Jul 17
New visitor record: Over 100,000 art enthusiasts visit the Austrian pavilion PDF Печат Е-поща
Автор: artnovini.com   
Неделя, 03 Септември 2017г. 21:49ч.

Biennale Arte 2017 in Venice - the Austrian Pavilion. Photo: Daniele NalessoThe Works by Brigitte Kowanz and Erwin Wurm are on display at the Austrian Pavilion in Venice until 26th of November 2017.

VENICE. Following the fulminant opening on 12th May 2017 in which over 2000 enthusiasts participated, the steady stream of visitors culminated in a record-breaking result of 112.024 with key date 31st August 2017, announced labiennale2017.at. The show-stealing contributions Brigitte Kowanz and Erwin Wurm made for the Austrian Pavilion attracted enormous interest and enthusiasm from the Austrian and international media and art experts.

A wave of critical acclaim flowed in from the following media: ARTE1 TV (BR), ArtLight Magazine (DE), ARD Thesen Thema Temperament (DE), artpress (FR), Dear (DE), Deutsches Handelsblatt (DE), Deutschland Radio Berlin / Fazit (DE), Beaux Arts Magazine (FR), Connaissance des Arts (FR), eikon (AT), Glass is more! Textile is more! (NL), Kunstforum International (DE), Monopol (DE), the New York Times (USA), Parnass (AT), Quality (IT), Russia Today TV (RU), Slovian TV (SI), Spike Art Quarterly (AT), Vogue (USA), Whitewall Magazine (USA) as also from 3SAT / Kulturzeit (DE).

Thomas Drozda, Austrian Minister for the Arts and Culture is delighted by the worldwide resonance that is already clear in the interim results: The artwork of Brigitte Kowanz and Erwin Wurm is causing quite a sensation in Venice. The Austrian Pavilion is therefore attracting art lovers from across the globe and sending a strong signal at what is probably the world’s most significant stage for contemporary art. I congratulate our two artists and the entire Biennale team for this extraordinarily successful interim achievement.”

Commissioner Christa Steinle’s initially not quite uncontroversial venture of combining two completely opposing artistic positions in this exhibition has been very worthwhile - not least due to the outstanding, yet, at the same time subsidiary architecture of the Light Space extension and its ability to connect real spaces and spatial concepts: Kowanz as a poet and architect of light” intertwines physical and virtual space. Erwin Wurm creates One Minute Sculptures from vehicles that he has developed to near absurdity which thematise socio-political aspects of spatial experience.

We’ve made it! Brigitte Kowanz and Erwin Wurm have delivered key contributions that represent Austrian art on an international stage, true to Christine Macel’s motto Viva Arte Viva - long live art as a symbol of freedom, humanism, cosmopolitism and enlightenment”, as Christa Steinle comments.

A trip to Venice is always worthwhile. Works by Brigitte Kowanz and Erwin Wurm are on display at the Austrian Pavilion until 26th of November 2017.

Exhibition view: Brigitte Kowanz, ‘Infinity and Beyond’. Contribution Austrian Pavillon. L.t.r.: 1. ‘Google 15.09.1997, 2017’; Neon, Mirror, B 80 cm x L 190 cm x H 19 cm. 2. ‘Wikipedia 15.01.2001, 2017’; Neon, Mirror, B 80 cm x L 190 cm x H 19 cm. 3. ‘iPhone 09.01.2007, 2017’, Neon, Mirror; B 80 cm x L 190 cm x H 19 cm. 4. ‘www 12.03.1989 06.08.1991, 2017’, Neon, Mirror / Steel; B 450 cm x L 895 cm x H 35 cm. Photo: Tobias Pilz / © Bildrecht, Vienna 2017* * *



Leaving the picture”, which played such an important role in the second half of the 20th century, prompted the pictorial space to be extended by light. The works of Brigitte Kowanz meant that Austria also contributed autonomously to this international trend. She extended the two paradigms of the pictorial concept - colour is light” (Van Gogh) and light is colour” (Moholy-Nagy) - not only using real electric light but also using words alongside colour and light. Her light works are colour and word works, continuing the trend begun by the Vienna Circle, which analysed and criticised language and was Austria’s main contribution to 20th century philosophy. She uses light to create not as a pictorial continuum but also as literature. She doesn’t just use light to expand the picture into the space; she also uses words to expand thinking space, using mirrors and poetic techniques to develop self-referential systems. Her light objects and light installations go beyond an attractive aesthetic effect. Her conceptual and analytical methodology investigates the mechanisms of codes such as language and writing. Deconstructing, multiplying and separating them, she analyses the play of language as a cultural and social game. Her neon characters reflect the complexity of communication. Kowanz also designs three-dimensional spaces with light, mainly using white rather than coloured light, or uses glass and mirrors to create virtual light spaces. By linking light and virtual spaces, words and images, she is able to make permeable the borders between the real and the virtual, the exterior and the interior, the open and the closed. With her works, she has created a new relationship between painting and architecture, between light and architecture.

