This workshop will present a unique opportunity to explore uncharted digital territories. Participants will not only gain a comprehensive understanding of the dynamic world of technology and how it’s impacting everyday life, but will also have the chance to engage with some practical tests in order to explore how their emotional and cognitive skills are affected by the use of smartphone applications, vision enhanced softwares and other AI-generated content.
The workshop will be introduced by a presentation by Pamela Breda, PEEK project leader based at Angewandte University. With her talk, she will provide us with a comprehensive introduction to the current state-of-the-arts interactions between users and technology, sharing insights that challenge conventional wisdom and inspire innovative thinking.
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By fostering direct interactions with cutting-edge softwares, the workshop aims to facilitate a deeper understanding of the challenges, opportunities, and complexities that lie ahead in this transformative field.
What you will learn
By attending the workshop, participants will develop a deeper understanding of various technologies, platforms, and digital tools. They will learn how to leverage technology for productivity, communication, or educational purposes, improving their digital literacy and navigating the digital landscape more effectively.
IMPORTANT: Remember to bring with you your own laptop.
Meetup and talk with Constant (https://constantvzw.org/site/) members Imane Benyecif & Wendy Van Wynsberghe. We go through current and future Constant projects and lenses, invite you to come and play the SPLINT game with us (https://constantvzw.org/site/SPLINT-Print-Play-Party.html). What could/should Speculative, Libre and Intersectional Technologies (SPLINT) do? We touch upon ATNOFS (a travelling feminist server – https://atnofs.constantvzw.org/) and rosa (https://hub.vvvvvvaria.org/rosa/), how server infrastructure can (attempt?) to be feminist.
Imane Benyecif is an artist and code person that collaborates with her colleagues Fré and Lieven, alongside other students, to lead coaching sessions, workshops, and re-learning opportunities at Code Space in Sint Lucas Antwerpen. Alongside her friend and colleague, Tunde Adefioye, she co-founded Braver Spaces, a “collective” dedicated to fostering sustainable practices that empower marginalized communities in their artistic growth, well-being, and the development of alternative learning tools. Wendy Van Wynsberghe is a tinkering and digital artist, sound & field recorder, intertwined with nature and its wildlife, fascinated by protocol in all its forms, including inter-human and non-human relations, frankenscript coder, physical computing aficionado, dabbling in weaving, embroidery, crochet & knitting (with or without eTextiles).
“A culture of domination is anti-love. It requires violence to sustain itself. To choose love is to go against the prevailing values of the culture. Many people feel unable to love either themselves or others because they do not know what love is.” Bell Hooks (1994)
In the light of the current situation deeply shaped by conflicts and disasters caused by anthropocentric politics, actions and practices, we ask ourselves the question: “What’s love got to do with it?”
In her writings Bell Hooks identifies Love as a blind spot within the human struggle for liberation, from oppression and exploitation. The white male supremacist domination of the planet attributed to love becoming a symptom of weakness, that love has no value. We might have forgotten what love really is or perhaps we’ve never really understood its meaning since it became capitalized and traded as a commodity-chain, sold as desire that can and should be consumed at a fast pace. Love in its true meaning is something that people might feel ashamed to relate with, as an old-fashioned concept, in the same way Tina Turner declined love in her musical success hit in 1984.
Loving is a verb that demands for action and for choice and can become an important tool to decolonize and to demystify systems of oppression. We need to critically question our position within the planet of beings and things. To love is to care for the others. Love is rooted in community, in exchange and democratic choices. In order to recover love we need social changes rooted in new love ethics. The exhibition “What’s love got to do with it?” aims to be an essay and a tribute to new love politics acknowledging caring as a crucial facet of Love for creating, repairing, and empowering our relations with the world.
In ancient times practitioners of alchemy sought the transmutation of matter and the production of an elixir that would induce rejuvenation and cure all diseases, in a time when art, science, and mysticism belonged to the same realm. Although most of alchemy’s claims have been disproved by modern science, we now acknowledge its influence on the development of scientific methods. Through speculative and ‘magical’ practices and narratives, alchemists dreamed of science for the future.
Interstitial Alchemy presents an experiment of practice-based artistic research, that speculates on the healing of aquatic ecosystems, through a process of transmutation of micro pollutants. The transmutation is mediated by a set of objects made from Zeolite clay. Zeolites possess a cage-like molecular structure that enables the selective ‘trapping’ of pollutants and toxins. To optimize this property, the work tests the production of porous and permeable objects, creating micro interstitial spaces, that could contribute to different ecological functions. This work is particularly interested in how an intervention on a microscale can affect broader ecosystems and their territories. In the last years scientists have demonstrated that ecological variability at small spatial scales—often less than a square meter — can have very significant consequences in big territories. So could we perform micro interventions that produce relevant transformations, potentially independent from anti-ecological political and economic and forces?
