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.

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

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

performen: PARTY

Das Grüne mit ins Grab nehmen

PERFORMANCE: JOHANNA WEBER

PERFORMANCE: LILIANE ZILLNER, JOHANNA WEBER und andere Anwesende

Fotos: Margareta Klose, Courtesy of the Artist

Videos: Margareta Klose

DJ: Johannes Schoenheinz (Talk to my clone)

ORT: Salzburger Künstlerhaus-Hintereingang

22.4.2017: FINISsAGE von Im Grünen. Kabinett. Salzburger Kunstverein