2019 Second stop VELIKO TARNOVO /Bulgaria
In cooperation with ACF Sofia
Mandarina Brausewetter (Photography), Àgnes Hamvas & Hubert Hasler (Performance), Zarko Aleksic (Installation), Michael Koch (Video), Lily Koto Olive (Drawings), Adelina Popnedeleva ( Light Sculputure), Yukika Kudo (Video), Oscar Cueto (Videoinstallation), Svetlana Mircheva (Transparent or Installation), Eva-Maria Schartmüller (Video Installation), Ilian Savkov (DigitalDrawings), Maria Grün (Photography), NOIMA (Performance or Video), Borjana Ventzislavova (Video), Franz Wassermann (Frottage)
The curatorial and artistic approach of this exhibition is manifold. It is neither interpretive nor descriptive, but rather we have set ourselves the goal of illuminating ideas, writings, approaches of Ludwig Wittgenstein from today‘s point of view and to encourage discussions. Adapting, transforming and using contemporary art as a vehicle for discourse.WITTGENSTEIN – The exhibition is the interpretation and transformation of ideas, thoughts, visions. In any case, the goal is to return to the themes that make up Wittgenstein‘s philosophy to discuss his point of view and to connect his thesis with the 21st century.
We started 2018 in House Wittgenstein Vienna, the Cultural Forum of Bulgaria, planed by Paul Engelmann and Ludwig Wittgenstein on behalf of his sister Margarethe Stonborough-Wittgenstein. The Bulgarian government under the Minister of Culture Lydmila Zhivkova acquired the “Haus Wittgenstein” in 1975 and decided to transform the unique Palais into a notable cultural institute. Therefor it is obvious that our second stop through Europe is Bulgaria, Veliko Tarnovo, the former capital and city of one of the Universities of Fine Arts.
WITTGENSTEIN proposes a combination of new media art works, interventions and performances, installations and new genre works that mirror Wittgenstein ́s skills as a philosopher, architect, designer, lover of fine arts and aural experiences.The curatorial approach is also breaking boundaries in its thinking and geographical nature as well as limits of the genres of the visual arts. Let’s think about what can not be imagined, let us dangle utopia in front of visions and reach for the stars. Parallel to Wittgenstein‘s allround genius, which ranged from architecture, art, music up to philosophy.With the display of the exhibition I am following the associative concept of the art works as I combine it with the artistic, linguistic, literary, philosophical and religious point of view of Wittgenstein’s writings.
Text Denise Parizek, Curator, 2019
ŽARKO ALEKIć I DON‘T KNOW WHAT TO THINK
transparent fMRI print on glass, 160 x 42 cm, 2018.
„I don‘t know what to think“ is an installation that deals with the discrepancy between transparency and obscurity, and impossibility that artwork could be expressible or that it could convey the mea-ning to the viewer outside of the scull of the artist. It starts with the direct reference to the Mel Ramsden‘s work „Secret painting“ where the content of the work is known only to the artist himself. The piece shows certain activation patters of my brain while I was thinking The Piece for this exhibition (done in fMRI scanner during my long term project Brain Pictures that deals with the relation bet-ween imagination and perception) but since the code is unknown to the viewer he/she cannot know what is the content of the work and the work stays in the domain of private thoughts.
MANDARINA BRAUSEWETTER ABBONDANZA, 2018
The love of detail Wittgenstein is the starting point of the photographic work of Mandarina Brausewetter. On the one hand, the work is a reference to the ubiquitous design of the house Wittgenstein, on the other hand, the photo is an allusion to the social predicament in Bulgaria. Many people have removed their radiators in recent years because they could not afford the costs anymore. A one-rib heating bill has the illusion of warmth without total impoverish-ment.Abandonment played a major role in Wittgenstein‘s life and a challenge for a bourgeois heir. Ludwig Wittgenstein preferred the simplicity of burgundy life. Nevertheless, it was important for him throughout his life to have a financial reason for securing emergencies.Mandarina Brausewetter was one of the first female sprayers in Vienna to spread stencil graffiti in public spaces. After training in classical painting and industrial design, the Sofia-born artist worked primarily as an illustrator for va-rious magazines, record covers, posters and flyers, as well as in various artistic media, including video, performance, painting, ceramics and stage design.Stylistically, her works were often compared or confused with the British artist Banksy, with whom she exhibited together in Vienna in 2005 and 2006. In the first years, she reacted to the perceived suffering and the powerlessness of individuals in war situations such as in ex-Yugoslavia or in the Iraq war with political-social statements. She often works with ambiguous images and text messages, which she combines in a cynical and critical way. For this exhi-bition she is changing the genre, but not the social critical and political impact, a melange with a high standard of beauty and design.
