when attitudes become props (2014)
when attitudes become props (2014)
when attitudes become props
Sculptural actions for camera and creature
Sculpture, installation and performative art
When Attitudes Become Form was the title Harald Szeemann gave to an exhibition that defined new forms of installation, environment and happening in 1968. The reflections on time-based sculpture presented here bring together different concepts of rhythm and the logic of sound, time and space in a video update from the perspective of a post-digital generation. Temporary still lifes and scenic episodes contrast images of nature and ideas of pre-industrial idylls and cultural history with an urban sovereignty of interpretation of space and landscape. The seclusion is utilised for the hand-signed, semantic video series and reproduced in the ether or around the campfire.
Films by: Alexandra Gaszyna, Matthias Gerth, Julianne Gärtig, Kira Hess, Jennifer Irmscher, Fabian Kirchherr, Frank Lammers, Thomas Liebig, Anna-Lena Mutschall, Franziska Rentzsch, Anika Schiewe, Charlotte von Harling, Michael Zogall,
artistic direction: Anke Fischer
Co-operation with the Institute of Art and Visual Culture, University of Oldenburg with Künstlergut Pröstiz e.V. Grimma, with the artists and Prösitz scholarship holders Joana Schulte, Nikola Dicke and Katja Pudor Director: Ute Hartwig Schulz , Curator: Christine Dorethea Hölzig, Leipzig
Annika Schiewe
The film highlights the aspect of the journey as well as the artistic examination of a place. In the excerpts of the intervention with coloured powder, the sounds of the nearby motorway can be heard constantly, becoming a constant auditory companion. Excerpts from interviews with three scholarship holders are also used on the sound level.
Franziska Rentzsch
What the films have in common is their pool of material, which was collected collectively during the art excursion and only organised thematically in post-production. Experiences with spaces and nature, as well as captured moods, were often reinterpreted in post-production and the artistic potential of random film images was rediscovered. Die Flut picks up on the flood disaster with images of water and the traces it left behind in 2013. At the beginning, viewers are immersed under water with the camera. From then on, the landscape, underwater world and protagonists are superimposed and blurred together. The random recording of the kneading evening provides a uniform visual staging. When the people in the picture begin to work on the material, the soundtrack switches to excerpts in which they introduce themselves: "School, museum, art field, I want to start my own business..." Like the clay, which is moulded and discarded in the game, the participants are also in a process.
Fabian Kirchner
Human absence characterises this place. The washbasins move on the floor and set the pace for what is to come.
Frank Lammers
The swaying and swinging of individual objects captures the relaxed yet productive atmosphere.
Thomas Liebig and Michael Zogall
In the open field with ideas in their luggage as one among many - one cock/hen among many. Mass production art.
1 June - 22 June 2014
20 years of Künstlergut Prösitz // Monastery Church Grimma / Saxony
27 June - 22 July 2014
20 years of Künstlergut Prösitz // Tapetenwerk Leipzig