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141209: Projektraum Viktor Bucher: Michael Kienzer vs. Markus Wilfling
Projektraum Viktor Bucher: Michael Kienzer vs. Markus Wilfling
The ultimate exchange of blows
How will these two heavyweight champions of transcendent structures challenge each other this time?
Wilfling starts by exchanging the space of common perception into one that could easily vanish by implementing an oversized “ceiling plug”.
Michael Kienzer strikes back with “Sketch Vol. 14”, a sculpture of three aluminium tubes mounted on top of each other, blocked by four red-and-blue erasers. His restriction of fundamental forces remind of Johannes Kepler’s laws of planetary motion. But for Kienzer they all seem to accelerate in one direction and are simultaneously frozen matter.
Wilfling strikes back with a variation of his “Alibert” series. This time the bathroom cupboard is dissected into 8 parts, all leaning towards one another like books.
Then Kienzer takes the lead with his “Leitwerk”: another assembly of aluminium-tube modules with an upright plate in the middle, demonstrating the natural endeavour towards highest possible symmetry. Wilfling parries with two equally sized, intertwined and tilted iron window frames (250 x 50 x 50 cm), which stabilize each other in an elegant balancing act of seeming motion. Thereby his “steles” dancingly overcome gravity, while Kienzer’s sculpture has hit the ground.
Wilfling successfully sets his next blow with the iron gridded wall, which divides the large exhibition space. As mathematical grids can be transformed into circles, and the principle of the close-packing of spheres is deductible from the densest grid pack, the artistic equation Kienzer=Wilfling could result at this stage.
If a grid represents the sum of all integral linear combinations of independent points in an n-dimensional Euclidean room, then the light reflected, mirrored and doubled by the grid profile makes that these lines visible.
Behind the grid wall Kienzer placed a useless chair stacked with pressboards by. The pressure of the upper, vertical boards stabilize the lower, horizontal boards, while in his wall sculpture “O.O” two aluminium-circles – above and below a ledge and framed only by a rubber band, are balanced as if floating. Is this the living room of a society living in hermetic illusion, whose critical mass could easily skid?
The final exchange of blows takes place in the storeroom:
Kienzer writes the words “ephemeral” and “still” in superimposed, multilayered letters in glass cases mounted on the wall. This is accompanied by a video showing a gnat dancing against the glass wall; power lines in the background. This barrier goes beyond its 400 million years of reality, against which die 40.000 years of the Homo sapiens seem ephemeral. The artificial and hostile illusion, which has evolved into matter and blocks her way into the future, let her fail miserably – and Kienzer’s words become the portent for the upcoming collective knock-out.
By Renate Quehenberger
Projektraum Viktor Bucher
1020 Vienna, Praterstrasse 13/1/2, until 15.01.10
http://www.projektraum.at
Mehr Texte von translated and summarized by: Liz Wollner-Grandville
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141209
Projektraum Viktor Bucher
1020 Wien, Praterstraße 13/1/2
Tel: +43 676 561 988 0
Email: projektraum@sil.at
http://www.projektraum.at
Öffnungszeiten: Di-Fr 14-19, Sa 11-15 h und nach tel. Vereinbarung
Projektraum Viktor Bucher
1020 Wien, Praterstraße 13/1/2
Tel: +43 676 561 988 0
Email: projektraum@sil.at
http://www.projektraum.at
Öffnungszeiten: Di-Fr 14-19, Sa 11-15 h und nach tel. Vereinbarung
