24 <strong>ST</strong>/A/R/T + Nr. <strong>50</strong>/2016 Contributions: Sophie von Hellermann 1 I Jo - ., p,.c.nc ' ~ . .. l 1 f . ea.-t ~ ... ~ t _..,,~ ~tu,t 'J l - 4 r • 9 i ' Sophie von Hellermann, Tue Rite of Spring (each 2016) Sophie von Hellermann, Portraits of Tamuna ( each 2003)
Städteplanung/ Architektur/ Religion/ Art + <strong>ST</strong>/A/R/T 9 When it comes to the point, what l'm doing now is almost something like revenge ... Benedikt Ledebur in conversation with Tamuna Sirbiladze (2006) B: Let's begin by talking about what won 't be seen in the book, that is about your video works and in what context they stand to your other works. When did you begin shooting videos? T: When I was given a camera, that was 2001. I had actually never thought about film. When I was 16, I already had quite clear ideas about what art intere sted me, and it was neither film nor video. For me film meant a mean s of entertainment. I liked the heavy, black films like Pasolini and Godard. I went to the cinema in Tbilisi, Georgia that showed these special quality cinematographic films, like the Filmmuseum here in Vienna. lt was called the Domkino. B: When you came to Vi.enna, did experimental.films also interest you -for exan1ple, what Kubelka did, or the .filn1s documenting the Aktio nists, Kurt Kren 's .filn1s etc.? T: What I saw impressed me very much as actions, also shocked me, but it didn 't suggest film to me as a medium for my own artistic work. lt was reall y like I said, it was only when I got the camera that I also begin to explore the se possibilities. Firstl y I started to film something or other totall y mechanically, everything that intere sted me, that was happening around me. At the time I was travelling a lot and then I filmed everything , f or example the view from the taxi of the skyscrapers in New York or whatever. Of cour se that still had no artistic value but I trained myself as an observer. Ifyou want to make art you don ' t need a lot of technical support at the outset. At the time pencil and paper was enough f or me, with film or video it's somewhat different. B: How did video then develop for you as a means of artistic presen tation? What do you show in the videos that can now be seen at your e.,---chibitions? I don 't yet know them . Could we watch something and do you want to show videos at the exhibition at the Wittgenstein hause? T· No, I won 't show anything -1 n1ean at the Wittgensteinhaus, for you yes - because I prefer to show my latest pictures at the Ficker exhibi tion . My film works are not really video works, they are the expanded footnotes to n1y work processes and n1y work situation. I use the videos as documentation and I n1ostly work with.film when I don 't have n1y studio available. T: We watch two videos. In the first one - the subject is the visit of the American pre sident to Tbilisi - the picture is divided. On one side we see f olklore dances on a stage in the street taking place in the president 's honour , on the other side we see how the politicians, Bush and Saakashvili move, the ritual of greeting , rhythmic (Bush) and unrhythmic (Saakashvili) clapping along with the dances, how they allow them selves to be photographed with the dancer s, shaking hand s and so on. The second video shows a public event in Rome, an experimental duet improvising on a keyboard and a drum set to Tamuna 's picture „Benedetta al Mare " that schematicall y shows a half-naked swim ming woman figure from above, her head at the lower edge of the picture. B : What you 're saying here about your criteria when you 're.filming also seems to have something to say about your decisions while pain ting. l t 's noticeable in your pictures that you don 't lookfor perspec tive effects . On the contrary, it often seems you want to emphasise the two-dimensionality of the canvas through the apparitional -like nature of your .figures. And the lines, for example in the worked -in geome trical patterns that could serve to lead into a perspective, serve you much n1ore to isolate the pattern in the picture space, they rather have the effect of foreign bodies. Of course, the „ raw n1ateria l" that you lookfor when painting n1ust lie son1ewhere else. Where is it located? Do you want to suggest a kind of spontaneity? T: What now shows itself in my pictures are figures from my imagination which, as such, I want to leave as unworked as possible. Naturally they are not pure visions or fantasy figures but