Monday, April 26, 2021

surroundings IV | Brigitte Büsken @ Stift Millstatt


↓ Please scroll down for English ↓





surroundings IV   

inter aktive outside Installation

Brigitte Büsken | jhé productions

ein Kunstformat ➔ #curatedbyaks

Die Installations- und Land Art Künstlerin Brigitte Büsken eröffnete die Reihe surroundings in Indonesien.

Ihre bildstarken Installationen im öffentlichen Raum verändern alltägliche Umgebungen, schaffen neue Situationen und Perspektiven. Ein Dialog entsteht, zwischen der Natur, der vom Menschen geschaffenen Landschaft [Architektur] und der Installation selbst; hier: einer strahlend blauen, horizontalen Fläche, situativ in den Außenraum eines alten Gartens in Stift Millstatt eingearbeitet, die zum Eintauchen einlädt.


Die Horizontale liegt auf der Ebene des menschlichen Herzens und korrespondiert mit den physischen Sinneswahrnehmungen der den Menschen stabilisierenden senkrechten Achse. Himmel verknüpft sich mit Erde, Horizontale mit Vertikale. Impulsgebende Verbindungslinien bilden einen Katalysator für neue Ansätze.


Galerietermine für Besucherinnen im Außenraum

KONstruktion
8. Mai 2021 . 15 - 17 Uhr

 

Begehung . PROCESS
9 | 15 | 16. Mai 2021 . 15 – 17 Uhr


DEkonstruktion
29. Mai 2021 . 17 Uhr


Die Künstlerin ist anwesend
Die Covid-Sicherheitsbestimmungen werden eingehalten


LOCATION
ART SPACE stift millstatt
Stiftgasse 1 . 9872 Millstatt . Carinthia . Austria
+43 4766 35250

Stipendium: Ministerium für Kunst und Wissenschaft des Landes NRW / D
Kooperation: büro für tanz | theater | produktionen
Mit freundlicher Unterstützung der: Österreichische Bundesforste


ENGLISH


surroundings IV
inter active outside installation 

Brigitte Büsken | jhé productions 

an art format ➔ #curatedbyaks 

The installation and land artist Brigitte Büsken started the surroundings series in Indonesia. 

Her visually powerful installations in public space change everyday surroundings, create new situations and perspectives. A dialogue arises between nature, man-made landscape [architecture] and the installation itself; in this case: a bright blue, horizontal surface, incorporated into the outside space of an old garden in Stift Millstatt, that invites to immerse oneself.

The horizontal plane is situated on the level of the human heart and corresponds to the physical sensory perceptions of the vertical axis that stabilizes us as human beings. Heaven connects with earth, the horizontal connects with the vertical. Stimulating connecting lines form a catalyst for new approaches.

Gallery dates for visitors in the outside space

CONstruction
8 May 2021 . 3 - 5 pm


Exploration . PROCESS
9 | 15 | 16 May 2021 . 3 - 5 pm


DEconstruction
29 May 2021 . 5 pm


The artist will be present
Corona safety measures will be applied


LOCATION
ART SPACE stift millstatt
Stiftgasse 1 . 9872 Millstatt . Carinthia . Austria
+43 4766 35250

Scholarship: Ministry for Art and Science of North Rhine-Westphalia, Germany
Cooperation: büro für tanz | theater | produktionen
With the kind support of: Österreichische Bundesforste

 

Thursday, March 11, 2021

Rückblick | Looking back @ kunstLabor 2012 by NETZWERK AKS


Ohne Raum keine Infrastruktur.
Ohne Infrastruktur keine Initiative.


Ohne Initiative keine Kreativität.
Ohne Kreativität kein Wachstum.

Without space there is no infrastructure.
Without infrastructure no initiative.


Without initiative no creativity.
Without creativity no growth.






DER STANDARD - 7. Juli 2012

Festival - Wo Kunst in Kärnten Probleme löst


Sommertage in Kärnten – das sind vielerorts leblose Dörfer, Menschen, die in aller Frühihre Häuser verlassen, um erst am Abend erschöpft zurückzukehren. Das sind auch leerstehende Schulen, Einkaufsläden und Postämter, die das Leben aus den Dörfern gepumpt haben. Das Netzwerk AKS – Plattform für zeitgenössischen Tanz plus Kunst (repräsentiert durch Andrea K. Schlehwein mit ihrem Team) – besetzt nun künstlerisch diesen Raum und macht aus dem ehemaligen Postamt Millstatt die Lokation eines zweimonatigen Kunstevents.

