LET’S PREP! Regressive Baby Me

JE CUISINE POUR LA SEMAINE: Un p’tit effort en cuisine, UNE SEMAINE DE BONS REPAS: This double page picture in supermarket DELHAIZE Food Magazine “Du côté de la vraie vie” 8.-9.2019 is a perfect artefact of cliché, a brilliant example for today’s food pictures and their documentality, for redefining standards of representation, subject, time and space.

How are micro-techniques of everyday life and efficient private self-techniques relating to political economic regulation techniques?

How are forms of subjectivation produced and are evolving within programmes that call upon subjects for rational behavior? How this neoliberal Rationality is involved with powerful subjectivation processes that tangle up self-responsibility with cuts in social services?

How photography beautifies the world?

Why food is getting that important again?

This Instagram Screenshot is a picture of a picture of a picture, a copy in motion: the analog artefact is the picture of a picture in the Magazine that is archived again via relational Computational Photography and digitalized on Instagram, then again saved as Sreenshot which circulates included in a Photogaphic Essay about food pictures’ documentality on my Blog KOJE KLOSE.

Photography is beautifying the world and sometimes tries to teach us how splendid it is or should be. It changes the idea of reality and realisms, it is real, it orders, structures, collects and recycles the real. It reproduces, packages the world, recycles it as an artefact of cliché. Especially the print: the analog image of an image is like a proof, an evidence and a souvenir of daily life. Like an archive it preserves the exotic which gets near and clear in a close-up and it captures common every day objects in a distance, but on a display what was already described.

The photo shows in frontal linear perspective 5 staples of Tupperware and Preservation Jars in various sizes and with various fillings. Each container contains a special filling described with a font that should resemble handwriting and is describing, tagging the image: “Boulettes”, “Bouillon” or vegetables and sauces. The containers are displayed in between close-up and a distanced frontal gaze captured in a horizontal frame: It’s an artefact of cliché, recycling the real, what was already described. It is a “view-through” provided by horizontal linear perspective and Instagram’s bleaching food filter app that provides ultra transparency and insight into the containers’ content. The static containers are photographed in front of a tiles’ grid that underlines the linear perspective that establishs an imaginary stable observer and horizon. It evokes a static, stable and safe ground in front of the biedermeier style background: the clean kitchen’s bleached white tiles. This is not only a proposal for taylorism at home, this image performs perfectly the container principle: the Modul Design for modularisation and standardisation, flexibilisation, acceleration and efficiency. CONTENT IS KING! A brilliant example for the shift from product and commodity to the homo economicus’ production & competition and self management. This is a representation of the rationalisation of the self and the self organization of everyday working life.
 
 
WE MUST REMAIN REALISTIC IN OUR APPROACH!
 
The latin word “res” means thing, matter, but also property, affair, business. In comparison to the energetic and dynamic greek “energaia”, “res” is really static and reminds of real estate and tastes like sour pickles. Let’s focus on neoliberal rationality due to the fact that individual food rationing is not a private concern dealing with individual time management and health care but a public matter of concern regarding the political economization of the social fabric en général and specifically the subject in progress between regression and production. One of the most important strategies of neoliberal rationality is the transformation of responsibilities/public matters of concern (water, food, health care, housing, work and risks like disease and poverty) into “private” self responsibility. This aims at benefits, efficiency and safety and implicates most of all fear: fear of disease, hunger and financial disasters e.g. increasing inflations (for example in turkey 2017-2018: food prizes were increasing up to 13 per cent, especially cucumbers, so people were pleased to have stored some turşu, cache, pickles). 
 
So let’s prep!
 
 
 
TIME AS HORIZON
 
“Le principe est simple: le dimanche, on prépare une série de plats et d’ingrédients pour cuisiner vite et bien en semaine.” 
 

This horizontally arranged meal table chart proclaims to give you a full food plan for a week, one working day ration for every single working day’s dinner. In only 2.30 hours you should be able to prepare on Sunday, the non-working-holiday-mayday-day, 5 repas à 4 personnes. But you wouldn’t lose, you should even gain time: “Le meal prep, c’est le bon plan pour gagner du temps sans se priver!” Although you would be rationing yourself to a daily ration of Tupperware, ça serait “sans se priver!” 

This picture is a horizontal linear image for time, that kind of time which is routinely planned and structured by every day working life: the time table from Monday to Friday. In the modern western society this routinely planned time table provides a kind of safety within a time model that doesn’t provide any certain future: Elena Esposito proclaims in her talk “Rational divination” that today in modern western society future cannot be known by humans, gods or algorithms.
https://www.youtube.com/watch?v=rSxP_m9kLbk
She describes future as an arising horizon that cannot be reached and will never be known. 
 
Nevertheless linear horizontal images of time and space are changed by medias like our smartphones, our Body Brain Extension. We are scrolling up and down, daily reminders are popping up on display, we are talking and swiping more and writing and reading less from left to right, from right to left. Ways of seeing and planning are changing within the artificial social reality due to our hybrids and souls: our smartphones. Centralised optics  like in this food image provide certainty and safety. It introduces the notion of a linear time, which allows mathematical prediction and linear progress: a view onto a calculable future or rather prediction. It computes a mathematical, flattened, infinite, continuous and homogenous space and declares it to be reality. Linear perspective creates the illusion of a quasi-natural view to the “outside,” as if the image plane was a window opening onto the “real” world. This is also the literal meaning of the Latin perspectiva: to see through.
Let’s remember Down by Law’s Window Scene in the prison: https://www.youtube.com/watch?v=aGqWh8ZAZX0
One is not looking through but at a window: This space defined by linear perspective is calculable, navigable and predictable. It allows the calculation of future risk, which can be managed. But while empowering the subject by placing it at the center of vision and on a stable ground, linear perspective also undermines the viewer’s individuality by subjecting it to supposedly objective laws of representation.
 
