of these sculptures is eminently apparent
and central to the content of Wests work West considers creation a
symbolic act As you might expect he likens the artistic process to the plight
of Sisyphus the mythological figure who eternally rolled a boulder up a hill
only to have it come crashing back down For West art involves a
Sisyphean search for what he calls the absolute through the seemingly
senseless accumulation of materials However unlike Sisyphus futile quest
Wests process can lead to epiphany making sense of the senseless
Similarly Viennese artist Elisabeth Penkers art serves a facilitative
function easing the act of translation Penker uses Haida iconography in her
multimedia work because it provides potent visual symbols that
communicate single words and whole sentences simultaneously Her prints
at Howard House feature fragments of icons floating in the papers white
space They are spare visually arresting characters that employ an
iconographic language as encoded symbols of communication
Also featured in The Red Thread is Donald Baechler an internationally
known American painter who spends extended periods of time in Vienna
Baechler equalizes his imagery by painting it all in the same style For him
the source of an image doesnt matter whether its a drawing by Picasso or
graffiti on a bathroom wall What matters is the newfound context his
paintings provide
Victory by Default is part of Baechlers Skull series In this piece a painted
skull gapes from the dirty yet sensuous confines of a large canvas Terry
cloth and wrinkled rags provide literal texture and reference the world
outside the paintings boundaries Splatterings of color around the skull like
the self-conscious marks of Jasper Johns seem to express the language of
paintingmdashhue and gestural strokesmdashin a factual rather than illusional
manner
Another American painter Lisa Ruyter lives half-time in Vienna where she
runs an influential gallery She works from photographs projected onto
large-scale canvases tracing the contours of the projected imagery with
consistent black outlines In a way that seems arbitrary she paints the shapes
formed by her contour lines in flat designer colors Man of Means based on
a photo of fashion photographers looks like a scrambled color-by-numbers
painting I cant do justice to the unusually rich assortment of conceptual art
in The Red Thread Youll just have to see it for yourself Thomas
Baumans thrashing triangular foil blanket Walter Seidls slide show of
staged snapshots Markus Schinwalds photograph of a contortionist and the
other thoughtful works connected by The Red Thread
The Red Thread Glimpses of International Art in Vienna runs through
April 30 at Howard House 604 Second Ave 206- 256-6399 1030 amndash5
pm TuesndashSat Free
KUNSTFORUM
Parallelwelten fuumlr Parlamentarier Ausstellung
Von Brigitte Borchhardt-Birbaumer
Ende Oktober endet die Zusammenarbeit von Nationalratspraumlsident Andreas Khol und Peter Pakesch Direktor des Kunsthauses Graz am Joanneum Seit 2003
hatte Pakesch als Kurator mehrere Ausstellungen in den Sitzungssaumllen des Parlaments in Zusammenarbeit mit Galerien initiiert und namhafte Positionen
ausgewaumlhlt Kriterium fuumlr Praumlsentationen war die Praumlsenz durch eine Schau in einer der bekannten Kunstinstitutionen des Landes Nach Eva Schlegel Adriana
Czernin Maria Lassnig oder Esther Stocker sind dies nun bis April 2007 Josef Dabernig Daniel Hafner Ulrike Lienbacher Alois Mosbacher und Elisabeth
Penker
Das Parlament kann dabei durch die Margaretha-Lupac Stiftung immer eine Arbeit fuumlr die wachsende Sammlung des Hauses ankaufen Zuletzt war das ein
groszliges Oumll-Acryl-Gemaumllde der Georg-Eisler-Preistraumlgerin Maja Vukoje zuvor Johanna Kandl deren Temperabild derzeit an das Lentos in Linz geliehen wird
Einige Werke haumlngen schon als kuumlnstlerische Wegweiser in den Gaumlngen des Hauses und sind auch Blickfang fuumlr die 120000 Besucher die pro Jahr das
Parlament besuchen In die Architektur von Theophil Hansen mit ihrer zeitlosen Qualitaumlt fuumlgt sich die Gegenwartskunst kongenial
Hoffnung fuumlr spaumlter
Die derzeitige Zusammenstellung macht Hoffnung auf eine Fortsetzung unter der naumlchsten Praumlsidentschaft Fotografie Computerkunst Malerei Zeichnung
und Skulptur weisen auf die Vielfalt der Werkstoffe in der Gegenwartskunst Elisabeth Penker parallel im Kunsthaus Graz zu sehen baut schwarzweiszlige
Objekte aus bemaltem Holz die in ihrer seriellen und geometrischen Anordnung auf Bezuumlge zum Performativen und auf die Musik hinweisen
Noch juumlnger ist Daniel Hafner mit seinen am Computer komponierten digitalen Drucken Morphosentransformationen von 2006 Linienraster und
Raumkonstruktionen in subtiler Farbigkeit verbinden Tendenzen der fruumlhen Op-Art mit dem Cyber-Lab
Um konstruierte Realitaumlten geht es auch in den groszligformatigen Oumllbildern von Alois Mosbacher dem bekannten Vertreter der Neuen Wilden der
Achtzigerjahre in Oumlsterreich Wanderer in Wald und Wiese erzaumlhlen die Geschichten alternativer Welten die sich mancher in der Gesellschaft als Parallele
konstruiert
Zwei Fotofriese von Josef Dabernig bilden jeweils ein Panorama von oumlffentlichen Plaumltzen auf denen es zum einen um Fuszligball geht Zum anderen ist der
Rundblick in das Oval einer scheinbaren Arena auch eine Art Sehschule fuumlr die Betrachter Ein sozialer Befund ist die dritte Bedeutungsebene
Ulrike Lienbacher die heuer mit einer groszligen Schau im Innsbrucker Taxispalais ihre Karriere fortsetzt ist mit ihren feinlinigen Tuschezeichnungen den kleinen
oft unsichtbaren Zwaumlngen in unserer Gesellschaft auf der Spur Im Lokal II des Parlaments stellt sie zwar nicht ihre Objekte und Fotos aber einige
groszligformatige Blaumltter mit Frisurenvariationen neben teils fragmentierten Frauenkoumlrpern im Umgang mit Schmutz und Hygiene aber auch Fitnesskult aus
Disziplinierung und Kontrolle betreffen in der Oumlffentlichkeit besonders den weiblichen Koumlrper Sauberkeitsmechanismen weisen auch auf Vorstellungen von
wertvoll und minderwertig hin Ihre Transformationen enthalten wie die Themen der anderen subtile Kritik und sind daher vom Kurator uumlberlegt positioniert
Zeitgenoumlssische Kunst
im Parlament
Bis April 2007
Kurator Peter Pakesch
Konfrontationen
Dienstag 10 Oktober 2006
ltlt 2003 | 2004 Jan Feb Mar Apr May Jun Jul Aug Sep Oct Nov Dec 2004 | 2005 gtgt
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31
Sunday 17 October 2004
TIME
TITLE
NAME
700 Indymedia ESF breakfast show Indymedia London
Highlights news and views from the European Social Forum and the
autonomous spaces and initiatives taking place this week
website
800 Resonance Radio Art Riot Breakfast International
Radio Art
A five part special of the Harmon E Phraisyar show commissioned for
Kunstradio in Austria starts off the morning broadcast of international radio
art
website
1100 Resonance Live from the Frieze Art Fair Anna Colin amp
Tobi Maier
1100 Chris Weaver Resonance 1044FM live electronics set with James Dunn and
Robin Warren
1130 Michael Hall gallery Vienna presents audio works by artist Elisabeth Penker
1200 Maria Fusco presents latest the Bookworks commissions
1300 The Psychology of Collecting live broadcast of the frieze art fair panel
discussion
Is collecting an irrational act guided by compulsion and desire What are the use of
objects What are the motivations behind making collecting curating and
criticizing art A discussion of the psychology of collecting and the politics of taste
Hilary Rubenstein (Psychologist)
Eric Troncy (Art Critic and Director Le Consortium Dijon)
Haim Steinbach (Artist)
Chair Alice Rawsthorn (Director Design Museum)
1500 Portable live set and presentation of sudelectronic records London
1600 Where is Adventure What is Culture live broadcast of the frieze art fair
website
panel discussion
A discussion of the relationship of art to entertainment touching on the comedic
being popular and failing miserably
Trisha Donnelly (Artist)
Christian Jankowski (Artist)
David Robbins (Writer amp Artist)
Nancy Spector (Curator of Contemporary Art Solomon R Guggenheim Museum)
Chair Matthew Higgs (Curator CCA Wattis Institute for Contemporary Arts)
1800 Melissa Bent from Rivington Arms gallery New York in conversation with
artist Dan Colan and Tobi Maier Anna Colin
1830 VOX pop recordings from the fair with Sharon Gal
1900 Resonance Radio Art Riot Sarah
Washington
The Resonance Radio Art Riot brings together some of the foremost radio artists
and thinkers from around the world The studio lab situation will feature round
table discussions live performances and streamed events
Tonight Radio Text
Events Live broadcast from Sonic Arts Network Resonance benefit featuring
Henri Chopin studio performances from Julia Lee Barclay and Aude Tournay plus
Special Features None present live concrete radiophonics - Planning For
Emergencies
Guests include Clive Graham Chris Weaver Richard Thomas Toby Clarkson
John Lovett Robin Warren and James Dunn
Topics The word as art Sound poetry text performances
At Midnight Tom Wallace present exclusive excerpts from radio art pioneer
Gregory Whitehead
website
000 Resonance Radio Art Riot Nights International
Radio Art
The Resonance Radio Art riot continues throughout the night with the finest of
international radio art Resonance FM programme makers and our international
guests have put together many special hours of classic and obscure radio
works
website
- EPenkerDocumentationpdf
-
- 2bAusstellungenPublicaSpaceEPenkerpdf
-
- 2cUntitled_InstrumentsKunsthausGrazEPenker
- 2bpoeticsKunsthaus GrazEPenker
-
- 4PresseEPenkerpdf
-
- 4Review_Seattle Weekly
-
Poetics of Dead Space 129525 1min 4888 sec mono loop
Source material for composition recording untitled instrument Background existing recording of extinct languages
Poetics of Dead Space 129525 1min 4888 sec mono loop
Source material for composition keyboard recording untitled instrument Background existing recording of extinct
languages
Poetics of Dead Space travelator 2 1min 5209 sec mono loop
Source material for composition recording untitled instrument violin Background existing recording of extinct
languages
Poetics of Dead Space2152518125220 1min 3200 sec mono loop
Source material for composition recording untitled instrument Background existing recording of library of extinct
languages
Poetics of Dead Space travelator 1 1min 04 sec mono loop
viewing down from upstairs Source material for composition staff falling down man falling down stairs rattern
recording untitled instrument Background existing recording of extinct languages
Poetics of Dead Space Let it grow again 028 51 sec mono
Source material for composition rain sound of coins wood sticks existing recording of extinct languages
Elisabeth Penker is a Viennese artist and musician working with sound in a sculptural context In her (subjective) tour
Penker approaches the entire anti-exhibition PROTECTIONS from an angle of its position and significance in the context
of Sound Art as located on the crossway between visual arts language and music Starting from her own house turned
into First Nation Pavillion which amongst others aims at connecting the recent discourse on cultural translation with
early avant-garde phonetic experiments Penker maps the sonic structure of Kunsthaus Graz and its (live) architecture
which for PROTECTIONS hosts an array of interdisciplinary projects with a strong audio-quality from Herwig Weisers
Death Before Disco (a micro-architecture of hyper-technological and electronic pop) through a newly created choir of
security guards for Tim Etchells Wall of Sound down to a cacophonic layers of anonimous noise generated by the
space itself and the presence of audience
Die Wiener Kuumlnstlerin und Musikerin Elisabeth Penker arbeitet mit Klang im Zusammenhang mit Bildhauerei In ihrer
(subjektiven) Fuumlhrung naumlhert sie sich der Anti-Ausstellung PROTECTIONS aus einem Blickwinkel der die Position und
Bedeutung der Klangkunst an der Kreuzung zwischen bildender Kunst Sprache und Musik verortet Von ihrem eigenen
Haus ausgehend das sich in den First Nation Pavilion verwandelt hat der u a den aktuellen Diskurs uumlber kulturelle
Uumlbersetzung mit fruumlhen phonetischen Experimenten der Avantgarde verbinden soll entwirft Penker die klangliche
Struktur des Gutshauses und seiner (Live-)Architektur die fuumlr PROTECTIONS eine Reihe von interdisziplinaumlren Projekten
mit einer starken Affinitaumlt zum Klang beherbergt von Herwig Weisers Death Before Disco (eine Mikroarchitektur aus
hyper-technoidem und elektronischem Pop) uumlber einen neu formierten Chor bestehend aus Security Guards fuumlr Tim
Etchells Wall of Sound bis zu einer Kakophonie aus anonymen Geraumluschen die vom Raum selbst und der Anwesenheit
des Publikums erzeugt werden
052813
Local Warming ATHENS
052813
AFTER A YEARLONG HIATUS the eighteenth Art-Athina hit the ground running on the evening of Thursday May 16 and the former Olympic
ldquoTae Kwon Dordquo Pavilion was packed with enthusiastic party people The fair had a more national flavor than ever this year under its new
director Alexis Caniaris the son of recently deceased artist Vlassis Caniaris whose iconic modern work has recently found great success on the
international market Of the very few foreign galleries exhibiting most were Greek-owned The Breeder gallery was dealing with the perceived
drop in the market by selling fantastic multiples by artists like Stelios Faitakis Jannis Varelas and Andreas Angelidakis at crisis-appropriate
prices ldquoNobody wants to come here now but I have already met three interested billionaire collectors today And if Greeks like you they
introduce you to their billionaire friendsrdquo raved Cologne dealer Mirko Mayer a seven-time exhibitor ldquoThat is what nobody knows There are
at least one-hundred billionaires collecting hererdquo Most international collectors were delayed several hours due to a union strike a de r igueur
mode of arrival in contemporary Greece
It was impossible to miss the exuberant activities of the DaDa Da restaurant a Greek-Austrian collaboration where artist Albert Mayr was
waving a skillet and raving nonsense while Lucas Willmann tenderized pink fillets for Wiener schnitzel ldquoThis is Viennese Actionism lightrdquo
quipped critic Sotirios Bahtsetzis Artist Natasha Papadopoulos added ldquoBut here there are hungry Greeks waitingrdquo On a table with a rotating
Sacher tort by Heacutelegravene van Duijne a sign carried the overwhelming spirit FUCK ART LETrsquoS EAT SOUVLAKI An insistent electronic beat and
pulsating light emanated from the next booth the American College of Greecersquos ldquoAthensUrgentrdquo while hooded performer Manos Tsatiris
stood against the wall with his hands tied perhaps a metaphor for the current Athenian exigency ldquoThis is not the kind of art fair scene we are
used tordquo said the Economou Collectionrsquos Annie-Claire Geisinger watching the madness
Left Artists Elisabeth Penker Michela Pelusio Petros Touloudis Panos Papadopoulos and Nino Stelzl Right Collector Anne-Marie Ros
Down on the floor the dealers seemed pleased particularly given dismal expectations having already sold a great deal at the preview Young
Rotterdam-based gallery Joey Ramone had sold sculptures by Fotini Gouseti to English and Belgian collectors dealer Erik Mulier had also sold
some work to Belgians Marc Van den Hende said he had bought a triptych by Eirene Efstathiou and was considering a Vlassis Caniaris piece
from the 1970s ldquoI saw some surprisesmdashyoung Greek artists I did not knowmdashand great new galleries like Elika and CANrdquo Dutch collector
Anne-Marie Ros said By the end of the day Dimitra and Sofia Vamiali reported that they had not seen one Greek collector although another
reported a Dakis Joannou sighting mdash Cathryn Drake
SEARCH
ARTICLES
GO
Home
News
War Dead
Music
Film
Arts
Food
Diversions
Best of Seattle
About Us
Search
Classifieds
Job Mall
Special Offers
Personals
Contests
Images this
Week
Newsletter
Signup
SEATTLE
WEEKLY
in the News
Columnist
Geov Parrish
is a regular
guest on
Mind Over
Matters on
KEXP-FM
(903)
Saturdays at
830 am and
provides news
commentary
on KBCS-FM
(913) Fridays
at 430 pm
Catch writers
Steve
Wiecking Tim
Appelo and
ARTS
March 30 - April 5 2005
Picking Up the Thread
Howard House ties together the best new conceptual art from Vienna
by Elise Richman
Franz Wests Mercury
(Howard House Contemporary Art)
Theres a German expression to lose the red thread which means losing
ones train of thought In its current show Howard House has found that
thread Julie Ryan a curator artist and writer organized The Red
Thread Glimpses of International Art in Vienna a two-part exhibition
featuring artists working and living at least part time in Austrias capital
Part one of the show is at Howard House the second half is currently on
display at the Educational Alliance Gallery in New York
Vienna has become a magnet for artists from all over the world including
the 15 individuals and artist teams that are part of The Red Thread
Excellent artist residency programs a low cost of living and living art
legends like Franz West are just a few of the reasons
An artistic collaboration with West took Ryan from New York to Vienna
She knows Billy Howard who runs Howard House from the University of
Washingtons School of Art And so the figurative string was strung
connecting the East and West coasts with artists from across the Atlantic
This is a complex exhibit whose emotional tenor ranges from cool
detachment to an almost urgent earnestness Unlike the formal richly
historical city that connects them artists in The Red Thread favor informal
approaches to art making use disposable materials and comment on
contemporary cultural themes
West has two formidable sculptures at Howard House The front room of the
gallery features Mercury (pictured) an ungainly behemoth composed of a
patchwork of fused metal Like many of Wests sculptures Mercury is
meant as an interactive structure that viewers can climb and sit on Bulbous
Gavin
Borchert
discussing
theater film
and music
regularly on
classical
KING-FM
(981)
Mark Fiore
Cartoons
Every
Thursday
nodules extend from its horizontal base and the seams of the dark maroon
metal look like scars rendering it at once vaguely obscene and absurdly
playful
Sisyphus the other West sculpture on display is a bulky conglomeration of
bits and wads of paper propped in the back room on a makeshift plinth (base
block) Though its as solid as the boulder its title references its surface is
like oozing skin partly coated with poured murky paint partly cloaked in
small clumps of newspaper detritus
The strenuous act of making each of these sculptures is eminently apparent
and central to the content of Wests work West considers creation a
symbolic act As you might expect he likens the artistic process to the plight
of Sisyphus the mythological figure who eternally rolled a boulder up a hill
only to have it come crashing back down For West art involves a
Sisyphean search for what he calls the absolute through the seemingly
senseless accumulation of materials However unlike Sisyphus futile quest
Wests process can lead to epiphany making sense of the senseless
Similarly Viennese artist Elisabeth Penkers art serves a facilitative
function easing the act of translation Penker uses Haida iconography in her
multimedia work because it provides potent visual symbols that
communicate single words and whole sentences simultaneously Her prints
at Howard House feature fragments of icons floating in the papers white
space They are spare visually arresting characters that employ an
iconographic language as encoded symbols of communication
Also featured in The Red Thread is Donald Baechler an internationally
known American painter who spends extended periods of time in Vienna
Baechler equalizes his imagery by painting it all in the same style For him
the source of an image doesnt matter whether its a drawing by Picasso or
graffiti on a bathroom wall What matters is the newfound context his
paintings provide
Victory by Default is part of Baechlers Skull series In this piece a painted
skull gapes from the dirty yet sensuous confines of a large canvas Terry
cloth and wrinkled rags provide literal texture and reference the world
outside the paintings boundaries Splatterings of color around the skull like
the self-conscious marks of Jasper Johns seem to express the language of
paintingmdashhue and gestural strokesmdashin a factual rather than illusional
