Extracting volume from domestic space, or compressing found materials into sculptures have been some of the artist’s applied strategies. Michael Strasser’s work investigates the shifting relationship between space and human. Through the appropriation of found spaces and architectural situations, he initiates the exposure of cultural and institutional systems of representation. 

“I went to the cinema with my mother when I was only 4 years old, because she was alone at home with a little kid and wanted to go out and be entertained.” Along concrete and fictional places in her work, Marlies Pöschl explores the question how temporary communities are being formed at filming locations, how cinema becomes a place of shared concerns.

On practicing the publicness of Art and the body needed to support its voice

Wringing poetry out of everyday life in its ordinariness, somewhere between ranking grammar, market logic and brand rhetoric. The artist duo zweintopf are searching for the transcendental component in the world of things surrounding us or constantly intervene at the edges of the public sphere in order to unearth the pinch of absurdity that is hidden in every human endeavor.

At the moment it´s not possible to do “physical classes”.
Our lecturers are very busy by doing online conferences with our students.
 

Thank you so much!
 

In addition, the team organized external guests, who will join the departments´
weekly central artistic course Zoom-meetings.

A “deviant chronopolitics,” as Freeman puts it, is one that envisions “relations across time and between times” that upturns developmentalist narratives of history. Crip Magazine (one of my projects) collects artifacts of a transhistorical crip (sub)culture. It aims to create trans-temporary connections and communities across time. It has the power of talking into being. Art practice as speculative fiction in the pursuit of utopian ideas…

Dani Gal’s artistic practice focuses on the production of ideology through the representation of specific historical narratives in a variety of media in order to question the claims of historical knowledge and to reveal and challenge underlying political preconceptions.

Based on archival documents from the photo-collection of Austrian Film Museum I will challenge the question in how far FILM as an event, hence as an experience can be traced/documented/re-animated outside the darkness of the cinema. Through pairwise comparison of singular artifacts in various medias, correspondences and oppositions might shed light of what – and in which fashion – can be reflected and illuminate the state of mind from the past.  And equally important, which questions they might still conceal.

What is reality, how can we believe what we see, and what are the conditions of art have been recurring questions in Ernst Caramelle’s work since he first began exhibiting in the mid-seventies. “Art is a fake” has been his creed ever since.