Contemporary philosophers and artists point at a condition of groundlessness due to the virtual ground that creates a vertical perspective of surveillance and overview in far distance and close-up. The observer becomes a floating drone and can get an overview of an imaginary  stable ground. It is a superior remotecontrolled gaze onto inferiors. With photography the gaze already became mobile and mechanized but these new relational technologies disembody and outsource the gaze: It becomes all knowing, intrusive, extensive, micro and macroscopic, an extreme radicalization of linear perspective’s powerful paradigm. Many food videos and images on Instagram are filmed from above, in bird’s eye perspective, a remotecontrolled gaze of the smartphone. The photographic lens, this tiny smartphone crap, is not indexically related to reality but to hyperreal representations: not of space as it is, but as we can create it.
 
Hito Steyerl, In Free Fall: A Thought Experiment on Vertical Perspective, in: Hito Steyerl, The Wretched of the Screen, 12.
 
 
 
TARGET: REGRESSIVE BABY ME
So be prepared! Preparing is the modern prediction and tastes completely different than trying to understand phenomenas of the future: It tastes like overnightoats. It is a desperate regressive way for preparing the present to face and try to control a future that remains uncertain. Overnightoats are cheap & efficient and good for babies & poor people with bad teeth & bad taste. But preparing tomorrow’s or even the whole week’s lunch box is a proper way to deal with the contingency of the supermarket. I don’t need to face the more and more indeterminated openness of possibilities and can resist the overabundance and the supermarket’s trance during lunch break. I can be happy to know that I don’t know what’s all provided there. Carrying my cheap, individually prepared lunch in my container is my Calculus of Probabilities, a practical know-how for dealing with tomorrow. This is a particular, individual and very specific prediction: tomorrow’s lunch is the result of today’s intervention. Just do it, prep it, keep it up and eat it up: a very practical way to deal with the overabundance of our affluent society. Regressive Baby Me! Algorithms as well are focused on particular and very specific prediction and don’t care at all about the future. They don’t want to understand, they only want to know how. It is all about me, Babe, me and my tomorrow’s decision. Practically, numbers can speak for themseves if they don’t want to understand why. We don’t know how algorithms come to a specific decision, based on data disregarding the disenfranchised. It is based on me, my Big Data Base Trace, on my white middle class diary, on my daily food content on Instagram.
 
 
THE WORLD IS BEAUTIFUL!
Photography still beautifies roughly the world, relational computational photography creates with algorithms dangerous beauty disregarding the disenfranchised.

Computational photography: The lenses of contemporary phone cameras are tiny crap, so half of the data that is captured by the sensor is noise. An algorithm scans all other pictures stored on the phone or social media networks to clean the noise or to discern the picture from inside the noise.
“It analyzes the pictures you already took, or those that are associated with you, and it tries to match faces and shapes to link them back to you. By comparing what you and your network already photographed, the algorithm guesses what you might have wanted to photograph now. It creates the present picture based on earlier pictures, on your/its memory. This new paradigm is being called computational photography.”
Hito Steyerl, Proxy Politics: Signal and Noise, 1, in: e-flux journal #60, december 2014.

To participate in an image, rather than identify with it, would mean participating in the material of the image as well as in the desires and forces it accumulates.

Instagram’s food images are not new innovations, but part of a centuries-long history of the still life and in general sculpting space and human consciousness using ideology masked as objective reality based on the view of a one-eyed and immobile spectator as a norm. This view is itself assumed to be clear, natural, scientific  and objective. Today’s still lifes on Instagram remind me of Albert Renger-Patzsch‘s modern commercial still lifes. 1928 the German photographer published “Die Welt ist schön” “The World is Beautiful”, a collection of one hundred photographs that form revealed patterns of beauty and order such as botanical studies, images of traditional craftsmen, formal studies of mechanical equipment and commercial still lifes. “Albert Renger-Patzsch was a pioneering figure in the New Objectivity movement, which sought to engage with the world as clearly and precisely as possible.”
https://www.tate.org.uk/whats-on/tate-modern/display/albert-renger-patzsch
 
 
 
 
BACK TO ORALITY: ORAL SEX
 
#foodporn
 
Focus on food: What the food? Why food?
 
Sex (lat. secare) means cut, separation, dissolution. The mouth brings separated things such as body fluids, food, drinks or words together. In her “Studio Elektra” talk “Oral Sex” Philosopher and artist Elisabeth von Samsonow describes philosophic speech as pure Oral Sex: the mouth is a plug that can take and contain something and ingest it as well as it sends noises, words, spit and so on.
https://youtu.be/bFGaIFzEmFk
 
We taste and experience the world with our mouth as babies and adults. Food and meal preparation gets again really important due to an orality of a society that is focused on virtuality and individuality. Back to primitive oral erotics: Instead of licking their smartphones, people can celebrate their Orality surrounding and sharing and spooning and enjoying a BIG HOT POT on the ground together.
 
LET’S PREP FOR OUR ORAL TURN.
TASTE THAT!