manner
Another American painter Lisa Ruyter lives half-time in Vienna where she
runs an influential gallery She works from photographs projected onto
large-scale canvases tracing the contours of the projected imagery with
consistent black outlines In a way that seems arbitrary she paints the shapes
formed by her contour lines in flat designer colors Man of Means based on
a photo of fashion photographers looks like a scrambled color-by-numbers
painting I cant do justice to the unusually rich assortment of conceptual art
in The Red Thread Youll just have to see it for yourself Thomas
Baumans thrashing triangular foil blanket Walter Seidls slide show of
staged snapshots Markus Schinwalds photograph of a contortionist and the
other thoughtful works connected by The Red Thread
The Red Thread Glimpses of International Art in Vienna runs through
April 30 at Howard House 604 Second Ave 206- 256-6399 1030 amndash5
pm TuesndashSat Free
KUNSTFORUM
Parallelwelten fuumlr Parlamentarier Ausstellung
Von Brigitte Borchhardt-Birbaumer
Ende Oktober endet die Zusammenarbeit von Nationalratspraumlsident Andreas Khol und Peter Pakesch Direktor des Kunsthauses Graz am Joanneum Seit 2003
hatte Pakesch als Kurator mehrere Ausstellungen in den Sitzungssaumllen des Parlaments in Zusammenarbeit mit Galerien initiiert und namhafte Positionen
ausgewaumlhlt Kriterium fuumlr Praumlsentationen war die Praumlsenz durch eine Schau in einer der bekannten Kunstinstitutionen des Landes Nach Eva Schlegel Adriana
Czernin Maria Lassnig oder Esther Stocker sind dies nun bis April 2007 Josef Dabernig Daniel Hafner Ulrike Lienbacher Alois Mosbacher und Elisabeth
Penker
Das Parlament kann dabei durch die Margaretha-Lupac Stiftung immer eine Arbeit fuumlr die wachsende Sammlung des Hauses ankaufen Zuletzt war das ein
groszliges Oumll-Acryl-Gemaumllde der Georg-Eisler-Preistraumlgerin Maja Vukoje zuvor Johanna Kandl deren Temperabild derzeit an das Lentos in Linz geliehen wird
Einige Werke haumlngen schon als kuumlnstlerische Wegweiser in den Gaumlngen des Hauses und sind auch Blickfang fuumlr die 120000 Besucher die pro Jahr das
Parlament besuchen In die Architektur von Theophil Hansen mit ihrer zeitlosen Qualitaumlt fuumlgt sich die Gegenwartskunst kongenial
Hoffnung fuumlr spaumlter
Die derzeitige Zusammenstellung macht Hoffnung auf eine Fortsetzung unter der naumlchsten Praumlsidentschaft Fotografie Computerkunst Malerei Zeichnung
und Skulptur weisen auf die Vielfalt der Werkstoffe in der Gegenwartskunst Elisabeth Penker parallel im Kunsthaus Graz zu sehen baut schwarzweiszlige
Objekte aus bemaltem Holz die in ihrer seriellen und geometrischen Anordnung auf Bezuumlge zum Performativen und auf die Musik hinweisen
Noch juumlnger ist Daniel Hafner mit seinen am Computer komponierten digitalen Drucken Morphosentransformationen von 2006 Linienraster und
Raumkonstruktionen in subtiler Farbigkeit verbinden Tendenzen der fruumlhen Op-Art mit dem Cyber-Lab
Um konstruierte Realitaumlten geht es auch in den groszligformatigen Oumllbildern von Alois Mosbacher dem bekannten Vertreter der Neuen Wilden der
Achtzigerjahre in Oumlsterreich Wanderer in Wald und Wiese erzaumlhlen die Geschichten alternativer Welten die sich mancher in der Gesellschaft als Parallele
konstruiert
Zwei Fotofriese von Josef Dabernig bilden jeweils ein Panorama von oumlffentlichen Plaumltzen auf denen es zum einen um Fuszligball geht Zum anderen ist der
Rundblick in das Oval einer scheinbaren Arena auch eine Art Sehschule fuumlr die Betrachter Ein sozialer Befund ist die dritte Bedeutungsebene
Ulrike Lienbacher die heuer mit einer groszligen Schau im Innsbrucker Taxispalais ihre Karriere fortsetzt ist mit ihren feinlinigen Tuschezeichnungen den kleinen
oft unsichtbaren Zwaumlngen in unserer Gesellschaft auf der Spur Im Lokal II des Parlaments stellt sie zwar nicht ihre Objekte und Fotos aber einige
groszligformatige Blaumltter mit Frisurenvariationen neben teils fragmentierten Frauenkoumlrpern im Umgang mit Schmutz und Hygiene aber auch Fitnesskult aus
Disziplinierung und Kontrolle betreffen in der Oumlffentlichkeit besonders den weiblichen Koumlrper Sauberkeitsmechanismen weisen auch auf Vorstellungen von
wertvoll und minderwertig hin Ihre Transformationen enthalten wie die Themen der anderen subtile Kritik und sind daher vom Kurator uumlberlegt positioniert
Zeitgenoumlssische Kunst
im Parlament
Bis April 2007
Kurator Peter Pakesch
Konfrontationen
Dienstag 10 Oktober 2006
ltlt 2003 | 2004 Jan Feb Mar Apr May Jun Jul Aug Sep Oct Nov Dec 2004 | 2005 gtgt
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31
Sunday 17 October 2004
TIME
TITLE
NAME
700 Indymedia ESF breakfast show Indymedia London
Highlights news and views from the European Social Forum and the
autonomous spaces and initiatives taking place this week
website
800 Resonance Radio Art Riot Breakfast International
Radio Art
A five part special of the Harmon E Phraisyar show commissioned for
Kunstradio in Austria starts off the morning broadcast of international radio
art
website
1100 Resonance Live from the Frieze Art Fair Anna Colin amp
Tobi Maier
1100 Chris Weaver Resonance 1044FM live electronics set with James Dunn and
Robin Warren
1130 Michael Hall gallery Vienna presents audio works by artist Elisabeth Penker
1200 Maria Fusco presents latest the Bookworks commissions
1300 The Psychology of Collecting live broadcast of the frieze art fair panel
discussion
Is collecting an irrational act guided by compulsion and desire What are the use of
objects What are the motivations behind making collecting curating and
criticizing art A discussion of the psychology of collecting and the politics of taste
Hilary Rubenstein (Psychologist)
Eric Troncy (Art Critic and Director Le Consortium Dijon)
Haim Steinbach (Artist)
Chair Alice Rawsthorn (Director Design Museum)
1500 Portable live set and presentation of sudelectronic records London
1600 Where is Adventure What is Culture live broadcast of the frieze art fair
website
panel discussion
A discussion of the relationship of art to entertainment touching on the comedic
being popular and failing miserably
Trisha Donnelly (Artist)
Christian Jankowski (Artist)
David Robbins (Writer amp Artist)
Nancy Spector (Curator of Contemporary Art Solomon R Guggenheim Museum)
Chair Matthew Higgs (Curator CCA Wattis Institute for Contemporary Arts)
1800 Melissa Bent from Rivington Arms gallery New York in conversation with
artist Dan Colan and Tobi Maier Anna Colin
1830 VOX pop recordings from the fair with Sharon Gal
1900 Resonance Radio Art Riot Sarah
Washington
The Resonance Radio Art Riot brings together some of the foremost radio artists
and thinkers from around the world The studio lab situation will feature round
table discussions live performances and streamed events
Tonight Radio Text
Events Live broadcast from Sonic Arts Network Resonance benefit featuring
Henri Chopin studio performances from Julia Lee Barclay and Aude Tournay plus
Special Features None present live concrete radiophonics - Planning For
Emergencies
Guests include Clive Graham Chris Weaver Richard Thomas Toby Clarkson
John Lovett Robin Warren and James Dunn
Topics The word as art Sound poetry text performances
At Midnight Tom Wallace present exclusive excerpts from radio art pioneer
Gregory Whitehead
website
000 Resonance Radio Art Riot Nights International
Radio Art
The Resonance Radio Art riot continues throughout the night with the finest of
international radio art Resonance FM programme makers and our international
guests have put together many special hours of classic and obscure radio
works
website
- EPenkerDocumentationpdf
-
- 2bAusstellungenPublicaSpaceEPenkerpdf
-
- 2cUntitled_InstrumentsKunsthausGrazEPenker
- 2bpoeticsKunsthaus GrazEPenker
-
- 4PresseEPenkerpdf
-
- 4Review_Seattle Weekly
-
Poetics of Dead Space travelator 2 1min 5209 sec mono loop
Source material for composition recording untitled instrument violin Background existing recording of extinct
languages
Poetics of Dead Space2152518125220 1min 3200 sec mono loop
Source material for composition recording untitled instrument Background existing recording of library of extinct
languages
Poetics of Dead Space travelator 1 1min 04 sec mono loop
viewing down from upstairs Source material for composition staff falling down man falling down stairs rattern
recording untitled instrument Background existing recording of extinct languages
Poetics of Dead Space Let it grow again 028 51 sec mono
Source material for composition rain sound of coins wood sticks existing recording of extinct languages
Elisabeth Penker is a Viennese artist and musician working with sound in a sculptural context In her (subjective) tour
Penker approaches the entire anti-exhibition PROTECTIONS from an angle of its position and significance in the context
of Sound Art as located on the crossway between visual arts language and music Starting from her own house turned
into First Nation Pavillion which amongst others aims at connecting the recent discourse on cultural translation with
early avant-garde phonetic experiments Penker maps the sonic structure of Kunsthaus Graz and its (live) architecture
which for PROTECTIONS hosts an array of interdisciplinary projects with a strong audio-quality from Herwig Weisers
Death Before Disco (a micro-architecture of hyper-technological and electronic pop) through a newly created choir of
security guards for Tim Etchells Wall of Sound down to a cacophonic layers of anonimous noise generated by the
space itself and the presence of audience
Die Wiener Kuumlnstlerin und Musikerin Elisabeth Penker arbeitet mit Klang im Zusammenhang mit Bildhauerei In ihrer
(subjektiven) Fuumlhrung naumlhert sie sich der Anti-Ausstellung PROTECTIONS aus einem Blickwinkel der die Position und
Bedeutung der Klangkunst an der Kreuzung zwischen bildender Kunst Sprache und Musik verortet Von ihrem eigenen
Haus ausgehend das sich in den First Nation Pavilion verwandelt hat der u a den aktuellen Diskurs uumlber kulturelle
Uumlbersetzung mit fruumlhen phonetischen Experimenten der Avantgarde verbinden soll entwirft Penker die klangliche
Struktur des Gutshauses und seiner (Live-)Architektur die fuumlr PROTECTIONS eine Reihe von interdisziplinaumlren Projekten
mit einer starken Affinitaumlt zum Klang beherbergt von Herwig Weisers Death Before Disco (eine Mikroarchitektur aus
hyper-technoidem und elektronischem Pop) uumlber einen neu formierten Chor bestehend aus Security Guards fuumlr Tim
Etchells Wall of Sound bis zu einer Kakophonie aus anonymen Geraumluschen die vom Raum selbst und der Anwesenheit
des Publikums erzeugt werden
052813
Local Warming ATHENS
052813
AFTER A YEARLONG HIATUS the eighteenth Art-Athina hit the ground running on the evening of Thursday May 16 and the former Olympic
ldquoTae Kwon Dordquo Pavilion was packed with enthusiastic party people The fair had a more national flavor than ever this year under its new
director Alexis Caniaris the son of recently deceased artist Vlassis Caniaris whose iconic modern work has recently found great success on the
international market Of the very few foreign galleries exhibiting most were Greek-owned The Breeder gallery was dealing with the perceived
drop in the market by selling fantastic multiples by artists like Stelios Faitakis Jannis Varelas and Andreas Angelidakis at crisis-appropriate
prices ldquoNobody wants to come here now but I have already met three interested billionaire collectors today And if Greeks like you they
introduce you to their billionaire friendsrdquo raved Cologne dealer Mirko Mayer a seven-time exhibitor ldquoThat is what nobody knows There are
at least one-hundred billionaires collecting hererdquo Most international collectors were delayed several hours due to a union strike a de r igueur
mode of arrival in contemporary Greece
It was impossible to miss the exuberant activities of the DaDa Da restaurant a Greek-Austrian collaboration where artist Albert Mayr was
waving a skillet and raving nonsense while Lucas Willmann tenderized pink fillets for Wiener schnitzel ldquoThis is Viennese Actionism lightrdquo
quipped critic Sotirios Bahtsetzis Artist Natasha Papadopoulos added ldquoBut here there are hungry Greeks waitingrdquo On a table with a rotating
Sacher tort by Heacutelegravene van Duijne a sign carried the overwhelming spirit FUCK ART LETrsquoS EAT SOUVLAKI An insistent electronic beat and
pulsating light emanated from the next booth the American College of Greecersquos ldquoAthensUrgentrdquo while hooded performer Manos Tsatiris
stood against the wall with his hands tied perhaps a metaphor for the current Athenian exigency ldquoThis is not the kind of art fair scene we are
used tordquo said the Economou Collectionrsquos Annie-Claire Geisinger watching the madness
Left Artists Elisabeth Penker Michela Pelusio Petros Touloudis Panos Papadopoulos and Nino Stelzl Right Collector Anne-Marie Ros
Down on the floor the dealers seemed pleased particularly given dismal expectations having already sold a great deal at the preview Young
Rotterdam-based gallery Joey Ramone had sold sculptures by Fotini Gouseti to English and Belgian collectors dealer Erik Mulier had also sold
some work to Belgians Marc Van den Hende said he had bought a triptych by Eirene Efstathiou and was considering a Vlassis Caniaris piece
from the 1970s ldquoI saw some surprisesmdashyoung Greek artists I did not knowmdashand great new galleries like Elika and CANrdquo Dutch collector
Anne-Marie Ros said By the end of the day Dimitra and Sofia Vamiali reported that they had not seen one Greek collector although another
reported a Dakis Joannou sighting mdash Cathryn Drake
SEARCH
ARTICLES
GO
Home
News
War Dead
Music
Film
Arts
Food
Diversions
Best of Seattle
About Us
Search
Classifieds
Job Mall
Special Offers
Personals
Contests
Images this
Week
Newsletter
Signup
SEATTLE
WEEKLY
in the News
Columnist
Geov Parrish
is a regular
guest on
Mind Over
Matters on
KEXP-FM
(903)
Saturdays at
830 am and
provides news
commentary
on KBCS-FM
(913) Fridays
at 430 pm
Catch writers
Steve
Wiecking Tim
Appelo and
ARTS
March 30 - April 5 2005
Picking Up the Thread
Howard House ties together the best new conceptual art from Vienna
by Elise Richman
Franz Wests Mercury
(Howard House Contemporary Art)
Theres a German expression to lose the red thread which means losing
ones train of thought In its current show Howard House has found that
thread Julie Ryan a curator artist and writer organized The Red
Thread Glimpses of International Art in Vienna a two-part exhibition
featuring artists working and living at least part time in Austrias capital
Part one of the show is at Howard House the second half is currently on
display at the Educational Alliance Gallery in New York
Vienna has become a magnet for artists from all over the world including
the 15 individuals and artist teams that are part of The Red Thread
Excellent artist residency programs a low cost of living and living art
legends like Franz West are just a few of the reasons
An artistic collaboration with West took Ryan from New York to Vienna
She knows Billy Howard who runs Howard House from the University of
Washingtons School of Art And so the figurative string was strung
connecting the East and West coasts with artists from across the Atlantic
This is a complex exhibit whose emotional tenor ranges from cool
detachment to an almost urgent earnestness Unlike the formal richly
historical city that connects them artists in The Red Thread favor informal
approaches to art making use disposable materials and comment on
contemporary cultural themes
West has two formidable sculptures at Howard House The front room of the
gallery features Mercury (pictured) an ungainly behemoth composed of a
patchwork of fused metal Like many of Wests sculptures Mercury is
meant as an interactive structure that viewers can climb and sit on Bulbous
Gavin
Borchert
discussing
theater film
and music
regularly on
classical
KING-FM
(981)
Mark Fiore
Cartoons
Every
Thursday
nodules extend from its horizontal base and the seams of the dark maroon
metal look like scars rendering it at once vaguely obscene and absurdly
playful
Sisyphus the other West sculpture on display is a bulky conglomeration of
bits and wads of paper propped in the back room on a makeshift plinth (base
block) Though its as solid as the boulder its title references its surface is
like oozing skin partly coated with poured murky paint partly cloaked in
small clumps of newspaper detritus
The strenuous act of making each of these sculptures is eminently apparent
and central to the content of Wests work West considers creation a
symbolic act As you might expect he likens the artistic process to the plight
of Sisyphus the mythological figure who eternally rolled a boulder up a hill
only to have it come crashing back down For West art involves a
Sisyphean search for what he calls the absolute through the seemingly
senseless accumulation of materials However unlike Sisyphus futile quest
Wests process can lead to epiphany making sense of the senseless
Similarly Viennese artist Elisabeth Penkers art serves a facilitative
function easing the act of translation Penker uses Haida iconography in her
multimedia work because it provides potent visual symbols that
communicate single words and whole sentences simultaneously Her prints
at Howard House feature fragments of icons floating in the papers white
space They are spare visually arresting characters that employ an
iconographic language as encoded symbols of communication
Also featured in The Red Thread is Donald Baechler an internationally
known American painter who spends extended periods of time in Vienna
Baechler equalizes his imagery by painting it all in the same style For him
the source of an image doesnt matter whether its a drawing by Picasso or
graffiti on a bathroom wall What matters is the newfound context his
paintings provide
Victory by Default is part of Baechlers Skull series In this piece a painted
skull gapes from the dirty yet sensuous confines of a large canvas Terry
cloth and wrinkled rags provide literal texture and reference the world
outside the paintings boundaries Splatterings of color around the skull like
the self-conscious marks of Jasper Johns seem to express the language of
paintingmdashhue and gestural strokesmdashin a factual rather than illusional
manner
Another American painter Lisa Ruyter lives half-time in Vienna where she
runs an influential gallery She works from photographs projected onto
large-scale canvases tracing the contours of the projected imagery with
consistent black outlines In a way that seems arbitrary she paints the shapes
formed by her contour lines in flat designer colors Man of Means based on
a photo of fashion photographers looks like a scrambled color-by-numbers
painting I cant do justice to the unusually rich assortment of conceptual art
in The Red Thread Youll just have to see it for yourself Thomas
Baumans thrashing triangular foil blanket Walter Seidls slide show of
staged snapshots Markus Schinwalds photograph of a contortionist and the
other thoughtful works connected by The Red Thread
The Red Thread Glimpses of International Art in Vienna runs through
April 30 at Howard House 604 Second Ave 206- 256-6399 1030 amndash5
pm TuesndashSat Free
KUNSTFORUM
Parallelwelten fuumlr Parlamentarier Ausstellung
Von Brigitte Borchhardt-Birbaumer
Ende Oktober endet die Zusammenarbeit von Nationalratspraumlsident Andreas Khol und Peter Pakesch Direktor des Kunsthauses Graz am Joanneum Seit 2003
hatte Pakesch als Kurator mehrere Ausstellungen in den Sitzungssaumllen des Parlaments in Zusammenarbeit mit Galerien initiiert und namhafte Positionen
ausgewaumlhlt Kriterium fuumlr Praumlsentationen war die Praumlsenz durch eine Schau in einer der bekannten Kunstinstitutionen des Landes Nach Eva Schlegel Adriana
Czernin Maria Lassnig oder Esther Stocker sind dies nun bis April 2007 Josef Dabernig Daniel Hafner Ulrike Lienbacher Alois Mosbacher und Elisabeth
Penker
Das Parlament kann dabei durch die Margaretha-Lupac Stiftung immer eine Arbeit fuumlr die wachsende Sammlung des Hauses ankaufen Zuletzt war das ein
groszliges Oumll-Acryl-Gemaumllde der Georg-Eisler-Preistraumlgerin Maja Vukoje zuvor Johanna Kandl deren Temperabild derzeit an das Lentos in Linz geliehen wird
Einige Werke haumlngen schon als kuumlnstlerische Wegweiser in den Gaumlngen des Hauses und sind auch Blickfang fuumlr die 120000 Besucher die pro Jahr das
