SILENT SERIES
↑
It’s the many silences: in the constant flow of noise itself, in these moments of the attempt to sit down and to listen to the non-voices, in understanding that this is a tough thing, and that it reveals a silence that is of a different nature. Bringing John Cage to India and back, trying to step on Patanjali’s path, grasping Gayatri Spivak physically.
WHISK
Stefanie Hintersteiner,
Lilian Kroth
↑
What lures us into the interior of this exhibition space are the things that we carry around with us, forms and sketches that are indispensable and objects of which we do not know whether they are minor matters, fragments or attractions. The encounter takes place through objects of clay, where S. Hintersteiner and L. Kroth try to think together about what drives us around in the hollow body of the exhibition space: amazement, thoughts as bodies, motifs as moments.
Outside, the semi-intimate scenes of paintings proliferate.
Constantly looking for new tensions, they work their way through the transitions between abstraction and figuration in paintings and drawings.Above all, the works they compile combine above all the aspects of the scene, the staging and the fictional part of painterly realities. Two strokes give the scene of geometric forms its stage, open up a place, bathrooms blur with bodies, bodies are not apparently spatial in the surface, but they create their surroundings.
UNDERWATER SERIES
FOLDING
↑
What life of its own does a cloth have? Leaving the frame of the canvas, the underwear folds itself into an object. An object that seeks to be a body, claiming that it is nothing but its own skin. In a frozen moment, the boxer shorts give up possible penetrations and find themselves folded into themselves, invaginated.
BATHROOM FICTIONS
CROWN WITHOUT HEAD
How much time does it take to draw a line?
DRAWING NEEDS LINES
↑
This work was projected during a group performance in New Delhi. Performing immersed in the grey of ashes, the gaze of life and death seems to be inverted. With the burned powder all over the skin, it brings the lively body in a cocoon of death, looking at its lively environment. A female Sadhu, or Antigone displaced.
The performance was repeated in Austria in the group exhibition WE COULD ALSO BE SILENT (Lilian Kroth, Veronika Mayer, Elisabeth Wildling), the images and the parts of the text that were taken from Indian female poets, like A. Jayaprabha and Chitlina Akula Maunam, were put into dialogue with voices and thoughts that were raised by women in Europe – like Luce Irigaray and Virginia Woolfe – about the space of silence. They were recorded and played as if they were talking to each other, being part of the performance and video installation.
PERFORMANCE
Producing and consuming
art in five stages.
© Mira Turba, Internationale Sommerakademie für Bildende Kunst Salzburg
↑
The performance was part of a group exhibition and had five stations, each of them connected to the performativity and imagery of the paintings and drawings shown (such as over-painting, hiding behind colour on a plexiglass, projecting drawing processes in different temporalities; printing, touching, and – finally – eating). On the left, you see me eating the drawings that have been made during the whole performance as a sort of protocol – a drawing that borrows aesthetics from a digital code (Nils-Simon Fischer). On the right: the leftovers of the printing and painting with gloves and boxershorts.
Can we perceive a duration through looking at its trace?
BACK TO TOP
SILENT SERIES
↑
It’s the many silences: in the constant flow of noise itself, in these moments of the attempt to sit down and to listen to the non-voices, in understanding that this is a tough thing, and that it reveals a silence that is of a different nature. Bringing John Cage to India and back, trying to step on Patanjali’s path, grasping Gayatri Spivak physically.
WHISK
Stefanie Hintersteiner,
Lilian Kroth
↑
What lures us into the interior of this exhibition space are the things that we carry around with us, forms and sketches that are indispensable and objects of which we do not know whether they are minor matters, fragments or attractions. The encounter takes place through objects of clay, where S. Hintersteiner and L. Kroth try to think together about what drives us around in the hollow body of the exhibition space: amazement, thoughts as bodies, motifs as moments.
Outside, the semi-intimate scenes of paintings proliferate.
Constantly looking for new tensions, they work their way through the transitions between abstraction and figuration in paintings and drawings.Above all, the works they compile combine above all the aspects of the scene, the staging and the fictional part of painterly realities. Two strokes give the scene of geometric forms its stage, open up a place, bathrooms blur with bodies, bodies are not apparently spatial in the surface, but they create their surroundings.
UNDERWATER SERIES
FOLDING
↑
What life of its own does a cloth have? Leaving the frame of the canvas, the underwear folds itself into an object. An object that seeks to be a body, claiming that it is nothing but its own skin. In a frozen moment, the boxer shorts give up possible penetrations and find themselves folded into themselves, invaginated.
BATHROOM FICTIONS
CROWN WITHOUT HEAD
How much time does it take to draw a line?
DRAWING NEEDS LINES
↑
This work was projected during a group performance in New Delhi. Performing immersed in the grey of ashes, the gaze of life and death seems to be inverted. With the burned powder all over the skin, it brings the lively body in a cocoon of death, looking at its lively environment. A female Sadhu, or Antigone displaced.
The performance was repeated in Austria in the group exhibition WE COULD ALSO BE SILENT (Lilian Kroth, Veronika Mayer, Elisabeth Wildling), the images and the parts of the text that were taken from Indian female poets, like A. Jayaprabha and Chitlina Akula Maunam, were put into dialogue with voices and thoughts that were raised by women in Europe – like Luce Irigaray and Virginia Woolfe – about the space of silence. They were recorded and played as if they were talking to each other, being part of the performance and video installation.
PERFORMANCE
Producing and consuming
art in five stages.
© Mira Turba, Internationale Sommerakademie für Bildende Kunst Salzburg
↑
The performance was part of a group exhibition and had five stations, each of them connected to the performativity and imagery of the paintings and drawings shown (such as over-painting, hiding behind colour on a plexiglass, projecting drawing processes in different temporalities; printing, touching, and – finally – eating). On the left, you see me eating the drawings that have been made during the whole performance as a sort of protocol – a drawing that borrows aesthetics from a digital code (Nils-Simon Fischer). On the right: the leftovers of the printing and painting with gloves and boxershorts.
Can we perceive a duration through looking at its trace?
BACK TO TOP