 

MY GOURMET DIARY

Photos: Eva Rybarova

Performance @TransArts @UniversityofAppliedArtsVienna

Artist and Sociologist Anna Weisser is picking the pickles of my pick list of pickles: Moving food Instagram pictures are projected on the Body which projects its own picture, the shadow, onto the medium, the wall.

Body, Floating Pictures and Technology coincide in the dialectical Image, the Photograph & Video and its Documentation and then Digitalisation on websites as presentation of a presentation circulating in the world wide web after the act.

https://www.youtube.com/watch?v=S3zHv9fvJWE&t=3s


How to participate in an image?

The medium is the image. The medium is the trace of itself.


While thinking about the documentality of food pictures, ecology movements and VEGANIZATION I am collecting Instagram pictures of “zerowaste” vegan Influencer of generation Y and Z and NGOs. Public relations proclaiming to be “zerowaste” disregard Instagram’s documental economic grid as well as digital waste that has grown exponentially over the last decade as storage of data has shifted to the online sphere to throw all of our recorded information into one big digital cloud of computers.

Computational photography: The lenses of contemporary phone cameras are tiny crap, so half of the data that is captured by the sensor is noise. An algorithm scans all other pictures stored on the phone or social media networks to clean the noise or to discern the picture from inside the noise.
“It analyzes the pictures you already took, or those that are associated with you, and it tries to match faces and shapes to link them back to you. By comparing what you and your network already photographed, the algorithm guesses what you might have wanted to photograph now. It creates the present picture based on earlier pictures, on your/its memory. This new paradigm is being called computational photography.”
Hito Steyerl, Proxy Politics: Signal and Noise, 1, in: e-flux journal #60, december 2014.

To participate in an image, rather than identify with it, would mean participating in the material of the image as well as in the desires and forces it accumulates.

I CAN’T BE YOUR HERO, BABY!

My new year’s resolution since 2018 is “My Gourmet Diary In Preservation Jars” #jaroftheday on Instagram while thinking about international food production and how gathering to eat and drink and circulating pictures of food can connect cultures and rituals from different times and places. I have frequently used food package products such as jars and foils to produce sculptures since 2013 with Nicole Wermers. The jar menu on Instagram invites to virtual window shopping and applies inventive approaches such as fermentation and pickles, creating vivid veggie and nutritious snacks, sweets, drinks. Through these, my Instagram menu explores waste-free food and drink preparation, the “gourmet”, and authenticity in relation to migration of foods and customs. Food is presented in still-lifes as representation of production, gender, class and self-representation. The documentality of these pictures interests me: how Instagram users create diaries, how these virtual pictures become documents and real physical entities, which create powers that extend human memory, and thereby sustain new complex forms of social order.


Since 2018 – as part of my Instagram “Gourmet Diary in Preservation Jars“ #jaroftheday inspired by Martha Rosler’s “Budding Gourmet“ – I am acting as veggie Zerowaste-Influencer @margareta_klose who collects like a sociologist, or better: jar-fetishist, followers and pictures of these containers that are transparent and between the public and the private, that circulate on the worldwide market. I collect and frequently post pictures of self-made food at home, dishes in restaurants, found pictures of lesswaste-influencers recycling their jars, shop displays while window shopping in cities. Regarding this strange hype surrounding the jar – which was called Mason jar in America, named after John Landis Mason who first invented and patented it in 1858 and Weckglas, patented in 1890s in Germany (einwecken=to pickle) and Rexglas in Austria (einrexen), “My Gourmet Diary“ explores the ideological processes through which food preparation comes to be seen as “gourmet”, how it is packaged and becomes a product of
national culture in the competitive world of international markets.

Instagram is a very interesting medium to observe as a hybrid of social networks like Twitter (Hashtags), Facebook (Home feed but only with pictures/videos, not friends but followers), Snapchat (Instagram Direct and Stories) and Pinterest (collecting and archiving found pictures). It is a virtual market space for mobile, visual and social communication: while window shopping you can visit 12 windows simultaneously on the page of a profile or business account or hashtag group. While scrolling up and down Instagram sharers, curators, creators and collaborators are themselves a digital human resource and product of Instagram’s circumstances and the Iconosquare-Brandindex. Instagram’s algorithm is controlling your home feed. The relational Computational Photography creates the present picture based on earlier pictures, on its memory.

VEGANATOLIA @anatoliaschnitzel

@anatoliaschnitzel
Hofmühlgasse 25 1060 Wien
collective art space

food & drinks, exhibitions, performances, lectures, screenings

Are identity politics progressive or reactionary?

VEGANATOLIA turned the former Viennese Fastfood-Restaurant ANATOLIA SCHNITZEL into a zerowaste vegan junkfood zone serving self-made SCHOLLE oder SCHNITZEL, BIG PICKLE PICNIC, non-alcoholic drinks in a smokefree area. Ingredients such as soy, seitan and salt are the best carbohydrate base for vegan junkfood with exquisite taste: phenomenal artistic products that can easily resemble ANYTHING you want: SCHOLLE oder SCHITZEL. VEGANIZATION as an artistic practice is really artsy indeed.

 

Photos: Mahdiyeh Seifi

While thinking about the documentality of food pictures, ecology movements and VEGANIZATION I am collecting Instagram pictures of “zerowaste” vegan Influencer and NGOs. Public relations proclaiming to be “zerowaste” disregard Instagram’s documental economic grid as well as digital waste that has grown exponentially over the last decade as storage of data has shifted to the online sphere to throw all of our recorded information into one big digital cloud of computers.

