August 16, 2022
Stefan Reiterer with Georg Petermichl
For the seventh event of the Tuesday@Secession series we cordially invite you to an evening in the garden of the Secession. There will be contributions by Stefan Reiterer with Georg Petermichl as well as by Huda Takriti.
8 p.m. – Stefan Reiterer with Georg Petermichl
Stefan Reiterer and Georg Petermichl would like to tell you something really important:
I keep getting inquiries as to whether you can take in those that are supposedly used to freedom and that have been fed outside all summer, that perhaps don’t even belong to you, without them missing the freedom. They do like to climb trees, but they are all happy when they can get inside especially before winter starts, before winter sets in, when they feel the security and warmth of a home. They sleep for hours, they dream. And you can replace the trees for them with a board. So please with them, not to forget that. And take everyone you can, from the summer house or wherever, to live with you in the apartment. They will thank you for it.
Stefan Reiterer and Georg Petermichl have collaboratively created a Skydancer sculpture, which they gave the name Muli. Through air supply the larger-than-life sculpture expands and starts to dance. Like the animals of the same name, Muli is a hybrid. Skydancers are common as marketing tools in public space. Thanks to their height and fast movement they are supposed to catch the view of passers-by to make them aware of a shop. The sculpture Muli was made from tigered fabric and reflective materials in the workshop of the fashion label Ferrari Zöchling. Depending on the time of the day, Muli’s appearance changes. In daylight the tigered pattern is visible, which disappears when it’s dark. Then the silhouette is shaped by the reflective, glowing parts. The space in which Muli dances will be acoustically shaped by Juliana Lindenhofer with a DJ set from 11 p.m. In her artistic practice she addresses hybrid forms between human and non-human as bearer for new potentials.
10 p.m. – Huda Takriti
For this event, Huda Takriti has organised a screening programme of three video works. At first, they may seem disconnected but, further on, it becomes clear that the common thread between them is an unexpected turn of events – glitches, miscalculations and interruptions that contain the possibilities of openings for new opportunities and alternative interpretations.
In It Appeared as a Falling Star (2021), Lara Reichmann explores virtual simulations of our planet. With nearly 2,700 functional imaging satellites in space collecting data about the Earth – amongst which dozens are able to take orthographic photos with a resolution of 30 cm per pixel – we are able to receive near real-time information and imagery of the planet. Night and day, thousands of images of landscapes are superimposed on each other to simulate an up-to-date image of the Earth. Nevertheless, this hyperreal world is full of glitches and empty voids that are generated through these processes.
Julia Schmidt’s Tripoli, Lebanon (2017) explores the abandoned construction site of the Rachid Karami International Fair complex designed by Oscar Niemeyer. The construction of the fair stopped in 1975 due to the outbreak of the Lebanese Civil War. In Schmidt’s video, a singer and a musician were invited to perform in the dome, which was intended to be an experimental theatre. While filming, a group of boys entered the dome and took over the stage Schmidt had intended for the camera to capture. Her invitation might be interpreted as an attempt to bring the abandoned theatre to life, but, perhaps, this theatre has been claimed by groups of children long before her camera was present – it had its performers all along and the camera became their audience.
At the end of 2020, at the invitation of SCHUNCK Museum, artists Vijai Maia Patchineelam and Adrijana Gvozdenović documented the area of former salina in Ulcinj, Montenegro through film and analogue photographs. Their series show how the current state of landscape is inextricably linked to the political and economic changes in the region. In Water made to move (2021), the artists take us through how this artificial, human-made ecosystem came to existence through different rules and regulations. For the screening programme at Tuesday@Secession the artists are showing a re-edited version of this work – one that corresponds to the invitation to participate in this programme as an opportunity to revisit the material from the present moment.