Parlament besuchen In die Architektur von Theophil Hansen mit ihrer zeitlosen Qualitaumlt fuumlgt sich die Gegenwartskunst kongenial
Hoffnung fuumlr spaumlter
Die derzeitige Zusammenstellung macht Hoffnung auf eine Fortsetzung unter der naumlchsten Praumlsidentschaft Fotografie Computerkunst Malerei Zeichnung
und Skulptur weisen auf die Vielfalt der Werkstoffe in der Gegenwartskunst Elisabeth Penker parallel im Kunsthaus Graz zu sehen baut schwarzweiszlige
Objekte aus bemaltem Holz die in ihrer seriellen und geometrischen Anordnung auf Bezuumlge zum Performativen und auf die Musik hinweisen
Noch juumlnger ist Daniel Hafner mit seinen am Computer komponierten digitalen Drucken Morphosentransformationen von 2006 Linienraster und
Raumkonstruktionen in subtiler Farbigkeit verbinden Tendenzen der fruumlhen Op-Art mit dem Cyber-Lab
Um konstruierte Realitaumlten geht es auch in den groszligformatigen Oumllbildern von Alois Mosbacher dem bekannten Vertreter der Neuen Wilden der
Achtzigerjahre in Oumlsterreich Wanderer in Wald und Wiese erzaumlhlen die Geschichten alternativer Welten die sich mancher in der Gesellschaft als Parallele
konstruiert
Zwei Fotofriese von Josef Dabernig bilden jeweils ein Panorama von oumlffentlichen Plaumltzen auf denen es zum einen um Fuszligball geht Zum anderen ist der
Rundblick in das Oval einer scheinbaren Arena auch eine Art Sehschule fuumlr die Betrachter Ein sozialer Befund ist die dritte Bedeutungsebene
Ulrike Lienbacher die heuer mit einer groszligen Schau im Innsbrucker Taxispalais ihre Karriere fortsetzt ist mit ihren feinlinigen Tuschezeichnungen den kleinen
oft unsichtbaren Zwaumlngen in unserer Gesellschaft auf der Spur Im Lokal II des Parlaments stellt sie zwar nicht ihre Objekte und Fotos aber einige
groszligformatige Blaumltter mit Frisurenvariationen neben teils fragmentierten Frauenkoumlrpern im Umgang mit Schmutz und Hygiene aber auch Fitnesskult aus
Disziplinierung und Kontrolle betreffen in der Oumlffentlichkeit besonders den weiblichen Koumlrper Sauberkeitsmechanismen weisen auch auf Vorstellungen von
wertvoll und minderwertig hin Ihre Transformationen enthalten wie die Themen der anderen subtile Kritik und sind daher vom Kurator uumlberlegt positioniert
Zeitgenoumlssische Kunst
im Parlament
Bis April 2007
Kurator Peter Pakesch
Konfrontationen
Dienstag 10 Oktober 2006
ltlt 2003 | 2004 Jan Feb Mar Apr May Jun Jul Aug Sep Oct Nov Dec 2004 | 2005 gtgt
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31
Sunday 17 October 2004
TIME
TITLE
NAME
700 Indymedia ESF breakfast show Indymedia London
Highlights news and views from the European Social Forum and the
autonomous spaces and initiatives taking place this week
website
800 Resonance Radio Art Riot Breakfast International
Radio Art
A five part special of the Harmon E Phraisyar show commissioned for
Kunstradio in Austria starts off the morning broadcast of international radio
art
website
1100 Resonance Live from the Frieze Art Fair Anna Colin amp
Tobi Maier
1100 Chris Weaver Resonance 1044FM live electronics set with James Dunn and
Robin Warren
1130 Michael Hall gallery Vienna presents audio works by artist Elisabeth Penker
1200 Maria Fusco presents latest the Bookworks commissions
1300 The Psychology of Collecting live broadcast of the frieze art fair panel
discussion
Is collecting an irrational act guided by compulsion and desire What are the use of
objects What are the motivations behind making collecting curating and
criticizing art A discussion of the psychology of collecting and the politics of taste
Hilary Rubenstein (Psychologist)
Eric Troncy (Art Critic and Director Le Consortium Dijon)
Haim Steinbach (Artist)
Chair Alice Rawsthorn (Director Design Museum)
1500 Portable live set and presentation of sudelectronic records London
1600 Where is Adventure What is Culture live broadcast of the frieze art fair
website
panel discussion
A discussion of the relationship of art to entertainment touching on the comedic
being popular and failing miserably
Trisha Donnelly (Artist)
Christian Jankowski (Artist)
David Robbins (Writer amp Artist)
Nancy Spector (Curator of Contemporary Art Solomon R Guggenheim Museum)
Chair Matthew Higgs (Curator CCA Wattis Institute for Contemporary Arts)
1800 Melissa Bent from Rivington Arms gallery New York in conversation with
artist Dan Colan and Tobi Maier Anna Colin
1830 VOX pop recordings from the fair with Sharon Gal
1900 Resonance Radio Art Riot Sarah
Washington
The Resonance Radio Art Riot brings together some of the foremost radio artists
and thinkers from around the world The studio lab situation will feature round
table discussions live performances and streamed events
Tonight Radio Text
Events Live broadcast from Sonic Arts Network Resonance benefit featuring
Henri Chopin studio performances from Julia Lee Barclay and Aude Tournay plus
Special Features None present live concrete radiophonics - Planning For
Emergencies
Guests include Clive Graham Chris Weaver Richard Thomas Toby Clarkson
John Lovett Robin Warren and James Dunn
Topics The word as art Sound poetry text performances
At Midnight Tom Wallace present exclusive excerpts from radio art pioneer
Gregory Whitehead
website
000 Resonance Radio Art Riot Nights International
Radio Art
The Resonance Radio Art riot continues throughout the night with the finest of
international radio art Resonance FM programme makers and our international
guests have put together many special hours of classic and obscure radio
works
website
- EPenkerDocumentationpdf
-
- 2bAusstellungenPublicaSpaceEPenkerpdf
-
- 2cUntitled_InstrumentsKunsthausGrazEPenker
- 2bpoeticsKunsthaus GrazEPenker
-
- 4PresseEPenkerpdf
-
- 4Review_Seattle Weekly
-
Poetics of Dead Space2152518125220 1min 3200 sec mono loop
Source material for composition recording untitled instrument Background existing recording of library of extinct
languages
Poetics of Dead Space travelator 1 1min 04 sec mono loop
viewing down from upstairs Source material for composition staff falling down man falling down stairs rattern
recording untitled instrument Background existing recording of extinct languages
Poetics of Dead Space Let it grow again 028 51 sec mono
Source material for composition rain sound of coins wood sticks existing recording of extinct languages
Elisabeth Penker is a Viennese artist and musician working with sound in a sculptural context In her (subjective) tour
Penker approaches the entire anti-exhibition PROTECTIONS from an angle of its position and significance in the context
of Sound Art as located on the crossway between visual arts language and music Starting from her own house turned
into First Nation Pavillion which amongst others aims at connecting the recent discourse on cultural translation with
early avant-garde phonetic experiments Penker maps the sonic structure of Kunsthaus Graz and its (live) architecture
which for PROTECTIONS hosts an array of interdisciplinary projects with a strong audio-quality from Herwig Weisers
Death Before Disco (a micro-architecture of hyper-technological and electronic pop) through a newly created choir of
security guards for Tim Etchells Wall of Sound down to a cacophonic layers of anonimous noise generated by the
space itself and the presence of audience
Die Wiener Kuumlnstlerin und Musikerin Elisabeth Penker arbeitet mit Klang im Zusammenhang mit Bildhauerei In ihrer
(subjektiven) Fuumlhrung naumlhert sie sich der Anti-Ausstellung PROTECTIONS aus einem Blickwinkel der die Position und
Bedeutung der Klangkunst an der Kreuzung zwischen bildender Kunst Sprache und Musik verortet Von ihrem eigenen
Haus ausgehend das sich in den First Nation Pavilion verwandelt hat der u a den aktuellen Diskurs uumlber kulturelle
Uumlbersetzung mit fruumlhen phonetischen Experimenten der Avantgarde verbinden soll entwirft Penker die klangliche
Struktur des Gutshauses und seiner (Live-)Architektur die fuumlr PROTECTIONS eine Reihe von interdisziplinaumlren Projekten
mit einer starken Affinitaumlt zum Klang beherbergt von Herwig Weisers Death Before Disco (eine Mikroarchitektur aus
hyper-technoidem und elektronischem Pop) uumlber einen neu formierten Chor bestehend aus Security Guards fuumlr Tim
Etchells Wall of Sound bis zu einer Kakophonie aus anonymen Geraumluschen die vom Raum selbst und der Anwesenheit
des Publikums erzeugt werden
052813
Local Warming ATHENS
052813
AFTER A YEARLONG HIATUS the eighteenth Art-Athina hit the ground running on the evening of Thursday May 16 and the former Olympic
ldquoTae Kwon Dordquo Pavilion was packed with enthusiastic party people The fair had a more national flavor than ever this year under its new
director Alexis Caniaris the son of recently deceased artist Vlassis Caniaris whose iconic modern work has recently found great success on the
international market Of the very few foreign galleries exhibiting most were Greek-owned The Breeder gallery was dealing with the perceived
drop in the market by selling fantastic multiples by artists like Stelios Faitakis Jannis Varelas and Andreas Angelidakis at crisis-appropriate
prices ldquoNobody wants to come here now but I have already met three interested billionaire collectors today And if Greeks like you they
introduce you to their billionaire friendsrdquo raved Cologne dealer Mirko Mayer a seven-time exhibitor ldquoThat is what nobody knows There are
at least one-hundred billionaires collecting hererdquo Most international collectors were delayed several hours due to a union strike a de r igueur
mode of arrival in contemporary Greece
It was impossible to miss the exuberant activities of the DaDa Da restaurant a Greek-Austrian collaboration where artist Albert Mayr was
waving a skillet and raving nonsense while Lucas Willmann tenderized pink fillets for Wiener schnitzel ldquoThis is Viennese Actionism lightrdquo
quipped critic Sotirios Bahtsetzis Artist Natasha Papadopoulos added ldquoBut here there are hungry Greeks waitingrdquo On a table with a rotating
Sacher tort by Heacutelegravene van Duijne a sign carried the overwhelming spirit FUCK ART LETrsquoS EAT SOUVLAKI An insistent electronic beat and
pulsating light emanated from the next booth the American College of Greecersquos ldquoAthensUrgentrdquo while hooded performer Manos Tsatiris
stood against the wall with his hands tied perhaps a metaphor for the current Athenian exigency ldquoThis is not the kind of art fair scene we are
used tordquo said the Economou Collectionrsquos Annie-Claire Geisinger watching the madness
Left Artists Elisabeth Penker Michela Pelusio Petros Touloudis Panos Papadopoulos and Nino Stelzl Right Collector Anne-Marie Ros
Down on the floor the dealers seemed pleased particularly given dismal expectations having already sold a great deal at the preview Young
Rotterdam-based gallery Joey Ramone had sold sculptures by Fotini Gouseti to English and Belgian collectors dealer Erik Mulier had also sold
some work to Belgians Marc Van den Hende said he had bought a triptych by Eirene Efstathiou and was considering a Vlassis Caniaris piece
from the 1970s ldquoI saw some surprisesmdashyoung Greek artists I did not knowmdashand great new galleries like Elika and CANrdquo Dutch collector
Anne-Marie Ros said By the end of the day Dimitra and Sofia Vamiali reported that they had not seen one Greek collector although another
reported a Dakis Joannou sighting mdash Cathryn Drake
SEARCH
ARTICLES
GO
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Week
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SEATTLE
WEEKLY
in the News
Columnist
Geov Parrish
is a regular
guest on
Mind Over
Matters on
KEXP-FM
(903)
Saturdays at
830 am and
provides news
commentary
on KBCS-FM
(913) Fridays
at 430 pm
Catch writers
Steve
Wiecking Tim
Appelo and
ARTS
March 30 - April 5 2005
Picking Up the Thread
Howard House ties together the best new conceptual art from Vienna
by Elise Richman
Franz Wests Mercury
(Howard House Contemporary Art)
Theres a German expression to lose the red thread which means losing
ones train of thought In its current show Howard House has found that
thread Julie Ryan a curator artist and writer organized The Red
Thread Glimpses of International Art in Vienna a two-part exhibition
featuring artists working and living at least part time in Austrias capital
Part one of the show is at Howard House the second half is currently on
display at the Educational Alliance Gallery in New York
Vienna has become a magnet for artists from all over the world including
the 15 individuals and artist teams that are part of The Red Thread
Excellent artist residency programs a low cost of living and living art
legends like Franz West are just a few of the reasons
An artistic collaboration with West took Ryan from New York to Vienna
She knows Billy Howard who runs Howard House from the University of
Washingtons School of Art And so the figurative string was strung
connecting the East and West coasts with artists from across the Atlantic
This is a complex exhibit whose emotional tenor ranges from cool
detachment to an almost urgent earnestness Unlike the formal richly
historical city that connects them artists in The Red Thread favor informal
approaches to art making use disposable materials and comment on
contemporary cultural themes
West has two formidable sculptures at Howard House The front room of the
gallery features Mercury (pictured) an ungainly behemoth composed of a
patchwork of fused metal Like many of Wests sculptures Mercury is
meant as an interactive structure that viewers can climb and sit on Bulbous
Gavin
Borchert
discussing
theater film
and music
regularly on
classical
KING-FM
(981)
Mark Fiore
Cartoons
Every
Thursday
nodules extend from its horizontal base and the seams of the dark maroon
metal look like scars rendering it at once vaguely obscene and absurdly
playful
Sisyphus the other West sculpture on display is a bulky conglomeration of
bits and wads of paper propped in the back room on a makeshift plinth (base
block) Though its as solid as the boulder its title references its surface is
like oozing skin partly coated with poured murky paint partly cloaked in
small clumps of newspaper detritus
The strenuous act of making each of these sculptures is eminently apparent
and central to the content of Wests work West considers creation a
symbolic act As you might expect he likens the artistic process to the plight
of Sisyphus the mythological figure who eternally rolled a boulder up a hill
only to have it come crashing back down For West art involves a
Sisyphean search for what he calls the absolute through the seemingly
senseless accumulation of materials However unlike Sisyphus futile quest
Wests process can lead to epiphany making sense of the senseless
Similarly Viennese artist Elisabeth Penkers art serves a facilitative
function easing the act of translation Penker uses Haida iconography in her
multimedia work because it provides potent visual symbols that
communicate single words and whole sentences simultaneously Her prints
at Howard House feature fragments of icons floating in the papers white
space They are spare visually arresting characters that employ an
iconographic language as encoded symbols of communication
Also featured in The Red Thread is Donald Baechler an internationally
known American painter who spends extended periods of time in Vienna
Baechler equalizes his imagery by painting it all in the same style For him
the source of an image doesnt matter whether its a drawing by Picasso or
graffiti on a bathroom wall What matters is the newfound context his
paintings provide
Victory by Default is part of Baechlers Skull series In this piece a painted
skull gapes from the dirty yet sensuous confines of a large canvas Terry
cloth and wrinkled rags provide literal texture and reference the world
outside the paintings boundaries Splatterings of color around the skull like
the self-conscious marks of Jasper Johns seem to express the language of
paintingmdashhue and gestural strokesmdashin a factual rather than illusional
manner
Another American painter Lisa Ruyter lives half-time in Vienna where she
runs an influential gallery She works from photographs projected onto
large-scale canvases tracing the contours of the projected imagery with
consistent black outlines In a way that seems arbitrary she paints the shapes
formed by her contour lines in flat designer colors Man of Means based on
a photo of fashion photographers looks like a scrambled color-by-numbers
painting I cant do justice to the unusually rich assortment of conceptual art
in The Red Thread Youll just have to see it for yourself Thomas
Baumans thrashing triangular foil blanket Walter Seidls slide show of
staged snapshots Markus Schinwalds photograph of a contortionist and the
other thoughtful works connected by The Red Thread
The Red Thread Glimpses of International Art in Vienna runs through
April 30 at Howard House 604 Second Ave 206- 256-6399 1030 amndash5
pm TuesndashSat Free
KUNSTFORUM
Parallelwelten fuumlr Parlamentarier Ausstellung
Von Brigitte Borchhardt-Birbaumer
Ende Oktober endet die Zusammenarbeit von Nationalratspraumlsident Andreas Khol und Peter Pakesch Direktor des Kunsthauses Graz am Joanneum Seit 2003
hatte Pakesch als Kurator mehrere Ausstellungen in den Sitzungssaumllen des Parlaments in Zusammenarbeit mit Galerien initiiert und namhafte Positionen
ausgewaumlhlt Kriterium fuumlr Praumlsentationen war die Praumlsenz durch eine Schau in einer der bekannten Kunstinstitutionen des Landes Nach Eva Schlegel Adriana
Czernin Maria Lassnig oder Esther Stocker sind dies nun bis April 2007 Josef Dabernig Daniel Hafner Ulrike Lienbacher Alois Mosbacher und Elisabeth
Penker
Das Parlament kann dabei durch die Margaretha-Lupac Stiftung immer eine Arbeit fuumlr die wachsende Sammlung des Hauses ankaufen Zuletzt war das ein
groszliges Oumll-Acryl-Gemaumllde der Georg-Eisler-Preistraumlgerin Maja Vukoje zuvor Johanna Kandl deren Temperabild derzeit an das Lentos in Linz geliehen wird
Einige Werke haumlngen schon als kuumlnstlerische Wegweiser in den Gaumlngen des Hauses und sind auch Blickfang fuumlr die 120000 Besucher die pro Jahr das
Parlament besuchen In die Architektur von Theophil Hansen mit ihrer zeitlosen Qualitaumlt fuumlgt sich die Gegenwartskunst kongenial
Hoffnung fuumlr spaumlter
Die derzeitige Zusammenstellung macht Hoffnung auf eine Fortsetzung unter der naumlchsten Praumlsidentschaft Fotografie Computerkunst Malerei Zeichnung
und Skulptur weisen auf die Vielfalt der Werkstoffe in der Gegenwartskunst Elisabeth Penker parallel im Kunsthaus Graz zu sehen baut schwarzweiszlige
Objekte aus bemaltem Holz die in ihrer seriellen und geometrischen Anordnung auf Bezuumlge zum Performativen und auf die Musik hinweisen
Noch juumlnger ist Daniel Hafner mit seinen am Computer komponierten digitalen Drucken Morphosentransformationen von 2006 Linienraster und
Raumkonstruktionen in subtiler Farbigkeit verbinden Tendenzen der fruumlhen Op-Art mit dem Cyber-Lab
Um konstruierte Realitaumlten geht es auch in den groszligformatigen Oumllbildern von Alois Mosbacher dem bekannten Vertreter der Neuen Wilden der
Achtzigerjahre in Oumlsterreich Wanderer in Wald und Wiese erzaumlhlen die Geschichten alternativer Welten die sich mancher in der Gesellschaft als Parallele
konstruiert
Zwei Fotofriese von Josef Dabernig bilden jeweils ein Panorama von oumlffentlichen Plaumltzen auf denen es zum einen um Fuszligball geht Zum anderen ist der
Rundblick in das Oval einer scheinbaren Arena auch eine Art Sehschule fuumlr die Betrachter Ein sozialer Befund ist die dritte Bedeutungsebene
Ulrike Lienbacher die heuer mit einer groszligen Schau im Innsbrucker Taxispalais ihre Karriere fortsetzt ist mit ihren feinlinigen Tuschezeichnungen den kleinen
oft unsichtbaren Zwaumlngen in unserer Gesellschaft auf der Spur Im Lokal II des Parlaments stellt sie zwar nicht ihre Objekte und Fotos aber einige
groszligformatige Blaumltter mit Frisurenvariationen neben teils fragmentierten Frauenkoumlrpern im Umgang mit Schmutz und Hygiene aber auch Fitnesskult aus
Disziplinierung und Kontrolle betreffen in der Oumlffentlichkeit besonders den weiblichen Koumlrper Sauberkeitsmechanismen weisen auch auf Vorstellungen von
wertvoll und minderwertig hin Ihre Transformationen enthalten wie die Themen der anderen subtile Kritik und sind daher vom Kurator uumlberlegt positioniert
Zeitgenoumlssische Kunst
im Parlament
Bis April 2007
Kurator Peter Pakesch
Konfrontationen
Dienstag 10 Oktober 2006
ltlt 2003 | 2004 Jan Feb Mar Apr May Jun Jul Aug Sep Oct Nov Dec 2004 | 2005 gtgt
