Artist and filmmaker Tijana Lazović shows in the exhibition Unfreezing the Scene. Kunsthalle Wien Prize 2022 two videos about the loss of a close friend. In the podcast, she talks about her artistic practice and how her interest in science influences her artistic work, and goes on to talk about growing up in Belgrade and moving to Vienna.
In this episode, Elfie Semotan talks about her photo series of Skopje for the exhibition No Feeling Is Final. The Skopje Solidarity Collection. The podcast revolves around the question of how to portray a city and how, as an artist, you should keep reinventing yourself over time in order to realize interesting projects.
Alexandru Cosarca is a tireless protagonist in the Viennese performance scene who, among other things, initiated the collective format WERISTdICHTER? in 2017. As a host, he brings together artists to negotiate queerness, gender roles, exclusions, and longings in a joyful, yet all the while political way.
His merchandising booth in the exhibition Unfreezing the Scene. Kunsthalle Wien Prize 2022 brings community-building into the exhibition space and is a tribute to the 106 contributing artists.
In the exhibition Unfreezing the Scene. Kunsthalle Wien Prize 2022, Gleb Amankulov shows a series of temporary assemblies referring to the precarious conditions of art production. In an critically engagement with the respective exhibition site, he makes objects from found, bought and furnished elements, which after their temporary display return to the market or to their respective owners to reclaim their lives as domestic objects.
For the exhibition Unfreezing the Scene. Kunsthalle Wien Prize 2022, Julius Pristauz developed the exhibition design together with the architect Muamer Osmanovic. He shows the sculpture bad light (piercing), which was part of his diploma exhibition, the photograph a stage without the performer (01) and the performance between floors with Cæcilie Heldt Rønnow. Pristauz uses a variety of media and formats, repeatedly exploring the construction of identities, as well as tensions between private and public spheres.
Laure Prouvost talks about the homage to grannies and her multimedia installation. Together with Sam Belinfante (light and sound designer of the exhibition), she developed a performance involving soprano Patricia Auchterlonie. Her collaborative practice is also evident in the video, for which she invited both of them to participate.
Raphael Reichl talks about his video installation in the exhibition Unfreezing the Scene. Kunsthalle Wien Prize 2022. The film juxtaposes two parallel pathways of globalization on Mexico’s Pacific coast. The boom in so-called ecotourism is constantly creating new construction sites for hotel complexes. The hard-labor experience of the construction workers collides with the images of cute baby turtles on their first journey into the sea.
Eva Böhm and Martin Walkner guide through the exhibition Laure Prouvost. Ohmmm age Oma je ohomma mama.
Tijana Lazović‘s films in the exhibition Unfreezing the Scene. Kunsthalle Wien Prize 2022 are a touching testimony to a deceased friend. Sans Soleil portrays the persistence of memory as a flow through a personal image archive, mixed with found material from the internet. Soleil is its abstract counterpart, showing damaged film footage.
Ramiro Wong’s installation in the exhibition Unfreezing the Scene. Kunsthalle Wien Prize 2022 inhabits a performative space that evokes one of his earliest childhood memories of internal armed conflict in Peru from 1989. He studied at the University of Applied Arts in the transart class with Nita Tandon.
Juliana Lindenhofer talks about her sculptures in the exhibition, which are made of synthetic materials and industrial waxes. Starting from an initial idea, she draws a sketch and then removes herself to give space for chemical reactions.
In this episode, Gülsün Karamustafa talks about her contribution to the exhibition No Feeling Is Final. The Skopje Solidarity Collection. We discuss our contemporary conception of solidarity and the relation of past natural disasters to more recent ones.
The artist duo Denise Ferreira da Silva and Arjuna Neuman’s exhibition is centred around the coproduction and presentation of a new work: Ancestral Clouds Ancestral Claims. Parts of the film were shot in the Atacama Desert, the place with the clearest and driest air on the planet and home to the world’s largest radio telescope, which observes the skies. Against this backdrop, the film probes an alternative experience of the world that, rather than primarily seeing, overlooking, and enlightening, is guided by other senses and practices.
We visited Vanessa Schmidt at her studio. Her spatial installations display domestic settings in an abstracted, bare, and anachronistic manner.
We went to see Charlotte Gash‘s studio. The artist combines critique of the mundane with her own personal experiences of the art world to create narratives and counternarratives that open up discussions around working as a contemporary artist.
Charlotte Gash is played by Charlotta Öberg
This audio guide leads in eight short episodes through the exhibition No Feeling Is Final. The Skopje Solidarity Collection. Starting with an intro, you will learn more about the MoCA Skopje, the artists Brook Andrew, Yane Calovski & Hristina Ivanoska, Siniša Ilić, Iman Issa, Gülsün Karamustafa, and Elfie Semotan, as well as the context of the exhibition.