OSCAR CUETO Wittgenstein meets PerezBorn in Mexico City, 1976.
Lives and works in Austria.It will be a two personage performance. Wittgenstein is calling Perez, a man with Tourette Syndrom. The talk without any sense is related to the conflict between center and periphery. The performance will be a colla-boration between Vienna Wittgenstein Haus and Bikini Wax, an artist run space in Mexico.Conversations with Wittgenstein is an installation consisting of a short film, poster, T-Shirts and Music Cassettes that work as promotional items. The film is an Aria in 5 acts. Each act is a telephone conversation between Wittgenstein (the Austrian philosopher) and Perez (a man with Tourette Syndrome).What is interesting about a self-denying artist? Who actively refuses to play a certain game, or does so with a naïve burst here and there? Cueto ́s artwork is a part of the current debate regarding artists who are attemp-ting to address a larger issue of how money and the value of the art commodity is driving the art world, but I am not sure that any artist has been able to address critically and simply this issue as Cueto has, especially an artist from Mexico. He has been able to develop a body of work that is extremely self-critical with critiques of the art world and market that do critique his own role as an artist. Cueto is able to involve the public, in a way dumb it down, to comically and interestedly open this international phenomenon of a money-driven art market and the resulting fame and fortune.Cueto is still a young artist who has the potential to hone his craft, and to grow, but will fame escape him? Perhaps, never the less, this is a refreshingly honest body of work that does not lose its self in scholar-ly pursuits but is inviting, entertaining and pointedly questions a status quo. Cueto‘s vision challenges his audience to distance themselves from the serious-ness within the confines of history, knowledge and art practice thus becoming aware of their dependency on traditional ways of perception.
MARIA GRÜN„Mollusk“ 2018
The process of alienation and dealing with the abject is inscribed in my works:„Neither subject nor object. There looms within ab-jection, one of those violent, dark revolts of beeing, directed against a threat that seems to emanate from an exorbitant outside or inside, ejected beyond the scope of the possible, the tolerable, the thinkable. It lies there quite close, but it cannot be assimilated…“ „The philosopher and psychoanalyst Julia Kristeva defined the abject as something“ rejected, which one can not escape, from which you can not immediately protect an object …The rejection is something abstract and indefinable.“In my work, the abjection is found in the representa-tion of the fragmented body and in the interior of the body transferred to the outside. The objects speak of their own inner being, which at the same time could also be called the Other, because on the one hand it is in absolute close relation to ourselves and yet remains entirely abstract. It is an unconscious part of our self that becomes „real“ and perceptible only through dyfunctional processes – pain, physical failures, malfunctions … The abject is found in the dysfunctional of the body, which wants to be ignored because it is connected with the ominous. Becau-se blood, body fluids, body exudates, … and their presence outside the body speak of impurity, danger, threat, death.
ÀGNES HAMVAS & HUBERT HASLER „What can be shown, can not be said“
„What can be shown, can not be said“ responded to this quote from Wittgenstein the new collaboration of Àgnes Hamvas and Hubert Hasler and raises the question of whether the attitude of Wittgenstein to language and image would change as the current society with images and Text bypasses, does a 100 percent visualization also allow for better communication? Hamvas and Hasler‘s work is based on a nightly digital exchange of ideas. The two artists visualize a continuous communication, which is further developed as a performance at the opening and the duration of the exhibition and revealed to the viewer by means of a fax machine. This fax machine will be linked to the mobile phones of the two artists, and at the same time they will print out a message with each transmission of a message, a passive participation of this two-language is the viewer allows and also poses the questions of uncontrolled company surveillance in the room.The content-related cultivation of the written, thought-routine, everyday banality, drivel of idleness, emotional extravagance of the mental being and picture messages are summarized content-related clues, pick up the communication of our society or represents the change of language and writing through short messages.
shell shock was a term used to describe military psychiatric syndromes of male hysteria, mobility disorders such as persistent tremor, walking, sitting and standing disorders, tics, symptoms of paralysis, but also disturbances of speech. The symptoms occurred either soon after the experiences in the field, or without directly visible temporal and spatial references to them.
