Stefanie Wuschitz (Technik: Christoph Freidhöfer)

Looped Scroll

Eröffnung: 22.03.2012, 19:00 Uhr, Einführende Worte von Isin Onol, Künstlerin ist anwesend.
Ausstellungsdauer: 23.03.2012 - 06.05.2012
Öffnungszeiten: 10:00 - 22:00 Uhr
Ort: Schauraum Angewandte - quartier 21 im MQ, Museumsplatz 1, A-1070 Wien

Die Installation Looped Scroll bezieht sich auf die 1975 von Carolee Schneemann vorgenommene Performance Interior Scroll. Das Zoetrop (Wundertrommel) zeigt einen Ausschnitt daraus. Das in der Installation hörbare Gespräch mit Carolee Schneemann hat Stefanie Wuschitz im September 2010 geführt. Junge österreichische Medienkünstlerinnen scheinen heute mit ähnlichen Konditionen konfrontiert zu sein, wie die 1939 in Pennsylvania geborene Medienkünstlerin Schneemann. Die Animation repliziert nun die radikale Geste der 68er Generation in modellhafter, verniedlichter Form. Mit der Beharrlichkeit einer Gebetsmühle wird ihre Geste solange wiederholt, bis sie nicht mehr gebraucht wird.

Auszug aus dem Gespräch zwischen Schneemann und Wuschitz:

Schneemann: (…) So these were the years we call “Separatism.” Where women had consciousness raised and started their own galleries and their own publishing. They still had partners and families, but we had all this analysis, it was tremendous! So for me it starts when I'm still in college with De Beauvoir, it's a revelation and it explains...explains everything. It explains why my boyfriends stole my paint brushes. (…)

Schneemann: Yeah. Ok, first of all: Every human being is conceived through an orgasm. They do not come from a chicken and an egg. Every woman has particular orgasmic capacity. So they are different in terms of structure then those of a man. Interesting enough, gender transformations undermine the basic two elements of being female and male. So many people are changing gender, to what is more authentic, psychologically for them, others want to experiment and deconstruct what they think is a set of narrow conventions. That's all part of breaking down so many predictive constraints and repressions. So of course the church is against it, the military is against it. And once you see who your enemies are or where the resistance is, then you can get more certitude, can be more sure. (laughing) (...)

Wuschitz: So have you been observing a decline of these big institutions or do you observe an actually strengthening of these big apparatuses? Like nation state, army, church, religion. Do you think they have more power in our society, more influence than before?

Schneemann: Yes. But it's hidden, it's included, it's extremely sinister. It's multi co-operation across cultural boundaries. The citizenship has no idea whatsoever of where the dynamics lie in terms of militarism, technology and plans to control ecologies. Here we don't have any idea. Not normally. And it's quite complex and the research is like Future Shock, it's like every kind of paranoid fantasy that anyone might have had, all of which are probably under way now. What do you think?

Wuschitz: I agree.

Schneemann: (laughing) Ahhh! Ok, good, next question. (laughing)

Wuschitz: I just think that there is that movement of open source technology that gives access to code and programs and software and knowledge for free now over the internet. So I have the slight hope that through individuals being able to create things without having this “Bell Labs” or other companies in between, maybe more people can have a voice and have a chance to develop structures, develop technologies, develop...

Schneemann: The thing is the voice is so…dispersed. Cause having been through the 60s, where we had a coherent movement, it was really coherent and it was everywhere, and it was very stylized in a way. People would just see each other and recognize by their hair, by their ear ring that they were radical and that they were against the Vietnam War. At the same time that was a very brief period of radical independence in which huge communities across the nations shared directions and intention. And then systematically in our countries all our leaders were assassinated: Our popular culture figures, our black figures, our president and vice president, Martin Luther King. Everybody went down. And it was never discussed as part of a structure. It seemed like it was all strange round of mistakes and arbitrary events. Even though analysis has given the underlying force field it's so suppressed, most people don't have a chance to think about it and they don't want to, it's much too frightening. (...)

Kurzbiografie von Stefanie Wuschitz:

Stefanie Wuschitz ist Researcher, Lehrende und Künstlerin in Wien. Nachdem sie 2006 an der Universität für angewandte Kunst in Wien mit Auszeichnung graduierte, absolvierte sie 2008 das zweijährige Masterprogramm ITP an der New York University in den USA. Danach verbrachte sie als Digital Art Fellow des HUMlabs ein Jahr in Nordschweden, wo sie 2009 einen Eclectic Tech Carnival organisierte und den feministischen Hackerspace Miss Baltazar's Laboratory gründete. Dabei handelt es sich um ein Netzwerk von Künstlerinnen, kreativen Frauen und Trans, die im Rahmen einer Workshopreihe die Möglichkeit haben ihr Wissen und Open Source Erfahrungen auszutauschen. Ihre Arbeiten wurden international ausgestellt und Miss Baltazar's Laboratory weltweit zu Festivals und Konferenzen eingeladen, darunter Harvestworks NYC (2010), Ars Electronica (2010), Transmediale (2011), Taipei Artist Village (2011), Coded Cultures (2011), TEDx (2011), Platform 4 (2011) und Frankfurter Kunstverein (2012).


Fotocredits: "Die Enkelinnen" © Stefanie Wuschitz, 2012

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