I DO NOT AGREE
presentation 11/06/2010 19 h - sale 12/06/2010 10 - 13 h
A crescent number of persons feel a kind of uneasiness. Something which itches on the skin. “I do not agree“ is an appeal to raise hands and express our own thoughts. Hannes Egger has designed the “I do not agree "-t-shirts. More than 40 people have collaborated on this project and wearing t-shirts are now expressing what they don’t approve. The issues are many and the most different.
T-shirts evolved from undergarments used in the 19th century. Initially designed as military underwear, they have turned into simple, commonly worn shirts. Nowadays t-shirts are not only a garment but also a medium for messages of any kind. The t-shirts testify and give voice to social and cultural movements. T-shirts are then witnesses and an ideal projection surface in the field of public space, making them couriers of messages and culture.
The project assumes the existence of a situation of indefinite malaise. Something which itches on the skin. It seems a general irritation due to the general situation. You do not know the reasons for this uneasiness. Merano, with its idyllic 300 days of sun, becomes the object of analysis. Where and how can you recognize the subtle friction of sand mills and a reddening of the skin? How can you recognize an acrid smell in the nose? "I do not agree" is the search for causes and symbols of this uneasiness. More than 30 people put out, wearing the "I do not agree"-t-shirt designed by Hannes Egger, what's wrong. The project shows a puzzle of impressions and thoughts with the center not objects but people with the truth heard and perceived discomfort.
Hannes Egger studied philosophy in Vienna and Rome and works now as an artist. Especially in his last works (“House #1“, “Mark – pissing dog“, “tableau vivant“, “Krisenrezepte“ etc.), Egger tries to start up persons’ creativity which in this concept transforms themselves into co-authors. The aim of this project is to communicate with people, for Egger a kind of artistic interpretation.
SCHÖN SCHWARZ (BEAUTIFULLY BLACK)
06. May 2010 - 29. May 2010
The colour black is perceived as solemn, enigmatic, and strong. It is worn by those who wish to represent individualism and introversion. They seem dignified and unapproachable, for black is a symbol of power. As long as dyeing was still difficult and textile pigments were costly, only the nobility and clergy wore black robes. The clothes of the masses were either brown or grey; on feast days, they would wear a more colourful outfit, whereas black clothing was a sign of wealth and distinction.
In Maria Stockner’s works, the colour black is found in many different arrangements. In Muttergewand [Mother’s Gown], black patches of lining silk, chintz, and old velvet have been applied to a large newer piece of black fabric, so black is introduced as the colour of the mother, the grandmother, and all the women of old. Yet again, they wore it only during special family events or on Sundays and ecclesiastical holidays. The most beautiful black garments included in their wardrobe were paraded and photographed on special occasions.
Maria Stockner captures such finery in her works: pieces of fabric she found in abandoned chests in attics, silver and lead buttons that once belonged to her father, rosary beads, jewellery shells, lathed woodwork, and locks of doors, windows, or caskets. She weaves and transforms these old set pieces into new creations that longingly invoke the past world of forms while pointing to their own history through their new arrangement. Her own existence as an artist becomes a continuation of that of women who never rested and of men who sought reflection. A love of details, of hand-sewn things, and of handling fabrics and small objects are the signature features of Maria Stockner’s art.
In this exhibition, her art is reflected and particularised in a surprising variety of ways. Unearthing many individual bits and pieces of the past means dealing with one’s own genealogy and family history, which are mirrored by the exhibits: by the elaborate needlework and the accurate pencil drawings of everyday objects such as chairs, keys, or lamps as mementos of value.
There is no need to point out the contemporary character of Maria Stockner’s oeuvre. It strikes the viewer at once, precisely because it deals with history and memory. The fascination of a world of symbols that is inspired by ceremonies is playfully and experimentally recreated, with a fine feeling for composition and consolidation.
Christine Helfer
AFTER TOMORROW
25. March 2010 - 17. April 2010
In the exhibition titled AFTER TOMORROW Barbara Gamper is showing some of the works she has realized over the past three years. Her work addresses issues of loss and “placelessness”, concerning identity and culture in contemporary western society. Being lost in the social framework of the techno-era is reflected in the personification of a contemporary fugitive: a fugitive due to the global movement and communication of contemporary and future society, finding himself in a state of displacement, in a kind of no-man’s land between virtuality and reality. His human presence experiences no real but rather a symbolic dimension, and thus reinforces in the same way the feeling of being lost as well as the question of identity, which as well suggests a possibility of redefinition and progress. For her works the artist chooses places and landscapes which allow no cultural or historical identifications as such, therefore a sense of nowhere and yet everywhere arises. These spaces stand for a passage, an in-between space, which connects the subconscious with the conscious, the virtual with a seemingly existing space. Therefore the “outdoor” space unfolds a timeless, eternal space, whereas the “indoor” space reflects a more private and intimate space.
