Vienna’s galleries and art spaces begin 2016 with programs of great diversity. Fanny Hauser knows what we should not miss under any circumstance.
Female Gaze, a photo series by German artist Rowena Waackon on the subjects of sexuality, power, and impotence shows at the Spektakel until the end of January. Female Gaze consists of over 200 black and white photocopies that cover the walls and are attached with gaffa tape. Female Gaze questions gender roles, power structures and body awareness. Fluctuating from body shots to close-ups, each picture shows the image of a completely shaven young man’s body whose face has been made unrecognizable. Female Gaze will show again in Berlin in February 2016, together with a performance by actor and performance artist Uzrukki Schmidt (who starred in this series) and a sound installation by Marlais.
Stéphane Clor ‘s Sound Architectures will be shown at project space So Weit, die Zukunft (SWDZ) until January 12th. In his quest to explore the connection between sound, space, movement, and spontaneity, the musician, sound engineer, and specialist in electroacoustics shows his growing dedication to digital and transdiciplinary art. Inspired by his experience in improvisation, Clor’s installations and performances intertwine as immediate experiences, soundscapes, and kinaesthetic spaces. As such, they can be experienced anew time and again.
Beginning on January 14th, the SWDZ will be filled with the sound of works by Diana Lauer and Serafina Spatt. The show Something is Different (Irgendwas ist anders) creates a juxtaposition of both artists’ work. Both of them work with the representation of the alienation of natural spaces.
The art space Kunstraum Niederösterreich maintains its focus on performance art and under the title Meanwhile… (showing until October 2016) gives it a new format. Over the coming months a great deal of varied content is going to be presented: performative and procedural works, talks, public debates, a project of investigation dealing with questions on how to archive performative forms of art, as well as the creation of an archive for performative and procedural arts. The intention is the visualization of the complex relationship between a performance and its underlying structure (thoughts, influences, discourses, etc.). Meanwhile … is set to launch on January 21st with a performance night accompanied by the show Objective. The Artist is Absent and the works by Daniela Grabosch, Angelika Wischermann, Elisabeth Falkinger, and Elisabeth von Samsonow.
The Schleifmühlgasse 12-14 begins 2016 with a New Year’s resolution: “Position!” is the current year’s motto. Its appellative function invites to displace, to move, and to position. This very broad term does not refer to the artists alone. It refers instead to global developments. The artistic positions are understood here as reflections concerning positions in art discussions, in political questions, and regarding one’s own conceptions regarding origins, traditions, and the significance of (constructed) identities. The prelude is My Own Private Anthem in which author Tiberius Stanciu asks questions regarding identity staging in the media and digital representation. He connects mediatic to national identity and shows how the latter is currently being replaced by the former. The result: an individual, personalized anthem that replaces the national anthem while expanding the visual components with an additional auditive presence.
Christine König Gallery dedicates its first 2016 exhibition to Austrian artist Andreas Duscha, whose works are simultaneously fiction, narration, and assertion. In Winning Hearts and Minds, his first solo showing at the Christine König Gallery, Duscha focuses on the processes of waiting and indecision. And though he already knows which path to follow, his decision remains hidden from the public. We are certainly curious to find out more!