Andrea K. Schlehwein und ihr Team wissen, dass es “ohne Raum keine Infrastruktur, ohne Infrastruktur keine Kreativität und ohne Kreativität kein Wachstum“ gibt. Und so bietet das kunstLABor Millstatt eine kreative Lösung für viele Problembereiche. Dabei: Künstlern wird hier Raum geboten, und sie werden eingeladen, direkt vor Ort zu gestalten.
Derzeit zahlt es sich somit auch wieder aus, durch den Ortskern von Millstatt zu wandeln, denn es gibt tatsächlich etwas zu sehen und zu erleben. Einheimischen wie auch Touristen werden künstlerische Leckerbissen geboten, die auch aus einem simplen Badeurlaub ein Kunsterlebnis machen. „Voiaristen“ sind herzlich eingeladen, am Marktplatz durch die großen Fenster der alten Post die Künstler beim Arbeiten zu beobachten.

Zu sehen sind Tänzerinnen und Tanzperformer, Tonskulpturen entstehen vor den Augen der Betrachter, und Ausstellungen werden gehängt. Das Publikum wird allerdings auch eingeladen, am künstlerischen Prozess teilzunehmen und ins kunstLABor einzutreten, um dort am Geschehen zu partizipieren. Es soll fotografiert, gefilmt und gezeichnet werden, so die Veranstalter, die durch die Betrachter und ihre Aufzeichnungen eine neue Dimension des kunstLABors schaffen wollen.

Junge Menschen sind schließlich eingeladen, im Forum Junges Blut vom 8. Bis zum 10 August Kunst aus ihrer Sicht zu schaffen. Im Rahmen des Workshops Let´s dance mit Hayley Glickfeld kann auch Stellung zu aktuellen Themen bezogen werden. Neben den offenen Tanzproben bietet das kunstLABor auch noch Installationen, Lesungen und Filmvorführungen mit über 20 Künstlerinnen und Künstlern aus der ganzen großen Welt. (szg)

ENGLISH
DER STANDARD – 7 July 2012

Festival – Where Art Solves Problems in Carinthia


Summer days in Carinthia –that often means lifeless villages, people leaving their homes early in the morning only to return exhausted in the evening. It also means empty schools, shops and post offices that have pumped the life out of the villages. NETZWERK AKS - Platform for Contemporary Dance and Art (represented by Andrea K. Schlehwein and her team) - now occupies this space artistically and turns the former Millstatt post office into the venue of a two-month art event.

Andrea K. Schlehwein and her team know that "without space there is no infrastructure, without infrastructure no creativity and without creativity no growth". Thus, KustLABor Millstatt offers a creative solution for many problem areas. Here, artists are offered space and are invited to create directly on site. These days, it pays to stroll through the heart of Millstatt, because there are things to see and experience. Locals and tourists alike are offered artistic delicacies that can turn even a simple lakeside holiday into an artistic experience. On the main square, "voiarists" are cordially invited to watch artists at work through the large windows of the old post office.

Dancers and dance performers can be observed, clay sculptures are created before the viewers' eyes, exhibitions are being hung. But the public is also invited to participate in the artistic process, to enter the kunstLABor and become part of what is happening there. Photos, films and drawings are to be made, according to the organisers, who want to create a new dimension of the kunstLABor through the viewers and their observations.

Finally, young people are invited to create art from their own point of view at the Forum Junges Blut from August 8th to 10th. And the workshop Let's Dance by Hayley Glickfeld will be an opportunity to take a stand on current issues as well. In addition to open dance rehearsals, the kunstLABor also offers installations, readings and film screenings with more than 20 artists from all over the whole wide world. (translation: Roman Zotter)


kunstLABor 2012 | Millstatt

mit | with
Marion Buchmann, Barbara Bernsteiner, Pawel Dudus, Christian Einfalt, Paolo Fossa, Unita Gay Galiluyo, Hayley Glickfeld, Koni Hanft, Florian Hermann, Jo Hermann, Leonie Humitsch, Tamara Kronheim, Carlos Osatinsky, Fernando Nicolás Pelliccioli, Simona Piroddi, Jürgen Ramacher, Ingrid Riebler, Eleonore Schäfer, Andrea K. Schlehwein, Rosalie Wanka