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31
Sunday 17 October 2004
TIME
TITLE
NAME
700 Indymedia ESF breakfast show Indymedia London
Highlights news and views from the European Social Forum and the
autonomous spaces and initiatives taking place this week
website
800 Resonance Radio Art Riot Breakfast International
Radio Art
A five part special of the Harmon E Phraisyar show commissioned for
Kunstradio in Austria starts off the morning broadcast of international radio
art
website
1100 Resonance Live from the Frieze Art Fair Anna Colin amp
Tobi Maier
1100 Chris Weaver Resonance 1044FM live electronics set with James Dunn and
Robin Warren
1130 Michael Hall gallery Vienna presents audio works by artist Elisabeth Penker
1200 Maria Fusco presents latest the Bookworks commissions
1300 The Psychology of Collecting live broadcast of the frieze art fair panel
discussion
Is collecting an irrational act guided by compulsion and desire What are the use of
objects What are the motivations behind making collecting curating and
criticizing art A discussion of the psychology of collecting and the politics of taste
Hilary Rubenstein (Psychologist)
Eric Troncy (Art Critic and Director Le Consortium Dijon)
Haim Steinbach (Artist)
Chair Alice Rawsthorn (Director Design Museum)
1500 Portable live set and presentation of sudelectronic records London
1600 Where is Adventure What is Culture live broadcast of the frieze art fair
website
panel discussion
A discussion of the relationship of art to entertainment touching on the comedic
being popular and failing miserably
Trisha Donnelly (Artist)
Christian Jankowski (Artist)
David Robbins (Writer amp Artist)
Nancy Spector (Curator of Contemporary Art Solomon R Guggenheim Museum)
Chair Matthew Higgs (Curator CCA Wattis Institute for Contemporary Arts)
1800 Melissa Bent from Rivington Arms gallery New York in conversation with
artist Dan Colan and Tobi Maier Anna Colin
1830 VOX pop recordings from the fair with Sharon Gal
1900 Resonance Radio Art Riot Sarah
Washington
The Resonance Radio Art Riot brings together some of the foremost radio artists
and thinkers from around the world The studio lab situation will feature round
table discussions live performances and streamed events
Tonight Radio Text
Events Live broadcast from Sonic Arts Network Resonance benefit featuring
Henri Chopin studio performances from Julia Lee Barclay and Aude Tournay plus
Special Features None present live concrete radiophonics - Planning For
Emergencies
Guests include Clive Graham Chris Weaver Richard Thomas Toby Clarkson
John Lovett Robin Warren and James Dunn
Topics The word as art Sound poetry text performances
At Midnight Tom Wallace present exclusive excerpts from radio art pioneer
Gregory Whitehead
website
000 Resonance Radio Art Riot Nights International
Radio Art
The Resonance Radio Art riot continues throughout the night with the finest of
international radio art Resonance FM programme makers and our international
guests have put together many special hours of classic and obscure radio
works
website
- EPenkerDocumentationpdf
-
- 2bAusstellungenPublicaSpaceEPenkerpdf
-
- 2cUntitled_InstrumentsKunsthausGrazEPenker
- 2bpoeticsKunsthaus GrazEPenker
-
- 4PresseEPenkerpdf
-
- 4Review_Seattle Weekly
-
Poetics of Dead Space Let it grow again 028 51 sec mono
Source material for composition rain sound of coins wood sticks existing recording of extinct languages
Elisabeth Penker is a Viennese artist and musician working with sound in a sculptural context In her (subjective) tour
Penker approaches the entire anti-exhibition PROTECTIONS from an angle of its position and significance in the context
of Sound Art as located on the crossway between visual arts language and music Starting from her own house turned
into First Nation Pavillion which amongst others aims at connecting the recent discourse on cultural translation with
early avant-garde phonetic experiments Penker maps the sonic structure of Kunsthaus Graz and its (live) architecture
which for PROTECTIONS hosts an array of interdisciplinary projects with a strong audio-quality from Herwig Weisers
Death Before Disco (a micro-architecture of hyper-technological and electronic pop) through a newly created choir of
security guards for Tim Etchells Wall of Sound down to a cacophonic layers of anonimous noise generated by the
space itself and the presence of audience
Die Wiener Kuumlnstlerin und Musikerin Elisabeth Penker arbeitet mit Klang im Zusammenhang mit Bildhauerei In ihrer
(subjektiven) Fuumlhrung naumlhert sie sich der Anti-Ausstellung PROTECTIONS aus einem Blickwinkel der die Position und
Bedeutung der Klangkunst an der Kreuzung zwischen bildender Kunst Sprache und Musik verortet Von ihrem eigenen
Haus ausgehend das sich in den First Nation Pavilion verwandelt hat der u a den aktuellen Diskurs uumlber kulturelle
Uumlbersetzung mit fruumlhen phonetischen Experimenten der Avantgarde verbinden soll entwirft Penker die klangliche
Struktur des Gutshauses und seiner (Live-)Architektur die fuumlr PROTECTIONS eine Reihe von interdisziplinaumlren Projekten
mit einer starken Affinitaumlt zum Klang beherbergt von Herwig Weisers Death Before Disco (eine Mikroarchitektur aus
hyper-technoidem und elektronischem Pop) uumlber einen neu formierten Chor bestehend aus Security Guards fuumlr Tim
Etchells Wall of Sound bis zu einer Kakophonie aus anonymen Geraumluschen die vom Raum selbst und der Anwesenheit
des Publikums erzeugt werden
052813
Local Warming ATHENS
052813
AFTER A YEARLONG HIATUS the eighteenth Art-Athina hit the ground running on the evening of Thursday May 16 and the former Olympic
ldquoTae Kwon Dordquo Pavilion was packed with enthusiastic party people The fair had a more national flavor than ever this year under its new
director Alexis Caniaris the son of recently deceased artist Vlassis Caniaris whose iconic modern work has recently found great success on the
international market Of the very few foreign galleries exhibiting most were Greek-owned The Breeder gallery was dealing with the perceived
drop in the market by selling fantastic multiples by artists like Stelios Faitakis Jannis Varelas and Andreas Angelidakis at crisis-appropriate
prices ldquoNobody wants to come here now but I have already met three interested billionaire collectors today And if Greeks like you they
introduce you to their billionaire friendsrdquo raved Cologne dealer Mirko Mayer a seven-time exhibitor ldquoThat is what nobody knows There are
at least one-hundred billionaires collecting hererdquo Most international collectors were delayed several hours due to a union strike a de r igueur
mode of arrival in contemporary Greece
It was impossible to miss the exuberant activities of the DaDa Da restaurant a Greek-Austrian collaboration where artist Albert Mayr was
waving a skillet and raving nonsense while Lucas Willmann tenderized pink fillets for Wiener schnitzel ldquoThis is Viennese Actionism lightrdquo
quipped critic Sotirios Bahtsetzis Artist Natasha Papadopoulos added ldquoBut here there are hungry Greeks waitingrdquo On a table with a rotating
Sacher tort by Heacutelegravene van Duijne a sign carried the overwhelming spirit FUCK ART LETrsquoS EAT SOUVLAKI An insistent electronic beat and
pulsating light emanated from the next booth the American College of Greecersquos ldquoAthensUrgentrdquo while hooded performer Manos Tsatiris
stood against the wall with his hands tied perhaps a metaphor for the current Athenian exigency ldquoThis is not the kind of art fair scene we are
used tordquo said the Economou Collectionrsquos Annie-Claire Geisinger watching the madness
Left Artists Elisabeth Penker Michela Pelusio Petros Touloudis Panos Papadopoulos and Nino Stelzl Right Collector Anne-Marie Ros
Down on the floor the dealers seemed pleased particularly given dismal expectations having already sold a great deal at the preview Young
Rotterdam-based gallery Joey Ramone had sold sculptures by Fotini Gouseti to English and Belgian collectors dealer Erik Mulier had also sold
some work to Belgians Marc Van den Hende said he had bought a triptych by Eirene Efstathiou and was considering a Vlassis Caniaris piece
from the 1970s ldquoI saw some surprisesmdashyoung Greek artists I did not knowmdashand great new galleries like Elika and CANrdquo Dutch collector
Anne-Marie Ros said By the end of the day Dimitra and Sofia Vamiali reported that they had not seen one Greek collector although another
reported a Dakis Joannou sighting mdash Cathryn Drake
SEARCH
ARTICLES
GO
Home
News
War Dead
Music
Film
Arts
Food
Diversions
Best of Seattle
About Us
Search
Classifieds
Job Mall
Special Offers
Personals
Contests
Images this
Week
Newsletter
Signup
SEATTLE
WEEKLY
in the News
Columnist
Geov Parrish
is a regular
guest on
Mind Over
Matters on
KEXP-FM
(903)
Saturdays at
830 am and
provides news
commentary
on KBCS-FM
(913) Fridays
at 430 pm
Catch writers
Steve
Wiecking Tim
Appelo and
ARTS
March 30 - April 5 2005
Picking Up the Thread
Howard House ties together the best new conceptual art from Vienna
by Elise Richman
Franz Wests Mercury
(Howard House Contemporary Art)
Theres a German expression to lose the red thread which means losing
ones train of thought In its current show Howard House has found that
thread Julie Ryan a curator artist and writer organized The Red
Thread Glimpses of International Art in Vienna a two-part exhibition
featuring artists working and living at least part time in Austrias capital
Part one of the show is at Howard House the second half is currently on
display at the Educational Alliance Gallery in New York
Vienna has become a magnet for artists from all over the world including
the 15 individuals and artist teams that are part of The Red Thread
Excellent artist residency programs a low cost of living and living art
legends like Franz West are just a few of the reasons
An artistic collaboration with West took Ryan from New York to Vienna
She knows Billy Howard who runs Howard House from the University of
Washingtons School of Art And so the figurative string was strung
connecting the East and West coasts with artists from across the Atlantic
This is a complex exhibit whose emotional tenor ranges from cool
detachment to an almost urgent earnestness Unlike the formal richly
historical city that connects them artists in The Red Thread favor informal
approaches to art making use disposable materials and comment on
contemporary cultural themes
West has two formidable sculptures at Howard House The front room of the
gallery features Mercury (pictured) an ungainly behemoth composed of a
patchwork of fused metal Like many of Wests sculptures Mercury is
meant as an interactive structure that viewers can climb and sit on Bulbous
Gavin
Borchert
discussing
theater film
and music
regularly on
classical
KING-FM
(981)
Mark Fiore
Cartoons
Every
Thursday
nodules extend from its horizontal base and the seams of the dark maroon
metal look like scars rendering it at once vaguely obscene and absurdly
playful
Sisyphus the other West sculpture on display is a bulky conglomeration of
bits and wads of paper propped in the back room on a makeshift plinth (base
block) Though its as solid as the boulder its title references its surface is
like oozing skin partly coated with poured murky paint partly cloaked in
small clumps of newspaper detritus
The strenuous act of making each of these sculptures is eminently apparent
and central to the content of Wests work West considers creation a
symbolic act As you might expect he likens the artistic process to the plight
of Sisyphus the mythological figure who eternally rolled a boulder up a hill
only to have it come crashing back down For West art involves a
Sisyphean search for what he calls the absolute through the seemingly
senseless accumulation of materials However unlike Sisyphus futile quest
Wests process can lead to epiphany making sense of the senseless
Similarly Viennese artist Elisabeth Penkers art serves a facilitative
function easing the act of translation Penker uses Haida iconography in her
multimedia work because it provides potent visual symbols that
communicate single words and whole sentences simultaneously Her prints
at Howard House feature fragments of icons floating in the papers white
space They are spare visually arresting characters that employ an
iconographic language as encoded symbols of communication
Also featured in The Red Thread is Donald Baechler an internationally
known American painter who spends extended periods of time in Vienna
Baechler equalizes his imagery by painting it all in the same style For him
the source of an image doesnt matter whether its a drawing by Picasso or
graffiti on a bathroom wall What matters is the newfound context his
paintings provide
Victory by Default is part of Baechlers Skull series In this piece a painted
skull gapes from the dirty yet sensuous confines of a large canvas Terry
cloth and wrinkled rags provide literal texture and reference the world
outside the paintings boundaries Splatterings of color around the skull like
the self-conscious marks of Jasper Johns seem to express the language of
paintingmdashhue and gestural strokesmdashin a factual rather than illusional
manner
Another American painter Lisa Ruyter lives half-time in Vienna where she
runs an influential gallery She works from photographs projected onto
large-scale canvases tracing the contours of the projected imagery with
consistent black outlines In a way that seems arbitrary she paints the shapes
formed by her contour lines in flat designer colors Man of Means based on
a photo of fashion photographers looks like a scrambled color-by-numbers
painting I cant do justice to the unusually rich assortment of conceptual art
in The Red Thread Youll just have to see it for yourself Thomas
Baumans thrashing triangular foil blanket Walter Seidls slide show of
staged snapshots Markus Schinwalds photograph of a contortionist and the
other thoughtful works connected by The Red Thread
The Red Thread Glimpses of International Art in Vienna runs through
April 30 at Howard House 604 Second Ave 206- 256-6399 1030 amndash5
pm TuesndashSat Free
KUNSTFORUM
Parallelwelten fuumlr Parlamentarier Ausstellung
Von Brigitte Borchhardt-Birbaumer
Ende Oktober endet die Zusammenarbeit von Nationalratspraumlsident Andreas Khol und Peter Pakesch Direktor des Kunsthauses Graz am Joanneum Seit 2003
hatte Pakesch als Kurator mehrere Ausstellungen in den Sitzungssaumllen des Parlaments in Zusammenarbeit mit Galerien initiiert und namhafte Positionen
ausgewaumlhlt Kriterium fuumlr Praumlsentationen war die Praumlsenz durch eine Schau in einer der bekannten Kunstinstitutionen des Landes Nach Eva Schlegel Adriana
Czernin Maria Lassnig oder Esther Stocker sind dies nun bis April 2007 Josef Dabernig Daniel Hafner Ulrike Lienbacher Alois Mosbacher und Elisabeth
Penker
Das Parlament kann dabei durch die Margaretha-Lupac Stiftung immer eine Arbeit fuumlr die wachsende Sammlung des Hauses ankaufen Zuletzt war das ein
groszliges Oumll-Acryl-Gemaumllde der Georg-Eisler-Preistraumlgerin Maja Vukoje zuvor Johanna Kandl deren Temperabild derzeit an das Lentos in Linz geliehen wird
Einige Werke haumlngen schon als kuumlnstlerische Wegweiser in den Gaumlngen des Hauses und sind auch Blickfang fuumlr die 120000 Besucher die pro Jahr das
Parlament besuchen In die Architektur von Theophil Hansen mit ihrer zeitlosen Qualitaumlt fuumlgt sich die Gegenwartskunst kongenial
Hoffnung fuumlr spaumlter
Die derzeitige Zusammenstellung macht Hoffnung auf eine Fortsetzung unter der naumlchsten Praumlsidentschaft Fotografie Computerkunst Malerei Zeichnung
und Skulptur weisen auf die Vielfalt der Werkstoffe in der Gegenwartskunst Elisabeth Penker parallel im Kunsthaus Graz zu sehen baut schwarzweiszlige
Objekte aus bemaltem Holz die in ihrer seriellen und geometrischen Anordnung auf Bezuumlge zum Performativen und auf die Musik hinweisen
Noch juumlnger ist Daniel Hafner mit seinen am Computer komponierten digitalen Drucken Morphosentransformationen von 2006 Linienraster und
Raumkonstruktionen in subtiler Farbigkeit verbinden Tendenzen der fruumlhen Op-Art mit dem Cyber-Lab
Um konstruierte Realitaumlten geht es auch in den groszligformatigen Oumllbildern von Alois Mosbacher dem bekannten Vertreter der Neuen Wilden der
Achtzigerjahre in Oumlsterreich Wanderer in Wald und Wiese erzaumlhlen die Geschichten alternativer Welten die sich mancher in der Gesellschaft als Parallele
konstruiert
Zwei Fotofriese von Josef Dabernig bilden jeweils ein Panorama von oumlffentlichen Plaumltzen auf denen es zum einen um Fuszligball geht Zum anderen ist der
Rundblick in das Oval einer scheinbaren Arena auch eine Art Sehschule fuumlr die Betrachter Ein sozialer Befund ist die dritte Bedeutungsebene
Ulrike Lienbacher die heuer mit einer groszligen Schau im Innsbrucker Taxispalais ihre Karriere fortsetzt ist mit ihren feinlinigen Tuschezeichnungen den kleinen
oft unsichtbaren Zwaumlngen in unserer Gesellschaft auf der Spur Im Lokal II des Parlaments stellt sie zwar nicht ihre Objekte und Fotos aber einige
groszligformatige Blaumltter mit Frisurenvariationen neben teils fragmentierten Frauenkoumlrpern im Umgang mit Schmutz und Hygiene aber auch Fitnesskult aus
Disziplinierung und Kontrolle betreffen in der Oumlffentlichkeit besonders den weiblichen Koumlrper Sauberkeitsmechanismen weisen auch auf Vorstellungen von
wertvoll und minderwertig hin Ihre Transformationen enthalten wie die Themen der anderen subtile Kritik und sind daher vom Kurator uumlberlegt positioniert
Zeitgenoumlssische Kunst
im Parlament
Bis April 2007
Kurator Peter Pakesch
Konfrontationen
Dienstag 10 Oktober 2006
ltlt 2003 | 2004 Jan Feb Mar Apr May Jun Jul Aug Sep Oct Nov Dec 2004 | 2005 gtgt
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31
Sunday 17 October 2004
TIME
TITLE
NAME
700 Indymedia ESF breakfast show Indymedia London
Highlights news and views from the European Social Forum and the
autonomous spaces and initiatives taking place this week
website
800 Resonance Radio Art Riot Breakfast International
Radio Art
A five part special of the Harmon E Phraisyar show commissioned for
Kunstradio in Austria starts off the morning broadcast of international radio
art
website
1100 Resonance Live from the Frieze Art Fair Anna Colin amp
Tobi Maier
1100 Chris Weaver Resonance 1044FM live electronics set with James Dunn and
Robin Warren
1130 Michael Hall gallery Vienna presents audio works by artist Elisabeth Penker
1200 Maria Fusco presents latest the Bookworks commissions
1300 The Psychology of Collecting live broadcast of the frieze art fair panel
discussion
Is collecting an irrational act guided by compulsion and desire What are the use of
objects What are the motivations behind making collecting curating and
criticizing art A discussion of the psychology of collecting and the politics of taste
Hilary Rubenstein (Psychologist)
Eric Troncy (Art Critic and Director Le Consortium Dijon)
Haim Steinbach (Artist)
Chair Alice Rawsthorn (Director Design Museum)
1500 Portable live set and presentation of sudelectronic records London
1600 Where is Adventure What is Culture live broadcast of the frieze art fair
website
panel discussion
A discussion of the relationship of art to entertainment touching on the comedic
being popular and failing miserably
Trisha Donnelly (Artist)
Christian Jankowski (Artist)
David Robbins (Writer amp Artist)
Nancy Spector (Curator of Contemporary Art Solomon R Guggenheim Museum)
Chair Matthew Higgs (Curator CCA Wattis Institute for Contemporary Arts)
1800 Melissa Bent from Rivington Arms gallery New York in conversation with
artist Dan Colan and Tobi Maier Anna Colin
1830 VOX pop recordings from the fair with Sharon Gal
1900 Resonance Radio Art Riot Sarah
Washington
The Resonance Radio Art Riot brings together some of the foremost radio artists
and thinkers from around the world The studio lab situation will feature round
table discussions live performances and streamed events
Tonight Radio Text
Events Live broadcast from Sonic Arts Network Resonance benefit featuring
Henri Chopin studio performances from Julia Lee Barclay and Aude Tournay plus
Special Features None present live concrete radiophonics - Planning For
Emergencies
Guests include Clive Graham Chris Weaver Richard Thomas Toby Clarkson
John Lovett Robin Warren and James Dunn
Topics The word as art Sound poetry text performances
At Midnight Tom Wallace present exclusive excerpts from radio art pioneer
