24 results found for station+rose
Mit dem Laden des Videos akzeptieren Sie die Datenschutzerklärung von YouTube.
YouTube immer entsperrenPGlmcmFtZSBhbGxvd2Z1bGxzY3JlZW49IiIgZnJhbWVib3JkZXI9IjAiIHNyYz0iLy93d3cueW91dHViZS5jb20vZW1iZWQvRnZTRjU2Mjcyd2M/bGlzdD1QTFhMZ0NPcDA5MFlaYmhUdWZ1ck5YR09IRXoxVFFzNnZXIiBzdHlsZT0id2lkdGg6MTAwJTsgaGVpZ2h0OiAyOTBweDsiPjwvaWZyYW1lPjwvcD4=
Station Rose is Elisa Rose and Gary Danner. As pioneers of digital culture, they have been developing audiovisual art and live performances, electronic music, and net art for the last twenty-five years. Gunafa Clubbing, which began in 1988, was the first art form in the world in a club format. In it, Elisa Rose (images) and Gary Danner (sound) connected electronic audiovisual art with the internet in a live performance. The first Gunafa Clubbings took place at the beginning of the 1990s in Frankfurt and Vienna, as well as San Francisco, Hamburg, and Berlin. This was at a time when techno, club culture, projection art, and the World Wide Web were all still in their infancy. To celebrate their “digital quarter century” (1988-2013), Station Rose will once again put on one of its legendary performances in the Kunsthalle Wien.
Station Rose is the artist duo of Elisa Rose and Gary Danner. In 1988 they founded the audiovisual laboratory Station Rose in Vienna. They have released music on Sony Music, International Deejay Gigolo Records; and have published books at Hatje Cantz Verlag, and Verlag für moderne Kunst Nürnberg.
In Inside the White Cube (1976) Brian O’Doherty claimed that in the course of modernism art had dropped from the walls and spread all over the gallery space, with exhibition photographs addressing a pure, disembodied gaze – the “eye”. Today it seems as if this eye has been replaced by the “camera eye”, with image frames having put themselves on spectators, museums and cities, constantly forced to perform like works of art in front of the camera to secure their presence in ever-evolving media spaces, to which the physical exhibition space is a mere appendix.
Looking into examples like Jay-Z’s Picasso Baby:Performance Art Film and Doug Aitken’s and Levis’ Station to Station, we will discuss what space is left for artistic freedom, reflection and dissent when brand management overwrites art production and reception.
Kolja Reichert (* 1982, lives in Berlin) is a freelance writer and art critic. He contributed to e. g. für Welt am Sonntag, frieze d/e, Die Zeit, Weltkunst and Tagesspiegel. In 2012, he was awarded with the ADKV-Art Cologne prize for art criticism.
Lecture in German
Exhibition Attention Economy, 16/5 – 9/6 2014, at Kunsthalle Wien Museumsquartier.