The installation is composed of three water tanks, connected through a water flow circuit. In the main tank is a set of Zeolite ceramic objects, capable of purifying the water. Behind the main water tank there are two screens representing two different scales of this system. In the other two tanks there is clean water, which the public is invited to contaminate with heavy metals and toxins, performing the role of a pollutant agent. Through this interaction the public is confronted with the negative effects of human actions in local aquatic environments, but also with the possibility of their remediation. While the water is flowing, the objects trap the noxious substances, changing their microstructure and physical appearance.
The design of these objects is inspired by the study of estuary oysters and freshwater pearl mussels – fundamental ecosystem healers capable of filtering dozens of liters of water per day. The species of freshwater pearl mussel Margaritifera margaritifera is currently endangered in the Danube, even though it can live up to 100 years or even more. As many other mollusks, mussels form pearls when a strange particle, bacteria or virus penetrates inside of the shell, by building layers of nacre. In this work, Catarina proposes to explore an ‘alchemic’ transmutation of micro pollutants inspired by oysters and mollusks’ capacity to persist and create beauty out of trauma.
Opening: 1.9.2023, 19h
Exhibition duration: 2.9.- 21.9.2023
Opening hours from 14h to 19h: 2.9, 3.9, 10.9, 11.9
Performative Interventionen von Christina Jaques, Olivia Jaques und Anna Watzinger
Finissage: 5.8._19h
Performance von Berenice Pahl
Weitere Öffnungszeiten auf Anfrage:
olivia.jaques@mzbaltazarslaboratory.org
Lorand Tanase/Bildrecht (BLAUPAUSE_Wiener Waschweib 2.0, Anna Watzinger/Donaukanal 2015)
“Riot im Riot” ist eine spielerische Auseinandersetzung mit verschiedenen feministischen Strategien der Vergangenheit. Ehemalige Bühnenelemente und Kostüme erzählen von vergangenen Riots. Mit gedanklichen performativen Übersetzungsversuchen anhand der verschiedenen Elemente von Ruth Erharter, Aylin Mutluer und Caro Wiltschek darf Widerstand imaginiert werden. Berenice Pahl holt Feministinnen der Vergangenheit in die Gegenwart, Christina Jaques, Olivia Jaques und Anna Watzinger versuchen mit verschiedenen performativen Interventionen die Selbstermächtigung sowohl in urbanen Raumgefügen als auch im www zu erproben (“Was hat Datenschutz mit Emanzipation und dem Spiegel-Phänomen zu tun?”) und Conny Zenk lädt mit ihrem multidimensionalen “Soundride” ein zur Partizipation – auf ihren Spuren Withness Marlies Surtmann: Riot und Ride, Riot im Riot, Re-claiming the (imaginative) space.
“Riot im Riot” is a playful exploration of different feminist strategies of the past. Former stage elements and costumes talk about past riots. Resistance may be imagined through mental performative translations based on the various elements by Ruth Erharter, Aylin Mutluer and Caro Wiltschek. Berenice Pahl draws feminists of the past into the present, Christina Jaques, Olivia Jaques and Anna Watzinger try out self-empowerment with various performative interventions both in urban spatial structures and in the www (“What does data protection have to do with emancipation and the phenomena of a mirror?”) and Conny Zenk invites you to participate in her multidimensional “Soundride” – on her tracks Withness Marlies Surtmann: Riot and Ride, Riot in Riot, Re-claiming the (imaginative) space.
Mo 12.6.2023, 12–15 Uhr Fr 16.6.2023, 19:00 Uhr Sa 17.6.2023, 14–17 Uhr Mo 19.6.2023, 14–17 Uhr Di 20.6.2023, 11–14 Uhr Di 27.6.2023, 15–18 Uhr
WHERE
Mz* Baltazar’s Lab Jägerstraße 52-54 1200 Wien
ABOUT
Seit 2017 realisiert Natalie Deewan im Stadtraum die Reihe der WIENER LEERSTANDSANAGRAMME, zuletzt die TRUE FACTS ARENA aus einem ehemaligen CAFE RESTAURANT (2021, Floridsdorf) oder COOKIE: ARBEITERKIND aus einer BÄCKEREI KONDITOREI (2022, Hernals).