Brook Andrew’s installation mulunma wiling mangi gudhi (inside the lip of a stolen song) includes eight works from the collection of MoCA Skopje. Brook Andrew placed them on a large-scale, strikingly patterned inflatable object and wall mural. In this video he is telling us more about his artistic practice.
In this experimental audio piece Eva Egermann explores scenes from Linda Bilda’s comic worlds. Which questions do they pose concerning the social conditions of artistic work and socio-political agency? It is a close reading and discussion of Linda Bilda’s texts and images as visual thinking spaces, which are characterized by autonomy, fearlessness, non-conformity, and idiosyncrasy. And last but not least: a piece of fan fiction.
The audio piece is part of the group exhibition In the meantime, midday comes around.
Literature and references:
Linda Bilda, Keep it Real, eine Koolektion von Comics und politischen Texten, hg. v. Salzburger Kunstverein, 2009, Backcover.
Linda Bilda, Hängt sie höher (1992), in: Keep it Real, hg. v. Salzburger Kunstverein, 2009, Seite 13.
Eva Egermann und Linda Bilda, Zeitreisende gesucht, in: Crip Magazine #4, hg. v. Eva Egermann, Anne Faucheret, WHW (Ivet Ćurlin, Nataša Ilić and Sabina Sabolović), Wien, 2021, Seite 12.
stephan dillemuth, lilda bilda: zukunft und ende der goldenen welt, in: LINDA BILDA. amor vincit omnia, hg. v. ARTCLUB WIEN Kunstverein, Christoph Schäfer und Hemma Schmutz, Wien: Verlag für Moderne Kunst, 2020, Seite 88 – 93.
Linda Bilda, „Gewalt“ nach einem Text von Hannah Arendt, NO Comix #3 (2002), in: Keep it Real, hg. v. Salzburger Kunstverein, 2009, Seite 94.
Linda Bilda, Souveränität (2012), Collage, Fotokopie und Zeichnung, Belvedere Wien, in: LINDA BILDA. amor vincit omnia, hg. v. ARTCLUB WIEN Kunstverein, Christoph Schäfer und Hemma Schmutz, Wien: Verlag für Moderne Kunst, 2020, Seite 70.
christoph schäfer, die wirklichkeit nicht in ruhe lassen: arbeite nie, in: LINDA BILDA. amor vincit omnia, hg. v. ARTCLUB WIEN Kunstverein, Christoph Schäfer und Hemma Schmutz, Wien: Verlag für Moderne Kunst, 2020, Seite 130 – 143.
Linda Bilda, Die Macht der Spinne, NO Comix #2 (1997), in: Keep it Real, hg. v. Salzburger Kunstverein, 2009, Seite 69.
Subcomandante Insurgente Marcos, Drei Fabeln von Don Durito, grundrisse Ausgabe Nr.7, 2002 Seite 62.
Linda Bilda, Cosmic Creatures, Crip Magazine #1, hg. v. Eva Egermann, 2012, Wien: Eigenverlag, Seite 8.
Linda Bilda, Untitled, in: Keep it Real, hg. v. Salzburger Kunstverein, 2009, Seite 123.
Linda Bilda, Was ist Anarchismus?, NO Comix #3 (2002), in: „Keep it Real“ 2009, Seite 88.
Linda Bilda, Sabotage nicht materieller Arbeit, in: Keep it Real, hg. v. Salzburger Kunstverein, 2009, Seite 169.
John Holloway, Hope in Hopeless Times, London: Pluto Press, 2022.
Eva Böhm and Wolfgang Brunner guide through the exhibition Rajkamal Kahlon. Which Side Are You On?
For this episode, we recorded an interview with the artist Rajkamal Kahlon. She gives us an insight into her artistic ideas in a conversation on how images have the power to shape the world around us, on how to tackle colonialism with painting and what some of her artistic strategies have in common with the sport of boxing.
Curator Zdenka Badovinac guides through the exhibition Sanja Iveković. Works of Heart (1974-2022) and shows works from the 50-year career of the artist, who deals with gender issues and political topics.
Rajkamal Kahlon talks about works presented in her exhibition Which Side Are You On?. The artist radically alters colonial images so that her subjects, made into curios by the colonial books’ photographers and authors, reassert their individuality and dignity.
Eva Böhm and Wolfgang Brunner guide through the exhibition Sanja Iveković. Works of Heart (1974–2022).
On a tour with Katrina Daschner through her exhibition BURN & GLOOM! GLOW & MOON! we talk about her work and about making art. Together with guest host Denice Bourbon, Daschner reflects on the development of the queer-feminist art and performance scene in Vienna from 2000 to today.