Micro-techniques of everyday life, private self-techniques relating to political economic regulation techniques: How are forms of subjectivation produced and are evolving within programmes that call upon subjects for rational entrepreneurial behavior? How this neoliberal Rationality is involved with powerful subjectivation processes that tangle up self-responsibility with cuts in social services?

To participate in an image, rather than identify with it, would mean participating in the material of the image as well as in the desires and forces it accumulates. I CAN’T BE YOUR HERO, BABY!

Instagram Live Performance @anatoliaschnitzel 28.8.2019

proclaiming manifesto sentences of the animal rights march in Ljubljana

Instagram Selfie: Martina Pluda 

Head of Campaigns @VIERPFOTEN/@fourpawsint

The medium is the message, it is the image.

The medium is the trace of itself caught in Instagram’s documental economic grid. 

Video: Mahdiyeh Seifi

Focus on food, especially pickles: Is food preservation cosmopolitan or nationalistic? National dishes and especially pickles are perfect materials for examining history, politics and geopolitical relations.
Food is an essential necessity that could either connect cultures or separates them. The BIG PICKLE PICNIC’s theme is the cut: cutting analytical portions as fundamental cultural technique and iconoclast gesture. It is dealing with transformation, pickling, preservation, but also with participation as a transformative, transcultural, collaborative Happening.

Video: Martina Pluda, Head of Campaigns @VIERPFOTEN/@fourpawsint

While serving New Music was presented: Roberta Lazo’s https://m.soundcloud.com/roberta-lazo…robertalazovalenzuela.cl and Maxim Brezhnev’s Gig https://m.mixcloud.com/maxim-brezhnev/

Pickleback Bar

Photo: Huda Takriti

 

“Few drinks inspire skepticism quite like the pickleback […] a slug of whiskey followed by a bracing chaser shot of pickle brine, poured straight from the jar – has gained popularity in the U.S. in recent years as a novel way of making mediocre liquors more palatable.”

Tim Hume, The Power of the Pickleback, Wallstreet Journal 28.2.2013

The shot can also be chased by a bite of a selfmade pickle. Feeling like an alchemist, I created a special gourmet welcome drink on the occasion of “als künstlerische Praxis” curated by Franz Thalmair as part of the exhibition series “In der Kubatur des Kabinetts” in Fluc Vienna. 2 weeks before the exhibition’s party, I pickled organic pickles in apple vinegar with pepper, salt and carraway seed in a 3.400 ml preservation jar and many double shots of whiskey in 47 ml jars that I carefully placed in the entrance area on a table, covered with tinfoil, which belongs to Fluc.

Pickling is political: as a productive catalyst for digestion with healthy pure brine in recyclable zerowaste jars standing for static national purity’s preservation, but at the same time, a sign of moving bacterias, rotting and disintegration and exportation.

transarts_fluc_einladung

 

 

Photos: Eva Weber

 

Within my broad artistic practice I started in 2018 “My Gourmet Diary In Preservation Jars” #jaroftheday on Instagram inspired by Martha Rosler’s “A Budding Gourmet”. I am acting as zerowaste influencer while thinking about international food production and how gathering to eat and drink can connect cultures and rituals from different times and places. Since 2013 I have frequently used food package products such as jars and foils to produce sculptures.

The jar menu presented in “My Gourmet Diary In Preservation Jars” applies inventive approaches such as fermentation and pickles, creating vivid, veggie and nutritious snacks, sweets, drinks. Through these, the menu explores waste-free, food and drink preparation, the “gourmet”, and authenticity in relation to migration of foods and customs.

 

 

PASSAGE 2013 – 2018

Die Passage ist ausweglos.

Da muss man durch.

Schritt für Schritt zur Prozesskompetenz.

Es gibt nur einen Weg. Nach vorn – oder zurück.

Den Dingen ihren wahren Charakter geben –

ihren Warencharakter nehmen.

Dort, wo die Dinge nur Dinge sind, ist der Ort, mein Paradies.

 

 

Die Passage ist ausweglos. Da muss man durch.

Auch hier im Mozarteum, im Konservatorium muss man durchs Das Zimmer durch, will man zur Direktion oder ins ÖH-Büro, zum Faistauersaal oder in den Computerraum hinauf oder durch zum Servicepoint.

Der Durchgang zur Dreifaltigkeitsgasse ist versperrt, das ehemalige Palastportal nicht passierbar, die vorbeifahrenden Autos jedoch im Ausschnitt von innen erkennbar durch die Transparenttür, die dazwischen liegt und von außen ebenso als Auslagedisplay wie die gegenüberliegenden Auslagevitrinen der Geschäfte fungiert;

darunter Haus 18 samt eingelegter Kunstauslage im Hauseingang.

Das Zimmer ist einseitig verschlossen, doch transparent und durchlässig und passierbar.

Ein Raum der Bewegung, des Vorübergehens, Passierens, des Blicks, des Sehens und Gesehenwerdens. Ein Raum der Konservierung von Vergangenheit, der zur “Mozartstiege”, dem einzigen Relikt des Neubaus aus der Zeit des Lodronschen Palastes führt.

Auch die Einmachgläser sind transparent, jedoch hermetisch verschlossen, aber prozesshaft in Bewegung und Veränderung begriffen trotz der Konservierung. Mal- und Verpackungsmaterial, Kerne in Kunstharz, Fotografien und Einmachtexte sind eingelegt in Wasser, Waschmittel und WC-REINIGER. Die Einmachgläser sind auf Dauer gestellt und bilden fortwährend vergängliche Schichten.

