Latest curatorial project: We Write, Right? – A Web Journal with Texts by Artists
realized with gold extra
Producing texts is part of the daily routine of artists: be it introductions for catalogues, applications for funds or documenting past works. Even though artists are usually esteemed exclusively for creating visual, performative or audible pieces, some artists spend quite a lot of time composing written work. Yet, the potential of artists in this field is underestimated and reduced to administrative functions in many occasions.
Writing, however, does not necessarily need to be a burden but can overlap with artistic output: artists like Daniel Buren or Andrea Fraser are not only valued for their visual pieces of art but compose texts which have been published widely as well.
The relatively new discipline of Artistic Research recently directed more attention to texts by visual artists and musicians. Yet, also in this field, research by artists is often presented as part of exhibitions. Other formats which offer the possibility for publishing texts by artists usually gain less attention. Nevertheless, the academic necessity is not only an imposition but rather inspires a large number of artists to find new forms and formats for enhancing their written output.
We Write, Right? does not claim that all artists have to write and the world of text production should exclusively be shaped by artists. The project simply provides space for texts which would perhaps disappear in scrapbooks, university archives or drawers of funding agencies.
The journal invites artists to publish texts about their research but also asks them to reflect on why and how they write. How does writing influence, help or bring further artistic production? How do artists see their role when writing? What formats do they choose, prefer or introduce when writing texts?
We write, right? arose from desire to discuss a topic we are busy with in our own professional work with a larger group of artists. Why do we write and (how) does our writing differ from texts by other professionals in the field of art?
From January 2015 on, the first texts are available online on: http://wewrite.goldextra.com
realized within the frame of Permanent Expedition by Nomadenetappe
exhibition at MARCO – Museo de Arte Contemporánea de Vigo
exhibition: 24.07. – 31.08.14
During her stay in the Spanish city of Vigo, Doris Prlić researched closed underground territory in Vigo. The sound installation at MARCO combines this research with reports from projects for using underground space in different urban areas. Stories of architectural utopia are mixed with attempts of practical utilization of forgotten tunnels. This world of subterranean imagination faces a photograph of the entry to a sealed underground tunnel in Vigo.
The speakers, which play back the sound files, are made of transportation boxes for fish, collected at the harbour.
exhibition photos by Susanna Flock/Leonhard Müllner
The installation combines an audio piece on unrealised skyscrapers, produced during a residency in the German city of Frankfurt, and a series
of short sound pieces on unrealised high-risers in Amsterdam.
Variations.Uniformity, Amsterdam, June 2014;
Be My Guest, Stadtgalerie Lehen, 3 October – 15 November 2014
The installation is shaped by self-built speaker towers, made out of foam board. Piled up together, they bear a resemblance to architectural models of high-rise buildings. The speaker towers recount the story of unrealized skyscraper projects.
For the site specific version produced in Amsterdam, visitors can listen to three sound pieces on unrealised skyscrapers in the city. Marked with tape on the windows to the West, North and East of the exhibition space, visitors see the silhouettes of these unrealised buildings in the direction where they should have been built while listening to the stories.
Sound Pieces – Amsterdam
For an exhibition in Amsterdam, Doris Prlić created three new site-specific audio pieces on unrealised high-risers in Amsterdam.
As narrator, the artist recounts the stories of three buildings which were planned independently from each other in the West, North and East of Amsterdam. The stories do not clearly take position but rather paint a picture of skyscrapers as symbols for both visionary ideas and megalomania.
Visitors could look outside of the windows of the exhibition space while listening to the sound pieces and imagine the high risers in their vistas.
Sound Piece – Frankfurt
For the site-specific Version produced in Frankfurt, Prlić researched on unrealized sky scraper projects in the area.
Frankfurt is a city which is shaped by a strange contrast – an abundance of empty office space and a scarcity of affordable living space. Even though around 13% percent of the office space in Frankfurt is not used, more and more high office buildings are planned – the most recent example is a new skyscraper which will house the European Central Bank and will serve as new landmark of the city. This, however, does not serve the needs of many inhabitants of Frankfurt who suffer from high rents like in many other European cities.
The sound installation A Site That Could Have Been picks up the topic and narrates stories of different unrealised sky scraper projects. While one narrator tells about various, partly utopian, building plans, the voice is confronted with a second audio layer which deals with one specific project in Frankfurt. The so-called Campanile building in Frankfurt should have been constructed in the late 1980s. Intended as Europe’s highest building at that time, the proposal was supposed to reach around 300 meters in height and should have sheltered mainly offices. Within a short time span and without presenting a development plan for the district, all permissions for the building went through. The project was only prevented by one courageous neighbour, Hannelore Kraus, who argued that the high-riser would destroy the social structure of the district and managed to veto the construction. Kraus is one of the narrators in the installation.
