The [physical] [impossibility] of [WOMEN] in the [WORLD] of [someone] [living]

Installation: paintings, acryl mirror, design furniture, room spray, empty cosmetic packages, coffe table books, ipod with playlist

Xhibit /Academy of Fine Arts Vienna, 2016

possible with the support of:

Hans Ashley Scheirl, Andreas Spiegl, Mano Krach, Roberta Lima, Mihaela Tatar, Felicitas Thun-Hohenstein, Ruth Lackner, Sofia Ntontis, Stefan Kundrat, Arnold Löschnauer, Herbert Derler and the Academy of Fine Arts Vienna

In my Diploma I worked with the ‚selfie‘, and the process of transferring the digital ‘self’ in the medium of oil painting. The aspects of my research were: (1) the (Co-) construction of reality through the performative, (2) braking the myth ‘women’ as nature and (3) the conscious absorption of the male gaze, (4) women’s orgasm and (5) death.

The way I installed the paintings mirrors a decomposed kaleidoscope. The interior of it has been disassembled, so that now the paintings are reclining on the three mirror shelves. The illusion a kaleidoscope entails, of having endless possibilities of images based actually on the same objects rotating themselves, can be transcribed onto the whole selfie culture: it is the same object repeating itself endlessly under the illusion of it being something new with each ‘upload’.

I see my work as having three layers. First layer, consists of me as a person-woman-human being, preoccupied with my image as such, interrogating that image, trying to make a sense out of it. In this layer I would also situate the phone selfies as well as the mirror reflection self. The middle layer is represented by the oil paintings. Then, at the top layer I would put you, the viewer of my paintings. Now, perceived like this, the middle layer that of the paintings could be seen as a passage layer, the <> where physical interaction occurs and models of subjectivity are questioned.

The identity search also prevalent in the work, could then be answered with the assumption that it is found not in the painterly representation, nor in the photographic-mirrored representation, not even in myself as such, but in the translation from one medium to another. It is in this process of translation that the question of performativity occurs.

In over exposing myself, I hope to bring representation to a point where it becomes pointless and starts to break, making a parallel to what my appropriated title suggests, the physical impossibility of women in the world of someone living. If every description of women is denounced as male cliché, it becomes impossible to answer the question of what is then feminine in itself, since all answers can again be discredited as male clichés (Slavoj Zizek).

If women are not supposed to be sexualized, how are they to enjoy themselves sexually? Isn’t it a better approach to declare women owner of their bodies, and free their choices on what they can do with it. Post yourself naked online as a tool of empowerment. Isn’t it a better approach to stop looking for ways of hiding from the surveillance mechanisms, and instead overload the system, making it brake?

Photographs ©Mano Krach