Nun kommt im 20. Bezirk ein elftes Anagramm dazu: die PERMAFURIE, eine immerwütende, vor Zorn schnaubende, anhaltend rasende Rachegöttin, zusammengesetzt aus den Lettern einer aufgelassenen PARFUMERIE im 10. Bezirk, schwingt sich auf die rostrote Fassade einer anderen, ehemaligen Parfumerie im 20. Bezirk, die nun Mz* Baltazar’s Laboratory, ein feministisches Künstlerinnenkollektiv mit Fokus auf Open Source Technologie beherbergt.
Diese verschwundene Parfumerie in der Jägerstraße, die nur mehr am leichten Letternschatten an der Fassade erkennbar ist, ist nun mithilfe ihrer Schwesterparfumerieaus der Favoritenstraße wiederauferstanden, anagrammatisch verwandelt zur PERMAFURIE, mit der besser nicht zu spaßen ist …
Begleitend zur Installation an der Fassade findet im Inneren der ANAGRAMMATISCHE STAMMTISCH statt, wo sich das Publikum in mehreren Workshops mit 36 Spielesets selbst am Fassadenspiel versuchen und in der Kunst des Anagrammierens üben kann.
Weiters werden auch die beiden neuen Postkartenbooklets „Angewandte Literatur: Text am Bau“ und „Pixendorf ist ausbuchstabiert: Gemischter Satz“ sowie 18 Montagevideos bisheriger einschlägiger Projekte im öffentlichen Raum präsentiert.
Since 2017, Natalie Deewan has been mounting the WIENER LEERSTANDSANAGRAMME(= Vienna Vacancy Anagrams) series, all over Vienna. Lately, she realized the TRUE FACTS ARENA from a former CAFE RESTAURANT (2021, in 21st district) and COOKIE: ARBEITERKIND (= working-class child) from BÄCKEREI KONDITOREI ( = baker’s and cake shop, 2022, on a social housing block in 17th district).
Now, there is an eleventh anagram adding to the lot: the permanently furious, raging and snorting hellcat of a fury, the PERMAFURIE, composed from letters of a former PARFUMERIE (= perfumery) in 10th district, will conquer the rust red façade of another former perfumery in 20th district, which now houses Mz* Baltazar’s Laboratory, a feminist artists’ collective with a focus on open source technology.
Some barely visible ghostletters on the façade are the only traces left from the former perfumery in Jägerstraße, which is now rising from the dead with the help of her sister shop in Favoritenstraße, and finds herself transformed into an ever-raging hellcat … you better don’t mess with the PERMAFURIE!
The installation on the façade will be accompanied by the ANAGRAMMATISCHE STAMMTISCH (= Anagrammatic regulars’ table), a façade game consisting of 36 sets, that invites everybody to find their own, new (and better!) solutions and exercise in the anagrammatic art.
Furthermore, two recently published postcard booklets „Angewandte Literatur: Text am Bau“ (= Applied Literature) und „Pixendorf ist ausbuchstabiert: Gemischter Satz“ (= Pixendorf is spelled out) as well as 18 short videos dedicated to similar projects in public space, will be presented.
Natalie Deewan, geboren 1978 in Wien, sucht und findet Sprachliche Lösungen, praktiziert Reine, Reale, Angewandte und Kollektive Literatur im öffentlichen und veröffentlichten Raum und macht design. Zuletzt remontierte sie die Aufschriften geschlossener Geschäfte zu Wiener Leerstandsanagrammen, baute Statistische Skulpturen (Finkenschieber + Melting Plot) und beklebte Bushaltestellen mit codierten Texten von Kindern und Jugendlichen: Neue Wiener Linien – Graffitirecycling & Coded Quotes. Ihr Interesse für Text am Bau zeigt sich auch in der Heterotypia Font Family, die handschriftliche Zeichen aller Art fontifiziert. Seit 2005 leitet sie den Wiener Deewan, ein pakistanisches Curry-Lokal mit pay-as-you-wish-Prinzip, gemeinsam mit Afzaal Deewan. 2021 erschienen vier neue Postkartenbooklets, großteils zu realisierten Projekten im öffentlichen Raum. 2022 erschien das dreisprachige Buch Lucida Console – ein Translatorium Maximum im Klever Verlag. http://heterotypia.net https://vimeo.com/gemischtersatz
ENGLISH VERSION
Natalie Deewan (*1978 in Vienna, Austria) works as artist with signs of different kinds. She is subvertising signs in the urban, rural & virtual space (Vienna vacancy anagrams; Graffiti Recycling & Coded Quotes; Pixendorf is spelled out) & finds Language Solutions all along the way. She is dealing in Pure, Real, Applied & Collective Literature (with a faible for lipograms & montage), Typography (Heterotypia Font Family) & deesign (Statistical Sculptures: Finches’ Abacus + Melting Plot). Since 2005, she runs a curry restaurant (Der Wiener Deewan) on a pay-as-you-wish basis, together with Afzaal Deewan. In 2021, she published four new postcard booklets on projects realized mostly in public space, one year later, her trilingual book Lucida Console – ein Translatorium Maximum was published by Klever Verlag.
