The group exhibition Context,
Form, Troy is curated by Daniel Baumann. It is this year's edition of the
exhibition series Junge Szene, which was initiated in 1983 and takes place
every two years at the Secession. Originally reserved to the art scene of Vienna,
today it has become an international platform for young artists. Daniel Baumann
has invited 21 artists to develop their projects on site.
The exhibition does not focus on new trends, but rather on individual positions,
which develop from very different considerations of form and content. Context,
Form, Troy is presented in an open mode - there are no presentation walls
- so that different positions can enter into a dialogue or dispute with one another.
The title of the exhibition indicates principles, on which the works are based:
being anchored in both the social and the art context, formal precision, and -
with the reference to the Trojan horse - staging foreign bodies in an existing
system.
Context, Form, Troy; Kalin Lindena
Outside, Kalin Lindena replaces the official flags of the Secession with new ones
sewn by the artist. In reference to the year the Artists Association was founded,
Roland Kollnitz installs a climbing pole 1897 cm high - as an athletic option
for climbing beyond that. The X-sculptures that Wade Guyton leans against the
facade are equally site-specific. With his intervention he reactivates the aggressiveness
of Modernism and reacts to the delicate ornamentation of the building.
Context, Form, Troy; Michael S. Riedel/Dennis Loesch
In the main room there is a model of Oskar-von-Millerstrasse 16, an exhibition
location in Frankfurt, in which Michael S. Riedel and Dennis Loesch have produced
exhibitions and events. Four events - and exhibition, a film screening, a DJ session
and a theater production - have been pre-produced for Context, Form, Troy.
Announcements of the events in the city refer to the events as a copy of the original.
In contrast, the event on the stage designed by Mai-Thu Perret never takes place.
The play thus remains imaginary and the props arranged by the artist are not used.
In this context the stage set becomes a sculpture.
Context, Form, Troy; Secession Slideshow; Fonds Maciet, Musée
des Arts Décoratifs, Paris; Photo: Pierre Leguillon
Context, Form, Troy; Secession Slideshow, send your image
to: marylene.negro@free.fr, Photo:
Pierre Leguillon
The slide show by Pierre Leguillon is also only present throughout the duration
of the exhibition as an announcement. At the beginning and the end of the exhibition
the artist shows a "Diaporama", a visual exploration of art history
that takes up the event character of a varieté. www.mudam.lu/Magazine > Diaporama/Slide
Show
Context, Form, Troy; Wade Guyton
Context, Form, Troy; Robert Kusmirowski
Robert Kusmirowski photorealistically copies historical documents. For this series
he transfers the back side of photographs to watercolor. Isabella Schmidlehner
derives the motifs for her painting from diverse sources; she shifts the motifs
to a different sphere, breaking their harmony through color and manner of painting
at the same time. In her painting Lucy McKenzie repeatedly investigates the (socialist)
wall paintings found in the landscape of a city, such as those in Vienna on council
houses. The artist thus addresses a direction in painting that has been neglected
by European art studies. McKenzie's four-part picture cycle If It Moves, Kiss
It cites a vandalized monumental wall painting from Stanley Kubrick's Film
A Clockwork Orange. The work group is supplemented by three letters written
to the artist by a friend in prison.
Context, Form, Troy; Constantin Luser
Context, Form, Troy; Constantin Luser
Valentin Carron isolated a series of flags from the film The Great Dictator
by Charlie Chaplin, so that the flags take on an ambiguous character in this context.
The issue of the monumental is also the point of departure for the installation
by Misha Stroj. He reformulates the centuries-old and highly charged symbolic
language of the icon. Constantin Luser's interactive sculpture, consisting of
a synthesizer and open cables, corresponds to the wall drawing he has realized
as a narrative circuit diagram. The drawing spreads out like a wildly proliferating
plexus on the wall and imbues the work with a space-filling character. Scott Myles
positions his discreet interventions (Learn the Language, The End of Summer;
Ice-cream Paperweight) in the space so that they can be read as a commentary
on the exhibition. Trisha Donnelly plans a performance on her two video projections
Canadian Rain and El Cid for the finissage on November 16th. Mathilde
Rosier's film Time and Place (2003), shown in the former Secession cafe,
condenses a feeling of estrangement.
PUBLICATION
The bilingual catalogue on Context, Form, Troy is an integral component
of the exhibition and will be published together with the artist team: Christian
Egger, Manuel Gorkiewicz, Christian Mayer, Ruth Weismann and Alexander Wolff,
who also designed the invitation card and the exhibition poster. The catalogue
is released as Number 4 of the magazine that the artists have published since
2002. The name of the magazine is always based on the changing font. Issues published
so far have been Chicago, Times, Plotter. The title of the Secession issue:
Helvetica. Articles by: Daniel Baumann, Justin Beal, Anne-Marie Copestake,
Matthias Herrmann, Jutta Koether and the artists of the exhibition. available
in the shop
Context, Form, Troy; Isabella Schmidlehner
EXHIBITION DISCUSSION
In pursuit of the exhibition KONTEXT, FORM, TROJA in the series JUNGE SZENE an
exhibition discussion will take place at the Secession on Thursday, 18 September
2003 at 6.30 p.m. with Daniel Baumann (curator of the exhibition) and Stephan
Schmidt-Wulffen (Director of the Academy of Fine Arts, Vienna)
An event of the Friends
of the Secession
Context, Form, Troy; Lucy McKenzie, Wade Guyton
Context, Form, Troy; Roland Kollnitz, Foto: Kollnitz