Wednesday, February 17, 2021


↓ Please scroll down for English ↓

Leserbrief

Bezugnehmend auf:
Gastkommentar Martina Schöggl, Ruhe in Frieden, Kulturnation?
Kleine Zeitung vom 10. Februar 2021


Schade um den Platz im Kulturteil


Realitätsfern bleibt Frau Schöggl einer naiven Oberfläche verhaftet und nimmt somit sich und den Leserinnen die Chance, mehr über die praktischen Hintergründe zu erfahren, die ein Kulturbetrieb im Lockdown durchlebt. Niemand, den ich kenne, ruht sich hier aus. Worauf auch? Beruhigender Winterschlaf ist nicht. Flexibel und intensiv wird nach Lösungen gesucht. Hinter den Kulissen erfolgt die Umplanung der Planung des Spielplans.

Jahresprogramme haben mindestens ein Jahr lang Vorlaufzeit, um inhaltlich profilscharf konzipiert, in der Praxis wirtschaftlich sinnvoll realisiert zu werden. Momentan verhindern Einreisebestimmungen, Lockdown bedingte Restriktionen hier und anderswo die physische Anwesenheit zumindest meiner Künstlerinnen vor Ort. Im professionellen Tanz wird kontinuierlich trainiert für den „Tag X“, (der einzigen klaren Perspektive, die Frau Mayer in der letzten Pressekonferenz geboten hat „... der Tag X wird kommen“, hieß es da), was schwierig ist dort, wo gespart werden muss, Studios geschlossen, Trainingsleitungen nicht im Land sind etc. pp.

Die einzelne Künstlerin erfährt die gern zitierte finanzielle Aufwendung oftmals nicht, ganz abgesehen davon, dass Geld nicht Geist und Aktion ersetzt. Wir durchleben eine Zeit, des Streamings, des Ausverkaufs unserer Kunst und der damit einhergehenden Gefahr, die in diesem weit von künstlerischer Ästhetik entfernten Kompromiss das kostengünstige Credo für die Zukunft sieht. Das wäre ein Thema für einen Diskurs.

Hinweise darüber, dass es an der Zeit sei „... über den tagespolitischen Tellerrand zu schauen ...“ sind anmaßend und entbehrlich.

AKS


ENGLISH

Letter to the editor

Re: Guest commentary by Martina Schöggl, Ruhe in Frieden, Kulturnation? | Rest in Peace, Cultural Nation? (see image above)
Kleine Zeitung, February 10, 2021

A waste of space in the arts section


Far from reality, Ms. Schöggl remains tied to a naive surface, thereby depriving readers of the chance to learn more about the practical issues that cultural institutions are facing during a lockdown. No on I know is resting. How could they? There is no peaceful hibernation. Solutions are being sought, flexibly and intensely. Behind the scenes, the planning of the schedule is being rescheduled.

An annual program has a lead time of at least one year in order to enable a clear profile and an economically viable implementation. At the moment, travel restrictions and other lockdown-related constraints here and elsewhere prevent the physical presence of at least my artists. Professional dancers continuously keep on training for “Day X” (the only clear perspective that Ms. Mayer offered in the last press conference, saying “...day X will come”), which is difficult when money has to be saved, studios are closed, teachers are not in the country etc. etc.

In many cases, individual artists don't receive the often cited financial support, not to mention the fact that money does not replace spirit and action. We are living through a time of streaming, a sell-out of our art and the associated danger that this compromise, a long way from artistic aesthetics, will be seen as a cost-effective credo for the future. Now that would be a topic for discourse.

Suggestions that it is time "... to think outside the box of daily politics ..." are presumptuous and dispensable.

AKS



Wednesday, February 10, 2021

"Der Sprung als Flug" von AKS in DIE BRÜCKE Brücke 02/2021


↓ English translation below ↓







ENGLISH


The Jump Suspended
elongating the moment | how contemporary body landscapes transform reality

Art is the only place where new thought concepts can be tested, boundaries shifted, hard- to-digest constructs experienced, utopias constructed, fantastic worlds invented – this is the thesis that connects all those who live in and with the arts.

Undisputedly, the highest and furthest leaps are made in the most ephemeral of all arts, the art of dance, which touches emotionally and intellectually on a deep, sensory human level. In the blink of an eye, dance stretches its moments and unites the present, past and future in a single pirouette. Contemporary algorithms operate in today's syntax, arcs from I to ME, from ME to YOU, to ALL OF YOU, to US are created. Information runs from point to point, from impulse to impulse, shaping movement and resulting in frequencies that grant a simultaneous experience of seemingly irreconcilable poles. Three-dimensional spatial figures emerge like traces in the sand, embodying the complex present, transferring subtle perceptual experiences from the stage interior to the social exterior and back.