Artists Talk: 09.06.23,18h Artists Talk with Lisa Großkopf and Bernadette Anzengruber; Moderation: Romana Hagyo in cooperation with “Gender and Space”, Academy of Fine Arts Vienna
In ihrer Werkserie Das Fotostudio beleuchtet Lisa Großkopf soziale Normengerüste unserer Gegenwart aus einer kritisch-feministischen Perspektive. Die Künstlerin inszeniert fiktive Fotostudios in den Schaufenstern ehemaliger Geschäftslokale und zeigt darin queere Bildwelten. Mal durch subtile Eingriffe, mal durch plakative Modifikationen erzeugt Großkopf irritierende Verschiebungen, die herkömmliche Vorstellungen von Geschlechterrollen unterlaufen. So gibt es in ihren Installationen beispielsweise gegenhegemoniale Lebensentwürfe, pluralistische Beziehungsformen und nicht-binäre Geschlechtsidentitäten zu entdecken. Vor dem Hintergrund, dass konventionelle Fotostudios oftmals ein konservatives Familienmodell vermitteln und tradierte Rollenbilder reproduzieren, stellt die Künstlerin die zunehmende Diversifizierung von Familienstrukturen und die Demontage geschlechtsspezifischer Zuschreibungen zur Diskussion. Die Schauinszenierung im Fotostudio als Mittel kritischer Wirklichkeitsdekonstruktion, verdeutlicht wie durch die Kraft der Fotografie, der traditionell abbildende Eigenschaften beigemessen werden und der demgemäß eine realitätsnahe Wiedergabe der Welt zugetraut wird, bestimmte Sehgewohnheiten und Stereotype über Jahrzehnte weitergetragen werden oder eben auch verändert werden könnten. Indem Großkopf den semi-öffentlichen Raum des Schaufensters bespielt, lädt sie eine breite Öffentlichkeit zum Dialog über den gegenwärtigen gesellschaftlichen Wandel ein.
ENGLISH VERSION Lisa Großkopf’s series “The Photographic Studio” explores social norms in our contemporary society from a critical feminist perspective. The artist stages fictional photo studios in the storefronts of former shops and showcases queer visual imagery. Through subtle interventions or striking modifications, Großkopf creates unsettling shifts that undermine traditional notions of gender roles. Her installations showcase counter-hegemonic lifestyles, pluralistic forms of relationships, and non-binary gender identities. Given that conventional photo studios often convey a conservative family model and reproduce traditional gender roles, the artist’s work discusses the increasing diversification of family The staging in the photo studio as a means of critical deconstruction of reality demonstrates how photography, traditionally attributed to its representational qualities, leads to the reproduction of certain habits of seeing and stereotypes over decades, or how it could potentially be changed. By using the semi-public space of the shop window, Großkopf invites a broad public to engage in a dialogue about current societal changes.
In der Ausstellung “Photons received, photons responded” zeigen zwei Künstlerinnen und Naturwissenschaftlerinnen ihre neuen Arbeiten – basierend auf ihrem Austausch und ihrer gemeinsamen Auseinandersetzung mit der solaren Strahlung und den uns umgebenden Strahlungprozessen. Das neugierige Verfolgen der Trajektorien der Photonen sensibilisiert für die Nicht-Linearität und Periodizität der Prozesse. Das künstlerische Auseinandernehmen von physikalisch optischen Gesetzen in der Dunkelkammer, sowie Messung und numerische Modellierung des Strahlungstransfers der Atmosphäre, zeigen dass die Naturgesetze uns immer wieder neu überraschen und verzaubern.