CITTÁLTRA
12. February 2010 - 06. March 2010
«cittàltra» reveals a city much different than the one we are accustomed to.
The urban landscape, pictured in different moments, gives back a different view of architecture, becoming a story: buildings, streets, bridges are exclusively made and planned by the human being, but, in spite of that, he never appears in those pictures. Those architectures tell about a man ready to react, but standing still on himself: the fear to be and search his inner self blocks the gear, diminishing his intellectual will and opening a phase of inaction. Franca Giovanrosa, a young photographer from Rome, inquires today's society through the vision of the city that becomes "other", that is the characterizing representation of the feelings of deep inner crisis of our time. The rust of the frame and the chromatic background of the images represents the "acquiescence", that is the passive, inert acceptance, unmistakable symptom of the mentally ill man, blocked in and on himself.
Therefore the city is transformed in the representation of the desolated Man, who takes with himself the decision of "not-being" for fear of suffering, shutting up, in this way, every own sensitive initiative. In these landscapes, the world of dreams is far away: its existence is veiled from the rust. The formal discipline of the images (with a look at 20's) reveals the obsession developed by the acquiescent.
The time slows down fast and it all returns in order: the fear of not making leads us to use the time for ordering. While the daily speed is stopped and replaced with an ethereal suspension of spirit in search of own "himself", the meteorological perturbation represents the fear of begin, or more precisely, the fear of being initiated to Life. The air stops, wanted to be gone beyond the limits but, for the time being, they remain blocked on the same point and the only possible vision would be just partial, this limit is symbolized from not at random thus heavy frame, in order to emphasize the sense of barrier, of cage within which it is concurred to look and not beyond.
This because looking itself around it would mean making questions and taking decisions and positions too.
Thus, instead, the city becomes “other” and it is not adapted to the breath of the World, as it is suspended, floating in the rarefied air.
Claudio Composti
NUR WER SEINE EIGENE MELODIE HAT, DARF AUF DIE WELT PFEIFEN
SUONARE LA PROPRIA MUSICA NEL MONDO
13. November 2009 - 28. November 2009
Julia Aufderklamm / Florentina Bajrami / Miriam Brauer / Chaowei Dai / Hasime Duka / Irene Egger / Tobias Eller / Elisa Fleischmann / Julia Gamper /
Preeti Heer / Kosima Karnutsch / Diellza Kurtaj / Pajtesa Morina / Julia Rauch / Shane Reehman / Lucian Saratanu / Albion Seferi / Lisa Telser / Daniela Tumler
künstlerische Leitung / direzione artistica Mona Jas (Berlin)
In Zusammenarbeit mit Sprachenzentrum Meran - Pädagogisches Institut und dem Pädagogisches Gymnasium „Josef Ferrari“ Meran “Josef Ferrari" Meran
100 CLOUDS project
01. Oktober 2009 - 25. Oktober 2009
Christian Martinelli’s project seems to be one of those sound utopias art has lived on from time immemorial. Being able to capture, to seize also for a short time only, the evanescence and the transitoriness of these light inhabitants of our heaven, may seem an impossible enterprise. But it must be like this, because numerous artists have tried to grasp through art and observation the secret of clouds, their soul made of water, heaven and wonder.
Bilder mit Kreisen
03. September 2009 - 26. September 2009
Jan Bauer reproduces cropped sections of text and images from newspapers and magazines. In his compositions cutting out of images are transformed into paintings. Bauer doesn’t create, he filters, selects and revises. The cycle “Bilder mit Kreisen- Images with circles” is the product of this result. He uses newspaper or magazine articles marked with red circles; circles which are usually used to highlight persons or details on pictures. In this way images which “tell” different events or situations are put together. Text fragments with a new narrative force, more or less intense, which catch the eye of the viewer. The observer stands in front of the part of a detail capable to offer a whole vision on the main theme, the red circle
PLAYSTATION
25. April 2009 - 21. June 2009
In her work the animal becomes an accomplice to the operation of bewilderment of the man-managed, ordered and controlled reality. It is the intermediary to the re-emersion of our wild nature.
I often make reference to the idea that our culture has associated to a determined species, together with the gestures that link us the most to the animal sphere, such as those connected to food or sexuality.
The results are installations which aim is to make re-emerge the irrational part of everyone, where the opposites ‘false’/’true’, ‘organic’/’inorganic’ live together in a small tragicomic theatre, proposing different faces of the everyday life through an unexpected out of the rules language.