Gregory Whitehead
website
000 Resonance Radio Art Riot Nights International
Radio Art
The Resonance Radio Art riot continues throughout the night with the finest of
international radio art Resonance FM programme makers and our international
guests have put together many special hours of classic and obscure radio
works
website
- EPenkerDocumentationpdf
-
- 2bAusstellungenPublicaSpaceEPenkerpdf
-
- 2cUntitled_InstrumentsKunsthausGrazEPenker
- 2bpoeticsKunsthaus GrazEPenker
-
- 4PresseEPenkerpdf
-
- 4Review_Seattle Weekly
-
into First Nation Pavillion which amongst others aims at connecting the recent discourse on cultural translation with
early avant-garde phonetic experiments Penker maps the sonic structure of Kunsthaus Graz and its (live) architecture
which for PROTECTIONS hosts an array of interdisciplinary projects with a strong audio-quality from Herwig Weisers
Death Before Disco (a micro-architecture of hyper-technological and electronic pop) through a newly created choir of
security guards for Tim Etchells Wall of Sound down to a cacophonic layers of anonimous noise generated by the
space itself and the presence of audience
Die Wiener Kuumlnstlerin und Musikerin Elisabeth Penker arbeitet mit Klang im Zusammenhang mit Bildhauerei In ihrer
(subjektiven) Fuumlhrung naumlhert sie sich der Anti-Ausstellung PROTECTIONS aus einem Blickwinkel der die Position und
Bedeutung der Klangkunst an der Kreuzung zwischen bildender Kunst Sprache und Musik verortet Von ihrem eigenen
Haus ausgehend das sich in den First Nation Pavilion verwandelt hat der u a den aktuellen Diskurs uumlber kulturelle
Uumlbersetzung mit fruumlhen phonetischen Experimenten der Avantgarde verbinden soll entwirft Penker die klangliche
Struktur des Gutshauses und seiner (Live-)Architektur die fuumlr PROTECTIONS eine Reihe von interdisziplinaumlren Projekten
mit einer starken Affinitaumlt zum Klang beherbergt von Herwig Weisers Death Before Disco (eine Mikroarchitektur aus
hyper-technoidem und elektronischem Pop) uumlber einen neu formierten Chor bestehend aus Security Guards fuumlr Tim
Etchells Wall of Sound bis zu einer Kakophonie aus anonymen Geraumluschen die vom Raum selbst und der Anwesenheit
des Publikums erzeugt werden
052813
Local Warming ATHENS
052813
AFTER A YEARLONG HIATUS the eighteenth Art-Athina hit the ground running on the evening of Thursday May 16 and the former Olympic
ldquoTae Kwon Dordquo Pavilion was packed with enthusiastic party people The fair had a more national flavor than ever this year under its new
director Alexis Caniaris the son of recently deceased artist Vlassis Caniaris whose iconic modern work has recently found great success on the
international market Of the very few foreign galleries exhibiting most were Greek-owned The Breeder gallery was dealing with the perceived
drop in the market by selling fantastic multiples by artists like Stelios Faitakis Jannis Varelas and Andreas Angelidakis at crisis-appropriate
prices ldquoNobody wants to come here now but I have already met three interested billionaire collectors today And if Greeks like you they
introduce you to their billionaire friendsrdquo raved Cologne dealer Mirko Mayer a seven-time exhibitor ldquoThat is what nobody knows There are
at least one-hundred billionaires collecting hererdquo Most international collectors were delayed several hours due to a union strike a de r igueur
mode of arrival in contemporary Greece
It was impossible to miss the exuberant activities of the DaDa Da restaurant a Greek-Austrian collaboration where artist Albert Mayr was
waving a skillet and raving nonsense while Lucas Willmann tenderized pink fillets for Wiener schnitzel ldquoThis is Viennese Actionism lightrdquo
quipped critic Sotirios Bahtsetzis Artist Natasha Papadopoulos added ldquoBut here there are hungry Greeks waitingrdquo On a table with a rotating
Sacher tort by Heacutelegravene van Duijne a sign carried the overwhelming spirit FUCK ART LETrsquoS EAT SOUVLAKI An insistent electronic beat and
pulsating light emanated from the next booth the American College of Greecersquos ldquoAthensUrgentrdquo while hooded performer Manos Tsatiris
stood against the wall with his hands tied perhaps a metaphor for the current Athenian exigency ldquoThis is not the kind of art fair scene we are
used tordquo said the Economou Collectionrsquos Annie-Claire Geisinger watching the madness
Left Artists Elisabeth Penker Michela Pelusio Petros Touloudis Panos Papadopoulos and Nino Stelzl Right Collector Anne-Marie Ros
Down on the floor the dealers seemed pleased particularly given dismal expectations having already sold a great deal at the preview Young
Rotterdam-based gallery Joey Ramone had sold sculptures by Fotini Gouseti to English and Belgian collectors dealer Erik Mulier had also sold
some work to Belgians Marc Van den Hende said he had bought a triptych by Eirene Efstathiou and was considering a Vlassis Caniaris piece
from the 1970s ldquoI saw some surprisesmdashyoung Greek artists I did not knowmdashand great new galleries like Elika and CANrdquo Dutch collector
Anne-Marie Ros said By the end of the day Dimitra and Sofia Vamiali reported that they had not seen one Greek collector although another
reported a Dakis Joannou sighting mdash Cathryn Drake
SEARCH
ARTICLES
GO
Home
News
War Dead
Music
Film
Arts
Food
Diversions
Best of Seattle
About Us
Search
Classifieds
Job Mall
Special Offers
Personals
Contests
Images this
Week
Newsletter
Signup
SEATTLE
WEEKLY
in the News
Columnist
Geov Parrish
is a regular
guest on
Mind Over
Matters on
KEXP-FM
(903)
Saturdays at
830 am and
provides news
commentary
on KBCS-FM
(913) Fridays
at 430 pm
Catch writers
Steve
Wiecking Tim
Appelo and
ARTS
March 30 - April 5 2005
Picking Up the Thread
Howard House ties together the best new conceptual art from Vienna
by Elise Richman
Franz Wests Mercury
(Howard House Contemporary Art)
Theres a German expression to lose the red thread which means losing
ones train of thought In its current show Howard House has found that
thread Julie Ryan a curator artist and writer organized The Red
Thread Glimpses of International Art in Vienna a two-part exhibition
featuring artists working and living at least part time in Austrias capital
Part one of the show is at Howard House the second half is currently on
display at the Educational Alliance Gallery in New York
Vienna has become a magnet for artists from all over the world including
the 15 individuals and artist teams that are part of The Red Thread
Excellent artist residency programs a low cost of living and living art
legends like Franz West are just a few of the reasons
An artistic collaboration with West took Ryan from New York to Vienna
She knows Billy Howard who runs Howard House from the University of
Washingtons School of Art And so the figurative string was strung
connecting the East and West coasts with artists from across the Atlantic
This is a complex exhibit whose emotional tenor ranges from cool
detachment to an almost urgent earnestness Unlike the formal richly
historical city that connects them artists in The Red Thread favor informal
approaches to art making use disposable materials and comment on
contemporary cultural themes
West has two formidable sculptures at Howard House The front room of the
gallery features Mercury (pictured) an ungainly behemoth composed of a
patchwork of fused metal Like many of Wests sculptures Mercury is
meant as an interactive structure that viewers can climb and sit on Bulbous
Gavin
Borchert
discussing
theater film
and music
regularly on
classical
KING-FM
(981)
Mark Fiore
Cartoons
Every
Thursday
nodules extend from its horizontal base and the seams of the dark maroon
metal look like scars rendering it at once vaguely obscene and absurdly
playful
Sisyphus the other West sculpture on display is a bulky conglomeration of
bits and wads of paper propped in the back room on a makeshift plinth (base
block) Though its as solid as the boulder its title references its surface is
like oozing skin partly coated with poured murky paint partly cloaked in
small clumps of newspaper detritus
The strenuous act of making each of these sculptures is eminently apparent
and central to the content of Wests work West considers creation a
symbolic act As you might expect he likens the artistic process to the plight
of Sisyphus the mythological figure who eternally rolled a boulder up a hill
only to have it come crashing back down For West art involves a
Sisyphean search for what he calls the absolute through the seemingly
senseless accumulation of materials However unlike Sisyphus futile quest
Wests process can lead to epiphany making sense of the senseless
Similarly Viennese artist Elisabeth Penkers art serves a facilitative
function easing the act of translation Penker uses Haida iconography in her
multimedia work because it provides potent visual symbols that
communicate single words and whole sentences simultaneously Her prints
at Howard House feature fragments of icons floating in the papers white
space They are spare visually arresting characters that employ an
iconographic language as encoded symbols of communication
Also featured in The Red Thread is Donald Baechler an internationally
known American painter who spends extended periods of time in Vienna
Baechler equalizes his imagery by painting it all in the same style For him
the source of an image doesnt matter whether its a drawing by Picasso or
graffiti on a bathroom wall What matters is the newfound context his
paintings provide
Victory by Default is part of Baechlers Skull series In this piece a painted
skull gapes from the dirty yet sensuous confines of a large canvas Terry
cloth and wrinkled rags provide literal texture and reference the world
outside the paintings boundaries Splatterings of color around the skull like
the self-conscious marks of Jasper Johns seem to express the language of
paintingmdashhue and gestural strokesmdashin a factual rather than illusional
manner
Another American painter Lisa Ruyter lives half-time in Vienna where she
runs an influential gallery She works from photographs projected onto
large-scale canvases tracing the contours of the projected imagery with
consistent black outlines In a way that seems arbitrary she paints the shapes
formed by her contour lines in flat designer colors Man of Means based on
a photo of fashion photographers looks like a scrambled color-by-numbers
painting I cant do justice to the unusually rich assortment of conceptual art
in The Red Thread Youll just have to see it for yourself Thomas
Baumans thrashing triangular foil blanket Walter Seidls slide show of
staged snapshots Markus Schinwalds photograph of a contortionist and the
other thoughtful works connected by The Red Thread
The Red Thread Glimpses of International Art in Vienna runs through
April 30 at Howard House 604 Second Ave 206- 256-6399 1030 amndash5
pm TuesndashSat Free
KUNSTFORUM
Parallelwelten fuumlr Parlamentarier Ausstellung
Von Brigitte Borchhardt-Birbaumer
Ende Oktober endet die Zusammenarbeit von Nationalratspraumlsident Andreas Khol und Peter Pakesch Direktor des Kunsthauses Graz am Joanneum Seit 2003
hatte Pakesch als Kurator mehrere Ausstellungen in den Sitzungssaumllen des Parlaments in Zusammenarbeit mit Galerien initiiert und namhafte Positionen
ausgewaumlhlt Kriterium fuumlr Praumlsentationen war die Praumlsenz durch eine Schau in einer der bekannten Kunstinstitutionen des Landes Nach Eva Schlegel Adriana
Czernin Maria Lassnig oder Esther Stocker sind dies nun bis April 2007 Josef Dabernig Daniel Hafner Ulrike Lienbacher Alois Mosbacher und Elisabeth
Penker
Das Parlament kann dabei durch die Margaretha-Lupac Stiftung immer eine Arbeit fuumlr die wachsende Sammlung des Hauses ankaufen Zuletzt war das ein
groszliges Oumll-Acryl-Gemaumllde der Georg-Eisler-Preistraumlgerin Maja Vukoje zuvor Johanna Kandl deren Temperabild derzeit an das Lentos in Linz geliehen wird
Einige Werke haumlngen schon als kuumlnstlerische Wegweiser in den Gaumlngen des Hauses und sind auch Blickfang fuumlr die 120000 Besucher die pro Jahr das
Parlament besuchen In die Architektur von Theophil Hansen mit ihrer zeitlosen Qualitaumlt fuumlgt sich die Gegenwartskunst kongenial
Hoffnung fuumlr spaumlter
Die derzeitige Zusammenstellung macht Hoffnung auf eine Fortsetzung unter der naumlchsten Praumlsidentschaft Fotografie Computerkunst Malerei Zeichnung
und Skulptur weisen auf die Vielfalt der Werkstoffe in der Gegenwartskunst Elisabeth Penker parallel im Kunsthaus Graz zu sehen baut schwarzweiszlige
Objekte aus bemaltem Holz die in ihrer seriellen und geometrischen Anordnung auf Bezuumlge zum Performativen und auf die Musik hinweisen
Noch juumlnger ist Daniel Hafner mit seinen am Computer komponierten digitalen Drucken Morphosentransformationen von 2006 Linienraster und
Raumkonstruktionen in subtiler Farbigkeit verbinden Tendenzen der fruumlhen Op-Art mit dem Cyber-Lab
Um konstruierte Realitaumlten geht es auch in den groszligformatigen Oumllbildern von Alois Mosbacher dem bekannten Vertreter der Neuen Wilden der
Achtzigerjahre in Oumlsterreich Wanderer in Wald und Wiese erzaumlhlen die Geschichten alternativer Welten die sich mancher in der Gesellschaft als Parallele
konstruiert
Zwei Fotofriese von Josef Dabernig bilden jeweils ein Panorama von oumlffentlichen Plaumltzen auf denen es zum einen um Fuszligball geht Zum anderen ist der
Rundblick in das Oval einer scheinbaren Arena auch eine Art Sehschule fuumlr die Betrachter Ein sozialer Befund ist die dritte Bedeutungsebene
Ulrike Lienbacher die heuer mit einer groszligen Schau im Innsbrucker Taxispalais ihre Karriere fortsetzt ist mit ihren feinlinigen Tuschezeichnungen den kleinen
oft unsichtbaren Zwaumlngen in unserer Gesellschaft auf der Spur Im Lokal II des Parlaments stellt sie zwar nicht ihre Objekte und Fotos aber einige
groszligformatige Blaumltter mit Frisurenvariationen neben teils fragmentierten Frauenkoumlrpern im Umgang mit Schmutz und Hygiene aber auch Fitnesskult aus
Disziplinierung und Kontrolle betreffen in der Oumlffentlichkeit besonders den weiblichen Koumlrper Sauberkeitsmechanismen weisen auch auf Vorstellungen von
wertvoll und minderwertig hin Ihre Transformationen enthalten wie die Themen der anderen subtile Kritik und sind daher vom Kurator uumlberlegt positioniert
Zeitgenoumlssische Kunst
im Parlament
Bis April 2007
Kurator Peter Pakesch
Konfrontationen
Dienstag 10 Oktober 2006
ltlt 2003 | 2004 Jan Feb Mar Apr May Jun Jul Aug Sep Oct Nov Dec 2004 | 2005 gtgt
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31
Sunday 17 October 2004
TIME
TITLE
NAME
700 Indymedia ESF breakfast show Indymedia London
Highlights news and views from the European Social Forum and the
autonomous spaces and initiatives taking place this week
website
800 Resonance Radio Art Riot Breakfast International
Radio Art
A five part special of the Harmon E Phraisyar show commissioned for
Kunstradio in Austria starts off the morning broadcast of international radio
art
website
1100 Resonance Live from the Frieze Art Fair Anna Colin amp
Tobi Maier
1100 Chris Weaver Resonance 1044FM live electronics set with James Dunn and
Robin Warren
1130 Michael Hall gallery Vienna presents audio works by artist Elisabeth Penker
1200 Maria Fusco presents latest the Bookworks commissions
1300 The Psychology of Collecting live broadcast of the frieze art fair panel
discussion
Is collecting an irrational act guided by compulsion and desire What are the use of
objects What are the motivations behind making collecting curating and
criticizing art A discussion of the psychology of collecting and the politics of taste
Hilary Rubenstein (Psychologist)
Eric Troncy (Art Critic and Director Le Consortium Dijon)
Haim Steinbach (Artist)
Chair Alice Rawsthorn (Director Design Museum)
1500 Portable live set and presentation of sudelectronic records London
1600 Where is Adventure What is Culture live broadcast of the frieze art fair
website
panel discussion
A discussion of the relationship of art to entertainment touching on the comedic
being popular and failing miserably
Trisha Donnelly (Artist)
Christian Jankowski (Artist)
David Robbins (Writer amp Artist)
Nancy Spector (Curator of Contemporary Art Solomon R Guggenheim Museum)
Chair Matthew Higgs (Curator CCA Wattis Institute for Contemporary Arts)
1800 Melissa Bent from Rivington Arms gallery New York in conversation with
artist Dan Colan and Tobi Maier Anna Colin
1830 VOX pop recordings from the fair with Sharon Gal
1900 Resonance Radio Art Riot Sarah
Washington
The Resonance Radio Art Riot brings together some of the foremost radio artists
and thinkers from around the world The studio lab situation will feature round
table discussions live performances and streamed events
Tonight Radio Text
Events Live broadcast from Sonic Arts Network Resonance benefit featuring
Henri Chopin studio performances from Julia Lee Barclay and Aude Tournay plus
Special Features None present live concrete radiophonics - Planning For
Emergencies
Guests include Clive Graham Chris Weaver Richard Thomas Toby Clarkson
John Lovett Robin Warren and James Dunn
Topics The word as art Sound poetry text performances
At Midnight Tom Wallace present exclusive excerpts from radio art pioneer
Gregory Whitehead
website
000 Resonance Radio Art Riot Nights International
Radio Art
The Resonance Radio Art riot continues throughout the night with the finest of
international radio art Resonance FM programme makers and our international
guests have put together many special hours of classic and obscure radio
works
website
- EPenkerDocumentationpdf
-
- 2bAusstellungenPublicaSpaceEPenkerpdf
-
- 2cUntitled_InstrumentsKunsthausGrazEPenker
- 2bpoeticsKunsthaus GrazEPenker
-
- 4PresseEPenkerpdf
-
- 4Review_Seattle Weekly
-
052813
Local Warming ATHENS
052813
AFTER A YEARLONG HIATUS the eighteenth Art-Athina hit the ground running on the evening of Thursday May 16 and the former Olympic
ldquoTae Kwon Dordquo Pavilion was packed with enthusiastic party people The fair had a more national flavor than ever this year under its new
director Alexis Caniaris the son of recently deceased artist Vlassis Caniaris whose iconic modern work has recently found great success on the
international market Of the very few foreign galleries exhibiting most were Greek-owned The Breeder gallery was dealing with the perceived
drop in the market by selling fantastic multiples by artists like Stelios Faitakis Jannis Varelas and Andreas Angelidakis at crisis-appropriate
prices ldquoNobody wants to come here now but I have already met three interested billionaire collectors today And if Greeks like you they
introduce you to their billionaire friendsrdquo raved Cologne dealer Mirko Mayer a seven-time exhibitor ldquoThat is what nobody knows There are
at least one-hundred billionaires collecting hererdquo Most international collectors were delayed several hours due to a union strike a de r igueur
mode of arrival in contemporary Greece
It was impossible to miss the exuberant activities of the DaDa Da restaurant a Greek-Austrian collaboration where artist Albert Mayr was
waving a skillet and raving nonsense while Lucas Willmann tenderized pink fillets for Wiener schnitzel ldquoThis is Viennese Actionism lightrdquo
quipped critic Sotirios Bahtsetzis Artist Natasha Papadopoulos added ldquoBut here there are hungry Greeks waitingrdquo On a table with a rotating
Sacher tort by Heacutelegravene van Duijne a sign carried the overwhelming spirit FUCK ART LETrsquoS EAT SOUVLAKI An insistent electronic beat and
pulsating light emanated from the next booth the American College of Greecersquos ldquoAthensUrgentrdquo while hooded performer Manos Tsatiris
stood against the wall with his hands tied perhaps a metaphor for the current Athenian exigency ldquoThis is not the kind of art fair scene we are
used tordquo said the Economou Collectionrsquos Annie-Claire Geisinger watching the madness
Left Artists Elisabeth Penker Michela Pelusio Petros Touloudis Panos Papadopoulos and Nino Stelzl Right Collector Anne-Marie Ros
Down on the floor the dealers seemed pleased particularly given dismal expectations having already sold a great deal at the preview Young
Rotterdam-based gallery Joey Ramone had sold sculptures by Fotini Gouseti to English and Belgian collectors dealer Erik Mulier had also sold
some work to Belgians Marc Van den Hende said he had bought a triptych by Eirene Efstathiou and was considering a Vlassis Caniaris piece