Dieser Regalkorridor ist mein Konservatorium der Jahre 2013-2018 in Salzburg. Eine Ansammlung, die nach einer Versammlung fragt. Die Passage führt ausweglos von einem Ort zum anderen, von einer Erinnerung zur anderen. Sie verführt. Sie verführt dazu, in ihr zu verweilen, Schutz und Sicherheit in ihr zu suchen, versucht die Hineingehenden zu blenden, zu ergreifen, zu erbauen, zu unterhalten.

Vielen Dank an alle für diese Passage am Mozarteum, v.a. Dank an die Malereiklasse, danke für die Koje, die ich kapern durfte, danke Euch Allen!

Am 22.6.gibt es die Finissage, den BIG JAR SALE. Ich hoffe, ihr sucht für Euch eine schöne Einmach-Serie aus!

Vielen Dank Herrn Rodinger von Rodinger-Regale für die Leihgabe,

sonst gäbe es keine Passage.

 

 

 

 

 

 

 

 

 

 

 

 

Cansu Sezal beim Eröffnungskonzert: Spiders von Paul Patterson (*1947 Chesterfield)

 

 

GITARRENQUARTETT MOZAIK spielte A Dancestep from a Hidden Street von Helmut Jasbar (*1962 in Wien)

Utkan Aslan, Michael Lochery, Alvaro García Peón, Hannelore Vander Elst

 

Auswahl

Einmachgläser-Serien

In Honig, Serie, div. Größen, Konfekt in Kunstharz , 2018

 

Eier im Glas, Eier in Kunstharz, 2018

 

 

Jarcake Dobostorte, div. Zutaten und Karamellschicht, 2018

 

 

Gefüllte Gurken, 30.5.2018

 

 

Verpackungsmaterial und Zuckerl in Weichspüler, 2017

 

Verpackungsmaterial in WC-Reiniger “Ozean Frische”, 2018

 

 

Glas im Glas, Acrylfarbe und Wasser, 2018

 

 

Serie 2017, Malgläser in Wasser

 

 

Großes Einmachglas anno 2013

 

Karton in WC-Reiniger, 2017

 

Serie Alufolie, Styropor und Spiegelscherben in Wasser, 2017

 

Serie anno 2013, Mal- und Verpackungsmaterial in Wasser

 

Fotos: Peyman Aparviz, Magdalena Karner, Margareta Klose

Videos: Margareta Klose

 

 

21h

 

 

 

 

 

 

Herzlichen Dank an

den Salzburger Kunstverein, Seamus Kealy, Michaela Lederer, u.a.

Hildegard Fraueneder, die eine großartige Eröffnungsrede hielt,

das Gitarrenquartett, das ein 21-Minuten-Carmen-Arrangement spielte:

Utkan Aslan, Michael Lochery, Álvaro Garcia Peón, Hannelore Vander Elst

das werte Eröffnungspublikum

u.a. Monger Konserven aus dem Salzburger Land für die Spende des Buffets

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Tina Lindlbauer, Alles das schwarz ist,

ist kein Licht (noch nicht) & (nicht mehr)

2017, Diaprojektionen in Farbe

 

 

 

Veronika Atzwanger, This space is not tiny,

it is minimised. 2017, Spanplatten, Fichtenholzleisten

Innenraumfarbe Swingcolour Pacific 39.097, LED-Licht

Hocker, 2 Grünpflanzen, Ventilator

 

 

Leonie Zangerl, outside in, 2017

Sperrholz, Dispersion, Schweiß

 

 

 

Zoe Vitzthum, Das Übriggebliebene 2017, glasierte Keramik

 

Christina Gumpinger, Spielplatz

2014-2017, Farbfotografie, Leinwand

teilweise gerahmt

 

 

Barbara Reindl, objekt|||haar, 2016-2017

Plexiglas, Zeichnung und Tusche auf Papier,

Fotografie, Haare

 

 

dav
dav
dav
dav
dav
dav
dav
dav
dav

 

Margareta Klose, couleurs en route 2

2013-2017, Einmachgläser div. Größe

div. Materialien: Acrylfarbe, Verpackungsmaterial,

Wasser, WC-Gel, Fotoserie Reproduktionen der

Installation, Transparentkunststoffkisten auf

Rollwagen

 

Stephanie Friedrich, organic shapes

2015-2017, Lithografie, Mischtechnik auf

Papier, div. Materialien: Acryl, Kugelschreiber,

Klebstoff, Tusche, Bleistift, Filzstift

 

Fotos

Michaela Lederer, Salzburger Kunstverein

Christina Gumpinger

Margareta Klose

SCHNECKENHEIM

 Margareta Klose, Schneckenheim

(Eingerahmte Schneckenhäuser, Spiegel und schwarze Schäfchen)

Versuchsgewächs 1, 2016/17

 

 

  • 3 Schneckenhäuser, Lakritzschnecken, diverse blaue Lithografien auf Transparentpapier, Karteikarten, diverse Zettel und Zeichnungen
  • gespiegelte blaue und schwarze Lithografien auf Papier, Spiegel und Spiegelscherben, Bilderrahmen, Magnete als Konstruktionselemente auf Aluminium
  • Computer, Video des Videos just walking, Fotos von Schneckenstilleben und vom Arbeitsprozess in der Traklwerkstatt, dokumentarische Reproduktionen der Installation
  • Leiter zum Fotografieren, Betrachten, Drauf- und Druntersitzen
  • Stephanie Friedrich, organic shapes, Lithografie im Rahmen, 2017

 

In der Galerie im KunstWerk Mozarteum Alpenstr. 75 wurde dokumentarisch zum Lithoworkshop eine Gruppenausstellung vom 18. – 27.10.2017 aufgebaut:

In der Ecke des magnetischen Sicherungsschranks die Zitat-Installation Schneckenheim

Öffnungszeiten 8.00 Uhr – 16.00 Uhr

Mozarteum Alpenstr. 75

Department für Bildende Künste, Kunst- und Werkpädagogik

 

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“Wie habe ich versucht, das zu malen: das hysterische sublime Zeug des Augenblicks!”

