301109: Akademie der bildenden Künste: Which life? Between profession and vocation

Akademie der bildenden Künste: Which life? Between profession and vocation Exhibiting during a time of occupation Heated discussions - not only by protesting students of the Academy of Fine Arts in their plenary session against university reforms, but also in the smaller circle of those artists selected for the exhibition “Which life? Between profession and vocation”. Is it justifiable to participate in an exhibition in the same building in which the lecture hall is occupied by students protesting against the increasingly school-like system in the realms of higher education? Finally, the realization prevailed that one could not reject an invitation by the renowned curator Sabine Breitwieser, because if art is not exhibited it is unable to unfold its critical potential. In addition, the exhibition focuses on the already difficult relationship between the necessary structure of the studies and the free development of the students as well as the per se not definable image of a free artist. Micha Wille’s transformation of Giuseppe Pellizza da Volpedo’s monumental painting “The Fourth Estate” (“Il Quarto Stato”) is the main work at this exhibition, but she thwarts its heroic spirit of optimism by giving it the title: “Niemals!: darfst du so tief sinken, und die Bananenmilch/den Kakao durch den man dich zieht auch noch zu trinken!!!” (Never!: may you lose your face and allow people to make fun of you). The title most probably refers more to its own steadfastness within the art-market system, which, despite the financial crisis, pays homage to a star cult and the value of an artwork. With his installation “Arbeiter Eisl” (Worker Eisl), depicting his oil and acrylic stained overall, David Eisl attests that art requires a lot of work. Art as a form of self-determined work, respectively its social acceptance, is the main topic of both Nadja Athanassowa's AK (=Workers’ Chamber) FÜR SIE collection of AK magazines, which were mailed to her as long as she financed her studies with “normal” work as an employee, and Juli Fritz, who filmed herself during her study-sessions for an exam – the prerequisite for a secure income. Marlies Pöschl is more pragmatic and organized speed dating among artists and visitors at the opening of the exhibit. However, the question remains if this only offered a platform to exchange ideas or if possible means of financing were also discussed. By Werner Rodlauer Akademie der bildenden Künste 1010 Vienna, Schillerplatz 3, until 06.12.09 http://www.akbild.ac.at

Akademie der bildenden Künste Wien
1010 Wien, Schillerplatz 3
Öffnungszeiten: Di-Fr 14-18, Sa, So 12-19 h

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