At the time of WW1 there was no consensus about the knowledge to war-conditioned traumas. The war-hysterical symptoms were understood as a serious sign for male and soldierly weakness.
The “shell shock sufferer” formed a counter model to the typical rationality and masculinity figures of the army; he seemed to undermine their efficiency and order.
text sources: Behandlung im Schatten des Krieges –Militärpsychiatrie und Kinematographie
Aufsatz von Dr. phil. Julia Barbara Köhne (Privatdozentin für “Zeitgeschichte und
Kulturgeschichte am Institut für Kulturwissenschaft Berlin)
artistic work: impacts of ww1 were illuminated in the form of war-related trauma. sequences
of an original film of 1914 are projected and acoustic documentaries
of war events give insights into the process of cause and effect.
video: sequences from the movie kriegshysteriker und max none (1916) _
functionally-motor irritation or paralysis of states at war participants
and whose cure by suggestion in hypnosis_produced by the royal
image and film-amt / bufa in berlin
sound: 1ww documentaries in english, german, french
Kriegshysteriker“ und Max Nonne (um 1916). Funktionell-motorische Reiz- und
Lähmungs-Zustände bei Kriegsteilnehmern und deren Heilung durch Suggestion in
Hypnose, um 1916, produziert vom Königlichen Bild- und Filmamt/BuFa in Berlin,
der Vorläuferfirma der Universum Film AG (Ufa), aufgenommen im Allgemeinen
Krankenhaus Hamburg-Eppendorf durch Dr. Max Nonne
Transit Filmgesellschaft mbH, 80335 München, Dachauer Straße 35
with permission from:
Bundesarchiv /Filmarchiv Berlin, FA 2Fehrbelliner Platz 3,10707 Berlin
Transit Filmgesellschaft mbH, 80335 München, Dachauer Straße 35
AT / 2013
The close-up of the handle and lock of an iron gate opens Borjana Ventzislavova´s video It isn´t healthy. A woman´s voice is to be heard on the soundtrack postulating philosophical assertions: “The world is all, that is the case. The world is the totality of facts, not of things. The world divides into facts.” Accordingly, the iron gate would not be a thing, rather a fact (it is locked), just like the two boys who are playing football in the next shot, on the street in front of the house to which the gate belongs. But according to the same logic the entire video would be nothing other than a collection of facts and thereby the urgency of the question implied by the opening philosophical statements would only be confirmed: Does the world now divide into facts or rather does a world result from the totality of facts?
Borjana Ventzislavova escapes this logic of language philosophy through how the facts in her video avoid referring directly to a world and rather indicate a spatial and temporal constellation. The setting is the so-called Wittgenstein House, home to the Bulgarian Cultural Institute in Vienna since 1975. Ventzislavova shows people who work at the Institute, the super-intendant, the director, the employees, the cleaning lady, all going about the rounds of their daily activities while they speak sentences taken from the work of Ludwig Wittgenstein. The asynchronous synchronicity thereby established finds its spatial counterpart in the soccer game played by the boys who not only pass a ball but exchange contemporary (Bulgarian) political slogans. The slogans may well not be their own and therefore not facts, yet they are a means of recognizing as well as mistaking the world. (Vrääth Öhner)
Translation: Eve HellerThe Wittgenstein House, site of the Bulgarian Cultural Institute in Vienna, is the point of departure for an unconventional study of architecture, history and language. Through quotes from Wittgenstein, the institute is detached from its daily routine and confronted with the house’s history. In front of it, philosophy comes up against criticism of presentday Bulgarian politics: “EuroTrashCapitalism,” somebody remarks – and kicks a football.FRANZ WASSERMANN 21.03.2017 # WHEN THE RHOMB TRANSFORMS INTO A FIST #DailySocialTransferIn # WHEN THE RHOMB TRANSFORMS INTO A FIST political gesture is in Wassermann ́s focus. Gestures that can determine the future. The showing thumb was already a tool to destroy people in Roman times, today it is used to communicate digital admiration or dislike. The superimposition of the images finds a reflection of reality on the paper. But it can also reflect the overlapping of thoughts in Wittgenstein‘s work, the contradictions and withdrawl.