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Agnes Prammer und Catharina Bond entwickelten für diese Ausstellung Texte und Fotoserien, die sich mit der überzeichneten Sprache einer überakademisierten und überfrachteten Kunstwelt auseinandersetzen.

Die daraus entstandene audiovisuelle Installation lädt die BesucherInnen ein, sich Fragen nach Produktions- und Präsentationspraktiken zu stellen, sowie auch bei Bedarf schreiend wegzulaufen.

Oftmals ist das die unausweichlich letzte Konsequenz.

 


 
 
 
 

„Vertikale Faulheit“ consists of three-part-installationby Catharina Bond and Agnes Prammer. The start­ing point was the specific use of lan­g­uage in the art world.

The installation invites viewers to question the contemporary methods of art contemplation.
Three TVs arranged in a close triangle. The viewer is invited to stand in the middle. Only one person fits comfortable in the centre. Two screen show slideshows of photographs, one plays an audio file of a read text. The viewer is invited to listen to the audio file while looking at both slideshow-screens at once.

 


 

Screen 1 / Audio-Installation: 

“Malerei mit Eitempera und Acryl auf Leinen. In fünf Akten.”


Bonds “Malerei mit Eitempera und Acryl auf Leinen. In fünf Akten.” (Vienna, 2015, video, 12 minutes) plays a text potpourri.

Bond put together from artist text that accompany the art works at the General hospital of Vienna (AKH). She took elements from different texts and rearranged the in a new way, referring to an ancient greek drama. 
The read texts are so vague – like most contemporary art texts – that they fit to whatever image is shown at the same time on either of the other screens. Bond analysed the arbitrariness and overload of contemporary art texts.

 

Screen 1 / Slideshow 1: 

“Der befreiende Schritt im rechten Drittel des Bildes.”


Bond and Prammer collaborated of the second part of the installtion. “Der befreiende Schritt im rechten Drittel des Bildes.” (Vienna, 2015, video, 5:40 minutes) shows all the art works that is on public display at the AKH. All “AKH art works” are contemporary. The “AKH art works” compete with the brightly colored walls of the hospital. Hardly any visitors take any notice of them at all.
The slideshow makes the AKH art collection look very exchangeable and point out the obvious codes of contemporary art. (See image above)

 

 

Screen 2 / Slideshow 2: 

“Rekorde machen noch keinen Profit.”


Prammer's “Rekorde machen noch keinen Profit.” (Vienna, 2015, video, 4:23 minutes) works with found footage from www.derstandard.at (http://derstandard.at/r661/Bildende-Kunst) over a six month period of August 2014 to January 2015.

The slideshow shows all pictures that accompanied articles on art. The exchangeability and alikeness of all images and exhibitions setups would be funny, if it wouldn't be ­so serious. 

The slideshow alternates between these press photos and the titles of the articles from where the photos come from. Just like the exhibition photographs the article headlines scratch involuntary on the border for humor and bad taste. 

The headlines are typical examples for contemporary art coverage. They too sound much alike in their vagueness, just like the visuals do.