The [physical] [impossibility] of [WOMEN] in the [WORLD] of [someone] [living]
Installation: oil paintings on canvas and cosmetic packages (dimensions variable), acryl mirror, design furniture, room spray, 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 her diploma project, the self-portrait, or ‘Seflie’, was the focus of interest, more precisely the transfer of the digital self-portrait into the medium of oil painting. The highly promising diploma researched or questioned the following aspects: the (co-)construction of reality through the performative, the breaking of the myth of ‘woman’ as nature, the conscious appropriation of the (male) gaze, the female orgasm and death.” University Professor MA. Ashley Hans Scheirl
The installation of the paintings mirrored a disassembled kaleidoscope: the paintings are reclining on three reflexive 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’.
The work consists of three layers. First layer: the artist’s image (as a person-woman-being) captured in photographic reflections. The middle layer is represented by the oil paintings: the translation of the photographic representation onto another media. Third layer represents the viewer. Perceived like this, the middle layer, that of the paintings, could be seen as a passage layer <> 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.
Documentation Photographs ©Mano Krach