Für meine kleine Lakritzschnecke

In etlichen historischen Kupferstichen und Holzschnitten sind, im Gegensatz zur Natur, linksgewundene Schnecken abgebildet.

 Dazu müssen die Künstler die Vorlagen (reale Exemplare oder Zeichnungen) mental spiegeln, was schwierig ist, oder sich an deren Spiegelbildern orientieren. Auch dürfte vielen Künstlern erst gar nicht bewusst gewesen sein,

dass in der Natur eine Richtung vorherrscht.

MIRROR THE MIRRORED IMAGE

 

 

Litho.Stein.Papier.

 

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Der Verein Grafische Werkstatt im Traklhaus betreibt seit fast 60 Jahren ein offenes Atelier für Druckgrafik. Hinter vergitterten Fenstern der Druckwerkstatt im Traklhaus und mit dem Leiter des Betriebes, dem Salzburger Künstler Martin Gredler, und Bernhard Lochmann, Tiroler Künstler und Druckgrafiker, werkelten wir Kunststudierende schwerarbeitend und Espresso trinkend 10 Tage und Nächte lang mit:

Lithografie

MANSFELD Drucktisch: 128 x 98 cm; Motorbetrieb
KRAUSE Drucktisch: 80 x 99 cm; Handbetrieb
KRAUSE Drucktisch: 65 x 90 cm; Handbetrieb
KRAUSE Drucktisch: 67 x 99 cm; Handbetrieb

zirka 220 Steinen in allen Qualitäten (maximales Steinformat: 100 x 70 cm)
zwei manuellen Schleifplätzen mit Druckbrause und Schlauchaufrollung
einem mobilen Schleiftisch

[email protected]
http://www.lithowerkstatt.at

 

In der Galerie im KunstWerk Mozarteum Alpenstr. 75 wurde dokumentarisch zum Lithoworkshop eine Gruppenausstellung vom 18. – 27.10.2017 aufgebaut.

Öffnungszeiten 8.00 Uhr – 16.00 Uhr

Mozarteum Alpenstr. 75

Department für Bildende Künste, Kunst- und Werkpädagogik

 

 

 Daniela Kasperer, Lithografien, 2 Serien auf Papier, Lithografie-Sammlung auf Wagen

 

 

Installationsansicht von links nach rechts:

Tina Lindlbauer, Lithografieserie auf Papier

Cornel Entfellner, LampenLithografieserie auf Papier

Barbara Reindl, ZitronenLithografieserie auf Papier

Vanessa Steiner, SchriftzugLithografieserie auf Papier

 

 

Installationsansicht von links nach rechts:

Mahdiyeh Seifi, Lithografie auf Papier unter Glasplatte

2 Gemeinschaftslithografien auf Papier

Tina Lindlbauer/Margareta Klose, Videocollage Lithowork

Vanessa Steiner, 3 Lithografien

Veronika Atzwanger, 3 Lithografien auf Papier an Aludraht

 

 

Veronika Atzwanger, Installationsansicht

3 Lithografien auf Papier, Aludraht, Klammern, Sessel, Arbeitskittel

 

 

Installationsansicht von links nach rechts:

Daniela Kasperer, Lithografien, 2 Serien auf Papier, Lithografie-Sammlung auf Wagen

Stephanie Friedrich, Lithografieserie, organic shapes

D. T., Installationsansicht, Lithografienserie auf Sockel und Wand

 

Barbara Reindl, ZitronenLithografie auf Papier

D. T., Installation, Lithografieserie auf Sockel und Wand

 

 

Installationsansicht

Margareta Klose, Schneckenheim

(Eingerahmte Schneckenhäuser, Spiegel und schwarze Schäfchen)

Versuchsgewächs 1, 2016/17

  • 3 Schneckenhäuser, Lakritzschnecken, Lithografien auf Transparentpapier, Karteikarten, diverse Zettel und Zeichnungen
  • gespiegelte Lithografien auf Papier, Spiegel und Spiegelscherben, Bilderrahmen, Magnete als Konstruktionselemente auf Aluminium
  • Computer, Video des Videos just walking, Fotos von Schneckenstilleben und vom Arbeitsprozess in der Traklwerkstatt, Dokumentationen und Reproduktionen der Installation
  • Leiter zum Fotografieren, Drauf- und Druntersitzen
  • Stephanie Friedrich, organic shapes, Lithografie im Rahmen, 2017

 

 

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Fotos: Margareta Klose

Postkartengewächs mit Deko

 

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Das Postkartengewächs mit Deko ist eine Collage auf den Wänden, die sich im Laufe der Jahre im Arbeitszimmer zu Hause entwickelt hat. Ausgehend von den Kunstkalendern „Eine Reise durch die Welt der Kunst – 365 Meisterwerke“, die dekorativ auf den drei Tischplatten stehen, wuchert das Postkartengewächs aus der Arbeitstisch-Ecke heraus und wird ständig erweitert und überarbeitet:

mit Kunstpostkarten von Exkursionen zu verschiedenen europäischen Kunstinstitutionen, diversen gesammelten anderen Postkarten,

Kätzchenfotos und Geburtstagskarten, mit Zeichnungen, Zuckerlpapieren, Texten mit Edding auf Karten, Fotos, Wand und Spiegelfolie,

sowie mit Installationsansichten/Momentaufnahmen, dokumentarischen Reproduktionen des Postkartengewächses.