The grotesque joy comes out in this pagan dimension of the nature where the characters are plunged.
floor
18. March 2009 - 11. April 2009
floor consists of a line-up of minimalistic photography which concentrates on different types of pavements, reducing them to the bare essential. Every-day urban places such as streets, squares, pedestrian walkways, pavements, train stations or airports can be seen in this new series of images which comes alive as they are reduced to graphic fragments of surfaces in our perception of horizontal lines. Pavements, for example, are illustrated in an abstract form and re-inserted in a new context so that we appreciate them in a fresh light through their becoming part of one single union. In this way, the usual accepted urban order which we all know is interpreted and presented in a different way. The aspect of major importance is, therefore, the fact that our concept of various essential elements changes or is modified from the usual, realistic, every-day idea of beauty which is always present but which we are not even conscious of.
Stefan Tschurtschenthaler was born in Cermes (Italy) in 1961. He lives and works in Merano.
Plejaden #1
21.2.2009 - 14.3.2009
As a starting point for "Plejades #1" Mona Jas used her video piece Ideale. There she investigated whether we still depend on ideals in our time, and what those ideals could be. In her works, projected on walls, the artist collects and assembles images using different “levels”. Stills are combined with images of paintings and photographs of film sets. The apparently accidental combination of these different levels of association characterize and describe the perception everyone has of the described and interviewed persons by Mona Jas.
REFLECTiON
22.1.2009 - 14.2.2009
Julia Winter constructs images. Her work unites, that what she seeks, that what she finds and that what she knows and feels. It has always some link to the loss of beauty, the melancholy about what she lost, with anticipation for what is yet to come. The work of Julia Winter deals with. the corrosion of human life in the process of the time flux, wounded pride, collapsed family values, spiritual regeneration through suffering. Beauty and the vulnerability is shown at the same time and attacked. Apparently no beauty exists without injuries
3000 boxes move
13. November 2008 - 06. December 2008
Design-Installation by Walter Thaler for the Erwin Seppi Gallery; a play of space, product and interaction with the visitors, Through the use of on purpose drawn boxes, which fill the whole room, the dimension of the space is going to be dissolved. 3000 boxes are used as “bricks“ which should spur the visitor to dismantle the installation.
STONE SO SOFT
10. October 2008 - 8. November 2008
Mi - Fr / lu - ve ore 16 - 19 Uhr / Sa ore 10 - 13 Uhr
Through the combination of stone and paraffin, two very different materials, the artist wants to show a dialog which is based on contrasts. But the dialog is an intimate, silent but also lively discussion... and the ancient desire of reconcile polarized tendencies.
DIARIO ONIRICO IN METAMORFOSI
Mi - Fr / lu - ve ore 16 - 19 Uhr / Sa ore 10 - 13 Uhr
5. September 2008 - 4. October 2008
A game that takes place in the dark, in silence. A breeze, hardly noticeable, catches fragments of light and freezes them onto the emulsion, forever. This, and much more too, is what comprises the photographic work of Elettra Rannos – an artist who uses this medium to create a unique and personal dream diary, and one that is latent with metamorphoses.
1 BARREL
Mi - Fr / lu - ve ore 16 - 19 Uhr / Sa ore 10 - 13 Uhr
28. May 2008 - 21. June 2008
.. an invitation to let fall down, which transforms a barrel of oil into a chair. An object which seems to be soft but is hard. An object which awakes the couriosity of touching it and to understand its consistency. A combination of surreal and political statements which want to point to mountains of oil and rubbish.
GEOMETRIE DE L´ESPRIT
Mi - Fr / lu - ve ore 16 - 19 Uhr / Sa ore 10 - 13 Uhr
5. April 2008 - 10. May 2008
... in her works you run up against her will to geometry, her need to give feelings a certain form and at the same time you are enchanted by the lightness she gives off playing with forms and colours.
DIE KUNST DER WIEDERHOLUNG
Mi - Fr / lu - ve ore 16 - 19 Uhr / Sa ore 10 - 13 Uhr
1. March 2008 - 22. March 2008
Room and Fly Tend Pictures: That’s the artist’s subject matter from the seventies to today ... the tends don’t concede protection of the usual tenor but their existence takes place in imaginary rooms. Constructivism of a German Iranian perspective is here put into the language of painting.
KUNST MOBIL
Mi - Fr / lu - ve ore 16 - 19 Uhr / Sa ore 10 - 13 Uhr
1. February 2008 - 21. February 2008
The room is empty. Furniture gives orientation. Things accumulate, change their application. the application changes the value. Wich application is of value? A game in sequels, worth to play it.
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