020608: Museum auf Abruf: Matrix, Gender – Relationships – Revisions

Museum auf Abruf: Matrix, Gender – Relationships – Revisions More or less feministic A photo-collage framed in gold. Five men, their heads decorated with black Persian lamb hats, black suit, tie, all five lined up, all direct their eyes at you. It doesn’t take much to figure out that they all depict the same man. And those who are familiar with the Viennese art scene of 1991 will identify the man as the artist Friedrich Eckhardt. Eckhardt poses with dignity in this photo collage “Die Gilde” and thereby forms a kind of ironic welcome committee to a topical cross-section of four decades of art history, focusing on Vienna and its surroundings as well as the gender topic. The latter was the leitmotif around which the curators Sabine Mostegl and Gudrun Ratzinger based their selection of works from the City of Vienna’s contemporary art fund. The exhibit reflects the story of feminism, and is clearly dominated by female artists. The exhibit shows works by Valie Export, Renate Bertlmann, Birgit Jürgenssen, Friedl Kubelka-Bondy and younger artists ranging from Carola Dertnig, Ines Doujak, Maria Hahnenkamp, Ilse Haider to Elke Krystufek, Michaela Pöschl and Katrina Daschner. It is the ideological downside of this controversy with regard to power, norms, ideology and sexuality that the number of works by male artists is rather minimal. Besides Eckhardt the artist Matthias Hermann stands out, with his text-picture series, in which he takes a close and ironical look at heterosexual norms – “one of the things I always ask my students is how their heterosexuality influences their work”, 1997. While Edgar Honetschläger’s black and white series “Boden voller Sinn” (grounds full of meaning) alludes to Valie Export’s “Körperkonfigurationen” (body configurations), showing the naked body merging with the landscape, Lois Renner’s work does not have much connection to the show’s topic. His early “Ateliereinsicht (mit P.P. Rubens)” 1995, enjoys an artistic status and a genial reputation, but has little to do with social “matrices”. Works dealing with skin and clothing allow the curators to succeed in bringing the most conclusive argumentation to the onlooker. Skin symbolizing the vulnerable border between the individual and the outside world, and clothing resembling the cover and security layer as well as a representative media for information. Magda Tothova’s textile object “Windstoß” (gust of wind - 2006) creates a strong exuberant mix – a pleated white skirt with reference to Marilyn Monroe’s sex appeal, the underwear covered with Lenin medals – clearly showing the government’s power - even in the most intimate parts. Maria Hahnenkamp’s “rote genähte Fotoarbeiten” (photo works sewn in red 1995) narrate the story of being easily hurt and going to the absolute limit. The media of photography – dependent on an apparatus (even more so than video) proves itself as a key medium of feministic art. Not only as a documentation, but also as a picture, which incorporates a dialogue and a process – both of which play such a central role in feministic art. Museum auf Abruf 1010 Vienna, Felderstrasse 6 – 8 , next to the Rathaus (town hall) until 07. 06. 2008 www.musa.at

1010 Wien, Felderstraße 6-8, neben dem Rathaus
Tel: +43 (0)1 4000 8400, Fax: +43 (0)1 4000 99 8400
Email: musa@musa.at
Öffnungszeiten: Di - Fr: 11:00 - 18:00, Do: 11:00 - 20:00, Sa: 11:00 - 16:00 Uhr

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