Weiterhin werden Installationsansichten, Texte und Schlagwortwolken zum Postkartengewächs in Bilderrahmen auf der Arbeitstischplatte angeordnet.

Drei getrocknete Sonnenblumen liegen dekorativ daneben. Das Metronom gibt den Takt dazu, Birne und Plastiktulpen stehen daneben, der Efeu wuchert gemeinsam mit dem Postkartengewächs den Betrachtenden aus der Arbeitszimmerecke entgegen.

 

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Das Blaue vom Himmel

Altar mit Kunst-Tischkalender, Räucherstäbchen, getrockneter blauer Hortensie, Schneckenhäusern, Kunstpostkarten, Rosenthal-Kaffeeporzellan, Bierdose, gesammelten Postkarten mit Abbildungen des Stundenbuchs „Très Riches Heures“ des Herzogs Jean de Berry, darunter die Himmelfahrt, die Marienkrönung, Maria Empfängnis, die Reinigung, u.a.,

blaue Malereistudie zum Andenken eines Engels, diverse Aphorismen, Zitate und Zeitungsausschnitte zur Farbe Blau

Auf dem Holzaltar in der gegenüberliegenden Ecke des Arbeitszimmers steht ein dekorativer Kunst-Tischkalender „Eine Reise durch die Welt der Kunst – 365 Meisterwerke“, davor Räucherstäbchen, Schneckenhäuser und eine getrocknete blaue Hortensie, daneben Rosenthal-Kaffeeporzellan, darunter hängt eine Bierdose. Der Kunstkalender ist beim 5. Mai 2016 aufgeschlagen und zeigt Christi Himmelfahrt, Malerei eines unbekannten Meisters um 1520. Davon ausgehend wuchert an den Wänden aus der Holzaltarecke ein blaues Postkartengewächs mit Hexen-Kinderpartyfotos und Installationsansichten, sowie gesammelten Postkarten mit Abbildungen des Stundenbuchs „Très Riches Heures“ des Herzogs Jean de Berry, darunter die Himmelfahrt, die Marienkrönung, Maria Empfängnis, die Reinigung, u.a.

Diverse Ausstellungsflyer diverser Salzburger Kunstinstitutionen, sowie diverse Lämmer- und Bockbilder lügen das Blaue vom Himmel mit Hilfe des blauen Engels und Schokoeier-/Zuckerlpapieren
herunter. Dazu kriechen Schildkröten die Wände hinauf. Die gesammelten Installationsansichten aus verschiedenen Perspektiven wurden als Momentaufnahmen wiederum in Form eines Tischkalenders wachsend aneinander angeordnet. Das Wuchern des Postkartengewächses ist darin nicht chronologisch dokumentiert, vielmehr gehen die Reproduktionen nahtlos ineinander über, sind nicht einzeln erkennbar. Der Tischkalender steht dekorativ auf dem Arbeitstisch und wird Teil des Postkartengewächses, kann beliebig aufgeschlagen werden.

Auch der mit derselben Collagemethode erstellte Wandkalender wird Teil der Postkarteninstallation auf den Wänden, kann beliebig
aufgeschlagen werden und zeigt jeden Monat eine andere Collage von Installationsansichten des Postkartengewächses.

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Prozesskompetenzzelle

 

Fotos: Chrissi Hochwind 2017

 

TIEFKÜHLSPINAT

“ein künstler – ein prinzip”

PROZESsKOMPETENZ

1. AUFTAUEN (unfreezing)

2. ÄNDERN (moving)

3. WIEDERHERSTELLEN DER STABILITÄT

(refreezing)

 

 

 

 

 

 

 

 

 

   

   

 

 

  

    

 

Fotos: Margareta Klose 2017

 

Prozesskompetenzzelle (In den sauren Apfel beißen)

Installation in Luftpolsterfolie im KunstWerk Mozarteum Salzburg über Prozesskompetenz

mittels

  • Baustellen-Schild Fliesenambiente
  • PPPräsentation auf Laptop auf Geschirrtrockner: Apfelbeißen Im Grünen Kabinett im Künstlerhaus Salzburg
  • Musikvideo auf Bierkistensockel: Im Grünen Kabinett mit Fernanda Villalvazo (Violine) und Utkan Aslan (Gitarre)
  • diverser angefangener Malereien (u.a. LIVE, Acryl, Spray auf Papier, 2017)
  • diverser Plakate
  • Einmachgläserwerkserie 2013-1017 im Aluminiumregal (diverse Größen, diverse Rezepte)
  • Grüner 5l-Plastikweinflaschen
  • Styropor, Folien, grüner Müllsäcke
  • Spiegelscherben
  • SELBST-AUFGABE
  • TIEFKÜHLSPINATPRINZIP

 

TIEFKÜHLSPINAT

“ein künstler – ein prinzip”

PROZESsKOMPETENZ

1. AUFTAUEN (unfreezing)

2. ÄNDERN (moving)

3. WIEDERHERSTELLEN DER STABILITÄT

(refreezing)

 

PRESERVATION

Roadmovie durch den Keller des Barockmuseums im Salzburger Mirabellgarten

AU$$TELLUNGSKOOPERATION

ABTEILUNG BÜHNENBILD und KunstWerk MOZARTEUM

BAROCKMUSEUM SALZBURG

29.6. – 8.7.2017

11 – 17 Uhr

 

 

IM KELLER

Skizzenbuchraum

Sammlung von Studierenden der Abteilung Mozarteum Bühnenbild/KunstWerk

 

 

 

Zoe Vitzthum, hereafter, 2017

Installation in der Keller-Küche des Barockmuseums Salzburg

Löffel, Ton, Latex

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Margareta Klose, Preservation, 2017

Im Keller des Barockmuseums Salzburg

 

Installation mit Spiegel, Folien und Einmachgläserwerkserien

WC-Gel, Waschmittel, Verpackungsmaterial in Einmachgläsern

diverse Größen, diverse Rezepte

 

A2 Poster

 

IN HEAVEN

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Fotos: Chrissi Hochwind

mit MARINA POHL und MARIYA DIENER
GRENZGÄNGE-PROJEKT im BÜRGERZENTRUM SALZBURG 25.5. – 5.6.

25.5.2017 Christi Himmelfahrt

 

Mariya Diener, Installation aus verbranntem Holz einer abgebrannten Hütte

von der Grenze Freilassing/Salzburg, 2017

 

Margareta Klose, Schlagwörter, 2016-2017

SelbstkompetenzDas Blaue vom Himmel herunterlügenWelcome auf LED-Laufband

Blaue Aphorismen/Songtexte/Novalis-Texte mit Edding auf dem Blauen Engel

7 Säulen, IN HEAVEN EVERY THING IS FINE ! Blaue Müllsäcke, Neon-Auto-Lackspray

 

Marina Pohl, Videoinstallation, Tauben am Salzburger Hauptbahnhof, 2017

 

GRENZGÄNGE DER MALEREI-KLASSE MOZARTEUM 24.5. – 27.6.

Galerie

DAS BLAUE VOM HIMMEL

 

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Fotos: Gerlinde Radler

Margareta Klose zeigt eine Installation, die sich im Rahmen des Grenzgänge-Projekts ausgehend vom Sprichwort „Das Blaue vom Himmel herunterlügen“ in ihrer Malerei-Koje entwickelte und im Salamanca-Keller  wechselseitig-verweisend darauf anspielt mittels:

– einer Schlagwort-Beschimpfung (AUSGETRÄUMTE!)

– einer Serie von Plakatübermalungen der „Sünde“ von Edvard Munch

(Frau als Sünde, An-Blick und Opfer fremder Übergriffe: Das Fremde und Das Andere)

– Elfriede Jelineks Stützen der Gesellschaft: Was geschah, nachdem Nora ihren Mann verlassen hatte…

– einer Sammlung von Einmachgläsern auf einem blauen Geschirr-Trockner

(blaues Waschmittel, Reinheit, Heimat, Hausfrau)

– einer Sammlung von Aphorismen, um, in die eigene Handschrift übersetzt, fragmentarisch-flüchtig gemeinsam mit dem blauen Engel das Blau des Himmels herunterzuholen auf den Boden des Salamanca-Kellers und es dort zu verstärken…

und sich die himmlisch-romantische Grenzenlosigkeit für jeden herbei zu sehnen:

Das blaue Geistige und das grüne Sinnliche

erweitern ihren Horizont ins Ozeanische

und werden gänzlich Türkise.

https://www.meinbezirk.at/spittal/leute/border-crossing-belebt-galerie-porcia-m12159083,2042680.html

http://www.schloss-porcia.at/index.php/kultur-im-schloss/kulturinitiativen/galerie-im-schloss-porcia

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IM GRÜNEN KABINETT

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Opening: Fri, February 24, 2017, 8 pm

Exhibition runs: February 25 – April 23, 2017

Text: Séamus Kealy

Running parallel to the exhibition A Painter’s Doubt, the young, Salzburg-based painter Margareta Klose has developed a painting installation in the Kabinett space. Her intervention in the gallery involves an arrangement of wall-painting, flooring and carefully placed sculptural elements, to transform the space into an experiential and contemplative zone. The entirety of her work in this installation has mainly been produced over the past three years, with new additions specifically for her exhibition in the Kabinett space. With her practice with painting at its centre, this installation alludes to and emerges from her attentiveness to the passing of time as an observable phenomenon. One might witness her processes of discerning and marking the passage of time not only in her painterly gestures but also in her collection of preservation jars, her collection and production of writings such as poems, songs and aphorisms, and other sculptural elements, all included in the exhibition. Her abstract gestures in the painted elements are complemented or sometimes confounded by her ripe, deliberate and delicate use of text within or adjacent to the painting. The exhibition is both a personal expression of the potential to experience a sense of rapture in the face of reality and its ever-mysterious presence, as well as an open invitation to audiences to make what they will of this expression. Her exhibition is thus intentionally timed to complement the exhibition in the Main Hall, which has a trajectory of contemporary European painting today. A few concerns around painting as an artistic practise today are shared between these exhibitions.

Margareta Klose, born 1993 in Berlin, lives and works in Salzburg.

Margareta Klose. Im Grünen. Kabinett

Werkliste

AUSSTELLUNGSPLAKAT. MARGARETA KLOSE. IM GRÜNEN. SALZBURGER KUNSTVEREIN

Fotos: Andrew Phelps, © Salzburger Kunstverein

Radieren: mich entfernen