from the 1970s ldquoI saw some surprisesmdashyoung Greek artists I did not knowmdashand great new galleries like Elika and CANrdquo Dutch collector
Anne-Marie Ros said By the end of the day Dimitra and Sofia Vamiali reported that they had not seen one Greek collector although another
reported a Dakis Joannou sighting mdash Cathryn Drake
SEARCH
ARTICLES
GO
Home
News
War Dead
Music
Film
Arts
Food
Diversions
Best of Seattle
About Us
Search
Classifieds
Job Mall
Special Offers
Personals
Contests
Images this
Week
Newsletter
Signup
SEATTLE
WEEKLY
in the News
Columnist
Geov Parrish
is a regular
guest on
Mind Over
Matters on
KEXP-FM
(903)
Saturdays at
830 am and
provides news
commentary
on KBCS-FM
(913) Fridays
at 430 pm
Catch writers
Steve
Wiecking Tim
Appelo and
ARTS
March 30 - April 5 2005
Picking Up the Thread
Howard House ties together the best new conceptual art from Vienna
by Elise Richman
Franz Wests Mercury
(Howard House Contemporary Art)
Theres a German expression to lose the red thread which means losing
ones train of thought In its current show Howard House has found that
thread Julie Ryan a curator artist and writer organized The Red
Thread Glimpses of International Art in Vienna a two-part exhibition
featuring artists working and living at least part time in Austrias capital
Part one of the show is at Howard House the second half is currently on
display at the Educational Alliance Gallery in New York
Vienna has become a magnet for artists from all over the world including
the 15 individuals and artist teams that are part of The Red Thread
Excellent artist residency programs a low cost of living and living art
legends like Franz West are just a few of the reasons
An artistic collaboration with West took Ryan from New York to Vienna
She knows Billy Howard who runs Howard House from the University of
Washingtons School of Art And so the figurative string was strung
connecting the East and West coasts with artists from across the Atlantic
This is a complex exhibit whose emotional tenor ranges from cool
detachment to an almost urgent earnestness Unlike the formal richly
historical city that connects them artists in The Red Thread favor informal
approaches to art making use disposable materials and comment on
contemporary cultural themes
West has two formidable sculptures at Howard House The front room of the
gallery features Mercury (pictured) an ungainly behemoth composed of a
patchwork of fused metal Like many of Wests sculptures Mercury is
meant as an interactive structure that viewers can climb and sit on Bulbous
Gavin
Borchert
discussing
theater film
and music
regularly on
classical
KING-FM
(981)
Mark Fiore
Cartoons
Every
Thursday
nodules extend from its horizontal base and the seams of the dark maroon
metal look like scars rendering it at once vaguely obscene and absurdly
playful
Sisyphus the other West sculpture on display is a bulky conglomeration of
bits and wads of paper propped in the back room on a makeshift plinth (base
block) Though its as solid as the boulder its title references its surface is
like oozing skin partly coated with poured murky paint partly cloaked in
small clumps of newspaper detritus
The strenuous act of making each of these sculptures is eminently apparent
and central to the content of Wests work West considers creation a
symbolic act As you might expect he likens the artistic process to the plight
of Sisyphus the mythological figure who eternally rolled a boulder up a hill
only to have it come crashing back down For West art involves a
Sisyphean search for what he calls the absolute through the seemingly
senseless accumulation of materials However unlike Sisyphus futile quest
Wests process can lead to epiphany making sense of the senseless
Similarly Viennese artist Elisabeth Penkers art serves a facilitative
function easing the act of translation Penker uses Haida iconography in her
multimedia work because it provides potent visual symbols that
communicate single words and whole sentences simultaneously Her prints
at Howard House feature fragments of icons floating in the papers white
space They are spare visually arresting characters that employ an
iconographic language as encoded symbols of communication
Also featured in The Red Thread is Donald Baechler an internationally
known American painter who spends extended periods of time in Vienna
Baechler equalizes his imagery by painting it all in the same style For him
the source of an image doesnt matter whether its a drawing by Picasso or
graffiti on a bathroom wall What matters is the newfound context his
paintings provide
Victory by Default is part of Baechlers Skull series In this piece a painted
skull gapes from the dirty yet sensuous confines of a large canvas Terry
cloth and wrinkled rags provide literal texture and reference the world
outside the paintings boundaries Splatterings of color around the skull like
the self-conscious marks of Jasper Johns seem to express the language of
paintingmdashhue and gestural strokesmdashin a factual rather than illusional
manner
Another American painter Lisa Ruyter lives half-time in Vienna where she
runs an influential gallery She works from photographs projected onto
large-scale canvases tracing the contours of the projected imagery with
consistent black outlines In a way that seems arbitrary she paints the shapes
formed by her contour lines in flat designer colors Man of Means based on
a photo of fashion photographers looks like a scrambled color-by-numbers
painting I cant do justice to the unusually rich assortment of conceptual art
in The Red Thread Youll just have to see it for yourself Thomas
Baumans thrashing triangular foil blanket Walter Seidls slide show of
staged snapshots Markus Schinwalds photograph of a contortionist and the
other thoughtful works connected by The Red Thread
The Red Thread Glimpses of International Art in Vienna runs through
April 30 at Howard House 604 Second Ave 206- 256-6399 1030 amndash5
pm TuesndashSat Free
KUNSTFORUM
Parallelwelten fuumlr Parlamentarier Ausstellung
Von Brigitte Borchhardt-Birbaumer
Ende Oktober endet die Zusammenarbeit von Nationalratspraumlsident Andreas Khol und Peter Pakesch Direktor des Kunsthauses Graz am Joanneum Seit 2003
hatte Pakesch als Kurator mehrere Ausstellungen in den Sitzungssaumllen des Parlaments in Zusammenarbeit mit Galerien initiiert und namhafte Positionen
ausgewaumlhlt Kriterium fuumlr Praumlsentationen war die Praumlsenz durch eine Schau in einer der bekannten Kunstinstitutionen des Landes Nach Eva Schlegel Adriana
Czernin Maria Lassnig oder Esther Stocker sind dies nun bis April 2007 Josef Dabernig Daniel Hafner Ulrike Lienbacher Alois Mosbacher und Elisabeth
Penker
Das Parlament kann dabei durch die Margaretha-Lupac Stiftung immer eine Arbeit fuumlr die wachsende Sammlung des Hauses ankaufen Zuletzt war das ein
groszliges Oumll-Acryl-Gemaumllde der Georg-Eisler-Preistraumlgerin Maja Vukoje zuvor Johanna Kandl deren Temperabild derzeit an das Lentos in Linz geliehen wird
Einige Werke haumlngen schon als kuumlnstlerische Wegweiser in den Gaumlngen des Hauses und sind auch Blickfang fuumlr die 120000 Besucher die pro Jahr das
Parlament besuchen In die Architektur von Theophil Hansen mit ihrer zeitlosen Qualitaumlt fuumlgt sich die Gegenwartskunst kongenial
Hoffnung fuumlr spaumlter
Die derzeitige Zusammenstellung macht Hoffnung auf eine Fortsetzung unter der naumlchsten Praumlsidentschaft Fotografie Computerkunst Malerei Zeichnung
und Skulptur weisen auf die Vielfalt der Werkstoffe in der Gegenwartskunst Elisabeth Penker parallel im Kunsthaus Graz zu sehen baut schwarzweiszlige
Objekte aus bemaltem Holz die in ihrer seriellen und geometrischen Anordnung auf Bezuumlge zum Performativen und auf die Musik hinweisen
Noch juumlnger ist Daniel Hafner mit seinen am Computer komponierten digitalen Drucken Morphosentransformationen von 2006 Linienraster und
Raumkonstruktionen in subtiler Farbigkeit verbinden Tendenzen der fruumlhen Op-Art mit dem Cyber-Lab
Um konstruierte Realitaumlten geht es auch in den groszligformatigen Oumllbildern von Alois Mosbacher dem bekannten Vertreter der Neuen Wilden der
Achtzigerjahre in Oumlsterreich Wanderer in Wald und Wiese erzaumlhlen die Geschichten alternativer Welten die sich mancher in der Gesellschaft als Parallele
konstruiert
Zwei Fotofriese von Josef Dabernig bilden jeweils ein Panorama von oumlffentlichen Plaumltzen auf denen es zum einen um Fuszligball geht Zum anderen ist der
Rundblick in das Oval einer scheinbaren Arena auch eine Art Sehschule fuumlr die Betrachter Ein sozialer Befund ist die dritte Bedeutungsebene
Ulrike Lienbacher die heuer mit einer groszligen Schau im Innsbrucker Taxispalais ihre Karriere fortsetzt ist mit ihren feinlinigen Tuschezeichnungen den kleinen
oft unsichtbaren Zwaumlngen in unserer Gesellschaft auf der Spur Im Lokal II des Parlaments stellt sie zwar nicht ihre Objekte und Fotos aber einige
groszligformatige Blaumltter mit Frisurenvariationen neben teils fragmentierten Frauenkoumlrpern im Umgang mit Schmutz und Hygiene aber auch Fitnesskult aus
Disziplinierung und Kontrolle betreffen in der Oumlffentlichkeit besonders den weiblichen Koumlrper Sauberkeitsmechanismen weisen auch auf Vorstellungen von
wertvoll und minderwertig hin Ihre Transformationen enthalten wie die Themen der anderen subtile Kritik und sind daher vom Kurator uumlberlegt positioniert
Zeitgenoumlssische Kunst
im Parlament
Bis April 2007
Kurator Peter Pakesch
Konfrontationen
Dienstag 10 Oktober 2006
ltlt 2003 | 2004 Jan Feb Mar Apr May Jun Jul Aug Sep Oct Nov Dec 2004 | 2005 gtgt
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31
Sunday 17 October 2004
TIME
TITLE
NAME
700 Indymedia ESF breakfast show Indymedia London
Highlights news and views from the European Social Forum and the
autonomous spaces and initiatives taking place this week
website
800 Resonance Radio Art Riot Breakfast International
Radio Art
A five part special of the Harmon E Phraisyar show commissioned for
Kunstradio in Austria starts off the morning broadcast of international radio
art
website
1100 Resonance Live from the Frieze Art Fair Anna Colin amp
Tobi Maier
1100 Chris Weaver Resonance 1044FM live electronics set with James Dunn and
Robin Warren
1130 Michael Hall gallery Vienna presents audio works by artist Elisabeth Penker
1200 Maria Fusco presents latest the Bookworks commissions
1300 The Psychology of Collecting live broadcast of the frieze art fair panel
discussion
Is collecting an irrational act guided by compulsion and desire What are the use of
objects What are the motivations behind making collecting curating and
criticizing art A discussion of the psychology of collecting and the politics of taste
Hilary Rubenstein (Psychologist)
Eric Troncy (Art Critic and Director Le Consortium Dijon)
Haim Steinbach (Artist)
Chair Alice Rawsthorn (Director Design Museum)
1500 Portable live set and presentation of sudelectronic records London
1600 Where is Adventure What is Culture live broadcast of the frieze art fair
website
panel discussion
A discussion of the relationship of art to entertainment touching on the comedic
being popular and failing miserably
Trisha Donnelly (Artist)
Christian Jankowski (Artist)
David Robbins (Writer amp Artist)
Nancy Spector (Curator of Contemporary Art Solomon R Guggenheim Museum)
Chair Matthew Higgs (Curator CCA Wattis Institute for Contemporary Arts)
1800 Melissa Bent from Rivington Arms gallery New York in conversation with
artist Dan Colan and Tobi Maier Anna Colin
1830 VOX pop recordings from the fair with Sharon Gal
1900 Resonance Radio Art Riot Sarah
Washington
The Resonance Radio Art Riot brings together some of the foremost radio artists
and thinkers from around the world The studio lab situation will feature round
table discussions live performances and streamed events
Tonight Radio Text
Events Live broadcast from Sonic Arts Network Resonance benefit featuring
Henri Chopin studio performances from Julia Lee Barclay and Aude Tournay plus
Special Features None present live concrete radiophonics - Planning For
Emergencies
Guests include Clive Graham Chris Weaver Richard Thomas Toby Clarkson
John Lovett Robin Warren and James Dunn
Topics The word as art Sound poetry text performances
At Midnight Tom Wallace present exclusive excerpts from radio art pioneer
Gregory Whitehead
website
000 Resonance Radio Art Riot Nights International
Radio Art
The Resonance Radio Art riot continues throughout the night with the finest of
international radio art Resonance FM programme makers and our international
guests have put together many special hours of classic and obscure radio
works
website
- EPenkerDocumentationpdf
-
- 2bAusstellungenPublicaSpaceEPenkerpdf
-
- 2cUntitled_InstrumentsKunsthausGrazEPenker
- 2bpoeticsKunsthaus GrazEPenker
-
- 4PresseEPenkerpdf
-
- 4Review_Seattle Weekly
-
SEARCH
ARTICLES
GO
Home
News
War Dead
Music
Film
Arts
Food
Diversions
Best of Seattle
About Us
Search
Classifieds
Job Mall
Special Offers
Personals
Contests
Images this
Week
Newsletter
Signup
SEATTLE
WEEKLY
in the News
Columnist
Geov Parrish
is a regular
guest on
Mind Over
Matters on
KEXP-FM
(903)
Saturdays at
830 am and
provides news
commentary
on KBCS-FM
(913) Fridays
at 430 pm
Catch writers
Steve
Wiecking Tim
Appelo and
ARTS
March 30 - April 5 2005
Picking Up the Thread
Howard House ties together the best new conceptual art from Vienna
by Elise Richman
Franz Wests Mercury
(Howard House Contemporary Art)
Theres a German expression to lose the red thread which means losing
ones train of thought In its current show Howard House has found that
thread Julie Ryan a curator artist and writer organized The Red
Thread Glimpses of International Art in Vienna a two-part exhibition
featuring artists working and living at least part time in Austrias capital
Part one of the show is at Howard House the second half is currently on
display at the Educational Alliance Gallery in New York
Vienna has become a magnet for artists from all over the world including
the 15 individuals and artist teams that are part of The Red Thread
Excellent artist residency programs a low cost of living and living art
legends like Franz West are just a few of the reasons
An artistic collaboration with West took Ryan from New York to Vienna
She knows Billy Howard who runs Howard House from the University of
Washingtons School of Art And so the figurative string was strung
connecting the East and West coasts with artists from across the Atlantic
This is a complex exhibit whose emotional tenor ranges from cool
detachment to an almost urgent earnestness Unlike the formal richly
historical city that connects them artists in The Red Thread favor informal
approaches to art making use disposable materials and comment on
contemporary cultural themes
West has two formidable sculptures at Howard House The front room of the
gallery features Mercury (pictured) an ungainly behemoth composed of a
patchwork of fused metal Like many of Wests sculptures Mercury is
meant as an interactive structure that viewers can climb and sit on Bulbous
Gavin
Borchert
discussing
theater film
and music
regularly on
classical
KING-FM
(981)
Mark Fiore
Cartoons
Every
Thursday
nodules extend from its horizontal base and the seams of the dark maroon
metal look like scars rendering it at once vaguely obscene and absurdly
playful
Sisyphus the other West sculpture on display is a bulky conglomeration of
bits and wads of paper propped in the back room on a makeshift plinth (base
block) Though its as solid as the boulder its title references its surface is
like oozing skin partly coated with poured murky paint partly cloaked in
small clumps of newspaper detritus
The strenuous act of making each of these sculptures is eminently apparent
and central to the content of Wests work West considers creation a
symbolic act As you might expect he likens the artistic process to the plight
of Sisyphus the mythological figure who eternally rolled a boulder up a hill
only to have it come crashing back down For West art involves a
Sisyphean search for what he calls the absolute through the seemingly
senseless accumulation of materials However unlike Sisyphus futile quest
Wests process can lead to epiphany making sense of the senseless
Similarly Viennese artist Elisabeth Penkers art serves a facilitative
function easing the act of translation Penker uses Haida iconography in her
multimedia work because it provides potent visual symbols that
communicate single words and whole sentences simultaneously Her prints
at Howard House feature fragments of icons floating in the papers white
space They are spare visually arresting characters that employ an
iconographic language as encoded symbols of communication
Also featured in The Red Thread is Donald Baechler an internationally
known American painter who spends extended periods of time in Vienna
Baechler equalizes his imagery by painting it all in the same style For him
the source of an image doesnt matter whether its a drawing by Picasso or
graffiti on a bathroom wall What matters is the newfound context his
paintings provide
Victory by Default is part of Baechlers Skull series In this piece a painted
skull gapes from the dirty yet sensuous confines of a large canvas Terry
cloth and wrinkled rags provide literal texture and reference the world
outside the paintings boundaries Splatterings of color around the skull like
the self-conscious marks of Jasper Johns seem to express the language of
paintingmdashhue and gestural strokesmdashin a factual rather than illusional
manner
Another American painter Lisa Ruyter lives half-time in Vienna where she
runs an influential gallery She works from photographs projected onto
large-scale canvases tracing the contours of the projected imagery with
consistent black outlines In a way that seems arbitrary she paints the shapes
formed by her contour lines in flat designer colors Man of Means based on
a photo of fashion photographers looks like a scrambled color-by-numbers
painting I cant do justice to the unusually rich assortment of conceptual art
in The Red Thread Youll just have to see it for yourself Thomas
Baumans thrashing triangular foil blanket Walter Seidls slide show of
staged snapshots Markus Schinwalds photograph of a contortionist and the
other thoughtful works connected by The Red Thread
The Red Thread Glimpses of International Art in Vienna runs through
April 30 at Howard House 604 Second Ave 206- 256-6399 1030 amndash5
pm TuesndashSat Free
KUNSTFORUM
Parallelwelten fuumlr Parlamentarier Ausstellung
Von Brigitte Borchhardt-Birbaumer
Ende Oktober endet die Zusammenarbeit von Nationalratspraumlsident Andreas Khol und Peter Pakesch Direktor des Kunsthauses Graz am Joanneum Seit 2003
hatte Pakesch als Kurator mehrere Ausstellungen in den Sitzungssaumllen des Parlaments in Zusammenarbeit mit Galerien initiiert und namhafte Positionen
ausgewaumlhlt Kriterium fuumlr Praumlsentationen war die Praumlsenz durch eine Schau in einer der bekannten Kunstinstitutionen des Landes Nach Eva Schlegel Adriana
Czernin Maria Lassnig oder Esther Stocker sind dies nun bis April 2007 Josef Dabernig Daniel Hafner Ulrike Lienbacher Alois Mosbacher und Elisabeth
Penker
Das Parlament kann dabei durch die Margaretha-Lupac Stiftung immer eine Arbeit fuumlr die wachsende Sammlung des Hauses ankaufen Zuletzt war das ein
groszliges Oumll-Acryl-Gemaumllde der Georg-Eisler-Preistraumlgerin Maja Vukoje zuvor Johanna Kandl deren Temperabild derzeit an das Lentos in Linz geliehen wird
Einige Werke haumlngen schon als kuumlnstlerische Wegweiser in den Gaumlngen des Hauses und sind auch Blickfang fuumlr die 120000 Besucher die pro Jahr das
Parlament besuchen In die Architektur von Theophil Hansen mit ihrer zeitlosen Qualitaumlt fuumlgt sich die Gegenwartskunst kongenial
Hoffnung fuumlr spaumlter
Die derzeitige Zusammenstellung macht Hoffnung auf eine Fortsetzung unter der naumlchsten Praumlsidentschaft Fotografie Computerkunst Malerei Zeichnung
und Skulptur weisen auf die Vielfalt der Werkstoffe in der Gegenwartskunst Elisabeth Penker parallel im Kunsthaus Graz zu sehen baut schwarzweiszlige
Objekte aus bemaltem Holz die in ihrer seriellen und geometrischen Anordnung auf Bezuumlge zum Performativen und auf die Musik hinweisen
Noch juumlnger ist Daniel Hafner mit seinen am Computer komponierten digitalen Drucken Morphosentransformationen von 2006 Linienraster und
Raumkonstruktionen in subtiler Farbigkeit verbinden Tendenzen der fruumlhen Op-Art mit dem Cyber-Lab
Um konstruierte Realitaumlten geht es auch in den groszligformatigen Oumllbildern von Alois Mosbacher dem bekannten Vertreter der Neuen Wilden der
Achtzigerjahre in Oumlsterreich Wanderer in Wald und Wiese erzaumlhlen die Geschichten alternativer Welten die sich mancher in der Gesellschaft als Parallele
konstruiert
Zwei Fotofriese von Josef Dabernig bilden jeweils ein Panorama von oumlffentlichen Plaumltzen auf denen es zum einen um Fuszligball geht Zum anderen ist der
Rundblick in das Oval einer scheinbaren Arena auch eine Art Sehschule fuumlr die Betrachter Ein sozialer Befund ist die dritte Bedeutungsebene
Ulrike Lienbacher die heuer mit einer groszligen Schau im Innsbrucker Taxispalais ihre Karriere fortsetzt ist mit ihren feinlinigen Tuschezeichnungen den kleinen
oft unsichtbaren Zwaumlngen in unserer Gesellschaft auf der Spur Im Lokal II des Parlaments stellt sie zwar nicht ihre Objekte und Fotos aber einige
groszligformatige Blaumltter mit Frisurenvariationen neben teils fragmentierten Frauenkoumlrpern im Umgang mit Schmutz und Hygiene aber auch Fitnesskult aus
Disziplinierung und Kontrolle betreffen in der Oumlffentlichkeit besonders den weiblichen Koumlrper Sauberkeitsmechanismen weisen auch auf Vorstellungen von
wertvoll und minderwertig hin Ihre Transformationen enthalten wie die Themen der anderen subtile Kritik und sind daher vom Kurator uumlberlegt positioniert
Zeitgenoumlssische Kunst
im Parlament
Bis April 2007
Kurator Peter Pakesch
Konfrontationen
Dienstag 10 Oktober 2006
ltlt 2003 | 2004 Jan Feb Mar Apr May Jun Jul Aug Sep Oct Nov Dec 2004 | 2005 gtgt
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31
Sunday 17 October 2004
TIME
TITLE
NAME
700 Indymedia ESF breakfast show Indymedia London
Highlights news and views from the European Social Forum and the
autonomous spaces and initiatives taking place this week
website
800 Resonance Radio Art Riot Breakfast International
Radio Art
A five part special of the Harmon E Phraisyar show commissioned for
Kunstradio in Austria starts off the morning broadcast of international radio
art
website
1100 Resonance Live from the Frieze Art Fair Anna Colin amp
Tobi Maier
1100 Chris Weaver Resonance 1044FM live electronics set with James Dunn and
Robin Warren
1130 Michael Hall gallery Vienna presents audio works by artist Elisabeth Penker
1200 Maria Fusco presents latest the Bookworks commissions
1300 The Psychology of Collecting live broadcast of the frieze art fair panel
discussion
Is collecting an irrational act guided by compulsion and desire What are the use of
objects What are the motivations behind making collecting curating and
criticizing art A discussion of the psychology of collecting and the politics of taste
Hilary Rubenstein (Psychologist)
Eric Troncy (Art Critic and Director Le Consortium Dijon)
Haim Steinbach (Artist)
Chair Alice Rawsthorn (Director Design Museum)
1500 Portable live set and presentation of sudelectronic records London
1600 Where is Adventure What is Culture live broadcast of the frieze art fair
website
panel discussion
A discussion of the relationship of art to entertainment touching on the comedic
being popular and failing miserably
Trisha Donnelly (Artist)
Christian Jankowski (Artist)
David Robbins (Writer amp Artist)
Nancy Spector (Curator of Contemporary Art Solomon R Guggenheim Museum)
Chair Matthew Higgs (Curator CCA Wattis Institute for Contemporary Arts)
1800 Melissa Bent from Rivington Arms gallery New York in conversation with
artist Dan Colan and Tobi Maier Anna Colin
1830 VOX pop recordings from the fair with Sharon Gal
1900 Resonance Radio Art Riot Sarah
Washington
The Resonance Radio Art Riot brings together some of the foremost radio artists
and thinkers from around the world The studio lab situation will feature round
table discussions live performances and streamed events
Tonight Radio Text
Events Live broadcast from Sonic Arts Network Resonance benefit featuring
Henri Chopin studio performances from Julia Lee Barclay and Aude Tournay plus
Special Features None present live concrete radiophonics - Planning For
Emergencies
Guests include Clive Graham Chris Weaver Richard Thomas Toby Clarkson
John Lovett Robin Warren and James Dunn
Topics The word as art Sound poetry text performances
At Midnight Tom Wallace present exclusive excerpts from radio art pioneer
Gregory Whitehead
website
000 Resonance Radio Art Riot Nights International
Radio Art
The Resonance Radio Art riot continues throughout the night with the finest of
international radio art Resonance FM programme makers and our international
guests have put together many special hours of classic and obscure radio
works
website
- EPenkerDocumentationpdf
-
- 2bAusstellungenPublicaSpaceEPenkerpdf
-
- 2cUntitled_InstrumentsKunsthausGrazEPenker
- 2bpoeticsKunsthaus GrazEPenker
-
- 4PresseEPenkerpdf
-
- 4Review_Seattle Weekly
-
Gavin
Borchert
discussing
theater film
and music
regularly on
classical
KING-FM
(981)
Mark Fiore
Cartoons
Every
Thursday
nodules extend from its horizontal base and the seams of the dark maroon
metal look like scars rendering it at once vaguely obscene and absurdly
playful
Sisyphus the other West sculpture on display is a bulky conglomeration of
bits and wads of paper propped in the back room on a makeshift plinth (base
block) Though its as solid as the boulder its title references its surface is
like oozing skin partly coated with poured murky paint partly cloaked in
small clumps of newspaper detritus
The strenuous act of making each of these sculptures is eminently apparent
and central to the content of Wests work West considers creation a
symbolic act As you might expect he likens the artistic process to the plight
of Sisyphus the mythological figure who eternally rolled a boulder up a hill
only to have it come crashing back down For West art involves a
Sisyphean search for what he calls the absolute through the seemingly
senseless accumulation of materials However unlike Sisyphus futile quest
Wests process can lead to epiphany making sense of the senseless
Similarly Viennese artist Elisabeth Penkers art serves a facilitative
function easing the act of translation Penker uses Haida iconography in her
multimedia work because it provides potent visual symbols that
communicate single words and whole sentences simultaneously Her prints
at Howard House feature fragments of icons floating in the papers white
space They are spare visually arresting characters that employ an
iconographic language as encoded symbols of communication
Also featured in The Red Thread is Donald Baechler an internationally
known American painter who spends extended periods of time in Vienna
Baechler equalizes his imagery by painting it all in the same style For him
the source of an image doesnt matter whether its a drawing by Picasso or
graffiti on a bathroom wall What matters is the newfound context his
paintings provide
Victory by Default is part of Baechlers Skull series In this piece a painted
skull gapes from the dirty yet sensuous confines of a large canvas Terry
cloth and wrinkled rags provide literal texture and reference the world
outside the paintings boundaries Splatterings of color around the skull like
the self-conscious marks of Jasper Johns seem to express the language of
paintingmdashhue and gestural strokesmdashin a factual rather than illusional
manner
Another American painter Lisa Ruyter lives half-time in Vienna where she
runs an influential gallery She works from photographs projected onto
large-scale canvases tracing the contours of the projected imagery with
consistent black outlines In a way that seems arbitrary she paints the shapes
formed by her contour lines in flat designer colors Man of Means based on
a photo of fashion photographers looks like a scrambled color-by-numbers
painting I cant do justice to the unusually rich assortment of conceptual art
in The Red Thread Youll just have to see it for yourself Thomas
Baumans thrashing triangular foil blanket Walter Seidls slide show of
staged snapshots Markus Schinwalds photograph of a contortionist and the
other thoughtful works connected by The Red Thread
The Red Thread Glimpses of International Art in Vienna runs through
April 30 at Howard House 604 Second Ave 206- 256-6399 1030 amndash5
pm TuesndashSat Free
KUNSTFORUM
Parallelwelten fuumlr Parlamentarier Ausstellung
Von Brigitte Borchhardt-Birbaumer
Ende Oktober endet die Zusammenarbeit von Nationalratspraumlsident Andreas Khol und Peter Pakesch Direktor des Kunsthauses Graz am Joanneum Seit 2003
hatte Pakesch als Kurator mehrere Ausstellungen in den Sitzungssaumllen des Parlaments in Zusammenarbeit mit Galerien initiiert und namhafte Positionen
ausgewaumlhlt Kriterium fuumlr Praumlsentationen war die Praumlsenz durch eine Schau in einer der bekannten Kunstinstitutionen des Landes Nach Eva Schlegel Adriana
Czernin Maria Lassnig oder Esther Stocker sind dies nun bis April 2007 Josef Dabernig Daniel Hafner Ulrike Lienbacher Alois Mosbacher und Elisabeth
Penker
Das Parlament kann dabei durch die Margaretha-Lupac Stiftung immer eine Arbeit fuumlr die wachsende Sammlung des Hauses ankaufen Zuletzt war das ein
groszliges Oumll-Acryl-Gemaumllde der Georg-Eisler-Preistraumlgerin Maja Vukoje zuvor Johanna Kandl deren Temperabild derzeit an das Lentos in Linz geliehen wird
Einige Werke haumlngen schon als kuumlnstlerische Wegweiser in den Gaumlngen des Hauses und sind auch Blickfang fuumlr die 120000 Besucher die pro Jahr das
Parlament besuchen In die Architektur von Theophil Hansen mit ihrer zeitlosen Qualitaumlt fuumlgt sich die Gegenwartskunst kongenial
Hoffnung fuumlr spaumlter
Die derzeitige Zusammenstellung macht Hoffnung auf eine Fortsetzung unter der naumlchsten Praumlsidentschaft Fotografie Computerkunst Malerei Zeichnung
und Skulptur weisen auf die Vielfalt der Werkstoffe in der Gegenwartskunst Elisabeth Penker parallel im Kunsthaus Graz zu sehen baut schwarzweiszlige
Objekte aus bemaltem Holz die in ihrer seriellen und geometrischen Anordnung auf Bezuumlge zum Performativen und auf die Musik hinweisen
Noch juumlnger ist Daniel Hafner mit seinen am Computer komponierten digitalen Drucken Morphosentransformationen von 2006 Linienraster und
Raumkonstruktionen in subtiler Farbigkeit verbinden Tendenzen der fruumlhen Op-Art mit dem Cyber-Lab
Um konstruierte Realitaumlten geht es auch in den groszligformatigen Oumllbildern von Alois Mosbacher dem bekannten Vertreter der Neuen Wilden der
Achtzigerjahre in Oumlsterreich Wanderer in Wald und Wiese erzaumlhlen die Geschichten alternativer Welten die sich mancher in der Gesellschaft als Parallele
konstruiert
Zwei Fotofriese von Josef Dabernig bilden jeweils ein Panorama von oumlffentlichen Plaumltzen auf denen es zum einen um Fuszligball geht Zum anderen ist der
Rundblick in das Oval einer scheinbaren Arena auch eine Art Sehschule fuumlr die Betrachter Ein sozialer Befund ist die dritte Bedeutungsebene
Ulrike Lienbacher die heuer mit einer groszligen Schau im Innsbrucker Taxispalais ihre Karriere fortsetzt ist mit ihren feinlinigen Tuschezeichnungen den kleinen
oft unsichtbaren Zwaumlngen in unserer Gesellschaft auf der Spur Im Lokal II des Parlaments stellt sie zwar nicht ihre Objekte und Fotos aber einige
groszligformatige Blaumltter mit Frisurenvariationen neben teils fragmentierten Frauenkoumlrpern im Umgang mit Schmutz und Hygiene aber auch Fitnesskult aus
Disziplinierung und Kontrolle betreffen in der Oumlffentlichkeit besonders den weiblichen Koumlrper Sauberkeitsmechanismen weisen auch auf Vorstellungen von
wertvoll und minderwertig hin Ihre Transformationen enthalten wie die Themen der anderen subtile Kritik und sind daher vom Kurator uumlberlegt positioniert
Zeitgenoumlssische Kunst
im Parlament
Bis April 2007
Kurator Peter Pakesch
Konfrontationen
Dienstag 10 Oktober 2006
ltlt 2003 | 2004 Jan Feb Mar Apr May Jun Jul Aug Sep Oct Nov Dec 2004 | 2005 gtgt
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31
Sunday 17 October 2004
TIME
TITLE
NAME
700 Indymedia ESF breakfast show Indymedia London
Highlights news and views from the European Social Forum and the
autonomous spaces and initiatives taking place this week
website
800 Resonance Radio Art Riot Breakfast International
Radio Art
A five part special of the Harmon E Phraisyar show commissioned for
Kunstradio in Austria starts off the morning broadcast of international radio
art
website
1100 Resonance Live from the Frieze Art Fair Anna Colin amp
Tobi Maier
1100 Chris Weaver Resonance 1044FM live electronics set with James Dunn and
Robin Warren
1130 Michael Hall gallery Vienna presents audio works by artist Elisabeth Penker
1200 Maria Fusco presents latest the Bookworks commissions
1300 The Psychology of Collecting live broadcast of the frieze art fair panel
discussion
Is collecting an irrational act guided by compulsion and desire What are the use of
objects What are the motivations behind making collecting curating and
criticizing art A discussion of the psychology of collecting and the politics of taste
Hilary Rubenstein (Psychologist)
Eric Troncy (Art Critic and Director Le Consortium Dijon)
Haim Steinbach (Artist)
Chair Alice Rawsthorn (Director Design Museum)
1500 Portable live set and presentation of sudelectronic records London
1600 Where is Adventure What is Culture live broadcast of the frieze art fair
website
panel discussion
A discussion of the relationship of art to entertainment touching on the comedic
being popular and failing miserably
Trisha Donnelly (Artist)
Christian Jankowski (Artist)
David Robbins (Writer amp Artist)
Nancy Spector (Curator of Contemporary Art Solomon R Guggenheim Museum)
Chair Matthew Higgs (Curator CCA Wattis Institute for Contemporary Arts)
1800 Melissa Bent from Rivington Arms gallery New York in conversation with
artist Dan Colan and Tobi Maier Anna Colin
1830 VOX pop recordings from the fair with Sharon Gal
1900 Resonance Radio Art Riot Sarah
Washington
The Resonance Radio Art Riot brings together some of the foremost radio artists
and thinkers from around the world The studio lab situation will feature round
table discussions live performances and streamed events
Tonight Radio Text
Events Live broadcast from Sonic Arts Network Resonance benefit featuring
Henri Chopin studio performances from Julia Lee Barclay and Aude Tournay plus
Special Features None present live concrete radiophonics - Planning For
Emergencies
Guests include Clive Graham Chris Weaver Richard Thomas Toby Clarkson
John Lovett Robin Warren and James Dunn
Topics The word as art Sound poetry text performances
At Midnight Tom Wallace present exclusive excerpts from radio art pioneer
Gregory Whitehead
website
000 Resonance Radio Art Riot Nights International
Radio Art
The Resonance Radio Art riot continues throughout the night with the finest of
international radio art Resonance FM programme makers and our international
guests have put together many special hours of classic and obscure radio
works
website
- EPenkerDocumentationpdf
-
- 2bAusstellungenPublicaSpaceEPenkerpdf
-
- 2cUntitled_InstrumentsKunsthausGrazEPenker
- 2bpoeticsKunsthaus GrazEPenker
-
- 4PresseEPenkerpdf
-
- 4Review_Seattle Weekly
-
The Red Thread Glimpses of International Art in Vienna runs through
April 30 at Howard House 604 Second Ave 206- 256-6399 1030 amndash5
pm TuesndashSat Free
KUNSTFORUM
Parallelwelten fuumlr Parlamentarier Ausstellung
Von Brigitte Borchhardt-Birbaumer
Ende Oktober endet die Zusammenarbeit von Nationalratspraumlsident Andreas Khol und Peter Pakesch Direktor des Kunsthauses Graz am Joanneum Seit 2003
hatte Pakesch als Kurator mehrere Ausstellungen in den Sitzungssaumllen des Parlaments in Zusammenarbeit mit Galerien initiiert und namhafte Positionen
ausgewaumlhlt Kriterium fuumlr Praumlsentationen war die Praumlsenz durch eine Schau in einer der bekannten Kunstinstitutionen des Landes Nach Eva Schlegel Adriana
Czernin Maria Lassnig oder Esther Stocker sind dies nun bis April 2007 Josef Dabernig Daniel Hafner Ulrike Lienbacher Alois Mosbacher und Elisabeth
Penker
Das Parlament kann dabei durch die Margaretha-Lupac Stiftung immer eine Arbeit fuumlr die wachsende Sammlung des Hauses ankaufen Zuletzt war das ein
groszliges Oumll-Acryl-Gemaumllde der Georg-Eisler-Preistraumlgerin Maja Vukoje zuvor Johanna Kandl deren Temperabild derzeit an das Lentos in Linz geliehen wird
Einige Werke haumlngen schon als kuumlnstlerische Wegweiser in den Gaumlngen des Hauses und sind auch Blickfang fuumlr die 120000 Besucher die pro Jahr das
Parlament besuchen In die Architektur von Theophil Hansen mit ihrer zeitlosen Qualitaumlt fuumlgt sich die Gegenwartskunst kongenial
Hoffnung fuumlr spaumlter
Die derzeitige Zusammenstellung macht Hoffnung auf eine Fortsetzung unter der naumlchsten Praumlsidentschaft Fotografie Computerkunst Malerei Zeichnung
und Skulptur weisen auf die Vielfalt der Werkstoffe in der Gegenwartskunst Elisabeth Penker parallel im Kunsthaus Graz zu sehen baut schwarzweiszlige
Objekte aus bemaltem Holz die in ihrer seriellen und geometrischen Anordnung auf Bezuumlge zum Performativen und auf die Musik hinweisen
Noch juumlnger ist Daniel Hafner mit seinen am Computer komponierten digitalen Drucken Morphosentransformationen von 2006 Linienraster und
Raumkonstruktionen in subtiler Farbigkeit verbinden Tendenzen der fruumlhen Op-Art mit dem Cyber-Lab
Um konstruierte Realitaumlten geht es auch in den groszligformatigen Oumllbildern von Alois Mosbacher dem bekannten Vertreter der Neuen Wilden der
Achtzigerjahre in Oumlsterreich Wanderer in Wald und Wiese erzaumlhlen die Geschichten alternativer Welten die sich mancher in der Gesellschaft als Parallele
konstruiert
Zwei Fotofriese von Josef Dabernig bilden jeweils ein Panorama von oumlffentlichen Plaumltzen auf denen es zum einen um Fuszligball geht Zum anderen ist der
Rundblick in das Oval einer scheinbaren Arena auch eine Art Sehschule fuumlr die Betrachter Ein sozialer Befund ist die dritte Bedeutungsebene
Ulrike Lienbacher die heuer mit einer groszligen Schau im Innsbrucker Taxispalais ihre Karriere fortsetzt ist mit ihren feinlinigen Tuschezeichnungen den kleinen
oft unsichtbaren Zwaumlngen in unserer Gesellschaft auf der Spur Im Lokal II des Parlaments stellt sie zwar nicht ihre Objekte und Fotos aber einige
groszligformatige Blaumltter mit Frisurenvariationen neben teils fragmentierten Frauenkoumlrpern im Umgang mit Schmutz und Hygiene aber auch Fitnesskult aus
Disziplinierung und Kontrolle betreffen in der Oumlffentlichkeit besonders den weiblichen Koumlrper Sauberkeitsmechanismen weisen auch auf Vorstellungen von
wertvoll und minderwertig hin Ihre Transformationen enthalten wie die Themen der anderen subtile Kritik und sind daher vom Kurator uumlberlegt positioniert
Zeitgenoumlssische Kunst
im Parlament
Bis April 2007
Kurator Peter Pakesch
Konfrontationen
Dienstag 10 Oktober 2006
ltlt 2003 | 2004 Jan Feb Mar Apr May Jun Jul Aug Sep Oct Nov Dec 2004 | 2005 gtgt
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31
Sunday 17 October 2004
TIME
TITLE
NAME
700 Indymedia ESF breakfast show Indymedia London
Highlights news and views from the European Social Forum and the
autonomous spaces and initiatives taking place this week
website
800 Resonance Radio Art Riot Breakfast International
Radio Art
A five part special of the Harmon E Phraisyar show commissioned for
Kunstradio in Austria starts off the morning broadcast of international radio
art
website
1100 Resonance Live from the Frieze Art Fair Anna Colin amp
Tobi Maier
1100 Chris Weaver Resonance 1044FM live electronics set with James Dunn and
Robin Warren
1130 Michael Hall gallery Vienna presents audio works by artist Elisabeth Penker
1200 Maria Fusco presents latest the Bookworks commissions
1300 The Psychology of Collecting live broadcast of the frieze art fair panel
discussion
Is collecting an irrational act guided by compulsion and desire What are the use of
objects What are the motivations behind making collecting curating and
criticizing art A discussion of the psychology of collecting and the politics of taste
Hilary Rubenstein (Psychologist)
Eric Troncy (Art Critic and Director Le Consortium Dijon)
Haim Steinbach (Artist)
Chair Alice Rawsthorn (Director Design Museum)
1500 Portable live set and presentation of sudelectronic records London
1600 Where is Adventure What is Culture live broadcast of the frieze art fair
website
panel discussion
A discussion of the relationship of art to entertainment touching on the comedic
being popular and failing miserably
Trisha Donnelly (Artist)
Christian Jankowski (Artist)
