AUSSTELLUNG, KONZERT, FILM, PERFORMANCE
BURNING PALACE & PERFECT GARDEN
Samstag, 12. Juli 2014
ab 17 h Eröffnung der Malerei und Grafikausstellung
Pünktlich 19 h junge schottische Musiker exzellente zeitgenössische Klänge:
Karine Polwart, Inge Thompson, Ben Seal, Schottland, Bella Hardy, England,
anschließend Kino: Filmvorführung „Burning Palace“ von
Mara Mattuschka & Chris Haring 30 min
Sonntag, 13. Juli 2014
Pünktlich 18 h junge schottische Musiker exzellente zeitgenössische Klänge:
Inge Thompson, Ben Seal, Schottland, Bella Hardy, England
anschließend 21 h Kino: Filmvorführung „Perfect Garden“ von
Mara Mattuschka & Chris Haring 90 min
Ausstellungsdauer bis 24. August
Alle drei Malerinnen beschäftigen sich mit Portrait und Körper, aber als Metapher und nicht im herkömmlichen Sinne. Es ist vielmehr ein Portrait eines Bewusstseinszustandes, oder Portraits von bestimmten Bewusstseinszuständen, einer bestimmen Generation, einer Gruppe von Menschen, einer Szene, mit der sich die Künstlerinnen befassen.
Kirsty lebt und arbeitet am Lande in der Nähe von Edinburgh, Christy stammt aus Kalifornien, USA und lebt und arbeitet in der Toskana und in Wien, und Mara stammt aus Bulgarien und lebt und arbeitet in Wien, ist auch als Filmemacherin und Performerin bekannt.
Bei dieser Ausstellung wird der Versuch unternommen werden, in Räumlichkeiten des Schlosses die drei Positionen der Künstlerinnen so unterzubringen, dass der Betrachter von der jeweiligen Welt in die nächste pendeln kann und so sowohl die Einzelpositionen wie auch die Zusammenstellung und Spannung erleben kann.
Born:1959 in Bulgaria1975 "Golden Circle for Advanced Mathematics." Since 1976 lives in Vienna. 1977 "General Certificate for Education of the University of London." 1977-83 studied ethnology and linguistics at the University of Vienna. 1990 completion of her degree at the College of Applied Arts (painting and animated film in the master class for Experimental Design under Maria Lassnig). Numerous exhibitions of oil paintings as well as performances and song recitals. 1990 birth of son Max Victor. 1991 received a scholarshipto work in Prague from the Austrian Ministry of Education and Art. 1994 professor of "free art" at the College of Fine Arts in Braunschweig. Member of the Austria Filmmakers Coop and committee member of ASIFA Austria.
AT / 2009 32 min.
A stage, marble columns, the red curtain closes: “You only have a split second of a pose to multiply your transgression.” This first statement introducing the opening sequence sounds like provocative instructions. The game of five figures ensnared in erotic innuendos is more appearance than reality: the pornographic poses can be interpreted as sexual simply by the shadows they cast. In the glowing light, they are actually five protagonists warming up for a night in the “Burning Palace” Hotel.
Precise physical work with the body has seldom experienced such a condensed cinematic counterpart as it does in Mattuschka’s/Haring’s new film. In subtle tableaux vivants sweaty bodies awake from a turbulent, dream-filled night at the hotel, loll male and female bodies out of grotesque poses into a scene of border transgression: between objects and bodies, sounds and melodies, and genders arise those categorical transgressions and shifts so typical for Mattuschka. A mimetic communication takes place between the beings (are they really people?) populating this palace in an urgency of gestures entirely characteristic of the filmmaker, which is seemingly produced through the immense, yet astonishingly discrete proximity of the camera to the bodies.
The alienated soundscape of breathing, singing, and speaking provides the logical architecture for the visual development, and determines the chronology of the events, the carnivalesque of the gestures, and the materiality of the bodies with an increasing uncanniness (the palace as hotel, as heterotopia). From “Paris is Burning” to this Burning Palace: it’s just a stone’s throw. (Andrea B. Braidt)
Translation: Lisa Rosenblatt
AT / 2013 80 min.
Immediately after the reported expulsion from the test garden, which the firm E.D.E.N. (Emergent Design of Evolving Nature) had set up for this prototype, these pubescent youths, who are, certainly, incredibly good looking, but also abundantly idiotic and only lightly dressed, found themselves exposed to a rather rough environment.
Awaiting there were a variety of beasts aiming to devour them: when not in flesh, then at least in the form of exploitation of their physical and sexual properties.
Thus arises this logical or evolutionary chain along the gliding signifier “P”, in the English that a highly-motivated sex and dance worker from Poland is trying to learn: Penis, Pussy, Paradise, Punishment, Prostitution, Production.
Well put, sister!
And then we are back in a David Lynch-like place before the eternal red curtain that conceals the well-known void. Like on a bad trip, one arrives there through a narrow, deep-red corridor. In this innermost chamber of the heart of dashed desires, which do not want to die at this freeze-framed early morning hour, where it is always 4 a.m., and all glasses, barely emptied, fill again, under the even-tempered gaze of a reticent faun, there, he sits, the sentimental Russian Mafioso and listens to a song that sounds alarmingly like nursing. Child-like, noxious sentimental tears flow. Doesn´t anyone ever grow up here? No, definitely not. After all, time stands still here and age devours youth, and youth constantly clamors greedily for—speck (the bacon)! (Katherina Zakravsky/ZAK RA) | Translation: Lisa Rosenblatt
In an occupied establishment – a kind of self-defined sub-cosmos of reality – there is a sensual search for lust and fulfillment taking place. Women and men dance, desire, interact; their perfectly choreographed body game becomes a symbiotic extension of an excessively hedonistic sub- conscious. Amidst it all: a mafia boss seeks to take control of the establishment and finds the meaning of life in the process. Perfect Garden is a fabulously hypnotic film, utopian and realistic all at once. Diagonale catalogue
Musik: Karine Polwart, Inge Thompson, Schottland, Bella Hardy, England, Ben Seal, Schottland
http://www.ingethomson.com/, www.bellahardy.com, http://www.bensealmusic.com
Hailing from the microscopic, isolated Shetland island of Fair Isle, Inge Thomson grew up immersed in music. Her family are prominent exponents of folk and traditional music and she became involved with a piano keyed accordion at an early age, which eventually led on to even less socially acceptable instruments.
Currently Inge brings her innovative vocal harmonies and multi-instrumental textures to the Karine Polwart Trio. http://www.karinepolwart.com/
"a passionate, perceptive songwriter" Uncut 2008
"exceptionally subtle and melodic" Q 2008
"takes the heart to places few singers even know exist" WORD 2008
Karine Polwart draws from folk music’s long tradition while keeping pace with the ceaselessly changing times. Her talent for crafting unique, enduring melodies, her gift for saying just enough without overstating her case, the range and dynamism of her arrangements, all come together in songs of powerful contemporary relevance. She also has the purest and most approachable of singing voices, drawing the listener towards her in the same way one might lean towards a late night tale by the fireside.
Her songs deal with humanity in all its many guises: there is tenderness, triumph and sorrow, raised flags of rebellion and independence, flashes of anger at power abused and misused. Perhaps most frequently she deals in spare, unsentimental empathy, often with those who have been dealt the least playable hands in the game of life.
The results have rarely failed to strike a chord. Her debut album Faultlines won three awards at the 2005 BBC Folk Awards, including Best Album. Its follow up, Scribbled in Chalk (2006), contained “Daisy”, a gentle word to the wise to one of life’s givers and truth-tellers who can’t quite comprehend that “there are people in this world who don’t think like you do”. The song won Polwart another BBC Folk Award for Best Original Song in 2007.
But her achievements can’t simply be measured in terms of industry acclaim. Having studied politics and philosophy at university and later worked in the area of women’s and children’s rights, Polwart has always wanted her music to perform some useful social function. In that, too, she has succeeded time and time again.
“For me” says Polwart, “music is one of the most powerful ways of making sense of the world. It’s for celebrating, grieving, sharing, wondering. Nothing inspires me more than the realisation that any one of my songs means something to someone else”.
Karine tours most often as a trio with her brother Steven Polwart (acoustic and electric guitars, ukulele & vocals) and singer, songwriter and multi-instrumentalist Inge Thomson (accordion, percussion, loops & vocals).
Her fifth studio album is due for release in Summer 2012.