narrators: Karl Zechenter, Hannelore Kraus, Doris Prlić
Upcoming and current exhibitions
“SPECTRAL SOUNDS” - a curatorial sound art project in a public park in Innsbruck, with Lucas Norer, winter 2014
* June 2014: “Variations.Uniformity“, an exhibition on artistic research with Renatoy Osoy, Doris Prlic, Brenda Tempelaar and Frouke ten Velden at Bradwolff/Amsterdam, curated by Alexandra Landré, presentation of my new work “A Site That Could Have Been”
* July 23 – August 31: “Permanent Expedition” at Musea Marco in Vigo (ES), presentation of my new work “Bajo Tierra”, more infos here
* “SVA – Social Venture Analyses / Sozial Wagnis Analysen – Luxus-Prekariat EL EDEN” a project by Rhizom/Graz, my work “I work as” can be seen there
* “TRANSPOSITION.CHANGE” at DOK NÖ, a group exhibition curated by Hubert Lobnig, more infos here
(residency program of the city of Salzburg)
At the viewing platform the artist installed an information board with a phone number and a web address, which enable the visitors to listen to sound messages. Like this tourists and residents of the city can discover the districts of Lehen, Itzling, Liefering and Taxham in an acoustic way – areas of the city which can be viewed from the platform, but not experienced or listened to.
The artist enters the reality of specific spaces in her home town; she presents the perspectives of the residents of these districts to those who usually only see the silhouettes and roofs of the area. After all the platform is positioned in such a way that behind the old town the difficult districts, shopping centres and industrial areas come to surface.
Listen to the sounds: http://dialvforview.tumblr.com/
Mittels ihrer eigenen Mobiltelefone können BesucherInnen der Aussichtsplattform am salzburger Kapuzinerberg Perspektiven aus den Randbezirken der Stadt abrufen.
Auf dem Aussichtspunkt bringt die Künstlerin eine Informationstafel mit Telefonnummern und einer Webadresse an, auf welcher Soundbotschaften abgerufen werden können.
So können TouristInnen oder BewohnerInnen, welche die Plattform besuchen, akustisch die Stadtteile Lehen, Itzling, Liefering und Taxham durchforsten – Stadtteile, die auf der Aussichtsplattform zwar gesehen, aber nicht erlebt und gehört werden. Die Künstlerin taucht in die Realität spezifischer Orte ihrer Heimatstadt ein; so stellt sie Perspektiven der BewohnerInnen der Stadtteile jenen vor, die diese sonst nur über Dächer und entfernte Silhouetten wahrnehmen könnten. Schließlich ist die hauptsächlich von Touristen genutzte Plattform genau so ausgerichtet, dass hinter der Altstadt ausgerechnet die Problemzonen, Einkaufszentren und Industriegebiete sichtbar werden.
I realized a new version of the performance “I work as” at the workshop of Künstlerhaus Salzburg. I added additional sound material about day jobs of famous and non-famous artists to my sound piece. The project has been developed within the frame of gold extra’s Open Studio. Thanks to Tobias Hammerle for the photos.
Date of performance: June 26, 2013.
a magazine, a website and an exhibition.
Link to project website: http://feedbackanddisaster.net/FNO/
For Finding a New Order Doris Prlić, Marlies Stöger and André Tschinder asked different artists and writers to reflect on existing structures or search for new ones. 11 artists followed the invitation and produced artworks or texts for this project. The contributions are published in a magazine and are released on a website.
Presentations: In June 2013 a presentation of the project took place at the Zolder Museum in Amsterdam took place. In October an exhibition at bb15/Linz (AT), and a presentation at Goleb/Amsterdam will follow.
No matter which political direction they are attributed to, European feature pages and contemporary philosophers seem to agree: Our current system has failed – be it political, financial or regarding the whole society. We need new ideas, new formations, a way out of the chaos. Censorship, rigid structures and mechanisation-if one searches for an enemy, it is never hard to find such a one. But where to find a solution? Artists, however, have been busy with these issues all along. Nevertheless, the art world is trapped in exploiting mechanisms and rigidity just as well. Hierarchical systems, gate keepers and top dogs maintain structures directing who displays and who doesn’t. Yet, wherever hierarchies exist, those who criticize them are not far.
participating artists: ekw14,90 (Marlies Stöger, André Tschinder), Karin Fisslthaler, Andreas Kurz, Daniel Ladnar (Random People), Lucas Norer, Renato Osoy, Doris Prlić, H.K. Rannversson, Isfrid Angard Siljehaug, Iva Supić Janković.
Text for Finding a New Order. Published in 2013 for the publication and website of the project as my own suggestion for changing (or not changing) the current order in the field of art.
See the original text here
(you have to click on this post to get the text)
The sound performance „I work as“ consists of several sound and voice sources which are played back from dictaphones. The multiple micro cassette recorders play back voices which tell about day jobs of artists. The narrators, who are mostly artists themselves, incorporate several conflicting positions at the same time. The recorded voice fragments add up to a dense acoustic impression which tells about the actualities of life of different artists. „I work as“ functions both as sound performance and as installation. The project has been presented so far at Mehrkanal Linz, at the art space W139 in Amsterdam and at Künstlerhaus Salburg (gold extra open studio).
Narrators: Balázs Antal, Moke Klengel, Eva Pel, Ulrike Prlić, Sonja Prlić, Marlies Stöger, André Tschinder and Karl Zechenter.
Soundfile of the performance in Linz: