June 1 to July 9
Opening and Artist Talk: May 31, 6.30 pm
Inge Vavra
LATENT MATERIAL – undisclosed memory
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With situation-related interventions in Kunstraum Lakeside, Inge Vavra is creating an installation on the theme of «Time» to set off a discussion on artistic practice.
Loose thoughts on the occasion of a work about
… the simultaneity of the non-simultaneous (and vice versa)
In the beginning: the artist watches a television documentary; a film scene in it evokes the memory of a childhood experience. The memory manifests itself as a picture, resembling a still-existing photograph from the days of childhood.
… Shape, shaping
Memory traces latently preserved in the individual as a propensity for excitation are reactivated. Aesthetic and emotional positions compete.
… Feedback – interaction
The artist photographs the scene off the screen, thus suspending the moment of memory. In the frozen image sequence,
in the unfinished sentence, the negative forms make room for the positive forms, for prosaic strings as well as for poetic reverberations. She remixes contact points and predetermined breaking points in the fabric of experience and knowledge.
2 + 3 = 5
5 x 3 = 15 (cross total 6)
2 + 3 + 5 + 5 + 3 + 15 + 6 + = 36 (1)
The phenomenon of temporal awareness is closely related to the dynamic of states of consciousness. The artist searches for ordering parameters to organize her awareness of time and her experiences, to measure and to illustrate them.
Sensory stimuli (I)
«Someone says the sentence The sky is blue or displays a photograph of a blue sky. The sentence The sky is blue can then be true or false, and the photograph can show the blue sky in an adequate or inadequate way.» (2)
… Free leg standing leg leaps in time
The ambivalence between awareness and exclusion, between remembering and forgetting, proves to be an engine for the creative process. Gaps, blurry areas are intervals that, like a metaphor, present the possibility of associative repositioning of the messages, of leaving room both spatially and temporally to proactively ascribe meaning to them.
Sensory stimuli (II)
«What a sentence or a photograph represents does not necessarily have to exist and yet it can still be depicted in a way that is true or false, adequate or inadequate.» (2)
… Time can apparently be eliminated
How, then, must an aesthetic impulse be constituted that causes an individual to react to media presentations with his/her own imaginings? What forms of perception allow the individual to feel authentically addressed, so that s/he can bring his/her own personal experience and situation to bear?
Sensory stimuli (III)
»If one assumes that what a sentence or a photograph represents exists independently of its depiction, then one can attempt through an experience that is independent of the experience of the representation—for example the sentence The sky is blue and the photograph of a blue sky—to find out whether the sentence is true or the photograph adequate.» (2)
… Orpheus’s conundrum
The liveliness of an artwork in this sense exists only for as long as we are unable to pin it down.
Sensory stimuli (IV)
»Artworks can be distinguished from non-aesthetic representations in one essential point: in artworks, unlike in non-aesthetic representations, the experience of the depiction can induce a change in convictions with regard to reality or to truth or falseness, or with regard to the adequacy or inadequacy of what is represented.» (2)
… Event horizon
From every horizon new horizons come into view, comparable to an infinite landscape; what moves is the human eye.
1 Artur R. Boelderl, Schein and Schiene, in: Zeit-Raum-Schiene, Inge Vavra 1996, catalogue, Triton Verlag, Vienna 1996.
2 Franz Josef Czernin, Notiz zu Photographien und Gedichten, zu Begriffen und anderen Dingen, in: Inge Vavra, Life stills, catalogue, Triton Verlag, Vienna 2003.
Inge Vavra 1942 born in Augsburg (D), studied 1960–65 at the Academy of Fine Arts Vienna; Lives in Krumpendorf/ Wörthersee and Vienna.Since 1962 exhibitions, since 1993 curatorial work. Working areas: print making, drawing, art and interventions in public space, photo, video.
Solo presentations and projects (selection): Lineares Experiment, [kunstwerk] krastal (A), 2010; Kartenzeichnerin II, Galerie G., Judenburg (A), 2009; Sichtweiten, Fondazione Casa Atelier, Bedigliora (CH); Rosa Mittag, Galerie Šikoronja, Rosegg (A), 2007; life stills, Künstlerhaus Klagenfurt (A); VAVRA. graphik, rittergallery, Klagenfurt (A), 2003.
Group exhibitions (selection): Heimat/ Domovina, Museum Moderner Kunst, Klagenfurt, (A), 2010; Double Exposition, Stara Kapetanija, Belgrad (SRB), 2009; K08 Emanzipation und Konfrontation – Kunst aus Kärnten von 1945 bis heute, Künstlerhaus Klagenfurt (A); tales about perception, Galerie MAERZ, Linz, with Nika Špan, Andreas Heller, 2008; Heimat, Symposium Wien-Garikula, National Art Center, Tiflis (GE.), 2005; erasing, musej 25.maj, Belgrad (SRB), 2004; Alltägliches, eine Installation mit 83 Mitspielenden, Galerie Riehen, Basel (CH), 2002; K.U.L.M. continues, steirisc[:her:]bst 2K, Graz (A), 2000.