nourish themselve s from external impressions that have established them selves in me. So they almo st stand before my eyes before I paint them. B: As in1aginary pictures that are difficult to locate? L ike your lines that border the .figures, they also have son1ething abstract . On the other hand your washy colouring has something picturesque en1phasising the fiuidity that appears to syn1bolise the characteristics of irnaginary pictures rather than portray them as realistic . D o you see your pictures as representations? T: They do have a basis. They are founded on basic concept s or prior decisions, like it always is with naked or half nak ed women 's bodies, mostly they have something else on like socks. In China people who still have their socks on are not regardecl as naked. In some cultures th e legs are most taboo. For a long time I ,vas only intere sted in abstract painting , in colour theori es, in the structt1re of paint on canvas , in „expressive" brush strokes and so on. They were almost experiments , the quest for a „tran scendental " colour. I believe in these thing s. But at so1ne point it became routine , I got into a kind of circt1lar motion that bored me. At the age of t,venty I could still connect feelings with pt1re colour and it satisfied me. Then eventuall y the rest1lt couldn 't satisfy me anymore even when it was technicall y successful and ft1lfilled my original crit e ria. Lat er I didn't even manage the technical side of things; two years after my arrival in Vienna I completely stopp ed painting and began for example , as we talked about , ,vith filming. B : Beforehand in the studio you shol ved me a couple of older pictures , with ,vriting, lVith 1vords in the picture. Did you make these pictures after you turned a,vay from abstract Expressionisrn? T: Yes, at that time I was looking for something for my art and I also played around with the computer a lot and I came across the Google search engine. Then I simply put in words like „housewif e" or „sublime " and when you clicked on the „images " button you got picture s about the se words or about their meaning. I then painted new picture s from variou s elements of these pictures. Sometime s the search words were the titles of my picture s, sometime s only the search words appeared on white canva s, f or example „Sublime " with a painted red frame. B : With the videos you have thefeeling that it's about more than only a docun1entary, which with regard to „ objective presentation " would also be just as debatable . With the .first one, because of the Juxtapositi on of dancing and political dancing, there 's the ten1ptation to assume something like a political statement. With the second, because of the length of the video but also because of the way it 's .filmed, with very quick camera n1oven1ents and changes of focus, it immediately comes to n1ind that the impression of being unprocessed and of arbitrary can1era work is consciously being evoked, so a particular aesthetic is preferred. T: That 's right. In the second video the camera almost follows the rhythm of the music. I really try to leave the raw material itself unprocessed. I do edit and select but I don 't rework the material. I try to show only the impres sion of the subject matter itself, as it pre sents itself in the camera setting. What I don 't like at all with videos is special eff ects made thank s to high-tech post-proces sing, f or example three-dimensional eff ects, distortion s, oversizing , all tho se King Kong jokes aimed at a ma ss public, the synthetic make-up intended to make the films more impre ssive. Then people are more interested in how it's made than in the subject matter itself. l ' m interested in what the subject matter means to mein itself. Ir) Q Q N ~ ~ ·- ~ j ~ ·- ~ = i. ~ ~ ~ J ~ ~ (1) N '"O (1) ':-;::::I ..D ·= V) (1) i:: ';j j ~, t • '
- Seite 1 und 2:
Nr. 50/ Winter 2016 Zeitung für Ho
- Seite 3:
Städteplanung/ Architektur/ Religi
- Seite 7:
SUBSISTENZ Heimo Zobern ig
- Seite 10 und 11:
Städteplanung/ Architektur/ Religi
- Seite 13:
Städteplanung / Architektur / Reli
- Seite 17 und 18:
16 ST/A/R + Buch III Nr. 50/2016 ,
- Seite 19:
cy ,,,,, ; :C
- Seite 23:
30 ST/A/R + Buch VI - KONZETI Nr. 5
- Seite 26:
Städteplanung / Architektur / Reli
- Seite 30:
Städteplanung / Architektur / Reli
- Seite 33:
s:: =-i § s:: .... -· ~ ;S. /") -
- Seite 37:
Städteplanung / Architektur / Reli
- Seite 41 und 42:
Matthias Angerer, gründete 2004 de
- Seite 43:
10 ST/A/R + Buch II Nr. 50/2016 Nr.
- Seite 47:
14 ST/A/R + Buch II Nr. 50/2016 Nr.
- Seite 50 und 51:
Städteplanung/ Architektur/ Religi
- Seite 53:
Städteplanung / Architektur / Reli
- Seite 57 und 58:
32 ST/A/R + Buch IV Nr. 50/2016 Biw
- Seite 60:
2 ST/A/R + Buch I - Tale/ Salzamt N
- Seite 64:
6 ST/A/R + Buch I - Tale / Salzamt
- Seite 67 und 68:
Städteplanung/ Architektur/ Religi
- Seite 70:
Städteplanung / Architektur / Reli
- Seite 74 und 75:
♦ , ,_ , ~ s., ~ ' ( ' \, , ' ~ ~
- Seite 76:
34 ST/A/R + REINHOLD KIRCHMAYR Gebo
- Seite 80:
Nr. 50/2016 .~!.~ha~_e Zebedin 15 ~
- Seite 83 und 84:
Städteplanung/ Architektur/ Religi
- Seite 86:
20 ST/A/R + Buch IV - PPAG Nr. 50/2
- Seite 90 und 91:
24 ST/A/R + Buch V - Ernest Nr. 50/
- Seite 92:
10 ST/A/R + Buch III Nr. 50/2016 Nr
- Seite 96:
14 ST/A/R + Buch III - Kusch Nr. 50
- Seite 99 und 100:
Städteplanung/ Architektur/ Religi
- Seite 104:
Nr. 50/2016 Annette Aust Buch VI +
- Seite 107 und 108:
Eur 1,66 Ausgabe Nr. 50 / 2016 H er
- Seite 110:
4 ST/A/R + Buch I-WIDL Nr. 50/2016
- Seite 114:
00 ..... . .......................
- Seite 117:
18 ST/A/R + Buch III - friends unit
- Seite 121 und 122: ~ ;:;: __ c :::, r+ LQ 11) -r+ : :
- Seite 123 und 124: • • • Arkan Zeytinoglu www.ar
- Seite 126: Städteplanung / Architektur / Reli
- Seite 130 und 131: 16 ST/A/R + Buch II - HORAZ Nr. 54/
- Seite 132: 26 ST/A/R + Buch IV Nr. 54/2016-17
- Seite 136: 30 ST/A/R + Buch IV Nr. 54/2016-17
- Seite 139: P.b.b. Verlagspostamt 1060 Wien•
- Seite 143: DIE GRÜNDER VON ST/A/R HEIDULF GER
- Seite 147 und 148: ~1, /f ."' ,. ~;,, ...,. .... ~ ·~
- Seite 149: 42 ST/A/R + Buch VI - Religion & Li
- Seite 153: 46 ST/A/R + Buch VI Nr. 54/2016-17
- Seite 156 und 157: Städteplanung/ Architektur/ Religi
- Seite 159 und 160: L.agic of Oisc:Dlo'ef')': W■- ist
- Seite 162 und 163: 40 ST/A/R + Buch V Nr. 54/2016-17 .
- Seite 164: 18 ST/A/R/T + Nr. 50/2016 Nr. 50/20
- Seite 168: 22 ST/A/R/T + Nr. 50/2016 Nr. 50/20
- Seite 174: 12 ST/A/R/T + Nr. 50/2016 Nr. 50/20
- Seite 178 und 179: 16 ST/A/R/T + Nr. 50/2016 Installat
- Seite 180: 26 ST/A/R/T + Nr. 50/2016 Nr. 50/20
- Seite 184: 30 ST/A/R/T + Nr. 50/2016 Nr. 50/20
- Seite 187 und 188: Religion A
- Seite 190: 4 ST/A/R/T + Nr. 50/2016 Nr. 50/201
- Seite 194: 8 ST/A/R/T+ Nr. 50/2016 • • /1
Change language