Ellen Harvey, Bad Boy, 2002
The group exhibition Hier ist Dort 2, conceived by Anna Meyer, uses the example of painting to discuss processes of visualization in between reality and abstraction in a society marked by media. Rather than seeking to assume one of these extreme stances or delimit a space, the artistic practices involved attempt to semantically imbue the path of visualization. This path between places - between here and there, between the viewers, social structures and the picture, between reality and abstraction - often remains one that is merely sketched. The works thus underscore the impossibility of occupying a place, while simultaneously emphasizing the intention of understanding picture production as not being a replica of a reality. The term place is to be read in a multifaceted way, whether it is spatially, philosophically, poetically, abstractly, politically or methodically.
Marko Lulic, Smeared Billboards1, 2002
Hier ist Dort 2 debates this theme in the medium of painting, yet without formulating the methodology of painting in a way that is immanent to the medium. Across a broad range of production techniques, the selected works play through forms and rules of visualization processes as the basis for an exploration of the conditions of visibilities. In this context, painting signifies and enables introducing a distance and disrupting the visual program of commonplace, predominating information and its politics. In this way, the exhibition shifts the determination of places to an occupation of places, in which the coordinates of social spaces are negotiated and their media and social constructedness becomes a question.
Katrin Plavcak, Strandbad, 2001. H.+H. Joos, Binaire 1974
The Mexico-based artist Melanie Smith, for example, investigates how aesthetics influences social behavior, while Andreas Siekmann placed urban development in a scenario in his computer drawings, which is characterized by stock exchange speculation and a changing public sphere. In her wall pieces perforated by photo collages, Amelie von Wulffen treats the inscriptions of social knowledge in architectures in relation to biographical views. Ellen Harvey's painterly interventions in the exterior space link romantic landscape painting with a tradition of graffiti.
Michael Krebber, H.+H. Joos
Katrin Plavcak draws disturbances in the encroaching indolence in everyday life into the picture itself, whether it is in the form of irony or humor, but also in irritating perspectives that evoke distance. In his artistic practice, Michael Krebber integrates painting as part of a complex system of media and art-historical references to expand a discourse on patterns of perception. Tim Gardner takes photography back into a tradition of aquarelle painting, so that media-shaped urban everyday life becomes the event of the place. The social spaces that Lisa Milroy describes in large-surface panel pictures stage "real" moments of an individuality, such as communication, leisure, shopping.
Katrin Plavcak, Refugees, 2002
The works by Hildegard Joos, one of the most important representatives of Op-Art, function like a counter point and a multiple reference point at once in relation to the other works. Within the exhibition, there is a particular interplay between Joos' works and Esther Stocker's artistic position.
Esther Stocker, Ohne Titel, 2002
Yet whereas Joos probes the laws of geometry and the symmetry of dots, in Esther Stocker's works there is a "shift from objects of perception to perception itself" (Martin Prinzhorn). For Hier ist Dort 2, Stocker will develop a wall picture in the foyer of the Secession. Marko Lulic refers in his work to attempts at the beginning of Modernism to conjoin painting, architecture and poster painting: his work for the facade of the Secession is a painted poster using advanced techniques, which unites the formats of panel painting and computer print.
Lisa Milroy, Flowers, 2000
Here is There is conceived for several international stations. The first exhibition took place from August 8 to September 30, 2001 at the Salzburger Kunstverein and showed works by Peter Doig, Anna Meyer and Lisa Milroy.
Amelie von Wulffen, O.T., 2000/02
There will be a bilingual publication on the exhibition in German and English.
All Photos by Matthias Herrmann, 2002
H.+H. Joos, Michael Krebber, Katrin Plavcak
Andreas Siekmann, Casino Totale, 1999-2000
PUBLICATION
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HIER IST
DORT 2 40 pages, numerous colored illustrations authors: Matthias Herrmann, Annelie Pohlen Secession 2002, ISBN 3-901926-40-2 ___________________ available in the shop |
EXHIBITION DISCUSSION
Thursday, February 14, 2002, 6 p.m.
involving Annelie Pohlen (Bonner Kunstverein), Anna Meyer (conception of the exhibition) and the artists Marko Lulic, Katrin Plavcak, Esther Stocker and Amelie von Wulffen
| MANFRED
ERJAUTZ |
EXHIBITION PROGRAM 2002 |
For further information and photographic material please contact:
Tamara Schwarzmayr
Secession, Association of Visual Artists Vienna Secession
Friedrichstraße 12, 1010 Vienna
Tel: +43-1-5875307-21, Fax: +43-1-5875307-34
presse@secession.at