Ruprechtsstiege
2015 | Installation for Vienna Festwochen

Ruprechtsstiege Project: a site-specific temporary installation with Lisl Ponger for the Hotel Metropole. Der Erinnerung eine Zukunft geben project of the Vienna Festwochen 2015.

The Hotel Metropole was situated on Morzinplatz in Vienna’s first district. A modern Jewish-owned hotel, it was confiscated by the Nazis after the 1938 Anschluss and turned into the largest Gestapo headquarters in the Third Reich. Nearby houses were used as Sammelwohnungen [collection or concentration housing] for Jews due to be transported to concentration and extermination camps.

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Postcard
2015 | Post card contents: 2 first day covers, USA, Nov. 23, 1943 | 2 official postage stamps commemorating 100 years of agrarian reform, Mexico, 1966 | 2 Zapatista propaganda “postage” stamps, Mexico, 1995

Postcard for Vienna Festwochen.

Postcard project for Vienna Festwochen 2015: Hotel Metropole. Der Erinnerung eine Zukunft geben [Hotel Metropole. Giving Memory a Future]

The postcard is concerned with actual events and their official historical interpretation (the construction of myths and master narratives and the appropriation of icons and counter-narratives) in the Austrian context of Morzinplatz/Hotel Metropole (Second World War) and its wider implications and connections.

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The Bottom Line
2012 | Mid-twentieth century Czech suitcase: 71 x 40 x 21cm | Share and bond certificates, 90 Mexican mould-made black ceramic skulls, brass rods

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Naming the Game
2012 | “Game box”: 57 x 35.5 x 13 cm | 100 Mexican hand-made extruded plastic dice with hand-painted dots, brass rods, share and bond certificate emblems

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Bread and Salt
2012 | Text/image contribution to a fax exhibition on the notion of bread and salt as ritual gifts of welcome.

The text is a reaction to the exhibition statement: ‘Bread and salt are gifts that stand for good neighbourliness, for hopes of prosperity and for the notion of extending hospitality and protection to strangers’.

Further text material (PDF):

Hearsay
2012 | Wall newspaper, 312cm x 135cm + video loop, 20 sec.

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Matters of Fact
2011 | 7 prints, diasec, each 33 x 44 cm
© JL Diehl

Photo © J.L. Diehl

The series of seven photos shows details from abandoned clothing, furniture and other household articles. These personal chattels are located in an industrial building in Tivoli, Italy, which has long been empty. The images document one small part of the disintegrating former paper factory where discursive personal narratives of place, time and intention intersect with the more general categories of history, migration and homelessness. Who left these things here? Who regarded the space as a refuge and under what conditions did they leave? Despite the wealth of detail provided by the images, the series raises more questions that it can answer. They are evidence without explanation, a story with an open end. Read More…

Chain Reaction
2010 | Gunter chain (66 feet / 22 yards / 20 meters), padlocks, car paint, keys, cable ties. Dimensions variable (minimum diameter 2 meters)

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Little Mountain
2010 | 2 channel video installation | Colour and black & white | Stereo sound | One loop 5:23min, one loop 8:35 min | Here the work is shown as a two-part video.
Little Mountain site 2014 - Housing is a right

Photo © 2014 Robin Hanvelt

Little Mountain is a good example of the consequences of local government abdicating its responsibility in favour of speculative investors. The destruction of the residential estate displaced a large number of families in favour of a speculative gentrification project which is to include only a small percentage of social housing. It is the kind of confrontation common throughout much of the Western world as governments move away from intervening in the economy as the welfare state towards providing an attractive investment climate for entrepreneurs as the “competition state”.

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First Contract
2010 | Series of 9 colour photos, each 77 cm x 70 cm (unframed) | Edition of 5 + 2 AP

First Contract (2010) is part of a work group that includes the object, Chain Reaction, and the video installation, Little Mountain. It consists of a series of 9 photographs concerned with the complex ramifications of the Western insistence on quantifying land, thus transforming it from being primarily a place which confers local identity and a place to live into an object of trade and speculation. The photos also reflect on the colonial dispossession of the original inhabitants of the north American continent, especially the First Nation peoples of Canada by using ‘flagging’—plastic ribbons normally used to mark property borders—in lines or triangles and ironically re-creating the Euclidian geometries of surveyor rituals of appropriation and possession. This is still contested territory. Read More…

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