Text for the catalogue Sprawl, written together with Lucas Norer
Download the pdf here.
(you have to click on this post to get the text)
“Artist and…” is a long term artistic research project by Doris Prlic. Since autumn 2011 Prlic is interviewing different artists about their day jobs. The research furthermore includes descriptions of day jobs of different famous artists, or artists which are now part of art history.
How artists earn their income
Among applying for funds, designing exhibitions and working on concepts, there is another important date on the agenda of many artists: the daytime job. For “artist and…” I investigate the working conditions of different artists.
Until not so long ago, society was prepared to see the artist as starving fighter for one purpose: the production of artworks. Artists are said to live from inspiration and are ready to give everything just in order to be able to produce their pieces of art.
This legend may be true in some cases, but lots of young graduates of art academies don’t want to be starving at all and have a very practical approach for managing their economic survival: they finance their live through day jobs.
Those who are active in the field of the arts tend to skip this side of the story, when telling about living artists or preparing students for their future life. If day jobs are of interest, it is mostly the case when artists have very special second professions and if they help to form an image of the artist as misfit, an outsider or a person with a very particular gift.
Philip Glass supposedly worked as plumber and taxi driver until he was 41, Vincent van Gogh worked as assistant priest before his brother paid for his living expenses – but in the end they were both rewarded with infinite fame. Those legends seem to inspire artists to take non-arts related side jobs rather than to encourage them to expand their artistic field of work.
But of course for some artists this strategy works out, some years ago I heard this rumour that 1% of all graduates from Austrian Art Academies can make their living from producing art. But what does that mean and what kind of work does it include?
“Artist and..” is an ongoing project. So far the project was presented as part of the exhibition “Some artists are more equal than others” at the Royal Gallery in Den Haag, December 2011 and in the form of the sound performance “I work as”, January and March 2013 (see: http://dorisdisaster.servus.at/?p=178). The next presentation of the project will take place at Open Studio gold extra/Künstlerhaus Salzburg in June 2013.
Thanks to my colleagues and teachers from Master Artistic Research in Amsterdam & Den Haag and all the artists who told me their day job stories.
The second version of the “Take Away Sound Cube” can be seen at Skalar Sound Art Festival within the frame of the exhibition “Repeat, Please”. This time I transferred a sound recorded in a Dutch village to the tiny village Seyðisfjörðurs in Iceland. Many thanks to nomadenetappe and ekw14,90 (for helping build up my work as I can’t be there!):
OPENING: | 04.10.12 | 18.00
EXHIBITION: 04. – 14.10.12 | 12.00 – 21.00
SKÁLAR – Centre for Sound Art and Experimental Music, Iceland - http://skálar.is
nomadenetappe is pleased to announce “REPEAT, PLEASE…”, an exchange project between austrian and icelandic artists, taking place in Seyðisfjörðurs/Iceland within the SKÁLAR Sound Art Festival.
With: Wolfgang Dorniger, ekw 14,90 [Marlies Stöger, André Tschinder, Moke Klengel, Christoph Rath], Ewald Elmecker, faxen [Clemens Mairhofer, Lukas Norer, Sebastian Six], Wolfgang Fuchs, Reinhard Gupfinger, Andreas Kurz, Katharina Loidl, Sun Li Lian Obwegeser, Doris Prlic, Christian Stefaner-Schmid, Enrique Tomás, thus&hence [Jakob Dietrich, Kai Maier-Rothe], Andre Zogholy
Detailed program schedule: http://nomadenetappe.net/node/169
Together with the recently founded SKÁLAR – Centre for and Sound Art and Experimental Music, nomadenetappe initiated an exchange-project which in its first stage will bring a group of artists from Linz/Austria to a discarded fish factory located on the outskirts of Seyðisfjörðurs/Iceland. For a duration of approx. one week the artists, whose work mainly focuses on the medium sound, will work on site on various projects, resulting in a hybrid showcase of exhibition, live concerts, workshops and lectures taking place from October 4 – Oktober 7 2012.
opening: September 26, 2012, 19:00
duration of the exhibition: September 27 – November 2, 2012
Atelierhaus Salzamt / Linz (AT)
participating artists: Ehsan Behmanesh (IR), Rumiko Hagiwara (JP), Thomas Kluckner (AT), Jo Lathwood (UK), Eva Pel (NL), Selena Savic (RS), Emily Speed (UK), Florian Tuercke (DE), Sylvia Winkler / Stephan Köperl (AT/DE)
curated by Doris Prlic
In summer 2012 ten different artists explored the public realm of Linz, the exhibition “Expand, Explore, Expose” presents the results of their analysis of the city.
day: Sam, April 28, 2012
time: noon onwards
place: Weesperzijde, between Torontobrug and Grenstraat
On April 28, 2012, a tiny cube can be found somewhere in a residential area in Amsterdam. As long as the integrated battery lasts, the cube will transport a sound from one quarter of Amsterdam to another, playing back a recorded file endlessly in a loop. At the same time sound object, commodity and intruder, the take-away sound cube has to fulfil different requirements at once. Depending on the beholder, the cube can be perceived as artwork, lost mp3 player, acoustic intrusion or practical joke. The duration of the exhibition is unforeseeable: it will either end with the expiration of the integrated power supply, by destruction form external forces or if someone takes to cube home and reuses the artwork for his or her own purposes. No matter how the display of this piece ends: the exact nature of the artwork is unforeseeable and depends highly on its unknown public.
March 29 – April 27, 2012
“Die Kunst der Intervention”
Ein Jahr Lichtenberg Studios
(the art of intervention – one year Lichtenberg Studios)
exhibition at ratskeller (Möllendorffstraße 6, 10367 Berlin)
opening: Wednesday, March 28, 7 pm
Doris Prlic and Lucas Norer will show their project “Faltstadt Lichtenberg” at the exhibition “Die Kunst der Intervention”, curated by Uwe Jonas, at ratskeller in Berlin.
Faltstadt Lichtenberg is a gold extra project, funded by Kulturfonds der Stadt Salzburg
within the frame of “Theorie im Keller”
book presentation “Reclaiming Spaces – zum Umgang mit leeren Räumen”
Edited by Franz Koppelstätter and Doris Prlic.
With texts by Barbara Holub/Paul Rajakovics, Robert Temel and Koppelstätter/Prlic.
The book furthermore contains documentations of different projects by artists and architects who reuse empty spaces.
The event will also feature a lecture by Christine Dissmann who presents her book “Die Gestaltung der Leere”.
Within the frame of the residency-project ”Lichtenberg Studios” Lucas Norer and Doris Prlic from the artist collective gold extra spent one month at the Lichtenberg district in Berlin.
For the duration of their stay they discovered the area and realised several interventions in public space. After an intense research about the history and development of the district, Norer and Prlic picked four interesting spots on site and focused their attention on these areas. Lichtenberg starts where the touristy centre of Berlin ends. Formerly part of the German Democratic Republic of, the urban quarter is shaped by buildings made from prefabricated slabs, the largest Asian market in Berlin and theover sized former head quarter of the Stasi (secret police of the GDR). Furthermore the area around the station of Lichtenberg has to fight with the reputation of being Berlin’s hotspot for Nazis.
Norer/Prlic chose those four places and designed take-away posters for the inhabitants of the area. For the exhibition “Die Kunst der Intervention (The Art of Intervention)” in March 2012 the artists furthermore created a sound scape with audio material they recorded on site.
In addition to that, they created a poster series in public space “Nicht östlicher als Ostkreuz”, which they positioned in the quarter during their residency in 2011. The poster series referred to a common statement among young people in Berlin, who supposedly should not move to the east side of Berlin-Ostkreuz – the border between the chique district Friedrichshain and the unpopular district Lichtenberg.
This website is under construction, you can already find information about some of Doris’ projects, but more information will be online soon.
Sprawl – Structures/Feedback/Disruptions
curated by Lucas Norer & Doris Prlić
funded by “art in public space “ Province of Tyrol, 2011
opening: Friday, September 16 2011, 7 pm
duration of the exhibition: September 16 – September 25, 2 pm – 6 pm
works in public space: September 16 – October 31 (can be visited all day)
“Sprawl” is a performative exhibition in public space: an art festival in the form of temporary, spatial interventions and occupancy of different places in Tyrol. Thereby the chosen spaces, their appropriation, design and change lie in the centre of attention. Through the interplay with rural and urban architectures, the spaces are being questioned in an experimental approach, always in connection with the central theme of structures, feedback and disruptions.
The expression “sprawl” means to expand, grow and spread or on architectural ground “urban sprawl” describes uncontrolled development or extension of metropolitan areas. In this sense “Sprawl” can be considered as a spreading temporary exhibition in public space with a special focus on visual art works and installations. Architectures of everyday life, like shopping malls, event centres or green areas, undergo fundamental shift through performative interventions. The potential for conversion and interference of the chosen places is under investigation, thereby they alternate into sculptural objects.
Artists are invited to deal with the reality of given conditions as well as with the poetic quality of those unsentimental and foreign spaces. “Sprawl” aims to reoccupy new spaces, explore possibilities and restructure urban areas temporary. Thereby not only artistic positions which have been developed for a certain situation, are of interest – also expanding, recurring and spreading interventions gain the focus of attention.
Regarding its architectural condition as well as its location in the city , the festival centre itself, based at “Die Bäckerei” (http://www.diebaeckerei.at) in Innsbruck, is a place of transition. The centre is exhibition space and point of information at the same time, it offers space for relicts and documentations of previous performances and interventions in public space.