Badegäste. Linzer Kunststudierende stranden auf der Hamburger Elbinsel
June 22—June 28, 2015
Robinson Stärk, born in 1985, is gladly trying his hand as Lord of Model Worlds and experiments with the obstinacy of the living. Since there is no outside to narration, it is a matter of leaving space for an “ecriture organique”. Of course: No space is innocent.
Stepha K. Farkashazy, born in 1982, inhabits the “thick margins” between science and art. As a rider of thresholds she works from a consciousness that every medium is a medium of storage, not least the thick empty space of artistic positionality itself: staying sane in the membrane.
Felix Pöchhacker is a sculptor, as well as progressive painter. Yet he does not like plastic screaming, and is more interested in the work on the deadweight of antagonisms and the reorganization of material historicity: Even a concrete cast is a palindrome, and history does not repeat itself, it rhymes.
Rebekka Hochreiter likes working intuitively and experimentally best, which are both synonyms for other rationalities. She discovers the contradiction in PU foam, just as in swimming villages; besides she finds it perverse when a well worked out photo has to cost 100 Euros: Exuberance is beauty.
Elke Kiewegs murderers can talk good prose, which is why she prefers to create visual and situative lyrics: At the end, it’s all white.
Melanie Ludwig’s favorite title for her own pieces is “Untitled”, it’s the varied standpoints, which interest her the most in artistic discourse. Whereby: freckles are also only standpoints.
Moritz Matschke is interested in performative miniatures, which can also turn out to be over-sized. Currently, Matschke, is working, amongst other things, on the pedagogical between Antonio Gramsci and Jacques Rancière. One brain washes the other, and both stay dirty.
Evelyn Wallner has been affected by the multi-dimensionalities of human existence, reflexivity and discursivity. Saying everything is the secret to boredom.
Claudia Keil appreciates figurative ensemble from the dorsal perspective, Colors and atmospheres, which permit the waiting in melancholic intimacy. In that context simple village landscapes and stupid pre-fabricated houses no longer need to annoy, on the contrary. There is no outside: You are part of the solution, part of the problem or part of the landscape.
Anna Pech has no time for either formalism or content-based approaches, instead she prefers to keep herself busy as a form smuggler. Wipe away tracks and lay new ones. (What if anything can justify art?) Make the routinized critiques come to a stutter.
Photo: Paula Pohle