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

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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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Cap Manuel
2008 | 4 channel video installation: 2 screens/2 monitors. Text roller. | 360° library (4 min 10 sec loop), Gericault tomb (9 min 33 sec loop), Archive pan (1 min 03 sec loop), Pages in wind (5 min 20 sec loop) – All 4:3 / PAL / colour / sound | Text (50 mins) – Widescreen

archive pan_04-1280pxHigh up on a cliff on the outskirts of Dakar, Senegal, there is a disused public building, the old Palais de Justice. It was built during the last years of French colonial occupation and for more than quarter of a century has ceased functioning as the civil and criminal court it once was. It forms the core of the video installation that reflects on the building itself, its erstwhile function as well as wider issues and associations such as the nature of memory, historical contextualisation, biographical recollections and record keeping as a means of imposing and maintaining control of a (colonial) population.

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Demolition of Aspang Station 2003
2005 | Large format slide in light box (50cm x 40cm) and 2m measuring rod divided into black and white sections of 10 cm

Installation-view-2005Built in the last quarter of the nineteenth century the Aspang Station was part of the Vienna – Thessalonica railway project. From 1939 to 1942 it was the station from which over 47 train loads of Viennese Jews were deported – over 50,000 people. After the war and Austrian independence the station went into slow decline till it was eventually demolished in 2001 and the site scheduled to be part of a large-scale redevelopment project.

reconstructing-50x60The sight of machines removing the tracks and digging trenches into the former platforms seemed particularly evocative especially since the safety barriers round the excavation had the same colours as the Austrian flag. With issues of restitution and memorialisation still being debated in Austria, the visual image also resonated up with the historically racist elements of Western tradition – measuring and classifying “races” and assigning them a position on a scale of purported civilisation. The US laws classifying anyone with “one drop of black blood” as non-white; legal sterilisations carried out on Native Americans and asylum patients into the 1970s; the invention and propagation of the pseudo-science of eugenics throughout Europe, etc. Read More…

Veiled Threats
2002 | Video installation for three monitors, 1 projector and salt

The point of departure for the four-part video installation […] is a series of fragments of the 35mm film with the title “Tuareg” which was found at a flea market and probably shot around 1970. Tim Sharp’s thoughts revolve around the significance of the discarded, excised images which were of no apparent value for the “real” product which itself remains unknown. Looked at more closely, especially in the light of Sharp’s montage-producing new scenes, these out-takes prove to be informative with regard to the plot for the production of a documentary film. In the first place they are the shots made immediately prior to the “official” takes. They show the clapperboard with scene numbers or the arms of the film crew reaching into the image and they show, above all, the depicted, the Tuareg, in a ”preparatory” state, waiting for their cue. Read More…

Sightseeing
1999 | Installation: dimensions variable | 35 objects/paintings; English and German versions | Various materials

Braille 1-1280pxThe project comprises 35 picture-objects made between 1996–98. Each contains a visual and a linguistic element. The latter is in one of two languages, German or English and the “message” is in Braille, a written code based on raised dots to be read with the finger tips. During an exhibition the sighted may only look at the works (as in a normal gallery) while the blind are allowed to explore the works by touch. Since the Braille is greatly enlarged, readers have to re-work their knowledge of space – it is the difference between the page of a book and a house-sized poster. One of the most important aspects of an exhibition of the works is the intended interaction between the sighted and the blind. It is an exchange which illuminates different interpretations of reality. Read More…

The Peter Kien Project
1992 | Installation: dimensions variable | Approx. 150 objects | Paper mache, metal grid, clay, alkyd paint, wax, dyes etc.

The installation investigates the weighting of textual/documentation material in connection with (allegedly) archaeological objects and the story of the find. The fragmentary text follows the story of the find, theft and subsequent purchase of materials which are brought together for the first time at some point in the not too distant future. Read More…