It Appeared as a Falling Star, 2021, 5’15”
Tripoli, Lebanon, 2017, 12’50”
Water made to move, 2021–22, approx. 10’
Adrijana Gvozdenovic in collaboration with Vijai Maia Patchineelam
Programmed by the board of the Secession
Curated by Christian Lübbert supported by Bettina Spörr
Stefan Reiterer with Georg Petermichl
Juliana Lindenhofer works within sculpture, drawing and DJing. Her search for alternative anatomies and gestures of risk is strongly influenced by club aesthetics. Her work has recently been shown in Vienna at Wonnerth Dejaco, GOMO, and Galerie WAF. She contributed DJ sets at the exhibitions of Monica Bonvicini at Belvedere 21, and Tymek Borowski/Maruša Sagadin at Künstlerhaus Graz.
Ferrari Zöchling is the fashion label of Romana Zöchling founded in 2013. She studied at Hetzendorf fashion school and Kunstuniversität Linz. Twice a year she produces fashion collections, for which she collaborates with artists. Clarity in cut and shape, combined with eye-catching prints from collaborations with female artists, are their recognition value.
Georg Petermichl lives and works in Vienna. He studied Communication Studies and Photography in Vienna. He works everyday objects into his photographs as well as his sculptures to address processes and cultural norms that underly value attribution. Since 2018 he is a member of the Association of Visual Artists Vienna Secession.
Stefan Reiterer lives and works in Vienna. He graduated from the Academy of Fine Arts Vienna in 2012. In his work he reflects the presence of digital images and the translation process from analogue to digital through painting. He also works with painting that spatially extends and thus shapes its exhibition room. He is represented by the CRONE gallery and together with Axel Koschier he organises the artist-run-space new jörg.
Lara Reichmann deals with the representation of space, various bearers of the image, and the ways of seeing and perceiving the territory. Her recent projects have focused on digital interfaces, how the image of the world is communicated through them, and how a parallel (virtual) landscape is created through deviations, technical glitches and time lags. She studies TransArts at the University of Applied Arts Vienna.
Julia Schmidt is an interdisciplinary artist who works with video, installation, text and sound. She studies TransArts at the University of Applied Arts Vienna and her work has been shown at international institutions and festivals such as Kunsthalle Wien, Reaktor International Film Festival Vienna, Maximilians Forum Munich, Frame Out Festival Vienna, Museum of the Moving Image New York, Austrian American Short Film Festival New York, and Museu de Arte Brasileira São Paulo.
Adrijana Gvozdenović and Vijai Maia Patchineelam are artists who from time to time collaborate on each other’s projects. In 2014, they contributed to the publication What Are You Working On? / Vad Har Du På Gång? (published by Valeveil, Stockholm) with a text-based work exploring and exposing issues of interconnectedness in (artistic) work and personal (love) life. In 2015, they worked together on the travelogue video-performance Notes for a road movie: To and from Montenegro, which premiered at the Liechtenstein Pavilion during the 56th Venice Biennale. For this video, they travelled to the small city of Montenegro in the state of Rio Grande do Sul, Brazil, referring to the birthplace of Adrijana, the country Montenegro in Europe. The video Notes a road movie deals with issues such as national identity, memory, and belonging. In 2021 they worked on the project Water made to move, a video and photographic report from Solana Ulcinj in Montenegro. This year, Adrijana wrote an essay for the research seminar Descriptions Change, The Artist Job Description organised and published as part of Vijai’s recently defended Ph.D. in the Arts at Royal Academy of Fine Arts Antwerp / University of Antwerp. Both artists recently performed together during Autotheory gathering at Zsenne Artlab, Brussels.
Huda Takriti is a transdisciplinary artist currently based in Vienna. Her work has recently been shown at mumok, Kunsthalle Wien, Afro Asiatisches Institut Graz, [.Box] Video Art Project Space Italy, Centre d’art Sa Quartera Spain, Addaya Centre for Contemporary Arts Spain, among others. In 2022, she received the Vordemberge Gildewart award and the Kunsthalle Wien Prize in 2020.