The driving force behind today's dance creation is a formative reflection of the current environment, relating controversial content with experimental body textures. Scores are being created on the basis of compositional parameters, structures transform reality, the dissolution of syntax and semantics serves as a reflection that casts multipixels, visualising transparent images of our complex reality. Stage dance speaks to its audience on the level of kinaesthetic sensation, where it maps out – no doubt socially relevant – airily suspended body constructions.

Today, dance is choreographed at a rapid pace using all the available tools that dance development with its history and body knowledge has to offer. A broad spectrum of multiple dance experiences opens the curious spectator's eyes and senses with an invitation to step into unknown territory.

Anyone who is able to dance one of Lucinda Childs' timeless choreographies possesses high skills and utmost concentration. The protagonist of postmodern dance constructs a world of abstract minimalism. Her dance sequences work with repetitions, shifts and variations, operating on a rhythmic-musical basic structure. Orientation for the dancers, whose concentration is highly challenged by the sudden changes in dynamics, spatial direction and movement themes, is provided by an imagined, internal score that keeps track of the rhythm and its changes. The consistent synchronisation of all participants subtly transforms the unfamiliar in the instant of the dance, unfolding a fascinating pull.

The requirements for dance are complex on every continent. The contemporary realisation of concepts, their boundary-shifting aesthetics and their translation into diverse signatures is the focus of interest, even before irrelevant things such as national references or genre classification can take hold.

A choreographer can do more than 'just' give an aesthetic direction. The time of black-and- white definitions and the drawing of boundaries between different branches is no longer helpful for a society in which the integrating common should be placed before divisions, as
Martin Schläpfer stated in an interview. Since he has become the director of the Vienna State Opera Ballet, into which he has integrated the Volksoper Ballet, a new tune is being played there. He wants his ensemble to be firm in all styles, able to dance everything, whether it's ballet, musical, opera or his own, demanding dance productions.

Today, dancers are active in the creative process; choreographic questions need to be answered with formal dance solutions. Choreographers look for innovative movement material, which is to be understood and internalised, they ask for individual accents and attitudes, they expect discourse and dialogue at eye level, they seek input for the creation of sequences, connections, transitions and flow. Profound technique, movement intelligence, flexibility, an understanding of the concept and the choreographic process are part and parcel of today's requirements for dancer-personalities who are constantly asked to cross-check and transfer information and need to alternate between internal and external perspectives in their perception and awareness.

Emanuel Gat confronts his dance artists with defined movement material which – through playful tasks and their translation into space and time – creates a surprising, complex landscape. Gat's approach to the choreographic process resembles an experimental set-up that demands a high degree of curiosity and openness from all participants during the rehearsals. He choreographs from the inside to the outside; spatial divisions and group constellations, movement pace and internal participation reflect current realities of life and allow conclusions about global issues without explicitly addressing them. An exuberant playful energy and the joy of dance characterise his visually powerful, emotionally condensed compositions that are close to the pulse of our time.

In stage dance, overcoming gravity has always been a credo and a symbol for shifting boundaries in all conceivable directions, far beyond those of the arts. Images of utopian coexistence define dance as the epitome of all transformation.

Run, flee, fall, survive, be caught, float, fly –
overcoming gravity allows access to breathtakingly alien body moments. In evocative, poetic ways, the duo Guy Nader & Maria Campos compose translation processes of today's world events into dance. In their art, jumping becomes flying, throwing becomes dynamic gliding through heights and skies, the crash suspended, floating towards a lived utopia. In the moment of the crash, a group rushes into the previously empty space, producing moving images. These are moments that our society needs today more than ever, moments of being caught.

However, the currently dominating question is: will we be able to experience the condensed intensity of spatial coexistence via live streams as a synaesthetically motivated common sentiment? The screen space with its two-dimensional limitation cannot replace a three-dimensional togetherness that involves all senses.

– Andrea K. Schlehwein
published in DIE BRÜCKE Nr. 22 / Feb. 2021
Translation by Roman Zotter





CREDITS
Photos by Sally Cohn . Ok Sang Hoon . Alfred Mauve . Laurent Philippe . Ashly Taylor . Roman Zotter
of works by Lucinda Childs . Emanuel Gat . Guy Nader & Maria Campos . NETZWERK AKS