statement: Are avant-garde practices still important to you?

Yes and no at the same time. There were and are great influences in artistic practice, but these often happened en passant. Until a few years ago, the art historical focus on the practices of the avant-garde was male shaped. Feminist or non-heteronormative readings as well as artists were hardly discussed. On the one hand this was limiting and on the other hand it was liberating. As a young woman, I had a soft spot for the Bloomsbury Group, probably because I lived in New Zealand for a year. I never understood their snobbery and classism, but I found that literature incredibly fascinating. My favorite example is This Flower by Katherine Mansfield – a short story from 1919/20. In the story she describes a series of taboo breaks in a very short episode. In the same way she breaks stylistically right at the beginning – a woman has her first orgasm during an abortion and the friend’s ambivalent attitude towards it. And although the short story begins like this:
namely with a quote from Shakespeare

“But I tell you, my lord fool, out of this nettle danger, we pluck this flower, safety.”

and then jumps straight into medias res …

„As she lay there, looking up at the ceiling, she had her moment — yes, she had her moment! And it was not connected with anything she had thought or felt before, not even with those words the doctor had scarcely ceased speaking. It was single, glowing, perfect; it was like — a pearl, too flawless to match with another … Could she describe what happened? Impossible.“

… the online reviews don’t mention those important parts of the story. I am fascinated by this tunnel vision; Fading out and blending away and maybe that’s the answer to the question. Yes and no.

Applied analogously using avantgarde practices if you are not included in the practices of the avantgarde is ambivalent and not that I know of that the word “avantgarde” had been connected to women* up until the exhibition feministische Avantgarde (Verbund).


project description:

The installation is based on inscribing poems in the plain text of the code of a JPG image. Each poem, placed in a specific place in the code (opened in plain text), causes a shift and change of the picture. Directed glitch art that leaves nothing to chance.

This is how the individual parts of the installation are created. 20 pictures, which in turn are transformed into slides, an approx. 20 m long paper form with 19 poems hidden in the plain text, an illustrative video and a sound system using transducers, probably attached to the shop windows of the exhibition site.
The original image and the acoustic recordings were made on August 29, 2015, Vienna Westbahnhof.
A first exhibition took place in the same year at the opening: November 3rd, 2015 | 6 pm to November 30, 2015, the second in December 2018 in the type case, Vienna, and then as a staff member „AMALGAMA“, 2019 in Bolzano.

Pictures taken on the first Saturday of the refugee-movement at Bahnhof Wien West are overwritten and translated into and combined with live-soundscapes.

The eerie atmosphere of this Saturday, August 29th 2015, is transformed by a series of pictures taken at the shopping-mall area of Bahnhof Wien West.

It was a bizarre situation. Suddenly all – in my opinion per se displaced – shops at the train-station were filled with a strange inaneness; an emptiness that dispread beyond a visual or auditable tangibility, hard to capture and hard to describe. For me they were filled with the vacuum of the near future.