Karin Fisslthaler / Mathilde Geldhof / Margherita Muriti /
Mathieu Roquigny / Brigitte Zieger
Born in 1981 in Austria.
Lives and works in Vienna.
Represented by Gallery Raum mit Licht, Vienna.
Karin Fisslthaler is an artist, filmmaker and electronic musician. Many of her videos, works on paper and installations stem from her reaction to the way media portrays the human body and how this affects notions of identity, gender and communication roles. Found material is the primary source, which she collects, deconstructs and rearranges, often cutting material, whether audio, film/video, books or photographs. Body language such as touch, looks, movements and gestures are given special attention.
Karin Fisslthaler began her career as a musician in 2003, when she was already active in the field of video art. In her solo project Cherry Sunkist, she produces experimental electronic pop music, in which she creates her own, unmistakable style from a wide variety of musical elements, ranging from New Wave to sound collages and catchy voices partly inspired by punk.
Born in 1988 in Evry.
Lives and works in Evry.
(…) Rather than exploring the exotic, the plastic artist invests the endotic in search of a situation, a light or a sensation producing a shift in the apparent familiarity of things. Whether by the image alone, the assembly or the hanging, it confers on the common an expressive power close to the principle of “strangerization” theorized by Victor Chklovski. (…)
Mathilde Geldhof's works often conjure up a mystical feeling without shifting into the religious. (…) They propose to transcend the familiar to extract its narrative and poetic potential. Through the gaps they preserve, they arouse our curiosity and trigger our imaginations. We are thus led to “question what seems to us to have ceased to amaze us forever”, to use the prose of Georges Perec. It is a question of investing the infra-ordinary in order on the one hand to consider the poetic force of the usual and on the other hand
another to analyze the artificiality of the appearances of the world.
Excerpt from the text Investir l'infra-ordinary by Thomas Fort.
Born in 1993 in Venice.
Lives and works in Paris.
Every year, on September 19, thousands of people wait for the miracle of the liquefaction of Saint January's blood. The archbishop tilts the vial containing the solid blood in a precise ritual. If the blood becomes liquid, it is a harbinger
of a good year. Touch is always a reciprocal action: what is touched, touches in return. This project was born from a reflection around the empty space where two surfaces almost seem to mingle, the space of contact between the hands and the images. In ancient Greece, it was believed that the act of seeing occurred through a very thin film through which the scene reached the eye. It was this pelicula, very thin skin,
which made things visible.
The blood liquefied at 10 am explores the relationship between the act of seeing and touching as well as the transformation of matter. Molded wax tablets are placed on glass surfaces, slowly heated by hanging light bulbs, they become transparent, revealing the images.
A material very close to organic forms, wax is malleable. When heated, it is neither solid nor liquid. Images become slimy and sticky. Unstable and fragile, a little heat is enough to transform them.
One part flows, changes shape, the other evaporates, mixes with the air we breathe.
Born in 1982 in Rouen.
Lives and works in Paris and Aubervilliers.
By listing my environment, according to a principle of equivalence, where everything is equally beautiful, true and serious, it is with casualness and humility that I take hold of the little nothings, deploying them from image to object, from observation to construction.
My "Diary" is made up of thousands of ritualized and organized photographs.
Similar to a form of contemporary archaeology, I isolate here some of them that I stage on different supports-construction debris recovered from here and there.
These photographs are chosen according to their supports. It is the materiality and the shape of the fragment that inspire me in the selection of the image to be affixed to it.
Born in 1959 in Neuhofen/Germany.
Lives and works in Paris.
We the Indians Discovered America, video, 2017 (video 1, 5:29, video 2, 6:10)
"We the Indians Discovered America" is a video work, which focuses on spaces in which certain little-known events in our contemporary history have occurred. Made in 3D from photographic shots, it offers virtual tours through specific transcriptions, integrating movements between image and space. This video diptych is linked to the story of the year-long occupation of Alcatraz by American Indians in 1969. Highlighting the grip of power on minorities, it highlights the colonial traces in which society contemporary is anchored.
This Land is My Land, 3D print, 2018
These 3D Sculptures were made using a popular digital tool, capable of reconstructing a volume from a few images of the same object. The errors and misunderstandings of this software are numerous and the resulting visuals correspond particularly to the issues addressed by Brigitte Zieger in all of her work, regularly comparing images and volumes. Here, recreating a volume from a photographic shot and assuming the incompleteness of the reconstruction, allows the artist to metaphorically question what remains of the events through documents and contemporary digital media. The represented space produces forms that are both typically digital and as if deliquescent, thus simultaneously speaking of the future and of ruins, of a past (social struggles in this case) sinking into a fragmented digital memory and a world in dematerialization phase. This installation will be an opportunity for the spectator to find themselves physically included in a formal proposal that can be apprehended as much on a poetic and sensory level, even aesthetically, as on a conceptual level..
This project was selected by the sponsorship commission of the National Foundation of Graphic and Plastic Arts which provided its support.