David Robbins (Writer amp Artist)
Nancy Spector (Curator of Contemporary Art Solomon R Guggenheim Museum)
Chair Matthew Higgs (Curator CCA Wattis Institute for Contemporary Arts)
1800 Melissa Bent from Rivington Arms gallery New York in conversation with
artist Dan Colan and Tobi Maier Anna Colin
1830 VOX pop recordings from the fair with Sharon Gal
1900 Resonance Radio Art Riot Sarah
Washington
The Resonance Radio Art Riot brings together some of the foremost radio artists
and thinkers from around the world The studio lab situation will feature round
table discussions live performances and streamed events
Tonight Radio Text
Events Live broadcast from Sonic Arts Network Resonance benefit featuring
Henri Chopin studio performances from Julia Lee Barclay and Aude Tournay plus
Special Features None present live concrete radiophonics - Planning For
Emergencies
Guests include Clive Graham Chris Weaver Richard Thomas Toby Clarkson
John Lovett Robin Warren and James Dunn
Topics The word as art Sound poetry text performances
At Midnight Tom Wallace present exclusive excerpts from radio art pioneer
Gregory Whitehead
website
000 Resonance Radio Art Riot Nights International
Radio Art
The Resonance Radio Art riot continues throughout the night with the finest of
international radio art Resonance FM programme makers and our international
guests have put together many special hours of classic and obscure radio
works
website
- EPenkerDocumentationpdf
-
- 2bAusstellungenPublicaSpaceEPenkerpdf
-
- 2cUntitled_InstrumentsKunsthausGrazEPenker
- 2bpoeticsKunsthaus GrazEPenker
-
- 4PresseEPenkerpdf
-
- 4Review_Seattle Weekly
-
KUNSTFORUM
Parallelwelten fuumlr Parlamentarier Ausstellung
Von Brigitte Borchhardt-Birbaumer
Ende Oktober endet die Zusammenarbeit von Nationalratspraumlsident Andreas Khol und Peter Pakesch Direktor des Kunsthauses Graz am Joanneum Seit 2003
hatte Pakesch als Kurator mehrere Ausstellungen in den Sitzungssaumllen des Parlaments in Zusammenarbeit mit Galerien initiiert und namhafte Positionen
ausgewaumlhlt Kriterium fuumlr Praumlsentationen war die Praumlsenz durch eine Schau in einer der bekannten Kunstinstitutionen des Landes Nach Eva Schlegel Adriana
Czernin Maria Lassnig oder Esther Stocker sind dies nun bis April 2007 Josef Dabernig Daniel Hafner Ulrike Lienbacher Alois Mosbacher und Elisabeth
Penker
Das Parlament kann dabei durch die Margaretha-Lupac Stiftung immer eine Arbeit fuumlr die wachsende Sammlung des Hauses ankaufen Zuletzt war das ein
groszliges Oumll-Acryl-Gemaumllde der Georg-Eisler-Preistraumlgerin Maja Vukoje zuvor Johanna Kandl deren Temperabild derzeit an das Lentos in Linz geliehen wird
Einige Werke haumlngen schon als kuumlnstlerische Wegweiser in den Gaumlngen des Hauses und sind auch Blickfang fuumlr die 120000 Besucher die pro Jahr das
Parlament besuchen In die Architektur von Theophil Hansen mit ihrer zeitlosen Qualitaumlt fuumlgt sich die Gegenwartskunst kongenial
Hoffnung fuumlr spaumlter
Die derzeitige Zusammenstellung macht Hoffnung auf eine Fortsetzung unter der naumlchsten Praumlsidentschaft Fotografie Computerkunst Malerei Zeichnung
und Skulptur weisen auf die Vielfalt der Werkstoffe in der Gegenwartskunst Elisabeth Penker parallel im Kunsthaus Graz zu sehen baut schwarzweiszlige
Objekte aus bemaltem Holz die in ihrer seriellen und geometrischen Anordnung auf Bezuumlge zum Performativen und auf die Musik hinweisen
Noch juumlnger ist Daniel Hafner mit seinen am Computer komponierten digitalen Drucken Morphosentransformationen von 2006 Linienraster und
Raumkonstruktionen in subtiler Farbigkeit verbinden Tendenzen der fruumlhen Op-Art mit dem Cyber-Lab
Um konstruierte Realitaumlten geht es auch in den groszligformatigen Oumllbildern von Alois Mosbacher dem bekannten Vertreter der Neuen Wilden der
Achtzigerjahre in Oumlsterreich Wanderer in Wald und Wiese erzaumlhlen die Geschichten alternativer Welten die sich mancher in der Gesellschaft als Parallele
konstruiert
Zwei Fotofriese von Josef Dabernig bilden jeweils ein Panorama von oumlffentlichen Plaumltzen auf denen es zum einen um Fuszligball geht Zum anderen ist der
Rundblick in das Oval einer scheinbaren Arena auch eine Art Sehschule fuumlr die Betrachter Ein sozialer Befund ist die dritte Bedeutungsebene
Ulrike Lienbacher die heuer mit einer groszligen Schau im Innsbrucker Taxispalais ihre Karriere fortsetzt ist mit ihren feinlinigen Tuschezeichnungen den kleinen
oft unsichtbaren Zwaumlngen in unserer Gesellschaft auf der Spur Im Lokal II des Parlaments stellt sie zwar nicht ihre Objekte und Fotos aber einige
groszligformatige Blaumltter mit Frisurenvariationen neben teils fragmentierten Frauenkoumlrpern im Umgang mit Schmutz und Hygiene aber auch Fitnesskult aus
Disziplinierung und Kontrolle betreffen in der Oumlffentlichkeit besonders den weiblichen Koumlrper Sauberkeitsmechanismen weisen auch auf Vorstellungen von
wertvoll und minderwertig hin Ihre Transformationen enthalten wie die Themen der anderen subtile Kritik und sind daher vom Kurator uumlberlegt positioniert
Zeitgenoumlssische Kunst
im Parlament
Bis April 2007
Kurator Peter Pakesch
Konfrontationen
Dienstag 10 Oktober 2006
ltlt 2003 | 2004 Jan Feb Mar Apr May Jun Jul Aug Sep Oct Nov Dec 2004 | 2005 gtgt
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31
Sunday 17 October 2004
TIME
TITLE
NAME
700 Indymedia ESF breakfast show Indymedia London
Highlights news and views from the European Social Forum and the
autonomous spaces and initiatives taking place this week
website
800 Resonance Radio Art Riot Breakfast International
Radio Art
A five part special of the Harmon E Phraisyar show commissioned for
Kunstradio in Austria starts off the morning broadcast of international radio
art
website
1100 Resonance Live from the Frieze Art Fair Anna Colin amp
Tobi Maier
1100 Chris Weaver Resonance 1044FM live electronics set with James Dunn and
Robin Warren
1130 Michael Hall gallery Vienna presents audio works by artist Elisabeth Penker
1200 Maria Fusco presents latest the Bookworks commissions
1300 The Psychology of Collecting live broadcast of the frieze art fair panel
discussion
Is collecting an irrational act guided by compulsion and desire What are the use of
objects What are the motivations behind making collecting curating and
criticizing art A discussion of the psychology of collecting and the politics of taste
Hilary Rubenstein (Psychologist)
Eric Troncy (Art Critic and Director Le Consortium Dijon)
Haim Steinbach (Artist)
Chair Alice Rawsthorn (Director Design Museum)
1500 Portable live set and presentation of sudelectronic records London
1600 Where is Adventure What is Culture live broadcast of the frieze art fair
website
panel discussion
A discussion of the relationship of art to entertainment touching on the comedic
being popular and failing miserably
Trisha Donnelly (Artist)
Christian Jankowski (Artist)
David Robbins (Writer amp Artist)
Nancy Spector (Curator of Contemporary Art Solomon R Guggenheim Museum)
Chair Matthew Higgs (Curator CCA Wattis Institute for Contemporary Arts)
1800 Melissa Bent from Rivington Arms gallery New York in conversation with
artist Dan Colan and Tobi Maier Anna Colin
1830 VOX pop recordings from the fair with Sharon Gal
1900 Resonance Radio Art Riot Sarah
Washington
The Resonance Radio Art Riot brings together some of the foremost radio artists
and thinkers from around the world The studio lab situation will feature round
table discussions live performances and streamed events
Tonight Radio Text
Events Live broadcast from Sonic Arts Network Resonance benefit featuring
Henri Chopin studio performances from Julia Lee Barclay and Aude Tournay plus
Special Features None present live concrete radiophonics - Planning For
Emergencies
Guests include Clive Graham Chris Weaver Richard Thomas Toby Clarkson
John Lovett Robin Warren and James Dunn
Topics The word as art Sound poetry text performances
At Midnight Tom Wallace present exclusive excerpts from radio art pioneer
Gregory Whitehead
website
000 Resonance Radio Art Riot Nights International
Radio Art
The Resonance Radio Art riot continues throughout the night with the finest of
international radio art Resonance FM programme makers and our international
guests have put together many special hours of classic and obscure radio
works
website
- EPenkerDocumentationpdf
-
- 2bAusstellungenPublicaSpaceEPenkerpdf
-
- 2cUntitled_InstrumentsKunsthausGrazEPenker
- 2bpoeticsKunsthaus GrazEPenker
-
- 4PresseEPenkerpdf
-
- 4Review_Seattle Weekly
-
Parallelwelten fuumlr Parlamentarier Ausstellung
Von Brigitte Borchhardt-Birbaumer
Ende Oktober endet die Zusammenarbeit von Nationalratspraumlsident Andreas Khol und Peter Pakesch Direktor des Kunsthauses Graz am Joanneum Seit 2003
hatte Pakesch als Kurator mehrere Ausstellungen in den Sitzungssaumllen des Parlaments in Zusammenarbeit mit Galerien initiiert und namhafte Positionen
ausgewaumlhlt Kriterium fuumlr Praumlsentationen war die Praumlsenz durch eine Schau in einer der bekannten Kunstinstitutionen des Landes Nach Eva Schlegel Adriana
Czernin Maria Lassnig oder Esther Stocker sind dies nun bis April 2007 Josef Dabernig Daniel Hafner Ulrike Lienbacher Alois Mosbacher und Elisabeth
Penker
Das Parlament kann dabei durch die Margaretha-Lupac Stiftung immer eine Arbeit fuumlr die wachsende Sammlung des Hauses ankaufen Zuletzt war das ein
groszliges Oumll-Acryl-Gemaumllde der Georg-Eisler-Preistraumlgerin Maja Vukoje zuvor Johanna Kandl deren Temperabild derzeit an das Lentos in Linz geliehen wird
Einige Werke haumlngen schon als kuumlnstlerische Wegweiser in den Gaumlngen des Hauses und sind auch Blickfang fuumlr die 120000 Besucher die pro Jahr das
Parlament besuchen In die Architektur von Theophil Hansen mit ihrer zeitlosen Qualitaumlt fuumlgt sich die Gegenwartskunst kongenial
Hoffnung fuumlr spaumlter
Die derzeitige Zusammenstellung macht Hoffnung auf eine Fortsetzung unter der naumlchsten Praumlsidentschaft Fotografie Computerkunst Malerei Zeichnung
und Skulptur weisen auf die Vielfalt der Werkstoffe in der Gegenwartskunst Elisabeth Penker parallel im Kunsthaus Graz zu sehen baut schwarzweiszlige
Objekte aus bemaltem Holz die in ihrer seriellen und geometrischen Anordnung auf Bezuumlge zum Performativen und auf die Musik hinweisen
Noch juumlnger ist Daniel Hafner mit seinen am Computer komponierten digitalen Drucken Morphosentransformationen von 2006 Linienraster und
Raumkonstruktionen in subtiler Farbigkeit verbinden Tendenzen der fruumlhen Op-Art mit dem Cyber-Lab
Um konstruierte Realitaumlten geht es auch in den groszligformatigen Oumllbildern von Alois Mosbacher dem bekannten Vertreter der Neuen Wilden der
Achtzigerjahre in Oumlsterreich Wanderer in Wald und Wiese erzaumlhlen die Geschichten alternativer Welten die sich mancher in der Gesellschaft als Parallele
konstruiert
Zwei Fotofriese von Josef Dabernig bilden jeweils ein Panorama von oumlffentlichen Plaumltzen auf denen es zum einen um Fuszligball geht Zum anderen ist der
Rundblick in das Oval einer scheinbaren Arena auch eine Art Sehschule fuumlr die Betrachter Ein sozialer Befund ist die dritte Bedeutungsebene
Ulrike Lienbacher die heuer mit einer groszligen Schau im Innsbrucker Taxispalais ihre Karriere fortsetzt ist mit ihren feinlinigen Tuschezeichnungen den kleinen
oft unsichtbaren Zwaumlngen in unserer Gesellschaft auf der Spur Im Lokal II des Parlaments stellt sie zwar nicht ihre Objekte und Fotos aber einige
groszligformatige Blaumltter mit Frisurenvariationen neben teils fragmentierten Frauenkoumlrpern im Umgang mit Schmutz und Hygiene aber auch Fitnesskult aus
Disziplinierung und Kontrolle betreffen in der Oumlffentlichkeit besonders den weiblichen Koumlrper Sauberkeitsmechanismen weisen auch auf Vorstellungen von
wertvoll und minderwertig hin Ihre Transformationen enthalten wie die Themen der anderen subtile Kritik und sind daher vom Kurator uumlberlegt positioniert
Zeitgenoumlssische Kunst
im Parlament
Bis April 2007
Kurator Peter Pakesch
Konfrontationen
Dienstag 10 Oktober 2006
ltlt 2003 | 2004 Jan Feb Mar Apr May Jun Jul Aug Sep Oct Nov Dec 2004 | 2005 gtgt
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31
Sunday 17 October 2004
TIME
TITLE
NAME
700 Indymedia ESF breakfast show Indymedia London
Highlights news and views from the European Social Forum and the
autonomous spaces and initiatives taking place this week
website
800 Resonance Radio Art Riot Breakfast International
Radio Art
A five part special of the Harmon E Phraisyar show commissioned for
Kunstradio in Austria starts off the morning broadcast of international radio
art
website
1100 Resonance Live from the Frieze Art Fair Anna Colin amp
Tobi Maier
1100 Chris Weaver Resonance 1044FM live electronics set with James Dunn and
Robin Warren
1130 Michael Hall gallery Vienna presents audio works by artist Elisabeth Penker
1200 Maria Fusco presents latest the Bookworks commissions
1300 The Psychology of Collecting live broadcast of the frieze art fair panel
discussion
Is collecting an irrational act guided by compulsion and desire What are the use of
objects What are the motivations behind making collecting curating and
criticizing art A discussion of the psychology of collecting and the politics of taste
Hilary Rubenstein (Psychologist)
Eric Troncy (Art Critic and Director Le Consortium Dijon)
Haim Steinbach (Artist)
Chair Alice Rawsthorn (Director Design Museum)
1500 Portable live set and presentation of sudelectronic records London
1600 Where is Adventure What is Culture live broadcast of the frieze art fair
website
panel discussion
A discussion of the relationship of art to entertainment touching on the comedic
being popular and failing miserably
Trisha Donnelly (Artist)
Christian Jankowski (Artist)
David Robbins (Writer amp Artist)
Nancy Spector (Curator of Contemporary Art Solomon R Guggenheim Museum)
Chair Matthew Higgs (Curator CCA Wattis Institute for Contemporary Arts)
1800 Melissa Bent from Rivington Arms gallery New York in conversation with
artist Dan Colan and Tobi Maier Anna Colin
1830 VOX pop recordings from the fair with Sharon Gal
1900 Resonance Radio Art Riot Sarah
Washington
The Resonance Radio Art Riot brings together some of the foremost radio artists
and thinkers from around the world The studio lab situation will feature round
table discussions live performances and streamed events
Tonight Radio Text
Events Live broadcast from Sonic Arts Network Resonance benefit featuring
Henri Chopin studio performances from Julia Lee Barclay and Aude Tournay plus
Special Features None present live concrete radiophonics - Planning For
Emergencies
Guests include Clive Graham Chris Weaver Richard Thomas Toby Clarkson
John Lovett Robin Warren and James Dunn
Topics The word as art Sound poetry text performances
At Midnight Tom Wallace present exclusive excerpts from radio art pioneer
Gregory Whitehead
website
000 Resonance Radio Art Riot Nights International
Radio Art
The Resonance Radio Art riot continues throughout the night with the finest of
international radio art Resonance FM programme makers and our international
guests have put together many special hours of classic and obscure radio
works
website
- EPenkerDocumentationpdf
-
- 2bAusstellungenPublicaSpaceEPenkerpdf
-
- 2cUntitled_InstrumentsKunsthausGrazEPenker
- 2bpoeticsKunsthaus GrazEPenker
-
- 4PresseEPenkerpdf
-
- 4Review_Seattle Weekly
-
ltlt 2003 | 2004 Jan Feb Mar Apr May Jun Jul Aug Sep Oct Nov Dec 2004 | 2005 gtgt
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31
Sunday 17 October 2004
TIME
TITLE
NAME
700 Indymedia ESF breakfast show Indymedia London
Highlights news and views from the European Social Forum and the
autonomous spaces and initiatives taking place this week
website
800 Resonance Radio Art Riot Breakfast International
Radio Art
A five part special of the Harmon E Phraisyar show commissioned for
Kunstradio in Austria starts off the morning broadcast of international radio
art
website
1100 Resonance Live from the Frieze Art Fair Anna Colin amp
Tobi Maier
1100 Chris Weaver Resonance 1044FM live electronics set with James Dunn and
Robin Warren
1130 Michael Hall gallery Vienna presents audio works by artist Elisabeth Penker
1200 Maria Fusco presents latest the Bookworks commissions
1300 The Psychology of Collecting live broadcast of the frieze art fair panel
discussion
Is collecting an irrational act guided by compulsion and desire What are the use of
objects What are the motivations behind making collecting curating and
criticizing art A discussion of the psychology of collecting and the politics of taste
Hilary Rubenstein (Psychologist)
Eric Troncy (Art Critic and Director Le Consortium Dijon)
Haim Steinbach (Artist)
Chair Alice Rawsthorn (Director Design Museum)
1500 Portable live set and presentation of sudelectronic records London
1600 Where is Adventure What is Culture live broadcast of the frieze art fair
website
panel discussion
A discussion of the relationship of art to entertainment touching on the comedic
being popular and failing miserably
Trisha Donnelly (Artist)
Christian Jankowski (Artist)
David Robbins (Writer amp Artist)
Nancy Spector (Curator of Contemporary Art Solomon R Guggenheim Museum)
Chair Matthew Higgs (Curator CCA Wattis Institute for Contemporary Arts)
1800 Melissa Bent from Rivington Arms gallery New York in conversation with
artist Dan Colan and Tobi Maier Anna Colin
1830 VOX pop recordings from the fair with Sharon Gal
1900 Resonance Radio Art Riot Sarah
Washington
The Resonance Radio Art Riot brings together some of the foremost radio artists
and thinkers from around the world The studio lab situation will feature round
table discussions live performances and streamed events
Tonight Radio Text
Events Live broadcast from Sonic Arts Network Resonance benefit featuring
Henri Chopin studio performances from Julia Lee Barclay and Aude Tournay plus
Special Features None present live concrete radiophonics - Planning For
Emergencies
Guests include Clive Graham Chris Weaver Richard Thomas Toby Clarkson
John Lovett Robin Warren and James Dunn
Topics The word as art Sound poetry text performances
At Midnight Tom Wallace present exclusive excerpts from radio art pioneer
Gregory Whitehead
website
000 Resonance Radio Art Riot Nights International
Radio Art
The Resonance Radio Art riot continues throughout the night with the finest of
international radio art Resonance FM programme makers and our international
guests have put together many special hours of classic and obscure radio
works
website
- EPenkerDocumentationpdf
-
- 2bAusstellungenPublicaSpaceEPenkerpdf
-
- 2cUntitled_InstrumentsKunsthausGrazEPenker
- 2bpoeticsKunsthaus GrazEPenker
-
- 4PresseEPenkerpdf
-
- 4Review_Seattle Weekly
-
panel discussion
A discussion of the relationship of art to entertainment touching on the comedic
being popular and failing miserably
Trisha Donnelly (Artist)
Christian Jankowski (Artist)
David Robbins (Writer amp Artist)
Nancy Spector (Curator of Contemporary Art Solomon R Guggenheim Museum)
Chair Matthew Higgs (Curator CCA Wattis Institute for Contemporary Arts)
1800 Melissa Bent from Rivington Arms gallery New York in conversation with
artist Dan Colan and Tobi Maier Anna Colin
1830 VOX pop recordings from the fair with Sharon Gal
1900 Resonance Radio Art Riot Sarah
Washington
The Resonance Radio Art Riot brings together some of the foremost radio artists
and thinkers from around the world The studio lab situation will feature round
table discussions live performances and streamed events
Tonight Radio Text
Events Live broadcast from Sonic Arts Network Resonance benefit featuring
Henri Chopin studio performances from Julia Lee Barclay and Aude Tournay plus
Special Features None present live concrete radiophonics - Planning For
Emergencies
Guests include Clive Graham Chris Weaver Richard Thomas Toby Clarkson
John Lovett Robin Warren and James Dunn
Topics The word as art Sound poetry text performances
At Midnight Tom Wallace present exclusive excerpts from radio art pioneer
Gregory Whitehead
website
000 Resonance Radio Art Riot Nights International
Radio Art
The Resonance Radio Art riot continues throughout the night with the finest of
international radio art Resonance FM programme makers and our international
guests have put together many special hours of classic and obscure radio
works
website
- EPenkerDocumentationpdf
-
- 2bAusstellungenPublicaSpaceEPenkerpdf
-
- 2cUntitled_InstrumentsKunsthausGrazEPenker
- 2bpoeticsKunsthaus GrazEPenker
-
- 4PresseEPenkerpdf
-
- 4Review_Seattle Weekly
-