Im Raum mit_ Fattinger Orso, Julia Willms, Constantin Luser, Peter Kogler and Christian Falsnaes
18.02.16 – 28.07.16
Im Raum mit_ is a dynamic exhibition project engaged in instances of spatial appropriation that offer new ways of experiencing space while giving visitors a set of instruments for constructing their own environments and structures, in a sense turning them into co-authors of the exhibition. With a series of artistic interventions, the setting changes and condenses over the course of the exhibition all the way up to its close.
An installation has been developed by the Viennese architectural office Fattinger Orso which, in correspondence with the structural history of the bunker, takes up the shifts in the building’s volume that have arisen over the course of its extensive reconstruction. Peter Fattinger and Veronika Orso lay a surface of 850 solid wood blocks into the exhibition spaces, serving as a second, functional floor as well as a space for material storage. Visitors are invited to take the blocks from the floor to build their own structures, resulting in individual, temporary formations in space. In this sense, the installation positions itself as a democratized process where all visitors become equal authors of the sculptural arrangements. Everyone becomes part of the exhibition, forming their own structures and uploading documentation of it under the hashtag #ImRaummit. This results in a multiperspectival narrative from “Im Raum mit_ Fattinger Orso” during the exhibition period.
Julia Willms is the first of four invited artists to react to the exhibition setting “Im Raum mit_”. On the lower floor of the exhibition space, the artist crosses the threshold of the physical image space into that of the imaginary and invites visitors to experience reality and fiction as one for a moment. Like a trompe l’oeil, the audiovisual work “Passageway” makes the end wall of the exhibition space melt into its filmed image via the projection screen. The video picks up elements of the real space and, in its course, draws the audience into its filmic illusion: elements within the room open up, transform, disappear, draw nearer or shift in relation to the viewer. Filmic space seems to become reality. The installation “Doppelter Boden”, by the Viennese architectural office Fattinger Orso, also particularly influences “Passageway” and stands in dialogue with it.
The starting point of Constantin Luser’s artistic practice is the medium of drawing and its representation in space. The artist breaks the boundaries of the classic picture plane, expanding them to imagine the wall surfaces surrounding the exhibition space as such, removing the line from the confines of the wall. His hanging wire forms, filigreed constellations of lines, write three-dimensional contours into space. With these fantastic, sometimes bizarre entities and organisms – reacting to each breeze on account of their bodilessness – he converts the exhibition space into a pictorial space. In their entirety, these delicate drawings-in-space give a kaleidoscopic view into the artist’s cosmos. Each of Luser’s formulations can be understood as a graphic note from a continually reassembled image archive of his perceptions and ideas. The artist’s compositions of momentous, scenic arrangements escape a clear reading and allow for viewer interaction, as stepping into one of these spaces makes the visitor into an element of the work itself.
In the dialogic presentation of the work “Ohne Titel, 1980-2016” with curator Christine Haupt-Stummer, Peter Kogler presents selected works of art, ranging from his first gallery exhibitions in the 80s to his participation at documenta in Kassel (1992 and 1997) and his institutional solo shows at the Kunstverein Bonn (1997), Kunsthaus Bregenz (2000), the Kunstverein Hannover (2004), Vienna’s MUMOK (2008), the Centre Pompidou in Paris (2012) and the Museum of Contemporary Art Zagreb (2014), up to his interventions in public space. As diverse as these spaces and occasions might be, one common thread passes throughout his work: the viewers of his expansive stagings experience a shift in perception away from the real world into a virtual one. In order to achieve this, the media artist dissolves the illusion of pictorial space from a surface captured within a frame into the exhibition space itself, causing the exhibition visitors to become part of his “total” spaces via the flow of their movements through the rooms. Distanced viewing turns into an immediate experience heightened via the use of sound in collaboration with Franz Pomassl.
The Berlin-based, Danish artist Christian Falsnaes develops a performative setting for the exhibition that takes up the processual, constantly changing character of “In Raum mit_” and that once again consciously involves the visitors. A performer instructed by the artist asks the audience to create a mural on a predetermined surface. In the process, the performer animates and cheers the visitors on to paint with particularly expressive gestures. At the beginning of the action, only the color black is available to those painting; as soon as the delineated wall surface is completely black, the color white comes into use, and the black surface starts to be painted over. The painting is thus in a constant state of production, without ever coming to an end; the process becomes the actual artistic work, and the act of painting in front of remaining audience members again turns into performance. Christian Falsnaes presents another instance where the viewer becomes a part of the exhibition setting, and therefore into an author of the exhibition. Not only does he invite them into a decision-making process, while guiding them through the performance he also leads them to the limits of individual responsibility, thus confronting them with the looming loss of self-control.
Idea / Concept: section.a, Vienna, with Fattinger Orso, Vienna
Media Relations: Goldmann Public Relations, Munich
Visual: Karl Anders, Hamburg
Photography: Elias Hassos, Munich / Dominik Gigler, Munich