Exhibition view: Erwin Wurm, ‘Just about Virtues and Vices in General’, 2016-2017. Performative ‘One Minute Sculpture’. Contribution Austrian Pavilion. Photo: Daniele Nalesso/ © Bildrecht, Vienna 2017* * *


is an artist who has made a globally recognised autonomous contribution to an international trend - to the performative turn in the field of sculpture and to sculpture as a form of action. Photography and video have become sculptural media, and sculpture itself an object of utility. Classical sculpture was a three-dimensional object on a pedestal. First, Wurm reinterpreted and processed the classical criteria of sculpture - volume, weight, structure, gravity, form and mass. He took people and their actions with everyday objects in unusual positions, which they would only be able to hold for a short period of time, and locked them into position using photography. These one-minute-sculptures became famous; he involved the public in the designing of the sculpture and transformed sculpture into an open field of action. He then provided the public with different instructions and let them create sculptures in the museum space. Public participation is necessary, their actions shape the form of the art. In a subversive manner, Wurm encourages the individual to participate in social action. Instead of passive consumption, you have active art. In precarious times marked by crises, such a turn of culture can release energy within a society that has the potential to solve conflicts. Again and again, Wurm has proven that he can find an answer to contemporary moods and social conditions in images and objects - in a genuinely artistic manner, sometimes sublime, often philosophical. In his work, which revolves around an extended definition of the term sculpture, encompassing very different materials and media, Wurm refers explicitly to international avant-garde traditions, in which provocative and daring approaches are always sedimented. In his most recent groups of work, it is possible to see a countertransference of insights into action sculptures onto static objects. He has thus succeeded in creating spectacular signature works such as the house on a house and the boat on the roof of a house. With his architectonic interventions and large-scale sculptures, particularly in public space, Wurm has succeeded in opening up new possibilities in the field between sculpture and architecture. Wurm’s often playful work is more than just an aesthetic strategy. The over-sized police cap from 2010 is more than simply a biographical reference to his father’s job as a policeman; it is also a precise, sculptural translation of the topics of authority and surveillance. The lack of space in a lower middle class family was transformed perfectly into sculpture with his Narrow House at the 2011 Venice Biennale, attracting much attention. All his works hint at a critical, analytical consideration of the concept of sculpture and its media: he straddles the boundaries between object and performance, architecture and design, sculpture and photography, artist and public, meaning that his work also provides a broad basis for reflection on social and cultural questions.

F.l.t.r.: Erwin Wurm, Brigitte Kowanz, Christa Steinle, presentation of the biennial nominees for the Austrian Pavilion. Photo: BKA / Andy Wenzel * * *

for the Austrian Pavilion 2017


My exhibition concept for the Austrian Pavilion - 2017 Venice Biennale envisages two internationally successful Austrian artists: Erwin Wurm and Brigitte Kowanz. Both are state prize winners, who have had numerous solo exhibitions in the most important art centres from Paris to New York. Their art works can be found in important museum collections and private collections. Over the last decades, both have played an important role in shaping Austria’s contribution to international trends. Through her light work, Brigitte Kowanz has extended the concept of image in terms of immateriality.

She makes light objects, light installations, light spaces and light architecture. Erwin Wurm has extended the concept of sculpture in terms of materiality. He has given an essential impulse to the performative turn- the transformation of art objects into forms of action and the extension of sculpture into media. Wurm creates sculpture performances, sculpture installations, spatial sculptures and architecture sculptures. In his work, sculpture becomes architecture, action and medial notation. Wurm and Kowanz are connected by their interest in the relationship between image/sculpture and architecture. Using her light installations, Kowanz has redefined public space and architecture in an immaterial manner.

With his famous house paraphrases, from Narrow House to House Attack, Wurm has transformed sculpture into architecture. Time and again, the Austrian Pavilion has become a site of architectural metamorphosis, a place of artistic and cultural reflection. The work of the two artists I have selected show that everyone is capable of contributing to tradition in their own way and bringing about convincing artistic surprises. Kowanz and Wurm work at the front line of international avant-garde movements: they have extended sculpture and imagery into architecture and public participation.

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Other presentations by Brigitte Kowanz and Erwin Wurm in Venice:

Group exhibitions

Glasstress 2017

With a. o. Paul McCarthy, Tony Cragg, Brigitte Kowanz, Tony Oursler, Ai Weiwei and Erwin Wurm;
Curated by Adriano Berengo, Herwig Kempinger and Dimitri Ozerkov, advised by Clare Phyllis Davies;
Venues: Palazzo Franchetti, San Marco 2847, 30124 Venice and Berengo Exhibition Space, Campiello della Pescheria, 30141 Murano;
Duration of the exhibition: 10th May - 26th November 2017.

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This is not the reality - what kind of reality?

With Sylvie Fleury, Jeppe Hein, Lori Hersberger, Gregor Hildebrandt, Brigitte Kowanz and Julian Opie;
Curated by Gisela Winkelhofer;
Venue: San Clemente Palace Kempinski, Isola di San Clemente 1, 30124 Venice;
Duration of the exhibition: 10th May - 5th November 2017.

Free private boat shuttle service / Hotel Kempinksi daily every 30 minutes from San Marco & retour starting at 9 am.

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Последна промяна от Понеделник, 04 Септември 2017г. 07:09ч.