Die elektromagnetische Abstrahlung (also auch das Licht) ausgehend von der solaren Kernschmelze der Sonne, erreicht die Erde und ermöglicht Leben auf unserem Planeten. Diese Strahlung durchdringt und erwärmt unsere Atmosphäre und ermöglicht Photosynthese, treibt unser Wettersystem an und ist für unzählige komplexe Wechselwirkungen verantwortlich. Sogar fossile Energieträger basieren indirekt auf der Kernfusion der Sonne. Von dieser Fülle wird nur ein kleiner Teil wahrgenommen oder genutzt.
Die Künstlerinnen stellen nichts in Aussicht oder erheben Anspruch, sondern bieten einen naturwissenschaftlichen Fokus im künstlerischen Kontext an. Zu sehen sind experimentelle fotografische Arbeiten, eine Klangarbeit, eine performative Intervention, ein künstlerisch system analytischer Forschungstext, eine Lichtinstallation und Plots numerischer Simulationsergebnisse.
*** ENGILSH VERSION
In the exhibition “Photons received, photons responded” two artists and scientists show their latest works – based on their exchange and their joint examination of solar radiation and the radiation processes that surround us. Curiously following the trajectories of the photons sensitizes to the non-linearity and periodicity of the processes. The artistic dismantling of physical-optical laws in the darkroom, as well as measurement and numerical modeling of the radiative transfer of the atmosphere, show that the laws of nature surprise and enchant us again and again.
The electromagnetic radiation (also the light) from the solar core meltdown of the sun reaches the earth and enables life on our planet. This radiation penetrates and warms our atmosphere, enabling photosynthesis, powering our weather system, and responsible for myriad complex interactions. Even fossil fuels are indirectly based on the sun’s nuclear fusion. Only a small part of this abundance is perceived or used.
The artists promise nothing or make any claims, but offer a scientific focus in an artistic context. Experimental photographic works, a sound work, a performative intervention, an artistic-system analytic research text, a light installation and plots of numerical simulation results can be seen.
Celine Struger, Kristin Weissenberger & Patrícia J. Reis
OPENING: 10.3.2023, 19h – 22h
FINISSAGE: 21.04.2023, 19h-22h
EXHIBITION DURATION: 11.3 — 21.4.2023
OPENING HOURS: Every Saturday from 12h – 17h
Mz* Baltazar’s Lab
Jägerstraße 52-56
1200 Wien
Photo credits: Verena Tscherner
Mz* Baltazar’s Lab is proud to announce the first exhibition of our 2023 program focusing on collaborative artist projects between female* identified artists.
Celine Struger, Kristin Weissenberger & Patrícia J. Reis collaborated for the first time in a joint project on the intersection of ceramics and its cultural and feminist background. The artists coming from different backgrounds and practices aim to shed light on the emancipation history of female artists and their exploration of the relationship between ceramics, hacking and other fields of art.
The exhibition will feature the result of a collaboration that was initiated two years ago, highlighting their recent collaborative action at the Donauinsel in Vienna, in which they reclaim public space as a radical attitude towards sustainable and ethical hardware, autonomy, and a DIY approach to ceramic production. Visitors will witness the group’s artwork, including their ceramics produced using traditional techniques, as well as the documentation of their action.
The collaboration journey began with their shared interest in ceramics and their exploration of traditional techniques to resist capitalist production methods. The group furthered their commitment to anti-capitalist practices by incorporating sustainable methods for producing ceramics. They continued their exploration of autonomy by reclaiming and hacking the city infrastructure and questioning the idea of public space and ownership.
The exhibition also aims to showcase feminist hacking as a strategy for emancipation in the art, science, and technology fields. This approach to new materialism promotes emancipation through the agency of materials, and visitors will be able to witness this in action throughout the exhibition.
The exhibition is also the third season of the serie titled Mud-Group, a project initiated by Kristin Weissenberger that revolves around the group’s collaborative and artistic process, using ceramics as their primary medium for exploration. The Mud-Group#3: Who Has Land to Make a Fire? is a project supported and co-financed by the Research PEEK Project Feminist Hacking: Building Circuits as an Artistic Practice, Financed by the FWF – Austrian Science Fund | PEEK (AR580) at the Academy of Fine Arts in Vienna conducted by Stefanie Wuschitz, Patrícia J. Reis and Taguhi Torosyan, who are co-curators in this exhibition.
Mz* Baltazar’s Lab 2023 program is supported by Bundesministerium für Kunst, Kultur, öffentlichen Dienst und Sport (Kunst und Kultur) and the Kulturabteilung der Stadt Wien.
Photo credits: Verena Tscherner
About the artists:
Céline Struger
(*1982, Klagenfurt) beschäftigt sich mit Skulptur und Installation. Ihr Fokus liegt in der Neuverhandlung von Orten, sie befasst sich mit den Themenschwerpunkten Post-Kapitalismus, Ökologie und Mythologie. Struger stellte zuletzt bei She BAM! und in der MQ Art Box (solo) aus. Außerdem war sie an institutionellen Gruppenausstellungen im TEA Tenerife Espacio de las Artes und in Synagoga – Zentrum für zeitgenössische Kunst beteiligt
Kristin Weissenberger
(*1982, Stmk.) widmet sich in ihrer skulptural-installativen Praxis der Frage, wie wir, mit der uns umgebenden Sphäre aus Materie und Organismen, im Austausch stehen. Dabei beschäftigt sie sich vermehrt mit der Überlagerung und Neuverknüpfung sogenannter natürlicher, technischer, digitaler und handwerklicher Prozesse. Ihre Arbeiten wurden zuletzt in der Künstler:innenvereinigung MAERZ ausgestellt, davor führte sie ein Projekt in die Sub-Arktis, wo sie mit „Probe_Particle_Encounter“ eine Installation im Gelände einer Forschungsstation verwirklichte.
Patrícia J. Reis
(*1981, Lisbon) is a media-installation artist whose practice encompasses different formats and media to question and expand human-machine affinities through new materialism and feminist hacking lenses. In her installations she often appeals to the visitor’s sensoriality in an intimate and sensual way, encouraging them to become active participants. Her work was just recently exhibited at the Havana Biennial in Cuba, at the Kunstraum pro art, Hallein and at the Group Show „RGB EXPIRA: 2022“, Castelo e Paço dos Condes, Ourém, Portugal. In 2021 was awarded with the Outstanding Artist Award in Media Art by the Austrian Chancellery for Culture.
AUSSTELLUNG VON RENI HOFMÜLLER von 11.2. bis 25.2.2023
Eröffnung: Freitag, 10.2.2023, 19 Uhr: Liveperformance und Führung
Finissage: Samstag, 25.2.2023, 14-17 Uhr: Picnic / Potluck bei Schönwetter im Park
Öffnungszeiten:
Donnerstag und Freitag 14 – 19 Uhr und Samstag, 11 – 19 Uhr
Sich mit der Welt auseinanderzusetzen heißt, in sie einzutauchen und in Resonanz mit ihr zu gehen.
In ihren Arbeiten geht Reni Hofmüller auf das Vorhandene ein: Menschen, die Umwelt und natürlich Klänge. Sounds, kleine und große Schnipsel aus der Vielzahl an Hörbarem und Unhörbarem. Sie nimmt, was da ist. Gebäude, Skulpturen, Werkzeuge, Materialien und natürlich Klänge – sie schaut sie sich genau an und haucht ihnen neues Leben ein. Sie versucht, neue Formen aus dem Istzustand zu entwickeln – sowohl in ihrer künstlerischen als auch in ihrer gesellschaftspolitischen Arbeit. Die Arbeiten von Reni Hofmüller sind eine Galaxie der Vorstellung einer resonanten Welt.
Resonating Sculptures & Radio Cyborg Transmitter RCT
Exhibition by Reni Hofmüller
Engaging with the world means immersing oneself in it, entering into resonance with it.
In all her works, Reni Hofmüller responds to what is there: people, the environment and, naturally, sounds. Sounds, small and large snippets from the plurality of the audible and inaudible. She takes what she finds there. Buildings, sculptures, tools, materials and of course sounds – she looks at them closely and breathes new life into them. She aims to develop new forms from the actual state – both in her artistic and in her socio-political work. Reni Hofmüller’s works are a galaxy of the vision of a resonant world.
Opening Friday, 10th of February 2023, 7 pm Live performance and guided tour
Duration: 11th of February 2023 until 25th of February 2023
Opening Hours:
Thursday and Friday 2pm – 7pm
Saturday, 11 am – 7 pm
Foto: Martin Gross
Finissage: Saturday, 25th of February 2023, 2pm – 5pm Picnic / Potluck (in good weather in a park nearby, if it’s bad we stay in the exhibition space and picnic inside)
Reni Hofmüller will not always be there during the opening hours, but there is always somebody informed present and can give introduction to the works; kids are welcome always and especially for the finissage / picknick!
